Visual Style of 21 Intelectual Property Right (IPR) Certified Lasem Batik Motifs as the Expression of Cultural Hybridity

Yunita Setyoningrum, Christine Claudia Lukman, Sandy Rismantojo
2019
The problem in this research derived from the fact that many Lasem batik entrepreneurs nowadays had limited knowledge of the novel characteristics of Lasem batik and hardly aware of its geographical indication. The research objective was to identify how the cultural hybridity of Chinese-Javanese culture and Lasem geographical environment were reflected by both the Tionghoa Peranakan-descent and Javanese-descent artists through the visual signs in the batik design. The purposive samples used were 21 Lasem batik motifs made by Tionghoa Peranakan-descent and Javanese-descent entrepreneurs which already IPR-certified. The method used was a compositional interpretation by interpreting each batik motif composition according to its content (subject matter), color, spatial organization, and expressive content (the combined effect of subject matter and visual form). The finding reveals that Lasem visual style hybridity is generally visible in: (1) the use of Chinese subject matter combined with Javanese motifs, (2) the use of Chinese subject matter combined with local Javanese isen-isen (texture), and (3) the rich use of red (from Chinese batik visual style) combined with brown (from Javanese batik visual style). This finding can be used as a reference guide for latter Lasem batik entrepreneurs to maintain the particular characteristics of Lasem batik while developing other batik motifs innovation.

Jurnal Humaniora vol. 10 no. 3 – November 2019

Status#2. An Art Piece that Represents the Cultural Assimilation between Chinese and Indonesia

Sandy Rismantojo
2016

Indonesia is located between two continents, Asia and Australia, and many times ago has become the world’s trade lanes because of its strategic geographical location for trading or transit before heading to the final destination. Many of the trader or immigrants eventually settled and married with local residents resulting in the mixing of cultures that has enriched the culture of Indonesia. One of the cultural assimilation that has occurred is between the Chinese and Indonesian culture. Many old Indonesian kingdoms had good political and cultural relations with China, for example the Sultanate of Cirebon. Sunan Gunung Jati or better known as Fatahillah married princess Ong Tien, the daughter of the Emperor of China, triggering the assimilation of local culture and Chinese culture, for example in the form of batik motif and colors of Megamendung Cirebon. The process of cultural assimilation of China and Indonesia has not only occurred in Cirebon but can also be found in Bali. The story of Barong Landung which tells the marriage of a Balinese King with a Chinese princess named Kang Cing Wei proves the assimilation process is already taking place in Bali in a peaceful process. Another similar form of culture that are often found in other parts of the world, especially in Bali and China, is the use of headdress or crown by the women, especially by the nobility. Headdress or crown was usually worn by the women to indicate their social status in society. Besides worn by the nobility in Bali, headdresses are often worn during the traditional dance performance, such as Legong dance. During the Manchu dynasty in China (the last imperial dynasty of China), headdresses were also worn daily by the noble women especially those living in the Forbidden City in Beijing. This assimilation process has inspired the creation of Status#2 as an art piece symbolizes the Chinese and Balinese culture assimilation that represents a person’s social status in the society with a modern twist.

The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) – Maranatha Repository System

Analisa Identitas Visual pada Iklan Fashion Brand Internasional DKNY

Sandy Rismantojo
2016

Brand Identity and brand image are important parts of the branding process that must be managed in a sustainable way in order to seek and gain attention from their target audience. Life and death of a fashion brand depends on how the brand manages its image, products and how the brand establishes an intense relationship with its target audience. DKNY is an internationally renowned fashion brand that can be said to have succeeded in managing its brand identity and brand image by developing visual characteristic that no other fashion brand has. This essay will deeply analyze the DKNY’s visual characteristic by reading the icons and index of DKNY fashion advertisings

Serat Rupa Journal of Design Vol 1 No. 1

Kampanye Hidup Sehat Tanpa Mengkonsumsi Jajanan Berbahaya

Ganjil 2015/2016

Pembuatan Layout Desain Diktat yang Menarik dan Informatif kepada Guru-Guru SMA Trimulia Bandung

Genap 2015/2016

Menentukan Targeting Positioning (Teknik dan Pendekatan Pada Konsumen)

Ganjil 2016/2017