Mengapa Seniman Memahatkan Figur Raksasa Menari Pada Batur Biaro Bahal I ? (Sebuah Tinjauan Semiotika Piercian)
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Jan 7, 2018
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Relief Raksasa di Biaro Bahal I, Tanda, Semiotika Piercian
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Abstract
Abstract
In the Piercian Semiotics, a reliefs can be seen as a system of signification that consist of, an object (called sign in Saussurean Semiotics), representamen (reference of an object), and interpretan (a new object (sign) as a result of the relation between an object and its representamen based on iconical, indexical or symbolical ground). By means of that, in order to understood why Sumateran arthist were sculpted the rakshashas figure in a dancing gesture on the base-feet of Biaro Bahal I, is by connected that reliefs with the iconical, indexical or symbolical ground that exist in their people. For example, a relation with the Vajrayana Buddhism doctrine.
In the Piercian Semiotics, a reliefs can be seen as a system of signification that consist of, an object (called sign in Saussurean Semiotics), representamen (reference of an object), and interpretan (a new object (sign) as a result of the relation between an object and its representamen based on iconical, indexical or symbolical ground). By means of that, in order to understood why Sumateran arthist were sculpted the rakshashas figure in a dancing gesture on the base-feet of Biaro Bahal I, is by connected that reliefs with the iconical, indexical or symbolical ground that exist in their people. For example, a relation with the Vajrayana Buddhism doctrine.
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How to Cite
Restiyadi, Andri. 2018. “Mengapa Seniman Memahatkan Figur Raksasa Menari Pada Batur Biaro Bahal I ? (Sebuah Tinjauan Semiotika Piercian)”. Berkala Arkeologi Sangkhakala 11 (21). Medan, Indonesia, 1-11. https://doi.org/10.24832/bas.v11i21.225.
References
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http://www.lionsroar.name/tantric_glossary.htm
http://www.khandro.net/mysterious_spirits.htm
http://www.rangjung.com/rootfiles/ryp-glossary.htm#Y
Jain, P. C. & Daljeet, 2006. Dance The Living Spirit of Indian Arts, dalam Exotic India. http://www.exoticindiaart.com/acrobat/dance.pdf.
Kempers, A. J. Bernet, 1959. Ancient Indonesian Art. P. J. Van der Peet: Amsterdam.
Koestoro, Lucas Partanda. dkk., 2001. Biaro Bahal Selayang Pandang. Medan: Maparasu.
Restiyadi, Andri, 2006. Analisis Sintaktik, Semantik, dan Kreativitas Seniman Jawa Dalam Pembingkaian Tanda Visual—Naratif Pada Relief Cerita Krsna di Candi Prambanan (Sebuah Pendekatan Semiotika Desain), dalam Skripsi untuk gelar Sarjana dalam Ilmu Arkeologi, Fakultas Ilmu Budaya, Universitas Gadjah Mada, Yogyakarta.
Sairam, T. V., 1982. Indian Temple Forms And Foundations, New Delhi: Agam Kala Prakasham.
Sonesson, Göran. Lecture I: The Quadrature of The Hermeneutic Cicle, Historical And Systematic Introduction to Pitorial Semiotics. http://www.chass.utoronto.ca/epc/srb/cyber/Sonesson1.pdf. tt (a).
______________. Lecture 2: The Psychology And Archaeology of Semiosis. http://www.chass.utoronto.ca/epc/srb/cyber/Sonesson2.pdf. tt (b).
Suleiman, Setyawati, 1985. Peninggalan-Peninggalan Purbakala di Padang Lawas, dalam Amerta 2, Jakarta: Pusat Penelitian Arkeologi Nasional, hal. 23--37.
Susanto, R. M., 1998. Penelitian Arsitektur dan Pendokumentasian Candi Muara Takus Kecamatan XIII Koto Kampar, Kabupaten Kampar, Provinsi Riau, dan Pendokumentasian Tinggalan Arkeologi Padang Lawas, Kecamatan Padang Bolak, Kabupaten Tapanuli Selatan, Provinsi Sumatera Utara, dalam Berita Penelitian Arkeologi No. 2. Balai Arkeologi Medan: Medan.