Jakarta's Gold Council promotes local jewelry designs

By Rita A. Widiadana

JAKARTA (JP): For decades local jewelry designs have been strongly influenced by western tastes because many Asian artists prefer to imitate western designs rather than explore ideas from their own ancestry.

"It is true that we have to keep up with the rapid progress in jewelry design concepts, but we have to preserve our own culture. Asia has rich traditional heritages, therefore we have to promote our valuable treasures," said Leo Hadi, the chairman of the Jakarta branch of the World Gold Council, in a recent seminar.

In an attempt to encourage artists to create more Asian designs, the council is running a special project called Asian Gold Design, A Search for Our Own Identity. The project involves prominent jewelry and fashion designers, architects, historians and other experts from Thailand, Indonesia, Singapore, Malaysia and South Korea.

The project aims to rejuvenate traditional design concepts into contemporary and marketable products, Leo said.

"It is also aimed at promoting Asian jewelry designs worldwide," he added.

A number of workshops were held in the five participating countries prior to the project. Earlier this year in Indonesia, famous fashion designers Iwan Tirta, Bijan, Harry Dharsono, Prajudi Admodirdjo and Ghea Sukarya, noted architect Naniek Widayati, archaeologist and curator of the National Museum Wahyono Martowikrido, and collector Aida Ratu Paksi participated in a workshop. They tried to broaden the knowledge of local gold designers about the history of Indonesian gold and jewelry, as well as the various design concepts and technical processes.

Promising

The result was promising.

The Jakarta gold council established a special team to set new trends in gold jewelry. The team comprises jewelry designers Hendra Dharmawan Hutama, Tunggadewi and Margaretha MA Swanny, two noted Italian designers and the Indonesian experts already mentioned. They recorded their study in a coffee-table book entitled Evocative Gold, an Asian Renaissance published by World Gold Council Far East.

"The book will be used as a reference for potential buyers on the international market," said Leo Hadi.

The book contains 190 gold jewelry designs inspired by Indonesian cultures. The themes set for the designs range from batik, warisan bersejarah (heritage),pujian pada Dewa-Dewa (homage to the gods), kesenian etnis (ethnic arts) and Kerajinan Desa (rural crafts).

Traditional batik designs offer rich floral, animal and abstract patterns which symbolize spiritual activities. There are three common patterns in batik which often inspire gold designers: geometric, non-geometric and figurative designs. The geometric designs are reflected in parang rusak (diagonal designs), kawung (ovals arranged in fours) and the tumpal (spear) patterns.

Many of the book's designs are derived from batik patterns. Selections of rings, long chains and earrings are inspired by the kraton (palace) patterns from Central Java. The bracelets, brooches and bangles show the influence of batik and songket patterns. Another striking collection features designs from the parang motif which is traditionally worn by Javanese royal families.

Architecture

Designers also developed ideas from traditional Indonesian architecture and art, including wood carving and ornaments. Items under this category include collections inspired by floral motifs in wood carving from various parts of Indonesia. Bangles and two- pendant earrings mimic Balinese Meru roofs, which symbolize Mount Meru at the center of the Buddhist world.

Other stunning designs are collections inspired by head ornaments from the Asmat tribe in Irian Jaya.

A variety of spiritual symbols such as spirals and celestial fertility and power symbols like the moon, sun and stars are looked to for inspiration. Common local objects such as the kris also stimulate the designers.

There are collections of earrings and necklaces in the form of the ceremonial dagger used by noble or rich Javanese families and on other islands in the country. The use of the kris in contemporary gold jewelry designs is controversial since many people still believe in its spiritual power.

The sun, moon and stars were frequently used in various ancient textiles, jewelry, and ritual and household utensils. Several designs in the book embody these ideas. A number of collections depict sun and spiral motifs from Bali.

Ethnic art like traditional masks, totemic designs, wayang (puppet) and garuda (mythical bird) are also a source of designs. Earrings and necklaces are inspired by the wayang figure. A bracelet animates a Garuda peksi from a batik pattern. Several designs are derived from various ethnic arts such as the Balinese barong, traditional Asmat masks and statues, and wooden ornaments from South Sulawesi.

Rural art also enriches the book's designs. A variety of patterns stem from everyday things like bamboo baskets and woven rattan carpets.

"The book is a significant step in the development of gold design in Indonesia. Previously people did not realize our rich traditions. They always looked to the west for perfect designs. Now they should open their eyes and minds that Indonesia has abundant design concepts," said noted designer Harry Dharsono.

The gold council, Leo Hadi said, has always encouraged local designers to mix modern ideas and old traditions in their creations. The council is organizing their second gold design competition with the theme Untaian Emas Indonesia. The competition is open for local artists who explore traditional themes with their designs. The final is scheduled for Dec. 15.

"Jewelry artists must be very creative in combining both traditional and modern elements in their designs, otherwise they cannot compete with their counterparts worldwide," Leo Hadi said.