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All Journal Gorga : Jurnal Seni Rupa Jurnal Ilmu Budaya DESKOVI : Art and Design Journal Jurnal Abdi Insani
Kafri, Saniman Andi
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MESIKHAT DALAM KAJIAN ESTETIKA SIMBOLIS PADA RUMAH ADAT ALAS ACEH TENGGARA Kafri, Saniman Andi
Jurnal Ilmu Budaya Vol. 14 No. 2 (2018)
Publisher : Universitas Lancang Kuning

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5488.879 KB) | DOI: 10.31849/jib.v14i2.1138

Abstract

Mesikhat ornament is one of heritage artworks made by people in Alas tribe. As one of the cultural heritages, the motif of Mesikhat ornament which is really important as th eaesthetic symbol for Alas tribe in Southeast Aceh. People in south Aceh call all of carve motif that come from south Aceh as Meshikat. However Meshikat is originally came from Alas tribe. Meshikat motif can be found in traditional house, traditional costume, bag, wallet and others accessories. Meshikhat ornament had existed before the Independence day of Indonesia. However, it became popular around 1990 when these wing machine was firstly used in south east of Aceh. Formerly, meshikat is only applied in traditional house but nowadays the motif is also used in fashion, bag, wall and others accessories. Meshikat, that is applied in traditional house and costume, has five colors; red, yellow, green, white and black. The basic colors symbolize different meanings. For example red symbolizes the bravery, green symbolizes the fertility, yellow shows the glory or the greatness, white symbolizes the purity, and black symbolizes the leadership. The idea of Meshikat motif originated from plants, animals, social life and chess board. The descriptions are applied in the form of two dimension motif without ignoring the aesthetic aspect and the meaning of these objects. Meshikat, notif present many interpretations and messages such as social message, moral value, and spiritual message depending on the motifs.
Eksplorasi Makna Simbolis Ornamen pada Rumoh Aceh Raja Husein di Pidie. Rachmadani, Nisa Putri; Wijaya, Reza Sastra; Kafri, Saniman Andi
DESKOVI : Art and Design Journal Vol. 8 No. 1 (2025): Vol. 8 No.1 JUNI 2025
Publisher : Universitas Maarif Hasyim Latif

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51804/deskovi.v8i1.16913

Abstract

Ornamen Rumoh Aceh merupakan peninggalan budaya dari nenek moyang suku Aceh yang masih dapat dinikmati hingga kini. Bentuk ornamen yang diterapkan, seperti motif tumbuhan, hewan, dan kaligrafi, merupakan representasi dari elemen alam yang ditemukan di daerah Pidie, serta berfungsi sebagai penanda identitas kultural masyarakat. Salah satu objek penting yang dikaji adalah Rumoh Aceh Raja Husein, rumah tradisional yang dibangun pada masa kolonial Belanda dan memiliki keunikan dalam desain ruang serta kekayaan ornamen. Penelitian ini bertujuan untuk mendalami makna simbolis ornamen-ornamen tersebut guna memperkaya pemahaman tentang sejarah, budaya, dan identitas masyarakat Aceh Pidie. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif-analitis. Data diperoleh melalui studi pustaka, observasi, dokumentasi visual, dan wawancara. Teori bentuk dari Dharsono digunakan sebagai landasan teoretis, yang memaknai seni sebagai tontonan dan tuntunan. Temuan penelitian menunjukkan bahwa tiap ornamen mengandung makna filosofis dan spiritual. Motif Bungong Mawo melambangkan cinta dan keindahan; Pucuk Reubung sebagai simbol harapan dan pertumbuhan; Sulur menggambarkan keterikatan dengan alam dan prinsip hidup yang berkelanjutan. Kaligrafi lafadz Allah dan Muhammad menegaskan nilai religius dalam rumah ini. Motif Awan Meucanek menyimbolkan perlindungan dan ketenangan; Bungong Seulanga melambangkan keanggunan dan kelembutan; sedangkan Puta Taloe bermakna dua kalimat syahadat sebagai dasar iman. Temuan juga memperlihatkan bahwa keberagaman dan jumlah ornamen menjadi penanda status sosial, semakin banyak dan kompleks ornamen yang digunakan, semakin tinggi kedudukan pemilik rumah. Ornamen pada rumah ini tidak hanya merefleksikan keindahan estetis, tetapi juga menjadi cerminan nilai-nilai lokal seperti kehormatan, ketahanan, spiritualitas, serta hubungan harmonis antara manusia, alam, dan Tuhan. Penelitian ini memperkuat pemahaman bahwa ornamen tradisional Aceh adalah ekspresi dari pengetahuan lokal yang diwariskan secara turun-temurun. Temuan ini diharapkan dapat menjadi dasar dalam pelestarian warisan budaya visual Aceh.
PELATIHAN PEMBUATAN BATIK ECOPRINT SEBAGAI PENINGKATAN KREATIVITAS ANAK DI KINDERHUT INDONESIA Rachmadani, Nisa Putri; Kafri, Saniman Andi; Wijaya, Reza Sastra
Jurnal Abdi Insani Vol 12 No 4 (2025): Jurnal Abdi Insani
Publisher : Universitas Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29303/abdiinsani.v12i4.2229

Abstract

Kinderhut Indonesia is a social welfare development institution that was established in February 2005, precisely after the earthquake and tsunami tragedy that hit Aceh. The Kinderhut Indonesia Foundation has a mission to improve the welfare of orphans, and underprivileged and neglected children by ensuring that they get their rights, especially in terms of education, both through formal and non-formal education. This community service activity aims to improve the creativity and skills of the foundation's foster children in the arts, as well as foster an entrepreneurial spirit. This training uses the ecoprint method, which is a natural fabric dyeing technique, which is in line with the concept of sustainability and supports the sustainable development goals (SDGs). The methods used are participatory and applicative, consisting of: preparation, implementation, and evaluation. The preparation stage includes planning, scheduling, and procurement of tools and materials. The implementation stage consists of material socialization, ecoprint pattern design, ecoprint practice (steam technique), and final product development. Evaluation is carried out using the pretest-posttest method to measure the improvement of participants' skills. The results of the ecoprint batik training at the Kinderhut Indonesia Foundation showed an increase in the creativity and skills of the foster children in creating environmentally friendly products that have a selling value. During eight meetings, participants were trained to produce various ecoprint batik which were transformed into products such as bags, clothes, tablecloths and pillowcases. The evaluation showed a success rate of 73%, based on aspects of neatness, smoothness, and technical accuracy. This activity also fosters an entrepreneurial spirit and supports sustainable development. However, time constraints are an obstacle in the distribution of participants' understanding. This program is expected to be the basis for the development of sustainable skills and entrepreneurial potential for the foundation and its foster children in the future.
MOTIF PINTO ACEH SEBAGAI SUMBER INSPIRASI PENCIPTAAN KRIYA KULIT Mansyah, Karya; Kafri, Saniman Andi; Hamzah, Muhammad
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.58451

Abstract

The Pinto Aceh motif is the creativity of local Acehnese motifs that are different from other motifs in Indonesia. The Pinto Aceh motif has its own uniqueness and aesthetic value. This can be seen from its symmetrical like a butterfly shape. Interest in raising the theme of Pinto Aceh motifs is because researchers want to give a new touch, especially in leather crafts combined with Pinto Aceh motifs. So far the Pinto Aceh motif works that have been created are still the same as the first time this motif was created, always in form of a symmetrical butterfly. Because of that the creation of leather craft works is realized in the form of two-dimensional and three- dimensional works by presenting the new forms. The materials used are parchment leather, vegetable tanned leather, mosquito netting wire, wood, glass, mirrors, synthetic leather and iron. The method used in the creation of this work goes through three stages, that is the exploration stage, the design stage and the embodiment stage. The works created do not only contain aesthetic value but also contain the meaning of freedom of creation, which is manifested in the creation of the Pinto Aceh motif. The expression of the Pinto Aceh motif as a source of inspiration for the creation of leather craft can be a medium for art connoisseurs, especially craft art and in hope to give another new forms of craft art, so that in the future it can become a reference for the development of craft art, especially leather craft.Keywords: PintoAceh,motifs,leather,craf. AbstrakMotif Pinto Aceh merupakan kreativitas lokal masyarakat Aceh yang jauh berbeda dengan daerah lain di Indonesia. Motif Pinto Aceh mempunyai keunikan dan nilai estetika tersendiri. Hal ini dapat dilihat dari bentuknya yang simetris seperti kupu-kupu. Ketertarikan mengangkat tema motif Pinto Aceh karena peneliti ingin memberikan sentuhan baru khususnya kriya kulit yang dipadukan dengan motif Pinto Aceh khususnya kriya kulit. Sejauh ini karya-karya motif Pinto Aceh yang diciptakan masih sama seperti motif pertama kali diciptakan, yaitu seperti kupu-kupu yang simetris. Oleh karena itu penciptaan karya kriya kulit ini direalisasikan ke dalam bentuk karya dua dimensi dan tiga dimensi dengan menghadirkan bentuk-bentuk yang baru. Bahan yang digunakan adalah kulit perkamen, kulit tersamak nabati, kawat jaring nyamuk, kayu, kaca, cermin, kulit sintetis dan besi. Metode yang digunakan pada penciptaan karya ini melalui tiga tahap, yaitu: tahap eksplorasi, tahap perancangan dan tahap perwujudan. Karya-karya yang diciptakan tidak hanya mengandung nilai estetik tetapi juga mengandung makna kebebasan dalam berkarya yang diwujudkan dalam bentuk kreasi motif Pinto Aceh. Ekspresi motif Pinto Aceh sebagai sumber inspirasi penciptaan kriya kulit ini dapat menjadi media terhadap penikmat seni, khususnya seni kriya dan diharapkan dapat melahirkan bentuk kriya seni baru, sehingga dapat menjadi acuan untuk pengembangan kriya seni khususnya kriya kulit selanjutnya.Kata Kunci: Pinto Aceh, motif, kulit, kriya. Authors: Karya Mansyah : Institut Seni Budaya Indonesia AcehSaniman Andi Kafri : Institut Seni Budaya Indonesia AcehMuhammad Hamzah : Institut Seni Budaya Indonesia Aceh References:Dharsono, D. (2016). Kreasi Artistik œPerjumpaan Tradisi Modern Dalam Paradigma Kekaryaan Seni. Surakarta: Citra Sain.Ferawati, F., & Dewi, L. (2020). Suluah Dalam Nagari; Penciptaan Kriya Ekspresi Dengan Inspirasi Bundo Kanduang. Artchive: Jurnal Seni Rupa dan Desain Indonesia , 1(2), 122-133. http://dx.doi.org/10.53666/artchive.v1i2.1630.Ginting, J., & Triyanto, R. (2020). Tinjauan Ketepatan Bentuk, Gelap Terang, dan Warna padaGambar Bentuk Media Akrilik. Gorga: Jurnal Seni Rupa, 9(2), 300-308. https://doi.org/10.24114/gr.v9i2.20118.Gustami, SP. 2007. Butit-Butir Mutiara Estetika Timur œIde Dasar Penciptaan Seni Kriya Indonesia. Yogyakarta: Prasista.Izzara, W. A., & Nelmira, W. (2021). Desain Motif Tenun Songket Minangkabau Di Usaha Rino Risal Kecamatan Koto Tangah Kota Padang. Gorga: Jurnal Seni Rupa, 10(2), 423-431. https://doi.org/10.24114/gr.v10i2.25928.Mansyah, K. (2019), œKaligrafi Arab Dalam Ekspresi Pinto Aceh Melalui Hiasan Interior. Hasil Wawancara Pribadi: 30 Agustus 2019, Institut Seni Indonesia Padangpanjang.Mansyah, K., Sulaiman, S., & Nursyirwan, N. (2020). Seni Kaligrafi Arab Dalam Ekspresi Pinto Aceh. Melayu Arts and Performance Journal, 3(1), 27-36. http://dx.doi.org/10.26887/mapj.v3i1.1341.Sunarto, S. (2008). Seni Tatah Sungging Kulit. Yogyakarta: Prasista.Susanto, M. (2011). Diksi Rupa; Kumpulan Istilah Seni Rupa. Yogyakarta: DictiArt Lab & Djagad Art House.Zam, R., Dharsono, D., & Raharjo, T. TransformasiEstetik Seni Kriya; Kelahiran Dan Kriya Masa Kini. Gorga: Jurnal Seni Rupa, 11(2), 302-310. https://doi.org/10.24114/gr.v11i2.36026.
Co-Authors Dahlia, Putri Dwindy Putri Cufara Mansyah, Karya Muhammad Hamzah, Muhammad Nisa Putri Rachmadani Reza Sastra Wijaya