This article act as a response for what is kriya especially ceramic craft in nowadays context. Publicusually knows about ceramic is limited to traditional terracotta product that they usually found in acraftsmen village or an industrial mass produce ceramic that they always use in their everyday life.Kriya (or craft in the western term) now has grew more not only limited in the scope of tradition oreven a mass product only. There are many new small independent studio emerge as a new perceptionthat combine the potential of both industrial and traditional have. The role of educational institutionsare producing graduates working in the field of ceramic craft has established a new perception onhow it should craft in contemporary ceramics put his position in the midst of globalization. Ultimatelyconcluded that the ceramic craft began to position himself to a wider sphere, not only as a center forcraftsmen but also intangible and handicraft industries based independent studio-based designermaker. Keywords : kriya, ceramic, culture, identity

This article act as a response for what is kriya especially ceramic craft in nowadays context. Public usually knows about ceramic is limited to traditional terracotta product that they usually found in a craftsmen village or an industrial mass produce ceramic that they always use in their everyday life. Kriya (or craft in the western term) now has grew more not only limited in the scope of tradition or even a mass product only. There are many new small independent studio emerge as a new perception that combine the potential of both industrial and traditional have. The role of educational institutions are producing graduates working in the field of ceramic craft has established a new perception on how it should craft in contemporary ceramics put his position in the midst of globalization. Ultimately concluded that the ceramic craft began to position himself to a wider sphere, not only as a center for craftsmen but also intangible and handicraft industries based independent studio-based designermaker.Keywords : kriya, ceramic, culture, identity

ABSTRAKDua isu utama yang sedang dihadapi oleh para perajin di sentra kerajinan keramik Plered, Purwakarta beberapa tahun terakhir ini adalah pertama isu teknologi pembakaran terutama berkaitan dengan penggunaan bahan bakar kayu yang kurang optimal dan kedua yaitu isu desain dengan pokok masalah pada finishing dekorasi dengan bahan cat yang mengalami stagnasi, penurunan minat konsumen, serta peningkatan harga bahan baku cat. Dengan metode kajian praktis dan pendekatan eksperimen, penelitian ini menggali dan menawarkan solusi teknologi pembakaran dengan memanfaatkan serat batang padi yang selama ini belum termanfaaatkan, yang diaplikasikan pada badan keramik dalam proses pembakaran suhu rendah. Penelitian ini menghasilkan dua capaian yaitu serat batang padi dapat dimanfaatkan sebagai pendukung bahan bakar kayu sekaligus memberikan dekorasi dengan corak natural ash glaze. Penelitian ini diharapkan dapat menjadi alternatif baru dalam pengembangan teknologi pembakaran dan desain keramik Plered. Kata kunci: desain, keramik Plered, pembakaran keramik, serat batang padi ABSTRACT There are two main issues faced by ceramic craftsmen in Plered Pottery Village, Purwakarta in the recent years. The first issue is about the fuel usage in their firing method that considered wasteful. The second issue is regarding their renown wall paint decoration for their ceramic product that did not have a significant improvement in their

Tembikar merupakan artefak arkeologi yang dibuat dari tanah liat bakar yang secara umum berfungsi sebagai peralatan sehari-hari. Tembikar banyak ditemukan di situs-situs arkeologi, termasuk di dataran rendah Lampung. Penelitian desk study tahun 2020-2021 melakukan analisis mengenai rekonstruksi bentuk, kronologi, dan asal tembikar Lampung dengan metode gabungan kuantitatif melalui uji laboratorium X-ray fluorescence, X-ray diffraction, Inductively coupled plasma mass spectrometry, Petrografi, dan Thermoluminescence. Metode kualitatif pun digunakan untuk rekonstruksi hasil selective sampling dengan menggunakan Rhinoceros software dan didukung pendekatan sejarah. Tujuan penelitian adalah mengetahui kecenderungan varian bentuk, kronologi, dan asal tembikar Lampung secara umum. Penelitian ini menghasilkan bentuk yang direkonstruksi berupa wadah sehari-hari terbanyak berupa mangkuk, cawan, dan jambangan. Cakupan kronologi tembikar adalah sejak abad ke-12 hingga ke-20 Masehi. Adapun asal produksi tembikar diketahui melalui pendekatan geologis dan sejarah, dan diduga di sekitar kawasan Kayu Agung Palembang dan Bakung Udik, Lampung. Pottery is an archaeological artefact made from baked clay, which functions as a daily tool. Pottery has been found in archaeological sites, including Lampung lowlands. The 2020-2021 desk study analyses were carried out to reconstruct the form of pottery and to understand the chronology as well as the origin of the Lampung pottery using a quantitative combined method through laboratory tests of X-ray fluorescence, X-ray diffraction, Inductively coupled plasma mass spectrometry, Petrography, and Thermoluminescence. Qualitative methods were also used to reconstruct the results of selective sampling using the Rhinoceros software supported by a historical approach. The purpose of this research is to know the favourable varieties of form, chronology, and origin of Lampung pottery in general. This research resulted in reconstructed forms of dominant pottery containers common for daily use such as bowls, cups, and vases. The chronology of pottery covers from the 12th to the 20th century. The origin of pottery production is known through a geological and historical approach and suggested to be manufactured around the Kayu Agung Palembang and Bakung Udik regions, in Lampung.

This study is preliminary research of "The Trend Forecasting Translation Analysis in The Context of Craft". Trend Forecasting is a developed method that aims to predict future trends through research and analysis based on factual data of phenomena that occurs during certain time frames. The process includes analyzing various factors including technological development, lifestyle, also shifts of paradigm that form strategic decisions towards product design. However, the role of the trend forecast being applied to today’s craft designing process needs to be further reviewed. It is related to the fact where traditional elements are attached to all craft products, emphasized to be well-preserved in showing its characteristics of culture and tradition. This study seeks to map where the position of tradition takes place among the trend forecasting process through the analysis of a.) field studies in institutions and practitioners in the field of trend forecast; b.) comparative study of the position of tradition in the process of trend forecasting based on three kinds of literature namely ”The Trend Forecaster’s Handbook”, ”How to Research Trends”, and ”Fashion Forecasting”. In the scope of methods, the results of this study show that tradition stands as a significant data in the process of constructing a trend forecast. However, the perspective is not under the context of local culture but as the behavior of people.