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All Journal Texture : Art and Culture Journal ARTISTIC : International Journal of Creation and Innovation
Kristanti Kristanti
Institut Seni Indonesia (ISI) Surakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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KYAI RAJAMALA BOAT’ CANTHIK IN COUTURE BATIK PATTERN Kristanti Kristanti; Guntur Guntur
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (765.49 KB) | DOI: 10.33153/artistic.v2i2.4047

Abstract

The Historically, the Javanese palaces relied on boats for transportation, like the Kyai Rajamala boat used by the Surakarta palace. At the time, Paku Buwana IV used the boat to cross the Bengawan Solo river. Kyai Rajamala boat’s canthik is a decorative element on the end bow of the Surakarta palace's boat. Apart from being a decorative element on the boat's end bow, the Kyai Rajamala boat’s canthik is also an heirloom used to ward off bad luck. Because the Kyai Rajamala boat’s canthik has a high value for life, it is critical to communicate the Kyai Rajamala boat’s canthik through easily accepted media. One medium that can convey the beauty of the Kyai Rajamala boat’s canthik is the batik textile art, which can be used to meet basic human needs. Clothing is not only a means of covering the body; it can also be used to convey messages. The Kyai Rajamala boat’s canthik was reinterpreted and dyed with remasol into handmade batik.
Topeng Surakarta Sebagai Sumber Ide Penciptaan Motif Batik Pada Busana Casual Wanita Kristanti Kristanti; FP. Sri Wuryani
Texture:Art and Culture Journal Vol 4, No 1 (2021)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (835.837 KB) | DOI: 10.33153/texture.v4i1.4197

Abstract

The main idea behind the creation of this artworks is inspired by the visual form of the Surakarta masks. This concept was chosen because the Surakarta masks has a variety of shapes, colors, functions, and characters that are different and interesting for the source of ideas for the creation of batik motif, such as the masks of Panji Inu Kertapati, Dewi Sekartaji, Klana Sewandana, Gunungsari, and Jaya Kartolo. This final project aims to create women's casual outfit by applying the Surakarta masks as the basic idea in creating the artworks. The Surakarta mask's scope gives rise to ideas to be developed into the creation of written batik motif. The process of creating works starts from the exploration stage, which is observing the shape of the Surakarta masks and then pouring it into the design stage of an alternative design to be selected as a batik motif to be applied to casual outfit. The last stage is the embodiment stage, in this process starting from making a dress pattern, painting on a patterned fabric for casual cloth, batik, painting dyeing, sewing and finishing. The coloring technique used in the creation process is the technique dabbing using remasol dyes. The materials and tools used were wax, canting, remasol, waterglass, silk cotton, and satin fabric bridal. As the result of my final project, there are 5 women's casual outfits, each named according to the characters of the Surakarta mask. The first artworks entitled Lelanange Jagad (Handsome Man), the second entitled Kirana (Moonlight), the third entitled Ahengkara (Roam), the fourth entitled Sajjana (Immortal), and the last artworks entitled Warada (Strong). This design results an innovation to preserve Surakarta mask art culture and also the traditional art of batik in the fashion sector.
Co-Authors FP. Sri Wuryani Guntur, Guntur