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All Journal SURYA SENI Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Pendhapa Besaung : Jurnal Seni Desain dan Budaya
Muh. Arif Jati Purnomo
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Arts Humanities Civil Engineering, Building, Construction & Architecture Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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BATIK “DJAWA HOKOKAI” SEBUAH FENOMENA TENTANG BATIK DI MASA PENDUDUKAN JEPANG DI PEKALONGAN Muh. Arif Jati Purnomo
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.100

Abstract

Batik ”Djawa Hokokai”: a Study of Batik During The Japanese Occupation in Pekalongan. Pekalongan as one of the coastal regions in Java has a strong historical root in batik paintings. The motives of the Pekalongan batik have many diferrent characteristics which differs from other batik regions that is strecthed across the northern coast of, such as Cirebon, Indramayu, Garut, and Lasem. One example of the Pekalongan Batik is the ”Djawa Hokokai” Batik, wich appeared and was developed during the Japanese occupation in 19421945.The objectives of this study are, fi rst, to identify the factors which caused the emergence of the ”Djawa Hokokai” Batik, with the socio-cultural contexs which supported the development of such batik in Pekalongan. Second, to  recognized the reasons of the selection of color this was considered unsuitable for the vaguesituations and conditions at that time. Third, to acknowledge that the Japanese cultures, the coastal batik painting styles, and the royal batik painting styles have infl uenced the motives and decorations which are used  in the making of ”DjawaHokokai”  Batik. The main course of study used in third reasearch was the social studies which appeared in the emergence of the ”Djawa Hokokai” Batik, and using the multidisciplinary approach.The emergence and the development of the ”Djawa Hokokai” Batik were supported by some factors. i.e the socio-cultural institutions, the  supporting societies, the batik painters, the business owners, and the brokers. In its development, the existence of the ”Djawa Hokokai” Batik is not only used as acloth for  covering the lower parts of the body (tapih) but also as an  atribute for certain habitus.The phenomenon which appeared in the ”Djawa Hokokai” Batik was basically some kinds of propagandas made  by the Japanese colonial  government to gain supports from people of Pekalongan. The term ”Djawa Hokokai” was probably one of Japanese government strategic propaganda to socialize one oftheir organizations, the ”Djawa Hokokai”.Keywords: batik Pekalongan, Djawa Hokokai, and propaganda
OPTIMALISASI PARIWISATA KAWASAN SUKUH DAN CETO KABUPATEN KARANGANYAR DENGAN MENGGALI POTENSI SENI TRADISI Santosa -; Muh. Arif Jati Purnomo; Joko Budiwiyanto; Sriharta -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2897.943 KB) | DOI: 10.33153/dewaruci.v7i1.969

Abstract

The article is the result of the research entitled “The optimalization of tourism in Sukuh and Ceto areas, Kabupaten Karanganyar by increasing the potency of traditional art as a means of creative economic development”. The research aimed at making a model for developing an integrated tourism in Sukuh and Ceto areas which could be empowered as a an effort at increasing public economy and at strengthening local culture. A two-year research was carried out to attain the goal. The results of the first stage research are as follows: many kinds of art have been identified completely and comprehensively; a plan of developing art for tourism which can have an effect on economic development of the local society has been known; the model of art created is based on the approach of art for tourism with the following characteristics: an imitation of the original, compressedor short, the primary values are put aside, full of variation, attractive, and low in price. The conception of art for tourism is developed in accordance with the condition of the local society, culture, and the environment in order to create a specific art for tourism.  The conception of art for tourism has the following characteristics. First, the art for tourism has a specific characteristic. Second, the art is specially designed considering the character of the area. Third, the art should have a contextual feature, meaning it is created by considering the natural elements, belief, customs, and local wisdom and it should not destroy the nature. Fourth, the art should pay attention to visual elements. Key words: traditional art, creative economy, art for tourism, model formulation.
BATIK DERMAYON SUATU KEINDAHAN DALAM SEBUAH KETERBATASAN Muh. Arif Jati Purnomo
Pendhapa Vol 2, No 1 (2011)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1291.383 KB) | DOI: 10.33153/pendhapa.v2i1.1159

Abstract

Indramayu batik or people used to call the Dermayon batik is one of the coastal batik that had its own uniqueness and beauty of the coastal batik among others. One hallmark of this Dermayon batik is the emergence of technique "cocohan" on some batik fabric. Technique "cocohan" is a technique for making “isen-isen” of batik that form "cecek" or dots using “complongan” tool. It is made of wood that there is a lot of nails at the bottom that used to pierce the layers of wax (malam) that has been attached to the fabric. “Cocohan” technique is emerging as a creative effort of batik paintings who incidentally are the fisherman's wife who tries to find an additional income while waiting for their husbands come home from fishing. From the limited time available to make a piece of batik cloth, then comes the staining technique “cocohan” with a very minimalist but capable of producing batik works of unique and interesting.Keywords: Dermayon batik, “cocohan”
Keris Dhapur Inu: Inovasi Dhapur Klasik Berbahan Mangalloy Sebagai Penghasil Pamor Suwasono, Bening Tri; Muh. Arif Jati Purnomo
Besaung : Jurnal Seni Desain dan Budaya Vol. 10 No. 3 (2025): Besaung: Agustus-November
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36982/jsdb.v10i3.6237

Abstract

This research represents an effort to develop form and material in the art of tosan aji (sacred metalwork) through the creation of the Keris Dhapur Inu. The formal inspiration is drawn from the character Panji Inu Kertapati, who embodies the refined and wise qualities of a noble Javanese knight. The urgency of this study lies in the limited exploration of alternative materials capable of producing pamor (surface patterns on keris blades) and the scarcity of new dhapur innovations grounded in the cultural symbolism of the Panji tradition. The research problem is addressed through an art-based applied research approach focusing on material experimentation and innovation in dhapur design. This study aims to identify the characteristics of Mangalloy as an alternative pamor-producing material, develop a new dhapur form rooted in Panji symbolism, and realize a keris artwork that synthesizes modern metallurgical knowledge with the traditional values of tosan aji. The primary material used is manganese alloy steel (Mangalloy), which was initially misidentified as ataxite meteoritic iron. X-ray Fluorescence Spectrometer analysis—employed for non-destructive chemical composition identification—shows that the material contains high Fe–Mn and low nickel content, classifying it as manganese steel. Through processes of fold-forging, shaping, tinatah carving of Panji mask motifs on the gandhik (facial section of the blade), and pewarangan (blade finishing), the research produces a keris with strong contrast pamor and dense metal structure. Dhapur Inu emerges as a synthesis of modern metallurgy and tosan aji traditions, demonstrating the potential of Mangalloy as an alternative metal for generating pamor.
Co-Authors Joko Budiwiyanto Santosa - Sriharta - Suwasono, Bening tri