ABSTRACT
The title of this research is "The Pracimayasa Interior at Pura Mangkunegaran Surakarta." The objectives of this research are: (1) to understand the background of how the Pracimayasa interior came into existence and its function in relation to the designer\u27s point of view, that is Mangkunegara VII(2) to trace the artistic of Pracimayasa interior in connection with Javanese ethical values. Since the Pracimayasa interior is a cultural work that was designed by Mangkunegara VII, this research focuses on its historical perspective based on an assumption that a work of art is the result of the artist\u27s creativity where at the same time it is also an indication of a behavioral change.
This research borrows R.M. Soedarsono\u27s concept that a change motivated is triggered by two factors, that are, internal factors and external factors. In directing to a proper interpretation, this study also borrows Monroe
C. Beardsley\u27s theory which says that a work of art is said to have artistic values if it contains three elements: (1) unity, (2) complexity, and (3) intensity. To obtain a more comprehensive and substantial answer, this research has applied a qualitative approach and is supported by other approaches from several social sciences. The methods which are used are literary study, observation, and interviews.
The result of this research shows that the materialized background of Pracimayasa interior is encouraged by internal and external factors. The internal factor was based on the Mangkunegara VII\u27s need to legitimized to the power, to respect Gusti Ratu Timur\u27s father who would be his father-in-law (Gusti Ratu Timur was Mangkunegara VII\u27s consort), the movement that was initiated by Java Instituut, and the progressive modern way of thinking about the particularity of space. The external factor was based on his political cooperation and alliance with the Dutch colonial Government and his western educational background. There are three prominent artistic elements of the Pracimayasa interior: (1) the harmonious unity in the arrangement of the interior elements of every room, (2) his ideas and courage to insert ancient Javanese traditional element mixed with luxurious Western cultural arts which applied modern techniques which consequently result in a diversity of art works, and (3) the intensity of power the standardization of non-verbal elements of Javanese etiquette as the soul of planning
Keywords: interior, power, etiquette value, and spirit/soul
