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All Journal Religious: Jurnal Studi Agama-Agama dan Lintas Budaya MUDRA Jurnal Seni Budaya Syntax Literate: Jurnal Ilmiah Indonesia Journal on Education Jurnal Informasi dan Teknologi Journal of Social Science Indonesian Journal of Multidisciplinary Science JOMPA ABDI: Jurnal Pengabdian Masyarakat Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Abjad : Journal of Humanities & Education Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
I Ketut Mustika
Institut Seni Indonesia Denpasar
Religion Arts Humanities Chemistry Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Immunology & microbiology Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Physics Public Health Social Sciences Other

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Facial Expressions According to Tones on Jegog Leaf Blade as A Source of Installation Art Works Creation Indrawan, I Ketut Deni; Mustika, I Ketut; Pemayun, Tjokorda Udiana Nindhia
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 2 (2023): 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.v3i2.3001

Abstract

Gamelan Jegog comes from the Jembrana area, where this Jegog has a very melodious and loud voice so that Jegog is well known throughout foreign countries. Gamelan Jegog is made of bamboo. Incidentally, in the Jembrana area there are many bamboo trees and the bamboo grows well because of the fertile soil, many bamboo trees grow and develop there, and that is what prompted Jembrana artists to create musical instruments made of bamboo. The tone in the Jegog gamelan can make a musical rhythm so alive. Each music must have its own rhythm. Tone is a musical movement that is controlled in time. Without good tunes, it's easy to get lost in the music and get out of sync. In Gamelan Jegog there are various melodies and rhythms such as the high and low of a note to make the rhythm of the music being played calm and peaceful. Based on the description above, the tones and facial expressions in Jegog gamelan are the inspiration for creating installation art works. Thus facial expressions according to tone in Gamelan Jegog serve as a source of inspiration in the creation of works as well as being the title for facial expressions according to tone on jegog leaf blades as a source for creating installation art works
The Impact Of Deforestation As An Idea In The Creation Of Painting Nataprawira, Muhammad Rafli Ramdhani; Mustika, I Ketut; Setem, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 1 (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.v4i1.3628

Abstract

This thesis contains a description of the creation of a work of painting with the theme "The Impact of Deforestation as an Idea in The Creation of Painting" which was inspired by reading a book which reminded the author of his visit to Kalimantan. This will discuss the impact of deforestation in Indonesia. Indonesia is the largest archipelagic country in the world, with its vast territory, Indonesia is known for its very diverse cultural, ethnic and natural riches, and as the Lungs of the World. However, the serious problem currently facing Indonesia is deforestation. Deforestation is the activity of cutting down forests where the land is converted for non-forest use. This change in forest land causes disruption of environmental conditions such as natural disasters, extinction of flora and fauna, global warming and climate change. The aim to be achieved in creating this work is to understand the impact of deforestation in Indonesia through creativity and imagination in the form of paintings using various techniques, media, considering the elements and principles of fine art. From the theme above, there are 6 (six) works that can be realized from the impact of deforestation which can provide an overview of the impact of deforestation in Indonesia.
Pet Attachment and Animal Abuse in Human Relationships with Pets as Inspiration for Digital Artworks Ivana, Jessica; Pemayun, Tjokorda Udiana Nindhia; Mustika, I Ketut
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 1 (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.v4i1.3631

Abstract

Humans and animals have coexisted for a long time with mutual benefits to one another. Relationships between species can create a balanced relationship for the survival of living things on earth. Attachment is an emotional relationship formed by individuals with other individuals who are considered stronger during their lives. Attachment will tend to encourage individuals to trigger closeness through contact and sad reactions due to separation. Individuals have the goal of seeking security and comfort in attachment. Human attachment to pets includes emotional, psychological, and physical interactions that will develop into a good mutual relationship. In attachment relationships, the role of empathy, attachment and anthropomorphism (the human tendency to assign characteristics, feelings and behaviors to non-human species) can influence the level of concern for pet welfare. Lack of empathy, attachment and anthropomorphism can lead to lower levels of care for animals, which may lead to neglect and abuse. Animal abuse is deliberate and repeated behavior with the aim of causing physical or psychological suffering to animals. Physical or psychological suffering in detail includes suffering and misery as well as the onset of pain and death of the animal.
Fineline Tattoo Design as a Form of Self Expression at Ingkeu Ink Tattoo Studio Fauzi, Ivan; Tjokropramono, I Gede Yosef; Mustika, I Ketut
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 1 (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.v4i1.3642

Abstract

The main objective of this research and art creation is to create and present the work "Designing Fineline Tattoos as a Form of Self-Expression at Ingkeu Ink Tattoo Studio" as a representation of arts and culture education. Fineline tattoo is a style of tattoo that involves creating a design with very thin and smooth lines. These tattoos are often minimalist and subtle, with intricate and detailed designs that require a skilled artist to execute. This creation is research-based, so the method consists of two inseparable parts, namely the research method and the creation method. The technique for implementing MBKM internship/work practice activities at Ingkeu ink tattoo studio is carried out using a project based learning model. In designing this tattoo design, it begins with brainstorming together to collect the concepts and topics that will be discussed. After getting a mature concept, students can continue to the stages of the work process. In this research the author will describe the Fineline Tattoo design process as a form of self-expression at Ingkeu ink tattoo studio along with an analysis of the design results. The data in this research was obtained directly from Ingkeu ink tattoo studio as a partner who has a project to be featured in the internship report using several methods. The results of the tattoos done by the author are also uploaded by partners on social media and TikTok, in this way the partners believe they are very effective in attracting client interest.
Bwah Loka in Sarad Pulagembal as an Idea for Creating Sculpture Tenaya, I Made Suwardana; Mustika, I Ketut; Jodog, I Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 1 (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.v4i1.3644

Abstract

The yadnya ceremony in Bali cannot be separated from an upakara or offering. One of the upakara or offerings that contains a touch of artistic elements is Sarad Pulagembal. Sarad Pulagembal is made from rice flour dough given various colors, symbolizing the positive powers of Bhuwana Agung. In Sarad Pulagembal there are components that are distributed according to the position in the Tri Loka, namely from bottom, to middle, to top (Bhur, Bwah, Swah). Bhur Loka is the layers of negative natural dimensions, Bwah Loka is the layers of the cycle of life and death, Swah Loka is the layers of positive natural dimensions. In the middle part (Bwah Loka) depicts elements of the living world such as humans and animals, the sarad pulagembal will of course contain these elements. The aim to be achieved in the creation of this work is to find out the contents of Sarad Pulagembal, especially in the middle part (Bwah Loka) and it will be developed with creativity and imagination into the form of a sculptural work of art using elements of fine art, such as color, media and techniques. . In the process of realizing this work, the author used interview, observation and experiment methods. From the theme above, 5 (five) sculpture works will be created entitled Purusa, two works entitled Pradana, three works entitled Tunjung, four works entitled Angsa, and five works entitled Boma.
Dancing to Devotion: The Hindu Aesthetic and Spiritual Significance of Abuang Dance in Tenganan Pegringsingan Bali Pancane, Iwayan Dikse; Prawita, Ni Ketut Riska Dewi; Mustika, I Ketut; Johnson, Davida
Religious: Jurnal Studi Agama-Agama dan Lintas Budaya Vol 7, No 3 (2023)
Publisher : UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/rjsalb.v7i3.20840

Abstract

This research aims to explore the cultural and spiritual significance of the Abuang dance within the Usaba Kasa ceremony in Tenganan Pegringsingan, highlighting its role in maintaining cultural identity and spiritual continuity. The study utilised qualitative methods, including participant observation, in-depth interviews, and video documentation, to gather primary data concerning the Abuang dance. Secondary sources were employed to enrich the contextual understanding of the dance’s historical and cultural relevance. This research found that the Abuang dance is not merely a form of cultural expression but also serves as an integral component of the religious and communal life in Tenganan Pegringsingan, encapsulating the Hindu aesthetic values of satyam (truth), sivam (chastity), and sundaram (beauty). The dance fosters cultural resilience and acts as a conduit for spiritual and communal values amidst contemporary challenges. The study contributes to the wider discourse on the preservation of cultural heritage, providing insights into how traditional dances can sustain community values and spiritual life in modern contexts. It further highlights the importance of integrating cultural practices into global discussions on cultural and spiritual sustainability.
Estetika Warna Kulit Manggis dalam Seni Lukis I Nengah Wirakesuma; I Wayan Mudana; I Ketut Mustika; I Wayan Kondra
Journal on Education Vol. 7 No. 2 (2025): Journal on Education: Volume 7 Nomor 2 Tahun 2025 In Progress (Januari-Februari
Publisher : Mathematics Education Study Program

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/joe.v7i2.7753

Abstract

The aesthetics of mangosteen skin color have unique characteristics compared to other synthetic colors. Aesthetic and dimensional, mangosteen skin color displays natural shades such as light brown, chocolate, brownish, red, purple, and blue. Painting using mangosteen peel is a creative process that begins with picking mangosteen fruit from the garden. Coincidentally, the author became interested in scratching spontaneously. When he split a mangosteen fruit into two equal parts, the author used the mangosteen peel to create a graffiti on the canvas. This technique involves spontaneous movements of the fingers, pressing gently, moderately, and sometimes hard on the canvas. The resulting color effect appears naturally, according to the intensity of the finger movement when scratching the mangosteen skin on the canvas. The painting method using mangosteen peel is carried out spontaneously, following the stages of art creation: existence, exploration, experimentation and evaluation. The creation of paintings using mangosteen peel reflects a creation process that uses fine art elements of light, point, line, space, plane, color, texture and composition. The resulting works of art are titled as line aesthetics: Line Aesthetic 1, Line Aesthetic 2, Line Aesthetic 3, and so on. The use of mangosteen peel color as an alternative medium in painting is driven by the need for creativity to achieve works of art that are new, high quality, meaningful and have high harmonious value.
PENERAPAN SENI LUKIS DEKORATIF PADA KERAMIK TABLEWARE Halim, Ivana Gabriella; Mustika, I Ketut; Yudha, I Made Bendi
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 5 No 1 (2025): 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.v5i1.4507

Abstract

This internship/work practice report explores the theme of nature and its surroundings as the inspiration for creating artwork. In this project, the author is inspired by the natural environment, including the sea, leaves, and stones. From these ideas, textures, shapes, and colors are developed in the artworks. The work created will be tableware. Tableware refers to the dishes and utensils used by people for eating and drinking. Besides its primary functions of eating, serving food, and setting the table, tableware can also serve as decorative art that can be displayed. The goal of this project is to make functional tableware more attractive by applying painting art, making it not only functional but also decorative. The artworks feature various techniques in terms of shape, texture, coloring, decoration, and more. The creation process begins with observation, studying, and managing ideas, followed by contemplation, and ultimately the creative process is realized through painting on ceramics. This report aims to understand the utility of the tools and materials, as well as the stages of the creation process. In conclusion, the author has gained valuable learning and knowledge during the internship/work practice. The author hopes that this creation will serve as an inspirational piece for readers.
An Analysis of Differences Between “Communication” and “Expression” in Art: From Cave to Modern Art Budiarta, I Dewa Putu Gede; Mustika, I Ketut; Sastrawan, Dewa Ayu Eka Savitri
Abjad Journal of Humanities & Education Vol. 3 No. 1 (2025): Abjad: Journal of Humanities & Education
Publisher : Centre for Literary and Cultural Studies

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62079/abjad.v3i1.68

Abstract

Communicating is a human activity in stating one thing with an agreed way of doing it between the one who sends it and the one who receives it, make that in language, signs, or symbols. Expression is an effort in expressing an idea, either in language, signs or symbols, without any agreement from the sender and the receiver. Communication and expression in painting has become something that just happens, since art was created when human knowledge knows how to write up to writing is no longer needed as pressing buttons would finish the job. In communicating through an artwork there is an effort so that the target understands the idea being stated, while expression is purely expressing an idea without others consent in understanding it. Hence this analysis aims to dissect the differences through several artworks that have existed in the visual arts: from cave to modern art. This analysis also aims to provide extended knowledge on analyzing works of art through the ages.
Banana Heart Sap Experiment Wirakesuma, I Nengah; Mudana, I Wayan; Kondra, I Wayan; Mustika, I Ketut; Sujana, I Wayan
Journal of Social Science Vol. 5 No. 5 (2024): Journal of Social Science
Publisher : Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/jss.v5i5.930

Abstract

A unique and interesting creative process using banana blossom sap as a medium. Banana flower sap has specific characteristics compared to other synthetic colors. Banana flower sap tends to display typical milky white, gray, light brown, yellowish-green, red and dark brown colors. Painting using banana blossoms starts from picking the banana blossom. Exploration of the technique of cutting the stem of the banana flower until the sap oozes out and drips onto the canvas. Since then I have been practicing spontaneously using banana sap, involving movements of my fingers, pressing the banana flower gently, medium and hard. The effect of the pressure of the banana flower sap produces natural colors, according to the intensity of the movement of the fingers on the canvas. The method used is carried out spontaneously, following the stages of the art creation process (E4): Existence, Exploration, Experimentation and Evaluation. Realization (E4) represents the existence of my creative process. Utilization of fine art elements such as light, point, line, space, plane, color, texture and composition. The resulting works of art include the following titles: Banana Sap Color 1, Banana Sap Color 2, Banana Sap Color 3, and so on. The use of banana blossom sap is driven by the need to express the soul in order to produce new works of art of high quality and have high aesthetic values
Co-Authors Agus Supranartha Annisa Wahdiniawati, Siti Antari, Ni Luh Sili BUDIAPRILLIANA, LUH Chatarina Umbul Wahyuni Chrisnawati, Giatika Dewa Ayu Eka Savitri Sastrawan Drs. I Wayan Mudana,M.Si. . Fauzi, Ivan Frasnanda, Nyoman Ferry Halim, Ivana Gabriella I Dewa Putu Gede Budiarta I Gede Jaya Putra I Made Bendi Yudha, I Made Bendi I Nengah Wirakesuma, I Nengah I Wayan Dikse Pancane I Wayan Mudana I Wayan Setem I Wayan Sujana I Wayan Sujana Indrawan, I Ketut Deni Ivana, Jessica Jodog , I Made Johnson, Davida Komalayakti, Diah Kondra, I Wayan Nataprawira, Muhammad Rafli Ramdhani Neode, Haris Candra Ni Ketut Riska Dewi Prawita Ni Made Purnami Utami Pancane, I Wayan Dikse Rahditya, Ida Bagus Mas Putra Suarsa, Si Ngurah Sucipta, Wayan Gede Adi Sukarya, I Wayan Tenaya, I Made Suwardana Tjokorda Udiana Nindhia Pemayun Pemayun, Tjokorda Udiana Nindhia Pemayun Tjokropramono, Gede Yosef Widi Apriana, I Wayan