This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan  with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.

Glass painting as a product of culture has been inherited historically as a form of educational practice. However, the educational values are still ignored in Art Education. The objectives of this research are to reveal the aesthetic code of Cirebon glass paintings and their implications for Art Education. This research used a qualitative approach with phenomenological design. Data were collected by in-depth interviews, participant observation, and documentation studies. Data analysis was conductedthrough Interpretative Phenomenoligical Analysis. The results of the study are: 1) The aesthetic code of Cirebon glass painting is a hybrid aesthetic that prioritizes intra-esthetic and extra estheticequilibrium; and 2) The aesthetic code of glass painting is inherited, objectified, and as a social institution, it is a cultural capital that provides a direction for the approach to Art Education. The conclusion is the aesthetic code of Cirebon glass paintings prioritizes balance as a cultural capital in art education. The findings in this study are the construction of a Cultural Capital-Based Art Education Approach that will contribute to the new paradigm of Art Education.