Roni Nursyamsu, R. Jerry, Rika Nugraha
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引用次数: 1

摘要

. 蜡染工艺在印尼很早就发展起来,在分布方面,尤以西爪哇为甚。无论是从纹饰的哲学基础、纹饰的种类、纹饰的名称,还是纹饰使用者的市场占有率,都有其独特之处。巽他蜡染的传播基于西爪哇的行政区域,由于其展示的视觉风格,在蜡染作品上出现了图案分组。印染炭、因德拉玛尤和库宁甘受沿海地区的影响。受沿海地区影响的巽他蜡染的装饰类型有几何图案、人物图案、植物图案、动物图案和矿业图案。关于巽他蜡染的一些研究已经得到了广泛的研究,但作为受沿海地区影响的地区,古宁安蜡染尚未得到研究者的充分重视。这本《视觉视角下的古宁安蜡染》的研究书,唤醒了社会对古宁安蜡染工艺艺术具有创造性、审美性和艺术性的敏感。视觉素养是《蜡染图》在视觉视角下为叙事和视觉的形成提供参考的一种方法
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Batik Tulis Paseban in Visual Perspective
. Batik craft has long been developed in Indonesia, in terms of distribution, especially West Java. It has its own uniqueness both from the philosophical foundation, the types of ornamentation, the name of the ornament and the market share of its users. The spread of Sundanese batik based on the administrative region of West Java occurred grouping of motifs on batik works due to the visual style displayed. There is a coastal influence on Batik Cirebon, Indramayu and Kuningan. The types of ornaments found in the Sundanese Batik influence of coastal areas are Geometric Motifs, Human Motifs, Plant Motifs, Animal motifs and Mining motifs. Some researches on Sundanese Batik have been widely studied, but as an area that is influenced by coastal areas, Batik Kuningan has not yet received the full attention of researchers in particular. This research book on Kuningan Batik in Visual Perspective is an awakening of the sensitivity of the community that Kuningan has creativity, aesthetics and art in Batik Craft Art. Visual Literacy is a method carried out so that narrative and visual are formed as a reference for Batik Tulis Paseban in Visual Perspective
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