Sabtu, 06 Maret 2010

The Valuable Art of Craft

Art craft is one branch of art which has strong roots, the value of high-quality tradition or adhilung value. Because in the past, the palace kriyawan produce works of art with diligence and high-concept philosophy gives legitimacy to the other craft art product first. The concept that includes metaphysical mindset that contain loads of spiritual values, religious, and magical. Collective consciousness of the natural environment, high solidarity and supported by the traditional cultural order that had been producing quality craft art reflects the soul adhiluhung All zaman.1 man's inner life that occurred from the feelings, thoughts, fantasies during the progress of a culture. The soul of this era gives the pop-pop spirit of their work to each soul supporters. Therefore the adhiluhungan his is a work which was measured from the supporters and everyone who audience. Because of the time strata distinguished royal and aristocratic society of commoners, so they have a test (taste) and the different formal and informal people's taboo to have or use products that are similar to what was in the palace yag. Well this is what distinguishes the source region and the emergence of craft art works produced from Jeronbetèng (in court), Jabanbetèng (outside the palace) and even Pesisiran (beach). Of adhiluhung always associated with anything that works in the palace, because it works craft inside the palace has its own legitimacy so that it is the sacred and exalted, so a lot of people think adhiluhung because of the court. Another case with works made by jaban court considered the work of ordinary people who are profane and without a sense of virtue or valuable it was. Adhiluhung purpose today has been different from the existence of the Unitary Republic of Indonesia, not a monarchy again, the Indonesian government to protect the cultural forms rooted tradition that has strong and trademark specific regions or specific areas, which has its own characteristics as part of the artistic tradition , for example, Jepara carving, batik art Yogya-Solo, Dayak motif, kris, and so forth. Artefac that there has its own value of a part of local creativity and the work of craftsmen komonitas which mentradisi be in a royal sphere. Thus adhiluhing also has a work force that has been supported by the community.

The differentiation of the user who craft the products that depend on a user komonitas. The first is craft art made in dedication to the god-king who worked diligently to prosperity and happiness of her life protected by providing / making good work, then the god will be pleased and give peace and joy of life in the world and the hereafter. The second is the user with better economic levels who can appreciate the craft of art became part of their lifestyle will be the trend of art, art must be produced to have high values, even in the present work is collected by the "rich" is incredible value may exceed collection of works owned by the palace. All three users on the middle to lower strata, they are only capable of collecting and appreciating that suit their economic level, so the product must have the ability to adjust his pocket. So the appearance of the palace of fine arts traditions in the past was certainly born out of elements of the class strata of society which is based on castes, caste bendoro, gentleman, and farmer. More bendoro caste in the palace so that the palace has the most honorable place.
Gustami confirm that during the kingdom in Java-product known to the art of craft products in the environment created by the palace with great culture in terms of tradition and art craft Working outside the palace, which is done by people in the countryside is alit culture in a small tradition. Both cultural environment that produces sophisticated products or adhiluhung on the one hand and a simple product on the other side. Artists of the palace called kriyawan and rural artists and pesisiran called pengrajin.14 From the palace, outside the palace and as a region producing pesisiran art products that are considered by its adherents as traditional arts heritage of their ancestors. Therefore adhiluhung value is always associated with a very exalted, so that these values give priority to works of art from the royal palace. The house where the king is regarded as a great lord, and as a patron of the arts by placing pekriyan-pekriyan as court artist who does not have the authority to the work produced. All of the work as an offering to the Gusti which in this case is believed to be the King of Gods incarnation. In pre-Islamic era considered the king penjilmaan god (king-god) or as coming from the gods. Shiva is usually considered to be incarnated in the king, but there are also the kings who considered the incarnation of Lord Vishnu. For example Kertarajasa king (1315 AD) founder of the kingdom that even Majapait statue enshrined in the day-nutrient mix that turned out as an incarnation Lord Vishnu and Shiva. While products art products Jabanbetèng into two classes, classes that are not allowed to manufacture products similar to the work of Jeronbetèng except as ordered items. Related to public confidence, especially Java, the objects are considered meyaingi palace owner would not be able to result in a hard life. This belief will continue in effect as one of the legitimacy of the god-king to his people. Items considered Pesisiran third grade that produces more free work and rough.

Artwork adhiluhung craft that became very special for the court, because this type of craft arts have unique ways of a work created for offerings to the god-king. Value extraordinary devotion that can affect the whole life and death, happiness, passion, prosperity, and so forth. Expression to his god is capable of thrilling the kriyawan to create the best work. Such expressions seem to be present in the creation of contemporary art craft work, although not to his god, but a surge of the soul to bring the work piece to the rank of the spirit craft work.



Tidak ada komentar:

Posting Komentar