Lukman, Christine Claudia
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Visual Style of 21 Intelectual Property Right (IPR) Certified Lasem Batik Motifs as the Expression of Cultural Hybridity Setyoningrum, Yunita; Lukman, Christine Claudia; Rismantojo, Sandy
Humaniora Vol 10, No 3 (2019): Humaniora (In Press)
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v10i3.5680

Abstract

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.
PERAN BRANDING BAGI PENCIPTAAN IMAGE BATIK 3 NEGERI SOLO KARYA KELUARGA TJOA Rismantojo, Sandy; Lukman, Christine Claudia; Valeska, Jesslyn
Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021
Publisher : LPPM STMIK STIKOM Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i2.718

Abstract

Batik Tiga Negeri is an Indonesian adiwastra that is still considered a mystery. Why? Because its history is still not completely clear. Batik Tiga Negeri is believed to have undergone a coloring process in three different cities, first in Lasem for red color, Pekalongan for the blue color, and finally in Solo for sogan or brown color. Therefore, the production journey of one batik Tiga Negeri will take a total of 650 km. The Tjoa family started producing batik Tiga Negeri in 1910, but it was regrettable that in 2014, the family had stopped the production because they have no successors. The Tjoa family stated that they named after their batik based on the legendary Sam Kok story from China known as the Three Kingdoms. Therefore, the batik Tiga Negeri, created by the Tjoa family, is a brand that is then attached to the legendary batik Tiga Negeri through the branding process. This study will analyze how Batik 3 Negeri Tjoa Family's brand and branding process can help build a brand image to strengthen the batik 3 Negeri Tjoa family's brand value. The researcher conducted a qualitative descriptive method to explore batik 3 Negeri of the Tjoa family through literature studies on batik Tiga Negeri and interviews with batik experts and enthusiasts complemented by literature studies on brand theory and branding. The results reveal the strength of the Tjoa family Batik 3 Negeri Solo's brand and branding process, which had been carried out for three generations, had succeeded in elevating their batik products into known to have aesthetic value and high quality and became the leading choice for the Sundanese in West Java.