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Ketua DPRD Prabumulih Deni Victoria Hadiri Rapat PAKEM 2026
PRABUMULIH,TOPIKBERITA.CO – Ketua DPRD Kota Prabumulih, H. Deni Victoria, menghadiri Rapat Tim Koordinasi Pengawasan Aliran Kepercayaan dan Aliran Keagamaan dalam Masyarakat (PAKEM) Tahun 2026 yang digelar Kejaksaan Negeri Prabumulih, Kamis (5/2/2026). Pihak Kejaksaan Negeri Prabumulih memimpin rapat di Aula Kejaksaan Negeri Prabumulih. Kapolres Prabumulih, Badan Kesatuan Bangsa dan Politik…
The Visual Frequency of Batik: A Designer’s Guide to Semiotic Discernment
Looking Past the Fabric
Every 2 October, Indonesia celebrates National Batik Day. Since the Gadis Kretek trend and the "Friday Batik" tradition, we wear these patterns as symbols of nationalism and cultural pride. However, as a graphic designer, I’ve started looking past the aesthetic layout to the iconography beneath.
In the design world, we know that visuals are never "just decoration"—they are a language. Whether it is a corporate logo or a traditional motif, every line carries an intent. When we wear Batik, are we just wearing a pattern, or are we accidentally "checking in" to a spiritual frequency?
Here is the fully expanded section on Pakem and the refined article.
1. The "Brand Guidelines" of the Court (Pakem Awisan)
In classical Javanese Batik, motifs functioned as a Visual Identity System governed by Pakem (Strict Brand Guidelines). To the ancient designers, these were sacred assets. The most restricted were the Awisan Dalem, reserved strictly for royalty to maintain the "brand integrity" of the Palace's spiritual power.
Traditionally, the Sultan acted as the "Chief Creative Officer" of the kingdom. He held the "Copyright" over specific symbols known as Awisan Dalem (Forbidden Motifs). Using these without authorization was not merely a design faux pas; it was seen as a spiritual and legal violation—a breach of the kingdom’s sacred visual contract.
Key Motifs & Their "Specs":
The Kawung (Sacred Geometry): A masterclass in grid systems based on four intersecting circles.
The Design: A cross-section of a palm fruit or a lotus.
The Pakem: Represents Manunggaling Kawula Gusti (Union with God). It symbolizes the purity of the ruler.
The Status: Reserved for the Sultan and his immediate family.
The Parang (Dynamic Logotype): Diagonal "S" lines creating motion.
The Design: Inspired by the waves of the South Sea or the blade of a kris.
The Pakem: The line must be at a 45-degree angle. The size of the "S" determined rank; Parang Rusak Barong (the largest) was exclusively for the King.
The Status: A symbol of unyielding power and continuity.
The Semen (The Infographic of the Cosmos): A complex composition of mountains, flora, and fauna.
The Design: Features Lar (wings) and Sawat (great wings), representing the throne or the bird of the gods.
The Pakem: Must represent the three worlds—Upper (birds), Middle (animals), and Lower (water).
The Status: Reserved for the coronation and high rituals.
Udan Liris (The "Weather" Pattern): Horizontal/Diagonal stripes of different motifs.
The Design: Translates to "Light Rain."
The Pakem: Represents fertility and protection from the elements.
2. The Semiotic Audit (Icon, Index, Symbol)
Using Peirce’s Triadic Model, we can break down how a sign acquires meaning. This helps a designer distinguish between a "pretty picture" and a "spiritual portal."
3. Ritual vs. Secular Evolution
This tracks how Batik moved from the "Sacred Palace" to the "Worldly Coast," and eventually into modern "Graphic Illustration."
4. Mass-Media Sigils (Visual Discernment in Modern Media) As designers, we recognize that modern media also uses Semiotics to run "programs."
5. Biophilic Design: The "Safe" Path
For those practicing Visual Hygiene, we look for the Creator’s work (Nature) rather than Man’s rituals (Mysticism). This is Biophilic Design.
Recognized "Safe" & Decorative Motifs:
Batik Buketan: European-style flower bouquets. Purely aesthetic.
Merak Ngibing: Dancing peacocks representing beauty.
Kupu-Kupu: The butterfly, a universal icon of transformation.
Pring Sedapur: Bamboo motifs representing strength and nature.
Conclusion: Awareness is Power
We don't need to fear our heritage; we need to be informed designers. Just as we admire the "Nike Swoosh" (Symbol) without worshipping a goddess, we can admire the line work of a Parang as a historical design artifact.
However, we exercise Gatekeeping regarding "Active Indexes" like the Weton. As a person of faith, I choose to "host" only the frequency of the Creator—the birds, the flowers, and the clouds—while leaving the ritual "portals" behind. We can honor our culture without compromising our spiritual space.
References :
Semiotics 101: Introduction to Semiotics – Hilton Design
Motif Database: iWareBatik - Motifs and Meanings
The Power of Images: David Freedberg - Image and Action
Biophilic Design: Stephen Kellert - Nature and Design
The Forbidden Patterns:Indonesian Heritage Society - Awisan Dalem
PAKEM Harus Antisipasi Aliran Kepercayaan dan Ujaran Kebencian
Rejangnews.com || Lebong – Tim Pengawas Aliran Kepercayaan dan Keagamaan Masyarakat (PAKEM) menggelar Rapat Koordinasi (Rakor) di ruang rapat Gedung Pendapatan Badan Keuangan Daerah (BKD) Kabupaten Lebong, pada Kamis (23/11/2023). Acara dibuka langsung Bupati Lebong Kopli Ansori yang diwakilkan Plt Asisten I Fakhrurrozi, dan dihadiri Kabag Ops Polres Lebong, AKP Wiwid Hartono. Turut hadir…
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