RAGAM HIAS MOTIF BATIK MELALUI RELIEF FLORA CANDI BOROBUDUR PADA MAHASISWA PGSD FKIP UAD

His study aims to describe the implementation of the decorative reliefs of the Borobudur temple flora on the batik motifs of PGSD FKIP UAD students. The research method that will be used is qualitative with a case study approach. Data collection techniques were carried out by interview, observation, and document review. Data analysis techniques that will be used in the form of data reduction, data presentation and drawing conclusions. The results of the study were the implementation of various relief batik motifs through the reliefs of the flora of the Borobudur temple on the work of PGSD UAD students. The motifs that appear in the decorative motifs made by students are geometric and non-gemetric batik motifs combined with flora reliefs in the form of frangipani trees, lotus trees, banana trees and lotus trees. Student works are in the form of 2-dimensional works with the identification of elements of straight, curved, zigzag and irregular lines, geometric expressions, organic expressions, multi-angled faces, and irregular shapes. and tertiary, playing dark and light, applying the principles of composition work. Keywords: Decorative Variety, Batik Motif, Relief

MAKNA SIMBOL TOLAK BALA DALAM MASYARAKAT BANJAR: KAJIAN ETNOLINGUISTIK [THE MEANING OF WARD OFF MISFORTUNE’S SIMBOL IN BANJAR SOCIETY: ETHNOLINGUISTIC STUDY]

Masyarakat Banjar sebagai salah satu etnik mayoritas di Kalimantan Selatan memiliki tradisi yang sampai sekarang masih dipercaya oleh sebagian orang. Salah satunya adalah tradisi tolak bala. Tradisi tolak bala digunakan untuk mengatasi perasaan dan menangkal hal-hal yang ditakutkan karena kepercayaan mereka terhadap kekuatan roh dan makhluk gaib. Bagaimana bentuk tradisi tolak bala yang dilakukan masyarakat Banjar dan apa makna simbol yang terdapat pada benda-benda yang digunakan untuk penolak bala menarik untuk dikaji. Penelitian ini bertujuan memperoleh gambaran tentang makna simbol tradisi tolak bala dalam masyarakat Banjar yang dikaji dari teori etnolinguistik. Penulis menggunakan studi literatur dengan teknik analisis data deskriptif kualitatif. Dari hasil penelitian dapat disimpulkan bahwa masyarakat Banjar masih memiliki kepercayaan mengenai benda-benda sebagai penolak bala. Tradisi tolak bala dalam masyarakat Banjar dilakukan secara berkelompok melalui upacara adat, tetapi ada juga yang dilakukan secara perorangan. Bentuk tradisi tolak bala pada masyarakat Banjar berupa pemberian sesaji, penggunaan jimat atau benda bertuah, dan pemasangan motif hiasan di rumah. Piduduk merupakan salah satu bentuk sesaji sebagai penolak bala yang disiapkan dalam setiap upacara adat. Benda-benda seperti gelang sawan, kain sarigading, sapu tangan berajah, gelang dan cincin berajah merupakan penolak bala yang digunakan secara perorangan, sedangkan motif hiasan pada rumah merupakan penolak bala bagi keluarga di rumah.The Banjar people as one of the majority ethnic groups in South Kalimantan have a tradition named ward off misfortune. This tradition is used to overcome feelings and ward off things. How is the form of this tradition carried out by the Banjar people and what are the meaning of the symbols are interesting to study. This study aims to obtain an overview of the meaning of ward off misfortune’s symbol in Banjar society which is studied from ethnolinguistic theory. The author uses a literature study with qualitative descriptive data analysis techniques. The results shows that Banjar people still have beliefs about objects as a ward off missfortune. This tradition is carried out in groups through traditional ceremonies and individually. This tradition is in the form of offerings, the use of amulets or magical objects, and the installation of decorative motifs at home.

Ornament and Symbol. Main Symbols in the Decorative Composition of the Church’s Orthodox Art

The paper examines the semantics of decorative motifs of the flora and fauna in the visual arts, paying particular attention to the main symbols embedded in the ornamental compositions of the Church‘s Orthodox arts.

TIPOLOGI MOTIF HIAS TEMBIKAR SITUS PULAU KAMPAI, SUMATERA UTARA

Pottery is a human creation in the form of objects or containers made of clay which are burned at a burning temperature of 3500C-10000C. The pottery tradition began to be discovered during the cultivation period, in Indonesia pottery became known around 6000 BC, since then pottery has become one of the most important tools in human life. Pottery artifacts are often found at archaeological sites, either intact or in fragments. From the pottery data, there are several aspects that can be studied both in terms of form, decoration and function. The method used in this research is in the form of a special analysis, namely, by observing the attributes of decorative motifs on pottery at the Kampai Island Site, North Sumatra. The data used in this study were the findings of pottery from the excavation of the North Sumatra Archeology Center in 2013. The total number of pottery analyzed in total amounted to 974 shards. The purpose of this study was to determine the typology of decorative pottery motifs at the Kampai Island Site. The results of the research on the analysis of Kampai Island pottery motifs show that there are various decorative motifs so that the classification process of pottery decorative motifs is carried out which can produce several types or typologies of pottery decorative motifs in the Kampai Island Site, namely the types of motifs of lines, squares, circles, and triangles. Tembikar merupakan suatu hasil karya cipta manusia berupa benda atau wadah yang terbuat dari tanah liat yang dibakar pada suhu pembakaran 3500 C-10000 C. Tradisi tembikar mulai ditemukan pada masa bercocok tanam, di Indonesia tembikar mulai dikenal sekitar 6000 SM, yang sejak saat itu tembikar menjadi salah satu alat perlengkapan yang penting di kehidupan manusia. Artefak tembikar sering ditemukan pada situs arkeologi, baik utuh maupun pecahan. Data tembikar juga dapat diteliti dari beberapa aspek baik dari segi bentuk, hiasan maupun fungsi. Metode yang digunakan dalam penelitian ini berupa Analisis Khusus yaitu, dengan mengamati atribut motif hias pada tembikar Situs Pulau Kampai, Sumatera Utara. Data yang digunakan pada penelitian ini berupa temuan tembikar dari hasil ekskavasi Balai Arkeologi Sumatera Utara tahun 2013. Jumlah tembikar yang dianalisis secara keseluruhan berjumlah 974 pecahan. Adapun tujuan penelitian ini untuk mengetahui tipologi motif hias tembikar Situs Pulau Kampai. Hasil penelitian analisis motif hias tembikar Pulau Kampai menunjukan bahwa terdapat motif hias yang beragam sehingga dilakukan proses klasifikasi motif hias tembikar yang dapat menghasilkan beberapa tipe-tipe atau tipologi motif hias tembikar Situs Pulau Kampai, yaitu tipe motif garis, kotak, lingkaran, dan segitiga.

The Medallion Design on Gravestones in Palembang

The Islamic tombs in Palembang date from the 16th-20th century AD. Some of the tombs in Palembang are plain and some have decorations. Ornaments are affixed to the jirat and tombstones. The ornaments found on the headstones include medallions. The medallion ornaments vary in shape and are commonly found in temple buildings in Java in the 9th-16th centuries AD. The medallion decorative motifs in Palembang are found on Islamic tombs from the time of the Palembang Darussalam Sultanate. The medallion decorative motifs found are varied and interesting to study from the similarities and differences with those in Java, as well as the reasons for the emergence of these similarities and differences. Based on these two problems, this paper aims to identify the forms of medallion decoration, similarities, and differences, as well as the background to the similarities and differences in the medallion decorations in Palembang and Java. To answer these two problems, archaeological research methods were used by describing the ornamental variety and identifying its diversity. After that, it was analyzed qualitatively using symbolic theory. The results of the study show that the similarities in the decorations are due to the historical relationship between Palembang and the Majapahit and Demak kingdoms in Java. The difference in the medallion decoration is caused by the creativity factor of Palembang artists.

Paṭola’s Long Journey to Jlamprang: Transformation of Woven Motives to Batik Motives

The background of this research comes from the public's understanding that the jlamprang motif is a typical Pekalongan batik motif, besides that there are also those who state that this motif is an imitation of the paṭola motif. Therefore, this paper aims to determine the transformation process of the patola woven motif into the jlamprang batik motif, one of the characteristic batik motifs of Pekalongan. Why can the weaving motif turn into a batik motif? Why does the jlamprang batik motif become the hallmark of Pekalongan? The method used in this research is to trace the trade of paṭola motif cloth from India and its distribution in Java, both in the form of the distribution of decorative motifs on temples and on cloth. The search was carried out through literary texts, decorative motifs on temple walls, and motifs of cloth worn by statues. The results showed that in Java the paṭola motif has undergone a transformation from a woven motif to a decorative motif on the temple walls to a batik motif. Jlamprang became the signature batik motif of Pekalongan because it was in this city that the motif was first developed by Arab traders to overcome the scarcity of paṭola woven motifs from India. Thus, it can be concluded that the Javanese society is an adaptive society, with local genius capable of processing foreign decorative motifs into their own motifs and making them a local identity.

KAJIAN MOTIF BENDA TEKNOLOGIS PADA GAPURA KOMPLEKS MAKAM SUNAN DRAJAT DAN CANDI TEGAWANGI

Ancient buildings are closely related to the long history of the past. The architectural style of the building and its decorative motifs have a distinctive shape in accordance with the spirit of the era of its creation. The idea of creating styles and forms of decoration took the forms of the surrounding nature and the philosophy of the patrons and local rulers. Some of the many decorative motifs that exist, there are motifs that come from religious values. In addition, the various forms of motifs that exist also have similar forms. The similarities in the shape of these motifs are found in the shape of the motifs of technological objects in the gate of Sunan Drajat's tomb which has Islamic breath with one of the relief panels in Tegawangi Temple which has Hindu-Buddhist breaths. The purpose of this research is to describe the idea of the creation of the two forms of motifs, the factors that cause the similarity of the motive forms and reveal the meaning of the two forms of motifs. This research method uses descriptive qualitative methodology. The approach used in this study uses a historical approach, to reveal the meaning used semiotic theory. The data collection technique is done by conducting literature study, observation, interviews and documentation. The data obtained is then reduced, displayed and analyzed. The results showed that the basic idea of creating the motifs of technological objects in the wooden gate of the tomb of Sunan Drajat and Candi Tegawangi took inspiration from the sacred buildings that had been built previously, namely the form of mosques and temples. The factors causing the similarity of form, namely: (a) cultural interaction; (b) adaptation of the form of the motive; (c) acculturation; and (d) marriage or the establishment of family relationships. The meaning of the two motives is the relationship between humans and the transcendent. Bangunan purbakala lekat kaitannya dengan sejarah panjang dari masa lalu. Gaya arsitektur bangunan dan motif ragam hiasnya memiliki bentuk yang khas sesuai dengan semangat zaman penciptaannya. Ide penciptaan gaya dan bentuk ragam hias mengambil bentuk-bentuk alam sekitar dan falsafah dari patron maupun penguasa setempat. Sekian dari banyak motif ragam hias yang ada, terdapat motif yang bersumber dari nilai religi. Selain itu, dari berbagai bentuk motif yang ada juga memiliki kemiripan bentuk. Adapun kemiripan bentuk motif tersebut dijumpai pada bentuk motif benda teknologis di gapura makam Sunan Drajat yang bernafaskan Islam dengan salah satu panel relief di Candi Tegawangi yang bernafaskan Hindu-Buddha. Tujuan penelitian ini adalah untuk mendeskripsikan ide penciptaan kedua bentuk motif, faktor-faktor penyebab terjadinya kemiripan bentuk motif dan mengungkap makna dari kedua bentuk motif. Metode penelitian ini menggunakan metodologi kualitatif deskriptif. Pendekatan yang digunakan dalam penelitian ini menggunakan pendekatan sejarah, untuk mengungkap makna digunakan teori semiotika. Adapun teknik pengumpulan data dilakukan dengan melakukan studi pustaka, observasi, wawancara dan dokumentasi. Data yang diperoleh kemudian direduksi, display dan dianalisis. Hasil penelitian menunjukkan ide dasar penciptaan motif benda teknologis pada gapura kayu makam Sunan Drajat dan Candi Tegawangi mengambil inspirasi bentuk dari bangunan suci yang telah dibangun sebelumnya, yaitu bentuk bangunan masjid dan candi. Faktor yang menjadi penyebab terjadinya keserupaan bentuk, yaitu: (a) interaksi budaya; (b) adaptasi bentuk motif; (c) akulturasi budaya; dan (d) perkawinan atau terjalinnya hubungan kekeluargaan. Adapun makna dari kedua motif tersebut yaitu hubungan antara manusia dengan yang transenden.