Abstrak-Perhiasan telah dikenal oleh manusia sejak zaman prasejarah yang terbuat dari batu-batuan maupun tulang hewan. Perhiasan tidak hanya memiliki fungsi estetis, melainkan juga status sosial bagi pemakainya. Seiring dengan berkembangnya peradaban manusia, teknologi pengolahan perhiasan juga mengalami kemajuan dari segi pembuatannya salah satunya dengan ditemukannya teknik pengerjaan logam. Salah satu teknik pengerjaan logam yang berkembang dan banyak digunakan oleh para pengrajin perhiasan logam adalah teknik elektroplating atau penyepuhan. Melalui artikel ini akan dipaparkan tentang desain perhiasan logam yang dikombinasikan dengan penerapan beberapa motif batik Pesisir Utara Jawa, salah satunya dari Batik Semarang yaitu motif Warak Ngendog, sebagai hasil akulturasi budaya Jawa, Tionghoa, dan Arab melalui penggambaran hewan mitologi sebagai simbol keharmonisan menurut kepercayaan masyarakat Kota Semarang. Material yang digunakan sebagai bahan utama perhiasan adalah logam tembaga karena bersifat reaktif terhadap elektroplating. Teknik pengolahan logam dengan metode elektroplating dipilih karena teknik ini sudah banyak digunakan dalam bidang industri kerajinan logam, khususnya perhiasan di Indonesia. Adapun metode penelitian ini adalah eksperimental deskriptif melalui percobaan teknik elektroplating pada logam tembaga disertai proses identifikasi dan dokumentasi terstruktur. Hasil akhir dari eksperimen ini berupa satu set produk perhiasan dengan penerapan motif Warak Ngendog berupa anting, gelang, dan liontin kalung. Kata kunci-batik pesisir utara Jawa, batik Semarang, elektroplating, perhiasan logam, Warak Ngendog Abstract-Jewelry has been known to humans since prehistoric times made of rocks and animal bones. Jewelry not only has an aesthetic function, but also a social status for the wearer. Along with the development of human civilization, jewelry processing technology has also progressed in terms of manufacture, one of them being the discovery of metalworking techniques. One of the developed metalworking techniques and widely used by metal jewelry craftsmen is electroplating or gilding techniques. Through this article, we will describe the design of metal jewelry combined with the application of several North Coast Java batik motifs, one of them are Batik Semarang, namely Warak Ngendog motifs, as a culture result of Javanese, Chinese, and Arabic acculturation through the depiction of mythological animals as symbols of harmony according to Semarang's people beliefs. The main jewelry material used is copper due to its electroplating reactivity. The metal processing technique with the electroplating method was chosen because this technique has been widely used in the metal craft industry, especially jewelry in Indonesia. The research method is descriptive experimental through electroplating technique experiments on copper accompanied by a structured identification and documentation process. The final result of this experiment is a set of jewelry products with the application of the Warak Ngendog motif in the...

Jamblang Chinatown, Cirebon was once known as a trading city during the Dutch colonial period, as a place for buying and selling and stopping by traders from various regions through the river that flows nearby. The river is a means of transportation that brings ships from the interior of Cirebon to the Java Sea, and vice versa. However, the current situation is reversed because Jamblang is like a "dead city" that is almost forgotten. The government and the community have a dream to revive the Jamblang Chinatown area. Through this PKM activity, a team of lecturers and students of the Faculty of Fine Arts and Design at Maranatha Christian University seeks to revive Jamblang Chinatown by making murals with the surrounding community, as well as providing education as well as performances for the surrounding community through PKM activities. The attraction of making murals containing the historical value of Jamblang. The approach taken is a participatory collaborative workshop with local residents, through mentoring and education. The result achieved is a mural with the theme Mural History Jamblang, which is located on a 90-degree wall and is located in front of Vihara Dharma Rhakita, Jamblang, Cirebon Regency. They participate in the process of making murals. Other residents are interested in knowing the meaning contained in the visualization of the mural. And many are just selfies with a mural as a background. This mural-making attraction is also quite successful as one of the activities that attract public attention during the 2022 Jamblang Festival.

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Aesthetic elements are frequently viewed as embellishments that can affect perception, thereby enriching the quality of a building or space. Aesthetic elements are also closely related to the course of history and culture, therefore this article aims to introduce history and culture through the presence of aesthetic elements in a Peranakan house in Jamblang, Cirebon. Based on this, data collection techniques are needed through direct observation, in-depth interviews, and literature exploration. This qualitative research is also supported by a phenomenological approach because the concept is related to culture, space, and perception. The findings of this study reveal that the introduction of history and culture can be done by "reading" the embodiment of aesthetic elements, so that become an educational space. This knowledge and learning process is one way to maintain culture and maintain local culture as a national identity.Keywords: elements, aesthetic, houses, jamblang, culture. AbstrakElemen estetis seringkali dilihat sebagai hiasan yang dapat mempengaruhi persepsi, sehingga memperkaya kualitas bangunan atau ruang. Elemen estetis juga erat kaitannya dengan perjalanan sejarah dan budaya. Oleh karena itu, artikel ini bertujuan untuk memperkenalkan sejarah maupun budaya melalui keberadaan elemen estetis pada rumah Peranakan di Jamblang, Cirebon. Berdasarkan hal tersebut, diperlukan teknik pengumpulan data melalui observasi langsung, wawancara mendalam serta eksplorasi literatur. Penelitian kualitatif ini juga didukung dengan pendekatan fenomenologi karena konsep tersebut berkaitan dengan budaya, ruang dan persepsi. Temuan penelitian ini mengungkapkan bahwa pengenalan sejarah maupun budaya dapat dilakukan dengan “membaca” kewujudan elemen estetis sehingga menjadi ruang edukasi. Pengetahuan dan proses pembelajaran tersebut menjadi salah satu cara untuk menjaga budaya dan mempertahankan budaya lokal sebagai identitas bangsa.Kata Kunci: elemen, estetis, rumah, jamblang, budaya. Authors:Krismanto Kusbiantoro : Universitas Kristen MaranathaTessa Eka Darmayanti : Universitas Kristen MaranathaEliati Djakaria : Universitas Kristen MaranathaLatifah Nur Azizah : Universitas Kristen MaranathaFellicia Lodhita : Universitas Kristen Maranatha References: Caco, A. (2019). Pengembangan Desain Ornamen Berbasis Kearifan Lokal pada Elemen Estetis Eksterior Masjid Imaduddin Tancung Kabupaten Wajo. Prosiding Seminar Nasional LP2M UNM, 881-886.Darmayanti, T. E., & Bahauddin, A. (2019). Rebuilding Space in Peranakan House in Lasem, Indonesia: Perceived Space Concept. 651, 661.Darmayanti, T. E. (2021). Ruang Ketiga pada Gerbang Rumah Peranakan Pecinan, Lasem, Jawa Tengah, Indonesia. Kajian Kes: Rumah Peranakan Kidang Mas. PhD Dissertation:  Penang: Universiti Sains Malaysia.Darmayanti, T. E., Drajat, R. P., & Isfiaty, T. (2022). Membaca Visual Wayang Beber Sebagai Ide Perancangan Ruang. Visual Heritage: Jurnal Kreasi Seni dan Budaya, 4(3), 309-317.Gustami, G. (1980). Nukilan Seni Ornamen Indonesia. Yogyakarta: ASRI.Hardjasaputra, A. S. (2011). Cirebon dalam Lima Zaman. Jawa Barat: Dinas Pariwisata dan Kebudayaan Prov. Jabar.Hastuti, D. L. (2012). Struktur dan Fungsi Desain Interior Rumah Peranakan Tionghoa di Surakarta pada Awal Abad ke-20. Pendhapa, 3(2), 64-81.Koentjaraningrat. (1990). Pengantar Ilmu Antropologi. Jakarta: Djambatan.Kusbiantoro, K et al. (2021). Hybrid Approaches in Cultural Heritage Reconstruction of Chinese Liutenant Tomb in Bandung: A Multidisciplinary Surve dalam Innovation Research in the Era of MBKM. Maharashtra: Novateur Publication.Kustedja, S. (2018). Jejak Budaya Komunitas Tionghoa di Bandung. Bandung: Dinas Pariwisata dan Kebudayaan Kota Bandung.Levebfre, H. (1991). The Production of Space. New Jersey: Wiley.Lombard, D. (2000). Nusa Jawa Silang Budaya jilid II: Jaringan Asia. Jakarta: Gramedia.Marcella, B. S. (2014). Bentuk dan Makna Atap Kelenteng Sam Poo Kong Semarang. Jurnal Arsitektur KOMPOSISI, 10(5), 349-359.Pallasmaa, J., & Space, P. (2012). On Atmosphere: Peripheral Perception and Existential Experience. Encounters, 2, 237-251.Pelzang, R., & Hutchinson, A. M. (2018). Establishing Cultural Integrity in Qualitative Research: Reflections From a Cross-Cultural Study. International Journal of Qualitative Methods, 17(1). https://doi.org/10.1177/1609406917749702.Pratiwo, P. (1990). Ph.D. Thesis: The Transformation Of Traditional Chinese Architecture: A Way to Interpret Issues on Modernization and Urban Development on the North-Eastern Coast of Central Java – Indonesia. German: Aachen, Technische Hochschule.Reid, A. (1999). Dari Ekspansi Hingga Krisis: Jaringan Perdagangan Global Asia Tenggara 1450-1680 jilid II. Jakarta: Yayasan Obor.Royandi, Y., Gunawan, I. V., & Halim, E.A. (2022). Analisa Bangunan dengan Pengaruh Tionghoa pada Pecinan Indramayu Jawa Barat. Gorga: Jurnal Seni Rupa, 11(1), 67-73.Rusyanti, R. (2012). Interaksi Budaya pada Bentuk Rumah Pecinan Cirebon. PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi, 1(2), 309-324.Sunaryo, S. (2009). Ornamen Nusantara : Kajian khusus tentang ornamen Indonesia. Semarang: Dahaga Price.Susanto, M . ( 2002 ) . Diksi Rupa, Kumpulan Istilah Seni Rupa. Yogyakarta: Kanisius.Tjahyono, G. (2002). Indonesian Heritage: Arsitektur. Jakarta: Grolier International.

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