Makna Ornamen Ular Naga dan Floral pada Kursi Rapat di Keraton Sumenep

Abstrak Kehadiran ornamen dapat dilihat pada produk, meja, kursi, langit-langit, cermin, lantai, tangga, pintu, jendela, dan lainnya. Bentuk dan warnanya beragam, mulai dari ukiran timbul, ukiran datar, bermotif fauna, dan flora. Pada era modern, hanya sedikit masyarakat yang menggunakan ornamen tradisional di perabotan mereka, disebabkan terjadi peralihan dari ornamen yang rumit menjadi lebih sederhana/praktis. Fenomena ini berdampak ornamen tradisional yang memiliki simbol dan makna khusus, perlu dilestarikan. Sebagai salah satu upaya menjaga budaya asli, masyarakat Madura, khususnya Sumenep, masih melestarikan ornamen tradional di Keraton Sumenep. Sedikitnya penelitian mengenai hal tersebut di atas, maka, penelitian ini menganalisis ornamen pada salah satu produk desain di Keraton Sumenep, yaitu kursi rapat. Dulu, kursi merupakan penanda kekuasaan dan kasta dalam strata sosial. Kursi dari Keraton Sumenep memiliki keunikan karena berangkat dari akulturasi seni budaya Tiongkok dan Madura. Penelitian ini dilakukan dengan metode penelitian deskriptif. Data deskripsi  dikumpulkan dari studi literatur, observasi lapangan, dan wawancarar; berupa definisi, teori, kondisi ekologi, antropologi berupa sejarah dan budaya di Keraton Sumenep maupun masyarakat sekitarnya. Dari hasil penelitian, dapat disimpulkan, bahwa, kursi rapat pada Keraton Sumenep memiliki dua ornamen utama, yaitu ornamen floral berupa bunga dan lung; dan ornamen fauna berupa ular naga; yang masing-masing ornamen mengandung makna simbolik tertentu, berkaitan dengan stratifikasi serta simbol personalitas.Ornamen bunga seruni menunjukkan kehormatan, kewibawaan, keagungan kaum dari bangsawan; ornamen ular naga memiliki makna ketegasan dan akan memberikan keberuntungan terus menerus. Abstract The presence of ornaments can be seen on products, tables, chairs, ceilings, mirrors, floors, stairs, doors, windows, and others. The shapes and colors vary, ranging from embossed carvings, flat carvings, fauna and flora motifs. In the modern era, only a few people use traditional ornaments in their furniture, due to the transition from complicated ornaments to simpler/practical ones. This phenomenon has an impact on traditional ornaments that have special symbols and meanings that need to be preserved. As an effort to maintain original culture, the people of Madura, especially Sumenep, still preserve traditional ornaments at the Sumenep Palace. There is little research on the above, so this study analyzes the ornaments on one of the design products at the Sumenep Palace, namely meeting chairs. In the past, seats were a marker of power and caste in social strata. The chair of the Sumenep Palace is unique because it departs from the acculturation of Chinese and Madurese art and culture. This research was conducted with a descriptive research method. Descriptive data were collected from literature studies, field observations, and interviews; in the form of definitions, theories, ecological conditions, anthropology in the form of history and culture in the Sumenep Palace and the surrounding community. From the results of the study, it can be concluded that meeting chairs at the Sumenep Palace have two main ornaments, namely floral ornaments in the form of flowers and lunges; and fauna ornaments in the form of dragon snakes; each ornament contains a certain symbolic meaning, related to stratification and a symbol of personality. Chrysanthemum flower ornaments show honor, dignity, the majesty of the nobility; the dragon ornament has the meaning of firmness and will provide continuous luck.