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Burung Enggang Badak Sebagai Motif Hias pada Bilah Keris Tinatah Soleh , Moh. Qhoerudin; Darmojo, Kuntadi Wasi
Ornamen Vol. 21 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v21i1.6061

Burung Enggang merupakan burung yang sangat penting dalam kehidupan suku Dayak. Unsur terpenting dalam organisasi suku Dayak adalah hutan yang diperlambangkan dengan Burung Enggang yang lebih lanjut melambangkan sesuatu yang “lebih tinggi”. Jenis enggang yang dihormati yaitu enggang badak dikarenakan satwa itu berhubungan dengan simbol ritual Dayak Iban, yaitu gawai kenyalang. Burung Enggang Badak dalam artikel ini dijadikan sumber ide penciptaan dhapur keris baru yang diterapkan pada bentuk keris lurus dengan menerapkan motif tinatah Burung Enggang pada bilahnya. Dipilihnya Burung Enggang ini sebagai ide dasar penulis, dikarenakan burung ini mempunyai keunikan yaitu paruhnya yang besar serta bercula. Terdapat landasan tiga komponen menurut Dharsono Sony Kartika yaitu tema (subject matter), bentuk (form) dan isi (makna). Proses penciptaan karya ini melakukan 3 tahapan penciptaan yang meliputi tahap eksplorasi, tahap perancangan, dan tahap perwujudan. Pada karya ini terdapat dua karya bilah keris. Karya pertama yaitu keris dhapur Wira Kukila, karya ke dua yaitu keris dhapur Kukila Wana.

Aplikasi Motif Panji-Sekartaji pada Pendok Keris Gaya Surakarta Darmojo, Kuntadi Wasi
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Pendok is one part of kris furniture elements that are always attached to warangka or sarong kris. The main function of pendok is to wrap the gandar in order to protect the kris blade. Pendok keris also has other functions, namely symbolic and social functions. Pendok of Surakarta style kris mostly have a form with a variety of ornamental applications. Along with the dynamics of development, there has been an innovation in the application of Panji-Sekartaji motif which represents the development of wayang beber motif. This is in accordance to the basic concept of ornamental variety, with the function of adding beauty so that the pendok, when it is applied to the warangka, will make the kris interesting and beautiful. This writing uses interactive analysis method where data analysis that is used to analize problems related to the application of Panji-sekartaji motif on the pendok of Surakarta-style kris. Keywords: pendok, kris, ornament, motives and Surakarta.

FENOMENA KERIS TERHADAP KEHIDUPAN SOSIAL MASYARAKAT JAWA Darmojo, Kuntadi Wasi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Keris is a work of art that have aesthetic value and the value of philosophy that can be used as guidance and spectacle, the social life of Java. Kris culture in Indonesia has been known since the 10th century and has continued until now. Kris as objects tradition that has been handed down and there is a change in character bit by bit according the demands of time or the king ( ruler ). When seen his form dagger is an art that has achieved a high level of sophistication and qualifies it has a symbolic meaning, so that the existence of a dagger in the Java community, by most people had believed that the order of the social life of a man is not considered perfect in the achievement of social value if it does not have a keris. The existence of a dagger function in social life has undergone many shifts according to the demands of the times, even in the social and cultural life in contemporary times functions in supporting community has emerged an interesting phenomenon. Kris as non material Cultural Heritage (intangible ) has received recognition from UNESCO as it has among other things: the historical value, aesthetic, social function, philosophy , symbols and mystical .Â Keywords: Culture, Keris, Function and SocietyÂ

TINJAUAN SEMIOTIKA TERHADAPEKSISTENSI KERIS DALAM BUDAYA JAWA Darmojo, Kuntadi Wasi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Keris sebagai produk budaya bangsa Indonesia yang memiliki nilai seni adiluhung danÂ penuh makna simbolik yang perlu dilestarikan di satu sisi, dan dikembangkan di sisi lain. Oleh karena keberadaan keris yang sarat makna simbolik tersebut, baik sebagai tanda, ikon dan lambang, akan sangat menarik untuk dijadikan bahan kajian ilmiah dengan pendekatan semiotika.Eksistensi benda budaya keris selain dilakukan proses kreativitas, ternyata dalam kehidupan masyarakat Jawa sejak dahulu hingga sekarang masih memiliki peran yang penting, walaupun mungkin secara subtansi sedikit sudah terjadi perubahan alih fungsi. Mengenai bentuk keris secara tafsir cultural terhadap makna simboliknya, yang Â sejak dahulu terutama sejak jaman Mataram selalu diajarkan kepada masyarakat oleh para pujangga atau lurahing empu. Hal ini sejalan dengan definisi kebudayaan yang secara semiotic adalah merupakan reaksi dari competence yang dimiliki bersama oleh anggota-anggota suatu masyarakat untuk mengenal lambing-lambang, untuk menginterpretasi dan untuk menghasilkan sesuatu, kebudayaan dalam batasan ini akan mengejawantahkan terutama sebagai performance sebagai bentuk keseluruhan dari kebiasaan-kebiasaan tingkah-laku dan hasil-hasil darinya.Kata kunci : Eksistensi, keris, semiotik, dan budaya

KEBERADAAN KERAJINAN LOGAM DI TUMANG CEPOGO BOYOLALI Darmojo, Kuntadi Wasi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 10 No. 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

ABSTRACT Metal Crafts in Tumang, Cepogo, Boyolali, is one of the nation's cultural assets that has been passed down through generations from generation to generation, which is still occupied by the majority of Tumang people. The tradition of making products in Tumang metal handicrafts has undergone significant changes, where from the beginning of its establishment until before the 1960s, the results of products oriented to household items, then in the early 1970s until now have experienced object-oriented product changes ornamental.Factors that cause cultural change through new products include: internal and external factors, impulses and direction of the process of change (innovation), as well as various phenomena of socio-cultural change. Internal factors are driven by the creativity of metal craft makers, while external factors are triggered by scholars, artists, or other innovation figures.Changes in Tumang metal handicraft products have implications for the community, marked by a professional division of labor and the establishment of new institutions. The existence of metal crafts in Tumang, as an art product in society is still accepted in accordance with the development and changes in civilization of its supporting society.Â Keywords: crafts, metals, Tumang, changes and products

PENERAPAN MOTIF TRENGGILING PADA KERIS DENGAN TEKNIK TINATAH Harmawan, Ari; Darmojo, Kuntadi Wasi
Sanggitarupa Vol. 2 No. 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sanggitarupa.v2i1.3842

Senjata tradisional khususnya keris mengalami perkembangan dari bentuk dan karakternya seiring dengan kemajuan zaman. Dalam tugas akhir ini penulis membuat keris kreasi baru, mengabungkan motif Trenggiling pada keris dengan teknik tinatah didalam karya tersebut. Motif Trenggiling memberikan insipirasi pada penulis, karena memiliki bentuk pada sisik yang menarik dan mewakili simbol perlindungan diri. Trenggiling adalah satu-satunya hewan mamalia yang memiliki sisik untuk melindungi tubuhnya dari pemangsa atau predator di alam liar. Motif Trenggiling disesuaikan dengan desain dan akan diterapkan pada karya tosan aji berupa Keris.Metode penciptaan yang diterapkan dalam proses penciptaan yaitu tahap eksplorasi, tahap perancangan, dan tahap perwujudan. Eksplorasi meliputi obervasi, studi pustaka dan wawancara. Perancangan meliputi analisis dan sketsa alternatif. Perwujudan meliputi penerapan pada material yang sudah sesuai dengan sketsa yang terpilih, yang menghasilkan tiga keris yakni: dhapur Trenggiling Sisik Waja, dhapur Trenggiling Lingkaring Urip, dhapur Manis Javanica. Penciptaan tugas akhir ini berpijak pada penerapan motif Trenggiling pada keris dengan teknik tinatah. Motif Trenggiling memberikan inspirasi pada penulis, karena memiliki karakter yang menarik, unik, dan mewakili simbol perlindungan diri. Diharapkan menghasilkan keris-keris kreasi baru tanpa meninggalkan tradisi yang dapat membangun makna-makna yang terkandung serta turut melestarikan karya seni. Kata kunci: Keris, motif, Trenggiling Abstract Traditional weapons, especially kris, have developed from their shape and character along with the times. In this final project, the writer makes a new keris, combining the pangolin motif on the kris with the chopping technique in the work. The Pangolin motif gives inspiration to the author, because it has a shape on the scales that is attractive and represents a symbol of self-protection. Pangolins are the only mammals that have scales to protect themselves from predators or predators in the wild. The pangolin motif is adapted to the design and will be applied to tosan aji's work in the form of a kris. The creation methods applied in the creation process are the exploration stage, the design stage, and the embodiment stage. Exploration includes observations, literature study and interviews. The design includes analysis and alternative sketches. The embodiment includes the application of the material that is in accordance with the selected sketch, which produces three kris, namely: Dhapur Trenggiling Sisik Waja, Dhapur Trenggiling Lingkaring Urip, Dhapur Manis Javanica. The creation of this final project rests on the application of the Pangolin motif to the kris using the tinatah technique. The Pangolin motif inspires the writer, because it has an interesting, unique character, and represents a symbol of self-protection. It is hoped that they will produce new kris creations without leaving the tradition that can build the meanings and help preserve works of art. Key words: Kris, motive, pangolin

PENERAPAN MOTIF KATAK PADA KERIS DHAPUR BETOK PAMOR UDAN MAS Dewanti, Itok; Darmojo, Kuntadi Wasi
Sanggitarupa Vol. 1 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sanggitarupa.v1i1.3937

ABSTRAKKatak (kodok) merupakan salah satu hewan yang cukup populer dalam kehidupan masyarakat Jawa. Katak (kodok) dalam habitatnya sering dijumpai pada tumbuhan teratai yang hidupnya tidak lepas dari unsur air. Bagi masyarakat agraris katak (kodok) dan tumbuhan teratai identik dengan lambang kesuburan dan kemakmuran. Oleh karena pada penciptaan karya tugas akhir ini penulis tertarik terhadap katak dan teratai untuk diterapkan menjadi hiasan tinatah pada bilah keris dhapur betok. Keris dhapur Betok merupakan prototipe awal bentuk keris dan juga bentuk penggambaran dari ikan betok atau bethik yang memiliki makna simbolik sebagai motivasi meraih cita-cita. Tujuan penciptaan karya ini adalah untuk mewujudkan keris dhapur Betok dengan hiasan tinatah motif katak dan teratai. Penciptaan tugas akhir ini menggunakan metode tiga tahap enam langkah yakni: tahap eksplorasi, tahap perancangan, dan tahap perwujudan. Proses pembuatan karya keris menggunakan teknik tempa, dengan menggunakan bahan besi, baja dan nikel. Estetika keindahan karya keris ini diulas dengan pendekatan berdasarkan konsep pemikiran dari Hadiwijoyo yakni: pamor, wesi, waja, garap, greget, guwoyo, dan wangun. Karya keris yang dibuat menghasilkan satu buah karya dengan nama Keris Dhapur Betok Kodok Karonsih yang mengandung makna sesuai dengan filosofi judul karya yang dihasilkan.Kata kunci: katak, keris, dhapur, dan estetika Abstract Frogs are one of the animals that are quite popular in the life of the Javanese people. Frogs (toads) in their habitat are often found in lotus plants whose life cannot be separated from the element of water. For agrarian societies, frogs (toads) and lotus plants are synonymous with symbols of fertility and prosperity. Therefore, in the creation of this final project, the author is interested in frogs and lotuses to be applied as inscriptions on the blade of the dapur betok kris. The dhapur Betok keris is an early prototype of the shape of a keris and also a form of depiction of betok fish or bethik which has a symbolic meaning as motivation to achieve goals. The purpose of this creation is to create a Betok dhapur keris with frog and lotus motifs. The creation of this final project uses a three-stage six-step method, namely: the exploration stage, the design stage, and the embodiment stage. The process of making kris works using forging techniques, using iron, steel and nickel. The aesthetics of the beauty of this keris is reviewed with an approach based on the concept of thought from Hadiwijoyo, namely: prestige, wesi, waja, garap, greget, guwoyo, and wangun. The keris made produces a work with the name Keris Dhapur Betok Kodok Karonsih which contains meaning in accordance with the philosophy of the title of the work produced.Keywords: frog, kris, dhapur, and aesthetics

The Creation of Keris with Honeybee Pattern Penciptaan Keris Dhapur Lebah Madu: - Putranto , Eko; Darmojo, Kuntadi Wasi
TEXTURE Art and Culture Journal Vol. 8 No. 1 (2025)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v8i1.6402

The creation of this final project focuses on the theme of the Honeybee (Apis mellifera) as the inspiration for contemporary keris creation, specifically the keris dhapur Lebah Madu. This project aims to produce keris that reflect the characteristics, values, and philosophical aspects of the Honeybee. The Honeybee is an intriguing subject for a final project, visualized through gold-engraved motifs on the keris blade. The method for this final project involves a three-stage, six-step creation process, consisting of exploration, planning, and realization stages. The exploration stage includes observation, literature review, and interviews. The planning stage involves creating alternative sketches and working drawings. The realization stage includes the preparation of tools and materials, blade making, warangka (sheath) making, hilt making, mendak (hilt ring) making, pendok (sheath cover) making, and antup (decorative cover) making. This final project results in the creation of three keris titled: keris dhapur Madukara, keris dhapur Bhirawa, and keris dhapur Tala Kencana. The selection of the Honeybee's characteristics as the motif idea, using the tinatah technique applied to the keris ricikan (details), is expected to add aesthetic value to each dhapur (design) of the keris.

The Pendok of the Surakarta Keris of Paku Buwono X: Art, Symbolism, and Social Status Darmojo, Kuntadi Wasi; Sunarmi, Sunarmi; Sarwanto, Sarwanto; Indrayana, Bagus
Journal of Social Research Vol. 4 No. 10 (2025): Journal of Social Research
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/josr.v4i10.2832

The pendok of the keris is one of the essential components of keris material culture, especially during the reign of Paku Buwono X in Surakarta. As an integral part of the keris, the pendok not only serves as a protective cover for the gandar, but also carries a symbolic role representing the aesthetics, social status, and spiritual values of the Javanese nobility. The presence of the pendok reflects refined artistic taste and serves as part of the identity marker system within the social structure of the royal court society. This article employs a qualitative approach using literature study methods to analyze the role, function, and meaning of the pendok keris within the cultural context of the Surakarta royal court, particularly during the golden era of art and metal craftsmanship under the reign of Paku Buwono X. This study shows that the pendok keris is not merely understood as a visual ornament, but also as a medium of cultural communication rich in symbols, life philosophy, and the social identity of its owner within traditional Javanese society.

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