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Andi Irawan
Institut Seni Indonesia (ISI) Yogyakarta
Education

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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 Ony Setyawan