Article Per Year (5 Year)
p-Index From 2021 - 2026
0.562
P-Index
This Author published in this journals
All Journal Hastagina: Jurnal Kriya dan Indsutri Kreatif
Theresia Widyastuti
Program Studi Kriya Tekstil, Fakultas Seni Rupa dan Desain, Universitas Sebelas Maret Surakarta
Arts Humanities

Published : 3 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 3 Documents
Search

 1 
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.
Co-Authors Anggi Artiwi Anindhita Destiana Nur Ifani Nimas Elizabeth