Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas

The interaction of Nusantara with various nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the fac...

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Autores principales:	Hasprita Restiamangastuti Boru Mangunsong, Djuli Djatiprambudi
Formato:	article
Lenguaje:	ID
Publicado:	Pusat Penerbitan ISI Surakarta 2021
Materias:	wayang potehi, face proportion, puppet, golden ratio, indonesian culture Fine Arts N
Acceso en línea:	https://doaj.org/article/9be24440c52545c0a9b9fbfb19f00926
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spelling	oai:doaj.org-article:9be24440c52545c0a9b9fbfb19f009262021-11-06T03:49:43ZKajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas1410-97002655-915310.33153/glr.v19i1.3410https://doaj.org/article/9be24440c52545c0a9b9fbfb19f009262021-07-01T00:00:00Zhttps://jurnal.isi-ska.ac.id/index.php/gelar/article/view/3410https://doaj.org/toc/1410-9700https://doaj.org/toc/2655-9153The interaction of Nusantara with various nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.Hasprita Restiamangastuti Boru MangunsongDjuli DjatiprambudiPusat Penerbitan ISI Surakartaarticlewayang potehi, face proportion, puppet, golden ratio, indonesian cultureFine ArtsNIDGelar: Jurnal Seni Budaya, Vol 19, Iss 1, Pp 75-85 (2021)
institution	DOAJ
collection	DOAJ
language	ID
topic	wayang potehi, face proportion, puppet, golden ratio, indonesian culture Fine Arts N
spellingShingle	wayang potehi, face proportion, puppet, golden ratio, indonesian culture Fine Arts N Hasprita Restiamangastuti Boru Mangunsong Djuli Djatiprambudi Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas
description	The interaction of Nusantara with various nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.
format	article
author	Hasprita Restiamangastuti Boru Mangunsong Djuli Djatiprambudi
author_facet	Hasprita Restiamangastuti Boru Mangunsong Djuli Djatiprambudi
author_sort	Hasprita Restiamangastuti Boru Mangunsong
title	Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas
title_short	Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas
title_full	Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas
title_fullStr	Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas
title_full_unstemmed	Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas
title_sort	kajian proporsi wajah wayang potehi perempuan di gudo, jombang dengan proporsi rasio emas
publisher	Pusat Penerbitan ISI Surakarta
publishDate	2021
url	https://doaj.org/article/9be24440c52545c0a9b9fbfb19f00926
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Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas

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