哈姆扎绘画的神殿

Mukhtia Resfa, S. Suryanti, Rica Rian
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引用次数: 0

摘要

本研究从美学的角度探讨哈姆扎在其绘画中所呈现的rumah gadang的表现。本研究将解释哈姆扎的表征形式是如何呈现的。本研究采用的定性方法包括观察法、访谈法和文献研究法。在本研究中,我们将以2010-2020年这段时间为研究对象,对哈姆扎的8幅画作进行研究。哈姆扎的画作展示了米南卡保社区的社会生活是如何随着时代的变化而变化的。米南卡堡文化带来的生理变化是以rumah gadang的形式发生的。rumah gadang的视觉表现为被损坏、风化甚至倒塌的rumah gadang。Hamzah并没有强调rumah gadang的一种形式,而是象征着象征性的rumah gadang。Hamzah绘画中rumah gadang的表现可以分析为,本研究中的rumah gadang有三种视觉类型,分别是Gajah Maharam类型、Lipek Pandan类型和Balah Bubuang类型。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Representasi Rumah Gadang Pada Karya Lukis Hamzah
This study discusses the representation of the rumah gadang presented by Hamzah in his paintings, viewed from an aesthetic point of view. This research will explain how the form of representation presented by Hamzah. In this study, qualitative methods used include observation, interviews, and literature study. In this study, we will review Hamzah's paintings based on the period from 2010-2020, so eight Hamzah paintings will be studied. Hamzah's paintings illustrate how the social life of the Minangkabau community has changed due to the changing times. Physical changes from the results of Minangkabau culture are changes that occur in the form of the rumah gadang. The visual of the rumah gadang is expressed in the forms of the rumah gadang that has been damaged, weathered, and even collapsed. Hamzah does not emphasize the forms of rumah gadang in one type only but symbolizes the symbolic rumah gadang. The representation of rumah gadang in Hamzah's painting can be analyzed that there are 3 visual types of rumah gadang in this study, namely the type of rumah gadang Gajah Maharam, Lipek Pandan and Balah Bubuang.
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