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The tradition of writing and drawing in illustration was found in the old manuscript. Some parts of those old manuscripts show unique illustrations as well as the local identity of Nusantara’s society. The manuscript reflects the society culture of thinking and aesthetic achievement of visual art. The Illustrations of old Javanese manuscripts were well documented and has various representation in visualization art and style, drawing method, theme, and visual objects, even though the visualization of the visual concepts is practically similar to another. The illustration in the old Javanese manuscript in 1800-1920 shows continuous correlation of the visual language in the past era to the present and becomes the characteristics of Indonesian visual states. It reflects the structured illustration and style as well as expression symbol of the Javanese society in that era. Illustration of the old Javanese manuscript in the year 1800-1920 has changed and developed its visual state as the interaction between the animism in the Pre-Hinduism era, cultural paradigm of Hinduism-Buddhism, Islamic and Colonialism. The illustration style of the old Javanese manuscripts is decorative, naturalistic, realistic, simplified form and deformative.Tradisi menulis dan menggambar ilustrasi ditemukan pada manuskrip lama Nusantara. Sebagian dari manuskrip lama Nusantara itu memuat ilustrasi yang unik dan khas menjadi identitas masyarakat Nusantara. Naskah-naskah tersebut merefleksikan ketinggian budaya berpikir dan pencapaian estetik bidang seni rupa pada masyarakat Jawa dimasa itu.  Sejumlah Manuskrip Jawa kuno didokumentasi dengan cukup baik, diantaranya merepresentasikan konsepsi seni dan ga-ya hidup pada masanya, juga memuat metode menggambar, objek visual, tema, dan konsep estetik yang tampaknya memiliki kesamaan satu dengan yang lain.  Hasil analisis pada Ilustrasi yang dipilih dalam manuskrip Jawa periode tahun 1800-1920 menunjukkan adanya benang merah yang muncul secara terus-menerus bahkan hingga saat ini.  Wujud visual art ilustrasi menjadi ciri khas ilustrasi Indonesia, gaya ilustrasi yang  terstruktur dan menjadi  simbol ekspresi di era itu. Konsep estetik dan wujud visual Ilustrasi manuskrip Jawa kuno mengalami perubahan dan pengembangan  menunjukan gambaran dinamisasi interaksi antara paradigma animisme era Pra-Hindu, budaya Hinduisme-Buddha, Islam dan Kolonialisme. Gaya ilustrasi manuskrip Jawa kuno adalah bentuk dekoratif, naturalistik, realistis, disederhanakan dan deformatif.

The tradition of writing and drawing illustrations found in old manuscripts in various ethnic In- donesia, especially on Java community. Most Old Javanese manuscript contains illustrations that unique and local characteristics of Javanese art. Illustration of the ancient Javanese manuscripts are well documented and have a varied range of visual form, unique in styling, how to draw, the theme, as well as a visual object. Visual image is an illustration concept frameworks Java community, as well as a reflection of social life - Javanese culture Colonial period.   Illustration on Java Script period 1800-1920 as an aesthetic concept attainment the expression symbol of the Java community. The illustrations in old Javanese manuscripts in 1800-1920 showed a correlation sustainability of such visual language in the era of the past to the present and into the characteristics of Java illustration style, which is the development over time. Illustration of the old Javanese manuscript in the year 1800-1920 has changed and developed its visual state as the interaction between the animism in the Pre-Hinduism era, cultural of Hinduism-Budhism, Islamic and Colonialism paradigms.   Of  all these characteristics into the connecting thread is narrative, symbolic and simplification form of the nature (stylized), two-dimensional shapes and stylized concepts wayang.   Keywords: illustration, illustration tradition, colonialism 1800-1920, Java script, stylized

ABSTRACT Children with learning disabilities have creative capabilities that sometimes unnoticed by their pa- rents or teachers. Their creative capabilities are usually observed from their drawings, which as creative as the drawings created in traditional arts. The aim of this research is to determine the relationship between drawings from children with learning disabilities compared to the drawings created in traditional arts.The research methods employed is a qualitative descriptions with visual languages approaches. The approaches used are contents of wimba, way of wimba, enlargement and shrinkage. It can be shown that the way of drawing by children with learning disabilities has direct relationship with the traditional arts. The way of wimba of these children’s drawings is having similar characteristics with the way of wimba in traditional arts.  This similarity is observed from the unique way of drawing of these children which are figurative objects drawn on a flat sand surface, various backgrounds, various relieves, tranparencies, emphasizing large objects, green colour, and symmetrical compositions. These similarities are constructed because these children do not know about perspective drawing and gravitational principles in the draw- ing, somethings which are also found in traditional art, so that both tend to have similar way of wimba in drawings. The characteristics of drawing by children with learning disabilities can be seen from the way of wimba figures which are schematics, which should already surpassed by children with similar age. Keywords: Children, Drawings, Learning disabilities, Traditional arts, Visual language    ABSTRAK Anak berkesulitan belajar mempunyai kreativitas yang belum diketahui oleh orang tua bah- kan guru. Kreativitas yang tergali dari gambar yang dihasilkan oleh Anak Berkesulitan Belajar (ABB), sama kreatifnya dengan gambar yang berasal dari seni rupa tradisi. Penelitian ini untuk mengetahui relasi antara gambar ABB dengan gambar seni rupa tradisi. Relasi adalah hal yang membuat adanya keterhubungan antara gambar ABB dengan gambar seni rupa tradisi.Metode penelitian ini adalah deskriptif kualitatif dengan pendekatan bahasa rupa. Bahasa rupa yang dipergunakan adalah isi wimba, cara wimba, diperbesar atau diperkecil. Hasil pene- litian ini diketahui bahwa cara gambar anak memiliki relasi dengan gambar seni rupa tradisi, yaitu cara wimba gambar ABB mempunyai karakteristik kemiripan dengan gambar seni rupa tradisi. Hal tersebut dapat diamati dari cara khas gambar anak yaitu objek figur digambarkan diatas rata tanah, aneka latar, aneka tampak, tembus pandang, objek yang besar dibuat penting, warna hijau, komposisi simetris. Kemiripan tersebut karena anak-anak belum mengenal gam- bar perspektif dan gaya gravitasi pada gambar, hal yang sama juga ditemui dalam seni rupa seni tradisi sehingga mereka memiliki kecenderungan penggambaran cara wimba yang mirip. Sedangkan karakteristik gambar ABB dapat dilihat dari cara wimba figur yang menyerupai bagan, padahal untuk anak seusianya anak sudah melampaui bentuk tersebut. Kata kunci: Anak-anak, Bahasa rupa, Berkesulitan Belajar, Gambar, Seni rupa tradisi

With regard to the long history of the creation of Batik Indonesia and its development, batik technique becomesone that is recognized as the world cultural heritage. UNESCO on October 2 , 2009 recognized belonging of Batik to the nation of Indonesia which became world heritage, then October 2nd  at once also celebrated as National Batik Day. This is the work of many parties and government support. Batik is a product of indigenous culture of Indonesia, especially made by the people of Java Island, but now scattered centers of batik industry almost throughout theIndonesian archipelago, not only in Pekalongan, Solo, Yogyakarta, Madura, Tasikmalaya, Cirebon, Garut. This fact adds to the rich variety of Batik Nusantara.