Article Per Year (5 Year)
p-Index From 2021 - 2026
2.223
P-Index
This Author published in this journals
All Journal Segara Widya: Jurnal Penelitian Seni Innovative: Journal Of Social Science Research Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Hastagina: Jurnal Kriya dan Indsutri Kreatif
I Nyoman Ngidep Wiyasa
Institut Seni Indonesia Denpasar
Arts Humanities Computer Science & IT Law, Crime, Criminology & Criminal Justice Public Health Other

Published : 13 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 13 Documents
Search

 1   2 
Explorasi Estetika dan Teknik Penciptaan Patung Dewi Saraswati Berbahan Beton Okatama, Wayan; Ngidep Wiyasa, I Nyoman; Laba, I Nyoman
Hastagina : Jurnal Kriya Seni Vol 5 No 02 (2025): Hastagina: Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v5i02.5694

Abstract

Sculpture is a form of three-dimensional visual expression that not only emphasizes aesthetic value but also embodies profound symbolic and spiritual meanings. In Balinese cultural tradition, the statue of Dewi Saraswati holds significant importance as a religious symbol representing knowledge, wisdom, and purity. These values have been passed down from generation to generation, making the statue not merely a work of art but also an integral part of religious practice and spiritual life. Therefore, the exploration of the creation of the Dewi Saraswati statue is considered relevant, particularly in the context of expanding artistic practices to other regions, such as South Lampung Regency. This exploration focuses on both the aesthetic aspects and technical processes involved in creating the statue using concrete as the primary material. Concrete is chosen for its durability, malleability, and strong visual expression. South Lampung is regarded as having great potential, both in terms of raw material availability and the local Hindu community’s demand for religious statues as decorative and symbolic elements in worship spaces and residential environments. The creation process adopts the "Three Stages Six Steps" method proposed by Gustami (2004), encompassing phases from initial observation to final evaluation. The result is a concrete Dewi Saraswati statue that not only highlights aesthetic quality but also carries strong symbolic meaning. These findings affirm that concrete has significant potential to be developed as an alternative medium for sculpture, particularly in the context of South Lampung’s cultural and artistic growth.
Pengembangan Pengembangan Motif Dan Bentuk Mahkota Sendratari Tokoh Rama Di Sanggar Citra Kara, Banjar Puaya, Desa Batuan Sukawati Purnama, I Dewa Gede Wahyu; Wiyasa, I Nyoman Ngidep; Jaya CK., I Gusti Ngurah Agung
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v3i02.992

Abstract

Penulis memilih sanggar Citra Kara sebagai tempat MBKM untuk belajar dan menambah ilmu baik itu dalam hal pengetahuan, keterampilan maupun mempelajari teknologi baru yang belum penulis ketahui sebelumnya dan mengenalkan penulis dengan kondisi dilapangan bagaimana proses dalam bekerja khususnya membuat ukiran kulit Bali. Dalam kegiatan magang ini penulis belajar tentang cara membuat pola global untuk membuat mahkota  sendratari tokoh Rama, belajar menggambar pola ornament tatah kulit dengan benar, belajar tentang proses finishing pada ukiran kulit. Teknik pengumpulan data dilakukan dengan observasi, wawancara, dokumentasi dan studi pustaka. Pada projek magang MBKM ini penulis mencoba memadukan keterampilan yang penulis peroleh pada tempat magang, penulis padukan dengan ilmu pengetahuan tentang ornament yang telah penulis peroleh pada perguruan tinggi. Dalam hal ini penulis mencoba mengembangkan motif ukiran pada mahkota sendratari tokoh rama yang sebelumnya menggunakan patra punggel, penulis tambahkan dengan patra samblung dan ulanda untuk memunculkan pengembangan baru serta menerapkan teknik membuat ukiran kulit pada motif patra samblung dan ulanda yang penulis masukan pada mahota sendratari tokoh Rama, selain menambahkan motif ornament penulis juga menambahkan warna gradasi pada mahkota untuk memunculkan kebaharuan, karena pada mahkota sendratari yang penulis jumpai di Sanggar Citra Kara menggunakan warna emas dan tidak ada penambahan warna gradasi.  
Pembuatan Payasan Agung Wedding Bali Khas Gianyar Dengan Teknik Tatah Logam: Payasan Agung Khas Gianyar Raditya Wayan; Rai Sunarini Ni Made; Ngidep Wiyasa I Nyoman
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v6i01.5664

Abstract

Metal carving art is a cultural heritage of traditional Indonesian visual arts that possesses high aesthetic value and uniqueness. In Bali, this art is manifested in the form of Payasan Agung for wedding ceremonies, which consists of ornaments such as badong, pending, gelang kana, gelang naga satru, and subeng cerorot. Singapadu Village, Gianyar Regency, is known as one of the centers of metal craft with rich tradition and distinctive craftsmanship techniques. The sustainability of this art faces challenges such as decreasing regeneration of young artisans, high costs of raw metal materials, and increased use of synthetic raw materials that are more practical and affordable. This research aims to examine the process of making Gianyar-style Payasan Agung, including procedural techniques, raw material selection, and the embedded cultural values. The creation process involves three main stages: exploration, design, and realization. The exploration stage involves searching for concepts and determining traditional motifs such as patra punggel, mas-masan, cracap, and batun poh. The design stage includes creating sketches according to proportion and function, while the realization stage employs traditional craft techniques such as ngecek (rancapan), meludan (wudulan), and nyawi (terawangan), followed by sanding, setting gemstones, and gold plating as the final step. The outcomes include five main types of ornaments: tajuk, petitis, badong, bros, and pending, each representing Balinese aesthetic, symbolic, and philosophical values.
Co-Authors I Gede Bagus Arya Kusuma I Made Jana I Made Jana I Made Sumantra I Made Suparta I Nyoman Laba I Wayan Mudra, I Wayan Jana, I Made Jaya CK, I Gusti Ngurah Agung Jaya CK., I Gusti Ngurah Agung Leony Paramita Mahadi, Mercu Okatama, Wayan Paramita, Ni Kadek Leony Widya Purnama, I Dewa Gede Wahyu Putra, Rai Gede Wahyudi Raditya Wayan Rai Sunarini Ni Made Sukajaya, I Komang