Jakarta's Gold Council promotes local jewelry designs

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.