Nilai estetika visual dan makna filosofis wayang kulit purwa karya Mbah Glemboh di Wukirsari, Yogyakarta
DOI:
https://doi.org/10.30998/jd.v13i4.3602Keywords:
estetika visual, tatah sungging, wayang kulit purwa, makna filosofis visualAbstract
Wayang kulit purwa karya Mbah Glemboh tidak hanya berfungsi sebagai media pertunjukan, tetapi juga sebagai artefak desain tradisional yang menyimpan identitas visual, nilai estetika, fungsi peraga, dan makna filosofis visual. Penelitian ini bertujuan menjelaskan nilai estetika visual dan makna filosofis visual wayang kulit purwa karya Mbah Glemboh atau Atmo Karyo di Wukirsari, Imogiri, Bantul, Yogyakarta. Penelitian ini menggunakan metode kualitatif dengan pendekatan historis dan analisis estetika visual. Data dikumpulkan melalui studi pustaka, observasi artefak, dokumentasi visual, dan wawancara semi-terstruktur terhadap narasumber yang memiliki hubungan genealogis maupun pengetahuan lokal tentang perkembangan tatah sungging di Wukirsari. Tiga artefak yang dianalisis adalah Raden Wijasena, Prabu Salya, dan Arjuna. Analisis dilakukan melalui pendekatan estetika visual Edmund Burke Feldman yang meliputi tahap deskripsi, analisis formal, interpretasi, dan evaluasi. Hasil penelitian menunjukkan bahwa karya Mbah Glemboh memiliki karakter visual berupa tatahan dan sunggingan sederhana, penggunaan warna dengan gradasi terbatas, bentuk kepala atau odhol, pemakaian kroncong, celana, serta motif naga ngrangsang. Ciri-ciri tersebut dibaca sebagai kecenderungan visual yang berkaitan dengan fungsi peraga, keterbacaan karakter, dan pewarisan keterampilan tatah sungging. Penggunaan celana dan motif naga ngrangsang dipahami sebagai indikasi visual awal yang masih memerlukan pembandingan lebih lanjut dengan gaya Yogyakarta dan Surakarta. Penelitian ini menegaskan bahwa karya Mbah Glemboh dapat dibaca sebagai artefak desain tradisional yang memuat hubungan antara sejarah lokal, keterampilan perajin, fungsi pedagogis, struktur visual, dan makna filosofis visual.
Downloads
References
Ardhi, B. (2019). The Visualization of Wayang Kulit Purwa by Bambang Suwarno. Journal of Urban Society’s Arts. https://doi.org/10.24821/jousa.v6i2.3431.
Aruman, N., & Kusumawati, T. (2017). Pengembangan Desain Seni Kerajinan Tatah Sungging Kulit Pucung Imogiri Bantul Yogyakarta. Corak Jurnal Seni Kriya, 6(1). https://doi.org/10.24821/corak.v6i1.2389
Burke, P. (2001). New perspectives on historical writing. Penn State Press.
Fahrudin, D., Saputro, S., Sarwanto, S., Sauli, S. S., & Qiaolu, Q. (2023). Conservation value of gunungan wayang kulit purwa for science learning materials. Jurnal Pendidikan IPA Indonesia, 12(3), 470-481. https://doi.org/10.15294/jpii.v12i3.42870.
Feldman, E. B. (1967). Art as image and idea. Prentice-Hall.
Fitrananda, E. R., Lukitasari, E. H., & Wibowo, Y. (2022). Perancangan Karakter Tokoh Wayang Kulit Purwa Sebagai Media Pembelajaran Untuk Anak Sekolah Dasar. JURNAL KEMADHA, 12(2), 212-234. https://jurnal.usahidsolo.ac.id/index.php/kmd/article/view/1202/916.
Fitriani, A., & Rosandini, M. (2024). Kajian visual produk merchandise pada museum di Jakarta. Jurnal Desain, 12(1), 172–184. https://doi.org/10.30998/jd.v12i1.21087.
Holt, C. (1967). Art in Indonesia: Continuities and change. Cornell University Press.
Morin, L. L. D., & Harthoko, T. (2020). Pemberdayaan Masyarakat Wukirsari, Imogiri, Bantul Melalui Potensi Wisata Seni dan Penangkaran Burung. Jurnal Pengabdian Seni, 1(1), 57-65.
Nofitasari, D., Putra, T. P., & Kirana, D. A. (2024). E-Catalogue of Wayang Kulit Purwa Collection at Museum Wayang Kekayon Yogyakarta. TUMATA: Journal of Cultural and Arts Management, 2(1), 35–40. https://doi.org/10.24821/tumata.v2i1.13372.
Nugraheni, G. R. (2017). Pendidikan Pelestarian Budaya Lokal Pada Masyarakat Pengrajin Wayang Di Dusun Karangasem Wukirsari Imogiri Bantul. Spektrum Analisis Kebijakan Pendidikan, 6(6). https://doi.org/10.21831/sakp.v6i6.10117.
Nugroho, S. (2024). Transformation of Kakawin Arjunawiwāha into the Scenario Text of Wayang Kulit Purwa Performance Lakon Harjuna Wiwaha. International Society for the Study of Vernacular Settlements, 11(4), 115–129. https://doi.org/10.61275/ISVSej-2024-11-04-06
Prasetya, H. B., Hariyanto, Pangestu, S. M., Udreka, Handayani, L. L. A., & Saka, P. A. (2024). Shortage of sculptors of shadow puppets’ facial features (Bedhahan) for Wayang performance. Humanities, Arts and Social Sciences Studies, 467-481. https://doi.org/10.69598/hasss.24.2.267790.
Riffai, R., & Macaryus, S. (2018). Istilah Dalam Proses Pembuatan Wayang Kulit Di Dusun Karangasem, Desa Wukirsari, Kecamatan Imogiri, Bantul, Yogyakarta. Caraka: Jurnal Ilmu Kebahasaan, Kesastraan, Dan Pembelajarannya, 4(2), 115-130. https://doi.org/10.30738/caraka.v4i2.2849.
Subagya, T. (2013). Nilai-Nilai Estetis Bentuk Wayang Kulit. Gelar: Jurnal Seni Budaya, 11(2). https://doi.org/10.33153/glr.v11i2.1483.
Suhardjono, Nugroho, A. S., & Siswati, S. (2025). Genderan Ada-Ada Gaya Nyi Suwanda Dalam Sajian Wayang Kulit Purwa Gaya Yogyakarta. Keteg: Jurnal Pengetahuan, Pemikiran Dan Kajian Tentang Bunyi, 25(1), 131–145. https://doi.org/10.33153/keteg.v25i1.7258.
Sunarto. (2008). Seni tatah sungging kulit. Prastista.
Susanto, M. R., Mariah, S., Lukitaningsih, A., Surono, S., Saidon, H. J., Azizan, A. T., Arumsari, M. D., Ahmad, F., Wiwit, I., Lianti, D., Pangestu, R. A., Bilqisa, N. H., Maulidya, T. A., Rismawati, D., & Khotimah, K. (2024). The art of tatah sungging wayang as a strengthening branding community of wayang purwa craftsmen association in wayang gendeng hamlet, bangunjiwo bantul-yogyakarta. International Journal of Engagement and Empowerment. https://doi.org/10.53067/ije2.v4i3.172.
Tjahjawulan, I., Amboro, Y., & Naufal, D. A. (2025). Analisis elemen visual sebagai daya tarik bagi pengguna pada desain karakter game horor Dreadout2. Jurnal Desain, 12(3), 827-845. https://doi.org/10.30998/jd.v12i3.27025.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Arfiati Komariah, Novita Dwi Wulandari, Valdi Andreansyah (Author)
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Articles published in Jurnal Desain are licensed under the Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0), unless otherwise indicated.
This license allows users to:
- Share: Copy and redistribute the material in any medium or format.
- Adapt: Remix, transform, and build upon the material.
These permissions apply for non-commercial purposes and are subject to the following terms:
1. Attribution (BY)
Users must give appropriate credit to the original author(s), acknowledge the article’s original publication in Jurnal Desain, provide a link to the CC BY-NC 4.0 license, and indicate if changes were made.
Attribution may be provided in any reasonable manner, but not in a way that suggests that the author(s) or Jurnal Desain endorse the user or the use of the material.
Where available, users are encouraged to include the article’s Digital Object Identifier (DOI) when citing or redistributing the work to ensure persistent identification of the Version of Record.
2. NonCommercial (NC)
The material may not be used for commercial purposes.
Commercial use refers to use that is primarily intended for or directed toward commercial advantage or monetary compensation.
Users wishing to make commercial use of material covered by the license must obtain separate permission from the relevant copyright holder(s).
3. No Additional Restrictions
Users may not apply legal terms or technological measures that legally restrict others from exercising any rights permitted by the license.
4. Third-Party Material
The CC BY-NC 4.0 license applies to the article unless otherwise indicated. Figures, photographs, artworks, illustrations, tables, data, or other third-party materials may be subject to separate copyright or licensing terms.
Users are responsible for determining whether separate permission is required before reusing material that is excluded from the article’s Creative Commons license.
Official License Terms
The complete terms of the license are available from the Creative Commons Attribution-NonCommercial 4.0 International License: https://creativecommons.org/licenses/by-nc/4.0/
