Article Per Year (5 Year)
p-Index From 2021 - 2026
7.391
P-Index
This Author published in this journals
All Journal Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Pantun: Jurnal Ilmiah Seni Budaya Jurnal Penelitan Mahasiswa Indonesia Jurnal Kajian Seni Jurnal Ilmiah Kampus Mengajar Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Jurnal Riset Rumpun Ilmu Pendidikan (JURRIPEN) Journal of Aesthetics, Design, and Art Management Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Global Art Creativity Conference Open Access DRIVERset
Wayan Karja
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 56 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 7 Documents
Search
Journal : Global Art Creativity Conference

 1 
COLOR HEALING: THE BALINESE MANDALA COLOR IN PAINTING PRACTICE wayan Karja
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 1 (2021): 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

Abstract

Abstract Color is very essential in life; it is hard to imagine this world without color or only black and white. All colors appear between black and white because they exist due to the effects of light and energy. This article focuses on how to use color as a medium of healing. The color of the Balinese mandala in form of the circle color wheel, each direction has its color, meaning, gods, place in the body, day, and number. The color is related to balance human emotion and healing psychology. Psychology is part of the field of science and applied science about human behavior, mental function, and mental processes. At first, color healing is only considered as a discourse in the development of visual art, but over time, gradually the understanding of using color healing began to develop. Painting becomes a pleasure that is very useful in developing and exploring various layers of life, both physically, mentally, emotionally, and spiritually. The main methods of using color as healing are play, flow, and freedom. There are several steps I used to practice using color healing; (1) study the psychological level of feelings of the participant; (2) classify the problem and search for the methods of expression; (3) interpretation and analysis of the artworks produced by participants; and (4) interpreting the colors and interviewing according to the participant's needs. In this case, the aspects of generating internal awareness and high sensitivity within the participant become the main focus. Keywords: painting, color, and healing.
CAMPUHAN RIVER UBUD AS AN INSPIRATION FOR THE ARTISTS I Wayan Karja
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 2 (2022): 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

Abstract

The purpose of this research is to open awareness about the significant history of the Campuhan River in terms of aesthetic, the prosperity of the people's lives, both physically and spiritually. This qualitative research method took place in Campuhan Ubud, due to the limited sources of written data and art artifacts. Data collection was mostly done through direct interviews, books, and the internet. Furthermore, an analysis that focuses on the significance of the Campuhan River as an inspiration for the artists is carried out. Artists with high awareness capture the vibrations of natural energy by creating various styles of painting. Campuhan River has a certain vibration so that many artists are inspired to create paintings in various styles such as the Pita Maha style, Young Artist, impressionism, and expressionism. The implications of the Campuhan River civilization as inspiration are an asset for the surrounding area.
Images and Words The Voice of Pramoedya Ananta Toer in Contemporary Art Karja, I Wayan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 5 (2025): 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.v5i1.629

Abstract

Pramoedya Ananta Toer’s literary works expose histories of oppression, resistance, and national identity, giving voice to those silenced by colonialism and authoritarianism. While his influence on literature is widely acknowledged, its intersection with contemporary visual art remains underexplored. This article examines how text-based artistic practices reinterpret and extend Pramoedya’s legacy, using layering, erasure, and fragmentation as visual metaphors for censorship and resilience. Drawing on cognitive theory, expression theory, and visual semiotics, the artistic process integrates his words into images of painting and mixed media to create a dialogue between past and present, literature and image, memory and erasure. The findings reveal that visualizing literary narratives deepens historical reflection and challenges cultural amnesia. This study contributes to both artistic and academic discourse by showing how contemporary art can reclaim silenced histories and expand Pramoedya’s influence beyond literature into the realm of visual expression.
Ecological Folklore "I Swarnangkara" and Pramoedya Ananta Toer's View in The Perspective of Realism-Socialist Literature Dwiyani, Ni Kadek; Swandi, I Wayan; Karja, I Wayan; Bayu Pramana, I Made
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 5 (2025): 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.v5i1.637

Abstract

Ecological folklore is a part of literature that is widely developed by raising environmental themes through theme responses and moral messages conveyed as an effort to save the environment. One example of ecological literature in the form of Balinese folklore that also tends to convey character education values to save the forest is Balinese oral literature entitled "I Swarnangkara". The purpose of the study is to examine the existence of oral literature "I Swarnangkara" in Pramoedya Ananta Toer's view in the perspective of Socialist Realist Literature. The method used is descriptive qualitative to facilitate the delivery of the results of the analysis elaborated with the theory of Ecological Literature and Socialist Realist Literature. The object of the research is the oral literature "I Swarnangkara" which represents the message of saving the forest by a young man who grew up in Watukaru Village, precisely in Watukaru forest in Wongaya Gede Village, Tabanan Regency. The results show that the existence of oral literature "I Swarnangkara" contains social realist values that highlight efforts to save the forest environment as a strategy to balance the role of humans and nature for survival. The existence of ecological literature "I Swarnangkara" in the perspective of Social Realist Literature shows that oral literature can function as an educational medium to foster responsibility in protecting nature, especially forests which are the axis and source of oxygen for the world.
TOPENG RANGDA AS METAPHOR OF DEWI DURGA BY TJOKORDA OKA TUBLEN Artawan, Cokorda Alit; Mudra, I Wayan; Muka, I Ketut; Karja, I Wayan
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

Abstract

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 Ayana, I Wayan Deo; Arshiniwati, Ni Made; Mawan, I Gede; Karja, I Wayan
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

Abstract

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 Karja, I Wayan
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

Abstract

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.
Co-Authors A.A. Ngr. Anom Mayun K. Tenaya Anak Agung Ayu Oka, Saraswati Artawan, Cokorda Alit Ayana, I Wayan Deo BAYU PRAMANA, I MADE Bayutha, Ida Bagus Rekha Budiana, I Putu BUDIAPRILLIANA, LUH Dewi, Ni Putu Rahayu Mas Ruscita Drs. I Wayan Mudana,M.Si. . Dwi Kartika, I Gusti Kade Ega Arsana, I Wayan Febrianti, Ni Luh Nila Giri Nugraha Gusti Ayu Erma Yunita Dewi I Dewa Putu Ari Kresna Artha Negara I Gede Mawan I Gusti Ayu Mas Nari Wulan I Ketut Muka I Komang Arba Wirawan I Made Bendi Yudha, I Made Bendi I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Setem, I Wayan I Wayan Swandi Ida Ayu Trisnawati, Ida Ayu Jati Putra, Komang Guntur Jayadwiana, I Made Julionita, Ni Komang Kadek Dwiyani Lei, Tai Lestari, Kadek Ditha Oktaviani Makhrozi Y, Arief Ni Kadek Intan Cahyani Artayasa Ni Luh Sustiawati Ni Made Arshiniwati Ni Made Rai Sunarini, Ni Made Rai Ni Wayan Ardini, Ni Wayan Ni Wayan Ratih Wahyuriani Oka, Ni Putu Putri Ditha Sumaridewi Paramaditya, Putu Vinka Putra Artawan, I Made Raharja, I Gusti Nyoman Rai, Sunarini Roni Feldman Roni Feldman Ruta, I Made Sari Apriliani, Sari Setiawan, I Komang Fergi Shafa, Naura Taqyna Sukendy, Thania Aprila Sukmadewi, Ida Ayu Kade Sri Supriyatini, Sri Suryadinata T. Y., Anak Agung Gde Trisna Telaumbanua, Calvin Galileo Tjokropramono, I Gede Yosef Utami, Ni Made Purnami