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All Journal Harmonia: Journal of Research and Education Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Cermin Dunia Kedokteran Indonesian Journal of Multidisciplinary Science Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Kondra, I Wayan
Indonesian Institute Of The Arts Denpasar
Arts Humanities Chemistry Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Immunology & microbiology Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Medicine & Pharmacology Physics Public Health Social Sciences

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Sang Hyang Semara Ratih as The Creation of Painting Ninggrat, I Dewa Gede Wisnu Jaya; Budiarta, I Dewa Putu Gede; Kondra, I Wayan
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.v3i2.3003

Abstract

This independent project thesis raises the title Sang Hyang Semara Ratih as the creation of a painting. In the Hindu mythological story Sang Hyang Semara Ratih, which is the lamp of the gods and goddesses as a symbol of love full of desire and loyalty and sacrifice. The story is told in Lontar Cundamani II. In this quote, it is told that heaven is being attacked by the giant Nilarudraka, a powerful giant who wants to rule over heaven. The gods were all defeated, none of them could fight him. Finally the gods came to Bhagawan Wraspati to ask and predict who would be able to beat the giant. Finally the results of the prediction showed that the giant Nilarudraka would only be defeated by the elephant-headed children of Lord Shiva. From the contents of this thesis, the author also reveals the creation of works of art, which the author creates and shows, namely the visuals of the Hindu Mythological object Sang Hyang Semara Ratih which contain many philosophical meanings in it. The conclusion of Sang Hyang Semara Ratih's thesis as the creation of this painting aims to provide an understanding for readers to recognize the meaning of the symbols contained in Sang Hyang Semara Ratih.
Sanghyang Dedari Dance in Geriana Kauh Village, North Duda, Karangasem as the Creation of Painting Works Arnawa, I Komang Krisna; Mudana, I Wayan; Kondra, I Wayan
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.v3i2.3005

Abstract

Sang Hyang Dedari is a traditional Balinese dance which is interpreted as a ceremonial dance to ask for safety Sang Hyang Dedari is a traditional Balinese dance which and repel reinforcements for the local community. The Sanghyang Dedari dance in Geriana Kauh Village has its own uniqueness, especially in the clothing and attributes used, in the clothing section the yellow and white clothing is used which symbolizes purity and safety or prosperity, which distinguishes Sanghyang in Geriana Village from the Sanghyang in place, namely in terms of the bun or crown, in Geriana Kauh Village they still use natural products as crowns, namely grapefruit peels and flowers such as sandat, cempaka, ratna, gumitir, and jepun flowers, which are arranged in such a way as to resemble a bun. Sanghyang Dedari's performance was performed at the catus pate or crossroad, in the center of the village. Sanghyang Dedari is danced by 2 to 7 child dancers who are underage, not yet mature or mature, these dancers or pengayah have the opportunity to sing for up to 3 terms, after a re-election is held. Sanghyang dedari is accompanied by songs, songs, songs. When dancing, the dancers will follow the strains of the gending being chanted, in the middle of that there is what is called the lilit-linting procession, in which the dancers will climb a bamboo stick and dance to the strains of the gending, this lilit-linting is shaped like a cross or tapak dara, which is also display a safety sign. In this independent project, the author shows the process and sequence of the Sanghyang Dedari dance, from the beginning to the end of the Sanghyang Dedari dance in Geriana Kauh Village, Duda Karangasem Strait.
Tampiog Dance Tradition as a Source of Inspiration for Painting Works Yana, I Wayan Wirta; Kondra, I Wayan; Budiarta, I Dewa Putu Gede
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.v3i2.3008

Abstract

The Tampiog Dance tradition literally means kicking fire in its implementation involving the youths, undagi and stakeholders as participants and witnessed directly by village krama around the village of Manukaya Let. This shows that the Tampiog organizational culture that is formed in a system called Pekraman village is able to move each other to make the implementation of its activities successful. The Tampiog Dance Tradition (Kicking Fire) is a mythology that has been accepted as an inheritance by the people of Manukaya Let Village for generations. This tradition sounds and looks unique and rare, simply not found anywhere else. After carrying out a joint prayer at the Balai Agung Temple or the Village Temple, the village. So in the evening the Tampiog Dance tradition was immediately carried out. This tradition was carried out by the Pemangku who started this ceremony and was continued by the Banjar youth Manukaya Let. In carrying out this tradition, all residents were expected to be able to think cleanly, speak the truth and do what was noble. In this independent project, the author displays a tradition that stands out in the Tampiog tradition that is highlighted, namely the tradition of kicking a fire.
Self-Introspection as an Idea in Creating Paintings Kepakisan, Gede Agung Nugraha Arya; Yudha, I Made Bendi; Kondra, 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 DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.3375

Abstract

This thesis contains a description of the creation of works of painting with the theme "Self-Introspection as an Idea in Creating Works of Painting". This thesis discusses the significance of introspecting oneself on past mistakes in order to achieve a more positive impact in the future. Self-examination enables learning from mistakes, personal improvement, self-development, improved social relationships, and increased mental well-being. In conclusion, self-introspection is an important step on the journey towards better personal development and achieving a more positive impact in the future. The results of the application of the past are felt through the five senses, reason and true feelings which combine harmoniously and the more aware you are, the more you understand the life scenario. This is the grand design to bring us to continue evolving towards perfection.
Rerajahan Aesthetics as an Idea for Creating Painting Works Aprianta, I Putu Gede Ivan Ayestha; Kondra, I Wayan; Sucipta, I Wayan Adi
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.v4i1.3635

Abstract

This independent study report raises the theme of Rerajahan Aesthetics as an Idea for Creating Painting Works, starting from raising ideas around rerajahan. All aspects of Balinese life are imbued with Hinduism, which indirectly gives birth to a socio-religious culture. Various cultural elements were born due to the demands of religious needs. Art as an element of culture was also born due to the demands of religious activities. This has encouraged the creation of various forms of symbolic-magical art which are representations of something abstract. One of them is in the form of pictures or writing which is commonly called Rerajahan. For the Balinese people, rerajahan, apart from being a means of religious ceremonies, is also believed to have very high supernatural powers. This believed power functions as a means of suggestion to achieve certain desires or goals. In this case, the effect of rerajahan is that it is able to become a source of ideas for artists in creating modern works of art without abandoning the traditional values behind it. Rerajahan is also a very inspiring work of traditional art, and a source of ideas for some Balinese artists in creating individual works.
Overcoming The Feeling Of Insecure As An Idea In The Creation Of Painting Art Puspayoga, Putu Gede; Kondra, I Wayan; Sucipta, I Wayan Adi; Suryadinata T. Y., Anak Agung Gde Trisna
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.v4i1.3637

Abstract

Insecurity is a feeling of discomfort or fear that is triggered by a feeling of dissatisfaction and uncertainty about one's capacities. Insecurity is a common problem that often occurs among society, especially today's young people, if it is not addressed it can disrupt productivity in living life, a lack of understanding and knowledge regarding insecurity and how to overcome this condition often causes this insecurity to be a taboo matter. The aim to be achieved in the creation of this work is to understand the efforts that can be made to overcome feelings of insecurity in the perspective of packaging the embodiment of a work of painting. The author will visualize the efforts to overcome this feeling of insecurity using a visual analogy approach in the meaning of a message that will be expressed as a work of painting. In its development, the author formulated several things, various efforts to overcome feelings of insecurity and a visual analogy approach technique in expressing expressions of efforts to overcome feelings of insecurity.
Tension-Pleasure and Education Values of the Meta-Figurative of Indonesian Contemporary Paintings Adnyana, I Wayan Kun; Totton, Mary Louise; Remawa, Anak Agung Gede Rai; Muka, I Ketut; Ruta, I Made; Wirakesuma, I Nengah; Kondra, I Wayan; Suardana, I Wayan; Sugita, I Ketut Adi
Harmonia: Journal of Arts Research and Education Vol 23, No 1 (2023): June 2023
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v23i1.41296

Abstract

Meta-figurative is a physical aesthetic discourse that reaches beyond the physical beauty of ideal bodies (skeletal construction, muscles, and skins). The interpretation approaches used new criticism, according to Culler (2001), that goal to identify what the works repress or illuminate by concealing and portraying society and social attitudes. Meta-figurative encompasses exploration pertaining to the interchangeable position and condition between tensions and pleasures of bodies in the social space. Fifteen Indonesian contemporary artists are: Mangu Putra, Entang Wiharso, Chusin Setiadikara, Agus Suwage, FX Harsono, Ivan Sagito, Heri Dono, Ronald Manulang, Nyoman Masriadi, Nyoman Erawan, Putu Sutawijaya, Laksmi Sitaresmi, Made Djirna, Ugo Untoro, and Bob Sick Yuditha have been conducting creative efforts and questioning about matters of the bodies’ position in the public space, conducting current interpretation through personal artistic and aesthetical language. There are five representation tendencies of meta-figurative paintings thematically, artistic images, and visual meanings: marginalized bodies, fictionalized bodies, bodies of expression, autobiographical bodies, and beyond famous portraits. Indonesian contemporary artists have made figurative subjects in their paintings to make statements, self-reflections, and moral voices of their country’s socio-political conditions, which are educational values of Indonesian Contemporary Paintings in social meaning. Poverty, corruption, and anti-democracy practices still part of Indonesian daily realities are area protests for contemporary artists.
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.
BALI PUPPET IN CONTEMPORARY PAINTING ART Yoga, I Wayan Swantara; Mudana, I Wayan; Kondra, I Wayan
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.v5i1.4492

Abstract

The independent campus learning program is a policy of the Minister of Education and Culture, which aims to encourage students to master various knowledge that is useful for entering the world of work. This independent project study report highlights the concept of Balinese Shadow Puppetry in Contemporary Painting. Departing from the rare Shadow Puppetry which has become one of the inspirational ideas for creating art. The selection related to Shadow Puppet visuals in the creation of this work of painting presents the story of wayang as expressed through 6 (six) works of Painting. The problem faced is the concept, method and embodiment of Balinese Shadow Puppetry in Contemporary Painting. The aims and benefits are to provide a reflection on the creation of Balinese Shadow Puppets in Contemporary Painting. To answer the problems above, the creation method is a solution by applying exploration, improvisation, forming. Soedarsono (2001: 207), in realizing his work, the author used his own techniques or (experiments) combined with Shadow Puppet visuals and combined them with the characteristic ornaments of Sanggar Wasundari. Wet technique and application of color from Shadow Puppet and Kamasan Puppet. It is hoped that it can produce quality work and become the identity of the creator. In the end, it can be concluded that Balinese Shadow Puppets can inspire writers in creating valuable and meaningful works. With the creation of this work, it is hoped that it will be able to convey the message in this work of painting.
CILI as a source of inspiration for ideas for crating work of fine art Utama, Pande Komang Budhi Sastra; Setem, I Wayan; Kondra, I Wayan
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.v5i1.4512

Abstract

This report describes the creation of works of painting with the theme "Cili as a source of inspiration for ideas for creating works of fine art", which was inspired by the unique shape of a cili, a ceremony in agrarian life that is involved in most people. In this case, Cili is a symbol of the transformation of the Goddess Sri into the Goddess of Fertility, Prosperity of the Mother Goddess or Mother Earth, from the land or Mother Earth all human needs emerge, for example plants and others. Cili is a symbol that is closely related to life and fertility. sometimes cili is associated with the goddess Sri, the goddess of rice, who symbolizes fertility. The meaning of chili in Balinese culture is closely related to the ceremonies in agricultural life that most people participate in. In this case, chili becomes a symbol of the reproduction of Dewi Sri as the goddess of fertility, prosperity of the Mother Goddess or Mother Earth, from whom the land or Mother Earth produces all human needs, for example plants and others. In the creation process using steps: basic research, exploration, improvisation. In the process of creating the work, the author took references from the Wasundari Kamasan studio as a source for creating the work. The author combines the given ornaments. In the creation process the author took the shape of water, the shape of rocks, and the shape of a tree.
Co-Authors Aprianta, I Putu Gede Ivan Ayestha Arnawa, I Komang Krisna Budiarta, I Dewa Putu Gede Dalem Ramadi, I Gusti Ngurah Divayana, I Putu Drs. I Wayan Mudana,M.Si. . Gede Putra Jaya, I Made Ginting, Serevina Rikel Carroland Gulendra, I Wayan I Ketut Adi Sugita I Ketut Muka I Made Bendi Yudha, I Made Bendi I Nengah Wirakesuma, I Nengah I Wayan Adnyana I Wayan Gunawan, I Wayan I Wayan Setem, I Wayan I Wayan Suardana I Wayan Sujana I Wayan Widyantara I WAYAN WIDYANTARA Ja’far, Wanda Masyita Kariana, I Nengah Kepakisan, Gede Agung Nugraha Arya Komalayakti, Diah Mustika, I Ketut Ninggrat, I Dewa Gede Wisnu Jaya Prayoga, I Made Adi Putra Puspayoga, Putu Gede Putra, I Gusti Putu Ngurah Cahyana Ady Remawa, Anak Agung Gede Rai Ruta, I Made Sucipta, I Wayan Adi Suryadinata T. Y., Anak Agung Gde Trisna Tirta Ray, D. A. Tjokropramono, I Gede Yosef Totton, Mary Louise Utama, Pande Komang Budhi Sastra Wahana, Karang Sweta Yana, I Wayan Wirta Yoga, I Wayan Swantara Yugus, A. A.