Transformations of Meanings of Myths in the Srabad Banteng-Windu Reverse Glass Paintings in Cirebon, Indonesia

Ilhamsyah, Nuning Y. Damayanti, A. Rikrik Kusmara & Nurdian Ichsan

Abstract

Srabad painting is a glass painting made in Cirebon, Indonesia with a pictographic calligraphy theme based on the symbol of Sufism. They show the acculturation of various cultures and people who have visited or lived in this city, such as Hindus, Buddhists, Islamic, Chinese, Indians, Arabs and the Europeans. This research examines the transformation of the meaning of myths in the reverse glass painting of Srabad Banteng-Windu in Cirebon, Indonesia. It employs an interpretive descriptive method with an ethnographic approach to understand the cultural concepts of the Cirebon people through the analysis of Banteng-Windu images on Srabad glass paintings. The research began with a literature study related to the art of reversed glass paintings in general and especially in Indonesia. This information was supplemented with interview data from informants such as traditional Cirebon glass painting artists, cultural figures, as well as members of the Cirebon Palace and the community leaders. Secondary data sources were obtained from the ancient manuscript literature and the Srabad Tarekat Sattariyah Cirebon manuscript, as well as research journals through library studies. Roland Barthes' semiotic theory was used to analyse the signs and myths, complemented by the paradox aesthetic theory. The results show that there is a transformation in the meaning of the mythical sign in the Banteng-Windu figure which aims to convey Islamic ideology (tawhid). The Mahesasura-Jatasura myth is used to make the Cirebonese people's understanding of Islamic Lessons accepted and understood easier, because the narrative is not much different from whagt they are familiar with. In this way, they don't feel ripped off from their old traditions.

Keywords:

Reverse Glass Painting, Srabad, Transformations, Myths, Cirebon, Indonesia.

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