An Analysis of Frieze Patterns, Crystallographic Patterns, and Philosophical Values on Subahnale Woven Motifs Sukarare Village
DOI:
https://doi.org/10.31980/mosharafa.v12i3.823Keywords:
filosofis, frieze, Kain Tenun, kristalografi, philosophical, Woven Fabrics, crystallographyAbstract
Budaya dengan keberagaman dan keunikan adat istiadat, kesenian dan kerajinannya, memberikan identitas bagi suatu daerah. Keunikan-keunikan budaya ini dapat dikaji untuk dijadikan sebagai bagian dari sumber belajar. Etnomatematika merupakan jembatan untuk mengeksplorasi matematika yang berkembang di masyarakat. Dengan demikian penelitian ini berupaya untuk menganalisis pola frieze, pola kristalografi dan nilai-nilai filosofis yang terdapat pada motif kain tenun subahnale Desa Sukarare. Metode yang digunakan dalam Penelitian ini adalah metode etnografi. Data penelitian dikumpulkan melalui observasi, studi pustaka, dan wawancara dengan praktisi budaya, tokoh adat, pengerajin kain tenun dan budayawan. Hasil penelitian menunjukkan bahwa motif (reragian) kain tenun subahnale terbentuk dengan perpaduan bentuk-bentuk geometri yakni garis, segi tiga, segi empat dan segi enam. Bentuk geometri tersebut tersusun menggunakan model matematika yakni translasi, rotasi da refleksi. Adapun pola-pola yang terbentuk berupa 4 buah pola frieze yaitu pola 3, 4 ,6 dan 7. Selain itu terdapat juga pola Kristalografi yaitu pola p1, pm, dan p4m.
Culture, with its diversity and unique customs, arts, and crafts, provides an identity for a region. This cultural uniqueness can be studied as part of learning resources. Ethnomathematics is a bridge to exploring mathematics that develops in society. Thus, this study seeks to analyze the frieze patterns, crystallographic patterns, and philosophical values in the subahnale woven fabric motifs in Sukarare Village. The method used in this research is the ethnographic method. Research data were collected through observation, literature study, and interviews with cultural practitioners, traditional leaders, woven cloth artisans, and humanists. The results showed that the motif (reragian) of the subahnale woven fabric was formed by a combination of geometric shapes: lines, triangles, rectangles, and hexagons. The geometric shapes are arranged using a mathematical model: translation, rotation, and reflection. The patterns formed are 4 frieze patterns, namely patterns 3, 4, 6, and 7. In addition, there are also crystallographic patterns, namely patterns p1, pm, and p4m.
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