THE STUDY OF SEKALA AND NISKALA CONCEPTS ON THE ORNAMENTAL VARIETY OF CEPUK WEAVING IN NUSA PENIDA

• Main Author: Made Santi Udiyani, Ni
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/57857
• Institution: Institut Teknologi Bandung

Religion and belief is a very fundamental aspect in Bali. Balinese Hindu society basically has the concept of Sekala and Niskala in daily life. Sekala is what can be felt through the five senses while Niskala is everything that cannot be felt directly, but can only be felt through feelings. The field of art in this case textile crafts as local wisdom is influenced by the concept of sekala and niskala so that textiles become a medium to represent the concept. Balinese people always associate Cepuk weaving with Nusa Penida and considered the island as origin place of weaving. The relationship between Cepuk and Nusa Penida is inseparable from local wisdom in the form of belief in the concepts of sekala and niskala. Cepuk weaving is a type of Bebali cloth that is commonly used for religious rituals ranging from offerings or clothing to gods, life rituals and death rituals. The structure of the cepuk woven fabric consists of a fringe ornamental called bibih on the length of the fabric and eled on the width of the fabric. The cepuk cloth generally has a red base color with a geometric ornamental base. This study examines the relationship between the concepts of sekala and niskala that affect the aesthetic form of the Cepuk woven ornaments in Nusa Penida. This research is a qualitative research that examines the aesthetic elements of Cepuk weaving ornamental in depth. This study uses an aesthetic of local wisdom approach to explain the meaning and essence of the decorative motifs of Cepuk weaving and its relation to the concepts of sekala and niskala as forms of local wisdom. This study describes the relationship of decorative patterns in Cepuk Weaving with the concepts of sekala and niskala in Bali. Data were collected from literature study, observation and interviews. The collected data were analyzed visually by using aesthetic elements according to Djelantik theory, such as form, weight or content and appearance. The form or visual of the ornament is described as shape, color, composition and naming. Next is a description of the function of cloth as a means of religious ceremonies to find out the meaning of cloth for the Balinese people. The aesthetic elements in the ornaments related to the sacred function of the cloth are then interpreted to find out how the concepts of sekala and niskala affect the visuals of Cepuk weaving in Nusa Penida. Broadly speaking, the three main components in the data analysis method are data reduction, data presentation, conclusion drawing, and validation