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MOTIF TRADISI GAYA SURAKARTA Eksistensi Dan Pengembangannya Pada Ukir Kayu Rahayu Adi Prabowo
Jurnal Budaya Nusantara Vol 4 No 2 (2021): NUSANTARA & RUANG VIRTUAL
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol4.no2.a4057

The existence of a wealth of ornament in Nusantara is a challenge in terms of recognition and learning. One important element is that learning can be accepted and understood easily so that the empowerment and development of traditional motifs, especially the Surakarta style, will experience development. Traditional motifs come from classical art or primitive art, but after receiving certain treatments, their benefits are preserved to meet needs, especially in terms of aesthetic needs. One of the motifs that are often found is those applied to wood craft products (wood carvings). The wood carving motifs in Indonesia have a rich variety of styles. The various forms of carving motifs each have their own characteristics according to the region. Like the Surakarta style carving motif, which is the focus of this study, it is known to have a strong and distinctive character that is needed by a series of actions in the framework of its preservation and development. To recognize or learn the characteristics and application of Surakarta-style wood carving, it is necessary to have a mature and structured visual identification so that it is able to present good and correct information. The identification in this study uses the interpretive description method with the enrichment of the hermeneutic approach. This method approach is expected to find a result of the focus of the discussion, namely the characteristics of the Surakarta-style carving motifs applied by the craftsmen and discovering the grooves and patterns of new Surakarta-style carving motifs.

MOTIF TRADISI GAYA SURAKARTA Eksistensi Dan Pengembangannya Pada Ukir Kayu Rahayu Adi Prabowo
Jurnal Budaya Nusantara Vol 4 No 2 (2021): NUSANTARA & RUANG VIRTUAL
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol4.no2.a4057

The existence of a wealth of ornament in Nusantara is a challenge in terms of recognition and learning. One important element is that learning can be accepted and understood easily so that the empowerment and development of traditional motifs, especially the Surakarta style, will experience development. Traditional motifs come from classical art or primitive art, but after receiving certain treatments, their benefits are preserved to meet needs, especially in terms of aesthetic needs. One of the motifs that are often found is those applied to wood craft products (wood carvings). The wood carving motifs in Indonesia have a rich variety of styles. The various forms of carving motifs each have their own characteristics according to the region. Like the Surakarta style carving motif, which is the focus of this study, it is known to have a strong and distinctive character that is needed by a series of actions in the framework of its preservation and development. To recognize or learn the characteristics and application of Surakarta-style wood carving, it is necessary to have a mature and structured visual identification so that it is able to present good and correct information. The identification in this study uses the interpretive description method with the enrichment of the hermeneutic approach. This method approach is expected to find a result of the focus of the discussion, namely the characteristics of the Surakarta-style carving motifs applied by the craftsmen and discovering the grooves and patterns of new Surakarta-style carving motifs.

Pengembangan Kerajinan Sangkar Burung Kelurahan Kadipiro, Surakarta, Jawa Tengah Aan Sudarwanto; Rahayu Adi Prabowo; Ari Supriyanto
Abdi Seni Vol 10, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

AbstrakKriya mempunyai cakupan yang sangat luas salah satunya adalah kriya kayu, dimana konsentrasi penggunaan bahan baku utamanya didominasi bahan baku kayu. Diantara keragaman produk kriya kayu adalah produk kerajian sangkar burung. Dari data yang ada diketahui bahwa dalam 10 tahun terakhir telah mengalami booming. Hal ini karena banyaknya muncul peternak burung sebagai komoditi perdagangan maupun banyaknya komunitas-komunitas pecinta burung baik dari kalangan masyarakat ekonomi lemah hingga masyarakat menengah dan atas. Kebutuhan sangkar burung meningkat dengan pesat hampir merata di setiap daerah dan berdampak pula muncul sentra kerajinan sangkar burung sebagai kantong penghasil sangkar burung. Salah satunya sentra kerajinan sangkar burung di kalurahan Kadipiro, Banjarsari, Surakarta. Terdapat beberapa permasalahan yang menjadikendala di sentra kerajinan sangkar burung di kalurahan Kadipiro Surakarta, diantaranya adalah; Tidak mampu memproduksi dalam waktu yang singkat, tidak adanya standarisasi produk fungsional, kurangnya tenaga kerja trampil dalam mengembangkan produk. Tidak ada produk dengan branded tertentu sehingga mudah ditiru. Berpijak dari permasalahan dan kondisi di sentra kerajinan sangkar burung Kadipiro maka dilakukan kegiatan peningkatan pengembangan produk sangkar burung melalui program PPM, dengan target pengusaha bernama Yudi Haryadi yang saat ini sedang merintis kerajinan sangkar burung bernama “Carisa Sangkar” . Fokus dari kegiatan PPM ini lebih diarahkan pada pada aspek peningkatan kualitas produk karya kriya kayu khususnya sangkar burung dengan pembuatan desain yang baik sampai menjadi prototype. Kemudian dilakukan penguatan sumber daya manusia, melalui pendampingan lapangan, yang diharapkan dapat meningkatkan penjualan dan sekaligus secara tidak langsung dapat meningkatan kesejahteraan masyarakat.Kata kunci : Kriya, kreativitas, sangkar burung, sistem produksi AbstractCraft has a very broad scope one of which is wood craft, where the concentration of the use of raw materials is mainly dominated by wood raw materials. Among the wood craft products are bird cage. It is known that in the last 10 years becoming the peak season. This is due to the large number of bird breeders emerging as trade commodities as well as the many bird-loving communities from among the economically weak to the middle and upper classes. The need for bird cages is rapidly increasing almost evenly in every area and the impact is also emerging centers of bird cage crafts as bird cage producers. One is a bird cage craft center in Kadipiro , Banjarsari, Surakarta. There are a number of problems that have become obstacles in the bird cage handicraft center in Kadipiro Surakarta, including not able to produce in a short time, there is no standardization of functional products, lack of skilled workforce in developing products. There is no specific branded product so it is easy to imitate. Based on the problems and conditions in the Kadipiro bird cage craft, activities to improve the development of bird cage products through the community service , with the target of a businessman named Yudi Haryadi who is currently pioneering a bird cage craft called “Carisa Cage”. Improving the quality of wood craft products, especially birdcages by making good designs to become prototypes. Then do strengthening human resources, through field assistance, which is expected to increase sales and at the same time indirectly improve community welfare.Keywords: crafts, creativity, bird cage, production system

PELATIHAN LUKIS KACA SEBAGAI PEMBERDAYAAN POTENSI KREASI SENI KRIYA DI DESA BANARAN KECAMATAN GEMAWANG KABUPATEN TEMANGGUNG PROPINSI JAWA TENGAH Rahayu Adi Prabowo
Abdi Seni Vol 9, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Thematic community service titled “Glass Painting Training as an Empowerment for the Potential of Creative Arts Creation in Banaran Village Gemawang District Temanggung Regency Central Java Province” This focus is on increasing the potential of craft arts in Banaran Village Gemawang District Temanggung District Central Java Province, namely with a series of glass painting making training as an alternative to the development of craft art creations in Banaran Village. This is important to do because so far the technique of glass painting is more widely known in the arts academics environment without much involving the role of the community in its development. This dedication activity besides introducing one of the painting techniques to the glass media, is also broadly aimed as a foothold in the framework of empowering the creative economy in rural communities. After attending this training, it is expected that emerging creative economic development talents that can uplift the economy of rural communities starting from the movement of the individuals involved will then be predicted to emerge MSMEs (Micro and Small and Medium Enterprises) based on the potential of craft art. The method used in this activity is intensive training which is held for several weeks. The training itself will be divided into 5 stages of work namely; general introduction to theory, introduction to media and glass painting techniques, design practice, application of color tone applications to glass media, and finishing and evaluation.Keywords: craft art, glass painting, creative economy.

An analysis of the dress of the female warriors of the palace of Mangkunegara I at the 1991 palace festival Linda Utami; Sunarmi Sunarmi; Rahayu Adi Prabowo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5431

The military apparatus in each region is established to maintain its sovereignty. The Prajurti women of the Mangkunegara Palace were an elite group of soldiers who participated in Raden Mas Said's struggle. As an extraordinary group of warriors in Mangkunegaran history, they have unique clothing that needs further research. The palace attire is one of the important cultural heritages that must be preserved. In Javanese culture, it is taught that dressing appropriately is in accordance with guidelines, situations, and conditions. This article discusses the attire of the Prajurti women of the Mangkunegara Palace, which was reintroduced during the Keraton Festival in 1991 by Trenggono. The research used descriptive analysis techniques, describing the research subject through collected data without analysis or drawing conclusions. The approach used was the aesthetic morphology approach of Thomas Munro. Based on this, this research explains the women's clothing of the Mangkunegara Palace Soldiers by Trenggono, which was displayed at the 1991 Palace Festival. The result shows that there is a discrepancy between the description of the attire of the Prajurti women of the Mangkunegara Palace in Serat Babad Nitik Mangkunegara I and II and the attire created by Trenggono.

PELATIHAN BATIK DENGAN MOTIF JAGAD PACITAN SEBAGAI UPAYA PENGEMBANGAN EKONOMI KREATIF DI DUSUN NGETEP DESA NGROMO KECAMATAN NAWANGAN KABUPATEN PACITAN Nugroho, Prima; Rahayu Adi Prabowo
Abdi Seni Vol. 15 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v15i1.5377

Community service activities with the title "Batik Training with Jagad Pacitan Motifs as an Effort to Develop Creative Economy in Ngetep Hamlet, Ngromo Village, Nawangan District, Pacitan Regency" this activity focuses on improving the skills of the Ngetep Hamlet community through training in the field of fine arts. The program was carried out in order to develop the creative economy in Ngetep Hamlet. This activity is also an effort to present artistic activities which can build the brand image of Ngetep Hamlet. Besides being an effort to improve skills, batik training also aims to grow the love of the community, especially the younger generation, for one of Indonesia's cultural heritages, namely batik. With this training, it is expected that the emergence of artistic activities carried out by the community and can develop into a source of community income in the field of fine arts. The method used in this batik training activity is the lecturing plus method, demonstration, practice, and also combines with the art creation method where participants are invited to be creative in the motifs to be made into batik. This training was carried out with 5 stages of work, namely the introduction of tools and materials, presentation of material about batik, demonstration of the batik making process, practice of motif design creation, and practice of making batik

EXOTICISM "KALA" IN TRADITIONAL MOTIF ON WOOD AND METAL MEDIA Prabowo, Rahayu Adi
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.6029

Kala is one of the decorative motifs or ornaments carved on temples in Indonesia. Kala is in the shape of a giant head or face which is an imaginary ornament or imaginary motif which is a form of art from past cultures. The appearance of the kala motif usually does not refer to fragments of the storyline, but rather to a form of display that symbolizes protection and honor. The development of the form of the kala motif has been widely carried out as an act of cultural preservation which has the aim of expanding the meaning of the essence of the existence of the kala motif. Efforts to develop the kala motif in various forms and styles refer to deepening its aesthetic meaning, namely how its existence can be recognized and understood as a form of fine art wealth which is very important to maintain its continuity. This article about kala works is an attempt to develop the aesthetic appearance of kala forms in wood and metal media that have never been presented before. This research uses media and technique exploration methods, namely presenting works in wood and metal media using traditional carving techniques. This method provides a strong understanding of traditional artistic works with presentations that prioritize the main characters of the kala motif, namely firmness, valor, and authority.

WAYANG PURWA SEBAGAI OBJEK LUKIS KACA KARYA RETNO LAWIYANI : Sebuah Kajian Visual Ornamentik Irawati, Desi; Prabowo, Rahayu Adi
Ornamen Vol. 18 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v18i2.3705

Wayang merupakan karya adiluhung Bangsa Indonesia yang dapat dikembangkan dari berbagai sisi, salah satunya adalah wujud visual wayang yang diterapkan pada karya lukis kaca. Retno Lawiyani adalah seniman lukis kaca yang menggunakan wayang purwa sebagai ide gagasan dalam setiap karya lukis kacanya. Ide gagasan tersebut sangat menarik untuk diteliti, terkhusus dari sisi estetikanya. Penelitian ini bertujuan mendiskripsikan 1) latar belakang kekaryaan Retno Lawiyani, 2) proses kreatif Retno Lawiyani pada karya lukis kaca, 3) wujud visual lukis kaca Retno Lawiyani. Penelitian ini menggunakan metode penelitian kualitatif yang menghasilkan data diskriptif analisis, dengan alur pengumpulan data, reduksi data, analisis data, dan simpulan. Objek penelitian adalah 5 karya lukis kaca Retno Lawiyani yang dipilih menggunakan tekhnik purposive sampling. Jenis pendekatan yang digunakan adalah pendekatan biografi, pendekatan kreativitas, dan pendekatan estetika menurut teori A.A.M Djelantik. Menurut A.A.M Djelantik, terdapat 3 unsur estetika yaitu wujud/rupa, bobot/isi, dan penampilan, ketiga unsur tersebut kemudian digunakan untuk menganalisis karya lukis kaca Retno Lawiyani. Kata kunci : lukis kaca, wujud visual, ornamentik. ABSTRACT Wayang is a valuable work of the Indonesian people that can be developed from various sides, one of which is a visual form of wayang which is applied to glass painting. Retno Lawiyani is a glass painting artist who uses wayang purwa as an idea in each of her glass painting works. The ideas are very interesting to study, especially in terms of aesthetics. This study aims to describe 1) the background of Retno Lawiyani's work, 2) Retno Lawiyani's creative process in glass painting, 3) the visual form of Retno Lawiyani's glass painting. This study uses qualitative research methods that produce descriptive analysis data, with data collection flow, data reduction, data analysis, and conclusions. The research objects were 5 Retno Lawiyani's glass paintings which were selected use of technique purposive sampling. The type of approach used is the biography approach, creativity approach, and aesthetic approach according to A.A.M Djelantik's theory. According to A.A.M Djelantik, there are 3 aesthetic elements, namely appearance, weight / content, and appearance, these three elements are then used to analyze Retno Lawiyani's glass painting. Keywords : painted glass , a form of visual, ornamental.

Kajian Visual Motif Batik Pada Gitar Produksi Batiksoul Febiola, Vincentia Yohanna; Prabowo, Rahayu Adi
Ornamen Vol. 20 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v20i1.4940

Penelitian ini bertujuan untuk mendeskripsikan 1) Latar belakang penciptaan batik pada gitar produksi Batiksoul; 2) Proses pembuatan batik pada gitar produksi Batiksoul; 3) Bentuk motif batik pada gitar produksi Batiksoul. Lokasi penelitian berada di Rumah produksi Batiksoul Jl. Guntur 19, RT 05 / RW 07, Ngenden, Banaran, Sukoharjo. Data penelitian diperoleh melalui teknik pengumpulan data yang diperoleh yaitu observasi, wawancara, dan dokumentasi. Penelitian ini menggunakan metode penelitian deskriptif kualitatif dengan alur pengumpulan data, reduksi data, analisis data dan penarikan kesimpulan. Analisis visual motif batik pada gitar produksi Batiksoul menggunakan pendekatan estetika. Hasil dari penelitian dapat disimpulkan sebagai berikut: 1) Profil dan sejarah singkat Batiksoul. 2) Faktor yang mempengaruhi penciptaaan batik pada gitar. 3) Motif batik produksi Batiksoul dan pembuatan batik pada gitar produksi Batiksoul serta strategi pemasaran. 4) Bentuk visual motif batik pada gitar berupa motif Ikan Koi, motif Merak Manis, motif Cendrawasih Banyu Biru dan motif Kupu-kupu. Bentuk visual motif pada gitar produksi Batiksoul terdiri dari motif utama dan motif pendukung serta isen-isen dengan menerapkan konsep memproduksi secara terbatas atau limited quality tiap motif. Motif batik pada gitar produksi Batiksoul merupakan gubahan atau kombinasi dari motif tradisi dan motif kreasi baru yang memiliki nilai estetik. Motif batik pada gitar produksi Batiksoul secara keseluruhan mengandung tiga aspek keindahan mendasar yaitu wujud atau rupa suatu karya, bobot atau isi yang ingin disampaikan dan penampilan atau penyajian yang ditampilkan dalam karya.

Melati Sebagai Sumber Ide Penciptaan Motif Batik Pada Kain Panjang Utami, Nanda Putri; Prabowo, Rahayu Adi
Ornamen Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v20i2.5486

Melati Sebagai Sumber Ide Penciptaan Motif Batik Pada Kain Panjang, merupakan sebuah karya yang terinspirasi dari bunga melati sebagai motif pada kain panjang dengan teknik batik. Tujuan dari kekaryaan ini yaitu, menciptakan motif melati pada kain panjang menggunakan teknik batik. Penciptaan karya ini dilakukan menggunakan teori SP Gustami yaitu metode “tiga tahap enam langkah penciptaan karya seni kriya”. Proses penciptaan karya dimulai dari tahap eksplorasi yaitu dengan melakukan pengamatan pada bunga melati, dilanjutkan pada tahap perancangan alternatif desain untuk dipilih sebagai motif hias yang diaplikasikan pada kain panjang. Berikutnya merupakan teknik perwujudan dalam penciptaan karya ini menggunakan teknik batik. Proses perwujudan karya diawali dengan proses nyorek (memindahkan motif pada kain), proses mencanting, proses pewarnaan, dan proses melorod (menghilangkan malam). Karya ini menghasilkan lima karya kain panjang dengan judul; Ranti, Lituhayu, Padma, Menur, dan Rukmasara. Penciptaan karya ini menghasilkan karya kain panjang dengan motif bunga melati. Dengan terciptanya karya kain panjang yang mengangkat keindahan batik motif bunga melati diharapkan dapat menambah wawasan masyarakat mengenai penggunaan bahan alami pada pembuatan sebuah karya dapat juga menjadi sebuah karya yang menarik.

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