帕米卡桑蜡染图案的开发作为产品多样化的应用

Fera Ratyaningrum, Trisakti, I. C. Angge, Marsudi
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引用次数: 0

摘要

Pamekasan Regency拥有蜡染产品,是马杜拉蜡染产业化的中心。更具体地说,是克兰帕村。Pamekasan Regency有一个蜡染工业中心,其中之一是Proppo街道的Klampar村。Klampar村的手工蜡染对社区的社会经济状况产生了积极影响。Pamekasan蜡染图案通常探索特定形式的动植物,即蝴蝶,鸟类和鸡。蜡染行业的社会结构或等级有三个层次,即上层(买家、收藏家/显赫的企业家)、中层(小家行业企业家)和下层(蜡染工人)。帕梅卡桑蜡染工匠在蜡染布上制作图案时具有很高的捕捉力和创造力。到目前为止,创意还局限于长布制品和服装材料。基于此背景,本研究的目的是开发帕梅卡桑蜡染图案,并将其应用于室内产品,作为蜡染产品本身多样化的创新之一,特别是作为印度尼西亚的文化遗产。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Development of Pamekasan Batik Motifs as the Application of Product Diversifications
Pamekasan Regency has batik products as the center of batik industrialization in Madura. More specifically, Klampar village. Pamekasan Regency has a batik industry center, one of which is Klampar village, Proppo sub-district. The handcrafted batik of Klampar Village has a positive impact on the socio-economic conditions of the community. Pamekasan batik motifs generally explore specific forms of flora and fauna, namely butterflies, birds, and chickens. There are three levels of social structure or hierarchy in the batik industry, namely the upper layer (buyers, collectors/prominent entrepreneurs), the middle layer (small home industry entrepreneurs), and the lower layer (batik workers). Pamekasan batik craftsmen have high capture and creativity in making motifs on a piece of batik cloth. So far, the creativity is still limited to long cloth products and clothing materials. Based on this background, the purpose of this research is to develop Pamekasan batik motifs to apply them to interior products as one of the innovations in diversifying the batik product itself as Indonesian cultural heritage in particular.
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