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All Journal Imaji: Jurnal Seni dan Pendidikan Seni MUDRA Jurnal Seni Budaya 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
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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DISTORSI BENTUK IMAJINER UNTUK PENCAPAIAN HARMONI I Made Bendi Yudha
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (747.228 KB) | DOI: 10.21831/imaji.v7i2.6630

Abstract

Art is an expression of feeling and soul. It is the crystallization of anidea that derives from imaginative soul experience through observation, deepthinking on the phenomena of social environment. Then, through intellectualability and internal or external motivation raises an intuitive vibration thatstimulates inner emotion to be artistically expressed through the language ofvisual art work.For Balinese, rerajahan is one of literature works which has a valueand symbolic meaning of the all life aspects both on macro and micro cosmos.It is also depicting the energy that is a symbol of gods and evil character.These all are the reflection of dualistic. These concepts which are overlappingand interdependent to each other must be kept appropriately in order tomaintain the harmony.The concept of harmony that exists in rerajahan seems neglected oreven left behind when we compare with the phenomena life in society. Thiscan be seen on the inappropriate acts either to the nature or human life. As weknow, an exploitation of natural resources, the inappropriate authority acts ofparticular parties or people, gender, discrimination on law and human rights,and inappropriate acts of state administration.These phenomena generally make the increase of ecological crisis andthe degradation of human moral or get the level of social poverty even worse. Atpresent, these inappropriate acts are getting out of control because the spreadtakes place both on the low and elite levels. So, these are very complexphenomena just like a messy thread that needs to be solved holistically. Thecomprehension of all the above values have brought some ideas regarding on thelife meanings in which its philosophical concepts in an abstract way astatically areimplemented into the painting art work by combining both the representative andabstractive concepts. It is also implemented in term of applying varied line, color,and textures. It is hope that impasto technique can represent certain symbol andmeaning in order to give the value of the authenticity of the art work which has anartistic personal values and novelty.Key word : Painting art work, distortion of imaginary shape and harmony
DWITUNGGAL DALAM DIMENSI LONTAR: DUALISME DALAM PENCIPTAAN SENI LUKIS I Made Bendi Yudha
Imaji Vol 4, No 1 (2006): IMAJI FEBRUARI
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (516.427 KB) | DOI: 10.21831/imaji.v4i1.6697

Abstract

Art is an expression of feeling representing the crystalization of ideasthat result from imaginative experiences through observation and exploration ofsuch social life as religion, culture, custom and tradition, and naturalenvironment. These are all encouraged by internal stimulus and intuitive urgethat stimulate emotion and imagination to be expressed in a painting art.To Balinese people, lontar is one of the human cultural achievementscontaining dual values and spiritual teaching to guide people to have a physicallyand mentally harmonious and balanced social life. The observed andcomprehended values contained in lontar have inspired the writer during thecreative process.By understanding the balance concept of contained in lontar we canwisely interpret the phenomena of life in our recent social environment which ischaracterized by intrigues of personal interests and violation of moral norms thatresult in horizontal conflicts as represented by the changes of life style andmental attitude such as damaged environment, degraded human value and status,pressure to others, and so on.The understanding of the values has inspired to visualize thephylosophical and conceptual context in the painting artwork of abstractive andrepresentative form with variative colors by impasto technique to have artisticpersonal symbols.Keywords: painting, dual dimension of life
Formal Symbolization Within Spatial Imagination I Made Bendi Yudha
Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (47.901 KB) | DOI: 10.31091/mudra.v25i3.1562

Abstract

The Balinese people are known to be religious. In their daily life activities on the implementation of the religious ritual called panca yadnya (five kinds of sacred rituals), always equipped with the means upakara or offerings are laden offerings with a variety of shapes and images in the form of symbols which are religious magical. The art of offerings is the art of symbols in which concrete and abstract could create artistic as well as symbols of supernatural characters; ten characters, five characters which are applicable and have different functions. And sometimes contradictory according to the needs and intended use. From these observations arose the interpretation of a meaning that, in meeting the needs of human life, basically has two major potential attractions to each other and complementary, i.e. doing structuring/restructuring or order which is oriented on the arrangement of a better life. The deviation/dissension and, even, destruction or chaos that tends to reject the establishment. This is when management is not based on the concept of balance and harmony, it will affect the social fabric of society and is prone to conflict and discord. Hence, the joints destabilize the integrity of nation and state. The concept of the balance contained in the upakara or offering means in comparison to the meaning of life phenomena that occur in society today seems to have been neglected and even abandoned. This can be proven where there has been deviation measures both the nature and the human life, among others, the exploitation of natural resources, discrimination in law and human rights, gender, and abuse of authority in the field of public administration, and will impact the spread of ecological crisis and moral degradation, as well as heighten the level of community poverty. Based on the understanding of the symbols mentioned above, these can be used as an interactive experience as well as a source of inspiration, a creator of images to stimulate natural trigger for the emergence of a sense that if copyright in the form of creative ideas about the values of life. The utterance of his philosophical concepts are abstracted into a work of art by combining with a representative form abstractive application through lines, colors and textures which are varied, and through impasto technique so that they reflect the authen- ticity of works of art (authenticity of the art work), aesthetic, artistic and reflection of personal value of novelty.
Stilistik-Estetik Epilog Kakawin Abad XX Karya Made Degung Anak Agung Gde Alit Geria; I Made Bendi Yudha
Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i2.1910

Abstract

Kakawin (manuscript), composed by Rakawi Made Degung from Sibetan Karangasem, received a positive response among lovers of classical Balinese literature, because it is full of Shiva-Buddhist philosophy which until now still lives side by side and harmoniously in Bali. This well-packaged, aesthetically pleasing Kakawin has an important position among the existing kakawin, because the content and unique presentation factor is the spirit of the times, namely the Shiva-Buddhist discourse that is typical of the Balinese model. This Kakawin was completed on Friday Paing Sinta, the 13th anniversary of the Saka year 1915 (1993 AD). The information implied in this kakawin epilogue is truly something unique that is rarely or never found in other kakawin. His Kakawin compositions, the writing of the number of years to the name of the pangawi (author) and its origin, are packaged in a unique way and explained in one last stanza of this kakawin. In addition to starting with the Manggala who worships the Goddess of Beauty (Saraswati) as the sacred God Brahma spouse, the Goddess of Knowledge, and the Soul of the script, at the end of his work, Pangawi begs before Him so that the world will be saved as well as its leader.
“Sabda Bayu” Rajas Tamas Octopus Methapor in Contemporary Painting Work I Made Bendi Yudha; Anak Agung Gde Alit Geria; I Wayan Gulendra; I Made Jodog
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2231

Abstract

Gurita in English is called Octopus which often refers only to animals of the genus Octopus. This creation is based on the results of research on the octopus which is used as a symbolic brand icon to reveal the existence of the current social, cultural, economic and political realities. In interpreting the characteristics of the shape and nature of the Octopus, it is expressed through a metaphorical visual language to represent the value of rajas and tamas that permeates the human soul. This study aims to present visual aesthetic values and symbolic meanings through the processing of forms of abstraction, distortion and deformation, as an expression of the growing influence of global capitalism in people's lives which are dominated by the energy of guna rajas and guna tamas. The research method is carried out by observation, interviews, documentation and media reset as well as the stages of creation through exploration, improvisation and formation. The visualization of the work presents the complexity of lines, colors, shapes and textures by carrying out technical and coloring hybridization, in order to present meaningful forms which are symbolic representations of the rajas and tamas that dominate people's lives today. The concept of creation offered is a form of concern for the emergence of moral and moral degradation in society which has implications for the fading of ethical values, and a sense of humanity as contained in animal values which promote love and tolerance among others, which in Hinduism is known as term; mutual sharpening, compassion and care, sagilik, saguluk, salunglung sabayantaka, paras paros sarpanaya.It is not enough for this kind of concept to be offered only through works of art, but it really needs to be communicated in the wider social field, so that interactive and communicative dialogue occurs, while at the same time providing education and enlightenment, so as to create new awareness, so that we have the ability and strength to facing or overcoming current global issues.
REPRESENTASI GUNA RAJAS DAN GUNA TAMAS DALAM IMAJINASI KREATIF SENI LUKIS KONTEMPORER I Made Bendi Yudha; I Wayan Gulendra; I Made Jodog
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Persoalan seni adalah persoalan nilai; seni tidak hanya menyangkut nilai estetik semata, tetapi juga sebagai alat komunikasi untuk mentransformasikan nilai-nilai simbolis yang bersifat kritis, serta mencerahkan dari fenomena yang terjadi saat ini. Latar Penelitian/penciptaan ini, berdasarkan atas hasil observasi tentang figur sosok Gurita dijadikan ikon, brand simbolik, media promosi, ataupun provokasi untuk mengedepankan eksistensi, serta aspirasi, baik segi sosial, budaya, ekonomi dan politik. Melalui interpretasi dan transformasi terhadap nilai-nilai dari karakteristik hewan Gurita tersebut, penelitian ini bertujuan, menghadirkan nilai bermakna simbolistis yang metaforik, melalui abstraksi, distorsi serta deformasi bentuk, sebagai ungkapan guna rajas, ataupun tamas yang menguasai jiwa manusia pada era berkembangnya kapitalisme global. Visualisasi karya menghadirkan garis, warna, maupun tekstur, secara teknik merupakan hebriditas dua keunggulan yang padu, utuh, baik teks maupun konteksnya. Aspek tersebut penting diwacanakan, agar mencerahkan suasana batin penghayat seni, sehingga melahirkan kesadaran baru untuk dapat mengantisipasi serta menghadapi isu-isu tentang femomena yang terjadi saat ini.
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

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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.
Co-Authors Anak Agung Gde Alit Geria Anak Agung Gde Alit Geria Barde, Ashlesha Drs. I Wayan Mudana,M.Si. . Frasnanda, Nyoman Ferry Gulendra, I Wayan Halim, Ivana Gabriella I Ketut Mustika I Wayan Adnyana I Wayan Adnyana I Wayan Gulendra I Wayan Setem Kanta, Putu Aripta Dera Kariana, I Nengah Kepakisan, Gede Agung Nugraha Arya Kondra, I Wayan Nataprawira, Muhammad Rafli Ramdhani Ni Made Purnami Utami Prayoga, I Made Adi Putra Putra, Anak Agung Ramanda Putri R., Lintang Diani Sadewa, Kadek Ian Gangga Setia pradnyana, Putu Heri Setiawan, I Komang Fergi Utomo, M. Indra Bayu Wayan Karja