36 Innovation of Form and Function of Banyumulek Pottery Craftsmanship in Lombok as Heritage of Traditional Culture I Ketut Muka, I Wayan Suardana Institut Seni Indonesia Denpasar, Indonesia Submitted: 2023-06-05. Revised: 2023-11-02. Accepted: 2024-02-13 Abstract The pottery craftsmanship of Banyumulek, a cultural heritage of the Lombok community, has un- dergone a transformation over time. The embodiment of cultural concepts, ideas, and forms has transitioned from functional to aesthetic values, particularly due to the influence of tourism de- velopment in Lombok. This research employs a qualitative descriptive method to explore innova- tions in the form and function of Banyumulek pottery. Data was collected through observation, interviews, and documentation, focusing on various forms and types of pottery in Lombok. Key informants included business owners and pottery craftsmen in the Kediri District, West Lombok. Findings indicate a change in the pottery-making process from traditional to semi-modern. The forms of pottery have evolved from simple to more decorative, and their function has shifted from practical to aesthetic. This innovation is part of a continuous cultural heritage and plays a crucial role in Lombok’s tourism industry. Changes and innovations in Banyumulek pottery reflect economic and tourism growth and affirm the values of the social and cultural identity of the local community. This research highlights the importance of preserving cultural heritage and the adaptive nature of the craft industry in the face of changing times. Keywords: innovation; form; function; Banyumulek Pottery; tourism How to Cite: Muka, I. K., & Suardana, I. W. (2024). Innovation of Form and Function of Banyumulek Pottery Craftsmanship in Lombok as Heritage of Traditional Culture. Harmonia: Journal of Arts Research and Education, 24(1), 36-50 Harmonia: Journal of Arts Research and Education 24 (1) (2024), 36-50 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v24i1.44787 between the woven plant root baskets, they coated the baskets with clay. Shaped by a life still dominated by nature, humans sought to utilize nature to create tools to support their daily needs. Kartodirdjo, S. (1997) mentioned that stronger items like pottery were needed as replacement tools for baskets. Pottery was utilized for storing food, religious ceremonies, and burial ritu- als. The values embedded in pottery essen- tially depict the conditions of a community at a given time. In ancient times, pottery was crafted as kitchen utensils and house- hold items such as plates, containers, gen- INTRODUCTION Pottery is one of the oldest artifacts in the development of human culture. Pot- tery can be found in every culture around the world and has been known since pre- historic times. According to historians, pottery, also known as ceramics, has been recognized by humans since the Neolithic period. At that time, ancient humans be- gan to settle, engage in agriculture, and discover fire (Yumarta, 1982). During this period, ancient humans started storing food using baskets. To prevent leakage Corresponding author: E-mail: ketutmuka@isi-dps.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 I Ketut Muka et al., Innovation of Form and Function of Banyumulek Pottery Craftsman- 37 tongs (water jars), bowls, cobeks (mortars), kendhis (pitchers), pots, and more. Within the scope of the art world, pottery falls into the craft arts category. In the past, the creation of craft products was centered in palaces (Keraton or Puri) as aesthetic elements and the basis for de- veloping craft products. Crafts have strong philosophical values and are deeply in- grained in the cultural society of the palace or court (priyayi or noble-descent culture). However, craft products are not the goal in this palace perspective of culture; instead, it embodies the philosophy of “sedermo ngelakoni kanti kebajikan” (doing good with sincerity) manifested in daily life through perseverance, diligence, patience, and dedication to life activities (Hendriyana, 2022, p. 339). The study of pottery as a civilization artifact encompasses several significant positive aspects of human culture. The main advantage of the study lies in its abi- lity to trace the history and evolution of pottery from prehistoric times to the pre- sent. The research highlights how pottery has evolved beyond being a functional tool for storing food or household equipment, demonstrating its religious and ceremo- nial value. Furthermore, the study success- fully explores how pottery has developed as part of craft arts, especially in the con- text of the palace or keraton culture, where pottery is considered a physical object and holds profound philosophical value. Ho- wever, the study has some shortcomings. One of them is the lack of comparative re- search with other cultures worldwide to understand a broader perspective on pot- tery in a global context. The study tends to focus on historical and cultural aspects but lacks an exploration of the influence of modernization and globalization on the pottery industry. The research also does not investigate how contemporary trends such as sustainability and environmental responsibility can affect the production and marketing of pottery. This study high- lights the philosophical value of pottery in a cultural context, particularly in terms of innovative forms and functions. Indonesian society recognizes pot- tery as one of the cultural features spread throughout the archipelago. Current cen- ters for pottery craftsmanship in Indone- sia include Takalar pottery from South Sulawesi, Kasongan and Pondong pottery from Yogyakarta, Plered pottery from Pur- wakarta, Gethakan pottery from Malang, Nagara pottery from South Kalimantan, Waykanan pottery from Lampung, Ba- nyuning, Binoh, Jasri, Prangsada, Kapal, and Pejaten pottery from Bali, Sentani pottery from Papua, Panujak pottery from Central Lombok, and Banyumulek pottery in West Lombok. With time, pottery has transitioned in material value, evolving from functio- nal to aesthetic (artistic) value. In several Indonesian communities, pottery is still used as equipment for traditional ceremo- nies and religious rituals. This has led to an increased demand for pottery crafts- manship as a means for traditional and religious ceremonies and an art form. Ad- ditionally, the produced pottery continues to develop, in line with artisans who can introduce new forms with contemporary designs. Development has also occurred in the pottery craft in Banyumulek. Historically, Banyumulek pottery has existed since the time of the Sasak Kingdom until the rule of the Karangasem Kingdom, which Ida Wayan Tata developed. He was given the authority to reside in Banyumulek Village around 1859, an extension of the power of the Karangasem Kingdom at that time. Ida Wayan Tata initially used pottery only for food and drink needs, but as time progres- sed, pottery also became essential for reli- gious ceremonies. In 1862, Ida Wayan Tata converted to Islam and changed his name to Ibrahim. Therefore, the creation of potte- ry at that time focused on household needs and worship accessories until around 1980. As the ruler of the Banyumulek region, Ida Wayan Tata, or Ibrahim, played a crucial role in the development of Banyumulek pottery. This is evident through the pre- sence of Dewa Pagar Temple, the old well, the Pedaleman complex, and the tomb Harmonia: Journal of Arts Research and Education 24 (1) (2024): 36-5038 of Papuk Mulek in Banyumulek Village, which is still well-maintained to this day (Nandaria et al., 2021, p. 92) In the mid-1980s to 1990s, a signifi- cant milestone marked the development of Banyumulek pottery, thanks to the substantial involvement of New Zealand entrepreneurs who provided training and design development to artisans in Banyu- mulek. In the following years, BPPT PS- TKP Bali also offered specialized training and development, particularly in decora- tive design, emphasizing multi-functional product forms. Since 1992, Banyumulek pottery has been traded in various regions, expanding to consumers across islands and eventual- ly making its way to international consu- mers. Banyumulek pottery was born and flourished through the skilled hands of artisans, passing down from generation to generation, starting with the production of gentong (large jars) and also pitchers, kno- wn as ‘bong’ in the Sasak language (Ali, 2014, p. 1). The study of Banyumulek pottery craftsmanship and its development high- lights several crucial aspects. Its strengths include a profound understanding of the history and evolution of Banyumulek pottery, ranging from functional utility to aesthetic art. The research successfully emphasizes how pottery has become in- tegral to traditional and religious ceremo- nies in various Indonesian communities. This insight underscores the importance of pottery craftsmanship in preserving local traditions and culture. Furthermore, the study highlights the crucial role of Ida Wayan Tata (Ibrahim) in the development of Banyumulek pottery and how external influences, such as training from New Zea- land entrepreneurs and BPPT PSTKP Bali, have contributed to enhancing the quality and design of the pottery. However, the study has several li- mitations. Firstly, despite its focus on pottery’s history and design development, the primary drawback is the lack of ana- lysis regarding broader socio-economic impacts on the local community. Secondly, the study does not fully explore how Ba- nyumulek pottery can be adapted to the modern market without losing its unique cultural identity. Lastly, while the research highlights design developments, the lack of focus on environmental sustainability and eco-friendly production practices in the pottery craft industry could be a limi- tation, especially considering the current global trends toward sustainability and environmental responsibility. Authentic cultural identity is deri- ved from the form of Nusantara cultu- ral identity, which plays a crucial role in building an integrated self-concept owned by the community of Banyumulek Villa- ge, West Lombok (Puspitasari et al., 2016, p. 57).Top of Form Some research works related to the existence of Banyumulek pottery generally explain the conditions of Banyumulek pottery, as seen in the re- search conducted by Woro Asty Werdina and Diah Asmarandani titled “Craft In- dustry of Banyumulek Pottery in Lombok as Craft Design and Souvenir” (2016, p. 38- 56). The focus of the above research only discusses souvenir products for the needs of hotels and restaurants. Another study conducted by W. N. Sastrawati et al. (2021) titled “Pottery in Banyumulek Village, Ke- diri District, West Lombok Regency,” fo- cuses on the types and decorations of Ba- nyumulek pottery. Similarly, the research conducted by Hidayatul Ahyani (2019, p. 11-22), titled “The Role of the Government in Developing Small Pottery Industry in Banyumulek Village, Kediri District, West Lombok Regency,” focuses on the role of the government and the constraints of small industry craftsmen in developing the pottery industry in Banyumulek Villa- ge, Kediri District, West Lombok Regency. The study by Muhammad Alwi et al. (2021, p. 83-94) titled “Business and Cooperati- ve Management in MSMEs and Pottery Craftsmen in Banyumulek Village, Kediri District, West Lombok Regency” examines the importance of business management and cooperatives for the advancement and development of the pottery business in the future, and the importance of each crafts- I Ketut Muka et al., Innovation of Form and Function of Banyumulek Pottery Craftsman- 39 man understanding proper business ma- nagement for the sustainability of Banyu- mulek pottery craftsmanship. Overall, the four research results generally discuss the topic of Banyumulek pottery craftsman- ship from aspects of form, function, type, and decoration, the role of the government in the development of small and medium industries, and proper business manage- ment for the sustainability of Banyumulek pottery craftsmanship. The main strengths of these studies lie in their ability to highlight various cru- cial aspects of the pottery craft industry in Banyumulek, including the products’ forms, functions, types, and decorative fea- tures. The research has also been success- ful in exploring the role of the government in developing micro, small, and medium- sized enterprises (MSMEs), as well as the crucial aspects of business management in the pottery craft industry. This is essential for understanding the complexity and uni- queness of the pottery craft industry in the village of Banyumulek, providing insights into future ways to advance this industry. However, these studies have some short- comings. Firstly, the research focus tends to be limited to specific aspects of pottery craft, such as the needs of hotels and res- taurants or business management, and less attention is given to other aspects, such as environmental sustainability or the broa- der socio-economic impact on the local community. Secondly, comparative stu- dies with similar craft industries in other regions could not offer new perspectives or innovative solutions. Thirdly, the research also tends not to delve deeply into how lo- cal traditions and wisdom can be further integrated into business development stra- tegies, which could be key to preserving the cultural identity and authenticity of Banyumulek pottery products. The studies on pottery, including research related to Banyumulek pottery craft, highlight the significance of pottery in the history and culture of humanity, tra- cing its evolution from practical function to aesthetic and philosophical value. These studies acknowledge that pottery serves as a functional tool and holds religious, cere- monial, and artistic value, particularly in the context of palace culture. They delve deeply into the history and evolution of Banyumulek pottery, emphasizing its role in traditional ceremonies and appreciating external influences that enhance the quali- ty and design of the pottery. However, the- se studies have some shortcomings. First- ly, there is a lack of comparative research with other cultures, limiting the global un- derstanding of pottery. Secondly, the focus is more on historical and cultural aspects, neglecting the influences of modernization, globalization, and contemporary trends such as sustainability and environmental responsibility. Thirdly, there is a lack of exploration into how the philosophical va- lues of pottery are maintained or altered in contemporary society. Fourthly, despi- te highlighting crucial aspects of Banyu- mulek pottery, the studies insufficiently examine broader socio-economic impacts, adaptation to the modern market without losing cultural identity, and environmen- tal sustainability in pottery production. Given these shortcomings, the ur- gency of further research on innovations in the form, function, and meaning of pot- tery becomes apparent. Future research should focus on the influence of moderni- zation and globalization. How the pottery industry, especially Banyumulek pottery, adapts to changing times without losing its cultural characteristics needs to be studied using a qualitative descriptive approach based on post-positivist philosophy. Thus, further research will help advance the pot- tery industry sustainably while preserving cultural heritage and local identity. The innovation in form refers to the development of the shape of pottery pro- ducts, and functional innovation has been directed towards catering to tourism, pla- cing more emphasis on its aesthetic va- lue. The sustained innovation has had an impact on strengthening traditions, espe- cially in the field of Banyumulek pottery craftsmanship. Pottery is considered a social and cultural identity passed down through generations from ancestors. The Harmonia: Journal of Arts Research and Education 24 (1) (2024): 36-5040 process of making pottery, which is quite complex, involves several stages of work and requires a relatively large workforce, making pottery craftsmanship a means of social integration in the community (Vib- riyanti, 2015, p. 119). The novelty of this article is clear, because the article on the innovation of the form and function of Ba- nyumulek pottery as a traditional cultural heritage is new and has never been discus- sed by other researchers. METHOD The method employed in this rese- arch is qualitative descriptive. The qua- litative descriptive method is a research approach based on post-positivism philo- sophy commonly used to investigate the natural conditions of objects. The resear- cher acts as the key instrument and objecti- vely describes a situation based on visible facts (Sugiyono, 2014, p. 15). This method is chosen because, descriptively, it can con- vey the quality of analysis according to the specific, transparent, and in-depth condi- tions to be observed in the field. Descripti- ve is used as a research procedure to solve a problem by investigating the description of objects such as artifacts, places, or insti- tutions without using hypotheses or speci- fic treatments for the research objects. Data collection methods involve direct obser- vation in Banyumulek Village. Interviews are conducted through purposive samp- ling with artisans, entrepreneurs, cultural experts, and government representatives. Additionally, a document study is con- ducted using print and online media to complement the data. The collected data are then analyzed using aesthetic theory to analyze visual forms, while change theory is employed to analyze changes in mind- set, behavior, and lifestyle of consumer communities that affect Banyumulek pot- tery innovations. RESULT AND DISCUSSION The pottery craft in Banyumulek Village, West Lombok, possesses specific value in terms of form, design, decoration, and finishing. The production process al- ready employs a semi-traditional system to meet global market demands. The arti- san community continuously innovates to refine the forms and designs in line with the evolving tastes of today’s consumers. The pottery produced in Banyumulek has advantages compared to pottery from ot- her regions as cultural heritage, providing its own allure and competitive edge for consumers. Pottery is a cultural product that grows and develops due to factors such as needs, materials, technology, funds, and the creative power of the artisan commu- nity. In this context, creative power, the diversity of forms, material factors, and needs significantly determine the growth of Banyumulek pottery. Material factors are a primary prerequisite in supporting the process of quality creation and produc- tion, alongside the skill of the artisans in implementing ideas and concepts to crea- te pottery forms that meet market needs. In terms of production systems, there has been development with the application of semi-traditional technology, including material processing techniques, forming with rotating tools, press molding, and de- corating techniques such as sticking, car- ving, and engraving. Overall, Banyumulek pottery craft has undergone innovation in form and function in line with the deve- lopment of the times, making the pottery industry an ongoing cultural activity in the Banyumulek community. Innovation in Form and Function of Banyumulek Pottery Innovation is a new idea or concept applied to initiate and renew a product or process that already exists. According to Booyens, as cited in (Heryani et al., 2020), industries that utilize creativity, innovati- on, and the skills of individuals to generate ideas, concepts, or products are considered creative industries that align with micro, small and medium Enterprises (MSMEs) related to the production, distribution, exchange, and consumption of products or I Ketut Muka et al., Innovation of Form and Function of Banyumulek Pottery Craftsman- 41 services. In line with this perspective, the Banyumulek pottery artisans have been able to develop creativity in creating inno- vative pottery forms according to market needs. Banyumulek pottery also reflects ethical, logical, aesthetic, and functional values that serve as references for artis- ans and the socio-cultural environment utilized in their creative work. The crafts- manship of Banyumulek pottery is a ma- nifestation of communication between the artisans’ minds, feelings, and morals in a configuration that can be understood, en- joyed, and appreciated by the wider com- munity. Its appearance is full of identity with its own distinctive characteristics or uniqueness that reflect the traditional va- lues of the Banyumulek community. Further development of Banyumu- lek pottery craftsmanship demonstrates adaptation to internal and external chan- ges. According to Lalu Anugrah Sentana, changes and the adaptation of artisans in processing materials and creating Banyu- mulek pottery, both in terms of quality and quantity, have evolved in line with the de- mands of changes in natural resources, the environment, and the local, national, and international market demands (Interview, Friday, May 13, 2023, at 11:00 AM WITA). Changes in attitudes also occur among the artisans, especially in terms of their perspective on craftsmanship, considering production systems and the economy. According to Barnet, as cited in Suharta (2022, p. 144-160), changes in attitudes and behaviors in society tend to occur based on societal desires. Three prin- ciples are considered: (1) creative conside- rations, including practicality, efficiency, and economy; (2) avoiding monotony; and (3) considerations of income and a greater role. Based on these conceptual considera- tions, they can serve as a guide to under- standing how changes in the attitudes and behaviors of artisans impact the innovati- on of the form and function of Banyumu- lek pottery in West Lombok. In addition to changes in the attitudes and behaviors of artisans in responding to ongoing changes, there are also changes in the pottery production system to enhance quality and quantity. Observations indica- te several innovations in various aspects of production, including the processing of materials and shaping. As stated by Man- sur, a pottery craftsman and the Secretary of Banyumulek Village, in terms of proces- sing raw clay materials, there has been an adaptation to mechanical equipment, but some artisans still maintain traditional ma- terial processing. Similarly, in the forming process, the adoption of the press-molding system, especially for producing simple pottery shapes such as plates, decorati- ve additions, and other simple forms, has been noted. Both of these processes signi- ficantly impact the income of Banyumulek pottery artisans (Interview, Friday, May 13, 2023, at 2:30 PM WITA). Similarly, the development of designs in terms of structure and function, coupled with skills passed down from previous ge- nerations, has facilitated artisans in Banyu- mulek to evolve their products according to market preferences. As exemplified by Suhaini, the owner of Art Shop Barokah in the village of Banyumulek, her creative pottery, a brightly red-colored guci (giant vase), stands around 50 cm tall. It features two elongated branched necks on the belly of the pitcher, a pointed angle on the side of the belly, a cone-shaped top, and distin- ctive indentations on the neck, making it a unique piece that took intensive work over seven days. The creative process required thoughtful contemplation and a gentle touch to craft the vase (Interview, Friday, May 13, 2023, at 3:00 PM WITA). The development of the designs is also significantly influenced by the government’s role through various trai- ning programs and workshops aimed at enhancing artisans’ awareness of local cul- tural preservation. These initiatives also aim to improve the artisans’ capabilities in fostering creativity and designing and pro- ducing Banyumulek pottery according to market preferences. As stated by the Head of the Department of Industry and Trade of West Lombok, in 2022, in collaboration Harmonia: Journal of Arts Research and Education 24 (1) (2024): 36-5042 with the Balai Besar Keramik Bandung, they provided training and workshops to enhance skills in design, material proces- sing, forming, and finishing. The govern- ment consistently facilitates Banyumulek pottery artisans in promotion and marke- ting, encouraging their participation in va- rious national-scale exhibitions, including the Inacraft exhibition at the Jakarta Con- vention Centre (JCC) from March 23 to 27, 2022 (Interview, Friday, May 13, 2023, at 10:00 AM WITA). Changes in form and function also occur due to the influence of the tourism industry, indirectly improving the econo- mic status of the Banyumulek communi- ty as a whole. The survey results indicate that many pottery products have shifted their function to meet the needs of hotels and restaurants. As stated by Hajjah Dewi, the owner of Art Shop Kodong Sasak and one of the entrepreneurs of Banyumulek pottery, the pottery she produces now has departed from practical functions, priori- tizing aesthetic functions to support the needs of hotels and restaurants. Her pro- ducts have been sold to hotels and restau- rants scattered in Lombok and Bali, as well as meeting demands from abroad, espe- cially Spain, Italy, the United States, and Australia, which prioritize pottery models that are natural, unique, antique, and have handles (Interview, Friday, May 13, 2023, at 4:00 PM WITA). Banyumulek pottery products are not only used to support the needs of ho- tels and restaurants but are also produced to decorate public spaces. This aligns with the opinion of Lufiani et al. (2017, p. 41-47), stating that the existence of craft products in public spaces can be categorized as a new phenomenon not only in a specific region but also in other major cities in In- donesia. This is interesting because in ot- her countries, artistic crafts are commonly used as elements in public spaces. Observation results show that Ba- nyumulek pottery is widely used as deco- rative ornaments in public spaces such as the waiting areas of Lombok airport, hotel lobbies, city parks, and several public spa- ces in the West Lombok area. Figure 1 de- picts pottery shapes functioning as a wash basin in the city park of West Lombok, and Figure 2 illustrates pottery in the form of a guci serving as an icon displayed in front of the Banyumulek Village. Figure 1 & 2. Banyumulek pottery in public places. (Source: Ketut Muka, 2023) Figure 3 shows pottery forms func- tioning as a waste-bin ashtray combo in a hotel lobby, and Figure 4 displays various bowl-shaped pottery used for serving food in hotels and restaurants. Figure 3 & 4. Banyumulek pottery inside hotels and restaurants. (Source: Ketut Muka, 2023) The use of Banyumulek pottery in public spaces demonstrates how pottery has become an integral part of the visual and local cultural identity. The presence of pottery in this context indicates several important aspects. Pottery is no longer me- rely considered as a container or tableware but also as an artistic object and decoration that enriches the aesthetics of public spa- ces, showcasing an expansion of its fun- ctions. Pottery as a decorative element in public spaces reflects the richness and uni- I Ketut Muka et al., Innovation of Form and Function of Banyumulek Pottery Craftsman- 43 queness of local culture, adding value to the cultural identity of a region, as a reflec- tion of cultural identity. The demand for the use of pottery in public spaces drives innovation in design. This includes shapes, sizes, colors, textures, and other aesthetic details that can capture attention and meet diverse aesthetic needs as a manifestation of design innovation. The use of pottery in public spaces indicates broader recogniti- on and acceptance of this craft as an integ- ral part of everyday life and public spaces, not just as a commercial product. Innova- tion in the form and function of pottery is key to maintaining the relevance and at- tractiveness of this product in a continual- ly evolving market, as well as preserving and enhancing the cultural and aesthetic values it embodies. The high demand for pottery pro- ducts by consumers opens up opportuni- ties for the creativity of artisans to be more innovative and productive in creating new and varied works. Similarly, productive novice artisans continue to compete in cre- ating new designs that reflect the distinc- tive cultural features of the region. This is evident in the works of talented young artisans who consistently innovate in both the form and function of Banyumulek pot- tery. The Figures of pottery in Table 1 underscore the crucial role of creativity and innovation in the world of pottery craftsmanship, particularly in Banyumu- lek, in responding to increased consumer demand. The significant demand from consumers provides an opportunity for artisans, including novice craftsmen, to in- novate and create new works that exhibit variety and reflect the region’s distinctive cultural characteristics. The high consu- mer demand urges craftsmen to be more creative and productive, creating a com- petitive and dynamic environment where innovation becomes key to standing out in the market. Additionally, artisans strive to create unique designs that reflect their local cultural identity. This helps in pre- serving their identity and cultural heritage while offering distinctive products in the global market. Table 1. Innovation in the form and function of the pottery Then Initial purpose Now Current purpose Lepek plate Decora- tive plate Square plate Fruit bowl Flat pot Hanging pot Kendi Lamp- shade Kendi Decora- tive kendi Kendi maling Decora- tive kendi maling Kitchen store- ware Decora- tive guci Innovation in both form and function demonstrates the adaptation and evoluti- on of pottery to meet modern needs. This can include the use of pottery for decora- tive, utilitarian, or even new technological purposes. Innovation in the aspects of form and function of pottery is key to maintai- ning the relevance of this craft in an ever- changing world. This enables the craft to survive in a competitive market and pre- serves its cultural richness and unique- ness. The active involvement of artisans, especially the younger generation, in this innovation process is crucial to ensure that pottery continues to grow and adapt to the dynamic needs and tastes of the market. Square plates and lepek plates are generally used for snacks or light meals, with a diameter ranging from 15 to 17 cm. Square plates with a more concave struc- Harmonia: Journal of Arts Research and Education 24 (1) (2024): 36-5044 ture sometimes accommodate more food products than flatter plates. Both types of utensils inspire creative young artisans to develop their shapes and functions, mo- dified with rattan and bamboo weaving motifs to add a sense of beauty. Studies re- lated to modifications in pottery crafts con- ducted by (Chutia & Sarma, 2016; Oentoro, 2019; W. Safitri et al., 2020), highlight the importance of this process to ensure that the market always accepts the resulting products. In its implementation, market trends serve as the basis for craftsmen’s consideration when making modifications. This study showed a notable transforma- tion of guci, originally used to store water and rice or as flower pots. These have been extensively modified to serve dual func- tions, such as a lampshade that also deco- rates bedrooms or living rooms, flower va- ses, and other standalone decorative items. The “kendi maling,” which has be- come an iconic pottery product from Ba- nyumulek, showcases a very high level of skill in its manifestation, with a unique appearance in terms of its functionality. Kendi maling, also known as “ceret maling” (Sukmana & Safitri, 2023), features a uni- que design with a hole designed to pour in water not from the top but from the bot- tom. The creation of the kendi maling invol- ves the double-spinning technique, where the first step is to create a hole for pouring the water, and the second step is to shape the water container according to the requi- red proportions, guided by the “Tri Ang- ga” concept, representing the head, body, and legs toward a harmonious form (Ma- harani et al., 2021; Pranajaya & Artayasa, 2023). Kendi maling, a pottery craft origina- ting from Banyumulek, captivates attenti- on due to its unique design and the high level of skill required in its crafting. The crafting process, known as the double-spinning technique, reflects ex- traordinary dexterity and precision. This technique involves creating two separate parts: firstly, crafting a hole for pouring water, and secondly, forming the main vessel to store water. Uniquely, water is filled through the hole at the bottom of the pitcher, unlike most containers that are filled from the top. This skill demonstra- tes sophistication in handicraft techniques and adds aesthetic and functional value to the product. The integration of function and aesthetics makes the kendi maling more than just a crafted product; it becomes a symbol of the rich cultural heritage and ar- tistic skill of Banyumulek. Aesthetics of Banyumulek Pottery The beauty of Banyumulek pottery can be found in every aesthetic element that forms it, as mentioned by Djelantik (1999, p. 59) that every object or art con- tains three fundamental aspects: appea- rance, content or substance, and presenta- tion. In line with Djelantik, Hogh-Olesen in (Ruastiti et al., 2021, p. 232-245) states that the aesthetic value of a work of art can represent a unity of awareness of beauty and ideology. Appearance Referring to the visible reality (Dje- lantik, 1999, p. 17), based on the above opinion, the forms of Banyumulek potte- ry resemble the shape of a cylinder (guci, gentong, bowl, flower pot, and ashtray). Meanwhile, square and flat pottery shapes (plate, lepek, fruit bowl) elongated round shapes (kendi maling, flower vase, and stan- ding ashtray). Cylinder shapes are often associated with practical uses such as sto- rage or daily use. In the context of post-po- sitivism, the analysis is done not only as a functional choice but also as a reflection of social and cultural values (Raharjo, 2011; Tamara et al., 2021). Among the various forms of Banyumulek pottery, kendi ma- ling has the unique form, with a hole at the base used for pouring water into the kendi. According to Jamaludin, the Head of Banyumulek Village, the philosophy be- hind the kendi can be likened to the peculi- ar way a thief enters a house, not through the front door but through the roof or win- dow. The word “maling” in Indonesian translates to “thief.” The structure of a ken- di maling consists of a cone-shaped head, a long neck, an oval-shaped body, and thin I Ketut Muka et al., Innovation of Form and Function of Banyumulek Pottery Craftsman- 45 and short legs. Oentoro (2019, p. 191) states that introducing innovative values in tra- ditional craft design is crucial for artisans to respond to various challenges in the era of globalization. Furthermore, regarding design, (Sukmana & Safitri, 2023) explains that pottery, in its development, has trans- formed from a functional cultural product into a cultural product that fulfills aesthe- tic elements and serves decorative func- tions; in other words, pottery has become a highly valued art product. Figure 5. Kendi maling Source: Ketut Muka, 2023 In Figure 5, the interior of the kendi consists of two holes: one in the middle for pouring in water and the other for sto- ring water. This demonstrates the creative achievements and skills of the Banyumu- lek artisans in applying the hand-turning technique to create kendi maling through a careful process with precise accuracy that sets it apart from typical kendis. The oval shape of kendi maling is an innovative form that reflects rich artistic expression. This analysis should consider how these forms serve a function and express cultural iden- tity and aesthetics. As seen in studies (Hijri & Atmaja, 2022; Nadhiroh, 2022), innovati- on and creativity in pottery crafts provide insights into how these innovative forms reflect social and cultural dynamics. In utilizing a post-positivism approach, it is crucial to acknowledge that our knowled- ge of Banyumulek pottery is not entirely objective and that our understanding is influenced by the social and cultural con- text in where the pottery is made and used. Through this analysis, pottery forms are seen not just as aesthetic or practical cho- ices but as reflections of the complex inte- raction between tradition, innovation, and social-cultural context. Weight Banyumulek pottery holds signi- ficant weight in the cultural and artistic landscape of Indonesia. Renowned for its excellent quality, Banyumulek potte- ry is internationally recognized as one of Indonesia’s cultural heritages that must be preserved. The weight of Banyumulek pottery lies in the quality of its materials and the techniques used in its crafting, re- quiring extensive skills and experience. It is crafted from clay rich in minerals and organic elements, Banyumulek pottery un- dergoes specialized techniques to produce sturdy and beautiful works of art. Banyumulek pottery is not mere- ly a craft product but an integral part of Indonesia’s cultural heritage. In the post- positivism framework, this assessment is not solely based on objective criteria but also on the values embraced by society. Studies (Karjaya et al., 2016; Vibriyanti, 2015) provide information that Banyu- mulek pottery is esteemed in a broader cultural context, especially through the development of tourism in Lombok. The significance of Banyumulek pottery is emphasized in its physical quality and the skills and experience required in its creation. The clay used is rich in minerals and organic elements, enhancing the final product’s quality. The specialized crafting technique, requiring high skills, is also crucial(Aprilia et al., 2022; Hasyimy & Hi- dajat, 2021). It is essential to understand that knowledge about Banyumulek potte- ry is contextual and influenced by social, cultural, and historical perspectives. This analysis demonstrates that Banyumulek pottery is more than just a craft product; it is a representation of cultural identity, tra- ditional skills, and aesthetics valued both locally and internationally. Banyumulek pottery holds high cul- tural value as it is one of the artistic and craft products passed down from genera- tion to generation in West Lombok. This artwork is considered a crucial part of Harmonia: Journal of Arts Research and Education 24 (1) (2024): 36-5046 Lombok’s cultural identity and is appre- ciated as a piece of art with historical value and high aesthetic beauty. In the art and craft market, Banyumulek pottery also has significant economic value as demand con- tinues to rise from local and international consumers. This makes Banyumulek pot- tery from Lombok one of the highly estee- med and sought-after Indonesian art and craft products by collectors and art enthu- siasts. Appearance Banyumulek pottery possesses a dis- tinctive and unique appearance characteri- zed by beautiful and captivating ornamen- tal shapes. Typically, Banyumulek pottery has a round or oval form, with a wider bot- tom and a narrower upper part, featuring curved edges and an expanding mouth. The bottom part of the pottery is usually flat or curved inward. Additionally, Ba- nyumulek pottery is often adorned with traditional motifs from Lombok, such as floral patterns, birds, animals, or patterns of lines, circles, and other geometric sha- pes that are intricately carved or painted. Banyumulek pottery is frequently adorned with traditional Lombok motifs (Vibriyanti, 2015; Yana, 2014). In the post- positivism framework, these motifs can be interpreted as representations of cultural identity and local traditions. These tradi- tional motifs play a role in preserving cul- tural identity and local history. Through the post-positivism approach, craft pro- ducts are viewed as physical objects and expressions of cultural identity, tradition, and craftsmanship. This approach helps researchers understand that every aspect of Banyumulek pottery—from its form to the decorated motifs—carries broader meanings and values, closely related to the social and cultural context in which it is made and used. Banyumulek pottery in Figure 6 is adorned with traditional Lombok motifs such as flowers, birds, and animals and patterns of lines, circles, and other geome- tric shapes. Its characteristic and unique features lie in its round or oval shape, with a wider bottom, a narrower upper part, and curved edges, as seen in Figure 7. Figure 6. Banyumulek pottery with ornaments and bright colors (Source: Ketut Muka, 2023) Figure 7. Decorative plates Source: Ketut Muka, 2023 From the perspective of post-positi- vism, these features are not only functional but also hold high aesthetic value. Empha- sis on detail and precision in carving and painting demonstrates the high skills Ba- nyumulek pottery craftsmen possess. Ba- nyumulek pottery usually exhibits brown or red hues derived from the color of the clay after undergoing the firing process at 800°C. However, at times, Banyumulek pottery is also adorned with bright colors such as yellow, green, or black. The aest- hetic value of Banyumulek pottery is re- markably high, providing added value as a cultural heritage. Banyumulek pottery is evidence of artisans’ skill and creativity in creating beautiful and unique Lombok pottery. Banyumulek pottery has become a crucial part of the local community’s life in terms of economic activities and social and I Ketut Muka et al., Innovation of Form and Function of Banyumulek Pottery Craftsman- 47 cultural aspects. Economically, Banyumu- lek pottery serves as a primary source of in- come for a significant portion of the popu- lation in the village of Banyumulek, West Lombok. The production of Banyumulek pottery has evolved into a rapidly gro- wing micro, small, and medium-sized en- terprise (MSME) with the changing times, providing employment opportunities for many in the region. In terms of social and cultural life, Banyumulek pottery holds significant value for the local community. It is used in traditional ceremonies, such as wedding ceremonies, welcoming guests, and various religious events. Banyumu- lek pottery also serves as a symbol of so- cial status in Lombok society, particularly high-quality pottery in terms of materials, craftsmanship, and decorative application. Many hotels, restaurants, and upscale resi- dences use Banyumulek pottery as house- hold items and as natural-themed interior and exterior decorations. This illustrates that Banyumulek pottery carries wisdom, nobility, and the values of cultural art. As a cultural product with wisdom and nobility, Banyumulek pottery, distin- ctive to Lombok, is passed down from ge- neration to generation, forming an integ- ral part of the traditions and culture of the Banyumulek community. The description above indicates that Banyumulek pottery is a beautiful work of art and an essential aspect of the social, cultural, and economic life of the Banyumulek community. The- refore, it is crucial to continue preserving and safeguarding Banyumulek pottery, which is distinctive to Lombok and is part of Indonesia’s rich cultural heritage and tradition. CONCLUSIONS The innovation in the form and fun- ction of Banyumulek pottery craftsman- ship in West Lombok can be seen as an effort to preserve the traditional cultural heritage. One example of innovation by the pottery artisans in Banyumulek Vil- lage is the development of pottery craft products for household purposes, such as cups, plates, paint pots, kendi maling, guci, and more. Additionally, there is continuo- us design development, ensuring that the produced pottery items continue to cap- tivate consumers locally, nationally, even internationally. For instance, lampshades, washbasins, wall decorations, fruit bowls, umbrella stands, and more. Artisans have also been able to combine hybrid techni- ques (both traditional and modern) with modern designs that are more functional and attractive. Furthermore, artisans leverage semi- modern technology to expedite producti- on, such as using manual press-molding techniques and firing with gas kilns. Des- pite adopting some semi-modern techno- logies, the artisans still maintain the quali- ty and authenticity of the products in line with the characteristics of Banyumulek pottery. The strategies employed by artisans and pottery entrepreneurs in Banyumulek, supported by local government facilitation, have introduced Banyumulek pottery pro- ducts to the international market through promotions and exhibitions. This enables artisans and entrepreneurs to market pro- ducts by showcasing the uniqueness and beauty of Banyumulek pottery, which is the authentic work of local artisans. With the innovations implemented, Banyumulek pottery can become a flagship product that appeals to local, national, and international markets. 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Harmonia: Journal of Arts Research and Education 24 (1) (2024): 36-5050 INTERVIEWS Hajjah Dewi (50), Owner of Kodong Sa- sak Art Shop, Banyumulek Village, Kediri District, West Lombok Re- gency. Haji Muhur (59), Head of the Department of Industry and Trade of West Lom- bok Regency. Jamaludin (58), Village Chief of Banyu- mulek, Kediri District, West Lombok Regency. Lalu Anugrah Sentana (40), Functional Staff at the Department of Industry and Trade of West Lombok Regency. Mansur (50), Secretary of Banyumulek Vil- lage, Kediri District, West Lombok Regency. Suhaini (42), Owner of Barokah Art Shop, Banyumulek Village, Kediri District, West Lombok Regency.