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All Journal Abdi Seni Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
I Made Bendi Yudha, I Made Bendi
Fakultas Seni Rupa ISI Denpasar
Arts Humanities Social Sciences

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CUPU MANIK TIRTA AMERTA UNTUK MENJAGA KESEIMBANGAN KOSMOLOGI AIR DARI GUNUNG KE LAUT Setem, I Wayan; Gulendra, I Wayan; Yudha, I Made Bendi
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 3 (2023): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Pengabdian kepada masyarakat ini bertujuan untuk mencipta dan menyajikan cupu manik tirta amerta sebagai peningkatan apresiasi pendidikan ramah lingkungan untuk menjaga kelestarian lingkungan alam. Model pengabdian dengan penciptaan seni patung cupu manik tirta amerta menjadi ekspresi budaya yang mampu menjadi media upaya solusi atas permasalahan kerusakan daerah aliran sungai (DAS) Unda yang terjadi saat ini. Metode penciptaan dan penyajian meliputi perancangan model untuk menemukan desain penyajian seni patung yang memiliki kebaruan,eksplorasi alat dan bahan untuk menemukan materi utama. Proses penciptaan bersifat kalaborasi dengan masyarakat, pemerintah Desa Paksebali, Dawan Klungkung, komunitas seni, pencinta lingkungan, dan mahasiswa sehingga terjadi saling respon dan pertukaran pengalaman. Penciptaan ini juga untuk mendukung pertumbuhan ekonomi dan pengembangan inovasi dengan kreativitas yang bisa merevitalisasi objek wisata Kali Unda guna mengembalikan vitalitas kawasan yang telah menurun. Dampak penciptaan ini mampu mempengaruhi meningkatnya kunjungan wisata yang berdampak pula pada kesejahteraan masyarakat.
DEKONSTRUKSI PERUBAHAN KARAKTER KEBENDAAN IMAJINASI KREATIF DALAM KARYA SENI LUKIS Yudha, I Made Bendi; Gulendra, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 1 (2021): 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/citakara.v1i01.130

Abstract

Art is a reflection and sensitivity of spiritual experience related to environmental phenomena. It is the values of life which constantly offer anxiety over the changes. Exploration through observation and scrutiny on this phenomenon stimulates imaginative and expressive spirit. Therefore, it is necessary to do a deeper approach on life values through understanding and appreciation. This can be transformed into visual works which present moral messages of lifereality. Life today is full of a challenge that changes the mental attitude. There is a tendency of being materialistic which affects the uncontrolled behavior of life. So, crime is rampant with different motives and forms in society. Abuse of power, authority, law and religion are only a mask to meet the goal of temporary interests. Money and property have been embezzled the soul and the sense of human’s life. These phenomena have stimulated spiritual and emotional feeling to lift up an idea about the meaning of changes. The admirers of changes took pride of this material world. Life is a process of love, sorrow, sadness and starch as the nature of life. All material elements are not eternal. They are being bound by the limitation of the natural law of life cycle; the birth, growth and destruction (pralina). Appreciating these values can create ideas in understanding of the character of the material elements such as aging, decrepitude, distraction and destruction. In the creation process, this idea is very important.
TRADISI METIGTIG DI DESA BEBANDEM DALAM PENCIPTAAN KARYA SENI LUKIS Setiawan, I Komang Fergi; Yudha, I Made Bendi; Karja, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 1 (2021): 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/citakara.v1i01.136

Abstract

The Metigtig tradition is one of the cultural traditions associated with the nangluk mrana ritual, namely the yadnya / offering ceremony which is carried out as a form of praise and requests to Ida Sang Hyang Widhi, God Almighty. Offerings or rituals of this kind are proposed, so that by His blessings, grace and through His power could neutralize or control all forms of negative disturbances by insects or pests, as well as supernatural forces, which have a detrimental impact, especially when disease outbreaks/pandemics in plants, animals and humans. Before the implementation of the Metigtig Tradition culture, first it begins with a prayer, namely submission of oneself through the offering of true devotion to ask for salvation so that the implementation could run according to common expectations. After the prayer is carried out, it is continued with the Matumblu ceremony at Pasuwikan Temple or commonly called Usaba Sumbu, which is a ketupat that is hung using 66 (sixty six) pieces of bamboo, then tumblu (pushed using jempana) until the hanging ketupat falls.
Interpretasi Karakteristik Dewa Siwa Sebagai Inspirasi Seni Lukis Sadewa, Kadek Ian Gangga; Adnyana, I Wayan; Yudha, I Made Bendi
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 DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.1061

Abstract

This thesis contains a description of the creation of painting with the theme "Interpretation of the Characteristics ofLord Shiva as the Inspiration for Painting". The discussion of this theme is based on the symbolic form of Lord Shiva who has a background story and deep spiritual meaning, feels very relevant to be implemented regarding thephenomenon of social life in the modern era like today. The results are manifested in paintings using the creationmethod of Graham Wallas. The creation method includes the stages of preparation, incubation, getting inspiration, totesting. At the preparation stage, knowledge, insight, and framework of thinking are processed as instruments in findingproblems and solving problems, including the preparation of mind mapping. Towards the incubation stage, thesubconscious/preconscious takes over the process of searching and solving problems. At the stage of getting inspiration, the conscious and logic take back control to be able to elaborate on data or even ideas obtained previously to then beformulated as a concept. This stage is carried out by making a sketch as a record of the idea so that it is not biased andspread everywhere. The last is the testing stage which is carried out simultaneously with the formation or manifestationof the work. The results of this research and creation are in the form of six paintings about the characteristics of LordShiva with the titles (1) Shiva Nilakantha, (2) Shiva Trinetra, (3) Shiva Nataraja, (4) Lingga Yoni, (5) Trisula, (6) Nandhi. The meaning of the characteristics of Lord Shiva is poured into metaphorical visual symbols, with relevantassumptions, so as to achieve a narrative that is intended to be conveyed. The concept of the painting is adjusted to thestyle of surrealism and symbolism, namely the expression of concepts through forms that go beyond reality, and byusing symbols as its strength.
Ornamen Nusantara Sebagai Sumber Inspirasi Penciptaan Lukisan Pada Kain Sutra Utomo, M. Indra Bayu; Setem, I Wayan; Yudha, I Made Bendi
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): 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/citakara.v2i2.1839

Abstract

In writing this final report, the author raised the theme of ornament as a source of inspiration for creating paintings on silk. Silk painting is a type of craft product originating from China and India since the 2nd century AD. Silk painting entered Indonesia about 200 years later because of the trade relations between Indonesia and China and India. Although the art of silk painting has long been known in Indonesia, the art of silk painting is still not developed like other types of craft products that have been widely developed in Indonesia. Because when the influence of silk painting entered Indonesia, Indonesia had already developed the batik industry. The art of silk painting itself is more or less influenced by batik techniques. The author develops archipelago ornaments in the creation of paintings on fabrics, especially silk, the techniques studied are very interesting for the development of painting techniques. Therefore, the author makes 6 beautiful works that have their own ornamental style, besides that the author also develops the creation of archipelago ornaments by creating new ornaments on both denim and silk fabrics with different methods and techniques
Kucing Sebagai Ide dalam Penciptaan Karya Seni Lukis Putri R., Lintang Diani; Yudha, I Made Bendi; Gulendra, I Wayan
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 DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v3i1.2343

Abstract

Everyone has their own way of expressing their relationship with pets like cats. The process of creating a work of art is closely related to the experiences experienced such as emotional closeness with cats and experiences full of feelings and thoughts in everyday life that are excited. This uniqueness gives rise to a sense of expressing it through creativity and imagination into the form of paintings using various techniques, media, taking into account the elements and principles of art. There is a method from Alma M. Hawkins as a reference at the stage of making this painting, including exploration, improvisation, and forming. The artwork created displays visuals that lead to naive forms with freedom in processing shapes and expressing lines that do not depend on the original object.
Revitalization of Kali Unda Tourism Objects Nataprawira, Muhammad Rafli Ramdhani; Yudha, I Made Bendi; Gulendra, 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 DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v3i2.3007

Abstract

Paksebali Village is one of 12 villages in Dawan District and is located east of Semarapura City, 1 Km away. Paksebali Village consists of 5 Office Banjars. The Klungkung River Dam Tourism Object, which is currently called the Unda River Tourism Object, is the most easily accessible tourist attraction because when heading to this area it is located close to the connecting bridge between Klungkung City and Dawan District. The Kali Unda Tourism Object has a natural panorama that captivates tourists because this tourist spot has a dam that forms a two-story waterfall, which is known as "Curtain Waterfall". Around the dam there are shady trees and restaurant huts as a means of enjoying the natural beauty of Kali Unda Tourism Object. Revitalizing the Unda River Tourism Object through Community Service activities, the condition of the Unda River is currently increasingly apprehensive, namely environmental conditions that are not maintained, lack of reflection therapy fish ponds, ornamental fish ponds and fish nurseries, botanical gardens, and inadequate photo spots. Likewise with existing infrastructure such as changing room walls, mossy and dull toilets, no signs providing information, and unused entry counters, so revitalization is needed to restore and increase visits as a water tourism object.
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 DENPASAR

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.
Pujawali Pura Dalem Tungkub Mengwitani Sebagai Inspirasi Penciptaan Karya Lukis Prayoga, I Made Adi Putra; Setem, I Wayan; Yudha, I Made Bendi
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 DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.3500

Abstract

Pujawali is a day to celebrated by Hindus as a form of gratitude to God. Furthermore, the pujawali at Dalem Tungkub Mengwitani temple includes several processions, including the process of ngias sumpang, going to the purification, give the blabaran, mamendet, murwa daksina, joint prayer, napak pertiwi, and nyineb. The aim of creating this work and writing is to find the author's unique painting style inspired by pujawali activities using expressionist techniques. The method used in the process of creating this work of painting is the writing method by Hawkins, including the stages of exploration, improvisation and formation. The results of this activity correspond to the stages carried out, namely (1) in the exploration stage relevant ideas and studies related to the work created are produced; (2) the improvisation stage produces sketches in a sketchbook; and (3) the formation stage produced six works of painting according to the pujawali plot at Pura Dalem Tungkub Mengwitani.
The River In Senganan Village As A Source Of Ideas For The Creation Of Paintings Kanta, Putu Aripta Dera; Setem, I Wayan; Yudha, I Made Bendi
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.v4i1.3629

Abstract

This Independent Study TA thesis has the theme "Rivers In The Village Senganan As A Source (De Creating Works Of Painting"), departs from an idea about the river as a source of life for the community in Senganan village. From this, it gives rise to the urge to present natural visualizations with beautiful forms by combining certain techniques and references to achieve the goal and the desired meaning. The problem faced is how to process visuals to represent ideas. ideas, so that changes to the work look interesting. The tuivan and its benefits are to provide a new reflection for the community to better protect and preserve the river in Senganan village. To answer what is the aim of this work, the creation method involves exploration, improvisation and formation. By compiling elements of fine art, and through exploration, improvisation, and formation stages, and combined with ideas and ideas, 6 works were created entitled: 1) "Natural Water", 2) "Waterfall in the Forest", 5) "To river towards one point", 4) "Mysterious stone", 5) "Destruction of the river", 6) "The power of water". In accelerating the work, the author will use several references and techniques from artists. By combining impressionist techniques and expressionist techniques using paint acrylic, in visualizing works that embody the beautiful nature of rivers up to the pollution of these rivers as time goes by, various techniques are combined neatly to create aesthetic works, it is hoped that they can produce quality works and become the author's identity. In the end, it can be concluded that humans are very dependent on nature, and we must trade with nature to be sustainable. The river in Senganan village provides a lot of inspiration for creative work and is very interesting to use and develop with imaginative ideas that will become valuable and meaningful works. By creating this work, the author hopes to be able to convey a message or meaning regarding the personal phenomena that the author has experienced.
Co-Authors Gulendra, I Wayan Halim, Ivana Gabriella I Wayan Adnyana I Wayan Setem, I Wayan Kanta, Putu Aripta Dera Kariana, I Nengah Karja, I Wayan Kepakisan, Gede Agung Nugraha Arya Kondra, I Wayan Mustika, I Ketut Nataprawira, Muhammad Rafli Ramdhani Prayoga, I Made Adi Putra Putra, Anak Agung Ramanda Putri R., Lintang Diani Sadewa, Kadek Ian Gangga Setem, Wayan Setiawan, I Komang Fergi Utomo, M. Indra Bayu