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All Journal Gorga : Jurnal Seni Rupa Texture : Art and Culture Journal Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Javanologi: International Journal of Javanese Studies Hastagina: Jurnal Kriya dan Indsutri Kreatif
Theresia Widyastuti
Jurusan Kriya Seni Fakultas Seni Rupa Dan Desain Universitas Sebelas Maret
Religion Arts Humanities Education Social Sciences

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KAJIAN MOTIF WIJAYA KUSUMA PADA BATIK CILACAP Aina Vahrina; Theresia Widyastuti; Darwoto Darwoto
Ornamen Vol 17, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v17i1.3244

Abstract

Kabupaten Cilacap memiliki motif batik khas yang menggambarkan potensi daerah, yaitu motif bunga Wijaya Kusuma. Motif ini sangat identik dengan Pulau Majeti, Nusakambangan, Kabupaten Cilacap sebagai tempat yang ditumbuhi bunga wijaya kusuma. Sejak puluhan tahun, motif bunga Wijaya Kusuma masih eksis hingga saat ini. Hal tersebut menarik untuk dikaji dari segi bentuk wujud motifnya. Penelitian ini bertujuan untuk mengkaji motif bunga Wijaya Kusuma dengan menjelaskan wujud atau penampakan visual menurut teori Djelantik dan teori penunjang pendekatan nilai ekonomi. Metode penelitian yang digunakan yaitu pendekatan kualitatif dengan teknik snowball sampling yang didukung oleh data dari narasumber, dokumen, tempat dan peristiwa dengan teknik pengumpulan data berupa wawancara dan perekaman. Proses analisis data menggunakan teknik analisis data model interaktif serta pemeriksaan keabsahan data menggunakan metode trianggulasi. Hasil penelitian berupa: 1) Penampakan visual motif utama, motif pendukung dan isen-isen pada corak Tirtotejo Ceplok Wijaya Kusuma, corak Kawung Wijaya Kusuma dan corak Truntum Wijaya Kusuma; 2) nilai ekonomi pada batik tersebut sangat menguntungkan dan dapat meningkatkan pendapatan ekonomi keluarga maupun sebagai pembuka lapangan pekerjaan untuk warga sekitar.Kata kunci: Penampakan Visual, Wijaya Kusuma, Batik Cilacap
Kajian Visual Hinggi Dan Lau Untuk Upacara Kematian Suku Sumba Ashri Eka Rizki; Theresia Widyastuti
Texture:Art and Culture Journal Vol 3, No 2 (2020)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (654.106 KB) | DOI: 10.33153/texture.v3i2.2979

Abstract

ABSTRAKHinggi dan lau merupakan Kain Sumba yang digunakan dalam berbagai upacara, salah satunya dalam upacara kematian. Di dalam hinggi dan lau mengandung cerita tersendiri yang menggambarkan Sumba. Permasalahan yang dikaji dalam penelitian ini yaitu: (1) Bagaimana keterkaitan motif hinggi dan lau dengan budaya Sumba? (2) Bagaimana visual dari hinggi dan lau untuk upacara kematian.Penelitian ini merupakan penelitian kualitatif yang menggunakan pendekatan Teori Kebudaya milik Clifford Greetz. Lokasi penelitian dilakukan di Sumba. Berfokus pada analisis Kain Sumba khususnya hinggi dan lau untuk upacara kematian sebagai salah satu hasil kebudayaan dari masyarakat Sumba dapat dibaca untuk memahami budaya masyarakat Sumba. Hinggi dan lau untuk upacara kematian dianggap sakral dan memiliki makna filosofis yang menceritakan mengenai daur kematian, memiliki nilai lebih sebagai wujud penghormatan kepada leluhur serta sebagai wujud simbolis bagi kepercayaan adat.Hasil dari penelitian ini adalah penjelasan mengenai kaitan motif pada hinggi dan lau dengan budaya masyarkat Sumba dalam hal kepercayaan, adat serta sosial dalam tatanan hidup masyarakat Sumba, gambaran dan penjelasan akan visual dari kain hinggi dan lau untuk upacara kematian yang meliputi bentuk kuda, ayam, tau (manusia), udang, dan ular. ABSTRACT  Hinggi and lau are Sumba’s traditional sheet (Kain Sumba) used for ceremonial purposes, one of them is funeral. Hinggi and lau containts its own story that describe Sumba. This research is consisted of following topics : (1) How hinggi and lau’s motive are related to Sumba culture? (2) How hinggi and lau’s visual representation appear on funeral. The approach of this qualitative research utilize the Culture Theory purposed by Clliford Greetz. Research was conducted in Sumba. Focusing on the analysis of Kain Sumba especially hinggi and lau for funeral as one of tangible heritage of Sumba’s people, that can be read, studied and comprehended. Hinggi and lau considered sacred and contais the philosophy that describe the Cyrcle of Death, has the extra virtue of respect to the ancestors and also as a symbolic representation of traditional faith.The result of this research is to describe how hinggi and lau are related to the culture of Sumba people, in faith, social and tribal life of Sumba people. Also as visual description of hinggi and lau for funeral 
Peran Dalem Hardjonegaran Dalam Pelestarian Batik Indonesia Karya Go Tik Swan Annisa Sa'a Sakinah; Tiwi Bina Affanti; Theresia Widyastuti
Texture:Art and Culture Journal Vol 3, No 1 (2020)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (573.117 KB) | DOI: 10.33153/texture.v3i1.2876

Abstract

  Tik Swanon, Batik Indonesia, GThis study aims to describe: (1) The role of Dalem Hardjonegaran in the preservation of"Indonesian Batik" by Go Tik Swan. (2) The process of preserving "Indonesian Batik" by Go Tik Swan in Dalem Hardjonegaran. The form of this research is descriptive qualitative using data in the field to develop theories that are built. The theory used to examine this research uses the Theory of Culture according to Koentjaraningrat. Data sources used: informants, places and events, documents and archives. The sampling technique used was purposive sampling. Data collection techniques used were observation interviews, and documentation. The validity of the data used is source triangulation and informant review. Analysis of the data used is an interactive analysis model. The results show that: (1) Dalem Hardjonegaran plays an important role in the preservation of "Indonesian Batik" because that is where the center of all activities related to its preservation takes place. (2) The process of preserving "Indonesian Batik" has taken place before Go Tik Swan died, until now.Keywords: Dalem Hardjonegaran, Preservation, Batik Indonesia, Go Tik Swan
PERANCANGAN BATIK WONOGIREN DENGAN INSPIRASI MOTIF ISEN TATAHAN WAYANG KULIT GAYA SURAKARTA Arianto Arianto; Sarah Rum Handayani; Theresia Widyastuti
Ornamen Vol 19, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i1.3656

Abstract

The tourism of batik and shadow puppets in Wonogiri Regency is quite potential to attract local and foreign tourists. This design is an effort to preserve beauty in Wonogiri and is expected to increase the diversity of Wonogiren Batik motifs to make it more attractive. The design method is through the stages of problem analysis, problem solving strategies, data collection, data sources, testing, and initial design ideas. The design results of this final project resulted in 6 batik designs with 2 realization designs. The batik motifs are taken from 6 motifs of isen inlaid wayang kulit Surakarta style which are applied in each design as the main motif and filler. Motive processing is supported by biomorphic patterns and abstractions as topographical representations of Wonogiri district. Two batik designs are made into primisima cotton cloth measuring 200cm x 115cm using handwritten batik techniques and coloring using remasol using the dabbing technique. The results of this design are applied as clothing textiles.
PERANCANGAN BATIK CAP DENGAN CORAK BURUNG MURAI BATU MENGGUNAKAN PENGGAYAAN ANIMASI Alfatichah Okvanda Putri; Theresia Widyastuti
Gorga : Jurnal Seni Rupa Vol 11, No 2 (2022): 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.v11i2.36521

Abstract

Batik is a cultural heritage that must be preserved. Its development can be done through its techniques, whether written, stamped, or painted, and its patterns are now taking many modern forms. In this design, the development of motifs is specifically for children who use the figurative way of drawing characters. The method used in this design is the Collin Clipson method which includes the exploration stage through observation and data collection related to the design theme; the stage of making alternative motif designs depicted in the form of character figures to be used as batik stamps. This stamped batik uses remasol dye with smock coloring technique. This stamped batik with the main motif of a stone magpie was made with the aim of adding an alternative to the smock stamped batik motif which is intended for children aged 7-11 years. This stamped batik with character-described motifs for children.   Keywords: stamped batik, stone magpie. AbstrakBatik merupakan warisan budaya yang harus terus dilestarikan. Pengembangannya dapat dilakukan melalui tekniknya, baik tulis, cap, maupun lukis, dan coraknya yang saat ini sudah banyak mengambil bentuk modern. Pada perancangan ini pengembangan motif dikhususkan untuk anak-anak yang memanfaatkan cara gambar karakter secara figuratif. Metode yang digunakan dalam perancangan ini adalah metode Collin Clipson yang mencakup tahap eksplorasi melalui pengamatan dan pengumpulan sumber data yang berkaitan dengan tema perancangan; tahap membuat alternatif desain motif yang digambarkan dalam bentuk figur karakter untuk dijadikan cap batik. Batik cap ini menggunakan bahan pewarna remasol dengan teknik pewarnaan smock. Batik cap dengan motif utama burung murai batu ini dibuat dengan tujuan untuk menambahkan alternatif motif batik cap smock yang ditujukan untuk anak usia 7-11 tahun. Batik cap dengan motif yang digambarkan secara karakter ini ditujukan agar anak-anak.Kata Kunci: batik cap, burung murai batu. Authors:Alfatichah Okvanda Putri : Universitas Sebelas MaretTheresia Widyastuti : Universitas Sebelas Maret References: Darmaningsi., D., & Sunaryati, I. (1985). Pembuatan Busana Bayi dan Anak. Jakarta: Depdikbud Direktorat Pendidikan Menengah Kejuruan.Gunawan, H. (2012). Pedoman Lengkap Menangkar dan Mencetak Murai Batu Kelas Jawara. Yogyakarta: Pustaka Baru Press.Lailia, N. A. (2018). Perancangan Motif Batik Cap Untuk Kain Seragam. Tea House Bale Branti, 15(1), 74-76.Munir, M. (2013). Multimedia Dan Konsep Aplikasi Dalam Pendidikan. Bandung: Penerbit Alfabet.Rizali, N. (2012). Metode Perancangan Tekstil. Surakarta: UNS Press.Withrow, S. (2007). Character Design For Graphic. USA: Rotovision.Wulandari, A. (2011). Batik Nusantara Makna Filosofi, Cara Pembuatan, dan Industri Batik.  Yogyakarta: Andi. 
The Development Of Batik Babon Angrem at Traditional Birth Ceremonies in Central Java Nimas Elizabeth; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.780

Abstract

The life cycle ceremonies that symbolize the human journey are all found in traditional Javanese batik, because in batik there is a symbol or meaning of life. At the age of 7 months of pregnancy, Javanese people usually hold a ceremony called mitoni, this ceremony is equipped with various ubo rampe, one of which is Babon Angrem batik. Changes in times including changes in cultural actors have caused many shifts in customs. This traditional ceremony began to be abandoned or reduced in terms of its completeness related to economic factors. As individuals in this millennial era, there is a change in the benefits of having traditional ceremonies seen from a modern perspective. From this problem, the idea emerged to develop one of the mitoni ceremonial equipment in the form of a long cloth with a millennial pattern that still adheres to the existing standard. Batik is one of the assets that can be processed as a creative industry strength. By reprocessing and redefining the existing traditional motifs seen through today's modern glasses, without destroying the meaning in them while maintaining their originality. This design will certainly answer the problems of the world of batik and tradition, with the aim of continuing batik to the present generation according to their style. The textile product produced is in the form of batik cloth with a development pattern from the Babon Angrem batik motif as an innovation from its visuals. The Babon Angrem batik motif, which is designed in a contemporary way, displays bright and warm colors that convey the impression of mother's love in accordance with the philosophical meaning of the Motif of Babon Angrem. the motif components contained in Babon Angrem batik such as Babons or hen facing each other, hen laying eggs, ukel motifs that adorn all repetitions of Babon motifs, and ceceg which complete the background of this batik.
Perancangan Batik Cap Dengan Corak Wedangan Tradisional Indonesia Anggi Artiwi; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.782

Abstract

Batik is one of the unique traditional fabrics from Indonesia, its uniqueness can be seen from a variety of motifs that have their own meaning. In terms of motifs, batik usually has motifs that are thick with the philosophy of life. The popularity of batik began to grow at the end of the 18th century or early 19th century. Starting from the writing technique to develop into the canting stamp technique. The emergence of stamped batik marked the era of industrialization. Since the era of industrialization and globalization which introduced automation techniques. In this design, the author wants to develop batik motifs with Indonesian Traditional Wedangan motifs. Indonesian traditional Wedangan is one of the cultural heritages, Wedangan is a typical Indonesian drink and drink that is popular with the public, but its position has begun to be shifted and unable to compete with more modern drinks, therefore this batik design was made to reintroduce the tradition of drinking traditional Wedangan. Batik stamps with traditional Indonesian wedangan patterns have never existed before, so this design is a differentiator from various types of motifs on the market. Stamped batik is used in the process of making this batik work because the production process requires a relatively faster time and can produce more. Therefore, in accordance with the design approach from the elaboration of Clipson's Theory regarding the creation of this work textile design, it is well considered from the identification of problems, analysis of production planning, creative processes, production processes and marketing distribution.
PENGEMBANGAN MOTIF BATIK TULIS DENGAN SUMBER IDE CORAK KAIN TENUN BIMA Anindhita Destiana Nur Ifani; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.784

Abstract

Batik is a creative industry product that has been around for a long time and has been developed by many artisans in various regions in Indonesia. The author will use one of the traditional weaving motifs in Indonesia, namely Mbojo weaving as a source of motif ideas from written batik. The mbojo woven fabric is a form of Indonesian culture originating from the Bima Regency, West Nusa Tenggara Province (NTB) and several other areas around Mount Tambora. In its design using 5 stages of Clipson's theory. Then the author conducted an experiment, studying the meanings and symbols that exist in the Mbojo Bima woven fabric pattern, paying attention to its characteristics and also reprocessing it into the form of written batik. This design resulted in eight designs with one work being realized. The visual changes or combines two forms of traditional fabrics, namely weaving and batik, which in their depiction have a significant difference, namely batik which has relatively flexible visual lines, while weaving which has a visual appearance that looks stiff. By testing several images to form a stiff woven pattern into a batik motif whose depiction looks flexible, then also paying attention to the aspect of laying motifs and repeating motifs so that this design looks good. After that, it is realized with the written batik technique according to the size of the image that has been made.
Teknik Penggambaran Doodle Pada Batik Lukis untuk Scarf Maria Fransiska Ratri Wulandari Suhartomo; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 2 No 01 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i01.944

Abstract

One of the efforts of batik preservation is developing several aspects in it, such as developing the pattern. The main motif of designing batik Lukis is in the form of marine life depicted with the drawing doodle technic. With theories batik, doodle, also drawing tehnics. This design of scarf product is for women, adults or teenager as an innovation of existing batik motifs and is expected to be an alternative product that can keep up the times. The design scarf product is made using the design process approach and it goes through four steps such as, starting form identifying the problem which have existed before in developing batik. Then, analizying the product planning according to the target market. After that, carrying out the creative process and proceed to the production process. Benefits from this producs use for inner and outer.
Efforts on Developing Sustainable Production of Surakarta’s Tiga Negeri Batik from Handmade Technique to Cold Wax Technique. Apika Nurani Sulistyati; Theresia Widyastuti
Javanologi: International Journal of Javanese Studies Vol 5, No 2 (2022): Javanologi Volume 5 No. 2: June
Publisher : Pusat Unggulan Ipteks Javanologi Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/javanologi.v5i2.67955

Abstract

A piece of batik cloth contains philosophical values, symbolic meanings, traces of events, ethnic identity, social stratification, spirituality, and records of the journey of civilization. Tiga Negeri batik is evidence of cultural assimilation and acculturation in Java. Tiga Negeri is the nickname for the three places from which batik is made from the process of designing, drawing (mbatik), and onto coloring. This batik, which is closely related to Chinese culture, originated in Lasem, then during its spread to Surakarta, the motifs and color schemes became richer due to the assimilation between coastal batik and inland batik, and thus it eventually became Tiga Negeri batik from Surakarta. However, recently this unique Surakarta’s Tiga Negeri batik is losing its prestige and requires revitalization efforts to sustain its sustainability.
Co-Authors Aina Vahrina Alfatichah Okvanda Putri Anggi Artiwi Anindhita Destiana Nur Ifani Annisa Sa'a Sakinah Apika Nurani Sulistyati Arianto Arianto Ashri Eka Rizki Darwoto Darwoto Maria Fransiska Ratri Wulandari Suhartomo Nimas Elizabeth Sarah Rum Handayani Tiwi Bina Affanti