TINJAUAN SENI KERAMIK INDONESIA

Agus Mulyadi, Utomo (2017) TINJAUAN SENI KERAMIK INDONESIA. Documentation. ISI Denpasar.

Abstract

Seni keramik Indonesia yang berada di pusat-pusat industri padat modal terutama keramik pakai massal mengalami perkembangan sesuai dengan konsumsi atau kebutuhan masyarakat yang telah maju sudah tidak terelakkan lagi, juga untuk tujuan ekspor. Demikian pula dengan seni kerajinan dan industri kecil sesuai dengan kemajuan tingkat perekonomian dan apresiasi masyarakat serta sudah memasuki pasaran internasional. Akan tetapi, seni keramik murni dan kreatif Indonesia tidaklah tumbuh di pusat-pusat industri dan keramik tradisional, melainkan datang dari kalangan keramikus yang berlatarbelakang pendidikan akademis dan seniman seni rupa. Di samping itu keberadaannya hanya di kota-kota besar saja, seperti Jakarta, Bandung, Yogyakarta, Semarang, Surabaya, Solo, Malang dan Denpasar-Bali. Kebanyakan dari mereka menolak karyanya menjadi benda pakai dan seringkali menyebutnya sebagai “keramik kreatif” atau “keramik ekspresi”. Sebagai yang tergolong seni keramik murni, para penciptanya mempunyai maksud dan tujuan tertentu. Pengungkapan seni secara bebas dan tidak terikat oleh kegunaan atau fungsi pakai tertentu. Karya-karya seniman keramik ini berdiri sendiri dan mempunyai daya tarik sendiri serta eksistensi sendiri pula. Penilaiannya tentu sangat relatif, subyektif dan individualis serta tak terukur. Sehingga kini pameran keramik jenis ini sangat langka dan perlu didorong untuk mengimbangi perkembangan kehidupan yang memasuki era global agar tidak ketinggalan dengan negara maju lainnya di Dunia. Indonesian ceramic art in the capital-intensive industrial centers especially ceramic wearing mass in accordance with the consumption or needs of the community that has been developed is inevitable, also for export purposes. Similarly, the art of craft and small industries in accordance with the progress of the economic level and appreciation of the community and has entered the international market. However, Indonesian pure and creative ceramic art does not grow in traditional industrial and ceramic centers, but comes from the ceramic background of academic education and art artists. In addition, its existence only in big cities only, such as Jakarta, Bandung, Yogyakarta, Semarang, Surabaya, Solo, Malang and Denpasar-Bali. Most of them refuse his work to be wearable and often refer to it as "creative ceramics" or "ceramic expression". As belonging to pure ceramic art, its creators have a specific purpose and purpose. Disclosure of art freely and not bound by certain usability or functionality. The works of these ceramic artists stand on their own and have their own appeal and existence as well. The assessment is certainly very relative, subjective and individualistic and immeasurable. So now the exhibition of this type of ceramics is very rare and should be encouraged to compensate for the development of life entering the global era so as not to be left behind with other developed countries in the World. Keywoards: Art Ceramics Indonesia, Art of Conviction, Academic Artist

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