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All Journal Harmonia: Journal of Research and Education Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Jurnal Sosial dan Teknologi 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
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Barong Landung as Inspiration for the Creation of Painting Works Prayoga, I Made Adi Putra; 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 Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v3i2.3002

Abstract

The classic painting art of Wayang Kamasan has a distinctive depiction of figures, coloring techniques and complementary ornaments so that it has been preserved and maintained until now. In Bali there is also Barong Landung which has a historical background and interesting characteristics. The creation of this work and writing aims to find the author's unique painting style which is inspired by the figure of Wayang Kamasan by raising the topic of Barong Landung. The method used in the process of creating this work of art is the method of writing by Hawkins, which includes the stages of exploration, improvisation, and forming. The results of this activity are in accordance with the stages carried out, namely (1) during the exploration stage, ideas and relevant studies are generated regarding the works created; (2) the improvisation stage resulted in a sketch on a sketchbook; and (3) the formation stage produced six paintings according to the plot or history of Barong Landung
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 Bali

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 Bali

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 Bali

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 Bali

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 Bali

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 Bali

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.
Eksperimen Medium Getah Jantung Pisang Wirakesuma, I Nengah; Mudana, I Wayan; Kondra, I Wayan
Jurnal Sosial Teknologi Vol. 6 No. 2 (2026): Jurnal Sosial dan Teknologi
Publisher : CV. Green Publisher Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59188/jurnalsostech.v6i2.32681

Abstract

Eksperimen menggunakan medium getah jantung pisang dalam penciptaan seni lukis di atas kain kanvas. Getah jantung pisang memiliki karakter unik, klasik dan spesifik dibandingkan dengan warna sintetis lainya. Getah jantung pisang cenderung menampilkan warna khas putih susu, abu-abu, coklat muda, hijau-kekuningan, merah dan coklat tua. Melukis menggunakan getah jantung pisang dimulai dari memetik buah jantung pisang di kebun. Eksplorasi tenik memotong-motong tangkai jantung pisang sampai mengeluarkan getah dan menetes di atas kain kanvas. Sejak itu saya melukis secara spontanitas menggunakan getah jantung pisang, dengan melibatkan gerakan jari-jari tangan, menekan jantung pisang secara lembut, sedang dan keras. Efek dari tekanan-tekanan getah jantung pisang menghasilkan warna alami, sesuai dengan intensitas gerakan jari-jari tangan di atas kanvas. Metode yang digunakan dilakukan secara spontanitas, mengikuti tahapan-tahapan proses penciptaan seni (E4): Eksistensi, Eksplorasi, Eksperimen dan Evaluasi. Realisasi (E4) mencerminkan eksistensi proses kreativitas saya. Pemanfaatan elemen-elemen seni rupa seperti cahaya, titik, garis, ruang, bidang, warna, tekstur, dan komposisi. Karya seni lukis yang dihasilkan antara lain berjudul: Eksperiment Garis 1,  Eksperimen Garis 2, Eksperimen Garis 3, Eksperimen Kalaya 1 dan Eksperimen Kalaya 2. Penggunaan getah jantung pisang didorong oleh kebutuhan kreatiftas dan ekspresi jiwa agar menghasilkan karya seni yang bermutu, berkualitas serta memiliki nilai-nilai estetika yang tinggi.
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.