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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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Nature Trofis and Young Artist's Light Painting at Penestanan Ubud Bali Mudana, I Wayan; Wirakesuma, I Nengah; Adi Sucipta, I Wayan; Mustika, I Ketut; Kondra, I Wayan
Journal of Social Science Vol. 5 No. 6 (2024): Journal of Social Science
Publisher : Syntax Corporation Indonesia

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

Abstract

The purpose and purpose of this research is to find out that tropical nature rich in light effects can be explored as an idea to create paintings. When he lived in Penestanan Ubud Bali in the 1957s, he taught light painting techniques that drove the birth of Young Artist-style painting. The people of Penestanan initially did not respect the painting activities offered by Arie Smit, but driven by the concern of seeing firsthand the condition of the residents of Penestanan village, who were very poor and underdeveloped, then he felt called to liberate the younger generation of the Penestanan community from poverty economically but very culturally rich. To analyze the nature of trophies and paintings of young artists in Penestanan carefully and accurately, a qualitative method is used, imperially using a participatory approach, namely analyzing the works of painters educated by Arie Smit, such as: Soki, Cakra, and Dewa Kaka using a motivational, behavioral, and interaction approach. To depict identity, aesthetic experience, creative process, until it is realized into a painting of young artists is analyzed participatory. The results and discussions in an impermatic manner describe about; (1) Tropical and Campuhan nature as inspiration for light painting, (2) Light Painters, and (3) painting forms produced by the Penestanan people of Ubud. Conclusion; The realm of trophism and light can be explored into paintings by young artists. The young artist's painting style reflects the play of colors, light, lines, and decorative. Meanwhile, perspective is used to obtain gradations and display the impression of far and near. Findings; Light painting in the West and in the East (Bali) has a very distinctive difference. The identity of Western light painting emphasizes the impression, the painter must face a direct object that gives birth to an impressionist style of painting. Meanwhile, in Young Artist's paintings, light capture displays color, decoration, and bold lines. It is arranged with a gradation game so that from perspective to get a far and close impression
Karakter Api Sebagai Simbol Emosi Dalam Penciptaan Karya Seni Lukis Rahditya, Ida Bagus Mas Putra; Mustika, I Ketut; Putra, I Gede Jaya
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 5 No 2 (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.v5i2.4528

Abstract

This report contains a description of the creation of works of painting with the theme "Fire character as a symbol of an emotion in the creation of works of painting." This theme is inspired by the use of fire symbols to represent various emotions in art. In general, this report discusses how the symbol of fire can be used to depict emotions and characters in works of art. The problem faced is how to visualize emotions and characters through the symbol of fire to represent ideas, phenomena, meanings and techniques presented in creating works of painting. The creation method is a process of creating work systematically. In realizing this creation, the methods used include: basic research, exploration stages, experimentation, improvisation, and formation. The aim to be achieved in creatingthis work is to reveal how fire as a symbol of emotion can be a medium for creativity and imagination in the form of paintings, by applying the principles of fine art to create six works during this sixth semester.
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.
Preserving I Gede Modara’s “Rotating the Mountain of Mandara Giri” Painting Mudana, I Wayan; Wirakesuma, I Nengah; Kondra, I Wayan; Sujana, I Wayan; Mustika, I Ketut
Indonesian Journal of Multidisciplinary Science Vol. 2 No. 12 (2023): Indonesian Journal of Multidisciplinary Science
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/ijoms.v2i12.649

Abstract

I Gede Modara (1770), nicknamed I Gede Mersadi, was a pioneer of the Kamasan wayang painting, which is now called classical balinese painting. Kamasan wayang paintings are very bound by standards and provisions that are binding and standard, used for offerings and enlightenment to the people. One of the works left by Modara enlightenment painting, entitled "Pemuteran Gunung Mandara Giri" is made in the form of parba on wood, using balinese colors, now in very poor condition, not taken care of properly, and has not received attention from the government so that it gives the impression of being very neglectful of the heritage history. In fact, this work is a work that has a high reputation as an art historical heritage which is very important when future generations want to trace the civilization and development of balinese classical painting. Departing from this phenomenon, it is interesting to be used as research "Preservation of I Gede Modara's Painting with the title Screening of Mount Mandara Giri". The analytical approach used the concept of theory and method of preservation. Preservation relates to preservation, development and empowerment to create new or renewable products. In the discussion, discussing: 1) conservation measures, 2) development of creative industries, 3) community empowerment and expanding employment opportunities.
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.
Siklus Kehidupan Kupu-Kupu Sebagai Inspirasi Penciptaan Seni Patung Widi Apriana, I Wayan; Jodog , I Made; Mustika, I Ketut
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.v2i1.1537

Abstract

The life cycle of a butterfly in the Butterfly Park as an object of research on the creation of art works (sculptures), with the title “The Life Cycle of a Butterfly As Inspiration for the Creation of Sculpture Artwork.” To find out the problems faced by the author, it is necessary to research steps creation of works of art using construction theory approaches, semiotic theory, and aesthetic theory, while the research process uses a qualitative approach using data collection methods: observation, interviews, documentation, and literature study. The results of the discussion (1) the author makes with a representation of the butterfly’s life cycle, namely: (a) mating, (b) birth, (c) writhing (d) transitional period, and (e) rebirth. (2) in the process of carrying out the work using reinforced concrete materials with the technique of forming, sticking, adding and subtracting. (3) the embodiment of the author’s work displays a visual of the butterfly’s life cycle with a natural style in every work that is embodied. The color in each work that is realized by the author, namely the color of each object the is used as a reference for every three- dimensional artwork (sculpture). From this concept, a thesis work will be created. Five sculptures and journals.
Bangunan Pelinggih Merajan Alit Sebagai Inspirasi Penciptaan Karya Seni Lukis Neode, Haris Candra; Budiaprilliana, Luh; Mustika, I Ketut
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.v2i2.1843

Abstract

Merajan Alit is a place of worship in every Balinese Hindu family house. Visual beauty and its close relationship with self-identity and family make the creator interested in visualizing it into painting works. The foundation used was the Alma M. Hawkins method, Exploration, Improvisation, and Forming. Each of these methods contains methods and stages of creation that are applied by MBKM partners. From these methods and successes, six works were produced, entitled; 1) “Kemulan”, 2) “Taksu”, 3) “Aku Ingin Pulang”, 4) “Punggel”, 5) “Mencari Kedalam Diri”, 6) “Happy Family”. In these six works, the creators combine the transfer of technology, skills and knowledge obtained from campuses and partners, so as to create works that are expected to become the characteristics of the creators. With this work, it can be said, Merajan Alit can be a personal trigger because it is very closely related to personal and family identity. The feelings that arise can be very unique and varied so it is very suitable to be visualized as a work of painting. In addition, the use of traditional painting tools is also important because of the ancestral heritage so that it does not become extinct.
Tas Kanvas Lukis dengan Perca Endek Bali dan Kain Motif Khas Lombok yang Bernilai Seni dan Ekonomis Komalayakti, Diah; Mustika, I Ketut; Kondra, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 1 (2023): 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.v3i1.2335

Abstract

The process of creating something so that it can have added value in the economy is the notion of entrepreneurship. In that case, the creation of a product with innovation and creativity is very important. The use of textile materials in the form of canvas, endek patchwork and typical Lombok fabrics into a product in the form of a painted bag is an innovation in the creative industry and develops creativity. In addition, efforts to preserve the existence of traditional fabrics such as Endek fabrics and typical Lombok fabrics in the midst of modern times that lead to modern culture as a fashion trend can be carried out by collaborating with current trends. Endek is a traditional Balinese cloth that has a variety of motifs. Many endek fabrics are also designed to be clothing, so there is a lot of patchwork left. Meanwhile, typical Lombok fabrics are generally only used for certain activities as traditional clothing, but with creativity the two types of traditional fabrics can become unique works in the form of painted bags in collaboration with canvas as the main material. Bags are a fashion item that cannot be separated from the daily lifestyle of teenagers. The creation of bag products is carried out on a self-manufactured basis. So, of course it has high artistic value. The chosen bag design is a consideration of the uniqueness and tastes of the general public
ISI Denpasar Fine Arts Study Program MBKM 2023 Artwork Exhibition Display at Living World Denpasar Ivana, Jessica; Mustika, I Ketut; Utami, Ni Made Purnami
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 Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v3i2.2864

Abstract

Display is a system of arranging objects in a room which aims to display or show off these items. Display in the exhibition space is an important element that needs to be implemented to create an exhibition space that is comfortable for viewing works of art. This becomes a challenge for the exhibiton designer/gallerist to design the best possible exhibition space. The design of the artwork display will affect the visuals and atmosphere of the displayed artwork. In designing exhibition space displays, various concepts, approaches to methods of presenting works can be used. It is this variation of display design that will determine how visitors can perceive the meaning of exhibitions and works of art. Displays that are well designed will increase aesthetic value, value and can highlight the uniqueness of the work of art.
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 Bali

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
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