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All Journal Buletin Udayana Mengabdi Jurnal Pendidikan Seni Rupa Jurnal Ilmiah Desain & Konstruksi Gorga : Jurnal Seni Rupa Harmonia: Journal of Research and Education IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vitruvian : Jurnal Arsitektur, Bangunan, dan Lingkungan MUDRA Jurnal Seni Budaya PRABANGKARA Panggung Jurnal Patra Jurnal Syntax Transformation International Journal of Social Science Jurnal Vastukara: Jurnal Desain Interior, Budaya, dan Lingkungan Terrbangun Journal of Aesthetics, Creativity and Art Management Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara International Journal of Economic, Finance and Business Statistics (IJEFBS) Journal of Aesthetics, Design, and Art Management Panggung Global Art Creativity Conference Harmonia: Journal of Arts Research and Education
Remawa, Anak Agung Gede Rai
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Transportation Other

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Estetika Bentuk Busana Pada Lukisan Wayang Kamasan Made Tiartini Mudarahayu; I Nyoman Sedana; Anak Agung Gede Rai Remawa; I Ketut Sariada
PANGGUNG Vol 31 No 2 (2021): Estetika Dalam Keberagaman Fungsi, Makna, dan Nilai Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i2.1573

Abstract

Di balik keberagaman bentuk busana dalam lukisan Wayang Kamasan, terdapat pakem dan kreativitas bagi pelukis gaya Kamasan, mengingat bahwa kesenian ini merupakan kesenian klasik dan komunal di Bali. Penelitian menggunakan metode kualitatif dengan pendekatan estetika bentuk dari Thomas Munro yang menyatakan bahwa satu benda seni memiliki pengorganisasian unsur dan detail yang ditujukan untuk menyampaikan imajinasi dan pesan dari sebuah objek, adegan, situasi dalam benda seni tersebut. Hasil studi menunjukkan bahwa motif busana figur dalam seni lukis Wayang Kamasan dapat dibagi dalam tiga bagian, yaitu: (1) Bagian kepala (utama), terdiri atas motif yang menggambarkan identitas utama dari figur yang ingin disampaikan, contohnya: motif buana lukar pada figur Bima. (2) Bagian badan (madya), terdiri dari motif pendukung identitas figur, contohnya: motif gelang kana pada figur Tualen. (3) Bagian kaki (nista), terdiri atas motif kain yang mendukung identitas figur, seperti motif poleng pada figur Bima. Motif yang menjadi pakem dan tidak dapat diubah polanya adalah motif utama, sedangkan sebagian dari motif isian bersumber dari kreativitas masingmasing seniman. Hasil penelitian menunjukkan bahwa terdapat ruang eksplorasi yang luas bagi kreativitas seniman lukis Wayang Kamasan.Kata Kunci: Estetika Bentuk, Motif Busana, Lukisan Wayang Kamasan, Pakem, Kreativitas
Cultural Promotion Through Digital Media: Showcasing Sasak Women I Nyoman Yoga Sumadewa; I Nyoman Artayasa; Anak Agung Gede Rai Remawa; I Wayan Swandi
International Journal of Economic, Finance and Business Statistics Vol. 2 No. 3 (2024): Juni 2024
Publisher : MultiTech Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59890/ijefbs.v2i3.2085

Abstract

The role of women in the Sasak Tribe, apart from being a housewife, also has an important role in their social life. The role of Sasak women starts from childhood, becoming a skilled girl. This is a provision, because Sasak women are required to not only be good at taking care of the household and family, but also contribute to the family economy. Packaging Sasak women in the form of digital works so that the values contained are easy to accept among the current generation with an approach to the community or research target is carried out in various ways. The digital character is designed with full of values, in which it also includes forms of local wisdom from the point of view of life and local cultural wisdom in the form of daily habits and behavior in social interactions. The creation of this work uses the design thinking method of empathize, define, ideate, prototype, and test that is a process of realization of the phenomena that occur in society today, especially Sasak women, aesthetic elements that appear in this work such as the use of several accessories that add aesthetics and must be worn by Sasak women when attending events.
The Influence of Bali Garden-Themed Murals on Visitor Interactivity at Living World Mall Bali Farhan, Farhan; Anak Agung Gede Rai Remawa; Made Ida Mulyati
IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vol. 12 No. 2 (2024): IDEAS: Journal on English Language Teaching and Learning, Linguistics and Lite
Publisher : Institut Agama Islam Negeri Palopo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24256/ideas.v12i2.5811

Abstract

Murals in the modern era can create interactivity with visitors (users) as a form of participatory description of societal phenomena, particularly murals at Living World Mall Bali (LWMB), which use the Bali garden concept. The aim of this study is to describe interactivity, visitor responses, and the implementation of the Bali garden concept in the murals at LWMB. To achieve these goals, the researcher applies theories and approaches from interactivity, aesthetics, color psychology, and education. The research method is descriptive qualitative, in the form of a case study. Research data include visitor behavior and responses, as well as the construction of murals with the Bali garden concept. Data collection techniques include observation, interviews, and document studies. Data analysis uses an interactive model, consisting of data reduction, data presentation, and verification/conclusion drawing. The research findings contain descriptions of visitor interactivity with the murals, including behaviors such as taking photos, appreciating aesthetic value, using the mural as an inspirational image medium, an information medium, a medium for conveying moral messages, and an educational medium by observing, touching, and documenting. Visitor interactivity with the murals at LWMB serves as a medium for inspiration, a means of conveying moral messages to promote cultural and environmental values of Bali, and an educational medium in the arts, fostering psychological comfort, a sense of brotherhood, and a spirit of mutual cooperation.
EXPLORATION OF BOROBUDUR TEMPLE PANELS IN TRADIGITAL VISUAL LANGUAGE: CONSERVATION INNOVATION THROUGH AUDIOVISUAL TECHNOLOGY Yayat, Yayat; Anak Agung Gede Rai Remawa
International Journal of Social Science Vol. 4 No. 4: December 2024
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i4.9741

Abstract

Borobudur Temple, an ancient architectural marvel located in Central Java, Indonesia, stands as one of the world’s most significant cultural heritage sites. Constructed during the 8th century by the Sailendra dynasty, Borobudur is an extraordinary representation of Mahayana Buddhist teachings, conveyed through its intricate narrative reliefs. As modern technology advances, methods for preserving and presenting this cultural legacy are evolving. This paper investigates the integration of visual effects (VFX) and audiovisual media in enhancing the understanding of the temple's relief panels. By employing advanced VFX techniques, the narrative stories embedded in the temple’s stone reliefs are reconstructed in ways that offer visitors a deeper, more immersive visual experience. The incorporation of technology not only aids in preserving the cultural history of Borobudur but also facilitates educational outreach by introducing the temple to global audiences through an interactive digital medium. This study contributes to the field of digital art conservation and cultural heritage preservation
SEMIOTIC ANALYSIS OF THE AGA ROSÉ LABEL FROM HATTEN WINES BASED ON ROLAND BARTHES' THEORY Made Arini Hanindharputri; I Nyoman Artayasa; Anak Agung Gede Rai Remawa; Alit Kumala Dewi
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.600

Abstract

This study examines the semiotic meanings in the label design of Aga Rosé, a wine product by Hatten Wines, through Roland Barthes' semiotic theory. It focuses on how the label's visual elements communicate cultural and branding messages. The purpose of this study is to explore the denotative and connotative meanings of the Aga Rosé wine label and how these elements contribute to brand image formation and consumer perception. This research employs a qualitative methodology, analyzing visual elements such as color, imagery, and text, which represent local cultural values, based on Roland Barthes' semiotic approach. The Aga Rosé label effectively incorporates cultural symbols and aesthetics, reflecting Indonesian cultural identity. This design strengthens consumers' emotional attachment to the brand and enhances loyalty. The findings underscore the importance of culturally inspired design as a strategy for building strong brand identities in competitive markets.
Kemasan Bubuk (Powder) Balinese Colour Untuk Meningkatkan Promosi Dan Daya Tarik Produk Pasek, I Gede; Rai Remawa, Anak Agung; Sida Arsa, I Ketut
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 1 (2025): April 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i1.91752

Abstract

Balinese Colour merupakan warisan turun temurun material Cat berbasis alam yang terbuat dari beberapa material, berbasis organik (hewani dan nabati) maupun yang bersifat anorganik (mineral tanah, batu dan lain sebagainya). Secara karakteristik material Cat Bali adalah material warna berbasis air atau waterbase. Kemasan Bubuk (powder) Balinese Colour, dalam perancangan ini memiliki dua tujuan 1.) Membuat konsep kemasan bubuk (powder) Balinese Colour. 2.) Mengimplementasikan konsep kemasan bubuk (powder) Balinese Colour dalam bentuk prototype. Metode pengumpulan data dilakukan dengan teknik observasi, dan wawancara. Teori yang digunakan dalam desain kemasan ini adalah teori identitas visual dan kesadaran merek. Hasil dari perancangan ini mencakup; 1.) Konsep identitas visual meliputi logo mengadopsi konsep logotype, tipografi penerapan huruf arial. 2) visualisasi konsep identitas visual melibatkan logo, tipografi, yang dikembangkan melalui tahap merancang konsep. Sketsa, dan editing digital, identitas visual yang telah dirancang kemudian diimplementasi dalam kebutuhan desain kemasan Balinese Colour. Setelah implementasi, dilakukan uji coba dan analisis terhadap karya identitas visual tersebut. Hasil uji coba yang melibatkan forum diskusi dan kuisioner kepada responden menunjukan bahwa desain yang telah dikembangkan berhasil menjadi identitas visual Balinese Colour. Kata-kata Kunci: Kemasan, Identitas Visual, Brand, Desain Komunikasi Visual
Iconographic Analysis on Intermediality Transfer of Undagi's Indigenous Knowledge Lexicon to Visual Cinematography Noorwatha, I Kadek Dwi; Santosa, Imam; Adhitama, Gregorius Prasetyo; Remawa, Anak Agung Gede Rai
Harmonia: Journal of Arts Research and Education Vol. 25 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v25i1.29131

Abstract

This study aims to investigate how the indigenous knowledge lexicon of Balinese undagi (traditional architects) in architecture can be transferred into visual cinematography to preserve cultural heritage, with a focus on engaging broader audiences. Employing an iconographic approach, the research analyzes the documentary Calaccitra Undagi Mahottama: Biografi I Gusti Made Gede (1843-1940) through three stages: pre-iconographic identification of visual motifs, iconographic interpretation of thematic meanings, and iconological assessment of cultural significance. Results reveal that Balinese architectural lexicons—such as Tri Mandala, Sanga Mandala, and CWSGR—are effectively abstracted into cinematic frames via intermediality, using symbolic natural imagery and spatial grids rather than physical structures to convey aesthetic and philosophical values. The study concludes that visual cinematography offers a potent medium for preserving architectural heritage by translating static spatial concepts into dynamic narratives, fostering continuity of traditional knowledge, particularly among younger generations, though its efficacy hinges on audience reception and contextual adaptation.
Co-Authors Adhitama, Gregorius Prasetyo Alit Kumala Dewi Anak Agung Sagung Istri Trisnadewi Artadi, I Made Pande Farhan Farhan Gede Pasek Putra Adnyana Yasa I Gede Mugi Raharja I Gusti Ngurah Ardana I Ketut Adi Sugita I Ketut Muka I Ketut Sariada, I Ketut I Komang Indra Wira Pranata I Komang Sudirga I Made Jayadi Waisnawa I Made Radiawan I Made Suparta I Nengah Wirakesuma, I Nengah I Nyoman Artayasa I Nyoman Artayasa I Nyoman Sedana I Nyoman Yoga Sumadewa I Wayan Adnyana I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Suardana I Wayan Swandi I.M. Radiawan I.N. Puja Imam Santosa Kadek Anggia Sandra Dewi Ketut Indira Suasti Prayojani Komang Yudistia Kondra, I Wayan Made Arini Hanindharputri Made Ida Mulyati, Made Ida Made Tiartini Mudarahayu N.L.R. Purnawan N.M.I. Muliyati Ni Gusti Ayu Paramita Ni Ketut Seminari Ni Luh Desi In Diana Sari, Ni Luh Desi In Noorwatha, I Kadek Dwi Nyoman Dewi Pebryani Padmanaba, Cok Gd Rai Pasek, I Gede Putu Ari Darmastuti Putu Ariella Peggy Sabella Ratna Cora Sudharsana, Tjok Istri Ruta, I Made Sida Arsa, I Ketut Suranjaya I .Gd Toddy Hendrawan Yupardhi, Toddy Hendrawan Totton, Mary Louise Wasista, I Putu Udiyana Yayat Yayat