Studi Komparatif Desain Pixiu Tradisional dan Mainan Shenxing Pixiu Analisis Simbolis, Estetika, dan Fungsi dalam Budaya Kontemporer

Main Article Content

Satria Indra Praja Persada
I Made Gede Arimbawa
Irma Rochmawati

Abstract

Pixiu (貔貅) is one of the mythological creatures originating from Chinese culture, where this creature is believed to bring good luck, wealth and protection, in its development, there has been a change in form from a traditional sacred representation into a modern form such as Shenxing Pixiu (神行貔貅). Shenxing Pixiu itself is a Pixiu toy made by Shenxing Toys where this toy adapts the aesthetics of kawaii (cute). With the differences in this, it encourages a phenomenon, where the existence of this phenomenon encourages this research to be made, this research itself was made with the aim of analyzing the comparison of designs between traditional Pixiu and Shenxing Pixiu toys from the visual aspect, symbolic meaning and shifting functions in the context of popular culture. The research methods used include descriptive-qualitative analysis of design elements and literature studies. The results of this study indicate that Shenxing Pixiu can maintain the core values of traditional Pixiu but with a more commercial and entertaining approach, so that it is more easily accepted by the younger generation. These changes reflect the adaptation of traditional culture to the modern market without losing its original identity.

Article Details

Section

Articles

Author Biographies

Satria Indra Praja Persada, Institut Seni Indonesia Denpasar

Program Studi Desain Program Doktor

I Made Gede Arimbawa, Institut Seni Indonesia Denpasar

Program Studi Desain Program Doktor

Irma Rochmawati, Universitas Komputer Indonesia

Desain Grafis

How to Cite

Studi Komparatif Desain Pixiu Tradisional dan Mainan Shenxing Pixiu: Analisis Simbolis, Estetika, dan Fungsi dalam Budaya Kontemporer. (2025). DIVAGATRA - Jurnal Penelitian Mahasiswa Desain, 5(2), 174-183. https://doi.org/10.34010/divagatra.v5i2.16259

References

Barthes, R. (1957). Mythologies. Éditions du Seuil.

Chandler, D. (2007). Semiotics: The Basics (2nd ed.). Routledge.

Chen, L. (2023). “Youth Consumption of Cultural Symbols in Digital Era”. Journal of Asian Pop Culture, 12(1), 120-135.

Chen, X. (2015). Chinese mystical beasts: The complete guide to Pi Xiu, Qilin, and dragons. Blue Snake Publishing.

Davis, E. (2021). Material Culture in Urban China. Routledge.

Graefer, A. (2019). Aesthetic Capitalism. Brill.

Hoon, C.Y. (2019). “Glocalizing Chinese Symbols in SEA”. Asian Studies Review, 43(1), 50-68.

Iwabuchi, K. (2015). Resilient Borders and Cultural Diversity. Lexington.

Iwabuchi, K. (2002). Recentering Globalization: Popular Culture and Japanese Transnationalism. Duke University Press.

Lo, K. (2019). Chinese Mythology in Modern Design. Beijing Art Press.

Macias, P. (2017). TokyoScope: The Japanese Cult Film Companion.Viz Media.

Nöth, W. (1995). Handbook of Semiotics. Indiana University Press.

Okawara, K. (2002). Kunio Okawara Design Works: Mobile Suit Gundam. Bandai Visual.

Schodt, F. L. (1988). Inside the Robot Kingdom: Japan, Mechatronics, and the Coming Robotopia. Kodansha International.

Wang, T., & Li, H. (2021). “Commercializing Tradition: A Case Study of Pixiu”. Cultural Economics Review, 8(2), 50-68.

Yang, R. (2020). Jade and Chinese Spiritual Art. Shanghai Heritage Press.

Yano, C. (2013). Pink Globalization: Hello Kitty’s Trek Across the Pacific. Duke University Press.

Zhang, Y. (2022). “From Sacred to Playful: Semiotic Analysis of Mythological Toys”. Asian Semiotics Studies, 15(3), 85-100.