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All Journal Panggung Hastagina: Jurnal Kriya dan Indsutri Kreatif Canting : Jurnal Batik Indonesia
Ony Setyawan
Universitas Gadjah Mada
Arts Humanities Chemistry Education Environmental Science

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Pelatihan canting cap kertas sebagai ruang pembelajaran ornamentasi batik: Studi kreativitas peserta di BBSPJIKB Ony Setyawan; Andi Irawan
Canting : Jurnal Batik Indonesia Vol 3 No 1 (2026): Canting: Jurnal Batik Indonesia
Publisher : Fakultas Teknik Universitas Pekalongan bekerjasama dengan Asosiasi Perajin dan Pengusaha Batik (APPBI)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31941/cjbi.v3i1.796

Abstract

Daya kreativitas pembatik dalam meramu motif cukup menarik untuk diamati. Pengalaman, budaya, dan kemahiran dalam membuat canting cap kertas menjadi fokus kajian utamanya. Penelitian ini bertujuan untuk menyajikan analisis kreativitas peserta bimbingan teknis pembuatan canting cap berbahan dasar kertas di BBSPJIKB Yogyakarta. Penelitian ini menggunakan metode kualitatif dengan teknik pengumpulan data yang diperoleh dari observasi, wawancara sambil lalu, dan studi pustaka. Penulis disini berposisi sebagai partisipasi observasi. Analisis data dilakukan dengan memilah data, menginterpretasikan data, dan menentukan relasi antar data. Motif umum jenis flora dan fauna menjadi kreasi motif yang pupoler digunakan. Motif flora berupa bunga dan lung-lungan, sedangkan fauna berupa burung menjadi karya sebagian besar yang yang berlatar belakang pembatik. Selain itu sebagian kecil peserta yang berlatar belakang akademisi seni cenderung menggunakan motif kedaerahan yang lebih eksploratif serta menginisiasi sifat ikonik daerah asalnya. Pengaruh latar belakang pembatik seperti gender, usia, pendidikan, dan pengalaman dalam teknik cap batik menjadi indikasi kecakapan dalam menuangkan hasil bimbingan teknis.
The Eksplorasi Kosmologi Jawa dalam Inovasi Batik Tulis Berbasis Ikonografi Jawa Timur: Kosmolologi Jawa dalam Batik Tulis Ony Setyawan
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v6i01.6857

Abstract

This creative work endeavors to present an exploration of Javanese cosmology through the design of hand-drawn batik (batik tulis). Spiritual and ecological values serve as the core elements reflected in the artistic form. The motifs, which mirror Javanese cosmology, are derived from cultural icons found in East Java—a region renowned for its wealth of cultural artifacts, including temples (candi), sacred water springs (petirtaan), and a well-preserved cultural ecology. The creation process follows six systematic stages: reference study, form study, sketching, composition study, production, and dissemination. The interpretation of the work focuses on individual motif elements, color palettes, and structural patterns. The results of the creation and analysis delineate that the Meru, Candi Jawi, and the Tree of Life (Pohon Hayat) serve as the primary motifs representing Javanese cosmological values. These are complemented by supporting motifs such as the lotus flower, the Belahan water spring, and coffee, with connecting motifs appropriated from temple panel ornaments. While these forms have historically existed in traditional batik, this work specifically functions as a medium to sustain a continuous cultural narrative. It offers an interpretation rooted in Javanese philosophy—a depth that is increasingly rare in the batik creations of contemporary artisans.
THE FUNDAMENTAL AESTHETIC TRILEMMA OF FOLK BATIK IN EAST JAVA Ony Setyawan; Andi Irawan
PANGGUNG Vol 36 No 3 (2026): Reimagining Arts and Culture: Tradition, Innovation, and Social Transformation
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v36i3.4620

Abstract

The home-based batik industry has become one of the driving forces behind the development of batik (batik tulis) within communities in East Java. This paper seeks to critique the declining aesthetic quality of batik that has increasingly emerged in society. Data were collected through a and observation. The data were then analyzed by classifying, interpreting, and identifying correlations among categories. An artwork that can be regarded as batik should contain three essential aesthetic elements: visual aesthetics, spiritual aesthetics, and symbolic-ornamental aesthetics. Visual aesthetics relate to the outward or visible structure of the work. Spiritual aesthetics concern the meaning and philosophy embedded by its creator. Symbolic-ornamental aesthetics refer to the relationship between the visual form and its deeper, metaphorical meaning, which enriches interpretive rhetoric. It is this symbolic-ornamental dimension that distinguishes batik from a mere drawing or image despite both possibly being created using batik techniques. Processes of desacralization and desymbolization have increasingly uprooted handwritten batik from its noble cultural essence, transforming it into ordinary pictorial work reduced to motifs that are forced to convey meaning.
Co-Authors Andi Irawan Andi Irawan