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All Journal Jurnal Media Hukum MUDRA Jurnal Seni Budaya Panggung Kosmik Hukum Waca Cipta Ruang: Jurnal Ilmiah Desain Interior Mediator: Jurnal Komunikasi
Komarudin Kudiya, Komarudin
Universitas Muhammadiyah Bandung
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Revitalisasi Ragam Hias Batik Keraton Cirebon dalam Desain Baru Kreatif Kudiya, Komarudin; Sabana, Setiawan; Sachari, Agus
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i2.116

Abstract

ABSTRACT Respecting traditions of the nation, which is preserving a batik tradition. Cirebon is the region that has a rich cultural treasures batik varied. Given its development, with a variety of Cirebon Kraton, Kraton Batik Cirebon products nowadays have more characteristics, e.g.: (1) Kasepuhan Kraton on Singa Barong’s ornament; (2) Kanoman Kraton on Paksi Naga Liman’s ornament; (3) Kacirebonan Kraton on Bintulu’s ornament and (4) Kaprabonan on Dalung’s ornament and motif without pictures of animals.This research needs to exploring, discovering, and formulating design elements (ornament, mate- rial, and color). This study used ethnographic method and experimental visuals method for ornaments on Kraton Batik Kasepuhan, Kanoman, Kaprabonan, and Kacirebonan based on historical cultural influences from Hinduism, Islam, China, and Europe.As long batik owned by all Cirebon Kraton which is available during this condition can not be iden- tified and their physical condition is damage. Thus in order to preserving the old batiks, it is necessary to reproduce a creative new batik designs with any dimensional aspects. Keywords: Revitalization, Kraton Batik Cirebon, Creative,    ABSTRAK Dalam kerangka menghargai tradisi suatu bangsa, yaitu melestarikan sebuah tradisi di an- taranya berkarya batik, yang merupakan warisan budaya Indonesia. Cirebon adalah wilayah yang memiliki kekayaan khasanah budaya batik yang variatif, baik yang masih tetap ada hing- ga kini, maupun yang sudah punah. Mengingat di dalam perkembangannya, Keraton Cirebon dengan aneka produk Batik Keraton Cirebon kini terbagi dalam tiga keraton dan satu peguron yang mempunyai ciri khas, antara lain: (1) Keraton Kasepuhan pada ragam hias Singa Barong; (2) Keraton Kanoman pada ragam hias Paksi Naga Liman; (3) Keraton Kacirebonan pada ra- gam hias Bintulu; (4) Peguron Kaprabonan pada ragam hias Dalung dan motif tanpa gambar hewan.Perlu dilakukan penelitian untuk menggali, menemukan, dan memformulasikan khusus- nya unsur teraga (ragam hias termasuk di dalamnya corak, bahan, dan warna). Penelitian ini menggunakan metode etnografi dan eksperimen visual terhadap ragam hias Batik Keraton Kasepuhan, Kanoman, Keprabonan, dan Kacirebonan yang berlandaskan pada kesejarahan mulai dari pengaruh budaya Hindu, Islam, Cina, dan Eropa.Adapun batik-batik lama yang dimiliki oleh seluruh Keraton Cirebon yang ada selama ini kondisinya tidak bisa dikenali secara umum dan kondisi fisiknya sudah rapuh menuju kondisi rusak. Dengan demikian guna menjaga kelestarian batik-batik lama tersebut maka diperlukan penelitian agar bisa dibuat reproduksinya menjadi desain batik baru kreatif. Kata kunci: Revitalisasi, Batik Keraton Cirebon, Kreatif,
The Importance of the Governor Regulation in Supporting the Geographical Indication of Batik Production in West Java Kudiya, Komarudin; Atik, Saftiyaningsih S. Ken
Jurnal Media Hukum Volume 27, Number 1, June 2020
Publisher : Fakultas Hukum Universitas Muhammadiyah Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18196/jmh.20200146

Abstract

West Java has traditional batik crafts developed in 27 districts/cities. The diversity in both style and variation af this traditional batik is a source of strength that is not found in other provinces. The spread of imitation batik (batik motif) put a serious threat for traditional batik craftsmen. The purpose of this research is to discuss the importance of regulating the use of traditional batik to increase the economic value and to support the geographical indication  in West Java.  This empirical legal research used both secondary and primary data. It is found that the regulation on the use of traditional batik as governed under the Governor Regulation is intended to increase the economic value and to support the geographical indication of West Java Province. This regulation is a strategic step in efforts to preserve, develop, and protect the existence of West Java traditional batik.
The Importance of the Governor Regulation in Supporting the Geographical Indication of Batik Production in West Java Komarudin Kudiya; Saftiyaningsih S. Ken Atik
Jurnal Media Hukum Volume 27, Number 1, June 2020
Publisher : Fakultas Hukum Universitas Muhammadiyah Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18196/jmh.20200146

Abstract

West Java has traditional batik crafts developed in 27 districts/cities. The diversity in both style and variation af this traditional batik is a source of strength that is not found in other provinces. The spread of imitation batik (batik motif) put a serious threat for traditional batik craftsmen. The purpose of this research is to discuss the importance of regulating the use of traditional batik to increase the economic value and to support the geographical indication  in West Java.  This empirical legal research used both secondary and primary data. It is found that the regulation on the use of traditional batik as governed under the Governor Regulation is intended to increase the economic value and to support the geographical indication of West Java Province. This regulation is a strategic step in efforts to preserve, develop, and protect the existence of West Java traditional batik.
Akselerasi Produksi Kain Batik di Musim Penghujan dengan Menggunakan Mesin Fotonik Komarudin Kudiya; Husen Hendriyana; Eko Mursito Budi
PANGGUNG Vol 31, No 2 (2021): Estetika Dalam Keberagaman Fungsi, Makna, dan Nilai Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2734.272 KB) | DOI: 10.26742/panggung.v31i2.1575

Abstract

Industri batik tradisional di Indonesia, sebagian besar masih menggunakan teknik pewarnaan menggunakan sinar matahari langsung, sedangkan di musim penghujan perajin secara rutin masih harus tetap memproduksi kain batik untuk memenuhi target dari berbagai penanan. Artikel ini bertujuan menguatkan keberlangsungan industri kecil dan mengah perajin batik di musim penghujan, maka diperlukan langkah strategis dalam menghadirkan solusi yang lebih efektif. Metode yang digunakan dari penelitian ini yaitu Participation Action Research (PAR) dengan paradigma practice-led reseach dan pendekatan strategi kreatif industry design. Kelompok perajin home industry batik sebagai populasi, dan Batik Komar sebagai sampel pada penelitian ini. Instrumen penelitian melalui beberapa elemen dan prinsip desain, teknologi dan industri. Adapun prosedur penelitian melalui tahapan design thinking. Hasil penelitian ini yaitu produk kain batik dengan teknik pewarnaan sinar ultraviolet melalui mesin fotonik. Mesin fotonik batik merupakan salah satu solusi strategis dalam mengatasi langkanya sinar matahari pada musim penghujan sebagai energi penguat proses pewarnaan batik. Dengan kata lain, Mesin fotonik batik sangat membantu akselerasi kapasitas produksi batik yang menggunakan pewarna jenis indigosol. KataKunci: Pewarnaan Batik; Fotonik Batik; Musim Penghujan; Fotokimia; Sinar Ultraviolet
Revitalisasi Ragam Hias Batik Keraton Cirebon dalam Desain Baru Kreatif Komarudin Kudiya; Setiawan Sabana; Agus Sachari
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (521.699 KB) | DOI: 10.26742/panggung.v24i2.116

Abstract

ABSTRACT Respecting traditions of the nation, which is preserving a batik tradition. Cirebon is the region that has a rich cultural treasures batik varied. Given its development, with a variety of Cirebon Kraton, Kraton Batik Cirebon products nowadays have more characteristics, e.g.: (1) Kasepuhan Kraton on Singa Barong’s ornament; (2) Kanoman Kraton on Paksi Naga Liman’s ornament; (3) Kacirebonan Kraton on Bintulu’s ornament and (4) Kaprabonan on Dalung’s ornament and motif without pictures of animals.This research needs to exploring, discovering, and formulating design elements (ornament, mate- rial, and color). This study used ethnographic method and experimental visuals method for ornaments on Kraton Batik Kasepuhan, Kanoman, Kaprabonan, and Kacirebonan based on historical cultural influences from Hinduism, Islam, China, and Europe.As long batik owned by all Cirebon Kraton which is available during this condition can not be iden- tified and their physical condition is damage. Thus in order to preserving the old batiks, it is necessary to reproduce a creative new batik designs with any dimensional aspects. Keywords: Revitalization, Kraton Batik Cirebon, Creative,    ABSTRAK Dalam kerangka menghargai tradisi suatu bangsa, yaitu melestarikan sebuah tradisi di an- taranya berkarya batik, yang merupakan warisan budaya Indonesia. Cirebon adalah wilayah yang memiliki kekayaan khasanah budaya batik yang variatif, baik yang masih tetap ada hing- ga kini, maupun yang sudah punah. Mengingat di dalam perkembangannya, Keraton Cirebon dengan aneka produk Batik Keraton Cirebon kini terbagi dalam tiga keraton dan satu peguron yang mempunyai ciri khas, antara lain: (1) Keraton Kasepuhan pada ragam hias Singa Barong; (2) Keraton Kanoman pada ragam hias Paksi Naga Liman; (3) Keraton Kacirebonan pada ra- gam hias Bintulu; (4) Peguron Kaprabonan pada ragam hias Dalung dan motif tanpa gambar hewan.Perlu dilakukan penelitian untuk menggali, menemukan, dan memformulasikan khusus- nya unsur teraga (ragam hias termasuk di dalamnya corak, bahan, dan warna). Penelitian ini menggunakan metode etnografi dan eksperimen visual terhadap ragam hias Batik Keraton Kasepuhan, Kanoman, Keprabonan, dan Kacirebonan yang berlandaskan pada kesejarahan mulai dari pengaruh budaya Hindu, Islam, Cina, dan Eropa.Adapun batik-batik lama yang dimiliki oleh seluruh Keraton Cirebon yang ada selama ini kondisinya tidak bisa dikenali secara umum dan kondisi fisiknya sudah rapuh menuju kondisi rusak. Dengan demikian guna menjaga kelestarian batik-batik lama tersebut maka diperlukan penelitian agar bisa dibuat reproduksinya menjadi desain batik baru kreatif. Kata kunci: Revitalisasi, Batik Keraton Cirebon, Kreatif,
Data Identification of Cirebon Batik West Java Source of Strength Geographical Indication Komarudin Kudiya; Miranda Risang Ayu
Kosmik Hukum Vol 20, No 2 (2020)
Publisher : Universitas Muhammadiyah Purwokerto

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30595/kosmikhukum.v20i2.6954

Abstract

In the history of batik in Indonesia, We used to know that batik is identified with Javanese culture. In addition, the use of batik cloth is limited to the royal court with a variety of very strict rules. But in its development, batik is no longer owned by Javanese, batik has now become one of the "national clothes" of Indonesia that is used by Indonesians throughout the archipelago on various occasions. In West Java batik has grown and developed in 27 regencies/cities spread from the eastern part of the Cirebon district to the western of West Java, Depok. There are potential characteristics and excellences from each region in West Java that people could not find in other regions. The uniqueness and characteristics of batik in certain area are part of the protection system of geographical indications that identify an area of the country, as the origin region of the product, where the reputation, quality and characteristics of related products are largely determined by geographical factors in the region. The need for a complete and accurate identification in the protection of Geographical Indications is very important considering batik products in West Java have enormous potential that can be protected as part of Geographical Indications (IG) which can be used as marketing tools in the world of commerce, both at the national and international level.Keywords: Cirebon Batik, Geographical Indication, Identification
Kekuatan Desain Motif Batik Cirebon sebagai Ruang Identitas Indikasi Geografis Indonesia Komarudin Kudiya; Saftiyaningsih Ken Atik
Waca Cipta Ruang Vol 6 No 1 (2020): Vol 6 no.1 (2020) : Waca Cipta Ruang
Publisher : Program Studi Desain Interior Unikom

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/wcr.v6i1.4192

Abstract

Dalam sejarah batik di Indonesia, sering kali kita mendengar bahwa batik diidentikan dengan budaya masyarakat Jawa. Selain itu penggunaan kain batik pada awalnya terbatas hanya pada golongan ningrat keraton dengan berbagai aturan yang melingkupinya. Namun pada perkembangannya, batik bukan lagi dimiliki oleh masyarakat Jawa, kini produk batik tradisional telah menjadi busana Indonesia yang dipakai oleh bangsa Indonesia di seluruh Nusantara dalam berbagai kesempatan. Di Jawa Barat batik telah tumbuh dan berkembang di 27 kabupaten/kota yang tersebar dari belahan timur kabupaten Cirebon hingga di ujung sebelah barat Jawa Barat yaitu kotamadya Depok. Pada tiap-tiap daerah di Jawa Barat yang menghasilkan batik terdapat potensi karakteristik dan keunggulan teknik produksi, corak dan motif yang tidak terdapat di daerah lainnya. Keunikan dan karakteristik batik Cirebon merupakan bagian dari ruang identitas bagi masyarakat Cirebon serta layak mendapatkan Indikasi Geografis guna memberikan nilai-nilai ekonomi yang berdampak pada pelestarian tradisi batik Indonesia pada umumnya. Perlindungan Indikasi Geografis (IG) merupakan hal yang sangat penting mengingat aneka desain motif batik di Jawa Barat memiliki potensi yang sangat besar yang dapat dilindungi sebagai bagian dari Indikasi Geografis (IG) yang dapat digunakan sebagai alat pemasaran dalam dunia transaksi perdagangan, dalam kancah regional, nasional bahkan internasional.
Symbolic Meaning of the Ornamental Diversity of Cirebon Batik Pegajahan Komarudin Kudiya; Setiawan Sabana; Agus Sachari
Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v31i3.42

Abstract

Cirebon Batik Pegajahan is the result ofthe creative process, feeling, intention, also long thought of people who have expertise in interpreting the condition of people‘s behavior of Cirebon (palace), which was then adapted into a form of art and culture of batik fabric through a process of creativity of the craftsmen. This Batik Pegajahan grows and develops within the community of (palace) Cirebon, including: Kasepuhan Palace, Kanoman, Kacirebonan, and Keprabonan.This study will explain the symbolic narrative contained in Pegajahan Cirebon batik decoration. The discussion is based on the systematic symbolic visual elements of the Pegajahan batik decoration which is based on the teachings ofthe Tarekat Syattariyah attitudes and behavior of (palace) Cirebon society, form of local wisdom that is reflected in the symbolic-aesthetic elements.The research used descriptive—analytic method and ethnography, in describing the symbolic narrative found in Batik Pegajahan Cirebon, The results are in the form ofvisual data complete with symbolic narratives in Batik Pegajahan Cirebon, which represents behavior of (palace) Cirebon people significantly; so it can be used as reference for further research in the reconstruction, reproducing, and formulating such ornaments as the basis for designing or guidance for the people of batik (palace) Cirebon in particular.Keywords: Symbolic Narratives, Decoration of Batik Pegajahan and Tarekat Syattariyah
Corak Dan Warna Batik Penunjang Elemen Estetik Ruang Terbuka Hijau Di Kafe Pecah Kopi Bandung Komarudin Kudiya; Saftiyaningsih Ken Atik
Waca Cipta Ruang Vol 9 No 1 (2023): Jurnal Waca Cipta Ruang : Jurnal Ilmiah Desain Interior
Publisher : Program Studi Desain Interior Unikom

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/wcr.v9i1.9546

Abstract

Since 2010, the city of Bandung has undergone a strong growth spurt due to the expansion of cafes from the city center to the city's outskirts. The café is an alternate location for social contact among family members, friends, or professionals. To attract visitors, the cafe management must consider the ambient interior, which strives to provide visitor comfort by paying attention to lighting, interior design, music sound, and temperature as a preference for the purpose of selecting the cafe. The limitation of this research is that it is limited to green open spaces, whereas the goal is to find a correlation between batik patterns, which are used as supporting aesthetic elements, and the need for interior ambience that is unique, aesthetic, and provides a sense of comfort, which will have an impact on increasing visitor traffic or making them return the next time. The analytical descriptive and ethnographic methods were applied in this study. The findings of this study demonstrate that partnership between the batik showroom and the Pecah Kopi Bandung cafe can give benefits and value to both. This study's objective is to present real-world ideas and examples in the management of cafés that use green open spaces and can interact with managers in the arts and crafts industry to provide a sense of comfort and aesthetic value to their environment.
The 'Taman Telaga Teratai' Batik Motif as a Traditional Aesthetic Visual Communication Media in the Cirebon Palace: Levi-Strauss Approach Komarudin Kudiya
Mediator: Jurnal Komunikasi Vol. 16 No. 1 (2023): Mediator: Jurnal Komunikasi
Publisher : UPT Publikasi Ilmiah UNISBA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29313/mediator.v16i1.2344

Abstract

The aim of this research is to obtain a relationship between the aesthetic visual communication media and the functional relationship between phenomena that is more accurate and definite from the traditional batik motif of Taman Telaga Teratai in the Cirebon Palace. The fact is that the Cirebon Keraton batik and its decorative styles have distinctive differences in the three palaces and one unique Peguron. The diversity of these ornamental styles is characteristic and unique within the Kasepuhan Palace, Kanoman Palace, Kacirebonan Palace, and Peguron Kaprabonan. The method used is a qualitative approach, combined with an analytical descriptive method in the form of observations and interviews with cultural stakeholders of the Cirebon palace. This research resulted in the finding that Cirebon batik artisans have the courage and flexibility in realizing self-expression and the consistency of producing traditional batik by giving symbolic meaning, as well as adding to the depth of philosophical meaning in the Cirebon royal batik genre. The conclusion of this study is that attractive and patterned aesthetic visual communication in the Cirebon traditional batik artisan community can contribute to the emergence of new traditional batik motifs with the Cirebon palace batik genre which contain symbolic and philosophical values ​​of the Cirebon Palace cultural tradition.
Co-Authors Agus Sachari Agus Sachari Atik, Saftiyaningsih S. Ken Eko Mursito Budi Husen Hendriyana Miranda Risang Ayu Saftiyaningsih Ken Atik Saftiyaningsih Ken Atik Saftiyaningsih S. Ken Atik Setiawan Sabana Setiawan Sabana