The Identity of Priangan Local Wisdom in Modern Batik Motif Innovation
Abstract
Indonesia is a country rich in culture and customs, producing a diverse culture. This cultural diversity is passed down from generation to generation, so that its sustainability is maintained. One heritage that is still developing today is batik which has been designated by UNESCO as authentic culture from Indonesia. There are more than hundreds of batik motifs from various regions with unique styles, motifs, patterns and different techniques. Historically batik originates from the island of Java, especially Central Java. In West Java, it is known as Priangan batik, which is a term used to give identity to batik produced and made in the Priangan area. Several areas in West Java that are batik industrial areas are Bandung, Garut, Purwakarta, Sukabumi, Cianjur and Bogor. With the spirit of preserving batik, these regions try to elevate batik motifs by presenting or creating innovations in their respective new motifs and products as iconic identities of a region, elevating the philosophical meaning of motifs from objects that are developed into batik motifs or the creativity of craftsmen from that area.
Keywords
Full Text:
PDFReferences
Artika, Ratih. D., & Setyaning, Kun. A. (2022). The Use Batik Larangan in House Interior. Journal: The International Jpurnal of Humanities & Social Studies (IJHSS). Vol. 10 Issue. 2.
Awal, I. F. C., Cahyana, A., & Falah, A. M. (2021). Pengaruh Masyarakat dan Lingkungan pada Visual
Motif Batik Penyu Sukabumi Berdasarkan Sudut Pandang Antropologi Seni. ATRAT: Jurnal Seni Rupa, V9/N3/05.
Djelantik, A. A. M. (1999). Estetika Sebuah Pengantar, Bandung: Masyarakat Seni Pertunjukan Indonesia .
Hamidin, A. S. (2010). Batik: Warisan Budaya Asli Indonesia. Yogyakarta: Narasi.
Hasanudin. (2001). Batik Pesisiran. Bandung: PT Kiblat Buku Utama.
Jamal. (2021). Boboko sebagai Simbol Kesempurnaan: Memahami Makna Bentuk Dasar dala Budaya
Sunda. ITB Jurnal Pengetahuan Lokal, Vol. 1 No. 1.
Jamaludin. (2011). Konferensi Internasional Budaya Sunda II: Estetika Sunda dan Implementasinya dalam Desain Kontemporer. disertasi, ITB, 11-22 Desember 2011.
Karmila, M. (2010). Ragam Hias Kain Tradisional Nusantara.Jakarta: Bee Media Indonesia.
Musman, A., Ambar, B.A. (2011). Batik Warisan Adiluhung Nusantara. Yogyakarta: G-media.
Prasetyo, A. (2010). Batik: Karya Agung Warisan Budaya Dunia. Yogyakarta: Pura Pustaka.
Susanto S. K., Sewan. (1980). Seni Kerajinan Batik Indonesia. Yogyakarta: Balai Penelitian Dan Kerajinan, Lembaga Penelitian Dan Pendidikan Industri, Departemen Perindustrian R. I.
Sunarya, Y. Y. (2014). Digitalisasi Kreatif Motif Dalam Gaya Desain Dunia. Bandung: Penerbit ITB
Surajiyo. (2015). “Keindahan Seni dalam Perspektif Filsafat”. Jurnal Desain, Vol 02, No. 03. Jakarta:Universitas Indraprasta PGRI.
Susilo, G. A. (2009). “Arsitektur Jengki: Bergeometri Yang Kreatif”. Spectra, 7(13), 15–23.
Tirta, Iwan. “Quo Vadis Batik Indonesia”. Makalah, disampaikan pada Konferensi Internasional Dunia Batik, Kerja sama antara International Center for Culture and Tourism (ICCT) dan Universitas Gadjah Mada, Yogyakarta, 2-6 November 1997.
Wulandari, A. (2011). Batik Nusantara. Yogyakarta: C.V Andi OFFSET (Penerbit Andi).
DOI: http://dx.doi.org/10.18415/ijmmu.v11i9.6035
Refbacks
- There are currently no refbacks.
Copyright (c) 2024 International Journal of Multicultural and Multireligious Understanding
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
https://ijmmu.com
editor@ijmmu.com
facebook.com/ijmmu
Copyright © 2014-2018 IJMMU. All rights reserved.