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All Journal Gorga : Jurnal Seni Rupa MUDRA Jurnal Seni Budaya Segara Widya: Jurnal Penelitian Seni Abdi Seni Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa International Journal of Engagement and Empowerment (IJE2) Enrichment: Journal of Multidisciplinary Research and Development Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Framing: Journal of Art, Film, Television, Animation, Games and Technology
I Wayan Setem, I Wayan
Indonesian Institute Of The Arts Denpasar
Religion Arts Humanities Economics, Econometrics & Finance Education Engineering Health Professions Languange, Linguistic, Communication & Media Social Sciences Other

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A Documentary Film Sahasra Warsa: Reviving A Thousand Years of Painting in Batuan Village, Gianyar : Martida, Vanesa; Setem, I Wayan; Wirakesuma, I Nengah
Journal of Art, Film, Television, Animation, Games and Technology Vol. 3 No. 1 (2024)
Publisher : Perkumpulan Program Studi Film dan Televisi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This documentary film defines 'sahasra warsa' (a thousand years) of painting in Batuan Village, Sukawati Sub-District, Gianyar, Bali Province, Indonesia. The existence of painting in Batuan Village is proven to have a long history, referring to the Baturan inscription 944 caka (1022 AD) of the reign of King Marakata. The king created the term 'citrakara' as recognition of community with the painting profession. In the 1930s, the presence of Pita Maha and the visit of anthropologists Margaret Mead and Gregory Bateson also contributed to the development of painting in Batuan Village. Batuan style paintings have been collected by various museums in Indonesia and abroad, including a collection of President Soekarno. The number of Batuan style painters is decreasing year by year. This observational-poetic documentary style includes historical information, the characteristics of Batuan painting, as well as efforts to preserve it. This documentary aims at serving as an audio-visual archive as well as a learning medium for future generations.
PENYUSUNAN ENSIKLOPEDIA BIDANG SENI LUKIS KLASIK, SENI UKIR, DAN TEKSTIL DI BALI Setem, Wayan; Mudana, I Wayan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 13 No. 2 (2021): Brikolase Desember
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i2.3763

Abstract

Artikel ini merupakan hasil riset bertujuan untuk mendeskripsikan leksikon yang rangkuman informasi beragam  terkait istilah-istilah seni rupa bidang seni lukis klasik wayang Kamasan, seni ukir, dan tekstil di Bali. Adapun sebagai sub-sistem, seni lukis klasik wayang Kamasan, seni ukir, dan tekstil mengandung berbagai unsur saling berkait yakni   konsep keindahan yang menjadi arahan, teknik yang dicari, disebarkan dan dikembangkan untuk memberi bentuk kepada konsep-konsep keindahan, ada seniman/pengerajian  yang mengelola pembuatan karya, penularan keahlian, teknik, fungsi, makna, dan peristiwa kesejarahan.  Teori yang digunakan adalah linguistik struktural, leksikologi dan leksikografi. Metode pengumpulan data yang digunakan dalam penelitian ini yakni metode kajian pustaka, wawancara, dan lawatan sejarah yang dilanjutkan dengan  teknik pencatatan. Dalam metode analisis data pemilihan elemen penentu dengan teknik korelasional dilanjutkan teknik analisis induktif dan deduktif. Hasil dari penelitian ini menunjukkan adanya leksikon khas yang digunakan oleh seniman/pengerajin seni lukis klasik wayang Kamasan, seni ukir, dan tekstil di Bali.  Leksikon tersebut terdiri dari tiga katagori, yakni alat dan bahan, proses pembuatan, dan estetika. Leksikon ketiga bidang seni rupa tersebut juga memiliki dua katagori fungsi yakni sebagai pemberian nama dan sebagai proses pembuatan. Begitu juga pada ragam penggambaran/motif memiliki nilai budaya berdemensi vertikal (religi dan kepercayaan) serta nilai budaya berdemensi horisontal meliputi nilai tradisi, nilai perasaan dan kedamaian, berorientasi alam, nilai kesejahteraan, dan nilai sosial.  
TOYA CAMPUHAN: AIR DAN PERADABAN MANUSIA DALAM PENCIPTAAN SENI LUKIS Setem, I Wayan; Kondra, I Wayan; Gede Putra Jaya, I Made
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 14 No. 1 (2022): Brikolase Juli 2022
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v14i1.4232

Abstract

TThe purpose of this research and art creation is to create and present artworks with “Toya Campuhan: Water and Human Civilization” as the source of inspiration. World civilization, especially in ancient Bali, has emerged and developed around water as its source of life. Water sources, such as river confluences, act as a pulse, supporting the joints that contribute significantly to various parts of physical and spiritual life. Due to this, water must be conserved, so that they always provide benefits for the journey of human life far into the future. However, the current condition of rivers in Bali is really worrying, as various pollutants pollute them. Slowly but surely, the water condition will worsen if we continue to let it be. This evokes my empathy, emotion, and hope about a healthy river confluence as a mission that I wanted to convey through the creation of this painting. This creation model becomes a cultural expression as a medium for increasing public appreciation to raise the spirit of ecological resilience over the problem of water pollution. This creation is based on research, where the method consists of two parts, namely the research method and the creation method. The research method uses an anthropological approach, especially related to ethnography. Meanwhile, the creation method passes through three stages: exploration, improvisation, and the embodiment of the work, which is preceded by a study of similar works of art and literature review.
Jana Kertih: Kemuliaan Manusia dalam Penciptaan Seni Lukis Setem, Wayan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v16i2.6462

Abstract

Tujuan dari penelitian dan penciptaan seni ini adalah mencipta dan menyajikan karya “Jana Kertih: Kemuliaan Manusia dalam Penciptaan Seni Lukis” sebagai representasi upaya membangun kualitas sumber daya manusia menuju manusia berkualitas suputra sadhu gunawan. Model penciptaan seni lukis menjadi ekspresi budaya yang mampu memainkan peran sebagai media peningkatan apresiasi masyarakat untuk membangkitkan Jana Kertih menuju Jana Hita membangun manusia berkualitas secara individu agar menjadi SDM yang sehat secara jasmani, dan rohani. SDM yang demikian itulah yang dapat berperan membangun kehidupan bersama untuk menciptakan rasa aman, damai, dan sejahtera. Penciptaan ini berbasis riset dengan demikian metodenya terdiri dari dua bagian yang tidak terpisah yakni metode penelitian dan metode penciptaan. Sedangkan metode penciptaan melewati tiga tahap yakni: eksplorasi, improvisasi, dan perwujudan karya yang didahului dengan telaah karya seni sejenis dan kajian literatur. Tahapan eksprimen/percobaan alat dan bahan untuk menemukan desain penyajian karya yang memiliki kebaruan yang kemudian diseminasikan untuk menyampaikan konsep Jana Kertih memuliakan manusia yang mengetahui hakikat dan tujuan hidup sebagai manusia sesuai ajaran agama dan memahami nilai-nilai etis, estetis dan religius.
REPRESENTASI SUNGAI SEBAGAI NAGA BASUKI UNTUK MENJAGA KESEIMBANGAN KOSMOLOGI AIR DALAM PENCIPTAAN SENI LUKIS Setem, 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.v1i01.138

Abstract

The phenomenon of shifts in Balinese knowledge and treatment of rivers in a Hindu perspective is a very important fact and urgent to be explored and revealed. On the basis of the thought of awareness of the reality conditions that occur in rivers in the industrial era, the creator has hopes, ideals, longings, and spiritual values which are ideals as cosmos humans, so a view is born which is the idea of creating a painting with the title Representation of the River as a Dragon Basuki for Maintaining the Cosmological Balance of Water in the Creation of Painting. It means that by representing the river with symbols that can be understood, the artwork created is a metaphorical language that is able to communicate with the audience and will build appreciation. In this case, it is the creator's desire to convey certain thoughts (messages) to everyone through the created works of art and can produce meaning through the mechanism of articulation by the audience.
Baris Kekupu di Banjar Lebah Desa Sumerta Kaja sebagai sumber inspirasi dalam Penciptaan Karya Seni Lukis Putra Artawan, I Made; Karja, I Wayan; Setem, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (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.v1i2.1534

Abstract

Baris Kekupu Dance is a dance that was originally created to accompany the memukur/nyekah ceremony, which is during the mepurwa daksina process. The idea of creating the Baris Kekupu dance is from the butterfly decoration on the resin brackets that are found during the memukur ceremony. The Baris Kekupu dance has its own uniqueness and characteristics such as colorful costumes, wearing legong coils, and using the butterfly wing property which has an aesthetic value in terms of color. The meaning contained in the Baris Kekupu dance and its uniqueness has become an idea and source of inspiration for the author in painting. The method used in the research of the Baris Kekupu Dance in Banjar Lebah is the method of observation, interviews, literature, and documentation. The idea in this creation are realized by the author using the methods of exploration, experimentation, and formation. In the process of realizing this work, the author pours his ideas and imagination into canvas media. The author describes the object of the Baris Kekupu dance and its supporting objects by pouring the author’s imagination in accordance with the uniqueness and meaning contained in this dance, which the author manifest into six works, including: 1. The Birth of the Baris Kekupu Dance, 2. Pitra Yadnya, 3. Mepurwa Daksina, 4. Journey to Sunia Loka, 5. Towards Swarga Loka, 6. Towards Neraka Loka. In the creation of this work, the author applies the elements and principles of painting. The creation of paintings is viewed from the physioplastic and ideoplastic aspects. Then the writer is able to describe the meaning of the six works.
Babi Sebagai Media Ekspresi Kritik Sosial Dalam Penciptaan Seni Lukis Darma Yoga, I Made; Setem, I Wayan; Murdana, I Ketut
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (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.v1i2.1535

Abstract

Pig is one of animal which has its own characteristics, both in terms of physical and characteristics that distinguish them from other animals. Pigs are greedy, dirty, lazy, stupid, savage, lustful and so on. By understanding to involve and observe a pig from their uniqueness on people's life, either directly or indirectly, it will lead to an understanding and perspective in assessing everything which is experienced in daily life. With the background of observing the life of pig in Balinese society in particular, the creator has an interest in expressing it into painting. The creation of this painting tries to visualize a metaphor from the characteristics of pig which is exist in the present context of human. It can be seen from the society phenomena which actually reflect the characteristic of the pig itself. In realizing ideas and themes in artworks through process, experiment, preparation, formation and finishing. Creating the artwork by organizing the elements and elements of art on a two dimension. Regarding the displayed theme, they are sourced from the nature environment and personal experience which is interesting or imprint in memory and provide memories so that the artwork will create as a record of personal life. Personally in this context, the creator sees various interesting things which can be expressed through the depiction of the characteristics of a pig, which can be concluded that with the life of a pig, the creator can understand, express, interpret the characteristic of a pig as a social critique in the creation of an artwork.
Zodiak Sebagai Ekspresi Dalam Penciptaan Karya Seni Lukis Kristina, Renata Ayu; Setem, I Wayan; Purnami Utami, Ni Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): 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.v2i1.1541

Abstract

This thesis raises the theme of "Zodiac as Expression in the Creation of Paintings" from an observation of various types of behavior, characters, and characteristics of the zodiac. This gives rise to the urge to bring the expressions of the zodiac cancer, pisces, and scorpio into abstract style paintings. In the embodiment of the work, the style used is a combination of naturalism and abstractionism, which are the characteristics of Mr. Made Budhiana's painting as a partner in the independent study program of the Merdeka Learning Campus Merdeka. With the aim and benefit of providing an understanding of the zodiacal character of the water element, the author expresses ideas that are processed using qualitative methods, equipped with interview guidelines, reduction and presentation of data that can be used as ideas in creating a painting. Ideas or ideas cannot be separated from observations and interactions with surrounding conditions and personal experiences so that the author can express the feelings of the zodiac character with the water element in the painting. The idea obtained also comes from astrological records that have been studied since time immemorial, namely the Ancient Greek tradition that is spread on social media. So it can be concluded that this painting with the theme of the water element zodiac can be used as a reference to understand a person's character, especially the Cancer, Pisces, and Scorpio zodiacs in everyday life
Rerajahan Sebagai Sumber Inspirasi Penciptaan Seni Lukis Arsad Tri Gunawan, I Made; Wirakesuma , I Nengah; Setem, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): 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.v2i1.1545

Abstract

Departing from an idea about rerajahan illustration which always has its own meaning in each of its strange forms, it creates an impetus to present rerajahan visualization by combining certain techniques and references to achieve goals and meanings that are in accordance with what is desired. The problem faced is how to process the rerajahan visuals to represent ideas so that the embodiment of the work looks interesting. The purpose and benefits are to provide a new reflection and elevate the existence of rerajahan which is full of use in various yadnya ceremonies in Bali, and to increase the author's understanding of the forms of rerajahan. To answer what is the purpose of this work, the method of creation uses exploration, improvisation, and forming. By arranging elements of art, and going through the stages of exploration, improvisation, and the forming stage, and combined with ideas and ideas to create 6 works entitled: 1) "covered", 2) "Self Struggle", 3) "Formed", 4 ) “Temporarily”, 5) “Destroyed”, 6) “Ready? Go!”. In the embodiment of the work, the author will use several technical references from other artists. By combining the blurry technique and the oil paint suction technique in the visualization of works that have a strange shape, and combined with texts such as in comic books to represent a movement, it is hoped that they will produce quality works and become the identity of the author. In the end, it can be concluded that traditional arts, especially rerajahan, provide a lot of inspiration in their work and are very interesting to be raised and developed with imaginative ideas that will become valuable and meaningful works. With the creation of this work, it is hoped that it can convey a message or meaning to a personal phenomenon that the author has experienced.
Ornamen Nusantara Sebagai Sumber Inspirasi Penciptaan Lukisan Pada Kain Sutra Utomo, M. Indra Bayu; Setem, I Wayan; Yudha, I Made Bendi
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): 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.v2i2.1839

Abstract

In writing this final report, the author raised the theme of ornament as a source of inspiration for creating paintings on silk. Silk painting is a type of craft product originating from China and India since the 2nd century AD. Silk painting entered Indonesia about 200 years later because of the trade relations between Indonesia and China and India. Although the art of silk painting has long been known in Indonesia, the art of silk painting is still not developed like other types of craft products that have been widely developed in Indonesia. Because when the influence of silk painting entered Indonesia, Indonesia had already developed the batik industry. The art of silk painting itself is more or less influenced by batik techniques. The author develops archipelago ornaments in the creation of paintings on fabrics, especially silk, the techniques studied are very interesting for the development of painting techniques. Therefore, the author makes 6 beautiful works that have their own ornamental style, besides that the author also develops the creation of archipelago ornaments by creating new ornaments on both denim and silk fabrics with different methods and techniques
Co-Authors Arsad Tri Gunawan, I Made Aryani, Ni Nyoman Ayu Suti Darma Yoga, I Made Dewi, Citra Samara Dewobroto, Bambang Trisilo Drs. I Wayan Mudana,M.Si. . Gede Putra Jaya, I Made Gulendra, I Wayan I Ketut Murdana I Made Bendi Yudha, I Made Bendi I Made Sudana I Made Sudana I Nengah Wirakesuma, I Nengah I Wayan Kun Adnyana, I Wayan Kun I Wayan Mudana Jodog, I Made Kanta, Putu Aripta Dera Kariana, I Nengah Komang Nelly Sundari Kondra, I Wayan Kresna Yoga, I Gede Deva Kristina, Renata Ayu M. Dwi Marianto Mustika, I Ketut Nataprawira, Muhammad Rafli Ramdhani Pande Made Sukerta Prayoga, I Made Adi Putra Purnami Utami, Ni Made Putra Artawan, I Made Putra, Anak Agung Ramanda Sardono W Kusomo Selimanorita, Shafa’ Sumantra, I Made Susanto, Moh. Rusnoto Tjokropramono, Gede Yosef Utama, Pande Komang Budhi Sastra Utomo, M. Indra Bayu Vanesa Martida, Vanesa Wayan Karja Wirakesuma , I Nengah