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PERWUJUDAN SENI PRASI PALELINTANGAN I Putu Yoga Satyadhi Mahardika; I Wayan Sudiarta; I Gusti Made Budiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52686

Prasi is an illustration made on palm leafs from antiquity to the present day. This study aims to (1) describe the explanation regarding the stages of treatment of the material, namely palm leafs in the process of making palelintangan prasi, (2) describe the visual elements that make up palelintangan prasi, (3). Describing the form of presentation of the work of palelintangan prasi. The subject in this research is prasi while the object in this research is palelintangan. This research is a qualitative descriptive study. The data collection in this study used the techniques of (1) observation, (2) interviews, (3) discussions, (4) documentation, (5) literature. The results of this study show (1) The form of treatment of rontal leafs as raw materials for making prasi art works is carried out starting from the design design stage, preparing tools and materials such as rontal leafs that are ready to use, teak plywood, rontal leafs attached to the plywood using glue until at the stage of cutting the rontal leafs, sanding, and until the rontal leafs are ready to be incised, (2). Potential visual elements are manifested as meaningful iconography into prasi, (3) Palelintangan prasi is presented using mica glass instead of cute like the presentation of two-dimensional works in general such as drawings or paintings so that they are easily appreciated by art connoisseurs. Keywords: Prasi, Palelintangan, Ront

KERAGAMAN VISUAL PADA KARYA SENI PRASI KOMUNITAS OPRASI Putu Dika Pratama; I Wayan Sudiarta; Luh Suartini
Jurnal Pendidikan Seni Rupa Undiksha Vol. 13 No. 1 (2023)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v13i1.60965

Penelitian ini bertujuan untuk (1) Mendeskripsikan berbagai pendekatan kreatif yang dilakukan oleh para pegiat prasi anggota komunitas Oprasi dalam upaya menghasilkan ragam visual pada seni prasi yang mereka kerjakan. (2) Mengidentifikasi dan mendeskripsikan aspek-aspek visual yang diinovasikan pada seni prasi karya anggota komunitas Oprasi. Objek dalam penelitian ini tentu saja karya-karya seni prasi dari anggota komunitas Oprasi yang dimana karya tersebut terdapat eksplorasi atau pengembangan dari visual konvensional atau klasik. Sedangkan subjek pada penelitian ini adalah beberapa seniman atau anggota dari komunitas Oprasi yang pada karyanya telah memenuhi kriteria peneliti, penulis menggunakan pendekatan purposive sampling. Penelitian ini merupakan penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini menggunakan teknik (1) Observasi, (2) Wawancara, (3) Dokumentasi, (4) Kepustakaan. Hasil dari penelitian ini adalah (1) Para pegiat prasi anggota komunitas Oprasi dalam eksplorasinya dominan memanfaatkan helai-helai rontal yang telah disusun untuk dapat menghadirkan objek-objek visual yang berukuran besar, beberapa diantaranya memanfaatkan potensi-potensi yang ada pada helai-helai rontal untuk menghadirkan objek-objek kecil pada setiap helai rontal. (2) Aspek-aspek keragaman visual karya prasi komunitas Oprasi meliputi, eksplorasi warna, perluasan tema, eksplorasi media, aspek objek visual, komposisi objek, penyajian/display karya. Kata-kata Kunci: Keragaman, Prasi, Komunitas Oprasi

EKSPLORASI EMOSI DAN KEHAMPAAN MELALUI PENDEKATAN REALISME DALAM SENI LUKIS BERTEMA HARAPAN YANG TERKEKANG: Exploration of Emotion and Emptiness Through a Realist Approach in Painting with the Theme of Constrained Hope. I Gede Putu Mahesa Pradnya Winata; I Wayan Sudiarta; Langen Bronto
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 3: Desember 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i3.109629

Seni Lukis dapat dikatakan sebagai medium visual yang mengungkapkan emosi manusia seperti kehampaan, keterasingan, atau harapan yang tidak terpenuhi dengan lebih mendalam. Realita kehidupan manusia tidak selalu sejalan dengan harapan mereka. Terkadang harapan akan terbentur pada tekanan sosial, ekonomi, atau keadaan psikologis yang menimbulkan ruang kosong yang sulit diekspresikan. Penelitian ini diteliti untuk (1) menganalisis fenomena harapan yang terkekang sebagai ide konseptual dalam menciptakan karya seni dengan simbolisme visual dan (2) mengekspresikan emosi kehampaan dengan pendekatan realisme. Penelitian ini diteliti dengan pendekatan desain dan pengembangan yang fokus pada proses penciptaan, eksplorasi dan evaluasi terhadap karya seni. Proses penciptaan karya diawali dengan tahap perancangan, eksplorasi visual, pemilihan objek, penyusunan komposisi, hingga proses melukis. Karya ini mengeksplorasi fenomena harapan yang terkekang melalui pendekatan realisme, mengangkat ekspresi kehampaan batin sebagai cerminan konflik psikologis dan sosial. Melalui penggunaan simbolisme dan komposisi visual yang melankolis, karya ini mengajak penikmat untuk merenungkan ruang batin manusia yang penuh ketegangan antara keinginan dan keterbatasan.

Kritik Ketimpangan Hukum Melalui Kisah Parasurama: Adaptasi Visual Prasi pada Meda Kaca dan Akrilik Kadek Rifkyandi Septyan; I Wayan Sudiarta; I Nyoman Rediasa
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113628

The discrepancy in law enforcement in Indonesia sometimes leads to phenomena of injustice that contradict the principle of equality before the law. This phenomenon of abuse of authority and corruption practices incites public anger, demanding the employment of art as a means of critical expression. This study aims to explore the visual adaptation techniques of Prasi art on contemporary media such as glass and acrylic, as well as to visualize socio-political critique through the legendary figure Parasurama Avatara. The method used is the Design and Development approach, which included stages for planning, technical experiment, and work evaluation stages. The creation process is carried out using engraving techniques with a fine drill on transparent media while maintaining the visual character of Balinese wayang. The results and discussion show that this adaptation produced four main works: “Disparitas,” which represents the disparity of legal transparency, “Parasurama vs Kartawirya Arjuna” and “Parasurama vs Everybody” as symbols of firmness against arbitrariness, and “Expectation,” which conveys as message of harmony through the Tri Hita Karana philosophy. The conclusion of this research suggest that the use of glass and acrylic media symbolically strengthens the message of legal transparency and firmness. This adaptation validates that the traditional art of Prasi is capable of contextualizing contemporary social issues while maintaining its visual identity. Keywords: Prasi, Parasurama, Glass and Acrylic, Discrepancy in Law, Engraving.

WASTE-PAPER CRAFTS AT GEGAEN LIMA CRAFT, SUDAJI VILLAGE, SAWAN DISTRICT, BULELENG REGENCY Muh Efendi; Luh Suartini; I Wayan Sudiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113869

This study aims to determine: (1) The tools and materials used in the production of waste-paper crafts at Gegaen Lima Craft, Sudaji Village, Sawan Subdistrict, Buleleng Regency. (2) The process of producing waste-paper crafts at Gegaen Lima Craft, Sudaji Village, Sawan Subdistrict, Buleleng Regency. (3) To identify the types of waste-paper crafts at Gegaen Lima Craft, Sudaji Village, Sawan Subdistrict, Buleleng Regency. The research design employed is qualitative descriptive research. The object of this study is waste-paper crafts at Gegaen Lima Craft, Sudaji Village, Sawan Subdistrict, Buleleng Regency. Data collection methods included observation, interviews, documentation, and literature review. The research results indicate that: (1) the tools and materials used include scissors, a cutter, a ruler, a brush, bamboo, a wood-handled awl, and a turntable. The materials used to create waste-paper crafts include used paper, white glue, and water-based wood stain. (2) The first stage of the paper waste craft production process involves preparing the used paper through to the finishing process. (3) The types of waste-paper crafts produced include lidded candy boxes, fruit baskets, flower vases, bokor, coasters, key chains, dulang, rugs, saab, and bags.

HEGEMONI BUDAYA POP: BUDAYA BALI TERKOMODIFIKASI I Putu Yogantara; I Nyoman Rediasa; I Wayan Sudiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.114217

This research explores the phenomenon of popular culture hegemony that triggers a systematic commodification process of Balinese culture in the postmodern era. Bali, renowned for the nobility of its local wisdom, currently faces major challenges in the form of cultural clashes due to the dominance of global influences that prioritize visual-commercial aspects over fundamental values. This hegemony causes Balinese culture to be frequently repackaged into commodities that are marketable and "Instagrammable" to meet global market demands. Through the Design and Development (D&D) method, the author created interactive intermedia artworks titled "Lost Paradise" and "Antara Mengikuti dan Diikuti". These works utilize the assemblage technique by integrating found objects and sensor technology as a medium for sociocultural reflection. The results of the creation demonstrate that interactive art can act as a critical instrument involving the active participation of the audience to reflect on their position amidst the currents of modernity. This work concludes that the effort to preserve the essence of local culture amidst the pressure of global hegemony is the collective responsibility of every individual. Keywords: Pop Culture Hegemony, Commodification of Balinese Culture, Intermedia Art, Assemblage Art, Interactive Art.

Estetika of Tie-Dye (Jumputan) Using Stove Tissue Paper by Group B Students at TK Trisula Singaraja Kadek Ananda Budi Winaya; Langen Broto Sutrisno; I Wayan Sudiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 2: Agustus 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i2.121317

Art education in kindergartens is frequently centered on repetitive activities, particularly drawing and coloring. As a result, the use of jumputan batik, especially with stove-cleaning tissue as an alternative medium, remains relatively uncommon in art and cultural learning, particularly in Singaraja, Bali. This study aims to describe the implementation of jumputan batik activities using stove-cleaning tissue among Group B students at Trisula Kindergarten, Singaraja. A qualitative approach was applied, with data obtained through observation, interviews, and documentation throughout the batik-making activities. The findings show that the activity was implemented through a series of systematic stages, including preparation, color mixing, folding, tying, dyeing, and drying. These processes produced colorful and patterned artworks that demonstrated the children's creative expression. Stove-cleaning tissue was found to be a practical and durable alternative medium, as it was resistant to tearing and capable of absorbing dye effectively. Therefore, the use of stove-cleaning tissue in jumputan batik activities can serve as an innovative and meaningful alternative for art learning in early childhood education.

Painting the Social Body of Balinese Youth Amid Simulacra: Ritual Space and the Digital Image Ida Bagus Made Duwipayana; I Wayan Sudiarta; I Nyoman Sila
Journal of Local Culture Study Vol. 2 No. 01: June, 2024
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v2i01.11

The circulation of Balinese ritual imagery through digital platforms has reached a scale at which the image increasingly precedes and conditions the practice it depicts. This study asks how that condition registers on the social body of Balinese youth, and whether painting can make it visible. Adopting a practice-led research design structured in four phases and closed by a documented expert-appraisal stage, the study produced and analysed a trilogy of mixed-media paintings: Dialektika Pikiran, Fun Run With Ida, and Arus Maya. The analytical framework combines Baudrillard’s second and third orders of simulacra with sociological accounts of the social body and the Balinese cosmological pairing of bhuana alit and bhuana agung. The chosen visual idiom, Wedha’s Pop Art Portrait, is treated not as decoration but as an argument: its constitutive procedure of replacing observed colour with colour judged better than the original reproduces, at the level of technique, the very logic of simulation the paintings interrogate. Analysis proceeds from described formal features to perceptual effects to theoretical claims. The findings show the trilogy staging three distinct conditions: contested consciousness, an undecidable ritual-or-screen space, and a body reconstituted as circulating data. The study concludes that the medium’s own procedures can function as a critical instrument rather than an illustration of theory, and offers this technique-as-argument approach as a transferable method for practice-led research on cultural mediation.

A Critique of Global Pop Culture's Hygiene Standardization Against the Megibung Tradition in Installation Art I Putu Yogantara; I Nyoman Rediasa; I Wayan Sudiarta
Journal of Local Culture Study Vol. 3 No. 01: June, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i01.21

The communal Megibung tradition of Karangasem and the Lawar preparation at its centre are increasingly marginalised by a standard of hygiene that global popular culture presents as universal. The international gaze reads organic, hand-prepared, open-air food as unsanitary, and that verdict is now internalised by younger Balinese, who withdraw from a practice they have learned to see as dirty. Existing scholarship treats Megibung as a culinary and sociological object, examines Lawar from a food-safety standpoint, or analyses ritual as a vehicle of cultural transmission; none has treated the hygiene conflict itself as the material of an artwork. This article reports an artistic research project that designed an installation as a critical response to that conflict. The enquiry combined participatory observation of Megibung and Lawar preparation at customary events in Karangasem Regency over approximately six months, semi-structured interviews with tradition bearers and younger residents, analysis through cultural hegemony, the classification of pollution, and the tourist gaze, and material realisation in the studio. The resulting work, Ritus yang Dihakimi (The Judged Rite), places a full gibungan replica, comprising rice, three Lawar variants, sate, urutan, and komoh, at floor level and encircles it with macro-scaled green flies cast in resin and fiberglass. Because the standing viewer shares the elevation of the swarm rather than that of the dish, the audience is placed inside the structure of judgement rather than outside it. The contribution of the article is to demonstrate that hygiene standardisation can be argued spatially and materially as well as analytically.

Unity, Complexity, and Intensity in Upcycled Paper Craft: Aesthetic Value at Gegaen Lima Craft, Sudaji Village, Bali Muh Efendi; Luh Suartini; I Wayan Sudiarta
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.26

Paper waste is among the most abundant and least valorised household residues in rural Bali, yet studies of Balinese upcycled craft have concentrated on bamboo, wood, and coconut materials, leaving paper-based practice largely undocumented and never examined as an aesthetic medium. This article examines how aesthetic value is constituted in upcycled paper craft at Gegaen Lima Craft, a household micro-enterprise in Sudaji Village, Buleleng Regency, established in 2015, which converts discarded school textbooks into fifteen types of household, ceremonial, and accessory products through a coiling-and-weaving technique. The study follows a descriptive qualitative design. Fieldwork at the enterprise combined participant observation of the production process, semi-structured interviews with the founder and the relatives and neighbouring producers who work with her, and systematic photographic documentation of the complete product range, which was analysed as an exhaustive corpus of sixteen documented items. Monroe Beardsley’s criteria of unity, complexity, and intensity provide the analytical framework, applied first to each item and then comparatively across four functional categories. Aesthetic value in this craft is generated primarily through intensity rather than through applied ornament: because the coiled paper strand is the sole formal vocabulary available, distinction arises from precision of execution and from the disciplined repetition of a single element across differing forms. Complexity varies inversely with functional constraint, except in ceremonial vessels, where cultural significance prompts deliberate elaboration; unity follows from the constructive logic of coiling itself. Upcycled paper craft sustains local material culture not by imitating traditional media but by reproducing traditional object-types in a new material register.

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