A COMPARATIVE STUDY OF THE AESTHETIC ELEMENTS OF BATIK SAWAT PENGANTIN (CASE STUDY: THE BATIK COLLECTION BY SULTAN ABDUL GANI NATADININGRAT AS THE 9TH SULTAN OF KACIREBONAN AND THE BATIK COLLECTION BY MASINA TRUSMI CIREBON)

• Main Author: Listiani, Sri
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/52615
• Institution: Institut Teknologi Bandung

Batik is one of the Indonesian cultural heritage. Batik has a long historical trace, that we can find the history of batik even as early as the Majapahit era. Cirebon is one of the regions in Western Java, which preserve the tradition of batik and have batik centers in Trusmi. We concentrate the object of this research on batik sawat pengantin as this design of batik is a popular research object in neither journals nor literature we have found, particularly that which address aesthetic elements of batik. Meanwhile, nowadays, batik sawat pengantin is an ever-increasingly notable garment which is worn not only on marriage occasions but also in people’s daily lives. However, people seem to lack a thorough apprehension regarding the aesthetic elements of batik sawat pengantin, and thereby missing philosophical messages borne by the batik. Accordingly, a study of those aesthetic elements is crucial. We had selected two collections of batik sawat pengantin to study, i.e., the batik collection of Sultan Abdul Gani and the batik collection of Masina. The research method was qualitative to generate descriptive data. Data were analyzed using a comparative method and examined to figure out the similarities and dissimilarities in the researched objects, namely the batik collection of Sultan Abdul Gani and the batik collection of Masina. Primary data were collected using structural interviews with several informants. Secondary data were collected from literature studies and documentation. Findings indicate that the two collectors maintained different ornament naming stylization. In the batik collection of sultan Abdul Gani, we find ornaments named damar sewu, kanzul tarraqi, belah ketupat, guwa garba ma’rifatiman, klambi Ong Tin, lam alif, daun sirih, kembang teratai, and burung terbang. Moreover, in the batik collection of Masina, the names of the ornaments were oriented to Sundanese brides’ accessories, e.g., mangle pasung, pinti, sunda siger, rambang melati, and kembang teratai. We found similar naming in the sawat and atap rumah ornaments. The two batik collections retained dissimilarities in isen-isen (fillers) and colors.