蜡染在后现代时代的存在

Aida Roihanna Zuhro, I. K. Sunarya, Wiga Nugraheni
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引用次数: 0

摘要

艺术作品的视觉形式在后现代时代受到了很多关注。因此,许多艺术作品不断地发展和升级,以适应艺术家的自我表达。Nitik蜡染是日惹最古老的蜡染风格,在其视觉形式上有了显著的发展。本研究旨在运用质性的方法和现象学的方法来考察尼克蜡染在后现代时代的存在。研究地点在日惹的班图尔。数据通过观察、访谈和文献获得。分析是通过数据缩减、展示和得出结论来完成的。研究结果表明,Nitik蜡染在后现代时期的存在可以归纳为以下几点:(1)从功能角度来看,它可以被各种各样的人使用;(2)从母题角度来看,Nitik风格总共有60个母题;(3)蜡染工匠协会于2017年成立,由一群妇女和年轻人组成,作为下一代,以保护蜡染的存在;(4)地理标志已在品牌和地理标志局注册为蜡染,具有基于材料类型,编织技术的技术质量,并被认为是日惹最古老的蜡染风格。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Batik Nitik’s Existence in the Postmodern Era
The visual form of a work of art is something that receives a lot of attention in the postmodern era. As a result, many works of art continuously experience development and upgrades that are adjusted to the artists’ self-expression. Nitik Batik is the oldest Batik style in Yogyakarta which has significantly developed in its visual form. This study aims to examine the existence of Nitik Batik in the postmodern era using a qualitative method and phenomenology approach. The research setting is in Bantul, Yogyakarta. Data were obtained through observations, interviews, and documentation. The analysis was done through data reduction, presentation, and drawing conclusions. The findings reveal that the existence of Nitik Batik in the postmodern era throughout the years can be summed up as follows: (1) from the function perspective, it can be used by all kinds of people; (2) from the motif perspective, the Nitik style has an overall of 60 motifs; (3) an association of Batik craftspeople was formed in 2017 by a group of women and young people as the next generation to preserve the existence of Batik Nitik; (4) the geographical indication has been registered at the Directorate of Brands and Geographical Indication as Batik with technical qualities based on the type of material, weaving technique, and recognition as the oldest Batik style in Yogyakarta.
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