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All Journal DHARMASMRTI: Jurnal Pascasarjana UNHI Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Gede Yosef Tjokropramono
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Arts Humanities Education

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Interpretasi Dan Ekspresi Dwarapala dalam Penciptaan Seni Lukis Ja’far, Wanda Masyita; Kondra, I Wayan; Tjokropramono, I Gede Yosef
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 1 (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/citakara.v3i1.2342

Abstract

At first glance, in every building on the island of Bali, we will find two doorman statues, starting from the experience of seeing and observing - the doorman statue or the Dwarapala statue which if examined more deeply has high value and philosophy. Its very unique shape can inspire our imagination about current phenomena and the effect of modernity on the pattern of people's lives that affect the form and culture of our ancestors. that the meaning of the Dwarapala statue is something that needs to be raised so that it can become a lesson and reflection on oneself when entering a room or, especially a holy place. The benefits that are expected from this writing are that it can add to the public's insight about relics that are rich in philosophical meaning and can provide freedom of imagination in increasing creativity in the creation of painting.
Figures of Classic Kamasan Painting as Inspiration for the Creation of Modern Painting Neode, Haris Candra; Tjokropramono, I Gede Yosef; 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.v3i2.2994

Abstract

The classic painting of Wayang Kamasan began when the Modara puppet painting, made by I Gede Mersadi was favored by the king of Klungkung. Then he was given the nickname Modara according to the puppet figure he painted. By king Klungkung Modara was sent to work on many projects so that his puppet painting style spread and until now it is known as Classical Painting Wayang Kamasan. The characteristic of this painting can be seen from the coloring technique that uses the sigar warna and sigar mangsi techniques. (Ni Wayan Sri Wedari, 2022:9). Broadly speaking, the forms of wayang can be distinguished through the shape of the face, body shape or abdomen and coils as well as detailed parts of the eyes, eyebrows, nose, mouth, mustache, and other detailed shapes. (I Made Yasana, Menggambar Wayang Klasik Bali 1). Gede Modara who created the Kamasan Wayang style inspired the author to create puppets with a new style through the figures in the Kamasan Classical Puppet. This creation process aims to preserve the Kamasan Classical Puppet and develop it into a modern painting without eliminating the existing packages. The paintings created are expected to be able to become the characteristics of the author.
Sanghyang Sampat Dance in Puluk - Puluk Village as an Idea for Creating Painting Works Putra, I Gede Agus Adnyana; Supriyatini, Sri; Tjokropramono, I Gede Yosef
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.v3i2.3004

Abstract

This independent study report has the theme Sanghyang Sampat Dance in Puluk-Puluk Village as an Idea to Create Paintings. The choice of partners in Galung Wiratmaja is due to their different characteristics from the others. The specialty in terms of choosing color mixing, the choice of painting objects tends to be in the form of imagination in the form of the natural environment. The visual appearance created has an appeal, because taking objects displays the back of the object and creates an impression of interest to those who see it. Sanghyang Sampat is a tradition that developed in the village of Puluk-Puluk Penebel, Tabanan, this tradition exists for the welfare of people who have livelihoods as farmers. Sanghyang Sampat dance is a Bugis tradition that is highly trusted by the local community. Art as an element of culture is also born as a result of the demands of religious activity. There are many ways to preserve the Sanghyang Sampat Dance Tradition, one of which is by visualizing the dance in a painting medium, to encourage the creation of various symbolic-magical art forms which are representations of something abstract. In inspiring the Sanghyang Sampat Dance, artists process their visual forms into forms of personal expression, and there are also those who bring it up through an interpretation of the meaning and value of sanghyang sampat, which in visualization may give rise to new forms as personal codes. in his work. In this case, the Sanghyang Sampat Dance is a source of ideas for artists in creating modern works of art without leaving traditional values behind.
Anatomy Of The Human Body As an Expression Of Painting Creation Putra, Kadek Win Mahesa; Ruta, I Made; Tjokropramono, I Gede Yosef
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.v4i2.3372

Abstract

In this Independent Project MBKM TA report, the author raises the title “Anatomy Of The Human Body As an Expression Of Painting Creation” which originated from the author’s daily activities when looking in the mirror in front of glass cabinet of the room which finally sparked the author’s idea to create works of painting. The problem is how to visualize the anatomical form of the human body in each work. In realizingit, the author uses methods and techniques obtained during the MBKM process. The purpose and benefits are to develop the author’s creativity in expressing expressive and semi-realist forms in the process of creating works. As well as using a method of creation that includes several stages, namely, contemplation, exploration, improvisation, realization/formation. From this process  the author produced six works entitled : 1) “Walking”, 2) “Behind”, 3) “Grasping”, 4) “Leaning”, 5) “Hearing”, 6) “ Trail II”. It can be concluded that the author created the work based on his interest in the anatomical form of the human body, with ideas that come from the author’s daily experience through direct observation and digital media sources. In the realization stage, the author combines techniques from the results of MBKM and teaching obtained on campus, to be realized in the form of two dimensional works. From all processes, the author tries to get characteristics in painting.
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 Bali

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.
THE EXPLOITATION OF POVERTY IN THE VIRTUAL ERA AS AN IDEA FOR CREATING PAINTINGS Gultom, Yusnita Maria Magdalena; Budiarta, I Dewa Putu Gede; Tjokropramono, I Gede Yosef
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 6 No 1 (2026): "Majukan Seni Lewat Ekspresi dan Literasi"
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v6i1.4463

Abstract

The exploitation of poverty that occurs in the virtual space of social media is an act of dehumanization of digital culture. The condition of the poor people who are less empowered is used as a weapon to gain wealth and popularity through various social media content. This painting is intended to describe the meaning, stages, and visual results with the theme of the phenomenon of poverty exploitation in the virtual era. The creator uses a creation method that broadly refers to the creation method discovered by Hawkins, consisting of three stages, namely exploration, improvisation, and forming. The characteristics of the six works created are seen in the use of thick textures, anatomically deformed objects, and colors that tend to be contrasting, unique, spontaneous, and simple in order to display an emotional and dynamic impression. The visualization of the work applies a variety of techniques, such as the wet-on-wet technique, the paint-melting technique, and the plaque technique. Through this work, it is hoped that all people, especially the lower middle class, will gain equality and be appreciated for their existence, both in social and cultural activities. In addition, the creator also persuasively invites the public to use social media wisely and creatively through the art of painting.
Co-Authors Artha Adi Wijaya, I Nengah Bayu Arisuta, I Gede Budiarta, I Dewa Putu Gede Divayana, I Putu Fauzi, Ivan Gulendra, I Wayan Gultom, Yusnita Maria Magdalena I Gede Jaya Putra I Wayan Setem, I Wayan Ja’far, Wanda Masyita Jodog, I Made Kariasa Putra, I Komang Kondra, I Wayan Mustika, I Ketut Neode, Haris Candra Pemayun, Tjokorda Udiana Nindhia Prayoga, I Kadek Dena Ari Putra, I Gede Agus Adnyana Putra, Kadek Win Mahesa Rajagukguk, Kevin Gerald Ruta, I Made Silasana, I Putu Arya Sukendy, Thania Aprila Supriyatini, Sri UDIANA NINDHIA PEMAYUN, TJOKORDA Wayan Karja