| 摘要: | 蠟染工藝於 2009年10月，正式被聯合國教科文組織列為世界非物質文化遺產。此因印尼蠟染工藝有悠久的歷史，在設計和工藝方面具有精緻的品質，含有豐富的文化內涵，以傳統形式描述出穿者身分與意識形態，並反映出印尼的地理和歷史。 本研究的目的在於介紹印尼蠟染紋樣的美感，冀能保持蠟染工業在世界各國的地位，以面對世界蠟染工業生產的競爭，特別是東南亞、遠東和非洲。此研究的目的是找出印尼蠟染的特色，迎戰激烈競爭，尋求蠟染文化保存方法，維護國家的文化地位。 本研究所採用的研究方法是質性的方法，企圖尋找在自然環境中出現的社會現象加以解釋，通過歸納法，觀察印尼蠟染紋樣設計反映出的人們之社會群體性喜好，並解釋紋樣表達的意義，以描繪出印尼蠟染的風格，供業者設計應用。 印尼蠟染文化不是由單一來源生成的文化。例如印尼許多島嶼中，Java 為最古老的蠟染生產地區。歷史上的多次政治變動，對爪哇蠟染文化產生顯著影響。在經歷外來種族文化的適應過程中，印尼蠟染藝術反映出不同國家人民文化的交融。 在這種情況下，本研究強調辨識蠟染設計的兩個要點：國家意識形態之傳達，以及歷史上各階段的區別。因此，本調查所採用的方法是：1. 歷史研究法2. 內容分析方法3. 比較性研究法 在本研究中，研究者基於盡量涵括母體不同紋樣的原則，以抽樣方法選取歷史上某一階段的系列蠟染紋樣，根據歷史分期進行分類，對每個類別以文字說明該類的紋樣特徵，再從各類中找出具有象徵歷史意義的元素，並由特定分類圖案的元素，找出典型的紋樣特徵，並比較出類別間的差異和相似性。最後歸納出印尼蠟染紋樣之美感特點，與印尼蠟染圖案設計的原則。 在歷史研究方法中，研究者將各種蠟染紋樣設計分為兩大部分：(一). 按照風格劃分：1.皇室蠟染象徵王室文化的蠟染藝術，是關於古代皇室在爪哇中世紀時代的中央管理地區發展的蠟染藝術：Surakarta在東爪哇內陸，Yogyakarta 在中爪哇的南部，Cirebon在西爪哇的北部，Sumanep 在東爪哇的Madura島.2.爪哇蠟染藝術具有國外文化特色的蠟染圖案，包含爪哇古代皇室的中央管理地區之外的蠟染工藝，位於中爪哇北部沿海地區如Pekalongan,Semarang, Lasem等城市.。這些包括：-受荷蘭影響的蠟染設計，描述19世紀荷蘭殖民時期，從1840到1940年 ，在蠟染工業的地區，發展的蠟染設計，-中國影響的蠟染設計，代表了自中世紀以來，在爪哇沿海地區反映中國社會文化的主要的蠟染設計，-受日本影響的蠟染圖案設計. 指在爪哇沿海地區日本殖民時期 (1942-1945) 發展的蠟染圖案設計，是爪哇，荷蘭,阿拉伯以及中國蠟染商業家所接受日本人創造的蠟染工業.(二). 根據新時代的創新劃分：傳統蠟染藝術設計的創新. 由著名蠟染設計師.研究者挑選兩個蠟染設計師的系列作品為研究材料，這代表當代蠟染設計的創新，以鋪上未來的傳統蠟染設計的發展之路：- Hardjonagoro 蠟染設計師的蠟染設計.其作品描繪了印尼多元文化的印尼人民文化，代表傳統蠟染在公元1950年代-2008年的創新。- Iwan Tirta設計師的蠟染設計，1970年以來在布料和蠟染設計方面進行蠟染工業的創新，而將印尼蠟染藝術作品接紹給世界各國的領導人. 每個蠟染創作的調查要素包括：1. 圖案: 幾何形狀、動物圖案、昆蟲、蝴蝶、鳥類、樹木、花卉、房屋、人物、車輛、雲彩、雨傘等。2. 著色與顏色配合．3. 圖形的幾何特徵．4. 設計的佈局．
Since October 2009, Indonesian batik craft has officially been recognized by the UNESCO to be the world intangible cultural heritage. This is due to the fact that Indonesian batik craft, having gone through the long history, possesses the refined quality in terms of design and workmanship, has the wide range of cultural motif interpretation, traditionally discloses the status and ideology of the wearers and describes Indonesian geography and history. In order to introduce the aesthetic of Indonesian batik, with the aim to maintain the standing of the batik industries in the world communities, in facing the competition of other batik producers, particularly from the countries of the South East, Far East Asia, and Africa, the research is done in order to find a solution, to seek method of the batik culture preservation and to maintain the cultural standing of the nation. Since the objective of the research is to find the explanation of the social phenomena which arise within their natural environmen, the method of analysis applied in this investigation is the qualitative method. Investigator will go through the inductive method, which emphasizes on the need of observation of the Indonesian batik patterns which reflect the interest of the communities, annotate the symbolic meaning represented in the motif patterns and illustrate the typical Indonesian batik so as to provide the applicable design theories for the batik industrialists. Indonesian batik culture is not the pure culture of one origin. For an instance, among many Indonesian islands, Java is known to be the oldest batik production area. The long period of political changes in history had brought about the significant impact on the Javanese batik culture. In the process of adapting to the cultures of foreign ethnics, Indonesian batik art reflects the mingling of cultures of the different nations. In this case, the author will highlight two significance in the batik motifs: conveying the ideology of the nation besides symbolizing occasions of the different phases in the history. Therefore, the approaching methods used in this analysis are: 1. the history analytical approach2 the content analytical approach3. the comparative analytical approach In the analysis, the author will include as many as possible the various subjects of motif pattern, randomly select a series of batik patterns representing every particular stage in history, classify them according to historical stages, and describe the characteristics of each category in words. Following the previous steps, is seeking the elements which symbolize historical significance from each category to find typical features of the element patterns in the specific classification, and compare the differences and similarities between the categories. In this way, the aesthetic characteristics of Indonesian batik patterns and the principles of Indonesian batik pattern design are concluded through the inductive method. In the historical analysis, the motif batik designs are divided into 2 of classification: (I) Division according to the styles regionsThese include: 1. The batik design symbolizing the batik culture of the royal houses. These concern the history of batik in the regions of Java which has once become central administration of the ancient kingdoms during the medieval eras: Surakarta in the inland part of East Java, Yogyakarta in the south of central Java, Cirebon in the northern part of West Java, Sumanep in the Madura island in East Java. 2. The batik designs which represent the typical culture of the foreign influence which are found mostly in the northern coastal regions of Java. These include: a. Batik design of Dutch influence represents the motifs which has been developed during the 19th - 20th century during the era of the Dutch colonization. b. The design of the Chinese influence represent the kind of design which reflects the culture of the Chinese community in the long process of acculturation along the coastal areas of Java since the middle ages.c. The design of the Japanese influence represents the motifs developed by the Javanese, Indo- European, Indo-Arabian, or Indo-Chinese batik makers for the Japanese people in the north coast of Java during the Japanese occupation in the 1942-1945.(II) Division according to the innovation in the new eras: The batik motifs with the new artistry, created by prominent batik makers. Among many famous batik artists, investigator will pick the creations of two batik designers which speak volume about the innovation in those eras.a. The creation of Hardjonagoro, a Javanese culture lover from Surakarta who made the batik creation by illustrating the diverse cultures of the multi-ethnic society, represent the innovation of the traditional batik in the post-independence since 1950s to 2008.b. The collection batik of the Iwan Tirta's, a successful batik designer originated from Blora region in Central Java who has made accomplishment in making innovation in the material and motif design since the 1970s in the era of the new order. The significant elements of investigation for each batik creation include: 1. element motifs consist of dots, lines, geometric shape, non-geometric shape2. coloring and color matching3. geometric feature of the pattern4. the layout of the design |
