Ambassador Message Ja’far Bin Abi Thalib In The Wayang Kekayon Khalifah

Lutfianto; Abdul Munip

Authors

Lutfianto S3 Islamic Studies Concentration in Islamic Education, UIN Sunan Kalijaga Yogyakarta, Javanese language teacher at SMAN 1 Pajangan, Bantul, Yogyakarta
Abdul Munip Arabic Language Education UIN Sunan Kalijaga Yogyakarta

Keywords:

leather craft, wayang art, paraga Ja'far bin Abi Talib, message from the Islamic ambassador

Abstract

This paper aims to discuss the model for the creation of Wayang Kekayon Khalifah characters. This figure is a means of conveying the message of the ambassador of the Prophet Muhammad's friend who asked for asylum in the land of Habasyah, namely Ja'far bin Abi Talib. Wayang Kekayon Khalifah is a new wayang model. This creation uses the Artistic Research method and a Practice Based Research thinking scheme, focusing on contemporary works of art. The purpose of this creation is to develop practice-based science. Next how to realize the cowhide. So the message of the Islamic ambassador through the existing decorations and ornaments uses an aesthetic approach and leather craft. The design of this leather craft work will produce artifacts in the form of wayang gunungan paraga Ja'far bin Abi Talib, which is part of the wayang Kekayon Khalifah with ornaments and decorations and calligraphy of the names of the characters.

References

Bandem, I Made dan Murgianto. 1999. Teater daerah di Indonesia . Yogyakarta: Kanisius.

Abdullah, A. P. R. 2010. “Practice Based Research in Art and Design, Why Not?”

Jurnal Perintis Pendidikan Fakulti Seni Lukis & Reka UiTM, 18.1, 41.

Ahlcrona, Mirella Forsberg, dan Ann Östman. “Mathematics and Puppet Play as a Method in the Preschool Teacher Education”, dalam jurnal Creative Education, vol 9, no. 10, 2018.

Aldrich, V. C. (1963). Philosophy of Art. PRENTICE-HALL, INC.

Amanto, Hadi, dan D. D. (1999). ILMU BAHAN. PT Bumi Aksara.

Djelantik, D. A. A. 2004. ESTETIKA Sebuah Pengantar. Masyarakat

Seni Pertunjukkan Indonesia.

Feldman, E. B. (n.d.). Art as Image and Idea.

Hannula, Mika, Juha Suoranta, and T. V. (2005). Artistic Research- Theories,

Methods and Practices. Academy of Fine Art, Helsinki, Finland and Universiy of Gothenburg / Art Monitor, Gothenburg, Sweden.

Iuga, Floarea, dan Emanuel Sebastian Turda. “The Impact of Puppet Theatre Among Preschoolers Socio-Emotional Abilities Development”, dalam jurnal Educatia 21, no. 22, 2022.

Khalid, Khalid Muhammad.2015. 60 Sirah Sahabat Rasulullah SAW. Jakarta Timur.

Al-I’tishom Cahaya Umat.

Krisnawati, C. (2005). TERAPI WARNA DALAM KESEHATAN – Energy Colour

Therapy. Curiosita.

Osnes, Mary Beth. 2010. The Shadow Puppet Theatre of Malaysia. Jefferson, North

California: McFarland & Company, Inc.

Poepaningrat, RM Pranoejoe. 2005. Nonton Wayang dari Berbagai Pakeliran. Yogyakarta. PT. BP. Kedaulatan Rakyat.

Sahman, H. (1993). Mengenali Dunia Seni Rupa. IKIP Semarang Press.

Scott-Kemball, Jeune.1959. Kelantan Wayang Siam Shadow Puppets ‘Rama’ and

‘Hanuman’."

Sena Wangi.1999. Ensiklopedi Wayang Indonesia. Jakarta: Sena Wangi Sekretariat

Nasional Pewayangan Indonesia.

Sumarsam. 2018. Memaknai Wayang dan Gamelan: Temu Silang Jawa, Islam, dan

Global. Yogyakarta: Gading.

Sunyoto, Agus. 2016. Atlas Wali Songo. Jakarta: Pustaka Ilman.

Supriaswoto. (n.d.). Hand Out ilmu Bahan Logam. Jurusan Kriya

Fakultas Seni Rupa Institut Seni Indonesia Yogyakarta.

S. G. Gunanto (Ed.), Limbah Padat Alumunium: Nilai Tambahnya Digali Melalui

Seni Kriya (p. 101). Badan Penerbit ISI Yogyakarta.

van der Hoeven, Mara L., Guy A.M. Widdershoven, Esther M. van Duin, Irma M. Hein, dan Ramón J.L. Lindauer. “‘Time for Tony the Turtle’: Experiences with the Use of a Hand Puppet in a Program for Young Children in Domestic Violence Shelters”, dalam jurnal The Arts in Psychotherapy, vol 75, 2021.

Web

https://www.atlantis-press.com/proceedings/access-20/125956981