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Iconography of Woman Image in Sri Tanjung Relief at Candi Surowono Giri Nugraha; I Wayan Adnyana; Wayan Karja
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

This study aims to analyze the iconographic woman image in Sri Tanjung relief at Candi Surowono located in Kediri Regency, East Java. The qualitative research done involves understanding, concepts, values, and characteristics attached to the object of research. It uses a humanities approach with Panofsky's Iconology Theory. The relief of one of the panels (1400 AD) carved at Candi Surowono is seen as an embodiment resembling two human figures. One male figure is carved holding a female figure with an expression of body anatomy full of intimacy with each other. The central human figure and the expression of holding this are present on the background of the patra motif, buds, accompanied by leaf tendrils and a motif that looks like a flower resembling a mandala is depicted shading these two human figures. The feeling of love and longing for something that cannot be described (ngalembana) is present in the embodiment of these two figures. This classic visual art presents a shock, as if space and time have melted into one. The theme of the image conveys the wisdom of the ancestors in providing a free perspective on woman, love, and compassion.

Ambus Pati Arum: Penciptaan Karya Busana Berkonsep Tradisi Pemakaman Desa Trunyan Berkolaborasi dengan CV. Terimakasih Banyak Kadek Ditha Oktaviani Lestari; A.A. Ngurah Anom Mayun K. Tenaya; I Wayan Karja
BHUMIDEVI: Journal of Fashion Design Vol. 3 No. 1 (2023): Bhumidevi
Publisher : BHUMIDEVI: Journal of Fashion Design

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Ambus Pati Arum merupakan karya busana dengan konsep tradisi pemakaman desa Trunyan atau disebut mepasah sebagai ide pemantik utama dan berkolaborasi dengan CV. Terimakasih Banyak yang akan direalisasikan ke dalam 3 jenis busana yaitu ready to wear, ready to wear deluxe dan couture. Realisasi karya tersebut memerlukan tahapan yang sistematis agar busana yang dihasilkan dapat terwujud sesuai dengan sumber ide yang telah ditentukan. Tahapan perancangan busana yang dapat diterapkan adalah tahapan proses desain fashion bertajuk Frangipani: The Secret Steps of Art Fashion oleh Tjok Istri Ratna Cora Sudharsana yaitu : (1) Menemukan ide pemantik berdasarkan budaya Bali, (2) Riset dan sumber seni fesyen, (3) Analisa estetika elemen seni fesyen berdasarkan kekayaan budaya Bali, (4) Menarasikan ide seni fesyen ke dalam visualisasi dua dimensi atau tiga dimensi, (5) Memberikan jiwa-taksu pada ide seni fesyen melalui contoh, sampel, dan kosntruksi pola ,(6) Menginterpretasikan keunikan seni fesyen yang tertuang pada koleksi final (7) Mempromosikan dan membuat seni fesyen yang unik, (8) Afirmasi merek (9) Mengarahkan produksi seni fesyen melalui metode kapitalis humanis, (10) Memperkenalkan bisnis seni fesyen. Hasil dari penerapan Frangipani ini yaitu mewujudkan karya busana yang sesuai dengan prinsip desain sampai dengan tujuan komersil/bisnis.

Makna Warna I Wayan Karja
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 1 (2021): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Warna adalah cahaya dan energi, warna terlihat karena dipantulkan melalui semua jenis partikel, molekul, dan benda. Ada beragam panjang gelombang yang dapat dikategorikan sebagai cahaya. Setiap warna memiliki frekuensi dan getaran tertentu, yang diyakini banyak orang dapat berkontribusi pada sifat spesifik yang mempengaruhi energi di dalam tubuh manusia. Sel-sel tubuh bereaksi terhadap cahaya yang berpengaruh pada stabilitas fisik, emosional, mental, dan spiritual. Lingkaran warna primer (merah, kuning, dan biru), warna sekunder (oranye, hijau, dan ungu), dan pencampurannya menghasilkan warna tersier. Warna banyak digunakan sebagai tanda, simbol, ikon, dan media komunikasi visual. Di Bali makna warna sangat signifikan, mewakili bentuk dan simbol dalam kehidupan sehari-hari yang berdasarkan filosofis agama Hindu. Artikel ini berfokus pada makna warna, utamanya tentang makna warna mandala Bali yang memainkan makna simbolis-religius-magis dalam dinamika seni dan budaya. Dalam lingkaran mandala Bali, setiap arah mata angin diwakili oleh warna tertentu, dewa, senjata, hari, angka, dan warna organ dalam tubuh. Sebagai penelitian kualitatif, metode penelitian yang digunakan adalah dengan observasi, wawancara, dan dokumentasi. Proses penelitian tersebut menemukan beberapa makna warna, diantaranya makna referensi, psikologi, dan sosial. Personifikasi pangurip-urip/pasupati; sebagai proteksi; identitas seni, dan budaya; cerminan sifat kharakter dan kepribadian; dan sebagai jembatan sakala-niskala, tangible-intangible. Warna memiliki makna terapeutik sebagai media untuk membangkitkan emosi dan kesadaran Semesta. Kontemplasi tentang cahaya warna dapat meningkatkan kepekaan kesadaran kosmik, lenyapnya kegelapan, munculnya sinar Tuhan. Sublimasi dan titik kulminasi sinar warna yang suci cerminan penyatuan Atman dan Brahman. Berdasarkan proses kajian ini, proyeksi ke depan cahaya/warna sangat penting terus diteliti karena sifatnya yang terapeutik.

REPRESENTASI AIR PADA KARYA SENI LUKIS I Wayan Karja
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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Air sebagai sumber hidup dan kehidupan memiliki lahan imajinasi penciptaan seni visual yang disertai nilai filosofis, simbolis, dan estetis yang tidak terbatas. Permukaan air yang sangat tenang dan jernih memantulkan bayangan yang sangat indah dan menarik untuk dilukis. Di sisi lain, riak gelombang dan irama air sangat menarik untuk direpresentasikan. Kompleksitas air sebagai ide pematik seni lukis mengalir seperti air itu sendiri, selalu membuka ruang baru dalam setiap kreasi. Objek representasi ini meliputi air danau, sungai, laut, dan ekspresi abstraksi personal yang bebas. Tujuan dari penciptaan adalah untuk mengabadikan air dalam bentuk karya seni lukis sebagai upaya meningkatkan kesadaran dan kepekaan tentang keberadaan dan kemuliaan air. Tempat penciptaan di alam dan studio. Metode penciptaan diawali dengan observasi, renungan, sketsa-sketsa, berkarya di alam terbuka, dan kerja studio sebagai ekspresi play-flow-freedom. Hasil penciptaan berupa karya seni lukis dengan tema air berbagai ukuran dari 80 cm hingga 500 cm, akrilik di atas kanvas, satu karya diantaranya dipamerkan Galeri R.J. Katamsi Yogyakarta dan delapan lukisan di Art Jakarta, Agustus 2022.

Study of Literary Arts Education by Applying Basic Technique Learning Media of “Masatua” Bali Gusti Ayu Erma Yunita Dewi; I Wayan Karja
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 2 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v2i2.2803

The existence of application media can facilitate the learning system, because it can be used anytime and anywhere. All of this can affect the learning outcomes of students, especially in the field of Balinese past (telling satua Bali or Balinese fairy tales or stories). This paper aims to find out the study of interdisciplinary science contained in art and literature education (the Satua Bali) through the application of learning media on the basic techniques of the Balinese past. The method used in this study is a descriptive qualitative approach method. A qualitative approach is in the form of expressions, sentences and descriptions of form, aesthetics and meaning in satua Bali, as well as other scientific studies contained in satua Bali. Masatua Bali lessons are very important to be instilled in students, because indirectly they can learn various other scientific studies through satua Bali. The lack of utilization of instructional technology media is also one of the triggers for students' lack of interest in learning Balinese past which will certainly affect student outcomes.

The Kalpika Natha Mascot Dance: A Substance of Anthropological, Semiotic, and Aesthetic Studies I Gusti Ayu Mas Nari Wulan; I Wayan Karja
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 2 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jacam.v2i2.2804

The creation of a mascot dance entitled Kalpika Natha at SMP Negeri 2 Abiansemal is one of the ideas to create a symbol or identity through performing arts including dance, vocal art, and karawitan. In this interdisciplinary research, anthropological, semiotic, and aesthetic approaches are used. In anthropological studies, the art of mascot dance can be studied from the point of view of cultural and social aspects. The Kalpika Natha Mascot Dance as a representation of organizational identity can be a reflection of societal values and norms. Apart from that, the Kalpika Natha Mascot Dance can also be a medium to introduce and promote the culture of a region or country. Semiotic studies can assist in understanding the meaning and symbols contained therein which are interpreted through semiotic analysis to reveal the message the choreographer wants to convey. Furthermore, in the study of aesthetics, it can be seen from the form, the weight of the content of the Kalpika Natha dance. In this research, interdisciplinary studies of anthropology, semiotics, and aesthetics can provide a more comprehensive understanding of mascot dance as a form of performing art and promotional media. Thus, this research can provide broader implications for the development of the Kalpika Natha Dance in the future.

MAKEPUNG TRADITION: AESTHETICS OF ESSAY PHOTOGRAPHY THROUGH EDFAT AND SKIN MEDIA TRANSFER I Dewa Putu Ari Kresna Artha Negara; I Wayan Karja; I Komang Arba Wirawan; Ni Wayan Ardini
Journal of Aesthetics, Design, and Art Management Vol. 2 No. 2 (2022): Journal of Aesthetics, Design, and Art Management
Publisher : Yayasan Sinergi Widya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58982/jadam.v2i2.260

Purpose: This study is to identify the makepung tradition in Jembrana Regency, Bali, through essay photography. Research methods: The process of creating this photographic work begins with designing a concept with ideas, themes, and objects to be created, namely the makepung tradition in essay photography. The EDFAT theory, namely entire, detail, frame, angle, and time is applied as the basis for the theory of creation. Cowhide is used as a print medium for the photo essay. The process starts from skin selection, drying, and editing to printing photos on the leather media. Findings: Makepung is the peak of the joy of the farmers in being grateful for their harvest. Photographic essays in the series photo genre are composed of pure photographic works, into photos with writings that aim to tell the tradition. The photo works convey messages through photo essays of the tradition. Implications: This creation can provide new experiences for creators and the community to make photo essays or series so that people know the series of makepung tradition events from beginning to end.

TOPENG RANGDA AS METAPHOR OF DEWI DURGA BY TJOKORDA OKA TUBLEN Cokorda Alit Artawan; I Wayan Mudra; I Ketut Muka; I Wayan Karja
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.570

The Topeng Rangda created by Tjokorda Oka Tublen with a distinctive character as an interpretation of Durga has a magical impression. This research aims to deeply understand Rangda as a metaphor of Durga by Tjokorda Oka Tublen. The Topeng Rangda created by Tjokorda Oka Tublen's is sacred to the community and used as a role model by the Balinese people. Nevertheless, until now there has been no special study about it. This research uses a qualitative method. The data collection is done by purpose sampling with observation, interview, and literature study techniques, dissected with aesthetic theory and metaphor theory. The result of this study, Topeng Rangda as a metaphor is a mask with a scary face as the embodiment of Dewi Durga in white with buck teeth, bulging eyes with a magical, majestic and authoritative impression. The process of creating Tjokorda Oka Tublen's mask includes: newasen, nyawi, nyalonan, makalan, nadiang, nelesang, ngalusang, ngewarna, dan pasupati.

KECAK DANCE LEARNING AND CULTIVATION OF CHARACTER EDUCATION VALUES IN PASRAMAN WIDYA SANTHI, SEBATU VILLAGE, BALI I Wayan Deo Ayana; Ni Made Arshiniwati; I Gede Mawan; I Wayan Karja
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.574

Pasraman, ashram, padukuhan, or gurukula is a traditional education system in Hinduism that has existed since ancient times. Hinduism recognizes that education is an important aspect of human life. In Bali, the history of pasraman has been known since ancient times. In various folktales, there are many touches of education and the existence of padukuhan or pasraman, where Balinese generations gained knowledge in ancient times. This research aims to evaluate Kecak Dance learning in non-formal education in Pasraman Widya Santhi Sebatu Village and to know the process of instilling character education values through Kecak Dance learning in Pasraman Widya Santhi Sebatu Village. The research method used is descriptive qualitative with data collection techniques through observation, interviews, and documentation. The findings indicate that the learning of the Kecak Dance at Pasraman Widya Santhi is effective through interactive and participatory teaching methods. This learning process not only enhances students' dance skills but also provides a deep understanding of Balinese cultural values. Moreover, the activities successfully instill character education values such as discipline, responsibility, hard work, creativity, and pride in local culture. Community support, a conducive learning environment, and the integration of arts and cultural education are key factors in the program’s success. This study concludes that the learning of the Kecak Dance at Pasraman Widya Santhi serves as an effective model of non-formal education in shaping skilled, character-driven, and culturally aware youth. The structured and culture-based learning process enriches students' artistic skills while fostering awareness of the importance of preserving Bali's cultural heritage

THE INFLUENCE OF CHINESE CULTURAL VALUES ON BALINESE TRADITIONAL PAINTING I Wayan Karja
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.592

This research examines the influence of Chinese cultural values on the development of Balinese painting, focusing on how cultural interactions have enriched its artistic identity. Using qualitative methods with a historical approach and visual analysis, the study identifies Chinese cultural elements such as Yin-Yang philosophy, cosmology, motifs like Nekara Pejeng, Chinese coins, dragons, and decorative techniques integrated into Balinese art. The findings reveal that these influences are most evident in the styles of Kamasan painting, where forms, colors, and decorative motifs reflect a process of acculturation. Balinese artists have successfully incorporated these Chinese elements into their works while preserving their cultural identity. This research highlights the importance of cultural exchange as a driving force in the evolution of Balinese painting, offering both academic and practical contributions to the understanding of how cross-cultural interactions can enhance artistic traditions.

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