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Gorga : Jurnal Seni Rupa Pub Date : 2022-12-25 DOI:10.24114/gr.v11i2.39802

Dwi Yunizal

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Symbolism plays an important role in attracting people's attention and working to elevate otaku culture's status as a representation of Japan. Murakami's mythical sensibility presents traditional Japanese, Chinese, and Buddhist myths giving mythopoeic achievements. This study uses library research with a semi-systematic approach that originates from journals, dissertations, theses, and internet media, based on the results of data and information processing, the works of artist Murakami are influenced by Japanese cultural structures such as Soga Shohaku, kawaii, and otaku. Murakami's awareness in understanding art discourse by incorporating a kawaii style, so that it is easily accepted in the global art market. Understanding how Murakami's formula manages traditional culture to become today's art, can be analyzed in a work entitled “Dragon in Clouds – Indigo Blue”. 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Philobiblon, 26(1), 83–100. https://doi.org/10.26424/philobib.2021.26.1.05.Borggreen, G. (2011). Cute and Cool in Contemporary Japanese Visual Arts. The Copenhagen Journal of Asian Studies, 29(01), 39–60. https://doi.org/10.22439/cjas.v29i1.4020.Hashimoto, M. (2007). Visual Kei Otaku Identity - An Intercultural Analysis. Intercultural Communication Studies, XVI(1), 87–99. https://www.researchgate.net/publication/239576790_Visual_Kei_Otaku_Identity-An_Intercultural_Analysis.Hu, X. (2021). Is Takashi Murakami’s Art an Exploration of Symbolism ?. Proceedings of the 2021 6th International Conference on Modern Management and Education Technology, 582, 560–564. https://doi.org/10.2991/assehr.k.211011.101.Khairi, I. A ., & Hafiz, H. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M.Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(01), 138-146. https://doi.org/10.24114/gr.v11i1.34129. Mamat, R., Rashid, R. A., Paee, R., & Ahmad, N. (2022). VTubers and anime culture: A case study of Japanese learners in two public universities in Malaysia. International Journal of Health Sciences, 6(S2), 11958–11974. https://doi.org/10.53730/ijhs.v6nS2.8231.Pellitteri, M. (2018). Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods. Arts, 7(3), 24. https://doi.org/10.3390/arts7030024.Raman, K., Othman, A. N., Idris, M. Z., & Muniady, V. (2021). Kawaii-Style Pedagogical Agents Designs in Virtual Learning Environment: A Research Conceptual Framework. International Journal of Academic Research in Progressive Education and Development, 10(01), 154-170. https://doi.org/10.6007/IJARPED/v10-i1/8489.Raubenheimer, L. (2006). Blandness and the digital sublime in Takashi Murakami’s designs for Louis Vuitton. South African Journal of Art History, 21(2), 74–88. http://hdl.handle.net/2263/10629.Rupadha, I. K. (2016). Memahami Metode Analisis Pasangan Bibliografi (Bibliographic Coupling) dan Ko-Sitasi (Co-Citation) Serta Manfaatnya untuk Penelitian Kepustakaan. Lentera Pustaka, 2(1), 58–69. https://doi.org/10.14710/lenpust.v2i1.12358. Sanjaya, B. & Citra, P. A. C. (2022). Fenomena Aku Setelah Pandemi Covid-19 sebagai Ide Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 11(01), 107-113. https://doi.org/10.24114/gr.v11i1.33867.Sari, M. (2020). Penelitian Kepustakaan (Library Research) dalam Penelitian Pendidikan IPA. NATURAL SCIENCE: Jurnal Penelitian Bidang IPA dan Pendidikan IPA. 6(1). 41-53. https://ejournal.uinib.ac.id/jurnal/index.php/naturalscience/article/view/1555.Sharp, K. (2007). Superflatlands : The global cultures of Takashi Murakami and superflat art. ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies, 26(1), 32–42. https://search.informit.org/doi/10.3316/informit.665904534038717. Uzelac. G. (2022). Harnessing The Myths of Now :Restoring Social Harmony Through Mythic Art. The University of Sydney, 1-69. https://hdl.handle.net/2123/27724.Yazovskaya, O., (2018). Artistic Language of Mass Culture As Illustrated By Takashi Murakami (On Materials From “Under The Radiation Falls” Exhibit, 2017-2018, Moscow). IJASOS-International E-Journal of Advances in Social Sciences, IV(11), 516-520. https://doi.org/10.18769/ijasos.455682. 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摘要

来自日本的当代艺术家村上隆运用超平面理论从事绘画、雕塑和商业媒体的创作，包括时尚、商品和动画。在传统文化与当代文化相结合的创作过程中，本研究旨在了解村上春树以批判和天才的视觉话语管理传统文化动态的背景。由于全球市场上传统文化和资本主义文化的动态交汇，超平面理论最终能够引领村上成为一位知名的艺术家。卡哇伊元素的使用意味着可爱和甜蜜，无论是作为一种风格还是一种生活方式，都可以在村上的艺术中找到。象征主义在吸引人们的注意力和提升御宅文化作为日本代表的地位方面发挥了重要作用。村上春树的神话感性呈现了日本、中国和佛教的传统神话，赋予了神话学成就。本研究以图书馆为研究对象，以期刊、论文、论文、网络媒体为资料来源，采用半系统的方法，根据资料与资讯处理的结果，发现村上艺术家的作品受到日本文化结构的影响，如“创贺正haku”、“卡瓦伊”、“宅男”等。村上春树在理解艺术话语中融入卡哇伊风格的意识，使其容易被全球艺术市场所接受。要理解村上春树的公式是如何将传统文化变成今天的艺术，可以通过一件名为《云中龙-靛蓝》的作品来分析。村上春树作品的结论是他个人经历影响下的象征主义。关键词:松鹤，卡哇伊，宅男，超平。摘要:村上春树的作品《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》，《日本梦》。protitif memadukan budaya传统的登干budaya kontemporer。Penelitian ini bertujuan memahami latar belakang Murakami mengelola dinamika budaya传统dengan wacana视觉杨kritis dan jenius。村上春树，村上春树，村上春树，村上春树，村上春树，村上春树，村上春树，村上春树，村上春树，村上春树，村上春树，村上春树彭家南:我是村上春树，我是村上春树。象征主义的象征主义是日本的象征主义，象征主义是日本的象征主义，象征主义是日本的象征主义。村上春树的神韵是日本传统神韵，中国的丹佛神韵。Penelitian ini menggunakan Penelitian kepustakaan dengan pendekatan半系统[j] .中文学报，论文，论文，媒体互联网。Berdasarkan hasil pengolahan数据和信息，karya seniman村上春树dipengaruhi oleh结构，budaya日本seperti shohaku, kawaii, danotaku。村上春树:我的梦想，我的梦想，我的梦想，我的梦想，我的梦想，我的梦想。Memahami bagaimana公式Murakami mengelola budaya传统的menjadi seni masa kini, dapat dianalisis dalam karya berjudul“云中的龙-靛蓝”。村上春树adalah象征着杨迪鹏加鲁希鹏加拉曼pribadinya。Kata Kunci: soga shohaku, kawaii, otaku, superflat。作者:Dwi Yunizal: Institut Seni Indonesia日惹参考文献:Birlea, O. M.(2021)。“可爱的研究”。卡哇伊(可爱)——一个新的研究领域。哲学，26(1)，83-100。https://doi.org/10.26424/philobib.2021.26.1.05.Borggreen, G.(2011)。日本当代视觉艺术中的可爱与酷。《哥本哈根亚洲研究》，29(01)，39-60。(2007). https://doi.org/10.22439/cjas.v29i1.4020.Hashimoto。视觉宅男身份——跨文化分析。跨文化交际研究，16(1)，87-99。https://www.researchgate.net/publication/239576790_Visual_Kei_Otaku_Identity-An_Intercultural_Analysis.Hu, X.(2021)。村上隆的艺术是对象征主义的探索 ?第六届现代管理与教育技术国际会议论文集，2021年，582,560-564。https://doi.org/10.2991/assehr.k.211011.101.Khairi, i.a， & Hafiz, H.(2022)。Kajian Estetika Lukisan Realis Kontemporer博士。Irwan M.Sn。yang Berjudul di Ujung Tanduk。科学学报，11(01)，138-146。https://doi.org/10.24114/gr.v11i1.34129。Mamat, R.， Rashid, R.， Paee, R.， & Ahmad, N.(2022)。VTubers与动漫文化:马来西亚两所公立大学日语学习者的个案研究。国际卫生科学杂志，6(增刊2)，11958-11974。https://doi.org/10.53730/ijhs.v6nS2.8231.Pellitteri, M.(2018)。从日本到欧洲的卡哇伊美学:日本“可爱”理论及其风格在意大利和法国漫画制作和文化商品中的跨文化采用。艺术，7(3)，24。https://doi.org/10.3390/arts7030024.Raman, K.， Othman, A. N.， Idris, M. Z。

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KAJIAN BUDAYA JEPANG PADA PROSES DAN TEKNIK SENI LUKIS TAKASHI MURAKAMI

Contemporary artist Takashi Murakami from Japan works in painting, sculpture, and commercial media including fashion, merchandise and animation with the superflat theory. The creative process combines traditional culture with contemporary culture, this study aims to understand Murakami's background in managing the dynamics of traditional culture with critical and genius visual discourse. The superflat theory was finally able to lead Murakami to become a well-known artist, due to the meeting of the dynamics of traditional and capitalist culture in the global market. The use of kawaii elements which mean cute and sweet, both as a style and a way of life can be found in Murakami's art. Symbolism plays an important role in attracting people's attention and working to elevate otaku culture's status as a representation of Japan. Murakami's mythical sensibility presents traditional Japanese, Chinese, and Buddhist myths giving mythopoeic achievements. This study uses library research with a semi-systematic approach that originates from journals, dissertations, theses, and internet media, based on the results of data and information processing, the works of artist Murakami are influenced by Japanese cultural structures such as Soga Shohaku, kawaii, and otaku. Murakami's awareness in understanding art discourse by incorporating a kawaii style, so that it is easily accepted in the global art market. Understanding how Murakami's formula manages traditional culture to become today's art, can be analyzed in a work entitled “Dragon in Clouds – Indigo Blue”. The conclusion of Murakami's work is the symbolism influenced by his personal experience.Keywords: soga shohaku, kawaii, otaku, superflat. AbstrakSeniman kontemporer Takashi Murakami dari Jepang mengerjakan karya lukisan, patung, dan media komersial termasuk fashion, barang dagang, dan animasi dengan teori superflat. Proses kreatif memadukan budaya tradisional dengan budaya kontemporer. Penelitian ini bertujuan memahami latar belakang Murakami mengelola dinamika budaya tradisional dengan wacana visual yang kritis dan jenius. Teori superflat akhirnya mampu mengantarkan Murakami menjadi seniman ternama, karena pertemuan dinamika budaya tradisional dan kapitalis di pasar global. Penggunaan unsur kawaii yang berarti imut dan manis, baik sebagai gaya maupun gaya hidup dapat ditemukan dalam karya seni Murakami. Simbolisme memainkan peran penting untuk menarik perhatian orang, dan berupaya mengangkat status budaya otaku sebagai representasi Jepang. Kepekaan mitis Murakami menghadirkan mitos tradisional Jepang, Cina, dan Buddha memberikan pencapaian mythopoeic. Penelitian ini menggunakan penelitian kepustakaan dengan pendekatan semi-sistematik yang bersumber dari jurnal, disertasi, tesis, dan media internet. Berdasarkan hasil pengolahan data dan informasi, karya seniman Murakami dipengaruhi oleh struktur budaya Jepang seperti soga shohaku, kawaii, dan otaku. Kesadaran Murakami dalam memahami wacana seni dengan memasukkan gaya kawaii, sehingga mudah diterima di pasar seni global. Memahami bagaimana formula Murakami mengelola budaya tradisional menjadi seni masa kini, dapat dianalisis dalam karya berjudul “Dragon in Clouds – Indigo Blue”. Kesimpulan dari karya Murakami adalah simbolisme yang dipengaruhi pengalaman pribadinya.Kata Kunci: soga shohaku, kawaii, otaku, superflat. Author:Dwi Yunizal : Institut Seni Indonesia Yogyakarta References:Birlea, O. M. (2021). “Cute Studies”. Kawaii (“Cuteness”) – A New Research Field. Philobiblon, 26(1), 83–100. https://doi.org/10.26424/philobib.2021.26.1.05.Borggreen, G. (2011). Cute and Cool in Contemporary Japanese Visual Arts. The Copenhagen Journal of Asian Studies, 29(01), 39–60. https://doi.org/10.22439/cjas.v29i1.4020.Hashimoto, M. (2007). Visual Kei Otaku Identity - An Intercultural Analysis. Intercultural Communication Studies, XVI(1), 87–99. https://www.researchgate.net/publication/239576790_Visual_Kei_Otaku_Identity-An_Intercultural_Analysis.Hu, X. (2021). Is Takashi Murakami’s Art an Exploration of Symbolism ?. Proceedings of the 2021 6th International Conference on Modern Management and Education Technology, 582, 560–564. https://doi.org/10.2991/assehr.k.211011.101.Khairi, I. A ., & Hafiz, H. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M.Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(01), 138-146. https://doi.org/10.24114/gr.v11i1.34129. Mamat, R., Rashid, R. A., Paee, R., & Ahmad, N. (2022). VTubers and anime culture: A case study of Japanese learners in two public universities in Malaysia. International Journal of Health Sciences, 6(S2), 11958–11974. https://doi.org/10.53730/ijhs.v6nS2.8231.Pellitteri, M. (2018). Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods. Arts, 7(3), 24. https://doi.org/10.3390/arts7030024.Raman, K., Othman, A. N., Idris, M. Z., & Muniady, V. (2021). Kawaii-Style Pedagogical Agents Designs in Virtual Learning Environment: A Research Conceptual Framework. International Journal of Academic Research in Progressive Education and Development, 10(01), 154-170. https://doi.org/10.6007/IJARPED/v10-i1/8489.Raubenheimer, L. (2006). Blandness and the digital sublime in Takashi Murakami’s designs for Louis Vuitton. South African Journal of Art History, 21(2), 74–88. http://hdl.handle.net/2263/10629.Rupadha, I. K. (2016). Memahami Metode Analisis Pasangan Bibliografi (Bibliographic Coupling) dan Ko-Sitasi (Co-Citation) Serta Manfaatnya untuk Penelitian Kepustakaan. Lentera Pustaka, 2(1), 58–69. https://doi.org/10.14710/lenpust.v2i1.12358. Sanjaya, B. & Citra, P. A. C. (2022). Fenomena Aku Setelah Pandemi Covid-19 sebagai Ide Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 11(01), 107-113. https://doi.org/10.24114/gr.v11i1.33867.Sari, M. (2020). Penelitian Kepustakaan (Library Research) dalam Penelitian Pendidikan IPA. NATURAL SCIENCE: Jurnal Penelitian Bidang IPA dan Pendidikan IPA. 6(1). 41-53. https://ejournal.uinib.ac.id/jurnal/index.php/naturalscience/article/view/1555.Sharp, K. (2007). Superflatlands : The global cultures of Takashi Murakami and superflat art. ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies, 26(1), 32–42. https://search.informit.org/doi/10.3316/informit.665904534038717. Uzelac. G. (2022). Harnessing The Myths of Now :Restoring Social Harmony Through Mythic Art. The University of Sydney, 1-69. https://hdl.handle.net/2123/27724.Yazovskaya, O., (2018). Artistic Language of Mass Culture As Illustrated By Takashi Murakami (On Materials From “Under The Radiation Falls” Exhibit, 2017-2018, Moscow). IJASOS-International E-Journal of Advances in Social Sciences, IV(11), 516-520. https://doi.org/10.18769/ijasos.455682.

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