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All Journal Jurnal Bahasa Rupa Dinamika Kerajinan dan Batik: Majalah Ilmiah
Valeska, Jesslyn
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Arts Humanities Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Social Sciences

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PERAN BRANDING BAGI PENCIPTAAN IMAGE BATIK 3 NEGERI SOLO KARYA KELUARGA TJOA Rismantojo, Sandy; Lukman, Christine Claudia; Valeska, Jesslyn
Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021
Publisher : Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i2.718

Abstract

Batik Tiga Negeri is an Indonesian adiwastra that is still considered a mystery. Why? Because its history is still not completely clear. Batik Tiga Negeri is believed to have undergone a coloring process in three different cities, first in Lasem for red color, Pekalongan for the blue color, and finally in Solo for sogan or brown color. Therefore, the production journey of one batik Tiga Negeri will take a total of 650 km. The Tjoa family started producing batik Tiga Negeri in 1910, but it was regrettable that in 2014, the family had stopped the production because they have no successors. The Tjoa family stated that they named after their batik based on the legendary Sam Kok story from China known as the Three Kingdoms. Therefore, the batik Tiga Negeri, created by the Tjoa family, is a brand that is then attached to the legendary batik Tiga Negeri through the branding process. This study will analyze how Batik 3 Negeri Tjoa Family's brand and branding process can help build a brand image to strengthen the batik 3 Negeri Tjoa family's brand value. The researcher conducted a qualitative descriptive method to explore batik 3 Negeri of the Tjoa family through literature studies on batik Tiga Negeri and interviews with batik experts and enthusiasts complemented by literature studies on brand theory and branding. The results reveal the strength of the Tjoa family Batik 3 Negeri Solo's brand and branding process, which had been carried out for three generations, had succeeded in elevating their batik products into known to have aesthetic value and high quality and became the leading choice for the Sundanese in West Java.
KOMPARASI GAYA VISUAL DAN MAKNA PADA DESAIN BATIK TIGA NEGERI DARI SOLO, LASEM, PEKALONGAN, BATANG, DAN CIREBON Lukman, Christine Claudia; Rismantojo, Sandy; Valeska, Jesslyn
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol. 39 No. 1 (2022): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Standardisasi dan Pelayanan Jasa Industri Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v39i1.6447

Abstract

Batik Tiga Negeri merupakan batik pesisiran yang memiliki keunikan dalam proses produksinya. Di masa awal yakni tahun 1870-an, batik ini mengalami proses pencelupan pewarna alami di berbagai kota: merah di Lasem, biru di Pekalongan, dan cokelat di Solo. Hasilnya adalah batik yang menampilkan merah getih pithik, biru indigo, dan cokelat soga dengan motif hasil dari ketiga daerah tersebut. Saat itu Batik Tiga Negeri merupakan hasil kolaborasi kreatif para seniman batik di tiga sentra batik yang menampilkan keberagaman budaya visual. Dengan ditemukannya pewarna sintetik, proses pencelupan dapat dilakukan di satu tempat saja, sehingga istilah Batik Tiga Negeri sering hanya merujuk pada batik yang memiliki 3 warna (merah, biru, cokelat) dengan motif hasil hibridisasi batik pesisiran dan batik keraton. Selain di Solo, Batik Tiga Negeri diproduksi pula di Lasem, Pekalongan, Batang, dan Cirebon. Mengingat saat ini eksistensi Batik Tiga Negeri mulai kritis, perlu dibuat kajian yang bertujuan untuk memetakan variasi gaya visual beserta makna yang tersirat pada desain batik yang berasal dari daerah-daerah tersebut. Penelitian yang bersifat kualitatif dan deskriptif ini menggunakan pendekatan compositional interpretation untuk menganalisis gaya visual Batik Tiga Negeri dari masing-masing kota, dan semiotika untuk menganalisis makna konotatifnya. Purposive sample adalah Batik Tiga Negeri yang memiliki ciri khas gaya visual dari masing-masing daerah. Hasil analisis mengungkapkan variasi gaya visual disebabkan oleh perbedaan kondisi sosial budaya dari masing-masing daerah. ABSTRACTBatik Tiga Negeri is pesisiran batik whose production is unique. In the early years of 1870’s, the process of dyeing was carried out by various cities: red in Lasem, blue in Pekalongan, brown in Solo. The batik has ‘getih pithik’ red, indigo blue, and sogan brown, and hybridity motif from these regions. Batik Tiga Negeri displays cultural diversity, which forms Indonesian identity. The discovery of synthetic dyes makes the process can be done in one place so that the term Batik Tiga Negeri now refers only to batik, which has three colors and hybridity motifs of pesisiran and keraton. This batik is also produced in Solo, Lasem, Pekalongan, Batang, and Cirebon. Considering that existence of Tiga Negeri Batik has begun to be critical, research is needed to map variations in visual style and meanings. This study uses an analytical method with a compositional interpretation approach to analyze the visual style of batik from each city and semiotics to analyze socio-cultural conditions' relation to the visual style. Purposive samples are Batik Tiga Negeri that still has a classical design. The analysis results revealed variations in visual style caused by differences in the aesthetic taste of the target market and producer influenced by its socio-cultural conditions.  
Co-Authors Sandy Rismantojo