The Aesthetic studies of the Golden Carriot Singabarong and Paksi Naga Liman Kesultanan Cirebon

• Main Author: Sofiyawati (NIM: 27115036), Nina
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/29658
• Institution: Institut Teknologi Bandung

Singabarong and Paksi Naga Liman golden charriot is one result of physical <br /> <br /> culture product that made by a social group as a reflection of their ideas and <br /> <br /> activities. As a work of art that has a similar origins, both of them actually display <br /> <br /> the differences in terms of visual expression. Therefore, this research is closely <br /> <br /> followed by seeing the visual style changes in the two works of art as well as the <br /> <br /> factors behind them in the periodization when the artworks were produced. This <br /> <br /> research is qualitative research that prioritizes deep explanation. The object <br /> <br /> observed based on the aesthetic morphology. The purpose of this research is to <br /> <br /> find what elements and principles of visual that changed and become <br /> <br /> characteristic, as well as to know the social dynamics of society that make and <br /> <br /> use it in a certain period of time. <br /> <br /> The research result revealed that the factor formation of visualization <br /> <br /> Singabarong and Paksi Naga Liman which is still closely with pre-Islamic art is <br /> <br /> indicates the spirit to harmonize and bind their heterogeneous art of culture into a <br /> <br /> harmonious unity. It is also a reflection of the Islamic doctrine that teached by the <br /> <br /> leader of Cirebon’s peoples is more open minded, compromise, and syncretize <br /> <br /> with their local culture. Visually the charriot is minimal presence of Islamic art, <br /> <br /> but in fact the symbols and Islamic values are hidden and inserted slowly in some <br /> <br /> form or content of the ornament. <br /> <br /> Inthe range of production period, the two carriot run into a change of style <br /> <br /> expression as a form of fulfillment of new cultural needs. Can be seen from the <br /> <br /> physical and psychic material changes. Paksi Naga Liman more shows the social <br /> <br /> identity of Hindu society with all kinds of attributes and understanding the <br /> <br /> symbols of their local identity, while Singabarong began to dominated by the <br /> <br /> influence of Chinese art as an indication of a change of trend and spirit of the era <br /> <br /> which became the picture of events that occured at that time. The different style <br /> <br /> expression of these two carriot is also reflected through changes in the ornament <br /> <br /> application whose contents illustrate the different style of sultan’s leadership in <br /> <br /> the concept of Tri-Tangtu.