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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.

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