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All Journal Gorga : Jurnal Seni Rupa 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) JOURNAL SCIENTIFIC OF MANDALIKA (JSM) Jurnal Ilmiah Raflesia Akuntansi International Journal of Educational Review, Law And Social Sciences (IJERLAS) International Journal of Multidisciplinary Research and Literature (IJOMRAL) Jurnal Desain Komunikasi Visual Nirmana Arthaniti Studies Journal of Aesthetics, Creativity and Art Management Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology Kartala Visual Studies Enrichment: Journal of Multidisciplinary Research and Development Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Panggung
I Wayan Adnyana
Institut Seni Indonesia Bali
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Physics Social Sciences Other

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SACRED NARRATIVES UNVEILED: EXPLORING THE SYMBOLISM OF LINTANG GOWANG IN WAYANG KAMASAN PAINTINGS AT BALE KAMBANG TAMAN GILI KERTHA GOSA I Wayan Agus Eka Cahyadi; I Wayan Adnyana; I Wayan Mudra; I Putu Udiyana Wasista; I Wayan Swandi
International Journal of Educational Review, Law And Social Sciences (IJERLAS) Vol. 4 No. 1 (2024)
Publisher : CV. 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.
THE AESTHETICS OF RESISTANCE: AN INSTALLATION BY JOMPET KUSWIDANANTO Walid Syarthowi Basmalah; I Wayan Adnyana; I Wayan Setem; I Wayan Karja
International Journal of Multidisciplinary Research and Literature Vol. 5 No. 4 (2026): INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND LITERATURE
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ijomral.v5i4.467

Abstract

This article examines how Jompet Kuswidananto formulates a counter-hegemonic aesthetics through installation works that combine spectral figures, sonic orchestration, and material icons to challenge dominant narratives of history and Javanese-Indonesian identity in the post-New Order era. The research data consist of in-depth interviews with Jompet (2024-2025), exhibition documentation, and secondary literature. The analysis focuses on Java's Machine: Phantasmagoria (2008), which presents a parade of “ghost soldiers” and hybridises marching-band sounds with Javanese symbols, and on After Voices (2016), which articulates political memory and collective movement. The findings reveal three principal counter-hegemonic aesthetic devices: (1) spectrality, which reactivates historical trauma and destabilises the authority of representation; (2) sonic-politics, which inserts irony into militaristic and nationalist forms of discipline; and (3) symbolic iconoclasm, exemplified by the use of crystal chandeliers as allegories for the collapse of colonial power. Drawing upon Antonio Gramsci's theory of hegemony, Stuart Hall's concept of representation, and Claire Bishop's writings on installation art, this study demonstrates that Jompet’s works create a space for negotiating meaning, enriching the discourse of contemporary art in Southeast Asia. This article contributes to cultural studies by proposing the “Three S” matrix (spectrality, sonic politics, and symbolic iconoclasm) as an analytical framework for examining counter-hegemonic strategies in installation art
Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali I Wayan Adnyana
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 9 No. 1 (2019): WACANA KRITIS BUDAYA BALI
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2019.v09.i01.p03

Abstract

This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.
Transformation of Wayang Painting Art: a Study of I Made Yasana’s Works from Tradition to Contemporary Komang Nelly Sundari; I Wayan Kun Adnyana; I Wayan Mudana; I Wayan Setem
Enrichment: Journal of Multidisciplinary Research and Development Vol. 3 No. 8 (2025): Enrichment: Journal of Multidisciplinary Research and Development
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/enrichment.v3i8.541

Abstract

I Made Yasana is one of the Balinese painters known for his exploration of traditional wayang forms that are creatively processed into contemporary works. This research aims to examine Yasana's painting style, its aesthetic change from tradition to modernity, and the visual uniqueness that marks its artistic identity. The research method used is qualitative descriptive with an aesthetic approach and style analysis. The results of the study show that Yasana's work displays an interesting transition between the symbolic values of classical puppetry and the freedom of form and color typical of modern art. Yasana manages to create a bridge between Bali's cultural heritage and the global art context through the reinterpretation of puppet iconography into a dynamic and expressive visual form.
Co-Authors Agus Cahyono Agus Cahyono Agustinus Sani Aryanto Anak Agung Gde Bagus Udayana Arba Wirawan, I Komang Fauziah Shahab Ferdiansyah Giri Nugraha Hartono Hartono Harum Sunya Iswara Hutomo Setia Budi I Gusti Ayu Artayani . I Gusti Putu Sudarta I Ketut Adi Sugita I Ketut Muka I Komang Darmayuda I Made Adi Udayana I Made Bayu Pramana I Made Bendi Yudha, I Made Bendi I Made Ruta I Nengah Wirakesuma, I Nengah I Nyoman Laba I Nyoman, suardina I Putu Andika Pratama I Wayan Agus Eka Cahyadi I Wayan Mudana I Wayan Mudra, I Wayan I Wayan Setem I Wayan Suardana I Wayan Swandi Ida Ayu Trisnawati Ketut Sumerjana, Ketut Komang Nelly Sundari Kondra, I Wayan Marina Wardaya Muhammad Jazuli Muhammad Jazuli Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Nyoman, Murniasih Ni Putu Nita Sri Natih Ni Wayan Ardini, Ni Wayan Ni Wayan Lady Andini Pande Putu Ogy Mega Sanjaya Pande Putu Yogi Arista Pratama Pande Putu Yogi Arista Pratama Prasetyo, Guntur Eko Rai Remawa, Anak Agung Gede Sadewa, Kadek Ian Gangga Shafa, Naura Taqyna Shienny Megawati Sutanto Susanthi, Nyoman Lia Totton, Mary Louise Walid Syarthowi Basmalah Warananingtyas Palupi Wasista, I Putu Udiyana Wayan Karja