SEMIOTICS STUDY ON ASEI BARK PAINTING PATTERNS
DOI:
https://doi.org/10.31598/bahasarupa.v5i2.926Keywords:
Asei Island, Semiotics, Bark Painting, PatternAbstract
There are meanings, stories and philosophies of the life of the ancestors of the Asei people which have been depicted on the bark for generations since 1600 and produce images related to the living space of the Asei people. The purpose of this study was to determine the meaning of the symbolic forms that exist in the Asei bark painting motifs related to the life of the Asei people and their social system. This study analyzes the colors that are often used and the dominance of images in Asei bark painting motifs. From the results of the analysis, 4 Asei bark paintings often use red from betel nut, black from charcoal and white from chalk. Then the images that are often displayed in bark paintings are images of fish, coral (hak balu), fouw, and spears and hooks. The meaning of the symbolic forms shown in the dominance of colors and images on the Asei bark painting is that the Asei people want to tell the geographical conditions of the Asei island which is surrounded by water, Asei Island as a protector for the people, the daily livelihood of the Asei people, the existence of family relationships and the strong togetherness of the Asei people, as well as the community's respect for the ancestors who have protected Asei Island as well as possible.
Downloads
References
K. Janur, “Kampung Asei Jayapura, Surganya Pelukis Kulit Kayu,” 2014. https://www.liputan6.com/lifestyle/read/2104041/kampung-asei-jayapura-surganya-pelukis-kulit-kayu (accessed Aug. 28, 2021).
V. A. Anggraeni, “Lukisan Kulit Kayu Otentik Nan Indah Masyarakat Asei,” 2018. https://www.goodnewsfromindonesia.id/2018/06/01/lukisan-kulit-kayu-otentik-nan-indah-masyarakat-asei (accessed Aug. 28, 2021).
M. Kusuma, “Kayu Lukis Tanah Papua,” 2012. https://travel.kompas.com/read/2012/03/22/07190933/Kayu.Lukis.Tanah.Papua?page=all (accessed Aug. 29, 2021).
N. Suzuki, “Problems and Development Issues for Artisan Craft Promotion: The Effective Promotion for Regional Development in Developing Countries,” Bull. Japanese Soc. Sci. Des., vol. 52, no. 2, pp. 51–60, Jul. 2005, doi: 10.11247/JSSDJ.52.51.
D. Kunik, “The Folk Crafts Movement and Folklore Studies,” Cipango - French J. Japanese Stud., no. 1, May 2012, doi: 10.4000/CJS.218.
P. M. Taylor & Lorraine Aragon, Beyond the Java Sea: Art of Indonesia’s Outer Islands. Washington, D.C.: the Smithsonian Institution, 1991.
S. Wulandari, “Bedah Logo Autocillin menggunakan Teori Semiotika,” vol. 1, no. 2, pp. 478–488, 2010.
dan A. A. C. Lita Sahtila, Galuh Ambar Sasi, “Makna Simbolis dan Nilai Historis Wayang Beber Kyai Remeng,” Pelita - J. Penelit. Mhs. UNY, vol. 0, no. 2, 2008, Accessed: Aug. 29, 2021. [Online]. Available: https://journal.uny.ac.id/index.php/pelita/article/view/4357.
M. M. Patappa, “Studi tentang Pembuatan Desain Motif Batiklontara.com,” http://eprints.unm.ac.id/18037/, 2019. http://eprints.unm.ac.id/18037/ (accessed Aug. 29, 2021).
Y. Enembe, D. Deeng, and J. E. T. Mawara, “Kepemimpinan Kepala Suku Pada Suku Lani Di Desa Yowo Distrik Kembu Kabupaten Tolikara,” J. Holistik, vol. 10, no. 21A, pp. 1–15, 2018, [Online]. Available: https://ejournal.unsrat.ac.id/index.php/holistik/article/view/20561.
A. A. Harbi, A. S. Nurhalisah, and Nurfadillah., “Analisis Semiotika Charles Morris dalam Syair Lagu Ayah Karya Ebiet G. Ade,” https://osf.io/preprints/inarxiv/, p. 10, 2019, doi: 10.31227/osf.io/uvc96.
G. Guslinda and O. Kurniaman, “Perubahan Bentuk, Fungsi dan Makna Tenun Songket Siak pada Masyarakat Melayu Riau,” Prim. J. Pendidik. Guru Sekol. Dasar, vol. 5, no. 1, Jun. 2016, doi: 10.33578/jpfkip.v5i1.3676.
H. R. Burwos, C. D. Heatubun, and M. S. Worabai, “Keanekaragaman Jenis Reptil di Sekitar Sungai Asei Kampung Saokorem Kabupaten Tambrauw,” J. Kehutan. Papuasia, vol. 6, no. 2, pp. 122–132, Dec. 2020, doi: 10.46703/JURNALPAPUASIA.VOL6.ISS2.205.
Downloads
Published
Issue
Section
License
Copyright (c) 2021 Uzda Nabila Shabiriani
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
The author's copyright in the Bahasa Rupa Journal, assigns that the publication of published articles is owned by the editorial board with the author's approval, but the rights are still with the author. The legal rules for accessing digital electronic articles are under license 
Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0), which means that the Bahasa Rupa Journal has the right to store, modify, manage databases, maintain and publish articles without the author's permission, but the author as the copyright holder is still written as it is. Articles published in Bahasa Rupa Journals, both in hard and soft copy forms are available as open access, for educational, research and library purposes, and beyond that purpose, the editorial board of the Language and Language Journal is not responsible for illegal copyright infringement. This journal also applies LOCKSS and CLOKSS archiving.
.png)
