Human Fetal Development And The Ways Of Asthabrata As An Idea In The Creation Of Sinjang Batik Tulis

Human beings which are wired as leaders should live based on the practice of transcendent value and total clarity on noble deeds. It functions as a guideline in living to avoid the crisis of morality that often occurs today. One of the values in this leadershipquality is the teaching of asthabrata containing the noble deeds of a leader who symbolized in the elements of the universe: the fire, the ground, the water, the air, the moon, the clouds, the sun, and the stars. The stage of human fetal development occurs from the age of one to nine months. These stages, along with the teachings of asthabrata become the base of an idea in the creation of batik art. The idea comes from the question of how to process the development stages of human fetal and ways of asthabrata as a base on creating the batik artwork which conveys sublime values about leadership. The purpose of this batik artwork creation are:incorporating the concept of human fetal development as part of human life cycle with the tradition of batik; Conveying the sublime sublime of leadership based on the asthabrata which refers to human nature as a natural born leader. The creation processcovering the method of design exploration, design process, and batik as a result of design by establishing the combination ofhuman fetal development and the asthabrata. The result shows nine sinjang batik tulis artworks, covering; Hamasesa Tan Pilih Warna (manage without seeing the color), Sukci (sacred), Hanguripi Sagung Dumadi (give strength to all life), Girise Kang Samya Miyat (be who you want to see), Sorota Hayem Angayomi (make peaceful and full protection), Jembar Tanpa Pagut(sincerity without limit), Muntir Tan Ana Pedhote (infinite rotation), Panengeraning Keblad (signpost), and Ngudi Kasampurnan(sharpening perfection).

Aesthetics of Lurik Cloth for Adang Ceremony at Kasunanan Palace Surakarta Hadiningrat

The Adang Ceremony held at the Kasunanan Palace in Surakarta has an important meaning; firstly it is performed by a King as the ruler of a large kingdom in his time. The second is held only once every eight years, namely in the Dal year, as a form of Islamic religious broadcasting and the acculturation of Javanese culture with Islamic culture. Acculturation is reflected in the purpose of the ceremony, which is to commemorate the birthday of the Prophet Muhammad, the 13th of the month of Mulud, and to honor the ancestral spirits of the Kings of Mataram, as the forerunners of the Mataram Kingdom, especially the Kasunanan Palace of Surakarta. The three adang ceremonies are carried out using traditional equipment that is environmentally friendly. Adang uses Pusaka Dalem Dandang Kangjeng Kyai Dhudho, a Kasunanan Palace heirloom in the form of a large cormorant. Striated cloth is a ladder cloth and clothing of Dandang Kangjeng Kyai Dhudho in an adang ceremony. Striated cloth for ladder consists of various patterns: 1.Ciut Lurik Yuyu Sekandang Merah, 2. Ciut Lurik Yuyu Sekandhang Putih,3.Ciut Lurik Tuluh Watu Malang, 4.Ciut Lurik Tuluh Watu Mujur, 5.Ciut Luruk Pali,6.Ciut Lurik Gedong Madu, 7.Ciut Lurik Liwatan, 8.Ciut Lurik Poleng, 9. Ciut Lurik Uler Serit, 10. Sinjang Wiyar Lurik Kepyur, 11. Sinjang Wiyar Lurik Dengklung,12. Sinjang Wiyar Lurik Tumbar Pecah, 13. Sinjang Wiyar Wari. The striated fabrics are folded, put in a tray and placed on the table together with other offerings. Sinjang Wiyar Lurik Dengklung is worn for the Dandang Kangjeng Kyai Dhudho cloth. The role of Sinjang Lurik Dengklung has a special meaning, namely as clothing for the heirloom of the Kasunanan Palace of Surakarta in the form of a Kyai Dhudho cormorant. The aesthetics of dengurung lurik cloth in an adang ceremony, viewed from 3 elements; shape, content and appearance. The shape or form, lurik cloth with dengklung pattern for adang ceremony, in the form of a long cloth / wiyar (in the form of a jarit / nyamping) measuring 90 cm wide and approximately 2.5 meters long, black with white stripes at both ends of the fabric. Appearance, to realize the Wiyar of lurik cloth with dengklung; it requires talent, skills and media. The manufacturing process, from natural materials namely cotton fibers made into yarn, woven with non-machine looms (ATBM) until become a lurik cloth, through a long and complicated process requires patience, painstaking, skills from beginning to ready to use. Appearance in the adang ceremony, Lurik Dengklung is used as a cloth of Dandang Kangjeng Kyai Dhudho, by being wrapped around the body of the cormorant and tied with white lawe yarn, requires skill to be neat and not easily separated. The combination that occurs in red, black and white. Red from the color of cormorant made from copper, black from lurik dengklung cloth, and white from the color of lawe yarn. The weight or content contained in the lurik dengklung, from the color combination that occurs namely red of the cormorant copper, the black lurik dengklung and the white of the lawe yarn. The color combination, as a symbol of fertility. The conditions that are expected from agrarian communities like Java, namely fertile land are expected to produce good crops. The white color is the symbol of the upper world (women) which brings rain, black is the symbol of the earth or the world below (men). Fertility will be achieved if there is a “marriage” (marriage of the cosmos), the upper world ie white or yellow with black, the underworld. The union of the two needs intermediaries, namely the middle world, symbolized by the red, the color of the red copper cormorant, as a symbol of the world in which humans live. Rice in the cormorant is transcendent (lucky), is believed to bring fortune, as a pest repellent and as a reinforcement. The fertility achieved brings peace, prosperity and cosmic order. Keywords: adang, cormorant, lurik dengklung, symbol meaning DOI: 10.7176/ADS/77-03 Publication date:October 31st 201

PEMBINAAN SENI LUKIS WAYANG BEBER BAGI SISWA SMAN I COLOMADU KARANGANYAR

Culture is a product of human’s creative force, creation, intention, and sense in order to fulfil their needs and physically as well as mentally prosperous life. Besides, culture represents the realization of human thinking in completing their needs for life. For the reason, culture as a human product cannot survive longer (langgeng). Wayang beber is one of human products that cannot live longer (langgeng). Besides that, wayang beber is also one of performance media and as a media of ritual performance as well. Therefore, it is our duty to introduce and to conserve , as well as to guard it in order that it, wayang beber, doesn’t extinct especially for the next generation. That is why the writer is urged to do the development of wayang beber painting in SMAN I Colomadu, Karanganyar so that the young generation will be able to know more about local culture which is so great and must be guarded. Key words : wayang beber, ritual, culture, and loca

Topeng Surakarta as a Source of Ideas for Batik Motif Design in Women's Casual Clothes

Indonesia is a country that has a diverse form of arts and cultures, one of which is the art of mask that grows and develops in various regions. Masks in a broad sense vary greatly from shape, function, and materials for which they are made. The need for the use of masks is often found in artistic, ritual, religious, health, and performance activities. The tradition of mask in Indonesia has existed since before the history of writing. Masks are believed to represent the spirits of the deceased and are often decorated with human and animal forms to symbolize the supernatural world and the relationship between humans and their origins. This paper explored the form of mask, specifically the Surakarta mask as a source of idea in batik motif creation. The batik motif was made by stylization of the mask using remasol dye and colet technique, resulting in five batik clothes that are cut and sewn into women casual clothes. By turning Surakarta mask batik motif into casual clothing, the clothes made can introduce the art of mask in Surakarta to the wider community, preserving both the art of mask and the art of batik as a high value tradition full of local wisdom

REFLEKSI PEMIKIRAN KARTINI SEBAGAI INSPIRASI PEMBUATAN KARYA TAPESTRI

Tugas Akhir kekaryaan yang dikerjakan oleh penulis ini, adalah mengangkat tema Refleksi Pemikiran Kartini sebagai Inspirasi Pembuatan Karya Tapestri. Pembatasan pemikiran Kartini yang dibahas adalah pemikiran tentang melawan feodalisme dan menjunjung emansipasi, karena dianggap sebagai permasalahan yang sering terjadi di lingkungan masyarakat hingga saat ini. Jadi, bisa dikatakan karya yang dibuat penulis dengan tema pemikiran Kartini masih relevan dengan masa kini. Visualisasi karya tugas akhir ini, lebih menekankan pada kegiatan eksplorasi bentuk. Sebagai acuan dalam proses penciptaan adalah bentuk dekoratif, serta objek perempuan imajinatif. Ketika mengolah bentuk perempuan imajinatif yang dekoratif digunakan proses stilasi (penggayaan bentuk), distorsi (penggambaran bentuk yang menekankan pada capaian karakter), dan deformasi (penggambaran bentuk yang menekankan penafsiran karakter). Bentuk dasar yang diambil adalah bagian-bagian bentuk gerak tubuh dan yang dianggap dapat mewakili sebagai gagasan yang bersumber dari pemikiran-pemikiran Kartini. Karya tapestri ini berbentuk dua dimensional. Warna yang digunakan adalah warna-warna kontras, dan dikombinasikan dengan susunan garis-garis yang dihasilkan dari sulaman dan lilitan benang. Karya dilengkapi dengan hiasan permukaan menggunakan manik-manik, sehingga menjadikan karya nampak lebih indah. Kata Kunci: refleksi, Kartini, tapestri

OPTIMASI PRODUKSI BATIK DENGAN TEKNIK WAX PRINT SCREEN (WPS) UNTUK PERAJIN BATIK KEMBANG KELI DI KABUPATEN WONOSOBO

Pengabdian Pada Masyarakat Tematik batik dengan teknik Wax Print Screen (WPS) ini merupakan bentuk kemitraan dari kelompok perajin batik “Kembang Keli” dengan Institut Seni Indonesia Surakarta. Batik Kembang Keli berada di wilayah kecamatan Kertek Kabupaten Wonosobo. Sesuai dengan proposal kemitraan diajukan ibu Yohana Wiera, S.Si selaku ketua kelompok perajin batik ”Kembang Keli” kegiatan ini mempunyai maksud dan tujuan untuk menambah pengetahuan tentang teknik membatik, guna meningkatkan kualitas dan kuantitas produksi sehingga bersaing secara kualitas dan kuantitas dengan harga yang terjangkau oleh masyarakat umum.Hasil observasi di lapangan didapatkan beberapa permasalahan yang dihadapi mitra antara lain masih minimnya tenaga terampil perajin batik di Wonosobo, banyak peminat  produk batik dari Kembang Keli tetapi jumlah produksi yang terbatas belum bisa memenuhi permintaan pasar, lamanya proses membatik menyebabkan biaya produksi mahal sehingga kurang bisa bersaing harga dengan produsen batik lainnya. Berdasarkan permasalahan mitra tersebut, maka Penulis menawarkan pelatihan batik dengan teknik Wax Print Screen (WPS) sebagai solusi permasalahan dan usulan dari mitra penajin batik Kembang Keli untuk optimasi produksi batik. Kegiatan pelatihan dilakukan selama tiga hari yang diikuti oleh para perajin batik di wilayah kecamatan Kertek Wonosobo. pada acara tersebut para peserta diberi pelatihan cara membuat model cetak motif batik pada screen sablon sampai proses finishing produk batik. Dengan penerapan teknik Wax Print Screen (WPS) bisa mengoptimalkan hasil produksi batik, yaitu bisa mengurangi waktu pengerjaan desain dan membatik pada produk skala masal sehingga menghemat waktu produksi dan menekan biaya operasional sehingga para perajin batik Wonosobo mampu bersaing harga produk dengan kompetitor lainnya