KAJIAN KALIGRAFI HURUF ARAB PADA PRODUK KERAJINAN KULIT KAMBING DI “BIMA SAKTI” SONOREJO SUKOHARJO

Paesthi, Hanggita Luhung (2013) KAJIAN KALIGRAFI HURUF ARAB PADA PRODUK KERAJINAN KULIT KAMBING DI “BIMA SAKTI” SONOREJO SUKOHARJO. , 1 (1). pp. 1-12. ISSN

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    Abstract

    Abstract: The objective of research is to find out: 1) the background of “Bima Sakti” goat leather craft establishment existence and development; (2) the production and visualization process of Bima Sakti” goat leather craft; and (3) the meaning of Arabic calligraphy existing in goat leather calligraphy craft product produced by “Bima Sakti” in Sonorejo, Sukoharjo.The subject of research was the Bima Sakti” goat leather craft. The data source derived from Mr. Sutiman as the owner of “Bima Sakti”, Mr. Dodo as the secretary and public relations of “Bima Sakti”, and Mrs. Rumini as the Sonorejo Village’s Chief of Village. Techniques of collecting data used were observation, interview, and documentation. The data validation was done using triangulation, observation persistence, and detailed explanation. The data analysis was done using an interactive technique of analysis. The research procedure included proposal filing, field observation, data collection, and data organization stages.The result of research showed that the goat leather Arabic calligraphy craft center in Sonorejo Village at first producing leather puppet craft shifted into producing goat leather Arabic calligraphy craft because of consumer’s decreasing interest in the leather puppet craft at that time. The production and visualization process of goat leather Arabic calligraphy craft product done in “Bima Sakti” included: 1) slaughtering; 2) goat leather processing, 3) goat leather Arabic calligraphy craft product designing; 4) silk-screening; 5) finishing; 6) packaging; and 7) distribution process. The product yielded, in addition to be used as interior decoration, could also give composure and peace suggestion for the Moslem who display it at home. It was done to touch the heart of human seeing it, because the producer realized that the calligraphy could reveal or generate human religious emotion relying on the symbolic power of the calligraphy.

    Item Type: Article
    Subjects: N Fine Arts > NC Drawing Design Illustration
    N Fine Arts > ND Painting
    Divisions: Fakultas Keguruan dan Ilmu Pendidikan > Pendidikan Seni Rupa
    Depositing User: Saputro Bagus
    Date Deposited: 09 Jul 2013 00:04
    Last Modified: 09 Jul 2013 00:04
    URI: https://eprints.uns.ac.id/id/eprint/1138

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