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All Journal LITE: Jurnal Bahasa, Sastra, dan Budaya El-HARAKAH : Jurnal Budaya Islam Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Mediator: Jurnal Komunikasi Glosains: Jurnal Sains Global Indonesia
Saftiyaningsih Ken Atik
Universitas Muhammadiyah Bandung
Arts Humanities Languange, Linguistic, Communication & Media Public Health Social Sciences

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Islamic Heritage Branding for Cultural Sustainability in Demak Batik Eko Haryanto; Gunadi Gunadi; Adi Kuntoro; Saftiyaningsih Ken Atik
el Harakah: Jurnal Budaya Islam Vol 28, No 1 (2026): EL HARAKAH
Publisher : UIN Maulana Malik Ibrahim Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/eh.v28i1.38923

Abstract

The sustainability of traditional cultural industries is increasingly challenged by globalisation and market competition. Previous studies have examined Islamic branding, batik innovation, and culture-based creative economies; however, limited attention has been given to how Islamic symbolic heritage functions as a mechanism for cultural sustainability within religious branding practices. This study analyses how Javanese Islamic values are reinterpreted and integrated into the heritage branding practices of Demak Batik. A qualitative ethnographic approach was employed to examine cultural practices within the batik artisan community. Data were collected through participant observation, in-depth interviews with artisans, business operators, community leaders, and consumers, as well as analyses of visual documentation and promotional materials. The findings reveal that motifs of the Demak Grand Mosque and the Bledek Gate function not only as aesthetic elements but also as media for reinterpreting Javanese Islamic values, including itqan, tawazun, and spiritual awareness. These values shape a branding narrative that positions batik production as an ethical and religiously meaningful creative practice. This study demonstrates that Islamic heritage branding can support cultural sustainability by integrating religious symbolism, production ethics, and community identity within a value-based branding system. The findings situate Demak Batik within broader discussions of ethical branding and religion-based cultural economies while showing how local Islamic heritage can strengthen cultural identity and sustain creative industries. The study also highlights the need for comparative and mixed-methods research to examine the broader economic impact of religious branding across batik-producing regions. Keberlanjutan industri budaya tradisional semakin ditantang oleh globalisasi dan kompetisi pasar. Penelitian-penelitian sebelumnya telah mengkaji pelabelan merek Islam (Islamic branding), inovasi batik, dan ekonomi kreatif berbasis budaya; namun, perhatian yang diberikan pada bagaimana warisan simbolis Islam berfungsi sebagai mekanisme keberlanjutan budaya dalam praktik pelabelan merek berbasis agama masih terbatas. Penelitian ini menganalisis bagaimana nilai-nilai Islam Jawa diinterpretasikan kembali dan diintegrasikan ke dalam praktik pelabelan merek warisan budaya pada Batik Demak. Pendekatan etnografi kualitatif diterapkan untuk mengkaji praktik-praktik budaya di dalam komunitas pengrajin batik. Data dikumpulkan melalui observasi partisipan, wawancara mendalam dengan para pengrajin, pelaku usaha, tokoh masyarakat, dan konsumen, serta analisis dokumentasi visual dan materi promosi. Temuan penelitian menunjukkan bahwa motif Masjid Agung Demak dan Pintu Bledek tidak hanya berfungsi sebagai elemen estetika, tetapi juga sebagai media untuk menginterpretasikan kembali nilai-nilai Islam Jawa, termasuk itqan, tawazun, dan kesadaran spiritual. Nilai-nilai ini membentuk narasi pelabelan merek yang memosisikan produksi batik sebagai sebuah praktik kreatif yang etis dan bermakna secara religius. Penelitian ini menunjukkan bahwa pelabelan merek warisan Islam dapat mendukung keberlanjutan budaya dengan mengintegrasikan simbolisme agama, etika produksi, dan identitas komunitas ke dalam sistem pelabelan merek berbasis nilai. Temuan ini menempatkan Batik Demak ke dalam diskusi yang lebih luas mengenai pelabelan merek yang etis (ethical branding) dan ekonomi budaya berbasis agama, sekaligus menunjukkan bagaimana warisan Islam lokal dapat memperkuat identitas budaya dan mempertahankan industri kreatif. Penelitian ini juga menyoroti perlunya penelitian komparatif dan metode campuran (mixed-methods) untuk mengkaji dampak ekonomi yang lebih luas dari pelabelan merek berbasis agama di berbagai wilayah penghasil batik.
Human–AI Co-Creation in Traditional Craft: Generative Artificial Intelligence for Batik Design Innovation in Indonesian Creative Communities Komarudin Kudiya; Bambang Sumintono; Saftiyaningsih Ken Atik
Glosains: Jurnal Sains Global Indonesia Vol. 7 No. 3 (2026): Glosains: Jurnal Sains Global Indonesia
Publisher : Sekolah Tinggi Agama Islam Kuningan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59784/glosains.v7i3.799

Abstract

Background: The declining generational renewal of batik designers poses challenges to sustaining innovation in Indonesia’s traditional craft industry. Objective: This study investigates how generative artificial intelligence can support human–AI co-creation in batikdesign innovation. Methods: Using a mixed-methods case study of a Batik AI training program organized by the Indonesian Batik Artisans and Entrepreneurs Association, this research examines the integration of AI-assisted design exploration within batikcreative communities. Data were collected through observations, documentation of AI-generated designs, and a perception survey involving 300 respondents from the batik ecosystem. Results: The results indicate that generative AI substantially expands the exploration of motif variations, enabling participants to generate 300 batik design simulations—200 in Cirebon and 100 in Bandung—featuring traditional motifs, including parang, kawung, and megamendung. Descriptive statistical analysis involving 300 respondents revealed positive perceptions across all dimensions. Motif composition received the highest score (mean = 4.24, SD = 0.68), followed by color sharpness (mean = 4.21), motif authenticity (mean = 4.18), color brightness (mean = 4.15), originality of motif ideas (mean = 4.11), and the quality of supplementary motifs (mean = 4.07). The philosophical meaning of the motifs received the lowest score (mean = 3.96), indicating the limitations of AI in encoding cultural symbolism. The instrument demonstrated satisfactory reliability (Cronbach’s alpha = 0.87). Conclusion: The findings suggest that generative AI functions as a collaborative tool that enhances the capacity for creative design exploration. However, respondents’ perceptions of the philosophical meaning of the motifs (mean = 3.96) indicate that human cultural curation remains indispensable for preserving the profound symbolic authenticity of traditional batik designs. These findings reflect respondents’ perceptions within the specific training contexts of Cirebon and Bandung.
Semiotic Networks of Pan-Asian Cultural Communication: Rabindranath Tagore, Javanese Batik, and the 1927–2027 Inter-Asian Encounter Komarudin Kudiya; Saftiyaningsih Ken Atik
Mediator: Jurnal Komunikasi Vol. 19 No. 1 (2026): Mediator: Jurnal Komunikasi (Sinta 2)
Publisher : UPT Publikasi Ilmiah UNISBA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29313/mediator.v19i1.9417

Abstract

This study examines how Javanese batik operates as a visual semiotic medium within Pan-Asian cultural communication by revisiting Rabindranath Tagore’s 1927 encounter with Java and its centenary relevance in 2027. Existing studies of Pan-Asian encounters often privilege textual, literary, and historical narratives, while the communicative role of visual and material culture remains less fully theorized. Using an interpretative qualitative approach, this study analyzes selected Javanese batik artifacts, Tagore’s travel writings, and historical accounts through semiotic and iconological readings, supported by comparative interpretation and source triangulation. The findings identify three interconnected dimensions of semiotic networks: the circulation of cosmological symbols, the articulation of spiritual-aesthetic values, and the negotiation of philosophical meanings across cultural boundaries. Rather than treating Tagore’s encounter with batik as a one-directional transmission of influence, the study conceptualizes it as a dialogical process in which visual symbols, material practices, and cultural memory interact. The article contributes to cultural communication studies by proposing semiotic networks as a framework for analyzing non-verbal and relational communication in Asian contexts. It also highlights practical implications for cultural diplomacy, heritage communication, and tradition-based design innovation by positioning batik as an active medium of intercultural dialogue.
Phenomenological study of tacit aesthetics in Merawit Batik and geographical indication certification Komarudin Kudiya; Saftiyaningsih Ken Atik; Heri Kismo
LITE: Jurnal Bahasa, Sastra, dan Budaya Vol. 21 No. 2 (2025): September
Publisher : Universitas Dian Nuswantoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/lite.v21i2.12624

Abstract

This study examines the tacit aesthetics of Cirebon's Batik Tulis Merawit and its relevance to Geographical Indication certification. The main focus of the study is to understand how bodily experience, visual intuition, and implicit knowledge of the artisans shape the visual character of batik that is distinctive, authentic, and rooted in local traditions. This study uses a qualitative approach with a hermeneutic phenomenology method. Data were collected through participatory observation, in-depth interviews, and visual documentation of the batik practices of Cirebon's Batik Tulis Merawit artisans. Analysis was conducted interpretively to read the relationship between the body, materials, techniques, experiences, and aesthetic meaning. The results show that the aesthetics of Batik Tulis Merawit are not only determined by motifs, colors, or visual forms, but also by the artisans' embodied experiences in processing canting, wax, cloth, hand pressure, line rhythm, ornament density, and color composition. This aesthetic knowledge is tacit because it is passed down through repeated practice, observation, community correction, motor memory, and sensitivity that is difficult to formalize in technical instructions. The findings also indicate that Geographical Indication certification still tends to emphasize aspects of origin, materials, techniques, and the final form of the product, thus not fully accommodating the aesthetic experience of artisans. This study concludes that tacit aesthetics need to be recognized as an important basis for protecting, documenting, and strengthening the quality of Cirebon Batik Tulis Merawit. The practical implication is the need to reformulate Geographical Indication documents to include embodied knowledge, the authority of artisan communities, and local aesthetic standards.
Integrasi Pengetahuan Tacit Knowledge Perajin Dalam Pengembangan Desain Batik Berbasis AI Komarudin Kudiya; Saftiyaningsih Ken Atik; M. Djalu Djatmiko
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7226

Abstract

In the era of digital transformation, the integration of technology and cultural heritage has become a strategic issue, particularly in the preservation and development of batik design. This study aims to integrate artisans’ tacit knowledge—intuitive, experiential, and skill-based understanding—into AI-based design systems without compromising cultural and aesthetic values. Using a qualitative approach through ethnographic design thinking, the research involves participatory observation, in-depth interviews, and visual analysis of traditional batik motifs. The process of converting tacit knowledge into explicit form is carried out through narrative labeling and semantic mapping of batik’s visual elements, which are then incorporated into generative AI models. The findings indicate that this integration can produce batik designs that retain local authenticity while remaining visually relevant to contemporary contexts. Moreover, the active participation of artisans in the AI design process enhances both the aesthetic validity and social acceptance of the outcomes. This study asserts that AI should not be seen as a replacement for artisans, but rather as a collaborative tool that strengthens their role as creative subjects within the digital batik industry ecosystem.
Co-Authors Adi Kuntoro Bambang Sumintono Eko Haryanto Gunadi Gunadi Heri Kismo Komarudin Kudiya, Komarudin M. Djalu Djatmiko