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All Journal SURYA SENI Harmonia: Journal of Research and Education Jurnal Kajian Bali IJCAS (International Journal of Creative and Arts Studies) MUDRA Jurnal Seni Budaya Panggung Proceeding Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Desain Komunikasi Visual Nirmana Journal of Aesthetics, Creativity and Art Management Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Panggung
I Wayan Adnyana
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Journal : Panggung

 1 
Arena Seni Pita Maha: Ruang Sosial dan Estetika Seni Lukis Bali 1930‘an Adnyana, I Wayan ‘Kun’
PANGGUNG Vol 25, No 3 (2015): Ekspresi, Makna dan Fungsi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i3.22

Abstract

Sejak akhir 1920-an di Ubud dan sekitarnya berlangsung praktik seni lukis dalam ruang interaksi dan dialog yang sangat intensif antara pelukis remaja, pelukis senior, patronase puri Ubud dan pelukis Barat. Praktik seni ini kemudian berkembang pesat menjadi arena seni bernama Pita Maha. Pita Maha diumumkan berdiri resmi 29 Januari 1936, mengakomodasi berbagai komponen art world di Bali, di antaranya galeri, kritikus dan kurator. Adapun tujuan dari kajian ini adalah untuk mengidentifikasi arena seni dan estetika Pita. Kajian dilakukan dengan pendekatan sosiologi Bourdieu tentang field (arena), dan hermeneutika mendalam (depth-hermeneutics) Thompson. Kajian ini menemukan berbagai capaian arena seni Pita Maha. Estetika Pita Maha adalah  ‘Spiritualisme’ yang kemudian dilanggengkan sebagai ideologi estetika. Estetika yang secara tegas mengeksplorasi tema dan pandangan subjektif tentang hubungan Tuhan dan manusia dalam artistik dan stilistik seni lukis Bali yang baru.Kata kunci: Arena Seni , Estetika Pita Maha.
The Comparison of the Baroque and Renaissance Aesthetics Paintings of “The Last Supper” by Caravaggio and Leonardo da Vinci Adnyana, I Wayan Kun
PANGGUNG Vol 27, No 4 (2017): Comparison and Development in Visual Arts, Performing Arts, and Education in C
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v27i4.292

Abstract

Abstract The paintings of Caravaggio’s and Leonardo da Vinci’s “The Last Supper” are two iconic art works from two maestros in different era. Caravaggio is one of the fame Baroque’s artists and da Vinci is the most famous Renaissance man, who created the same theme of painting: The Last Supper. The theme represents the story of Christ’s supper. Through an inductive view, this comparative study analyzes the aesthetic structures of both paintings, by using Feldman’s perspective (Art as Image and Idea (1967). The analysis includes visual structures: line, form, darkness-lightness; elements of organization: unity, balance, rhythm, and proportion; and elements of perception and aesthetic: empathy and a psychic distance. The result of this research discovers two different perspectives of aesthetic characteristics of Baroque and Renaissance pantings.Key words: Baroque, Caravaggio, Leonardo da Vinci, Renaissance, The Last Supper.
The Comparison of the Baroque and Renaissance Aesthetics Paintings of “The Last Supper” by Caravaggio and Leonardo da Vinci I Wayan Kun Adnyana
PANGGUNG Vol 27, No 4 (2017): Comparison and Development in Visual Arts, Performing Arts, and Education in Co
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (470.279 KB) | DOI: 10.26742/panggung.v27i4.292

Abstract

Abstract The paintings of Caravaggio’s and Leonardo da Vinci’s “The Last Supper” are two iconic art works from two maestros in different era. Caravaggio is one of the fame Baroque’s artists and da Vinci is the most famous Renaissance man, who created the same theme of painting: The Last Supper. The theme represents the story of Christ’s supper. Through an inductive view, this comparative study analyzes the aesthetic structures of both paintings, by using Feldman’s perspective (Art as Image and Idea (1967). The analysis includes visual structures: line, form, darkness-lightness; elements of organization: unity, balance, rhythm, and proportion; and elements of perception and aesthetic: empathy and a psychic distance. The result of this research discovers two different perspectives of aesthetic characteristics of Baroque and Renaissance pantings.Key words: Baroque, Caravaggio, Leonardo da Vinci, Renaissance, The Last Supper.
Arena Seni Pita Maha: Ruang Sosial dan Estetika Seni Lukis Bali 1930‘an I Wayan ‘Kun’ Adnyana
PANGGUNG Vol 25, No 3 (2015): Ekspresi, Makna dan Fungsi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (213.885 KB) | DOI: 10.26742/panggung.v25i3.22

Abstract

Sejak akhir 1920-an di Ubud dan sekitarnya berlangsung praktik seni lukis dalam ruang interaksi dan dialog yang sangat intensif antara pelukis remaja, pelukis senior, patronase puri Ubud dan pelukis Barat. Praktik seni ini kemudian berkembang pesat menjadi arena seni bernama Pita Maha. Pita Maha diumumkan berdiri resmi 29 Januari 1936, mengakomodasi berbagai komponen art world di Bali, di antaranya galeri, kritikus dan kurator. Adapun tujuan dari kajian ini adalah untuk mengidentifikasi arena seni dan estetika Pita. Kajian dilakukan dengan pendekatan sosiologi Bourdieu tentang field (arena), dan hermeneutika mendalam (depth-hermeneutics) Thompson. Kajian ini menemukan berbagai capaian arena seni Pita Maha. Estetika Pita Maha adalah  ‘Spiritualisme’ yang kemudian dilanggengkan sebagai ideologi estetika. Estetika yang secara tegas mengeksplorasi tema dan pandangan subjektif tentang hubungan Tuhan dan manusia dalam artistik dan stilistik seni lukis Bali yang baru.Kata kunci: Arena Seni , Estetika Pita Maha.
Milestone Dan Makna Ornamen Puri Agung Karangasem Dalam Persfektif Hermeneutika Laba, I Nyoman; Adnyana, I Wayan; Muka, I Ketut; Suardana, I Wayan; Gede Artayani, Ida Ayu
PANGGUNG Vol 35 No 1 (2025): Wacana Seni dalam Identitas, Simbol, Pendidikan Karakter, Moral Spiritual dan Pr
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i1.3632

Abstract

The architecture of Puri Agung Karangasem shows important achievements in architectural progress and the trajectory of the meaning of ornaments shows the acculturation of Balinese, Chinese, and European cultures. Researchers have not found research on the milestones and meaning of ornaments in the Puri. The purpose of this research is to explain the important historical achievements and the meaning of architectural ornaments of Puri Agung Karangasem. A qualitative descriptive method is implemented to explain the milestones and meaning of architectural ornaments of Puri Agung Karangasem. Hermeneutic theory is used as an approach to uncover the historicity and interpretation of the meaning of the architectural ornaments of the Puri. Data collection techniques include observation, interviews and documentation, while as a source of data are ornaments on palace architecture, cultural experts, community leaders, and as key informants of Penglingsir Puri and Abdi Dalem Puri. The results of the study show that the architecture of Puri Agung Karangasem has a very important meaning and achievement in the history of Bali, especially in the context of the kingdom. The forms of ornaments found in Puri Agung Karangasem can be distinguished into three, namely ornaments in traditional Balise, Chinese and European styles, resulting in a combination of typical ornamental forms of Puri Agung Karangasem. From a hermeneutic perspective, these ornaments are signs that refer to certain aspects of social, religious, and political life in Bali, especially the kingdom of Karangasem. In addition, the ruler of Puri Agung Karangasem in ancient times had a fairly good cultural relationship with people from China and Europe, as reflected in the visualization of ornaments integrated into the architecture of the Puri.
Co-Authors Agus Cahyono Agus Cahyono Agustinus Sani Aryanto Anak Agung Gde Bagus Udayana Arba Wirawan, I Komang Artayani, Ida Ayu Gede Darmayuda, I Komang Giri Nugraha Hartono Hartono Harum Sunya Iswara Hutomo Setia Budi I Ketut Adi Sugita I Ketut Muka I Made Bendi Yudha, I Made Bendi I Nengah Wirakesuma, I Nengah I Nyoman, suardina I Wayan Suardana I Wayan Swandi Ketut Sumerjana, Ketut Kondra, I Wayan Laba, I Nyoman Muhammad Jazuli Muhammad Jazuli Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Wayan Ardini, Ni Wayan Pande Putu Ogy Mega Sanjaya Pande Putu Yogi Arista Pratama Pande Putu Yogi Arista Pratama Prasetyo, Guntur Eko Remawa, Anak Agung Gede Rai Ruta, I Made Sadewa, Kadek Ian Gangga Shafa, Naura Taqyna Susanthi, Nyoman Lia Totton, Mary Louise Warananingtyas Palupi Wayan Karja