Bugis Pinisi Becomes Global Visual Icon Through Design, Power, and Cultural Negotiation
The iconic Bugis Pinisi sailing ship has evolved from a traditional maritime vessel into a powerful visual symbol shaped by design, politics, and global cultural markets, according to a 2026 peer-reviewed study by Irfandi Musnur and colleagues from Mercu Buana University and the Indonesia Institute of the Arts Bali. Published in the International Journal of Integrative Sciences, the research explains how Pinisi imagery is transformed, stylized, and repurposed across logos, architecture, tourism campaigns, and state events, raising critical questions about cultural authenticity, symbolic power, and who controls Indonesia’s maritime heritage in the visual age.
From working ship to visual symbol
For centuries, the Pinisi was the backbone of Bugis maritime life in South Sulawesi. Built and sailed by skilled artisans known as panrita lopi, the ship represented advanced navigation technology, economic independence, and Bugis cultural pride. Today, however, the Pinisi appears more often as a logo, monument, illustration, or branding element than as a working vessel.
The study shows that this shift reflects broader social and economic changes. As Indonesia promotes itself as a maritime nation and creative economy hub, the Pinisi has been elevated into a national and even global symbol. It featured prominently in tourism branding, public installations, and international events such as the G20 Summit in Bali. While this visibility boosts recognition, it also transforms the meaning of the Pinisi from lived tradition to visual commodity.
Why this research matters now
Cultural symbols are increasingly used in branding, diplomacy, and economic promotion. Governments, designers, and industries rely on visual icons to communicate identity quickly in global markets. The Pinisi is a prime example of how local heritage enters this global visual economy.
At the same time, communities that historically created and sustained the Pinisi tradition—especially artisans in Tanah Beru, Bulukumba Regency—often have limited influence over how the symbol is redesigned and commercialized. The research highlights tensions between preservation and commercialization, inclusion and marginalization, authenticity and market demand.
How the research was conducted
The study was written by Irfandi Musnur and Ariani Kusumo Wardhani from Mercu Buana University, together with I Wayan Mudra and Ni Made Ruastiti from the Indonesia Institute of the Arts Bali. Data were collected and analyzed between 2024 and 2025 and published in early 2026.
The researchers used a qualitative approach that combined:
1. Visual analysis of Pinisi representations in logos, architecture, public installations, currency, and promotional materials
2. Field observations in Makassar and Tanah Beru, South Sulawesi
3. Interviews with designers, policymakers, tourism actors, and Pinisi artisans
4. Historical and literature analysis
The analysis draws on sociologist Pierre Bourdieu’s concepts of habitus, field, and capital, alongside multimodality theory from visual communication design. This combination allows the researchers to examine not just how the Pinisi looks, but who shapes its meaning and why.
Key findings in clear terms
The study identifies several important patterns in how the Pinisi is visually represented today:
1. Visual stylization dominates
Pinisi images are frequently simplified, distorted, or stylized to fit modern branding needs. Colors, proportions, and details are altered to suit logos and promotional media, often detaching the image from its historical and technical accuracy.
2. Power shapes representation
Government institutions, tourism industries, and economic actors hold the strongest influence over Pinisi visuals. Their economic and political capital allows them to define how the symbol appears in public space.
3. Artisan voices are limited
Traditional shipbuilders and local communities, despite being the cultural owners of the Pinisi tradition, are rarely involved in design decisions. Their role is often symbolic rather than participatory.
4. Multimodality expands reach but risks meaning loss
The Pinisi now operates across multiple modes—physical ships, illustrations, architecture, text, exhibitions, and digital media. This flexibility increases visibility but can dilute historical and social meaning when driven purely by market logic.
Visual Capital Translation: a new concept
One of the study’s main contributions is the concept of Visual Capital Translation. This refers to the process of converting cultural and symbolic value into visual forms that can function across local and global contexts without losing legitimacy.
According to Irfandi Musnur of Mercu Buana University, the Pinisi’s visual transformation is not simply decorative. It is a strategic process where cultural heritage becomes visual capital, used in identity politics, branding, and cultural diplomacy. The challenge is ensuring that this translation remains inclusive and respectful of its origins.
Real-world implications
For designers and creative industries, the research highlights the ethical responsibility of working with cultural symbols. Design choices shape public understanding of heritage and can either reinforce or erase local voices.
For policymakers, the findings suggest the need for more inclusive cultural governance. Involving artisan communities in decision-making can strengthen authenticity and social legitimacy.
For tourism and branding sectors, the study offers a reminder that cultural symbols gain long-term value when their narratives remain connected to real communities, not just visual appeal.
For education and research, the work provides a framework for studying how visual communication intersects with power, culture, and globalization.
Author profiles
Irfandi Musnur, PhD Mercu Buana University.
Ariani Kusumo Wardhani, PhD Mercu Buana University.
I Wayan Mudra, PhD, Indonesia Institute of the Arts Bali.
Ni Made Ruastiti, PhD, Indonesia Institute of the Arts Bali.
Source
Journal article: Visual Capital Translation: Habitus, Field, and Multimodality in Bugis Pinisi Representation
Journal: International Journal of Integrative Sciences
Publication year: 2026
DOI: https://doi.org/10.55927/ijis.v5i1.817
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