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All Journal Gorga : Jurnal Seni Rupa MUDRA Jurnal Seni Budaya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Javanologi: International Journal of Javanese Studies
Theresia widyastuti
Universitas Sebelas Maret
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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PERUBAHAN NILAI DAN FILOSOFIS BUSANA KEBAYA DI JAWA TENGAH ratna endah santoso; Theresia widyastuti; LV Ratna Devi Sakuntalawati; Adji Isworo Josef; Tiwi Bina Affanti
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 11, No 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (583.81 KB) | DOI: 10.33153/brikolase.v11i1.2479

Abstract

The Javanese who live in the Central Java region are known for their cultural strength. This can be seen from how they uphold the heritage traditions of their ancestors. Besides that, Central Javanese people are easily known through their typical costume. Kebaya and its equipment from head to toe, it is said that initially only used by the royal community had a quite interesting value and philosophy. For decades kebaya as part of history, experienced various changes in line with the era that continues to run. The most important thing is that kebaya is no longer an everyday outfit like in the past.This research paper uses qualitative research using a cultural approach. This study aims to find out (1) changes in values and philosophies such as what happened to kebaya clothing specifically used in the Central Java region; (2) whether today's kebaya can still be called traditional clothing, especially with various changes caused by current conditions.
PERANCANGAN BATIK CAP DENGAN CORAK BURUNG MURAI BATU MENGGUNAKAN PENGGAYAAN ANIMASI Alfatichah Okvanda Putri; Theresia Widyastuti
Gorga : Jurnal Seni Rupa Vol 11, No 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.36521

Abstract

Batik is a cultural heritage that must be preserved. Its development can be done through its techniques, whether written, stamped, or painted, and its patterns are now taking many modern forms. In this design, the development of motifs is specifically for children who use the figurative way of drawing characters. The method used in this design is the Collin Clipson method which includes the exploration stage through observation and data collection related to the design theme; the stage of making alternative motif designs depicted in the form of character figures to be used as batik stamps. This stamped batik uses remasol dye with smock coloring technique. This stamped batik with the main motif of a stone magpie was made with the aim of adding an alternative to the smock stamped batik motif which is intended for children aged 7-11 years. This stamped batik with character-described motifs for children.   Keywords: stamped batik, stone magpie. AbstrakBatik merupakan warisan budaya yang harus terus dilestarikan. Pengembangannya dapat dilakukan melalui tekniknya, baik tulis, cap, maupun lukis, dan coraknya yang saat ini sudah banyak mengambil bentuk modern. Pada perancangan ini pengembangan motif dikhususkan untuk anak-anak yang memanfaatkan cara gambar karakter secara figuratif. Metode yang digunakan dalam perancangan ini adalah metode Collin Clipson yang mencakup tahap eksplorasi melalui pengamatan dan pengumpulan sumber data yang berkaitan dengan tema perancangan; tahap membuat alternatif desain motif yang digambarkan dalam bentuk figur karakter untuk dijadikan cap batik. Batik cap ini menggunakan bahan pewarna remasol dengan teknik pewarnaan smock. Batik cap dengan motif utama burung murai batu ini dibuat dengan tujuan untuk menambahkan alternatif motif batik cap smock yang ditujukan untuk anak usia 7-11 tahun. Batik cap dengan motif yang digambarkan secara karakter ini ditujukan agar anak-anak.Kata Kunci: batik cap, burung murai batu. Authors:Alfatichah Okvanda Putri : Universitas Sebelas MaretTheresia Widyastuti : Universitas Sebelas Maret References: Darmaningsi., D., & Sunaryati, I. (1985). Pembuatan Busana Bayi dan Anak. Jakarta: Depdikbud Direktorat Pendidikan Menengah Kejuruan.Gunawan, H. (2012). Pedoman Lengkap Menangkar dan Mencetak Murai Batu Kelas Jawara. Yogyakarta: Pustaka Baru Press.Lailia, N. A. (2018). Perancangan Motif Batik Cap Untuk Kain Seragam. Tea House Bale Branti, 15(1), 74-76.Munir, M. (2013). Multimedia Dan Konsep Aplikasi Dalam Pendidikan. Bandung: Penerbit Alfabet.Rizali, N. (2012). Metode Perancangan Tekstil. Surakarta: UNS Press.Withrow, S. (2007). Character Design For Graphic. USA: Rotovision.Wulandari, A. (2011). Batik Nusantara Makna Filosofi, Cara Pembuatan, dan Industri Batik.  Yogyakarta: Andi. 
Efforts on Developing Sustainable Production of Surakarta’s Tiga Negeri Batik from Handmade Technique to Cold Wax Technique. Apika Nurani Sulistyati; Theresia Widyastuti
Jurnal Javanologi Vol 5, No 2 (2022): Javanologi Volume 5 No.2: Juni
Publisher : Pusat Unggulan Ipteks Javanologi Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/javanologi.v5i2.67955

Abstract

A piece of batik cloth contains philosophical values, symbolic meanings, traces of events, ethnic identity, social stratification, spirituality, and records of the journey of civilization. Tiga Negeri batik is evidence of cultural assimilation and acculturation in Java. Tiga Negeri is the nickname for the three places from which batik is made from the process of designing, drawing (mbatik), and onto coloring. This batik, which is closely related to Chinese culture, originated in Lasem, then during its spread to Surakarta, the motifs and color schemes became richer due to the assimilation between coastal batik and inland batik, and thus it eventually became Tiga Negeri batik from Surakarta. However, recently this unique Surakarta’s Tiga Negeri batik is losing its prestige and requires revitalization efforts to sustain its sustainability.
Uses Of Natural Dyes To Develop Tiga Negeri Batik Theresia Widyastuti
Mudra Jurnal Seni Budaya Vol 39 No 1
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i1.2504

Abstract

Tiga Negeri batik began to be made in the late 18th century on the north coast of Java island but its dyeing process was made in three cities, namely Lasem, Pekalongan, and Surakarta. The term three refers not only to the number of colors but also to the combination of three cultures behind the style, namely Java, China, and Europe. This field research using qualitative methods aims to explore the possibility of developing Tiga Negeri batik through the use of natural coloring from plants. Data were collected through observation and interviews with batik artisans in Lasem, Pekalongan and Surakarta, as well as batik artisans who are also natural dye activists and who are members of the Indonesian Natural Dyers Association living in Kediri and Jombang. The result is that Tiga Negeri batik with environmentally friendly natural dyes can be achieved despite still having to use a small amount of artificial dyes, especially for the red color. This effort to return to natural dyes is mainly because this type of batik attracts the attention of international consumers in particular, and domestic consumers in general.
Co-Authors Adji Isworo Josef Alfatichah Okvanda Putri Apika Nurani Sulistyati LV Ratna Devi Sakuntalawati Ratna Endah Santoso Tiwi Bina Affanti