Glass Painting Research Articles

Exploring the Art of Stained Glass. On Copying a Portrait Drawing Using Stained Glass Ggrisaille

The hard-to-achieve skill of glass painting is most easily acquired by copying. If a student, unfamiliar with the complexities and possibilities of a new technology, embarks on designing and developing a personal project, failure to meet his or her expectations may discourage any further interest in the subject – at times forever. However, if a student carefully follows an otherwise impeccable example, he or she is then rewarded with a compelling, almost certainly appealing result – the fruits of his or her diligent work. In doing so, an understanding of techniques and skill cultivation are imperceptibly acquired. In the first half of the 2022/2023 academic year, 4th year students of the Sergey Andriaka Academy of Watercolor and Fine Arts were invited to copy portraits by Hans Holbein the Younger (1530s) that were executed in a complex hybrid technique on primed paper of various colors. They were also requested to produce a copy of a self-portrait by Annibale Carracci (1594), drawn with red and white chalk on rose paper. When transferring the drawing into a new material, an attempt was made to accurately convey the nature of the stroke, the texture of the paper, as well as to emulate underdrawing with charcoal, white and red chalk.

IRANIAN ART OF THE QAJAR ERA: EUROPEAN INFLUENCES AND «PERSIAN STYLE» FOR EXPORT

The Qajar era (late XVIII-1925) gave the world a unique style, unmistakably recognizable in painting, crafts, and photography. Clumsy, striking the imagination with its amazing brightness of colors and bold artistic techniques, it was formed largely due to active interaction with European culture via respect for the Persian traditional styles. The article deals with the significance of Europe and the European in the formation and development of Qajar art, addressing two opposing processes. Borrowing Western methods and techniques, educational models and new products on the one hand, and European fashion for Persian things, which influenced local production and its transformation on the other. The first process is seen in easel painting and the fashion for "european«details in interior decoration, the second — in «re-creation» of an updated carpet and ceramic production in Persia. The illustrative effect will be provided by selected items from the collection of the State Museum of Oriental Art in Moscow, including court portraits, glass paintings, qalamkaras, tiles, etc.

Creative Activity of V. Hegamyan in the Context of the Development of the Odesa School of Painting

The purpose of the work is to investigate the key events of the creative life and activity of the Odesa artist of Armenian origin V. Hegamyan, whose creative output left a noticeable mark in the development of the Odesa school of painting in the second half of the 20th – beginning of the 21st centuries. The research methodology is based on the application of methods of analysis, synthesis, art history, historical-chronological approach, which made it possible to find out the substantiated results of the research. The scientific novelty of the work consists in deepening and systematising the study of the work of the famous Ukrainian artist V. Hegamyan in the context of the development of the Odesa glass painting. Conclusions. The work determined that starting from the 1960s, due to the relocation to Odesa, a new stage began in V. Hegamyan’s creative period, which was determined by the new cultural and artistic environment and the creative searches carried out by the artists of that time. The artistic dominants of V. Hegamyan's works were determined by the artist's inherent monumentalism, traditional colour scheme and characteristic plot, composition, and imagery. Over the decades, having absorbed the main trends of the Odesa school of painting, V. Hegamyan formed his own artistic style in art, which consisted of a combination of graphic, pictorial, and monumental techniques. Being at the intersection of Armenian and Ukrainian cultures, V. Hegamyan's works clearly trace the appeal to ethnic, archaic motifs, symbolism, which created a special mythopoetics of his works, imposing double or even triple meanings on them. At the same time, V. Hegamyan's creative life was closely intertwined with his teaching activities; he was the founder of the graphics department at the Odesa pedagogical institute. He brought up a whole pleiad of artists who later became famous not only in Odesa, but also in Ukraine: such famous artists as V. Volkov, V. Zakharchenko, S. Lykov, O. Nedoshytko, Ye. Rakhmanin, V. Riabchenko, O. Roitburd, A. Furlet and others. Thanks to his creative and pedagogical activity, V. Hegamyan wrote a bright page in modern Ukrainian fine art as an original artist who formed a unique system of artistic imagery. Keywords: V. Hegamyan, Odesa school of painting, nonconformism, stylistic trends, artistic and cultural life, intersection of cultures, regional specificity, art, artist's creativity.

STRATEGI PENGEMBANGAN SENI LUKIS WAYANG KACA NAGASEPAHA SEBAGAI DAYA TARIK WISATA BERBASIS EKONOMI KREATIF

Nagasepaha glass painting is one of the differentiations owned by Nagasepaha village, because it has a uniqueness of the object. Having a typical painting technique with a decorative style and naturalism also painting in a reverse style. The development era of globalization generate competition for artists to continue to create innovative and adaptive works. However, there are problems from artists with lack of comprehension about digital marketing, sales, to marketing. Until there needs to be a development of Nagasepaha glass puppet painting to be more innovative and adaptive. This study aimed at : 1) To finding out the creative process of Nagasepaha glass painting, (2) To identify potential creative economy-based tourism attractions from Nagasepaha glass painting, (3) To analyze the development strategy of Nagasepaha glass painting based on creative economy. This research uses a qualitative type of research with a case study approach. Data collection through literature study, observation, interviews, and documentation. Using the SWOT analysis method. The result of this research is that the creative process of Nagasepaha glass painting is quite developed, because there are encouraging factors, namely internal and external factors. Until there are potentials contained with the existence of glass paintings starting from the welfare of artists, communities and Nagasepaha village.

“Vergis Mein Nit”—Connectedness and Commemoration through Rings in the 16th Century

By the end of the 16th century, finger rings in reverse glass painting technique became increasingly popular in Europe. Often, they are used in the context of signet rings with the monogram together with the coat of arms of its beholder depicted on the glass bezel. The following paper concentrates on nine finger rings of this group. Instead of an actual coat of arms though, these finger rings carry the device V(G)MN or FGMN (for-get-me-not) accompanied by a depiction of little blue forget-me-not flowers as the coat of arms. By collecting and describing the so far existing material, the paper aims to contextualize the use and function of the finger rings with the symbol of the forget-me-not flower in the fields of love, friendship and faith. Furthermore, it links the symbol of the for-get-me-not on finger rings and the imperative power of the written letters V(G)MN or FGMN to its tradition in German literature and texts.

PEMBINAAN USAHA KERAJINAN LUKISAN KACA DI DESA NAGASEPAHA

The problem experienced by glass painting craftsmen is the lack of production and marketing in glass painting craft products in Nagasepaha Village. So far, glass painting craftsmen produce and market this limited glass painting due to the limited tools they have and the lack of good marketing, so the craftsmen need a long time to produce and market this glass painting. For these problems, it is advisable to use more modern tools and provide counseling about marketing management or internet marketing. The method used is to provide an introduction to more modern tools so that craftsmen can complete training glass paintings faster, counseling about how to market through social media. The result of this activity is that this glass painting craftsman is able to increase production capacity and wider marketing through social media. Through increasing production capacity, it will certainly provide an opportunity to increase the income of glass painting craftsmen. During this community service activity, the craftsmen gave a good welcome, so that this activity could be carried out properly.

Improved chemometric approach for XRF data treatment: application to the reverse glass paintings from the Lipari collection.

The Aeolian cultural heritage preserves hundreds of testimonies of the past that have passed through six millennia of history. Among these, the Archeological Park of the Aeolian Islands with the Museum Luigi Bernabò Brea (Italy) preserves a valuable set of artworks, which are related to a little-known 'popular' figurative heritage. It is an assemblage of small glass foils decorated using the technique of reverse painting, datable to between the end of the 17th century and the end of the 18th century, and actually under investigation by historians. Here, an X-ray fluorescence (XRF) spectroscopy study (performed with portable equipment) is combined with a multivariate approach that allows us to define the best way to process the data to detect compositional differences and similarities among the glass supports. The Principal Component Analysis (PCA) and Hierarchical Cluster Analysis (HCA) were applied both on normalized spectra and on normalized peak areas in order to establish the chemometric approach with the highest grouping ability. Results showed that the analysis of the normalized area provides the most reliable grouping based on the different elemental compositions, without problems coming from the background or peak-shape distortions. The obtained results can be used by researchers involved in the analysis of XRF data as a guideline to perform chemometrics. Furthermore, regarding the reverse glass, they can be divided into different typologies based on composition differences, providing a further discrimination criterion for historians involved in the study of the collection to determine the provenance and dating of the items.

Pengembangan Seni Lukis Kaca di Desa Nagasepaha Kabupaten Buleleng dalam Mendukung Industri Kreatif

Glass painting is a unique traditional art in Nagasepaha Village, Buleleng, Bali which has been designated as an Intangible Cultural Heritage by UNESCO in 2020. Glass painting in Nagasepaha Village has relatively long historical roots. Pioneered by Jro Dalang Diah in 1927, it continues to be passed down from generation to generation. Glass painting became one of the main sources of people’s livelihoods in Nagasepaha until now. The product of wayang glass painting is in great demand by both domestic and overseas art collectors due to its unique decorative and naturalistic style. However, currently glass painting faces many challenges to simply survive, especially when faced with various problems that resulted from the Covid-19 pandemic when many glass painters then switched professions. The social restrictions imposed by the government also impact the market and the weakening of people’s purchasing power. For this reason, a breakthrough with the right efforts is strongly necessary for glass painting to survive as a traditional art of Nagasepaha Village which has been proven in the past to be able to improve its people economy. The strategy that is considered appropriate for its development is by synergizing two revitalization concepts, namely the concept of diversifying painting techniques accompanied with textual and contextual revitalization. The revitalization of painting process and techniques is to strengthen indigenous skills to be able to apply them to more diverse media. Textual and contextual revitalization is carried out by applying new products that are varied and more adaptive to today’s market tastes.

Adapting the study of the stained‐glass windows of Notre‐Dame de Paris cathedral to the challenge of restoring a damaged listed building

The first comprehensive study of the cathedral's medieval stained-glass windows, supported by restoration charts, was carried out in 1959 by the art historian Jean Lafond and was the first of the collection of French works in the Corpus Vitrearum. Since that date, the publication of the inventory of ancient stained-glass windows in France, as well as other publications, have widened our knowledge of the stainedglass windows of Notre-Dame. The three medieval roses are the most important elements of Notre-Dame's glass heritage. Dating back to the 13 th century, they show evidence of the restorations carried out across the centuries. In the west rose which depicts a psychomachia, the zodiac and the Labours of the Months, only eleven of the original panels are still in place. In the north transept, the rose depicting the Virgin Mary surrounded by figures of the Old Testament is the best preserved window. The rose located in the south, which originally depicted a majestic God presiding over an assembly of saints, virgins and angels, has been substantially modified. A large number of stopgaps are observed in these three roses and are a sign of the restoration techniques used during the 18 th century. The coats of arms of Cardinal and Marshal Noailles, found in one of the choir chapels, are the two last vestiges of this period. The 18 th -century decoration was, in turn, replaced during the restoration of the cathedral by Lassus and Viollet-le-Duc. In keeping with medieval traditions, they sought to present stained-glass windows with large figures in the upper windows of the choir, narrative stained-glass windows in some chapels and grisaille stained-glass windows for the rest of the building. This project took more than ten years to accomplish and was carried out by seven glass painting workshops, chosen amongst the best of their time and assisted by a painter. To restore the missing stained-glass windows, the architects relied on the small number of written reports describing the stained-glass windows before their destruction, but also on the details of fragments remaining in the cathedral, and the stained-glass windows of other medieval buildings. In the second half of the 20 th century, the grisaille windows that had been installed in the nave in the previous century were in turn replaced with abstract windows created by Jacques Le Chevallier. Since 2019, art historians from the Glass working group have been actively committed to updating and synthesizing the historical data on all of the cathedral's stained-glass windows. Documentary research will help to guide the observation of the works and will be completed, in the case of the original stained-glass windows, with the revision of the 1959 restoration chart. The study of the 19 th -century stained-glass windows will focus on the search for archaeological models, on the quality of the materials (glass, lead, etc.) and their implementation, but also on the specificity of the painting work, and ultimately providing a better knowledge of the workshops of glass painters who worked for Notre-Dame.

ANALYSIS OF ART CULTURE POTENTIAL AND TOURISM VILLAGE DEVELOPMENT IN GEGESIK KULON VILLAGE, CIREBON REGENCY

Gegesik Kulon tourism village, Cirebon Regency, West Java, is included in the list of 50 the 2021 Indonesian Tourism Village Award (ADWI) event. The village focuses on Tourism development as one of the efforts to revive the economy They are in the midst of the Covid-19 pandemic. Gegesik Kulon tourist village is known to have many potential and the community is still very much preserving the arts and culture. Where the majority of the villagers there work as farmers. Others work as artists and entrepreneurs. In the village that is usually called the Artist's Village many used artistic and cultural heritage so that it is very suitable as a tourist destination for arts and culture education. They are guided by 5 branches art which is also offered as a tourist attraction in Gegesik Kulon Village. Start of fine arts in the form of wood carving, wayang puppets, mask carving, drum crafts, and so on glass painting. This research activity is a field study by conducting observations and interviews on the Potential of Cultural Arts and Tourism Village Development in Gegesik Kulon Village, Cirebon Regency. Where this Gegesik Village holds a lot of tourism potential which during this pandemic can also be used in the future as a work area for the surrounding community. However, the limited presentation of information to tourists makes some local cultural tourism sectors untouched by tourists. Therefore, a mapping of superior cultural tourism objects is made to be implemented into a system that can provide information in the form of locations and descriptions for these cultural attractions.

On Islam and Portraiture: Lithography, Glass Painting, and Photography in Senegal

Scholars have for decades challenged the popular belief that Islam is intrinsically and implacably hostile to anthropomorphic art. Rooted in this literature, this essay argues that Islam was responsible for popularizing portraiture in Senegal, which previously featured none. With the founding of local Sufi brotherhoods such as the Mouridiyya in the 1880s, the eminence of religious leaders led to an unprecedented demand for their portraits. Glass painting became the privileged medium for reproducing images that appeared in other media, such as lithographs or photographs. Inspired by the respect for Muslim saints inherent in Sufi practices, the widespread desire to display portraits in one's home and for one's personal devotional practices made this genre indispensable. Rather than concentrating on any one medium, this essay focuses on the theoretical and formal interaction among chromolithographs, photographs, and glass paintings, and the migration of images across the three between the 1910s and the 1950s.

Gambar Pitutur Punakawan sebagai Inspirasi Penciptaan Video Kanal Tunggal

The rapid development of technology makes the world has no real boundaries. Dissemination of information occurs very quickly and easily. Modern society at all ages, most of them have equipment that allows them to be directly connected to information, entertainment and knowledge that comes from anywhere. As a result, clash of local values with foreign or external values is unavoidable. Javanese proverbs that often appear through pictures of pitutur clowns (Semar, Gareng, Petruk, and Bagong) in glass paintings have noble values that are useful for character building, especially for Javanese people. Pitutur pictures usually contain suggestions and prohibitions in life. Video illustration of the existing pitutur images, made with the chroma key (green screen) technique as the creation method used for its embodiment. As a result, single channel videos which are illustrations of pitutur images can be used as a medium for spreading the noble values of Javanese culture in the current millennial era.

Semi-automated modeling of combined stained glasses

The possibility of forming an algorithm that allows creating computer projects of stained glass paintings by a semi-automated tool is being investigated.The purpose. To form an algorithm of actions based on classical stained glass technology using specialized modeling tools to create a project for a combined stained glass canvas.Methodology. The following methods were used in the study:1) analytical method by which the literature was analyzed;2) theoretical and conceptual method, which allowed to determine the conditions necessary for the introduction of IT technology in cultural and artistic practice;The study used methods of computer modeling and analysis, which increased the accuracy of the results.Results. The basic tools and algorithm of their use necessary for creation of the professional project of a stained-glass cloth are developed.The scientificance novelty. It consists in creating a concept of new computer tools and an algorithm for their use, aimed at improving the quality of stained glass projects and speeding up the workflow.Practical significance. This algorithm and the tools mentioned in the article can be useful in creating computer software designed for the design of stained glass.

An Overview of Germanic Grisailles through the Stained-Glass Collection at Pena Palace

The lack of studies reporting the characterisation of Germanic grisaille is evident, despite the recent interest of researchers in this glass painting material. This work consists of the first assessment of Germanic grisaille’ chemical composition on a wide chronology (14th–19th centuries), that was only possible through the unique stained-glass collection of King Ferdinand II of Portugal. From the considerable amount of panels produced in Germanic territory and assembled by Ferdinand, twenty-two panels were characterised, and some trends of glass support typical composition and grisaille recipes were verified through this case study. A copper-based grisaille appears to have been the preference up to the 18th century. The 19th century shows higher diversity in composition, with new compounds (such as Co, Cr, Mn) appearing as colourising materials. However, with a limited number of analyses, and dispersed throughout time and different geographic locations, the results of this study are unprecedented, by being able to present the first overview on grisaille composition in Germanic stained glasses.

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.

„Wewnętrzne światło” Witraż we współczesnej sztuce sakralnej Francji – zarys problematyki

In the 1920s, a movement of revival of sacred art began in France, which also included stained glass. Its revival was associated with a departure from the illusionistic character of stained glass of the 19 th century and a reference to monumentalism and the spiritual tradition of the Middle Ages. The search for a new concept of stained glass, both in its ideological and technological aspects, resulted in the creation of “artists’ stained glass” (vitraux d’artistes), realised from the middle of the 20 th century on official commissions, thanks to the cooperation of ecclesiastical institutions and state authorities, which acquired a firm legal and financial basis in the 1980s. The stages of this evolution were marked by stained glass ensembles designed by the masters of the post-war avant-garde: G. Rouault and J. Bazaine in Notre Dame de Toute Grâce on the plateau Assy (1937–1946); H. Matisse for Notre Dame du Rosaire in Vence (1940); A. Manessier in Saint Michel in Les Bréseux with the first abstract stained-glass windows (1948); F. Léger, J. Bazaine and J. Le Moal in the interior of Sacré-Coeur in Audincourt, (1949–1951); Le Corbusier in Notre Dame in Ronchamp (1951–1955) and the modern stained glass of J. Villon, R. Bissière and M. Chagall, which was introduced for the first time to a world-class monument of architecture, the Cathedral of Saint-Étienne in Metz (1955). The restoration of the Cathedral of Saint-Cyr et Sainte-Julitte in Nevers provided an opportunity for representatives of the younger generation: R. Ubac, C. Viallat, J.M. Alberola, G. Honegger and F. Rouan (1973–2011), to showcase their vision of stained glass painting. With the exception of Alberola, all were associated with the non-figurative trends that had been developing since the 1950s. The same trend referring to the Cistercian tradition included the outstanding realisations of J.P. Raynaud in Noirlac (1975–1977), P. Soulages in Conques (1986), J. Ricardon in Acey (1991–1994) and A. Nemours, a representative of the Art Concret movement, at Salagon (1998). The return to figuration found a continuation in the projects of G. Garouste for Notre Dame de Talant (1996–1997), C. Benzaken for Saint-Sulpice in Varennes-Jarcy (1991–2007), M. Raysse, associated with the Nouveau Réalisme movement, for Notre-Dame de l’Arche d’Alliance in Paris (1986–1998) and G. Collin-Thiébaut for Saint Gatien in Tours (2010–2013). The creators of vitraux d’artistes accepted the prescribed programmatic framework without giving up their freedom of choice in means of expression and aesthetic conventions. Thanks to the research and creativity of the artists – the introduction of innovative technological processes or a new interpretation of traditional materials and craft methods – but also the courage of the ecclesiastical and, above all, state commissioners, French stained glass has fully integrated itself into the evolution of contemporary visual expression.

PROPOSTA DE SOLUÇÃO PARA DESALINIZAÇÃO DE ÁGUA USANDO ENERGIA SOLAR

Water is abundant on Earth, only about 2.5% is freshwater, and because most of that water is stored as glaciers or deep groundwater, only a small amount of water is easily accessible to humans and animals. This study's motivation is to find a solution for lacking freshwater, converting brackish and seawater to potable water. The main goal was to produce potable water with high-efficiency production using solar energy. The system's main components were the absorber plate painted black, glass cover, insulation, and vessels to collect fresh water. The absorber plate is painted black to absorb solar radiation, preventing its reflection. The plate delivers higher temperatures for saline water to be evaporated and condensed afterward. The basin liner was made of an iron sheet, and the cover is made of ordinary glass, while the basin was covered with glass using silicon rubber. We used 30-degree single slope solar to identify the efficiency of using black stone without using black stone (control). The results showed that the maximum output with black stone and without it was respectively 750 ml and 600 ml; therefore, the use of black stone can increase the productivity for the single slope solar still.Keywords: Solar collector; Potable water; Brackish water.

XRF Imaging (MA-XRF) as a Valuable Method in the Analysis of Nonhomogeneous Structures of Grisaille Paint Layers

Stained glass paint layers made with vitreous paints can be a challenging subject for analyses. Their heterogenic structure requires proper experimental methodology in order to obtain valuable data. The main goal of this paper is to present the advantages of macro-XRF scanning (MA-XRF) in the non-destructive investigation of historical grisaille paint layers on the basis of research conducted on seven stained glass panels from the Dominican Monastery in Kraków, the Diocesan Museum in Kielce and the National Museum in Poznań (Poland). The obtained results showed the capabilities of MA-XRF scanning in technology recognition, the legibility of damaged fragments of painted depictions, as well as with distinguishing the elemental composition between vitreous paints in different colours. Additionally, SEM-EDS measurements are presented so as to acquire quantitative results and additional information concerning light elements.

Problems of Vehicle Identification by Tire Marks on the Soil

Scientific research is focused on the problems of vehicle identification by tire marks on the soil. It is argued that the car can either be a participant in a traffic accident or be used during theft of property or kidnapping.
 The constructional features of the wheels and tires of a car, which are important in the formation of tracks, are described. When the wheel comes into contact with the soil, the tread pattern is reflected.
 The features of the vehicle tire marks recorded by the investigator and the forensic scientist during the scene search have been determined. Photo or video recording of car wheel tracks is possible, as well as preparing the impression from the display of the tread on the soil.
 The possibilities of transport and traceological examination for studying the traces of car wheels have been established. The procedure for appointing an expert examination by an investigator is described. There is a list of materials that are provided for an expert study, as well as a list of questions that can be posed to an expert.
 It is argued that a problem in proving the involvement of a vehicle in the commission of a crime is the possibility of the vehicle tires or wheels to be replaced immediately after it has been committed. Recommendations regarding the identification of a vehicle based on tire marks on the soil are suggested. To establish the fact of changing tires on a car after the commission of a crime, the investigator must seize all sets of tires that are found in the suspect’s household or garage. It is possible to confirm the fact of changing tires on a particular car by interrogating employees of service stations located near the suspect’s residence. In addition to tire marks, to identify the vehicle, it is worth using the testimony of witnesses regarding the model and color of the car, traces of glass debris and paint chips at the accident site and damage on the car itself.

Implementasi pendidikan karakter berbasis kearifan lokal

The integration of local wisdom, such as batik and glass painting, and other Cirebon culture in general courses (Mata Kuliah Umum/ MKU) may be an interesting alternative learning approach. This research aims to describe the implementation of character education models based on local cultural wisdom such as the ability to design batik, glass paintings, and the introduction of other typical Cirebon cultures in MKU. It employed a descriptive qualitative approach to explore naturally visible phenomena. The subjects of this research were 7th semester students of Primary School Teacher Education (Pendidikan Guru Sekolah Dasar/ PGSD), University of Muhammadiyah Cirebon (UMC), class of 2016. The data were obtained from observations and interviews involving 15 respondents consisting of students, lecturers, and the Head of PGSD UMC. The results showed that MKU increased students' knowledge and skills outside the field of education as the students were enthusiastically embraced the Cirebon culture given in MKU. It can be concluded that MKU based on local wisdom was able to hone the skills of PGSD UMC students in improving their affective, psychomotor, and cognitive abilities. Thus, students were prepared to have holistic abilities that are compatible with the challenges of a new life.