Portrait of Historical Figures in Engraving Graphic Printing Techniques as A Means of Visual Communication to Spread National Identity

Arce Priangsari; Kasiyan

doi:10.18535/sshj.v9i01.1532

Abstract

The portrayal of historical figures through graphic print techniques plays an important role in spreading national identity. This technique involves slaughtering fine lines on metal plates that produce detailed images. Images produced with this technique can be found in banknotes, stamps, coins, and various educational media. The visual image not only strengthens respect for historical figures but also acts as a symbol of national identity. Grafir utilizes and strengthens the symbol of nationalism by including several elements of local culture, such as batik and flora motifs. In addition, graphir is also used as a security feature on money and official documents. The results of this study helped prove the perception that a strong graphir in creating a national symbol that is eternal, iconic, and easily recognized by all levels of society.

Keywords

SUMPintegrated transport planningmobilitysustainable transportpublic transport

References

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[refR-2] Assidiq, W. F. R., Alfarhani, M. D. U., Nandhika, D., & Amirullah, M. F. (2023). Analisis Peran Media Sosial Dalam Membentuk Identitas Nasional Generasi Milenial Di Indonesia. Jurnal Sosial Teknologi, 3(9), 772–775.Google Scholar ↗

[refR-3] Astawa, I. P., & Ari, P. (2017). Identitas Nasional. Bali: Universitas Udayana.Google Scholar ↗

[refR-4] Azmi, A. (2016). Memaknai Gambar Sketsa Tehnik Engraving Ipe Ma’akruf Ditinjau Dari Aspek Ikonografi. Jurnal Bahas Unimed, 27(3), 79656.Google Scholar ↗

[refR-5] Balaskas, V. (2019). The iconography of a nation: materiality and coin production in twentieth-century Greece. Journal of Modern Greek Studies, 37(2), 215–235.Google Scholar ↗

[refR-6] Banindro, B. S. (2012). Kajian Ikonografis Bahasa Rupa Uang Kertas Indonesia Masa Revolusi. DeKaVe, 1(3), 9–16.Google Scholar ↗

[refR-7] Bonța, C. M. (2019). Militant Portraits. The Promotion of Hungarian National History Through Nineteenth-Century Graphicc. Case Study. Acta Musei Napocensis. Historica, 56(56), 73–89.Google Scholar ↗

[refR-8] Budiman, K. (2011). Semiotika visual: konsep, isu, dan problem ikonisitas. Jalasutra.Google Scholar ↗

[refR-9] Cenadi, C. S. (1999). Elemen-elemen dalam desain komunikasi visual. Nirmana, 1(1).Google Scholar ↗

[refR-10] Champagne, A. (2014). At the Intersection of Place Branding and Political Branding: Canadian Banknote Iconography and Political Priorities.Google Scholar ↗

[refR-11] Christensen, C. (2008). Review of the history of information security: A comprehensive handbook edited by Karl De Leeuw and Jan Bergstra. Cryptologia, 32(3), 284–294.Google Scholar ↗

[refR-12] Gilbert, E. (1998). ‘Ornamenting the façade of hell’: Iconographies of 19th-century Canadian paper money. Environment and Planning D: Society and Space, 16(1), 57–80.Google Scholar ↗

[refR-13] Helleiner, E. (1998). National currencies and national identities. American Behavioral Scientist, 41(10), 1409–1436.Google Scholar ↗

[refR-14] Hymans, J. E. C. (2010). East is East, and West is West? Currency iconography as nation-branding in the wider Europe. Political Geography, 29(2), 97–108.Google Scholar ↗

[refR-15] Hymans, J. E. C., & Fu, R. T. (2017). The diffusion of international norms of banknote iconography: A case study of the New Taiwan Dollar. Political Geography, 57, 49–59.Google Scholar ↗

[refR-16] Katsari, C. (2006). Money and proto-national identities in the Greco-Roman cities of the first and second centuries AD. National Identities, 8(1), 1–20.Google Scholar ↗

[refR-17] Koetzle, H. M. (2002). Photograph icons: The story behind the pictures (Vol. 1). Los Angeles: Taschen.Google Scholar ↗

[refR-18] Kunovich, R. M. (2009). The sources and consequences of national identification. American Sociological Review, 74(4), 573–593.Google Scholar ↗

[refR-19] L Pressly, W. (2023). America’s Paper Money: A Canvas for an Emerging Nation. Smithsonian Institution Scholarly Press.Google Scholar ↗

[refR-20] Lauer, J. (2008). Money as mass communication: US paper currency and the iconography of nationalism. The Communication Review, 11(2), 109–132.Google Scholar ↗

[refR-21] Lubis, M. A. (2019). Pembelajaran ppkn (teori pengajaran abad 21 di SD/MI). Samudra Biru.Google Scholar ↗

[refR-22] Morgan, T. V. (2022). Visuality and socio-political communication in Nigeria’s banknote portraits. Visual Studies, 37(5), 592–602.Google Scholar ↗

[refR-23] North, J. (2015). Portraying Presence: Thomas Carlyle, Portraiture, and Biography. Victorian Literature and Culture, 43(3), 465–488.Google Scholar ↗

[refR-24] Nurdin, M. (2023). IDENTITAS NASIONAL. Advances In Social Humanities Research, 1(4), 241–247.Google Scholar ↗

[refR-25] Parekh, B. (1995). The concept of national identity. Journal of Ethnic and Migration Studies, 21(2), 255–268.Google Scholar ↗

[refR-26] Penrose, J., & Cumming, C. (2011). Money talks: banknote iconography and symbolic constructions of Scotland. Nations and Nationalism, 17(4), 821–842.Google Scholar ↗

[refR-27] Pethers, M. (2021). Portrait Miniatures. Early American Literature, 56(3), 755–808.Google Scholar ↗

[refR-28] Razak, M. R. A., Harun, A., Hussin, S. N., & Anwar, R. (2022). The First Series of Malaysian Banknotes as a Symbol of a Nation’s Independence. Environment-Behaviour Proceedings Journal, 7(SI7), 313–319.Google Scholar ↗

[refR-29] Reina, K. T. R. (n.d.). The Art of Protection: the Impact of Graphic Design on Banknote Security.Google Scholar ↗

[refR-30] Rex, J. (1996). National identity in the democratic multi-cultural state. Sociological Research Online, 1(2), 1–9.Google Scholar ↗

[refR-31] Sasmito, E. (2011). Hidup Makmur di Masa Pensiun. RAIH ASA SUKSES.Google Scholar ↗

[refR-32] Scheder, G. (1977). Perihal Cetak Mencetak. Yayasan Kanisius.Google Scholar ↗

[refR-33] Suryo, J. (2002). Pembentukan Identitas Nasional, Makalah pada Seminar Terbatas Pengembangan Wawasan tentang Civic Education. Yogyakarta: LP3 UMY.Google Scholar ↗

[refR-34] Susanto, M. (2011). Diksi Rupa: Kumpulan istilah dan gerakan seni rupa. DictiArt Lab.Google Scholar ↗

[refR-35] Syakir, S. (2015). Ragam Teknik Dan Kreasi Sederhana Dalam Seni Grafis Cetak Tinggi. Imajinasi: Jurnal Seni, 9(2), 153–166.Google Scholar ↗

[refR-36] Texier, P.-J., Porraz, G., Parkington, J., Rigaud, J.-P., Poggenpoel, C., Miller, C., Tribolo, C., Cartwright, C., Coudenneau, A., & Klein, R. (2010). A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa. Proceedings of the National Academy of Sciences, 107(14), 6180–6185.Google Scholar ↗

[refR-37] Wicaksono, S. H., & Zuhri, N. A. (2020). Analisa Politik Identitas Dalam Karya-Karya Potret Diri Agus Suwage Dengan Pendekatan Semiotika. Ars: Jurnal Seni Rupa Dan Desain, 23(1), 28–38.Google Scholar ↗

[refR-38] Wulandari, W. (2014). Fotografi Potret, Sebagai Media Visual Pencitraan Diri. Jurnal Desain, 1(03), 211–218.Google Scholar ↗

[refR-39] Yonita, L., Hafiar, H., & Sani, A. (2018). Konstruksi makna nasionalisme pada desain uang rupiah kertas. WACANA: Jurnal Ilmiah Ilmu Komunikasi, 17(1), 13–28.Google Scholar ↗

[refR-40] Zhelanova, V. V, & Matviyenko, O. V. (2022). Natsionalno-kulturna identychnist osobystosti: sutnist ta struktura [A personality’s national and cultural identity: essence and structure]. Innovatsiina Pedahohika, 49(1), 17–20.Google Scholar ↗

[refR-41] Zulfa, A., & Najicha, F. U. (2022). Urgensi Penguatan Identitas Nasional dalam Menghadapi Society 5.0 di Era Globalisasi. Jurnal Kalacakra, 3(2), 65–71.Google Scholar ↗