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All Journal Bhumidevi : Journal Of Fashion Design Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Sukarya, I Wayan
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Arts Humanities

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Sarad Pulagembal The Symbol Of Universe Utami, Ni Luh Ayu Pradnyani; Ratna Cora S., Tjok Istri; Sukarya, I Wayan
BHUMIDEVI: Journal of Fashion Design Vol. 1 No. 1 (2021): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/bhumidevi.v1i1.302

Abstract

Sarad Pulagembal adalah salah satu bentuk upakara persembahan dalam wujud besar (mewah/utama) yang dipersembahkan oleh umat Hindu di Bali pada upacara keagamaan tingkat utama. Upakara ini terlihat sangat menonjol pada saat ritual keagamaan karena keunikan bentuk dan warnanya yang mencolok. Upakara yang terbuat dari susunan jajan berbahan tepung beras ini merupakan manifestasi bhakti umat dalam mempersembahkan segenap isi alam semesta kehadapan Tuhan (Sang Hyang Widhi). Melihat keunikan bentuk dan proses pembuatan serta filosofi yang terkandung dalam Sarad Pulagembal ini muncul ide untuk menjadikan Sarad Pulagembal sebagai konsep dalam penciptaan busana wanita ready to wear, ready to wear deluxe, dan haute couture. Busana wanita dengan Sarad Pulagembal sebagai konsep penciptaan, mengangkat filosofi, warna, dan pengulangan bentuk organik dari Sarad Pulagembal. Busana ready to wear, ready to wear deluxe dan haute couture ini merepresentasikan bentuk-bentuk organik pada Sarad Pulagembal yang menyimbolkan isi alam semesta seperti tumbuh-tumbuhan, hewan dan manusia. Dalam proses penciptaan busana wanita ini melalui 8 tahapan penciptaan Desain Fashion yaitu : ide pemantik (design brief), riset dan sumber (research and sourching), pengembangan desain (design development), prototypes, sample, and construction, koleksi akhir (final collection), promosi, pemasaran, brand, dan penjualan (promotion, marketing, branding and sale), produksi (production), serta bisnis (bussines). Hasil penciptaan ini diharapkan dapat menambah referensi kepustakaan khususnya dibidang Desain Fashion mengenai konsep Sarad Pulagembal yang diwujudkan dalam produk busana wanita serta membantu masyarakat agar dapat mengenal Sarad Pulagembal sebagai salah satu tradisi dan budaya Bali dalam bentuk produk busana wanita
SENI LUKIS DEWA PUTU MOKOH PASCA RUDOLF BONNET Putra, I Gusti Ngurah; Sukarya, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 1 (2021): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v1i01.129

Abstract

The presence of two Western painter Walter Spies, Rudolf Bonnet community of artists make very high antosias studied painting so by Cokorda Gede Sukawati build bevy of artists deemed necessary to ensure the welfare of the artists, so stand Pita Maha (1932) means a great soul or creativity. Dewa Putu Mokoh is the only young artists at that time who had the courage to come out of the themes puppet. Mokoh no longer presents the themes puppet as painted by the artists of that time. In addition, the courage to lift sex life through the development of techniques and approaches the theme of sex in humorous narrative. Factors that influence the work of Mokoh ie, natural, social, cultural, religious, education and tourism. In the presence of all influences interact and coalesce and grow into love in its development that is supported by the skills and professional. In addition, the work serves as a work Mokoh aesthetic, renewal, education, economy and to decorate the space, in his form with regard to aesthetic function. Impact Mokoh paintings that contribute new ideas, creative economy, namely the growth sectors of business life, giving birth to new artists who have the courage to give birth to works of art are bold, unique, interesting and has a distinctive character or trait. In addition, painting Mokoh have a different meaning, namely the symbolic meaning, the meaning relegi, meaning renewal, cultural significance, and reflection. Painting Dewa Putu Mokoh although express object of reality, which is seen directly, but there is a message and a specific meaning to be conveyed. To understand the symbolic paintings Dewa Putu Mokoh implied through the realization of painting, the symbolic meaning.
Rutinitas Petani Arak Di Karangasem Bali Sebagai Ide Penciptaan Karya Seni Patung Naturalis Suarsa, Si Ngurah; Mustika, I Ketut; Sukarya, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): Cita Kara : Jurnal Penciptaan Dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.717

Abstract

The routine of arak farmers in Karangasem Bali is very interesting to be made an object of research on the creation of fine art (statues) with the title "Routines of Arak Farmers in Karangasem Bali as an Idea for Creating Naturalist Sculpture Art". To find out the problems of creation above, research steps, creation and presentation of art were carried out using the approach of art theory, aesthetics, construction and semiotics. The research approach uses a qualitative approach using the method of collecting observation data, interviews, documentation and literature studies. Results of the discussion: (1) the form of the statue from the representation of the routine of arak farmers in Karangasem Bali: (a) nadah tuak, (b) harvest tuak, (c) mulangin tuak, (d) ngedig lau, (e) nginum arak. (2) the technique used is the technique of adding and reducing materials. (3) the author displays the visual form of arak farmers who are carrying out daily activities or routines of the arak farmers, with a naturalistic style in each form of work emphasizing naturalness and beautifying without significantly changing the shape of the object. From this concept, 5 works were created that can be reviewed from the ideoplastic aspect and the physioplastic aspect. The output of this research is in the form of a thesis, five pieces of sculpture.
Sarad Pulagembal The Symbol Of Universe Utami, Ni Luh Ayu Pradnyani; Ratna Cora S., Tjok Istri; Sukarya, I Wayan
BHUMIDEVI: Journal of Fashion Design Vol. 1 No. 1 (2021): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1945.437 KB) | DOI: 10.59997/bhumidevi.v1i1.302

Abstract

Sarad Pulagembal adalah salah satu bentuk upakara persembahan dalam wujud besar (mewah/utama) yang dipersembahkan oleh umat Hindu di Bali pada upacara keagamaan tingkat utama. Upakara ini terlihat sangat menonjol pada saat ritual keagamaan karena keunikan bentuk dan warnanya yang mencolok. Upakara yang terbuat dari susunan jajan berbahan tepung beras ini merupakan manifestasi bhakti umat dalam mempersembahkan segenap isi alam semesta kehadapan Tuhan (Sang Hyang Widhi). Melihat keunikan bentuk dan proses pembuatan serta filosofi yang terkandung dalam Sarad Pulagembal ini muncul ide untuk menjadikan Sarad Pulagembal sebagai konsep dalam penciptaan busana wanita ready to wear, ready to wear deluxe, dan haute couture. Busana wanita dengan Sarad Pulagembal sebagai konsep penciptaan, mengangkat filosofi, warna, dan pengulangan bentuk organik dari Sarad Pulagembal. Busana ready to wear, ready to wear deluxe dan haute couture ini merepresentasikan bentuk-bentuk organik pada Sarad Pulagembal yang menyimbolkan isi alam semesta seperti tumbuh-tumbuhan, hewan dan manusia. Dalam proses penciptaan busana wanita ini melalui 8 tahapan penciptaan Desain Fashion yaitu : ide pemantik (design brief), riset dan sumber (research and sourching), pengembangan desain (design development), prototypes, sample, and construction, koleksi akhir (final collection), promosi, pemasaran, brand, dan penjualan (promotion, marketing, branding and sale), produksi (production), serta bisnis (bussines). Hasil penciptaan ini diharapkan dapat menambah referensi kepustakaan khususnya dibidang Desain Fashion mengenai konsep Sarad Pulagembal yang diwujudkan dalam produk busana wanita serta membantu masyarakat agar dapat mengenal Sarad Pulagembal sebagai salah satu tradisi dan budaya Bali dalam bentuk produk busana wanita
SENI LUKIS DEWA PUTU MOKOH PASCA RUDOLF BONNET Putra, I Gusti Ngurah; Sukarya, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 1 (2021): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v1i01.129

Abstract

The presence of two Western painter Walter Spies, Rudolf Bonnet community of artists make very high antosias studied painting so by Cokorda Gede Sukawati build bevy of artists deemed necessary to ensure the welfare of the artists, so stand Pita Maha (1932) means a great soul or creativity. Dewa Putu Mokoh is the only young artists at that time who had the courage to come out of the themes puppet. Mokoh no longer presents the themes puppet as painted by the artists of that time. In addition, the courage to lift sex life through the development of techniques and approaches the theme of sex in humorous narrative. Factors that influence the work of Mokoh ie, natural, social, cultural, religious, education and tourism. In the presence of all influences interact and coalesce and grow into love in its development that is supported by the skills and professional. In addition, the work serves as a work Mokoh aesthetic, renewal, education, economy and to decorate the space, in his form with regard to aesthetic function. Impact Mokoh paintings that contribute new ideas, creative economy, namely the growth sectors of business life, giving birth to new artists who have the courage to give birth to works of art are bold, unique, interesting and has a distinctive character or trait. In addition, painting Mokoh have a different meaning, namely the symbolic meaning, the meaning relegi, meaning renewal, cultural significance, and reflection. Painting Dewa Putu Mokoh although express object of reality, which is seen directly, but there is a message and a specific meaning to be conveyed. To understand the symbolic paintings Dewa Putu Mokoh implied through the realization of painting, the symbolic meaning.
Rutinitas Petani Arak Di Karangasem Bali Sebagai Ide Penciptaan Karya Seni Patung Naturalis Suarsa, Si Ngurah; Mustika, I Ketut; Sukarya, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): Cita Kara : Jurnal Penciptaan Dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.717

Abstract

The routine of arak farmers in Karangasem Bali is very interesting to be made an object of research on the creation of fine art (statues) with the title "Routines of Arak Farmers in Karangasem Bali as an Idea for Creating Naturalist Sculpture Art". To find out the problems of creation above, research steps, creation and presentation of art were carried out using the approach of art theory, aesthetics, construction and semiotics. The research approach uses a qualitative approach using the method of collecting observation data, interviews, documentation and literature studies. Results of the discussion: (1) the form of the statue from the representation of the routine of arak farmers in Karangasem Bali: (a) nadah tuak, (b) harvest tuak, (c) mulangin tuak, (d) ngedig lau, (e) nginum arak. (2) the technique used is the technique of adding and reducing materials. (3) the author displays the visual form of arak farmers who are carrying out daily activities or routines of the arak farmers, with a naturalistic style in each form of work emphasizing naturalness and beautifying without significantly changing the shape of the object. From this concept, 5 works were created that can be reviewed from the ideoplastic aspect and the physioplastic aspect. The output of this research is in the form of a thesis, five pieces of sculpture.
Co-Authors I Gusti Ngurah Putra Mustika, I Ketut Ni Luh Ayu Pradnyani Utami Ratna Cora Sudharsana, Tjok Istri Suarsa, Si Ngurah