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All Journal E-Journal Of Cultural Studies PRASI: Jurnal Bahasa, Seni, dan Pengajarannya MUDRA Jurnal Seni Budaya PRABANGKARA Journal of Education Technology Jurnal Nasional Pendidikan Teknik Informatika (JANAPATI) Jurnal Pendidikan Kesehatan Rekreasi Bilancia : Jurnal Ilmiah Akuntansi Journal Coaching Education Sports Jurnal Cahaya Mandalika Jurnal Yustitia International Journal of Educational Review, Law And Social Sciences (IJERLAS) Bhumidevi : Journal Of Fashion Design Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Harmonia: Journal of Arts Research and Education
I Wayan Adnyana
Teachers’ Training College of PGRI BALI Seroja Street, Tonja, Denpasar
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Medicine & Pharmacology Physics Public Health Social Sciences Other

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VISUAL NARATIF LUKISAN WAYANG KAMASAN PADA BALE KAMBANG TAMAN GILI PURI KLUNGKUNG-BALI Cahyadi, I Wayan Agus Eka; Adnyana, I Wayan; Mudra, I Wayan; Swandi, I Wayan
Jurnal Cahaya Mandalika ISSN 2721-4796 (online) Vol. 3 No. 2 (2022)
Publisher : Institut Penelitian Dan Pengambangan Mandalika Indonesia (IP2MI)

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Abstract

Lukisan wayang Kamasan adalah seni lukis tradisional yang berasal dari Desa Kamasan di Kabupaten Klungkung, Bali, Indonesia. Lukisan ini menggambarkan cerita epik atau mitologi Hindu. Lukisan wayang Kamasan memiliki sistem hierarki yang ketat dalam penyusunan elemen visualnya. Setiap elemen lukisan memiliki makna simbolis, dan komposisi keseluruhan menggambarkan nilai-nilai religius dan filosofis yang mendalam. Seni lukis wayang Kamasan telah menjadi bagian integral dari warisan seni dan budaya Bali. Meskipun diciptakan sebagai hiasan, lukisan ini juga dinilai sebagai karya seni yang memiliki nilai estetika tinggi dan kaya akan makna simbolis.Artikel ini menganalisis visual naratif dari lukisan wayang Kamasan yang terdapat pada Bale Kambang Taman Gili Puri Klungkung-Bali. Penelitian ini menggunakan metode kualitatif, data penelitian dikaji dengan menggunakan teori bahasa rupa Primadi Tabrani yang menyebutkan lukisan tradisional termasuk lukisan wayang kamasan merupakan media komunikasi visual.Hasil penelitian menunjukkan bahwa lukisan wayang Kamasan di Bale Kambang tidak hanya merupakan ekspresi seni visual, melainkan juga memiliki peran signifikan dalam kehidupan masyarakat Bali. fungsinya meliputi pendidikan, ramalan, hiburan, sejarah, identitas budaya, dan ekspresi seni. Artikel ini berkontribusi dalam pemahaman bahwa keseluruhan lukisanwayang Kamasan menjadi bagian integral dari warisan budaya Bali, yang terus dilestarikan dan dihargai oleh masyarakatnya.
SACRED NARRATIVES UNVEILED: EXPLORING THE SYMBOLISM OF LINTANG GOWANG IN WAYANG KAMASAN PAINTINGS AT BALE KAMBANG TAMAN GILI KERTHA GOSA Cahyadi, I Wayan Agus Eka; Adnyana, I Wayan; Mudra, I Wayan; Wasista, I Putu Udiyana; I Wayan Swandi
International Journal of Educational Review, Law And Social Sciences (IJERLAS) Vol. 4 No. 1 (2024): January
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/ijerlas.v4i1.1293

Abstract

This study addresses the need for more documentation systematically analyzing the significance of wayang kamasan illustrations in Bale Kambang Taman Gili Kertha Gosa. Despite historical actors passing away and lacking comprehensive studies on these illustrations, the article examines the iconographic meaning of lintang gowang. Researchers are intrigued by this phenomenon, especially considering the absence of empirical evidence supporting the conscious self-beheading capacity, a crucial aspect from a medical perspective. The incorporation of limb offerings and blood rituals in Hinduism strengthens the motivation to explore the illustration's meaning, particularly in evolving offering traditions in Bali. This visual narrative holds distinct significance, requiring extensive scholarly inquiry. Using an iconographic approach, qualitative research reveals narrative motifs in Tantri Kamandaka stories and tantra yana teachings involving head offerings, symbolizing a surrender act reaching the pinnacle of consciousness. The dramatized beheading and voluntary surrender underscore the doctrinal essence of self-offering, transcending dualities and the human ego, aiming for the highest consciousness levels.
Abinawa Musara Ahyung: Analogi Anggrek Pensil Dalam Busana Feminine Exotic Wardani, Putu Asri; Adnyana, I Wayan; Pebryani, Nyoman Dewi
BHUMIDEVI: Journal of Fashion Design Vol. 3 No. 1 (2023): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/bhumidevi.v3i1.2236

Abstract

Anggrek pensil yang memiliki nama latin papilionanthe hookeriana merupakan tanaman hias yang menyandang gelar sebagai Ratu Anggrek dan mendapat hadiah berupa “First Class Certificate” dikarenakan keindahannya yang mampu menawan para pemerintah inggris dan masyarakatnya pada tahun 1882. Tanaman yang terkenal memiliki habitat alami di Danau Dendam Tak Sudah ini menjadi ide pemantik untuk mewujudkan busana ready to wear, ready to wear deluxe dan haute couture yang kemudian dikemas dengan konsep busana Feminine Exotic yang berjudul Abinawa Musara Ahyung. Pembedahan tanaman anggrek pensil ke dalam bentuk mind mapping menghasilkan 5 kata kunci yang kemudian dapat diimplementasikan lewat teori analogi. 5 kata kunci terpilih yaitu: bergelombang, tutul ungu, halus, ungu gradasi, dan lurus. Metode penciptaan yang digunakan dalam pembuatan busana Abinawa Musara Ahyung adalan metode FRANGIPANI yang terdiri dari delapan tahapan penciptaan desain fashion yang ditulis oleh Dr. Tjok Istri Ratna Cora Sudharsana, tahun 2016. Hasil akhir dari rekacipta penciptaan busana Abinawa Musara Ahyung ini diharapkan dapat menambah kepustakaan dalam bidang fashion.
Swastra Seni Busana : Sebuah Analogi Dari ”Lukisan Penangkapan Pangeran Diponegoro Karya Raden Saleh” Sebagai Inspirasi Penciptaan Karya Busana Berkolaborasi Dengan Pagi Motley Studio Dewi, Dewa Ayu Sinta; Adnyana, I Wayan; Mudarahayu, Made Tiartini
BHUMIDEVI: Journal of Fashion Design Vol. 4 No. 1 (2024): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/bhumidevi.v4i1.3557

Abstract

Lukisan Penangkapan Pangeran Diponegoro karya Raden Saleh adalah salah satu karya seni terkenal yang menggambarkan peristiwa sejarah penting di Indonesia pada abad ke-19. Pangeran Diponegoro digambarkan dalam keadaan yang sangat dramatis, dengan tangan terikat dan dipandu oleh tentara Belanda. Lukisan ini mencerminkan semangat perlawanan dan perjuangan bangsa Indonesia melawan penjajah. Penciptaan karya busana Tugas Akhir yang dilatarbelakangi oleh keinginan penulis dalam mengimplementasikan Lukisan Penangkapan Pangeran Diponegoro dengan mewujudkannya kedalam karya busana dengan menggunakan teori pendekatan analogi. Metode yang digunakan dalam penciptaan karya ini adalah sembilan penciptaan Frangipani hasil penciptaan ini diharapkan dapat memperkenalkan Lukisan bersejarah yaitu Lukisan Penangkapan Pangeran Diponegoroa karya Raden Saleh yang di visualisasikan dengan karya busana Tugas Akhir ready to wear, ready to wear deluxe dan semi couture.
Interpretasi Karakteristik Dewa Siwa Sebagai Inspirasi Seni Lukis Sadewa, Kadek Ian Gangga; Adnyana, I Wayan; Yudha, I Made Bendi
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.v4i2.1061

Abstract

This thesis contains a description of the creation of painting with the theme "Interpretation of the Characteristics ofLord Shiva as the Inspiration for Painting". The discussion of this theme is based on the symbolic form of Lord Shiva who has a background story and deep spiritual meaning, feels very relevant to be implemented regarding thephenomenon of social life in the modern era like today. The results are manifested in paintings using the creationmethod of Graham Wallas. The creation method includes the stages of preparation, incubation, getting inspiration, totesting. At the preparation stage, knowledge, insight, and framework of thinking are processed as instruments in findingproblems and solving problems, including the preparation of mind mapping. Towards the incubation stage, thesubconscious/preconscious takes over the process of searching and solving problems. At the stage of getting inspiration, the conscious and logic take back control to be able to elaborate on data or even ideas obtained previously to then beformulated as a concept. This stage is carried out by making a sketch as a record of the idea so that it is not biased andspread everywhere. The last is the testing stage which is carried out simultaneously with the formation or manifestationof the work. The results of this research and creation are in the form of six paintings about the characteristics of LordShiva with the titles (1) Shiva Nilakantha, (2) Shiva Trinetra, (3) Shiva Nataraja, (4) Lingga Yoni, (5) Trisula, (6) Nandhi. The meaning of the characteristics of Lord Shiva is poured into metaphorical visual symbols, with relevantassumptions, so as to achieve a narrative that is intended to be conveyed. The concept of the painting is adjusted to thestyle of surrealism and symbolism, namely the expression of concepts through forms that go beyond reality, and byusing symbols as its strength.
Canggu's Batu Mejan Beach As A Source Of Inspiration For The Creation Of Painting Works Setiawan, I Made Ricky; Adnyana, I Wayan; Utami, Ni Made Purnami
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 Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i1.3630

Abstract

The author discusses the history and atmosphere that the author experienced when creating the work as inspiration for painting. This topic was chosen as a means of conveying to the public what the history and atmosphere of Batu Mejan Beach is like and how the author created it in a work of painting. Creation of works is carried out through the steps of research, creation and presentation of art. This research is qualitative in nature by collecting data through journals related to Batu Mejan Beach. The method used is the Hawkins creation method, namely: idea exploration, improvisation/experimentation and realization. The originality of the work is carried out by the author from the basis of the emergence of an idea to the creation of a work of art using the visual source of coral rocks at Batu Mejan Beach and the addition of objects that have meaning/symbols. The visualization of the work emphasizes the elements of the idea and the techniques in which it is developed, accompanied by a spirit of taste that is built to give an aesthetic impression through the presentation of forms, as well as concepts that are used as references in each work. The result of the creation is a form of visualization of a painting by emphasizing the elements and principles of painting. The creation of this painting work is entitled "Canggu's Batu Mejan Beach as a Source of Inspiration for the Creation of Painting Works" with the output being a final thesis work and six works of painting art. Using palette techniques and acrylic paint materials with an expressionist flow.
Co-Authors Abd. Rasyid Syamsuri Agus Cahyono Anak Agung Ngurah Putra Laksana Ardana, Wayan Nika Citra Smara Dewi Dewi, Dewa Ayu Sinta Gangga, I Putu Bisma Maha Hermawan, Gede Satya I Gusti Ngurah Ardana I Kadek Yudha Pranata I Ketut Sumerta I Komang Sudirga I Made Bendi Yudha, I Made Bendi I Made Radiawan I Made Suparta I Wayan Mudra, I Wayan I Wayan Swandi Ida Ayu Kade Arisanthi Dewi Jenaru, Kandidus Jimyanto Kadek Eva Krishna Adnyani Kadek Suryadi Artawan Kopong, Daton Maryoto Subekti Mudarahayu, Made Tiartini Muhammad Jazuli Ni Komang Arie Suwastini Ni Luh Putu Indrawathi Ni Nyoman Murniasih Ni Putu Yeni Ari Yastini, Ni Putu Yeni Ari Ni Wayan Lady Andini Nurjadin, Indira Estiyanti Nyoman Dewi Pebryani Pratama, I Putu Andika Pratama, Pande Putu Yogi Arista Ramadhana, Rizki Ayu Remawa, Anak Agung Gede Rai Sadewa, Kadek Ian Gangga Setiawan, I Made Ricky Suryajaya, Cok Agung Utami, Ni Kadek Cahya Dwi Utami, Ni Made Purnami Wardani, Putu Asri Wasista, I Putu Udiyana