Philosophical Review And Semiotic Batik Kawung

( AN INITIAL APPROACH ) Nana Rizali published in the Journal of Art & Design Vol – No. 2 – March 1, 2001 abstract From the beginning our ancestors have worked on almost all types of textiles ranging from the simple to the complex – One type of traditional textiles from the developing regions in accordance with the tradition of environmental conditions and natural potential is a classic batik – decorative shapes and patterns that blend with the technique of making as well as custom background makes classical batik as Indonesian cultural identity of nations – batik kawung is one manifestation of a national culture that has distinctive feature that is visually beautiful and philosophical value – In these works there is a sign or symbol ¬ mark that can not be understood literally – but it contains the symbolic aspects of the philosophy and concepts of divinity harmony of life is a balance between this life and the hereafter – Keywords : Batik Kawung classic batik technique batik stamp process printing techniques to philosophical view of semiotic view preliminary. One criticism of national identity that has been known in Indonesia and around the world is batik – As one of the national culture , especially classical batik has its own characteristics that is not only visually beautiful but also philosophically – Batik is the ancestral heritage from generation to generation from the first until a few generations – thus it can be presumed that the age of batik in Indonesia has been a long time – Based on the history of batik bberkembang with the rapid ¬ suppose that in 1755 about the time of Surakarta and Yogyakarta – At the time of each palace develop a style so rich motif pattern and coloring – Activity batik fabric not only decorate but also as a forum for the value of the value of life ¬ and beliefs – In the process until now has created a modern batik ( new creation ) – presence is caused by the discovery of techniques that can produce batik faster more effectively and efficiently , for example through a stamp or printing techniques – Besides the batik entrepreneurs attention to the needs of consumers who continues to grow – Judging dart grouping in textile design batik textile surface design that is classified as one of the efforts to provide such a surface and color on textiles after weaving – In the process of batik generally there are three stages that include : 1 . The depiction in the above cloth motif in a way that does not cover the desired color with Jilin ( evening ) and the canting tool – 2 . Immersion in cold dyes in accordance with the desired motif – 3 . Pelorodan that removes wax ( night ) with boiling water so it would seem motifs and colors as planned – From this condition often batik textile design or be interpreted as a physical manifestation of the appearance of motifs and colors only – Confusion is common sense that the resulting sense as a batik textile design or a long and complicated prosses become blurred – Therefore in this kaftan and understand the need to re- examine the existence of a work of art that is both classic ( traditional ) – Such as the classic batik which has high levels of beauty growing rapidly and has reached a peak and never faded all time – the classic Batik has a specific purpose in the social interest and may show signs for a person of his status – among the many classic batik have symbolic meaning is philosophical and batik kawung – Batik Kawung : Philosophical views and Semiotics Talking about batik then it can not be separated by p erm asalah ‘s motif on batik – batik motifs on the particular role of classic batik will determine the overall visualization batik – batik motif can indicate cultural background and development – Some areas of batik in Indonesia has a wide range of types of batik and its pattern of variation – According to the classification of batik kawung belonged geometric motifs characteristic motive easily prepared segmented into unity motif or pattern intact and complete – In terms of understanding the shape motif motif kawung is composed of a circular oval or elliptical shape elongated arrangement according slanted diagonally left and right having an arranged alternately and repeatedly ( Susanto , 1973 ) – Besides it can also be interpreted as a motif composed of four fruit principal sphere of unity facing the middle point of the four spheres arranged repeatedly – Generally shaped like a fruit motif kawung wren fro called by various names such as concrete and kawung cents kawung kawung PLANTS ( see figure 1 2 3 ) – Batik Kawung Sen : prime ornament oval shaped sphere with four points ( cecek ) two pieces – Compiled an angle oblique or diagonal line as by every motive restricted crosshairs – Creamy white color ( yellowish white ) and chocolate ( even better than ) the material Primissima – Concrete Kawung batik ornament shaped four main spheres with two rectangular dots – Among the four dots there are four sections that seemed to cross the line restricted – color white chocolate ( even better than ) and blue wedelan ( kelengan ) with prime ingredients – Batik Semar Kawung : the main decorative oval -shaped four- circle with two dots and a line arch – Among the four spheres are parallelogram -shaped lines and dots dots – a creamy white color ( yellowish white ) chocolate ( even better than ) the blue wedelan ( kelengan ) with prime ingredients –

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