The Cross-conflict of Kriya and Crafts in Indonesia

Abstract

This article aims to provide information to the wider community about the dichotomy between kriya and crafts. This research uses qualitative research methods with a descriptive type of research. The collated data are information data generated through literature research based on the credibility of naturalistic studies. The results of the research show that the cross-conflict between kriya and crafts makes kriyawan and craftsmen tend to ignore quality. Kriya is the root of visual art in Indonesia. It appears uniquely Indonesian, full of meaning, and in perfect cultivation. The creation of kriya is inseparable from rupabedha as to the characteristics, pramanam as to the perfection of form, sadryam is a creative demand, varnikabhaggam is the certainty of the work’s color, and bawa is the vibration or sincerity. Also, the maker of kriya is kriyawan. In certain areas such as Bali, kriya is a part of life, so it is an adequate and quality art.
In Indonesia, kriya has an important position in shaping people’s identity and national culture. It is different from crafts that are closely related to economic needs, a result of diligence, and the product in order to fulfill the tourism industry. Besides, the craft is called pseudo-traditional art or “art in order”, it is an imitation of kriya. Also, the maker of craft is a craftsman. Thus the unique, creative, and meaningful demand is the responsibility of kriya. At the same time, the accuracy of the imitation of kriya to fulfill the industrial world is the responsibility of craft.