scholarly journals Makna Aksesoris Patung Bunda Maria di Kapel Graha Annai Velangkanni Medan

2021 ◽  
Vol 3 (3) ◽  
pp. 1347-1356
Author(s):  
Rani Mardinata Sinambela ◽  
Tetty Mirwa
Keyword(s):  
Catholic Church ◽  
Sampling Technique ◽  
Fine Art ◽  
Virgin Mary ◽  
Sea Stars ◽  
Indian Culture ◽  
Aesthetic Value ◽  
Visual Elements ◽  
The Aesthetic ◽  
The Catholic Church

This study aims to determine the meaning and description of the accessories for the statue of the Virgin Mary in the Chapel of the Graha Annai Velangkanni. The sampling technique used in this research is total sampling, which is a whole sampling technique, so the samples in this study are 11 accessories worn on the statue of the Virgin Mary. The results of this study indicate that the accessories on the statue of the Virgin Mary still show the impression of mixing Indian culture with the Catholic Church. For the accessories of the statue of the Virgin Mary, the aesthetic value has aesthetic value, it can be seen in the form of the sculpture itself which has a good composition and a harmonious combination of colors according to the visual elements contained in the fine art. Types of accessories worn on the statue of the Virgin Mary has its own meaning, this can be seen in the use of accessories. There are 11 accessories worn on the statue of the Virgin Mary, namely: 12 Sea Stars (a sign of hope), the Golden Crown of Our Lady (a sign of the glory of a mother's heart), the Golden Crown of Jesus (a sign of prosperity), a Stola (a holy and clean symbol), the Pastor's Staff. (symbol of directing), Mangalsutra Necklace (symbol of love), Ring of Our Lady (symbol of dignity), Rosary (meditation instrument), Indian Flower Necklace (sign of respect), Saree (Indian traditional dress), and Crescent Moon (snake tread) .

scholarly journals Tinjauan Estetika Hiasan Kaca Patri Pada Gereja Katolik Inkulturatif Paroki Santo Fransiskus Asisi Berastagi Berdasarkan Prinsip Seni Rupa

2021 ◽  
Vol 4 (2) ◽  
pp. 660-670
Author(s):  
Samuel Joan Parasian Siregar
Keyword(s):  
Catholic Church ◽  
Fine Arts ◽  
Sampling Technique ◽  
Stained Glass ◽  
Aesthetic Quality ◽  
Color Selection ◽  
The Aesthetic ◽  
Glass Decoration ◽  
The Catholic Church

This study aims to describe the aesthetic quality of the stained glass decoration work at the Catholic Church of St. Francis of Asisi Berastagi based on the principles of fine arts, especially in the aspects of unity, balance, rhythm, proportion, composition, and center of interest. This study used descriptive qualitative method. The subjects in this study were part of the stained glass in the Catholic Church of St. Francis of Asisi, which is also a sample in this study, amounting to five samples. The sampling technique used was total sampling. The results of this study explain that the visual quality of the stained glass works in the Catholic Church of St. Francis, if viewed based on the principles of art, shows some deficiencies in these works can be seen from the number of works that only get points below three (<3), wrong the only thing is that there are still most of the works that have shortcomings in terms of composition and there is no balance in them, this is due to the color selection and placement of objects that are not quite right, plus there are still some deficiencies in the objects that are formed that are not proportional. However, even so, there are still some works that have sufficient to excellent quality, where these works are able to get points above three (> 3).

The Situation of Catholic Instruction in Transylvania during the Communist Takeover

2020 ◽  
Vol 65 (2) ◽  
pp. 33-52
Author(s):  
László Holló
Keyword(s):  
Religious Education ◽  
Catholic Church ◽  
Virgin Mary ◽  
Educational Institutions ◽  
God's Will ◽  
School Network ◽  
One Year ◽  
The Moment ◽  
First Time ◽  
The Catholic Church

"In less than one year, the Catholic Church, just like the other denominations, lost its school network built along the centuries. This was the moment when the bishop wrote: “No one can resent if we shed tears over the loss of our schools and educational institutions”. Moreover, he stated that he would do everything to re-store the injustice since they could not resent if we used all the legal possibilities and instruments to retrieve our schools that we were illegally dispossessed of. Furthermore, he evaluated the situation realistically and warned the families to be more responsible. He emphasized the parents’ responsibility. First and foremost, the mother was the child’s first teacher of religion. She taught him the first prayers; he heard about God, Jesus, the Virgin Mary, and the angels from his mother for the first time. He asked for the mothers’ and the parents’ support also in mastering the teachings of the faith. Earlier, he already instructed the priests to organize extramu-ral biblical classes for the children and youth. At this point, he asked the families to cooperate effectively, especially to lead an ardent, exemplary religious life, so that the children would grow up in a religious and moral life according to God’s will, learn-ing from the parents’ examples. And just as on many other occasions throughout history, the Catholic Church started building again. It did not build spectacular-looking churches and schools but rather modest catechism halls to bring communities together. These were the places where the priests of the dioceses led by the bishop’s example and assuming all the persecutions, incessantly educated the school children to the love of God and of their brethren, and the children even more zealously attended the catechism classes, ignoring their teachers’ prohibitions. Keywords: Márton Áron, Diocese of Transylvania, confessional religious education, communism, nationalization of catholic schools, Catholic Church in Romania in 1948."

scholarly journals Analisis Visual Warna pada Game Post Apocalyptic (Studi Game The Last Of Us, Metro Exodus, dan Horizon Zero Dawn)

2020 ◽  
Vol 6 (1) ◽  
pp. 18-31
Author(s):  
Daniel Kurniawan Salamoon ◽  
Cindy Muljosumarto
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Visual Media ◽  
Environment Interaction ◽  
Aesthetic Value ◽  
Visual Elements ◽  
Screen Capture ◽  
The Aesthetic ◽  
Semiotic Theory

AbstrakVideo game sebagai bentuk media visual di era modern memiliki peranan dalam masyarakat sebagai salah satu bentuk hiburan yang bersifat interaktif. Video game terus berkembang dalam tata visual sebagai bentuk evolusi dari teknologi video game tersebut. Evolusi dalam video game membuat genre dalam video game juga mengalami perkembangan. Salah satu genre yang menjadi tren adalah genre post apocalyptic. Penelitian ini mencoba melihat narasi yang hendak disampaikan lewat tata visual beberapa video game dengan genre post apocalyptic. Metode yang dilakukan adalah dengan mengumpulkan data screen capture dari beberapa judul video game dengan rating yang baik. Dari metode ini, teori yang digunakan untuk melakukan analisa adalah teori semiotika khususnya yang berkaitan dengan tata visual pada video game khususnya elemen warna yang menjadi kunci genre ini dengan menggunakan software Image. Setelah itu data dianalisis lebih lanjut dengan metode AEIOU (Action, Environment, Interaction, Object, User). Studi ini memberi gambaran bagaimana tata visual yang menjadi ciri khas genre game post apocalyptic dan nilai estetis yang bisa dipelajari dari genre tersebut. Pada akhirnya studi ini dapat menjadi pondasi dalam melakukan riset warna khususnya dalam pengembangan sebuah video game Kata kunci : desain game, post apocalyptic, video game, warna AbstractVideo games as a form of visual media in the modern era has a role play in society as one of interactive entertainment form. Video games continue to grow in visual elements as evolution forms from video game technology itself. The evolution of video games also makes the genre of video games experience development. This research attempts to observe the narrative is to be conveyed through the visual elements of several video games with the Post-apocalyptic genre. The method used was to collect screen capture data from several video game titles with good ratings. The theory that used to conduct the analysis is a semiotic theory relate to visual elements, especially the colors element that is the key to this genre. The theory that used to conduct the analysis is a semiotic theory relate to visual elements of the video game, especially the colors element that is the key to this genre. The theory that used to conduct the analysis is a semiotic theory relate to visual elements of the video game, especially the colors element that is the key to this genre using image software. Afterward, data analyzed subsequently with AEIOU's (Action, Environment, Interaction, Object, User) method. This study gives a description of how the visual elements become a characteristic of the Post-apocalyptic genre and the aesthetic value that can be learned from the genre. So eventually these studies can be the foundation in conducting color research especially in the development of a video game. Keywords: color, game design, post apocalyptic, video game

scholarly journals THE DYNAMIC OF CACI MULTIFUNCTION IN MANGGARAI ETHNIC NOWADAYS

2020 ◽  
pp. 9
Author(s):  
Karolus Budiman Jama ◽  
I Wayan Ardika ◽  
I Ketut Ardhana ◽  
I Ketut Setiawan
Keyword(s):  
Catholic Church ◽  
Political Power ◽  
Political Interest ◽  
Local People ◽  
The Political ◽  
The Government ◽  
The Aesthetic ◽  
The Church ◽  
The Catholic Church

Manggaraian ethnic has a special art named Caci. The art holds and became an identity of the whole of Manggaraian. The art was begun as the ritual of farmer’s land fertility. In its developing, the aesthetic has gone under the multifunction in it show time. The art is not only performing for the shake of the local people culture, but also perform for the political interest as well as the catholic church in Mangggarai.  This research used ethnographic method, data collected through the observation, interview, documentation, and triangulation. The research was done in Manggaraian ethnic of Flores. Every Caci performance has its own unique ideology. The ideology goes behind the cultural Caci performance is the ideology of fertility. The ideology goes behind the government interest of Caci performance is capitalism economy and political power.  The church ideology is inclusivism through the inculturation languages. Keywords: dynamic, multifunction, caci, ideology, culture identity

Avalokiteśvara's Manifestation as the Virgin Mary: The Jesuit Adaptation and the Visual Conflation in Japanese Catholicism after 1614

2011 ◽  
Vol 80 (1) ◽  
pp. 1-39 ◽  
Author(s):  
Junhyoung Michael Shin
Keyword(s):  
Religious Identity ◽  
Catholic Church ◽  
Religious Studies ◽  
Virgin Mary ◽  
Great Success ◽  
Strict Enforcement ◽  
Jesuit Mission ◽  
The Catholic Church

Since St. Francis Xavier landed in Kagoshima in 1549, the Jesuit mission in Japan had achieved an amazing number of conversions, even though their activity lasted for merely about fifty years. Their great success came to an abrupt end in 1614 when the Bakufu government began the full proscription and persecution of the religion. An earlier ruler, Toyotomi Hideyoshi, had already banned Christianity and ordered the expulsion of foreign missionaries in 1587, but without strict enforcement. Since the 1630s, the former Christians were required to enroll in local Buddhist temples and annually go through the practice of treading on Christian icons in order to prove their apostasy. However, many Christians secretly retained the faith by disguising their true religious identity with Buddhist paraphernalia. These so-called “underground” (or sempuku) Christians survived more than two hundred years of persecution, and today some groups still continue to practice their own religion, refusing to join the Catholic Church. The present-day religion of the latter, called “hidden” (or kakure) Christians to distinguish them from the former, has drawn the attention of ample anthropological as well as religious studies.

scholarly journals ANALISIS NILAI ESTETIS KERAJINAN MINIATUR KAPAL PADA PENGRAJIN KRIYA ASMIDAR DI MEDAN PERJUANGAN

2018 ◽  
Vol 7 (2) ◽  
pp. 284
Author(s):  
Dailami Tanjung ◽  
Azmi Azmi ◽  
Tetty Mirwa ◽  
Triyanto Triyanto
Keyword(s):  
Sampling Technique ◽  
Aesthetic Value ◽  
Qualitative Descriptive ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Descriptive Method

AbstrakPenelitian ini di latar belakangi untuk mendeskripsikan nilai estetis pada kerajinan miniatur kapal pada pengrajin kriya Asmidar Di Medan Perjuangan.Pembatasan masalah dalam penelitian ini berfokus pada penerapan nilai estetis dan hasil karya kerajinan miniatur kapal pada pengrajin kriya Asmidar di Medan Perjuangan. Populasi dalam penelitian ini yaitu seluruh kerajinan miniatur kapal pada pengrajin kriya Asmidar. Dalam penelitian ini penulis mengambil teknik sampling jenuh, yaitu teknik penentuan sampel bila semua anggota populasi digunakan sebagai sampel sebanyak 8 karya kerajinan miniatur kapal. Dalam hal ini penulis akan meneliti karya kerajinan miniatur kapal tersebut berdasarkan aspek proporsi, keseimbangan, kesatuan, dan finishing. Adapun metode yang digunakan dalam penelitian ini adalah metode deskriftif kualitatif. Berdasarkan data yang telah diperoleh, maka semua hasil penilaian dari ke dua ahli secara keseluruhan pada kerajinan miniatur kapal karya pengerajin Kriya Asmidar ditinjau berdasarkan aspek proporsi, keseimbangan, kesatuan, dan finishing, secara umum dikategorikan baik dengan jumlah nilai = 703 dan rata-rata (r) = 88 (baik). Kata Kunci:analisis, kerajinan, miniatur kapal.AbstractThis research is in the background to describe the aesthetic value of miniature craft shipments at the craftsmen of Asmidar craft in Medan Perjuangan. The problem limitation in this study focuses on the application of aesthetic values and the work of ship miniature crafts to the craftsmen of Asmidar craft in Medan Perjuangan. The population in this study is all miniature craft of craft in the craft of the Asmidar craft. In this study the author takes a saturated sampling technique, which is a sample determination technique if all members of the population are used as a sample of 8 ship miniature craft works. In this case the author will examine the ship's miniature craft based on aspects of proportion, balance, unity and finishing. The method used in this research is qualitative descriptive method. Based on the data that has been obtained, all the results of the assessment of the two experts as a whole on the miniature craft of the work of the craftsmen KriyaAsmidar are reviewed based on the aspects of proportion, balance, unity, and finishing, generally categorized as good with a number of values = 703 and average ( r) = 88 (good).Keywords:analysis, crafts, miniature’s ship. 

scholarly journals Estetika Keseimbangan dalam Wayang Kulit Purwa: Kajian Strukturalisme Budaya Jawa

2021 ◽  
Vol 19 (1) ◽  
pp. 86-96
Author(s):  
Slamet Subiyantoro
Keyword(s):  
Human Life ◽  
Sampling Technique ◽  
Document Analysis ◽  
Civil Servant ◽  
Analysis Data ◽  
Data Display ◽  
Aesthetic Value ◽  
The Aesthetic ◽  
Wayang Kulit ◽  
Depth Interviews

The purpose of this study was to examine the aesthetic value of balance in Wayang Kulit Purwa from the perspective of Javanese cultural structuralism. This type of research is descriptive qualitative with data sources from informants, places/events, and documents/archives. The object of this research is Wayang Purwa with the profile of knight, giant, goddess, and civil servant who were selected by purposive sampling technique. Data were collected by using in-depth interviews, participatory observation, and document analysis. Data were analyzed using interactive techniques with data reduction procedures, data display and data verification. The result of the research shows that the Wayang Kulit Purwa is a picture of real human life. The puppet characters have their own characters which generally consist of good, evil, gentle, and simple characters. Humans created by God are not the same but with a variety of characters. The characters, characteristics, and other structures tend to be opposite, however, there is no attempt to negate each other, instead they complete each other.

scholarly journals KARYA SENI RUPA 2 DIMENSI DI MAN 2 SITUBONDO

2019 ◽  
Vol 9 (1) ◽  
pp. 48
Author(s):  
Lailatul Choiriyah . ◽  
Dra. Luh Suartini, M.Pd. . ◽  
Drs.Agus Sudarmawan, M.Si. .
Keyword(s):  
Data Collection ◽  
Fine Art ◽  
Green Bean ◽  
Wood Powder ◽  
Aesthetic Value ◽  
Art Works ◽  
Materials Used ◽  
The Aesthetic ◽  
Descriptive Qualitative ◽  
Coconut Fibers

Penelitian ini bertujuan untuk: (1) Mendeskripsikan alat dan bahan yang digunakan oleh siswa MAN 2 Situbondo untuk membuat karya Seni Rupa 2 dimensi. (2) Mendeskripsikan jenis dan bentuk karya Seni Rupa 2 dimensi yang dihasilkan siswa MAN 2 Situbondo. (3) Mendeskripsikan nilai Estetik karya Seni Rupa 2 dimensi yang dibuat oleh siswa MAN 2 Situbondo. Metode yang digunakan adalah deskriptif kualitatif dengan tekhnik pengumpulan data sebagai berikut: (1) Tekhnik Observasi, (2) Tekhnik Wawancara, (3) Tekhnik Dokumentasi. Hasil penelitian yang diperoleh: (1) Alat dan bahan yang digunakan dalam proses pembuatan karya 2 dimensi di MAN 2 Situbondo ( pensil, penghapus, penggaris, kuas, mangkok plastik, gunting, gelas plastik, hair dryer, kanvas, triplek, benang, kulit telur, kompor, canting, wajan, rol karet, pisau cungkil, kertas karton, cat, air, serbuk kayu, glitter, isolasi kertas, plastik segitiga, pernis, lem fox, biji kacang hijau, kain, remasol, daun pandan, serabut kelapa, bokol posing, karet gelang, tinta bak, cat offset, kertas gambar, dan busa ati. (2) Jenis dan bentuk dari karya seni rupa 2 dimensi di MAN 2 Situbondo berupa: mural, kaligrafi, batik, grafis, mozaik dan poster. (3) Nilai estetik yang terlihat pada karya seni rupa 2 dimensi berupa: bentuk, tema, dan aspek keindahannya. Kata Kunci : Seni Rupa, 2 dimensi, MAN 2 Situbondo This study aimed to: (1) Describe the tools and materials used by students in MAN 2 Situbondo to create 2-dimensional works of fine art. (2) Describe the types and forms of 2-dimensional works of fine art produced by students of MAN 2 Situbondo (3) Describethe aesthetic value of 2-dimensional works of fine art that was made by students of MAN 2 Situbondo. The method used in this study was descriptive qualitative with data collection techniques as follows: (1) Observation, (2) Interviews, (3) Documentation. The results of this studywere: (1) The tools and materials used in the process of making 2-dimensional works of fine art in MAN 2 Situbondo, (pencils, erasers, rulers, brushes, plastic bowls, scissors, plastic cups, hair dryer, canvas, plywood, threads, eggshells, stoves, canting, frying pans, rubber rollers, prying knives, paperboard, paint, water, wood powder, glitter, papertape, triangular plastic, varnish, wood glue, green bean seeds, cloth, remasol, pandan leaves, coconut fibers, bokolbosing, rubber bands, ink tanks, offset paint, drawing paper, and Eva sponge sheet . (2) The types and forms of 2-dimensional works of fine art in MAN 2 Situbondowere murals, calligraphy, batik, graphics, mosaics and posters. (3) The aesthetic value that could be seen in the 2-dimensional art works were the forms, the themes and the aspects of its beauty. keyword : fine Art, 2 dimensions, MAN 2 Situbondo

Mary Ward

2011 ◽  
Author(s):  
Victoria Mondelli
Keyword(s):  
Catholic Church ◽  
Boarding School ◽  
Virgin Mary ◽  
Day School ◽  
Classical Education ◽  
Blessed Virgin Mary ◽  
Modern France ◽  
Education Of Women ◽  
Jesuit College ◽  
The Catholic Church

Mary Ward (b. 1585–d. 1645), founder of the Institute of the Blessed Virgin Mary [IBVM], one of the first institutions created for the advanced education of women, was born to a family of recusant Catholics of gentry standing in Yorkshire, England, in 1585, during the reign of Queen Elizabeth I. Endowed with an excellent education, Ward determined to advance the Catholic cause by developing schools on the Jesuit model that would make a classical education available to women—an ambition that could not be successfully pursued in Protestant England. In 1609, Ward gathered a group of young Catholic Englishwomen who accompanied her to Saint-Omer (modern France) where, in the vicinity of the Jesuit college already existing there, she founded the first house of her institute, complete with a boarding school for English girls and a day-school for local girls. This first foundation she expanded into a European network of schools headed by lay female teachers—the Institute of the Blessed Virgin Mary. The first foundations of the Institute were at Saint-Omer (modern France), Liège (Belgium), Cologne and Trier (Rhineland/Germany), Rome, Naples, and Perugia (Italy), Munich (Bavaria/Germany), Vienna (Austria), and Pressburg (Bratislava /Slovakia); eventually some three hundred were constituted, with some schools enrolling as many as five hundred students. Initially, Ward’s institute was encouraged by highly placed officials within the Catholic Church. From the 1620s, however, the institute aroused the suspicions and perhaps the jealousy of other prelates, whose hostility led to its formal suppression, in 1631, by Pope Urban VIII. The institute was denounced for its proposed Jesuit-like hierarchy, its mission to proselytize among heretics and the infidel, and its desire to be both a female religious order and remain unenclosed after the Council of Trent had demanded the full enclosure of women in religious orders. That decision was soon rescinded, and the institute and its offshoots were reaffirmed and its global extension encouraged. But the association of Ward herself with the IBVM was disallowed: in 1749, Pope Benedict XIV issued the decree Quamvis iusto, which prohibited the institute from acknowledging Mary Ward as its founder; in 1909, that ban was lifted. A century later, in 2009, Mary Ward was recognized as venerable by the Catholic Church on account of her “heroic virtue.” The cause for her canonization began in 1929 and remains active. This entry considers works about Ward’s life and mission and places her in the context of contemporary women’s reform movements, English recusancy, and the development of schooling for girls.

scholarly journals The Role of the Altar and Tabernacle in the Catholic Church Interior in the Light of Post-conciliar Recommendations and Architectural Arrangement of the Church Interior

2021 ◽  
Vol 48 (4) ◽  
pp. 250-277
Author(s):  
Mirosław Bogdan
Keyword(s):  
Catholic Church ◽  
Vatican Ii ◽  
Canon Law ◽  
Code Of Canon Law ◽  
Community Of Faith ◽  
Liturgical Renewal ◽  
The Aesthetic ◽  
The Church ◽  
The Catholic Church

The article defines the role of the altar and tabernacle in the contemporary architectural sacred interior treated as domus ecclesiae, designed to fulfill liturgical functions in accordance with the post-conciliar renewal of Vatican II. The article takes into account the problem of celebrating Holy Mass. by the celebrant with his back to the tabernacle located centrally behind the post-conciliar altar. With reference to the irreversibility of the liturgical renewal, apart from the ordinary form of the Roman rite, the existence of the extraordinary (Tridentine) form of this rite, also accepted by Vatican II, is taken into account.  By presenting the presence of the post-conciliar altar brought closer to the zone of the faithful, the meaning of the Code of Canon Law is defined. The article, defining the irreversibility of the liturgical renewal, presents the location of the tabernacle separated from the altar, built architecturally in the nave or chapel of the church. At the same time, the aesthetic beauty of the liturgical interior furnishings is determined, when all this exists in accordance with the post-conciliar ordinances and serves to build a community of faith.

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