SPIRIT OF NATIONALITY IN 1956-1966 ERA OF HARDJONAGORO GO TIK SWAN BATIK ART EXPRESSION

• Main Author: Pramono, Suyin
• Format: Dissertations
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/61567
• Institution: Institut Teknologi Bandung

This dissertation focused on nation the spirit of nationalism, in the context of art, is part of the process of communication or artistic expression through art media aimed at promoting a common perception of nationalism and patriotism concepts. Hardjonagoro Go Tik Swan (1931-2008), a collector, designer, and an intellectual of Indonesian art and culture; created batik requested by Indonesia’s first President, Ir. Soekarno, which was not only as a certain regional identity, but also consisted of all Indonesian batik affluences that could unified the nationalistic spirit. This research analyzed Hardjonagoro Go Tik Swan’s Sawunggaling Latar Banyumili, Kumudowati Ilat Geni, Pisan Bali, Gedebyah, and Parang Bimo Kurdo batik. Etno-semiotics approach was applied to analyze batik as a cultural artwork. This research tried to scrutinize visual construction to convey Soekarno’s message in batik, work attitude and background of the update in batik creation and visual relation of Hardjonagoro Go Tik Swan’s batik during 1956-1966 with nationalistic spirit. Some findings are: first, visual sign’s construction in Go Tik Swan on mode of composition was based on formalistic design principle. Second, the attitude to delve deep in the artwork during the creation was interpreted as unification of Hardjonagoro Go Tik Swan with batik that created new art outside the norm. Third, Hardjonagoro Go Tik Swan’s batik constructed visual sign through variety of Javanese, Balinese, and Tionghoa/Chinese visual traditions. Fourth, a new knowledge about how to apply national morality in batik which had the ability to shape good attitude of citizenship. Fifth, during the shaping of attitude or morality, batik as a traditional art could function to reinforce nationalistic and unity-in-diversity spirit. Sixth, the relation of visual shapes with the accuracy of nationalistic spirit in Hardjonagoro Go Tik Swan batik, which were the accuracy of visual construction, subject matter related to citizenship during the events of 1956-1966. Based on those findings, an aesthetic perspective of batik could be concluded, that batik could represent nationalistic spirit and also as a media for aesthetic communication which consisted of nationalism and patriotism.