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I Made Sumantra
Institut Seni Indonesia Denpasar
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Eksistensi Penciptaan Kriya Perak Murni dan Sakral di Gianyar Bali I Wayan Suardana; I Made Sumantra
Segara Widya : Jurnal Penelitian Seni Vol. 10 No. 2 (2022): Nopember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/sw.v10i2.2154

Abstract

Penelitian ini bertujuan untuk dapat mengetahui secara mendalam eksistensi penciptaan kriya perak murni dan sakral saat ini serta perhatian masyarakat pada karya tersebut. Hasil penelitian ini juga akan sangat bermanfaat bagi kriyawan, pengusaha, akademis, dan pemerintah sebagai bahan imformasi tentang tumbuh kembangnya penciptaan karya perak dalam situasi pariwisata yang tidak menentu. Terpuruknya pariwisata Bali, berdampak pada menurunnya produksi kerajinan perak di Gianyar, terutama pada produk untuk kebutuhan pariwisata. Beberapa wilayah yang dahulu menjadi pusat kerajinan perak seperti di Desa Celuk, Desa Singapadu, dan Desa Taro, sekarang sudah tidak produktif lagi, karena sudah jarang mendapat pesanan. Dalam situasi sepi, beberapa kriyawan yang kreatif dan memiliki ketrampilan tinggi mulai mengalihkan produksi karyanya dengan menciptakan beberapa karya seni murni dan seni sakral sebagai barang koleksi maupun hiasan Sesuhunan seperti: Barong , Rangda, dan Topeng yang disucikan dan disakralkan oleh masyarakat Bali. Orientasi penciptaan karya perak akhirnya mengarah pada karya yang bermutu dan memiliki nilai estetika tinggi. Sebuah fenomena yang sangat menarik untuk dikaji secara holistik, bagaimana eksistensi penciptaan karya perak murni dan sakral di Gianyar saat ini?, karya perak apa saja yang diciptakan kriyawan saat ini yang memiliki nilai seni murni dan seni sakral?. Metode yang digunakan adalah metode klualitatif diskriptif dengan teknik pengumpulan data observasi, wawancara, dan dokumentasi. Karya tulis ini juga sangat tepat dilaksanakan untuk mengkaji secara mendalam perkembangan karya perak seni murni dan seni sakral. Sebuah pergulatan yang sangat besar antara modal budaya dan modal ekonomi dalam usaha mencari kekuasaan dan pelestarian karya perak sebagai karya seni adiluhung. Penelitian ini diharapkan berkontribusi pada ilmu pengetahuan terutama yang berkaitan dengan seni dan kerajinan secara umum.
The Existence of Pure and Sacred Silver Craft Creation in Gianyar Bali I Wayan Suardana; I Made Sumantra
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2269

Abstract

This study aims to discover in depth the existence of the creation of pure and sacred silver crafts today and the public's attention to these works. The results of this study will also be very useful for craftsmen, entrepreneurs, academics, and the government as information material about the growth and development of the creation of silverworks in an uncertain tourism situation. The decline in Bali tourism has impacted the decline in silver handicraft production in Gianyar, especially in products for tourism needs. Several areas that used to be centers of silver crafts, such as Celuk Village, Singapadu Village, and Taro Village, are now no longer productive because they rarely receive orders. In a quiet situation, some creative and highly skilled craftsmen began to divert their production by creating several pure art and sacred art as collectibles and Sesuhunan (sacred crafts) such as Barong, Rangda, and Masks which are purified and sacred by the Balinese people. The orientation of creating silverworks eventually leads to works of high quality and aesthetic value. A very interesting phenomenon to study holistically is the following: how is the existence of the creation of pure and sacred silverworks in Gianyar today? The method used in this study is a descriptive qualitative method with data collection techniques of observation, interviews, and documentation. This paper is also very appropriate to be carried out to examine in depth the development of silverworks of pure art and sacred art. There is a huge struggle between cultural and economic capital in the quest for power and the preservation of silverwork as noble works of art. This research is expected to contribute to science, especially related to arts and crafts in general.
Topeng Paradoks Dalam Kriya Kontemporer I Made Jana; I Made Sumantra; I Nyoman Ngidep Wiyasa
Segara Widya : Jurnal Penelitian Seni Vol. 10 No. 2 (2022): Nopember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (239.289 KB)

Abstract

Seni topeng hadir di tengah-tengah masyarakat, bisa dibilang cukup monoton. Karena kurang berkembang dalam mengikuti alur jaman. Seni topeng yang dihasilkan oleh perajinnya, masih seputar tokoh-tokoh ilusi atau pewayangan. Pencipta melakukan observasi terhadap produk topeng yang berkembang saat ini. Dan melakukan penelusuran data melalui literatur/buku-buku, internet, maupun penelusuran ditempat pameran, bengkel pembuatan topeng. Selanjutnya dilakukan analisa menggunakan metode kualitatif, sehingga melahirkan judul, konsep penciptaan dan cara pemecahannya. Aplikasi metode penelitian berbasis praktik. Dalam hal ini praktik menciptakan citra sebagai mode eksplorasi utama, Eksperimen, pembentukan. Bahwa kejelasan makna lahir dari gagasan, konsep, informasi ditransformasikan ke dalam citra visual, merupakan kesatuan organis berupa karya seni rupa topeng paradoks yang ditampilkan terlihat nyata, dapat dipahami lebih bermakna, personal, memiliki fungsi (simbolik dan metafor). Secara paradoks dalam karya mengekspos sifat-sifat yang berbeda dalam kehidupan manusia, dipresentasikan melalui wajah yang berbeda , menjadi satu kesatuan organis, dalam bentuk simbol karya estetik, sebagai wajah Kriya kontemporer.
Eksistensi Kriya Perak Art Dan Sakral Pada Era Pandemi Covid 19 I Wayan Suardana; I Made Sumantra
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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Abstract

Pandemi covid 19 berdampak signifikan pada produksi seni kerajinan Bali secara umum, termasuk seni kerajinan perak. Produksi kerajinan perak mengalami penurunan yang sangat drastis, bahkan stagnan, karena pariwisata Bali mati total, dan ekonomi global mengalami krisis panjang. Kriyawan perak kehilangan pekerjaan karena tidak pernah mendapat pesanan lagi, sehingga mereka mulai beralih profesi menjadi sopir, tukang bangunan, dagang, petani, dan peternak. Namun tidak semua kriyawan perak meninggalkan propesinya, beberapa yang kreatif dan memiliki ketrampilan yang tinggi mengalihkan produksi karyanya dengan menciptakan beberapa karya perak art dan seni sakral dengan teknik tatahan, seperti membuat keris, sarana upacara, dan elemen hiasan Barong, Rangda, dan Topeng dengan segmen pasar masyarakat lokal. Fenomena ini sangat menarik untuk dikaji secara mendalam dengan mengangkat permasalahan: Bagaimana eksistensi penciptaan karya perak art dan sakral pada era pandemi covid 19?. Penelitian ini bertujuan untuk mengkaji secara holistik karya perak yang bernilai art dan sakral, agar dapat diketahui eksistensi dan perkembangannya di masa covid 19. Metode yang digunakan dalam penelitian ini adalah metode kualitatif diskriptif dengan teknik pengumpulan data yaitu: observasi, wawancara, dan dokumentasi. Tulisan ini akan sangat bermanfaat sebagai bahan imformasi bagi kalangan masyarakat akademik dan pemerintah.
TOPENG PARADOKS DALAM KRIYA KONTEMPORER I Made Jana; I Made Sumantra; I Nyoman Ngidep Wiyasa
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

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Seni topeng hadir di tengah-tengah masyarakat, bisa dibilang cukup monoton. Karena kurang berkembang dalam mengikuti alur jaman. Seni topeng yang dihasilkan oleh perajinnya, masih seputar tokoh-tokoh ilusi atau pewayangan. Pencipta melakukan observasi terhadap produk topeng yang berkembang saat ini. Dan melakukan penelusuran data melalui buku, internet, pameran, dan bengkel pembuatan topeng. Selanjutnya dilakukan analisa menggunakan metode kualitatif, sehingga melahirkan judul, konsep penciptaan dan cara pemecahannya. Aplikasi metode penelitian berbasis praktik. Dalam hal ini praktik menciptakan citra sebagai mode eksplorasi utama, Eksperimen, pembentukan. Bahwa kejelasan makna lahir dari gagasan, konsep, informasi ditransformasikan ke dalam citra visual, merupakan kesatuan organis berupa karya seni rupa topeng paradoks yang ditampilkan terlihat nyata, dapat dipahami lebih bermakna personal. Secara paradoks dalam karya mengekspos sifat-sifat yang berbeda dalam kehidupan manusia, dipresentasikan melalui wajah yang berbeda , menjadi satu kesatuan organis, dalam bentuk simbol karya estetik, sebagai wajah Kriya kontemporer.
P Karakter Topeng Manis Sebagai Inspirasi Penciptaan Produk Kriya Kebutuhan Ruang Pertemuan Formal I Wayan Wijaya Kusuma; I Made Gede Arimbawa; I Made Sumantra
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.543

Abstract

Mask are one of the cultural heritages of people in various part of the world who have a mask culture that use different methods and functions according to local custom. In society, various mask are used, such as being used to support a scared belief or spirituality and used as a support for a theatrical performance as well as commodity goods that are profane. Like wish, there are various types of mask with various characters. Such as hard characters of fierce, sweet, cute and so on, this condition is very interesting to be explore and used as a source of inspiration in the creation of craft products. Condisering the mask that are starting to get less attention by the younger generation at this time so that these mask are not eroded by the current technology, in addition, he also wants to preserve the existence of mask so that in the future that arts will be more awake than these mask. This became the basic idea in creating works for the needs of formal meeting room that apply topeng manis as decorations. The creation process has gone through various stages which can describe an ordely and well structured creation process. That are three stage that are carried out, namely : 1. Exploration here is through the exploration stage to find ideas, observations, interviews, surveys, data colletion and references that will be used as the basis for designing or making desaign; 2. The desaign is made from the result of data acquisition and is formulated in a single unit in the form of a sketch; 3. The embodiment is carried out from the result of the selected sketches and will be transferred to the media so that works that have gone through various processes and techniques such as assembly formation and finishing are realized The creation of this works is used as a product for the needs of a formal meeting room by applying a topeng manis as the creation of the works. Meeting room as a place to accommodate meeting activities that discuss general problems or inspiration about something interesting.
KOMBINASI ORNAMEN BALI UTARA DAN BALI SELATAN PADA PINTU KUWADI I Kadek Komara Yana; I Made Jana; I Made Sumantra
Hastagina : Jurnal Kriya Seni Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i02.1002

Abstract

Internship/work practice is a form of lectures through work activities directly in the world of work. This internship program aims to improve and hone skills and deepen understanding as well as work motivation in the development of soft skills and hard skills. The method used in the implementation of the apprenticeship method is data collection through observation, interviews, and documentation carried out at Galih Ukir related to the creation that is carried out. The implementation of the internship is carried out by the creation process using the method of crafting according to Gustami, which is divided into 3 stages in the creation process, the exploration stage includes data collection and extracting ideas. Second, the design stage includes pouring out ideas in visual form in the form of basic sketches, alternatives and working drawings. Third, the embodiment stage, namely making it happen through the processing of raw materials, assembling, engraving and finishing. The result of the internship at Galih Ukir was getting an understanding and training on the creation of kuwadi door products with modern concepts without losing the traditional character. So that a kuwadi door is created with a modern concept that is decorated with a combination of North and South Bali ornaments with a white wash finishing technique so as to create an antique impression on the product.
PENCIPTAAN SET FASHION TOURING DENGAN SENTUHAN ESTETIKA TRADISIONAL BALI Noval Nur Akbar; I Made Jana; I Made Sumantra
Hastagina : Jurnal Kriya Seni Vol 3 No 01 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The automotive industry remains an appealing market. The riding fashion trend is one of many new innovations that have emerged. This is the inspiration for creating touring fashion sets with traditional Balinese aesthetics, specifically the Patra Punggal motif. This touring fashion collection aims to introduce the diversity of traditional Balinese motifs to the larger community, particularly the Vespa community, which is spread throughout the archipelago and serves as a form of cultural preservation. The process of realizing this work goes through several stages: (1) the exploration stage, which includes observation and research, (2) the design stage, which involves creating several sketches and technical drawings, and (3) realization, which involves shaping the work and continuing to assess and evaluate the finished product. In the process of realizing this final project, the author used two types of materials: pull-up cowhide and sheepskin. The work created for this final project includes a leather jacket, a pair of gloves, a pair of boots, and a helmet.
MEDIUM SHIFT AND EXISTENCE OF ORNAMENTS ON PELINGGIH OF SACRED BUILDINGS (TEMPLES) DUE TO THE VOLCANIC IMPACT OF MOUNT AGUNG Sumantra, I Made; Susanto, Moh. Rusnoto; Setem, I Wayan; Dewi, Citra Samara; Selimanorita, Shafa’; Dewobroto, Bambang Trisilo
International Journal of Engagement and Empowerment (IJE2) Vol. 3 No. 3 (2023): International Journal of Engagement and Empowerment
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ije2.v3i3.124

Abstract

The study of the existence of ornaments on the pelinggih (temple) buildings that utilise the black stone material of Mount Agung is considered to be only a tiny part of the ornamental manifestations applied to the black stone pelinggih building of Mount Agung when compared to the application of pelinggih ornaments using solid stone materials in general. It is done as an economic production that needs to be sold to the public, especially for Hindus in Bali. To explore this, the researcher uses socio-cultural and aesthetic approaches. The presentation of this article aims to describe (1) The form of the pelinggih temple building that has been used in the community as a place of worship. (2) The existence of ornaments, which are applied to the parts of the pelinggih building, according to the existing parts, such as the feet, the body and the top. (3) Factors influencing the creation of pelinggih with black stone material of Mount Agung, featuring ornaments with minimalist patterns. It is hoped that this research can also be used as a basis for future research to find solutions in developing techniques for sculpting or carving ornaments that utilise the black stone material of Mount Agung, using modern tools. The research approach used was descriptive qualitative. Data were collected through field surveys, literature studies, observations and interviews. Data can be collected, processed, classified and reduced, then analysed using textual and contextual analysis and interpretation. Descriptive qualitative research method that describes situations or events to make a description systematically, factually, and accurately about the facts and the characteristics of the population or sample of a particular area (Suryabrata, 2005: 76). Data in verbal form is often contained in different words with the same meaning and long and wide sentences. In conclusion, the description of ornaments on pelinggih (temple) buildings that use the black stone material of Mount Agung is related to the dominant factors that influence the embodiment of decorations. Although the structure and form of the pelinggih in the preparation have followed the ethics or the existing rules, the application of ornaments in detail is minimal, only in the form of basic patterns, both at the bottom feet, body or middle and head or top. There is still a lack of reliable and professional Gunung Agung black stone carvers
Bentuk Kekarangan Sebagai Ide Penciptaan Kriya Seni I Nyoman Ngidep Wiyasa; I Made Jana; I Made Sumantra
Segara Widya : Jurnal Penelitian Seni Vol. 11 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/sw.v11i2.2581

Abstract

Motif hias sebagai hasil karya manusia, merupakan komponen seni rupa, banyak diterapkan pada bangunan suci maupun rumah tinggal, peralatan upacara dan pada benda-benda kerajinan. Motif hias atau hiasan ini sering disebut ornamen. Motif hias/ornamen dalam perwujudannya merupakan khayali dan stilisasi dari bentuk alam seperti: batu-batuan, api, air, awan, tumbuh-tumbuhan, binatang, dan mahluk mitologi lainnya. Motif hias yang merupakan stilisasi dari wajah mahluk hidup baik yang bersifat nyata maupun mitologis, di Bali biasa disebut “kekarangan”. Motif kekarangan pada umumnya ditiru dari wajah mahluk hidup yang ada di alam, mahluk mitologis ini dianggap sebagai kendaraan para dewa. Sementara itu, dalam posisi yang lain, motif kekarangan juga sering diterapkan untuk menghiasi struktur pepalihan pada bangunan baik pada bagian bawah, tengah dan atas. Bentuk-bentuk kekarangan tersebut antara lain : karang boma, karang sae, karang bentulu, karang hasti, karang naga dan goak. Berbagai bentuk gambar, lukisan, patung, yang telah ada juga banyak terinspirasi dari motif kekarangan seperti karya patung maestro I Nyoman Tjokot, maestro seni lukis I Gusti Nyoman Lempad, dan pematung I Ketut Nongos. Berkaitan dengan hal tersebut di atas pencipta juga terinspirasi dengan bentuk-bentuk kekarangan yang akan divisualisasikan menjadi karya kriya dengan memanfaatkan kayu jati yang diaplikasikan dengan logam tembaga, dengan mempertimbangkan penerapan teknik yang tepat sehingga terwujud karya kriya yang kreatif dan inovatif.
Co-Authors Dewi, Citra Samara Dewobroto, Bambang Trisilo Gede Arimbawa, I Made I Kadek Komara Yana I Kadek, Karang Arinatha I Komang Trisna Eka Putra I Made Jana I Made Jana I Made Jana I Made Suparta I Nyoman Ngidep Wiyasa I Wayan Setem, I Wayan I Wayan Terimajaya I Wayan Wijaya Kusuma Jana, I Made Karuni Ni Kadek Karuni, Ni Kadek Mukti, Made Wahyu Prisma NGURAH WISNU MURTHI Noval Nur Akbar Satrio Purwo Yudho Selimanorita, Shafa’ Suardina I Nyoman Suryawan I Made Susanto, Moh. Rusnoto