角纹蜡染的复兴:文化融合的反映

A. Nursalim, B. Sobandi
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引用次数: 0

摘要

-喀拉拉邦蜡染是喀拉拉邦的三座宫殿之一,包括喀拉拉顿卡塞普汗、喀拉拉顿卡曼和喀拉拉顿Kacirebonan。最初,角顿蜡染仅以角顿蜡染为基础和发展。这种蜡染图案的发展深受印度、伊斯兰教、中国和欧洲等几种文化的影响。因此,本研究旨在找出根植于角化传统蜡染的蜡染保存方案,并对根植于角化传统蜡染的炭本传统蜡染进行研究,无论是在国内还是在国际上使用的蜡染。本研究采用民族志方法的定性方法。研究结果表明,角顿蜡染振兴是通过一种模式振兴来实现的,该模式包括:振兴背景;生殖上下文;创新环境;整合语境(文化感知平等)。此外,还通过创造不同形式的视觉装饰来实现振兴,这可以成为一个整合Keraton Cirebon社区文化利益相关者的平台。这个项目也起到了表达印染的审美价值的作用,从而形成了一个和谐的价值体系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Revitalization of Keraton Cirebon Batik: A Reflection of Cultural Integration
—Keraton Cirebon Batik is one of three palaces in Cirebon including Keraton Kasepuhan, Keraton Kanoman, and Keraton Kacirebonan. At first, Keraton Cirebon Batik was grounded and developed merely around Keraton Cirebon. Development of this batik motif was much influenced by several cultures such as Hindu, Islam, China, and Europe. Therefore, this study was aimed to find out batik preservation program rooted in the keraton traditional batik and investigate the Cirebon traditional batik rooted from the keraton tradition batik either in the batiks that have been used in the national and international level. This study applied a qualitative method with an ethnographic approach. The findings revealed that Keraton Cirebon Batik revitalization was done through a model revitalization which covers: Revitalization context; Reproductive Context; Innovation context; Integration context (Equality of Cultural Perception). Besides, revitalization was also done by creating alternative forms of visual decoration which can be a platform to integrate the cultural stakeholders of the Keraton Cirebon community. This program also functioned to express aesthetic values on Cirebon batik leading to a harmonious value system in the Keraton Cirebon.
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