BATIK SUDAMALA Artistic Creation of Batik with Story of Sudamala Carved in the Relief of Sukuh Temple of Karanganyar Regency of Java Island of Indonesia

Dharsono .


Studies on artistic creation of batik design of Sudamala story on the relief of Sukuh temple of Karanganyar regency of Java island of Indonesia focus on conservation of traditional art as a form of cultural resilience. Preservation is defined as the act of keeping, caring for, and protecting something. Meanwhile, conservation is associated with development and utilization of values. Conservation emphasizes more on alternative development to provide answers for the global situation of arts and culture. The present study aims at creating prototypes and batik design of Sudamala story on the relief of Sukuh temple as an artistic creation. To achieve the goal, an experimental method in the form of reproduction with innovations involving works of art creation (sanggit) with revitalization concept is required. The method for creating sanggit refers to a form of conservation of traditional art providing alternatives of works using reproduction technique of innovations. This attempt technically reduces the processing through some aspects, including: counter line, coloring technique, display of space volumes, and the thematic story engineering. Conservation with the concept of revitalization yields prototypes and batik designs as an artistic creation derived from relief of Sudamala. The artistic creation of batik Sudamala is inspired by the story of Sudamala as carved in the relief of Sukuh temple of Karanganyar regency of Java island of Indonesia. Sudamala refers to Murwokolo ritual dating back to the end of Majapahit Empire (the 14th century). Sudamala in Murwokolo (also termed ruwatan/ purification ritual) is a ritual to free individuals from mala which may exist in their body, mind, and heart. It is known as cleansing sukerta (the unclean). Creative designs of batik are inspired from the story of Sudamala. Such innovative designs with concept of batik pattern are arranged as follows: (1) primary motifs are taken from the story of Sudamala carved on outer walls of Sukuh temple, and (2) complementary motifs are oriented on flora of the mount where Sukuh temple is located.

Keywords: artistic creation, conservation, prototype, Sudamala

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ISSN (Paper)2224-610X ISSN (Online)2225-0603

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