International Seminar and Call for Paper 2017 Darul Ulum Islamic University of Lamongan
Literation Based on Religious Aesthetic Religious Aesthetic, Batik Junjung Sunan Drajat in Lamongan City
Khozinatus Sadah
Design, Institut Teknologi Bandung, Bandung, Indonesia [email protected]
Abstract
Batik Junjung is one of extinct artifacts and allegedly as one of Sunan Drajat's legacy. Therefore, it takes aesthetic literacy to express the meanings contained in it. So, the values of the teachings sunan Drajat can be delivered properly. This article review attempts to reveal the aesthetic theories of religion that can be used as a reference in meliterasikan aesthetic sunan batik Junjung Sunan Drajat. The results of this article show that the aesthetics of Junjung batik religion can be read by linking the cultural elements of the local community, and associated with Javanese aesthetics, Islamic aesthetics, and its role as a medium of dakwah sunan Drajat. Keywords: Religious aesthetics, Junjung Sunan Drajat, Lamongan
1.Introduction According to Kasiyan (2008) states that aesthetics is a branch of philosophy that specifically addresses the beauty, its formation, and how to enjoy it. Meanwhile, according to Sachari (2002: 2) aesthetic placement as a philosophy is a dichotomy between realist and abstraction. Because aesthetic truth is not only about beauty but rather it is a power that can affect civilization. The presence of aesthetics in Indonesia is related to the elements of culture and theology that have built it. Therefore, aesthetics can also be interpreted as the embodiment of human relationships with god or the surrounding environment. According Sachari (2002) this aesthetic manifestation can be divided into three namely Western aesthetics, eastern aesthetics, and aesthetics of Java. Of the three types of aesthetics have differences. Eastern aesthetics is more inclined to the defeated Asian region, Western aesthetics is leaned against Western countries, whereas Javanese aesthetics is part of eastern aesthetics but more specific to the country of Java, Indonesia. The western aesthetic features are reationalist, while Eastern aesthetics are more of a 'mood' (Sachari, 2002: 9). On the other hand, there is a Javanese aesthetic that is part of Eastern aesthetics and is a blend of various eastern buddies, Islamic cultures, and the densest Javanese. This is what makes the aesthetic pattern or eastern distinct from the western aesthetics. The characteristic of Javanese aesthetics is contemplative - transcendental, symbolic, and philosophical (Sachari, 2002: 12). Javanese aesthetics which is a blend of eastern culture, Islam, and Java produce a new construct concept of the concept of religious aesthetics. Aesthetics of religion is interpreted as a manifestation of human creative works that have a close relationship with the spiritual soul that relates to the belief to the creator. So that all the expression or the results of his work is one form of communications with god or the environment. The aesthetics of religion in Java is of course different from the aesthetics of religion in the Arab country. Because the aesthetic discussion of religion is very much related to the cultural context and Javanese philosophy of life. The philosophy of life is a source of reference, or signs (rules) in living a life of good to God, human, and the environment. Batik Junjung is a batik that became the museum's collection of Sunan Drajat. this batik is believed as a batik sunan Drajat relic that has been hundreds of years old. The presence of this batik in his day predicted to have religious values dakwah sunan Drajat. Therefore, the discussion of the aesthetics of batik religion Junjung sunan Drajat important to do, so that the meaning contained in it can be expressed scientifically. Batik Junjung belongs to the group of coastal batik, because it comes from Lamongan which is the northern coastal area of Java island. In the visual form is indeed batik batik people including, because there are no characteristic features of keraton’s batik in it. As one of the areas on the coast it will be easier to enter the cultures from outside, brought by merchants who make transactions or transit at the harbor. Based on the visual, Junjung batik arrangement included into the people's batik, because it does not use the grips of batik palace. One of the prominent motifs and arrangements lies in the motifs that are stylized from flora and fauna which are also found in other sajat Drajat artifacts, such as lion motifs, mosque domes, lotus flowers, and garuda. These motifs need to be studied in the viewpoint of Islamic art which has certain rules and standards.
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Religion means faith which refers to the formal aspects relating to rules and duties, while religiosity refers to aspects of religion which have been lived by the individual in the heart (Mangunwijaya, 1982). The selection of batik aesthetic studies of Junjung is based on reality whom sunan Drajat is a propagator of Islam, so it would be appropriate if the resulting cultural product is studied in its religious perspective. Because of the allegation that every culture product that is produced is used as a medium of da'wah and as a tool to achieve the vision and da'wah’s mission.
2. Discussion The discussion of batik Junjung Sunan Drajat batik in terms of aesthetics of religion requires support theory that supports that the presence of all forms of artifacts and works of Javanese creativity is the result of thought and culture that closely with the belief or religion adopted.
2.1 Batik Batik is one of the indigenous cultures of Indonesia. The presence of batik not only functions as a clothing tool (cover body), but also as a concrete evidence of the concept of thinking and creativity of the Indonesian art. There are allegations that batik has been present in Indonesia since prehistoric times. This is reinforced by the discovery of Simbut fabrics originating from Priangan which is an example of original batik made which made from ketan’s pouder and serves as a cloth cover (Yudoseputro, 1986: 96). In addition, coloring materials that use natural dyes (herbs), bamboo as canting, and ornamental motifs originating from prehistoric times in the form of decorative gemotris and ornamental ornamental symbols is one proof that the batik is the original Indonesian batik (Yudoseputro, 1986: 96). In addition, ornamentic patterns are always present in traditional art. Batik Junjung Sunan Drajat is a batik allegedly present since prehistoric times. It is based on the form of decorative symbols of lions, eagles, mosque domes, and lotus flowers that are repeated on other objects, such as the ornament of the cupola wall, the gamelan singo (lion) ‘mengkok’, and the ornament on the gate.
Figure 1 batik Junjung Sunan Drajat, (source: Sunandra, 2011) One source of decoration hindhu is garuda (Yudoseputro, 1986: 102). The shape of the eagle is contained in Junjung batik has a resemblance to the funiks bird which is one of the typical from China’s motifs.
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Picture 2 Garuda’s motif of Batik Junjung sunan Drajat Along with the entry of Islam to Indonesia, participate in producing new ornamental varieties that are Islamic, eg motifs kaigrafi arab, mosque motifs, and tapestry motifs (Yudoseputro, 1986: 103). The form of objects produced from Islamic decoration such as the form of wall decoration, cloth for pennant, or flag. The presence of art products also participates in adding economic value to the local people who produce it. One of the real examples of the influence of Islamic art is the presence of mosque dome motifs on batik Junjung Drajat. The mosque's dome motif presenting the place of Muslim community worship, and shows how important the worship of worship as the main activity in the mosque.
Figure 2 motif dome’s mosque of batik Junjung sunan Drajat The next motif that is present in Junjung Drajat batik is a lotus flower motif. This motif is also in the ornament of the tomb of sunan Drajat. Since the days of hindhu the lotus flower has a significant role in art and lotus flowers are divided into three namely red, blue, and white (Hoop 1949: 258). In visual form, Junjung batik lotus motif is generated through the process of stilasi and simplification. It is represented from the tendrils of the lotus flower which in Hindhu teaches symbolizes glory, and flower petals like an open book or table used to put the Qur'an. In cultural concept, the formation is an attempt to Islamize the concept of hindhuism which has been present in the lotus flower to the Islamic establishment. So, it can be concluded that the lotus is a symbol of beauty from someone who read and learn Al Qur'an.
Picture 3 lotuses motif of batik Junjung Sunan Drajat The last motif is in batik Junjung sunan Drajata dalah in the form of lion motif. This motive is the main reason for the existence of a suspicion that Junjung batik motif is derived from sunan Drajat. The form of lion is found in other sajat Drajat artifacts, namely in the form of wood carvings in front of the cemetery tomb of Sunan Drajat, Singo gamelan mengkok, and the statue singo dikok white.
Figure 4 Several forms of Singo culminate in Sunan Drajat's tomb complex
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Figure 5 Lions’s motif on Junjung Sunan Drajat batik
2.2 Java Aesthetics Javanese aesthetics which is a blend of eastern culture, Islam, and Java resulted in a new nuance in aesthetic discussion that is in the form of religious aesthetics (Sachari, 2002: 11). Aesthetics of religion is interpreted as a manifestation of human creative works that have a close relationship with the spiritual soul that relates to the belief to the creator. So that all the expression or the results of his work is one form of komunkasinya with god or the environment. Javanese society is synonymous with the existence of life philosophy which made it as source of reference. This philosophy of life is then used as signs or rules in living a life of good to God, human, and the environment.
2.3 Distribution of aesthetic meanings The meaning of aesthetics conventionally divided into three namely the psychological meaning, the first attempt to improve the quality of human inner human, the contemplation of the happiness of god, the instrumental second, that is as part of humans in organizing life ragawinya through expression in the work or participation in the objects of the day -day, the three meanings possessed by the aesthetic itself in realizing its existence, which is represented in the development of science, art philosophy or new awareness (Sachari, 2002: 98). The giving of meaning to the aesthetic work is a living spirit, without which the work of man becomes 'nothing' (Adorno in Sachari 2002: 98). In Indonesia, there are three dominant esthetic phenomena which have always been the subject of study and reference in the aesthetic arena. The three phenomena are related to (1) historical continuity, (2) sharpness in searching for cultural identity, (3) balancing value culture, as well as consequence of modernization program (Sachari, 2002: 100).
2.4 Religion as an Esthetic movement The entry process of Islam into the archipelago (Indonesia) is estimated in the 7th century AD which is marked by the arrival of Arab and Persian traders (Sunyoto, 2012: 50). The development of Islam to Indonesia can not be separated from Walisongo services. Walisongo is a guardian of God who consists of 9 people who spread Islam to the archipelago. Da'wah Walisongo uses cultural approach of culture. So, the delivery is very subtle and hook the local art as a medium of Da'wah. According to Salad (2000: 22-23) states that the deepest teaching personification of religion always appears in the form of metaphors, logic, and symbols that are esthetic. This statement reinforces the fact that Walisongo does use local folk art as a medium of propagation of Islamic teachings. This is reflected from the word 'Kalat Kalimosodho' or the meaning of the shahada. Implicitly walisongo tried to preach in a gentle way and even the people who were invited were unconsciously been directed to embrace Islam. Because all the teachings that have been taught have merged into one with the art of the people who had already known society before. So, it is not surprising that the spread of Islam by Walisongo can be easily accepted by society. Islamic teachings in its development can not escape from the socio-culture of existing society, both in terms of economic, political, power, art and objectivity of science and knowledge (Salad, 2000: 22-23). Religion which is a belief in its practice of implementation can not be isolated from the global world, so the possibility of the merging of religious teachings in the form of art or object representation is possible. Reproduction representing something that is taught by Islam in the form of symbolic, aesthetic, and procedures (norms) in society requires a reflective and empirical examination (Salad 2000: 23). In pelaksaaanya also need to derive from the source of Islamic Shari'ah composed of holy revelation (Al Qur'an), legalization of speech and Sunnah (customs of prophets) embodied in the Hadith, classical literature (kitab kuning), consensus normative rules (fiqhiyah
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rules), religious sermons, and exclusive opinion (Fatwa) Salad, 2000: 23). Some sources such as the Qur'an or hadith used in as a source of Islamic teachings, require ijma 'and qiyas the scholars'. In Islamic teachings, the term madzab. According to Ustad yazid one of KMNU ITB's mentors stated that madzab is a choice of methods used to understand the teachings of Islam. Therefore, the understanding between the madhhab one and the other is different. In the dustur of Islamic culture, the ideology of aesthetic movements in the deepest symbolization of teaching in religion in the form of theological and religious doctrines is transformed into aesthetic symbols that are almost found in every tradition and character of artistic expression (Salad 2000: 25). One that currently exists during Indonesian society is the birth of several religious organizations that have their own characteristics that have differences between one another such as NU, Muhammadiyah, and other Islamic organizations. Each organization has its own way of understanding the Shari'ah of Islam. It is also that also affect the aesthetic production style produced, either in the form or color. One of the resulting impacts is that the term grave pilgrimage or to the tomb of God's guardians is more identical done by NU citizens. Therefore, the average visitor of the tomb of the Walisongo is the background of the NU organization. In the form of society's material that is embodied in NU is more dominant use green color in snei work produced such as uniform fatayat NU, flags, symbols that average use green color. Unlike NU, the Muhamamdiyah organization uses blue as its identity, it can be reflected in the birth of the Democratic party which uses blue.
2.5 Islamic Aesthetics Aesthetics The exposure of Islamic aesthetic theory according to several sources is described in Table 1. Table 1 Islamic aesthetic theory according to some Islamic sources Theory Key points Benefits for researcher Anshari (1990) Art in Islam belongs to the hadith of the Prophet 'Antum As the basis of argumentation in a'lamu bi-umuri dunyakum' (you are more Islamic art understanding with your world affairs)
Beg (1998) Islamic art is an art produced by artists, Muslim As the basic argumentation of Islamic designers, or Islamic societies. art restrictions Alfaruqi (1998) - Islamic aesthetics is a view of the beauty that emerges As the basis of the argument about the from the Islamic world view, and is motivated by the aesthetic limitations of Islam, its teachings and aesthetic expressions of the Qur'an. purpose, and its scope. - Islamic art is not only a work of art, but an art that delivers the idea of God's transcendence. - The purpose of art is to strengthen religious beliefs and strengthen ketauhidan = purpose of the Qur'an. - Islamic art covers aspects of religious and cultural aspects Hadi (2000) An artist who can use his mind and his heart will be As the basis of the argumentation of able to ... produce inspirational works and can discover the objectives of Islamic art the essence and beauty of one with the aim of attaining 'musyahadah' Al Ghazali dalam Love for beauty encourages devotion to God As the basis of the argumentation Beg (1998) supporting the purpose of Islamic art. Nasr (2003) Islamic art is essentially a contemplative art ... it As the basis of the argumentation of expresses specifically a region of the soul ... to the the objectives of Islamic mysticism as inner dimension, to an encounter with the presence of well as the basis of thinking about the god relationship between batik art with the goal of a religious nature Ambary (1998) The elements associated with Islamic art are the use of As the basis of the argument about (1) calligraphy, (2) iconoclasm, and (3) arabesk. mapping the visual elements in Islamic art Sumber: Loekman (2010: 39), data processed by researcher
2.6 The role of Islam in Batik Development The development of batik in the era of ISenislam is the culture of the Palace (Yudoseputro, 1986: 103). The presence of Islam participated coloring the development of ornamental diversity in Indonesia which is then called Islamic ornament. In general, the form of penetration of Islamic decoration is reflected in the work produced, such as motifs of calligraphy, mosque motifs, and rug motifs. There are rules in the depiction of forms in Islam, among others: do not resemble living things and do not contain the elements or values that violate the Islamic’s Shari'ah.
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2.7 Seni Kerajinan Islam - Purba The development of Islamic craft art can not be removed from previous artistic performances, namely in the Hindu era. The true art of Hindu handicraft is not eliminated but is culturated according to the Shari'a of Islam, either through the forms of artwork, value, textual content, and the meaning contained therein. Because Islam entry into Indonesia is peaceful and one of the medium of dakwah used is in the form of acculturation of art that already exist. There are many types of Hindu art that are preserved and continued in Islamic times as art activities centered on the Palace (Yudoseputro, 1983: 48). The rulers of the empire pioneered by the Guardians, in smaping the task of spreading Islam and leading the government, the Guardians also play a lot as a creator of new art. Art of Islam - Indonesia is based on the philosophy of life that reflects the noble values of Indonesian culture that has been named before and developed continuously by the leaders of Islam. Art becomes a medium of devotion of religious fund of devotion to the royal family. There are several arts crafts produced in Islamic era, among others (1) the art of stone craft in the form of tomb buildings, (2) wooden art crafts in the form of palace buildings, chairs, building interiors, ornamental house decorations and mosques, the king's throne and his desk, (3) art of batik handicrafts, (5) other handicraft arts in the form of wear objects, such as kris and display items of gold and silver (Yudoseputro, 1983: 48 - 62).
2.8 The Study of The Meaning at Religion According KBBI definition of the word meaning is the understanding given to a linguistic form. According Pateda (2001: 88), there are four aspects of meaning that can determine the type of meaning. The four aspects of meaning are (1) sense, (2) sense, (3) tone, and (4) intention. These aspects of meaning must have an influence on the kinds of meanings present in semantics. Leech (2003: 19) mentions seven types of understandable meanings of language activity, namely (1) conceptual meaning, (2) connotative meaning, (3) stylistic meaning, (4) affective meaning, (5) reflective meaning, (6) colloquial meaning, and (7) thematic meanings. Due to the dynamic nature of the language, the meaning of the Language also undergoes shifts and changes. Literally, the shift of meaning means the meaning that shifts from the original, whereas the change of meaning is a changed meaning from its origin. In the shift of meaning, meaning changes but still in one meaning field whereas in the change of meaning, the meaning changes due to the change of reference. Parera (2004: 110-118) compiles several causes of shifts and changes, namely (1) linguistic, (2) historical, (3) social, (4) psychological, (5) necessities, and (6) power. Chaer (2002: 141) identifies five types of change of meaning, namely (1) widespread, (2) narrows, (3) total change, (4) refinement, and (5) The meaning of this research is in the form of messages, values, or objectives to be achieved from the creation of a product. From this religious term then came the so-called religiosity. Although rooted the same word, but in its use the term religiosity has a different meaning with religion or religion. If religion refers to a formal aspect relating to rules and obligations; religiosity refers to aspects of religion that have been lived by the individual in the heart (Mangunwijaya, 1982). Religiosity is often identified with religiousity. Religiosity is defined as how far the knowledge, how firm belief, how the implementation of worship and rules and how deep appreciation of the religion it embraces. For a Muslim, religiosity can be known from the extent of knowledge, belief, implementation and appreciation of Islam (Fuad Nashori and Rachmy Diana Mucharam, 2002).
3. Conclusions Discussion of batik Junjung sunan Drajat can be extracted based on several things, among others, have a high religious significance. Especially based on the analysis of existing culture and the concepts of Islamic teachings contained in it. The conclusion obtained is that Junjung Sunan Drajat batik contains the following explanation: a. The aesthetic meaning of batik Junjung Sunan Drajat is lies in the inner meaning, which aims to improve the quality of the spiritual (spiritual) associated with the god. b. Batik Junjung Sunan Drajat belongs to Javanese aesthetics as it comes from Java and uses grip of batik people. c. Batik Junjung Sunan Drajat contains aesthetic movement, in the form of Islamic da'wah and aims to improve the local people's social and economy. Junjung batik can be used as clothing (clothing) and can be traded. d. Batik Junjung Sunan Drajat Art is included in the art of ancient Islamic crafts because he was present in the royal era.
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e. Batik Junjung Sunan Drajat is included in Islamic aesthetics, with some characteristics as follows: (a) Emerging from Islamic view and motivated by Al Quran teachings and aesthetics (rules and restrictions), (b) Created by Muslims, (c) devotion to god, (d) The aim is to produce inspirational, rewarding, inspiring, and forms of worship to God, (e) The existence of Islamic elements: usability as clothing, iconoclasm on the lion's blade, mosque domes, lotuses, and eagles
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