Teknik lukisan kaca pada awalnya berkembang sebagai seni industri rumah tangga di daerah

Lukisan kaca adalah jenis lukisan yang digambari dan diwarnai dari sisi belakang bidang kaca, dan dikerjakan dalam keadaan terbalik. Para pelukis yang pada umumnya tidak memiliki pendidikan formal yang tinggi, memilih bahan kaca karena harganya yang murah serta memberikan hasil visual yang jelas dan terang. Lukisan kaca dapat dikategorikan dalam folk art, karena memang lahir dari masyarakat kebanyakan yang ingin mengungkapkan rasa religiositasnya, perasaan- perasaannya, harapan dan aspirasinya, atau juga kekecewaan dan kecemasannya. Dalam perjalanannya, seni lukis kaca telah melalui berbagai perkembangan, baik yang bersifat inklinatif maupun deklinatif. Lukisan kaca di Indonesia, dalam hal ini diwakilkan pada tiga sentra, yaitu Cirebon, Jawa Tengah (termasuk Daerah Istimewa Yogyakarta), serta Bali, mencerminkan berbagai konstruk sosial dengan dinamika dan perkembangannya, baik secara individual maupun kemasyarakatan. Untuk memahami kontinuitas dan perubahan yang terjadi pada lukisan kaca di Indonesia, digunakan penelitian kualitatif yang menggunakan pendekatan multidisiplin. Dengan meminjam konsepkonsep ilmu sejarah, antropologi, sosiologi, ekonomi, dan estetika, maka fenomena perubahan seni lukis kaca dapat diungkap. Untuk mengkaji suatu fenomena seni dalam waktu tertentu, dipakai pendekatan sinkronis, sedangkan kajian perkembangannya digunakan pendekatan diakronis. Studi ini juga ingin membandingkan hakikat perkembangan yang terjadi di tiga sentra tadi. Lukisan kaca Cirebon yang mengawali keberadaannya pada paro kedua abad ke-19, adalah bentuk seni rupa yang merupakan perpaduan berbagai unsur budaya. Pengaruh yang ikut membentuknya adalah unsur budaya Jawa, dengan wayangnya, Islam dengan kaligrafinya, dan budaya Cina. yang membawa ragam hias awan dan batu karang, serta teknik melukis di atas kaca. Dorongan estetik para seniman setempat untuk menyembah Tuhannya, telah melahirkan sebuah sinkretisme unsur visual yang indah dan unik. Dengan datangnya bangsa Barat yang membawa berbagai pengetahuan tentang ilmu gambar dan juga materialnya, telah pula memperkaya seni lukis kaca Cirebon. Patronase yang semula adalah fihak keraton, dengan perkembangan ekonomi yang kini berkembang, telah pula mendorong lahirnya patronase baru yang kian beragam. Demikian pula dengan tema-temanya. Tak sedikit di antaranya yang bersifat sekuler, bahkan terdapat juga tema-tema di luar Islam. Lukisan kaca Jawa Tengah berumur lebih muda, jika dibandingkan dengan Cirebon. Kendatipun ada tema-tema yang ditiru dari Cirebon, namun lukisan kaca Jawa Tengah, Yogyakarta dan Surakarta lebih berorientasi horisontal. Kini, dengan merebaknya akses informasi melalui media masa dan elektronik, kritik sosial dan politik pun tidak luput dari garapan mereka. Lukisan kaca Nagasepaha, Buleleng, Bali, tercatat keberadaannya sejak tahun 1927, ketika Jero Dalang Diah, seorang dalang dan pembuat wayang kulit, mendapat pesanan lukisan kaca yang bertemakan wayang. Tema-temanya tidak beranjak jauh dari fragmen-fragmen epos besar Ramayana dan Mahabharata. Acuan gaya estetiknya adalah gaya Kamasan, yang mendapat patronase dari raja-raja Klungkung pada awal akhir abad ke-19. Perkembangan lukisan kaca Nagasepaha- Buleleng tidak terlalu mengalami dinamika yang besar. Masa pengembangannya hingga kini dilakukan oleh tiga generasi, dan sampai sekarang masih digeluti oleh dua generasi, penerus pencetus pertama kelahiran lukisan kaca Nagasepaha- Buleleng. Kini, tema-temanya telah bertambah ke wilayah sekuler, potret-potret sosial bermunculan sebagai protes para pelukis kaca muda usia terhadap kondisi sosial yang mereka hadapi. Para pelukis kaca di tiga sentra tadi sama-sama menggunakan kaca sebagai media penyampaian aspirasi mereka. Pilihan itu disebabkan karena harganya yang murah dan juga karena tampilannya yang mereka anggap terang dan cerah. Bedanya adalah, Cirebon lebih mengutamakan hubungan manusia dengan Sang Pencipta, Yogyakarta dan Surakarta lebih berorientasi pada kehidupan manusia secara horisontal, sedangkan Bali ingin mengingatkan agar seseorang selalu mengamalkan ajaran agama Hindu melalui petikan-petikan cerita dari epos Ramayana dan Mahabharata.

Glass painting is a kind of painting that is being drawn and painted from the back side of a glass plain, and it is done in a reverse way. The painters that did not have ample formal education, prefer to use glass as their material, because of the low price, and the result is much more fascinating. Glass painting is regarded as a folk art, for it is indeed made by ordinary people who want to express their religious affirmations, feelings, hopes and their aspirations, or even their disappointment and fears. Along with its growth, glass painting has had many kinds of development. Quality wise, many of them are inclining, but some are showing to decline. Glass painting in Indonesia, which are being represented to three centers, that is Cirebon, Central Java (including the special region Yogyakarta), and Bali, shows various social constructs with its dynamics and development, either individually or socially. To comprehend the continuity and change of glass painting in Indonesia, a qualitative research which incorporates multidisciplinary approach has been used. Concepts on history, anthropology, sociology, economics, and aesthetics, has been borrowed to explain this changing phenomenon that has occurred on this unique art form. To be able to examine an art phenomenon at a certain time, a syncronic approach is used, while to know the development, a diachronic approach is utilized. This research is also intending to compare the development of these three centers. Cirebonese glass paintings which found its impetus at the mids of the 19-th century, is a kind of fine art, which is a blending of several cultures. Cultural influences which has taken part in this forming are, Javanese, Islam, and Chinese. The Javanese brought wayang and architecture, Persian pilgrims introduced Islam and callygraphy, and the Chinese has taken along with them, cloud and rock motifs and also techniques to paint on glass. The aesthetic urge of the Cirebonese artist to worship God, has created a syncretism on visual elements that is unique and beautiful. The coming of the Dutch who brought knowledge on art and drawing, and also materials for drawing and painting, has enriched Cirebonese glass painting. Economic development has also played a role in inducing new varied patronage. It also happened, that the number of themes has increased quite extensively, many of them are no longer made for Islamic propagation. Moreover, other religious themes are also being made. To be compared with Cirebonese, glass painting from Central Java, are much younger in age. Although many of them are copied from the older Cirebonese religious themes, the Javanese has developed local themes which are more horizontally oriented. The themes made at the beginning of the era, around the first half of the 20-th century, were Islamic themes, wayang figures, history, folk tales, legend and mithology. Later, a serial of domestic mosques, scenery of daily routines, social gatherings, sayings on Javanese wisdom. Nowadays, where one can get ample access to information, either by newspaper or radio and television, social and political criticism has become a new theme for the glass painters. These folk artists are very fond of utilizing the panakawans to represent the man on the street, or even themselves. The expressions they make are usually quite relaxed and witty, this coincide with the nature of the overall Javanese. Glass painting of Nagasepaha-Buleleng in North Bali, was initiated in 1927, when Jero Dalang Diah, a famous puppeteer and wayang maker, got an order to do a wayang painting, but this time on glass. Wayan Nitia, the wayang lover who ordered the painting, brought along with him, a glass painting with a Japanese lady. The painting he brought is meant to give Jero Dalang Diah an idea. The job was succesfully accomplished. Since then, the production of wayang painting on glass has started and flourished afterwards. Up till now, there has been three generations already doing glass painting, mostly Jero Dalang Diahs descendants. The themes taken doesnât differ much from the ordinary Balinese Painting on cloth, that are scenes from the great Hindu epic the Ramayana and the Mahabharata. The drawing style they refer is the famous Kamasan style, which received at that time a great deal of nurturing from the kings and nobels of Klungkung. As time runs, themes have been expanded quite well. Besides religious ones, the younger generation also expresses their responses to current social and political issues. Those folk artists from the three centers have a few things in common. They use glass plains as the medium to pour their ideas. The reason is because the price and also the clearity of the picture. Beside that, they are also descendants from ancestors that belongs to the wayang world, like dalangs, wayang makers, wayang wong actors, pesinden, and the like. The difference in their paintings are, that the Cirebonese tends to have a vertical link with the Almighty, the Javanese prefers to emphasize towards horizontal social harmony, while the Balinese like to remind his fellow country men, not to ignore the wise saying in the Vedas, through the dialogues and discussion uttered in the Ramayana and the Mahabharata scenes. Although the orientation differs, they have the same idealism, that is a state of â˜a good fifeâ.

Kata Kunci : Seni Lukis,Lukisan Kaca Indonesia,Kontinuitas dan Perubahan