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1 PENGOLAHAN MOTIF DENGAN INSPIRASI TEKNIK KATAZOME Sri

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1 PENGOLAHAN MOTIF DENGAN INSPIRASI TEKNIK KATAZOME Sri ISSN : 2355-9349 e-Proceeding of Art & Design : Vol.5, No.3 Desember 2018 | Page 2586 PENGOLAHAN MOTIF DENGAN INSPIRASI TEKNIK KATAZOME Sri Inten Puspitasari1, Dr. fajar ciptandi S.Ds., M.Ds.2 Prodi Kriya Tekstil dan Mode Fakultas Industri Kreatif Prodi Kriya Tekstil dan Mode, FIK, Universitas Telkom, Bandung [email protected], [email protected] ABSTRACT Indonesia is known to have a variety of textile. Many types of textiles are processed by resist dyeing techniques in Indonesia. The presence of resist dyeing techniques from other countries also influences the development of barrier dyeing techniques in Indonesia. One of them is katazome, a resist dyeing technique from Japan which will be an inspiration for the elaboration of motives in this study. The Katazome technique is a resist dyeing technique that uses stencils and paste in its processing, this technique cannot be applied one hundred percent according to the manufacturing process used in Japan. In this study, the thing to be achieved is finding materials and manufacturing processes that can be used in Indonesia for the katazome as inspiration technique through the right experimental process. So, at the end of this research process, the katazome inspiration technique can become a resist dyeing technique in Indonesia and can be applied to fabric sheets for raw materials of fashion products. Keywords: resist dyeing, fabric, katazome, motif, stencil, paste. 1 ISSN : 2355-9349 e-Proceeding of Art & Design : Vol.5, No.3 Desember 2018 | Page 2587 PENDAHULUAN (Stensil Kertas) yang diterapkan kepada kain. Sehingga dapat disimpulan bahwan Indonesia dikenal memiliki beragam peran seni Katagami pada Katazome kekayaan tekstil. Dari banyaknya jenis adalah sebagai cetakan untuk perintang tekstil yang diproses dengan teknik rintang yang akan dipulaskan diatas kain dengan warna, di Indonesia digunakan perintang yang terbuat dari tepung beras. teknikseperti teknik celup rintang (Kartika:2010) Salah satunya yang populer Dituliskan oleh (Murashima:1994) di Indonsia adalah teknik celup rintang Katazome memiliki material khusus dan batik, celup ikat, kain simbut, dan masih langkah yang harus diikuti dengan hati- banyak lainnya.Teknik celup rintang yang hati dan waktu yang tepat. Karena berkembang di Indonesia tidak hanya langkah- langkah inilah katazome sulit tumbuh dan berkembang dari tradisi asli untuk diadaptasi. Material utama dari Indonesia saja, melainkan dapat pula pembuatan Katazom adalah berkembang diakibatkan perngaruh menggunakan pasta tepung beras sebagai negarah lain.Teknik celup rintang dari perintang, dan stensil yang terbuat dari Jepang seperti Shiboridan katazomesaat ini kertas mulberi yang dilaminasi dengan mulai menarik perhatian masyarakat ekstrak buah kesemek. Pertama pembuatan Indonesia. Hal ini diperngaruhi oleh stensil dari kertas mulberi di Indonesia budaya Jepang mudah diterima oleh warga menjadi hal yang sulit dikarenakan Indonesia, baik melalui music,komik, perbedaan komposisi kertas mulberi yang majalah, film, dan juga fesyen atau lebih diproduksi di Indonesia dan Jepang. Kedua tepatnya gaya pakaian kaum muda Jepang. buah kesemek semakin langka ditemukan (Venus dan Helmi:2010). Bukti adanya di Indonesia. Ketiga teknik ini pengaruh dari negara Jepang pada bidang menggunakan pewarna alam indigo fesyen dapat dilihat dari adanya local sehingga butuh proses pencelupan lebih brand ternama yaitu Kana Goods, Danjyo dari sekali, dan pasta perintang yang Hiyoji, dan Stemma Signature yang mudah larut atau luruh saat proses menggunakan inspirasi potongan pakaian pencelupan, sehingga perintang harus tradisional Jepang sebagai inspirasi distensil atau dilapis kembali setiap mereka, pencalupan. Hal ini menjadikan proses Teknik katazome membutuhkan waktu Menurut buku karya( Kuo et al yang sangat lama. Kondisi-kondisi pada :1998) Katazome adalah teknik stensil teknik katazome tersebutmemiliki banyak pada kertas atau dapat disebut Katagami 2 ISSN : 2355-9349 e-Proceeding of Art & Design : Vol.5, No.3 Desember 2018 | Page 2588 ketidak sesuaian dengan kondisi di 2. Material dan teknik yang Indonesia, sehingga relatif sulit untuk digunakan pada teknik Katazome menerapkan teknik katazome dengan tidak sesuai dengan kondisi di kondisi yang sama persis seperti di negara Indonesia, sehingga dibutuhkan Jepang eksperimen yang tepat untuk mengembangkan teknik katazome Dengan hal-hal yang terlah tanpa mengurangi ciri khas dari dijabarkan sebelumnya, Penelitian kali ini teknik tersebut. ingin mencari bagaimana teknik katazome 3. Hasil dari penelitian dengan teknik dapat menjadi inspirasi dan diaplikasikan katazome perlu diaplikasikan dengan lebih mudah pada kehidupan kepada lembaran kain tanpa sehari-hari dan sesuai dengan kondisi di mengurangi karakteristik ciri khas Indonesia. Hal yang akan diperhitungkan katazome dan sesuai dengan adalah racikan yang tepat untuk pasta kondisi di Indonesia perintang agar tidak mudah luruh saat proses pencelupan dengan mengabungkan Dari indentifikasi masalah tersebut,tujuan tepung beras dan tepung tapioka. dari penelitian ini adalah: Penelitian ini juga mencari alternatif stensil dengan hal yang mudah ditemukan dilingkungan. Semua ini dilakukan dengan 1. Mengembangkan variasi teknik harapan hasil penelitian ini dapat celup rintang di Indonesia dengan menjadikan teknik katazome sebagai berkolaborasi dengan teknik celup teknik inspirasi celup rintang, yang pada rintang kebudayaan negara lain, akhir penelitian ini akan menjadi lembaran salah satunya katazome kain untuk bahan baku produk fesyen. 2. Menemukan alternatif teknik katazome yang sesuai dengan Dari penjabaran latar belakang diatas, kondisi di Indonesia dipat ditarik indentifikasi masalah, yaitu: 3. Menemukan pengembangan teknik katazome sebagai inspirasi teknik perintang untuk diterapkan pada 1. Budaya negara Jepang mudah produk fesyen di masa yang akan diterima di Indonesia sehingga ada datang. nya kemungkinan untuk memperkenalkan katazome sebagai inspirasi celup rintang di Indonesia 3 ISSN : 2355-9349 e-Proceeding of Art & Design : Vol.5, No.3 Desember 2018 | Page 2589 2. Eksperimen lanjutan, eksperimen ini menentukan bentuk motif, ukuran METODE PENELITIAN motif yang akan diaplikasikan pada Metode Penelitian yang penulis gunakan produk akhir. adalah kuantitatif karena secara garis besar didasarkan dari eksperimen yang telah Literatur dilakukan.Terdiri dari studi literatur, wawancara, observasi, dan eksperimen. - Katazome Sebuah teknnik stensil celup rintang dari Studi Literatur dibagi menjadi 3 golongan. Jepang yang aslinya menngunakan 1. Pemaparan singkat mengenai perintang pasta (mochiko) dan Katagami katazome sebuah teknik pembuatan stensil pada 2. Pemaparan singkat mengenai jenis- kertas mulberi (kōzo) yang di laminasi jenis tekstil . dengan sari buah kesemek (kakishibu) 3. Pemaparan singkat mengenai tema (Kuo et al: 1998) yang akan digunakan Menurut bukua karya (kuo et al: Wawancara dilakukan bertujuan untuk 1998) tertulis stesil Celup Rintang atau bertanya pada ahli mengenai pewarna yang nanti akan disebut katazome, ditemukan akan digunakan pada penelitian ini untuk hanya di Asia Timur. Terutama China, memberikan perlakuan yangteoat nantinya. Okinawa dan bagian negra Jepang lainnya memiliki kesamaan tradisi, Observasi dilakukan untuk mengetahui brand pembanding agar memudahkan Sejarawan seni dari Jepang mencari dalam pemilihan target market pada asal-usul celup rintang stensil yang penelitian ini. ternyata adalah tadisi dari periode Nara Eksperimen yang dilakukan pada (tahun 710-794) Sebuah stensil untuk penelitian ini adalah sebagai berikut: katagami . Kemungkinan pada awal abad ke-10 atau ke-12, kertas yang dilapisi 1. Eksperimen awal dilakukan untuk dengan sari kesemek membuat kertas menentukan jenis kain, dan jenis menjadi anti-air, ini menjadi sebuah pewarna, yang akan digunakan. langkah yang penting dalam tahap Serta waktu dan jumlah celupan pencelupan. Contoh pertama dari celup yang digunakan pada eksperiman stensil ditemukan pada jubah kulit dari era selanjutnya. Tengyo (938 – 947). Pada buku (kuo et al: 4 ISSN : 2355-9349 e-Proceeding of Art & Design : Vol.5, No.3 Desember 2018 | Page 2590 1998) tercantum gambar pakaian tertua Dikatakan juga pada buku (kuo et dari celup stensil yang masih bertahan al: 1998) , setelah berakhirnya periode Edo adalah sepasang sarung tangan perang setelah kepemimpinan Tokugawa pada yang di arsip kan sebagai kepunyaan dari tahun 1868 (Periode Meiji dimulai) terjadi pejuang legendaris Yamamoto no perubahan besar pada industri tradisional Yoshitsune. Beberapa kain Katazome yang Jepang, dan semua tatanan sosial sudah masih bertahan adalah jaket pendek dan berganti menjadi industrialisasi. celana panjang yang digunakan didalam Permintaan terhadap celup stensil terus jubah perang. meningkat, dan adanya adopsi budaya barat pada kerajinan tangan dan gaya Pada periode Edo (1615-1868), hidup disana. Para pengrajin dan pedagang keadaan sosial politik pada awal abad ke- celup stensil sangat diuntungkan karena 17 sangat mempengaruhi keberlangsungan permintaan meningkat berikut sudah tidak manufaktur tekstil. Kemajuan dalam ada larangan kelas masyarakat yang dapat bidang pedagangan dan juga dipengaruhi menggunakan pakain yang dibuat dengan oleh kaum borjuis perkotaan yang teknik ini, sehingga rakyat menengah-pun mendukung perkembangan pada bidang, memesan hasil dari celup stensil. Periode kraft, termasuk bidang industri celup ini adalah saat dimana pengrajin celup rintang, yang dimana teknik celup rintang stensil berada dipuncak industri Jepang.
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