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Representasi Simbolisme Wanita Jawa Dari Arca Prajnaparamitha Pada Karya Seni Batik Post- Modern

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Representasi Simbolisme Wanita Jawa Dari Arca Prajnaparamitha Pada Karya Seni Batik Post- Modern Proceeding: International Conference on Art, Design, Education, and Cultural Studies (ICADECS) 2019 (ISSN : 2686-617X) Universitas Negeri Malang, Malang, Jawa Timur, Indonesia Representasi Simbolisme Wanita Jawa dari Arca Prajnaparamitha pada Karya Seni Batik Post- Modern 1st Okta Viviana A. Nusantari Art and Design Department State University of Malang Malang, Indonesia [email protected] Abstract—Prajnaparamitha is a statue form of the sebagai makhluk yang feminim, atau matriarki penuh Bodhisattwadewi from ancient Java which famous as a misteri, namun terdapat asumsi bahwa wanita adalah representation of Ken Dedes. This statue was estimated makhluk yang memiliki sifat lembut, sabar, elok , dan from the 13th century in the era of Singhasari Kingdom. beberapa sifat kefeminiman lain yang jarang ditunjukkan Prajnaparamitha statue is one of the best masterpieces as a wanita. Apabila berpijak pada persepsi filosofis yang classic figurative statue in Hindu-Budha Indonesia which menempatkan peran wanita sekadar sebagai kanca can represents Javanese women who is graceful and full of wingking (istri yang pekerjaannya cuma di dapur dan symbolic value of women’s life in Java land. The statue’s sumur), isi-sining omah (istri sebagai pelengkap dalam visual characteristics and historical-philosophy values that rumah tangga ) tersebut sesungguhnya sangat contained in it has to be the idea of Javanese women’s life bertentangan dengan kearifan masyarakat Jawa symbolism representation in post-modern batik artwork. (Adji&Achmad, 2018:12). In this research, the art method of creation that is Wanita Jawa pada masa Hindu-Buddha tampak adopted in the process of making post-modern batik memiliki posisi yang sama dengan kaum pria. Tengok saja artwork is a theory from SP. Gustami which consisted of seperti, penguasa wilayah Lasem pada masa Majapahit, several phases. kelima rajanya yang pernah memerintah di Lasem seluruhnya wanita (Rahardjo, 2001 ). Selain itu, tampak The main phase basically begins from (1) Exploration is an activity of exploring ideas or digging ideas that will penguasa ketiga Majapahit yang memerintah antara tahun produce art themes and concepts, in this case, researcher is 1328-1351 yang merupakan seorang putri dari Raden going to study the idea sources from various literatures. The Wijaya dan Gayatri, ia adalah Tribhuwana Tunggadewi. next phase (2) Planning that will visualize the ideas to be the Berdasarkan Nagarakertagama, Tribhuwana naik tahta first shape of prototype, then it will produce visual ideas atas perintah ibunya (Gayatri). and some aspects that includes the concept and form of Telah banyak disinggung berbagai aspek wanita Jawa artwork. dalam naskah-naskah Jawa kuna, diantaranya aspek And the last phase is (3) the form of artwork which kesetiaan, seperti kisah Sri Tanjung yang diceritakan based on philosophical values or the meaning of its artwork. sebagai seorang istri yang setia terhadap suaminya There are three prototypes of post-modern batik artwork (Sidapaksa) meski harus rela terbunuh untuk that divided into three titles (1) Dadi Wong Wadon, that membuktikan kesetiannya (Susetyo, 2002). Wanita bukan express the Javanese women’s life symbol which is having sekedar teman laki-laki semata, kehadiran wanita some philosophical values based on her life; (2)Sacrifice, is memberi ketenangan, kehangatan, dan ketentraman about representation of journeys and struggles by a duniawi. Di dalam mitologi Jawa, wanita pada tatanan Javanese woman in her life; (3) Pandonga Kagem Biyung, sosial Jawa adalah simbol-simbol dari makhluk-makhluk as a representation of the child’s devotion to mother as a yang menjaga kehidupan dan mengamankan keadaan woman figure in Javanese women’s life. selamat (Permanadeli, 2015). Di Jawa, kehidupan wanita selalu bisa direpresentasikan sebagai makhluk yang Keywords—Symbolism, Woman, Javanese, Batik, Post- berusaha memperjuangkan dan menyeimbangkan Modern berbagai situasi kehidupannya dalam keluarga. Jika dipahami betul kedudukan wanita dalam struktur I. PENDAHULUAN kehidupan di masyarakat Jawa. Wanita memegang Perbincangan mengenai peradaban sejarah kehidupan peranan penting dalam suatu praktik masyarakat. manusia di tanah Jawa, khususnya kaum wanita sering Layaknya kutipan yang sering dilontarkan oleh kali digambarkan sebagai kaum yang dikekang, feminim, masyarakat Jawa yaitu, wong wedok kuwi kudu srawung, bahkan tidak berdaya. Wanita yang sering dianggap wanita itu harus terus belajar menyatukan dirinya dalam 280 masyarakat. Wanita harus terus mengolah, mempertajam produk kultural yang terlihat berbeda dari produk kultural kepekaan feminimnya untuk mendapatkan dan modern saat itu terlihat memberi teori baru pada mempertahankan tempat wanita dalam masyarakat Jawa perkembangan seni saat ini. Dimana proses penggalian ide (Permanadeli, 2015). karya, pemanfaatan teknik dan medium penciptaan yang baru akan melahirkan produk karya seni/artefak dengan Setiap sejarah akan melahirkan berbagai artefak serta gaya yang baru serta lebih artistik. babad yang diperoleh dari penemuan-penemuan para ahli purbakala. Hasil-hasil kebudayaan khususnya dalam bentuk seni rupa yang ditinggalkan diantaranya berupa II. METODE PENELITIAN candi, arca, relief dengan berbagai bentuk kisah yang Penciptaan seni sebagai disiplin ilmu yang diceritakan di dalamnya. Berbagai bentuk candi, arca, dan mengekspresikan dan merumuskan pengetahuan yang relief yang dihasilkan pada zaman Hindu/Budha banyak diwujudkan secara empiris dan simbolik, dengan rumusan tersebar di penjuru pulau Jawa (Hariyanto, 2009:42). Di pengetahuan mengenai; (1) teknis artistik, (2) bentuk- tanah Jawa sendiri, berbagai temuan artefak peninggalan bentuk artistik, dan (3) keterampilan untuk masa Hindu/Buddha utamanya berupa arca banyak mewujudkannya, serta (4) pengetahuan tentang isi yang tersebar di berbagai situs peninggalan bersejarah. melekat pada realitas teknis dan bentuk artistik, yaitu Dilihat dari sejarah yang melatarbelakangi pengetahuan tentang nilai-nilai (Djatiprambudi, 2017:25). perkembangan kerajaan-kerajaan besar di Nusantara, Metode dalam perwujudan karya seni atau penciptaan seni terutama di Jawa Timur, terdapat sebuah kerajaan yang sebagai ekspresi pengetahuan mengenai berbagai objek mengalami masa kejayaan dan diperkirakan berada di yang terpilih, yaitu objek yang dirasakan kehadirannya di daerah Singosari, Kabupaten Malang. Letak geografis hadapan kesadaran seniman, kemudian diekspresikan pusat kerajaannya yang berada di Malang memberi asumsi dengan medium terpilih, dalam formulasi artistik yang pada khalayak mengenai cerita-cerita sejarah kerajaan bersifat empiris dan simbolik yang terpilih pula (Sunarto, yang lekat dengan masyarakat Malang dan sekitarnya. 2013:13). Metode penciptaan yang digunakan dalam Sosok Ken Dedes (baca: Dêdês) sebagai seorang putri penelitian ini yaitu mengadopsi teori penciptaan seni dari Jawa kuna yang dipandang sangat cantik jelita sudah SP. Gustami yang terdiri dari beberapa tahapan. Tahap bukan barang baru lagi. Tokoh Ken Dedes dimetaforakan pertama yang dapat dilakukan dalam kegiatan penciptaan sebagai Mayadewi, ia adalah ikon dari seorang dewi seni yaitu eksplorasi dimana dilakukan kegiatan sempurna yang melahirkan tokoh agung pembawa ajaran penjelajahan atau menggali ide yang kemudian akan Buddha Mahayana (Munandar, 2011:8). menghasilkan tema, ide dan/atau konsep karya. Pada tahap ini kegiatan dimulai dengan mengkaji sumber, Berangkat dari berbagai sumber mitos maupun sejarah mempelajari sumber ide dari berbagai literasi. Melalui yang menceritakan tentang kecantikan putri Mpu Purwa, pendekatan umum ke khusus, dari proses penentuan ide Ken Dedes yang digambarkan dalam wujud kesenirupaan umum berupa kajian wanita Jawa hingga mengerucutnya yaitu berupa artefak arca sebagai sosok wanita yang cantik pada pemilihan salah satu arca wanita terbaik Jawa kuno rupanya dan berornamen megah yang melekat pada yang dapat menjadi representasi dari ide umum tersebut. tubuhnya layaknya seorang dewi. Roman mukanya tenang Ide yang dikembangkan berdasarkan sumber literasi dan pandangan mata terpusat pada satu arah (Indradjaja, dengan saling berhubungan secara logis memudahkan 2017:111). Arca perwujudan Bodhisattwadewi untuk mengekstraksi aspek nilai yang menjadi aspek (bodhisattwa wanita) yang paling terkenal dari Jawa Kuna konten karya seni tersebut (Kartika, 2016:76). Tahap ini diperkirakan berasal dari abad ke-13 Masehi pada era selanjutnya yaitu tahap perancangan yang akan kerajaan Singasari (Luknanto, ___). Ketika dijumpai di menghasilkan gagasan visual dari konsep karya dan ide area perkomplekan candi Singasari, arca Dewi ini tampak menjadi suatu bentuk mula-mula prototype dengan tanpa kepala dengan sikap duduk (vajrasana) dan sikap memanfaatkan sket-sket alternatif dan sket terpilih sebagai tangannya yang membentuk putaran roda kehidupan acuan visualisasi karya. Pada tahap akhir yaitu (dharmacakramudra). Berbagai ornamen megah yang perwujudan karya yang diperoleh dari penemuan rumusan melekat pada tubuh arca ini membuktikan bahwa konsep karya sebagai dasar representasi nilai-nilai kesohoran Ken Dedes semakin kuat melalui wujud visual. filosofis mengenai makna karya serta terpilihnya tiga sket utama sebagai acuan visualisasi prototype karya. Di dalam Keartistikan visual arca dan historisitas dibalik kisah tahap perwujudan karya seni ini sama seperti proses Ken Dedes tersebut hadir sebagai salah satu keagungan pembuatan batik pada umumnya, yaitu dengan diawali atau kemegahan dari simbolisme wanita Jawa saat itu proses
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