Embracing the Future: Creative Industries for Environment and

Advanced Society 5.0 in a Post-Pandemic Era – Aulia et al. (Eds)

© 2023 Copyright the Author(s), ISBN: 978-1-032-20303-4
Open Access: www.taylorfrancis.com, CC BY-NC-ND 4.0 license

Study of filigree: Traditional metal working techniques as a potential

craft product

S.D. Kurnia & M. Rosandini

Telkom University, Bandung, Indonesia

ABSTRACT: The filigree technique is one of the indigenous cultures of the metalworking
handicraft from Yogyakarta. It has character value for each motif and becomes the community’s
philosophy of life. The research method used in literature studies, interviews, and direct observa-
tion of metal craftsmen in the Kotagede area. In the filigree motive, some values that are in line
with the formulation of national character values, include (1) tolerance; (2) discipline; (3) hard
work; (4) independence; (5) communication; (6) care for the environment. The traditional filigree
technique has a local cultural image. It contains a high philosophical value on motives that can be
interpreted as natural wealth and virtue, developing character and cultural pillars. This potential is
expected to attract allure when adopted for a craft in the contemporary style jewelry industry, and
help people of Kotagede by opening a craft home industry used as economic support.

Keywords: culture, filigree, jewelry, traditional

1 INTRODUCTION

The relationship between humans and their culture is inseparable because without humans, culture
means nothing, and without humans, culture does not exist. Culture produces systems in social
life. Culture is also a system of ideas that works, all of which are from human activities for society
and are then used as human property (Koentjaraningrat 1990; Nurdien Harry Kistanto 2017). The
relationship between the two is none other than realizing life, in the sense that culture is a tool
for humans to fulfill their physical and spiritual needs (N. H. Kistanto 2017). These two needs are
basic human needs and are interconnected to achieve the perfection of life.
Culture is called a symbol that interprets the feelings and values built by human civilization.
Culture is also a symbol that is inherited, and symbols are human expressions to communicate,
preserve, and develop knowledge about behavior towards life (N. H. Kistanto 2017). The theory
aligns with education goals in Indonesia, which aims to preserve, improve, maintain cultural edu-
cation to continue developing. Ki Hajar Dewantara sparked a concept that education is a character
by internalizing cultural values to aim that students and the nation’s successors are accustomed to
doing good deeds.
Moving on from the existing theory, one of the cultural products we can use to meet society’s
needs is filigree. This culture is in the form of traditional techniques found in the people of Kotagede
(Yogyakarta Special Region) who live in the city of Yogyakarta. The filigree technique is a term for
a type of craft that is processed from metal threads with various motifs (Sagita 2008). According
to Atamjani (2018), it interpreted that the filigree technique is a motif found in the crafts of the
Kotagede community. The shape of the motif in the filigree technique can be classified as pure
hand processing utilizing woven or twisted and then put together. The motif is directly done on plain
paper, without first being described with decorations or patterns (Turner 2006). Making filigree
crafts can be done by using tweezers or tiny claws to twist metal threads. The existing shapes
are put together in a particular pattern, and the technique used is the soldering technique, namely

154 DOI 10.1201/9781003263135-31

metal powder placed on the pattern and then burnt on the top (Silver 2010). At this time, filigree
handicrafts are still made by hand so that the motifs made are different from one another and look
more excellent because they are made with high precision.
The filigree technique motif is more widely used in traditional palace ceremonial objects and
household appliances. Therefore, it is not surprising that the filigree technique itself is synony-
mous with traditional techniques or metal processing techniques for the greatness of the Kotagede
community. However, the actual filigree technique motif is also found in other cultural objects.
The motifs are also found in traditional houses, most of which are taken from the nature around
them, and influenced from their daily life patterns (Sagita 2008). The filigree technique motif
has a philosophical meaning that has a function that is adapted to the life of the local community
(Atamjani 2018). Every motive they make is closely related to self-rule, relationships with humans,
relationships between humans and their environment. The filigree technique has a function as a
cultural tool used on certain occasions that are considered sacred. In addition to crafts and tradi-
tional houses, filigree technique motifs are also found on other cultural objects such as pottery,
spittoons, bowls, and plates in the form of woven metal. The problem in this research is how the
emergence of traditional filigree techniques that contain values and are recognized as a national
identity.

2 RESEARCH METHODS

2.1 Study literature

Study literature was done by finding sources from books and journals. The literature was about
Yogyakarta and its culture, filigree as its artifact, and basic elements of art and design.

2.2 Observation
Direct observation deductively in a descriptive way means that it has not brought problems and
explores and describes anything that can be heard, seen, and felt. The author examines the process
of making metal processing with traditional filigree techniques. Then, complete and analyze the
meaning of the motifs and patterns in artifacts in the Kotagede area (Yogyakarta).

2.3 Interview
The interview was conducted by discussing the meaning of the shape of the motif with the craftsmen
in the filigree craft workshop owned by Borobudur Silver, Mungkid.

3 RESULTS AND DISCUSSION

The distribution of filigree in Indonesia is marked by the historical background of the ancestors of
the Indonesian people, who are now a national group, initially migrating and coming in waves and
spreading in various parts of Indonesia. Each group of migrants usually does not go directly to the
final destination but makes several transits at certain places until they reach their final destination.
Each group of migrants during the journey changes independently. Ecological conditions have
made groups experience changes as a form of adaptation. Therefore, each community group has
differences from one another (Sagita 2008).
The filigree technique culture is noble culture because it is one of the cultural products with high
aesthetic value, in its visual form, cultural values that serve as the identity of a virtuous society. All
of this correlates with the educational values applied in Indonesia. Currently, the filigree technique
is increasingly in demand because the motif has a beautiful artistic style. The enthusiasts are from
Kotagede themselves and have been in great demand by the Indonesian people and the international

155
community. The people of Kotagede are currently opening a filigree craft home industry, which is
used as economic support in the jewelry sector.
The following are the results of observations of artifacts in Kotagede (Yogyakarta). Then analyzed
using basic visual theory, also conducted brief interviews with craftsmen (Fatmawati, 28 years old)
about the meaning of the motifs contained in the filigree motif and it is analyzed according to the
basic art elements and principles (Borobudur Silver, Mungkid).
Table 1. Filigree motif and meanings.
Visual Mean
The spinning rope motif symbolizes
having to support and support each
other towards work
Figure 1. Spinning rope
motif
The shoot/arrow motif symbolizes
motivation to the younger genera-
tion
Figure 2. Shoot/arrow
motif
Regular motifs symbolize that every
decision must be considered wisely
Figure 3. Curved motif
The mustika motif symbolizes the
awareness of the divine
Figure 4. Mustika motif
The “berangkat emun” motif mean
wherever it goes, it must be in line,
wherever it is, it remains in one unit
Figure 5. Berangkat
Emun motif
156
Analysis
The rope motif, besides being made mutu-
ally sustainable and intertwined, has a
meaning to respect and care about toler-
ance for the social environment
The shoot/ arrow motif, besides being
made slightly angled at the top, is a
requirement for the value of discipline,
and then the circle shape is interpreted
as an educated culture and likes to read
(appreciating achievements).
The regular and curved motifs made in
an unbroken arrangement are likened to
a requirement for responsibility in social
life based on honesty between humans and
hard work.
The mustika motif is like pearls, one by
one, arranged repeatedly at the bottom,
symbolizing an independent attitude in
dressing, then made at an angle at the
top with a pearl pendulum symbolizing
religious values and the oneness of God.
(Only God is the place to surrender)
The motives motif is in an oval shape
that is arranged in reverse and repeated,
with a related chain of meanings that can
be drawn, namely harmony in social life
that is communicative, passionate, and
friendly (hospitable).
(continued)
Table 1. Continued.
Visual Mean Analysis

Floral motifs symbolize a unified
unity in society and a place to define
oneself
The three-flower motif is the symbol of the
Indonesian state flower, namely the sacred
white jasmine, interpreted by the spirit of
nationalism, care for the environment, and
love of peace.

Figure 6. Floral motif

The value of the filigree motif refers to something that society views as the most valuable. The
motive that is taken or chosen is a motif based on observations of the environment. This attitude is
developed through various experiences that mark the history of the life of the people in which they
live. Values are also used as a basis, reason, or motivation for behaving in life. At the same time, a
character is an attribute or characteristic that forms and distinguishes a person, group, or nation’s
features, ethical aspects, and mental complexity. Thus, we can conclude that values and character
are essential in social life because they are considered valuable for living.
The filigree technique, one of the results of local culture, is a form of representation of cultural
values a character. In the filigree motif above, we can conclude that the values that are in line with
the formulation of the nation’s character values include: (1) the spinning rope motif symbolizes
tolerance; (2) the shoot motif symbolizes discipline; (3) Regular motifs symbolizes hard work; (4)
The Mustika motif symbolizes independence; (5) The motif symbolizes communicativeness; (6)
Floral motifs symbolize love for the homeland and care for the environment. Referring to these
six values, the filigree motif itself was formed on the awareness of the people of Kotagede since
ancient times to be used as the rules and foundation of life. Both for individual and community life.
Overall, filigree motifs have local character values that are in line with national character values.

4 CONCLUSIONS

We can conclude that each filigree motif’s value reflects the community’s local wisdom, which is
full of the meaning of life implicitly and interpreted as humans take care of the relationship with
God, the relationship between humans, and the environment. All of that is inseparable from the
results of our ancestor’s skills in seeing the future with all problems and end compiling a mosaic of
values symbolized by a filigree motif. Each motif reflects the existence of an Indonesian identity
that is intelligent, virtuous, and wise. The traditional filigree technique has a local cultural image.
It contains a high philosophical value on motives that can be interpreted as natural wealth and
virtue, developing character and cultural pillars. This potential is expected to attract allure when
adopted for a craft in the contemporary style jewelry industry. Therefore, it is necessary to conduct
an in-depth study to develop the design as a craft product for the jewelry industry in further research
to get a contemporary product design that contains the value of national character.

REFERENCES

Atamtajani, Asep Sufyan Muhakik. “Filigree Jewelry Product Differentiation (Case Study Filigree Kota Gede
Yogyakarta).” Bandung Creative Movement (BCM) Journal 4.2 (2018).
N. H. Kistanto, “Tentang Konsep Kebudayaan,” Sabda: Jurnal Kajian Kebudayaan, vol. 10, no. 2, Feb. 2017.
Sagita, Sally. 2008. Filigri Indonesia. Kanisius Publishers, Yogyakarta
Turner, David John. 2006. Filigree Sterling Silver Jewelery Through History Part I. SilverShake Corporation

157