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All Journal Religious: Jurnal Studi Agama-Agama dan Lintas Budaya Jurnal Informasi dan Teknologi Indonesian Journal of Multidisciplinary Science 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
Mustika, I Ketut
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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

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Fineline Tattoo Design as a Form of Self Expression at Ingkeu Ink Tattoo Studio Fauzi, Ivan; Tjokropramono, I Gede Yosef; Mustika, I Ketut
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.v4i1.3642

Abstract

The main objective of this research and art creation is to create and present the work "Designing Fineline Tattoos as a Form of Self-Expression at Ingkeu Ink Tattoo Studio" as a representation of arts and culture education. Fineline tattoo is a style of tattoo that involves creating a design with very thin and smooth lines. These tattoos are often minimalist and subtle, with intricate and detailed designs that require a skilled artist to execute. This creation is research-based, so the method consists of two inseparable parts, namely the research method and the creation method. The technique for implementing MBKM internship/work practice activities at Ingkeu ink tattoo studio is carried out using a project based learning model. In designing this tattoo design, it begins with brainstorming together to collect the concepts and topics that will be discussed. After getting a mature concept, students can continue to the stages of the work process. In this research the author will describe the Fineline Tattoo design process as a form of self-expression at Ingkeu ink tattoo studio along with an analysis of the design results. The data in this research was obtained directly from Ingkeu ink tattoo studio as a partner who has a project to be featured in the internship report using several methods. The results of the tattoos done by the author are also uploaded by partners on social media and TikTok, in this way the partners believe they are very effective in attracting client interest.
Bwah Loka in Sarad Pulagembal as an Idea for Creating Sculpture Tenaya, I Made Suwardana; Mustika, I Ketut; Jodog, I Made
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.v4i1.3644

Abstract

The yadnya ceremony in Bali cannot be separated from an upakara or offering. One of the upakara or offerings that contains a touch of artistic elements is Sarad Pulagembal. Sarad Pulagembal is made from rice flour dough given various colors, symbolizing the positive powers of Bhuwana Agung. In Sarad Pulagembal there are components that are distributed according to the position in the Tri Loka, namely from bottom, to middle, to top (Bhur, Bwah, Swah). Bhur Loka is the layers of negative natural dimensions, Bwah Loka is the layers of the cycle of life and death, Swah Loka is the layers of positive natural dimensions. In the middle part (Bwah Loka) depicts elements of the living world such as humans and animals, the sarad pulagembal will of course contain these elements. The aim to be achieved in the creation of this work is to find out the contents of Sarad Pulagembal, especially in the middle part (Bwah Loka) and it will be developed with creativity and imagination into the form of a sculptural work of art using elements of fine art, such as color, media and techniques. . In the process of realizing this work, the author used interview, observation and experiment methods. From the theme above, 5 (five) sculpture works will be created entitled Purusa, two works entitled Pradana, three works entitled Tunjung, four works entitled Angsa, and five works entitled Boma.
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.
PENERAPAN SENI LUKIS DEKORATIF PADA KERAMIK TABLEWARE Halim, Ivana Gabriella; Mustika, I Ketut; Yudha, I Made Bendi
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.v5i1.4507

Abstract

This internship/work practice report explores the theme of nature and its surroundings as the inspiration for creating artwork. In this project, the author is inspired by the natural environment, including the sea, leaves, and stones. From these ideas, textures, shapes, and colors are developed in the artworks. The work created will be tableware. Tableware refers to the dishes and utensils used by people for eating and drinking. Besides its primary functions of eating, serving food, and setting the table, tableware can also serve as decorative art that can be displayed. The goal of this project is to make functional tableware more attractive by applying painting art, making it not only functional but also decorative. The artworks feature various techniques in terms of shape, texture, coloring, decoration, and more. The creation process begins with observation, studying, and managing ideas, followed by contemplation, and ultimately the creative process is realized through painting on ceramics. This report aims to understand the utility of the tools and materials, as well as the stages of the creation process. In conclusion, the author has gained valuable learning and knowledge during the internship/work practice. The author hopes that this creation will serve as an inspirational piece for readers.
An Analysis of Differences Between “Communication” and “Expression” in Art: From Cave to Modern Art Budiarta, I Dewa Putu Gede; Mustika, I Ketut; Sastrawan, Dewa Ayu Eka Savitri
Abjad Journal of Humanities & Education Vol. 3 No. 1 (2025): Abjad: Journal of Humanities & Education
Publisher : Centre for Literary and Cultural Studies

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62079/abjad.v3i1.68

Abstract

Communicating is a human activity in stating one thing with an agreed way of doing it between the one who sends it and the one who receives it, make that in language, signs, or symbols. Expression is an effort in expressing an idea, either in language, signs or symbols, without any agreement from the sender and the receiver. Communication and expression in painting has become something that just happens, since art was created when human knowledge knows how to write up to writing is no longer needed as pressing buttons would finish the job. In communicating through an artwork there is an effort so that the target understands the idea being stated, while expression is purely expressing an idea without others consent in understanding it. Hence this analysis aims to dissect the differences through several artworks that have existed in the visual arts: from cave to modern art. This analysis also aims to provide extended knowledge on analyzing works of art through the ages.
Banana Heart Sap Experiment Wirakesuma, I Nengah; Mudana, I Wayan; Kondra, I Wayan; Mustika, I Ketut; Sujana, I Wayan
Journal of Social Science Vol. 5 No. 5 (2024): Journal of Social Science
Publisher : Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/jss.v5i5.930

Abstract

A unique and interesting creative process using banana blossom sap as a medium. Banana flower sap has specific characteristics compared to other synthetic colors. Banana flower sap tends to display typical milky white, gray, light brown, yellowish-green, red and dark brown colors. Painting using banana blossoms starts from picking the banana blossom. Exploration of the technique of cutting the stem of the banana flower until the sap oozes out and drips onto the canvas. Since then I have been practicing spontaneously using banana sap, involving movements of my fingers, pressing the banana flower gently, medium and hard. The effect of the pressure of the banana flower sap produces natural colors, according to the intensity of the movement of the fingers on the canvas. The method used is carried out spontaneously, following the stages of the art creation process (E4): Existence, Exploration, Experimentation and Evaluation. Realization (E4) represents the existence of my creative process. Utilization of fine art elements such as light, point, line, space, plane, color, texture and composition. The resulting works of art include the following titles: Banana Sap Color 1, Banana Sap Color 2, Banana Sap Color 3, and so on. The use of banana blossom sap is driven by the need to express the soul in order to produce new works of art of high quality and have high aesthetic values
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.
Co-Authors Annisa Wahdiniawati, Siti Antari, Ni Luh Sili BUDIAPRILLIANA, LUH Budiarta, I Dewa Putu Gede Chatarina Umbul Wahyuni Chrisnawati, Giatika Drs. I Wayan Mudana,M.Si. . Fauzi, Ivan Halim, Ivana Gabriella I Made Bendi Yudha, I Made Bendi I Nengah Wirakesuma, I Nengah I Wayan Dikse Pancane I Wayan Setem, I Wayan I Wayan Sujana Indrawan, I Ketut Deni Ivana, Jessica Jodog , I Made Jodog, I Made Johnson, Davida Komalayakti, Diah Kondra, I Wayan Nataprawira, Muhammad Rafli Ramdhani Neode, Haris Candra Ni Ketut Riska Dewi Prawita Pemayun, Tjokorda Udiana Nindhia Putra, I Gede Jaya Rahditya, Ida Bagus Mas Putra Sastrawan, Dewa Ayu Eka Savitri Suarsa, Si Ngurah Sucipta, I Wayan Adi Sukarya, I Wayan Tenaya, I Made Suwardana Tjokropramono, I Gede Yosef Utami, Ni Made Purnami Widi Apriana, I Wayan