Line and Color Composition in Lurik Cawas Weaving: Idea from Traditional Lurik Patterns

Abstract

Javanese lurik is weaved fabric with striped motives, and it has very simple appearance. In the past, lurik only used two colors, namely: black and white. But, as it develops, some of lurik fabrics use more than two colors, and one of the colors usually still consists of black or white color. After lurik becomes one of the prosper trading commodities, the artisans attempt to make lurik more appealing and varying in term of appearance so that it will be favored by consumers. The objective of this research is to investigate how the artisans can develop lurik patterns to stay appealing. This paper used the qualitative research with the case study strategy and phenomenological approaches. The study aims at understanding the methods employed by artisans in Cawas Klaten in developing lurik patterns. The result of the study show that (1) lurik pattern has been developed by using various alternatives of line composition and color coherence; (2) the idea of development comes from traditional lurik patterns which already existed long time ago; and (3) line and color composition used a minimum of three colors so that it looks like a rainbow, and this kind of lurik pattern becomes the characteristic of modern weaved fabric from Cawas.

Development of lurik Bayat fabric design for interior elements

“…The lurik, as living expressions of cultural identity, lie in the preservation and celebration of the rich heritage and traditions embedded in Javanese culture. Lurik, with its distinctive patterns and weaving techniques, serves as a tangible and visual representation of the community's history, values, and identity [13]. By maintaining traditional designs and incorporating cultural symbols into lurik patterns, the fabric becomes a medium through which the community can express and pass down its cultural legacy to future generations [32].…”

“…Lurik patterns or motifs fall into three basic types. As Nian S Djoemena notes in the book "Lurik," these are broadly categorized as the stripe pattern, where the stripes run longitudinally along the warp threads [12]; the Malang weft pattern, where the stripes run across in the direction of the weft threads; and the chopped/checkered pattern, resulting from a cross between the striped pattern and the poor-patterned weft [13]. Various pattern variations can be created by forming groups or single units of thread in various sizes, including striped, poor weft, and chopped patterns.…”

Tingkat preferensi wanita obesitas pada busana kerja berbahan kain tradisional lurik

“…Hal tersebut dapat diatasi dengan penerapan desain-desain baru khusus wanita obesitas dengan menggunakan kain tenun lurik. Widiastuti et al (2017) mengungkapkan mengenai ide tentang pengolahan komposisi garis dan warna dari kain tradisional lurik menjadi lebih modern dan menarik agar semakin diminati.…”

composer phenomenon in a historical retrospect of an authorship idea formation in European musical culture of the middle ages

“…Creator's anonymity interpretation is defined by an ancient cosmocentrism of a world's picture, the worldview setting on the person as an "impersonal corporeality" in the Universe system (Widiastuti et al, 2017). Ancient master performed many-sided cultural functions and acted in different personalities -the initiator and practical idea implementer, an aesthetic world's creator and a craftsman, who achieves virtuosity and perfection in his work, realized in aesthetic and practical components unity with the dominance of the utilitarian origin.…”