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I Wayan Mudra, I Wayan
Institut Seni Indonesia Denpasar
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Pemedal Agung at the Kertha Gosa Site, Klungkung, Bali (A Study of the Shape of the Statue) I Putu Putra Suryadana; I Wayan Mudra
Journal of Aesthetics, Creativity and Art Management Vol. 2 No. 1 (2023): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/jacam.v2i1.2346

Abstract

Pemedal Agung is one of the historic buildings located on the Kertha Gosa site, founded by the founder of power and the first throne holder of the Klungkung kingdom in Semarapura, namely Ida I Dewa Agung Jambe. The identity of Pemedal Agung has very unique forms of statues and ornaments. The uniqueness of the statues in Pemedal Agung can be seen from the use of ideas which certainly have their own uniqueness from the use of the idea of placing statues as ornaments or decorative elements in traditional architecture in Bali in general. The existence of the statues at the Kertha Gosa site, especially at the foot of Pemedal Agung, is not known specifically regarding the form of its embodiment, so this study is considered important to answer the proposed phenomenon. The purpose of this study was to find out the shape of the statues on the foot of Pemedal Agung at the Kertha Gosa Klungkung site. This study uses a qualitative descriptive approach, with data collection methods, namely observation and documentation. Data collection will be carried out in 2023 at the Kertha Gosa Klungkung Bali site, as the whereabouts of the research subject. The results of the study show that the shape of the statues found at the foot of Pemedal Agung at the Kertha Gosa site is one of the decorative elements of architectural heritage from the royal era in Bali. Researchers hope that this study can provide an overview in the form of science related to the existence of statues at the foot of Pemedal Agung at the Kertha Gosa site which is a decorative element of architectural heritage from the royal era in Klungkung.
PERKEMBANGAN TAPESTRI DI BALI Ni Putu Desy Sonnya Suandhari; I Wayan Mudra; Tjokorda Istri Ratna Cora Sudharsana
Gorga : Jurnal Seni Rupa Vol 12, No 1 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i1.41109

Abstract

Tapestry is a type of simple weaving structure composed of braiding of warp and feed threads. Currently, tapestry has begun to develop in Indonesian regions such as Bali. This tapestry is widely used as a wall decoration or applied to other products. This study aims to determine the development of tapestry in Bali and its preservation efforts so that it can be used as a reference or reference in understanding tapestry. The method used in this study is a qualitative method with data collection techniques in the form of observation, interviews, documentation, and literature studies on tapestry. The theory used is the tapestry theory to describe more specifically about tapestry and its patterns, and use aesthetic theory. The results of this study show that the development of tapestry has entered Bali and is widely traded, even tapestry craftsmen can be found in Bali but there are still many people who do not know or know about tapestry. The development of motifs can be seen in the diversity of motifs consisting of natural motifs, batik motifs, and abstract motifs. Techniques have also developed, namely there are flat techniques, soumak, giordes, hook joints, and kilite joints. The use of colors has also been diverse and brighter. The Indonesian Institute of the Arts Denpasar also develops tapestry by providing tapestry courses to students and even making tapestri workshops. The conclusion that can be conveyed is that in Bali tapestry has developed in terms of craftsmen / students, motifs, techniques, and their concentration.Keywords: tapestry, development, Bali, learning. AbstrakTapestri merupakan jenis struktur tenun sederhana yang tersusun atas jalinan dari benang lungsi dan pakan. Saat ini tapestri sudah mulai berkembang di daerah-daerah Indonesia seperti Bali. Tapestri ini banyak digunakan sebagai hiasan dinding atau diaplikasikan pada produk-produk lainnya. Penelitian ini bertujuan untuk mengetahui perkembangan tapestri di Bali dan upaya pelestariannya sehingga dapat dijadikan acuan atau referensi dalam pemahaman mengenai tapestri. Metode yang digunakan pada penelitian ini adalah metode kualitatif dengan teknik pengumpulan data berupa observasi, wawancara, dokumentasi, dan studi literatur mengenai tapestri. Teori yang digunakan yaitu teori tapestri untuk menjabarkan lebih spesifik mengenai tapestri dan coraknya, serta menggunakan teori estetika. Hasil penelitian ini menunjukkan bahwa perkembangan tapestri sudah masuk di Bali dan banyak diperjual belikan, bahkan perajin tapestri pun sudah dapat ditemukan di Bali namun masih banyak masyarakat yang belum mengenal atau mengetahui tentang tapestri. Perkembangan motif dapat dilihat keragaman motif yang terdiri dari motif alam, motif batik, dan motif abstrak. Teknik juga mengalami perkembangan yaitu ada teknik rata, soumak, giordes, sambungan kait, dan sambungan kilim. Penggunaan warna juga sudah beragam dan lebih cerah. Institut Seni Indonesia Denpasar juga mengembangkan tapestri dengan memberikan pembelajaran mata kuliah tapestri kepada mahasiswa bahkan hingga membuat workshop tapestri. Simpulan yang dapat disampaikan bahwa di Bali tapestri sudah berkembang dari sisi perajin/mahasiswa, motif, teknik, dan pemaanfatannya.Kata Kunci: tapestri, perkembangan, Bali, pembelajaran. Authors:Ni Putu Desy Sonnya Suandhari : Institut Seni Indonesia DenpasarI Wayan Mudra : Institut Seni Indonesia DenpasarTjokorda Istri Ratna Cora Sudharsana : Institut Seni Indonesia Denpasar References:Ardianti, S. R., & Affanti, T. B. (2021). Pemanfaatan Teknik Tapestri Pada Rompi Dengan Bahan Renda. Gorga: Jurnal Seni Rupa, 10(2), 486-494.Astiti, N. P. P. S., & Panggabean, R. (2013). Eksplorasi Ragam Hias Tenun Rangrang (Doctoral dissertation, Bandung Institute of Technology).Dwigantara, A. (2011). Kajian Karya Tapestri Biranul Anaz Zaman Tahun 2006-2020. Skripsi tidak diterbitkan. Surakarta: Universitas Sebelas Maret.Joesyiana, K. (2018). Penerapan Metode Pembelajaran Observasi Lapangan (Outdor Study) pada Mata Kuliah Manajemen Operasional (Survey pada Mahasiswa Jurusan Manajemen Semester III Sekolah Tinggi Ilmu Ekonomi Persada Bunda). PEKA, 6(2), 90-103.Khasanah, A. U. (2019). Penciptaan Round-Weaving Tapestry Dengan Bunga Edelweis (Anaphalis Javanica) Sebagai Inspirasi. Disertasi tidak diterbitkan. Bandung: Universitas Pendidikan Indonesia.Pramesthi, I. A. N. (2022), “Perkembangan Tapestri di Bali”. Hasil Wawancara Pribadi: 1 Desember 2022, Institut Seni Indonesia Denpasar.Pujaastawa, I. B. G. (2016). Teknik Wawancara dan Observasi untuk Pengumpulan Bahan Informasi. Manuskrif Tidak Diterbitkan. Bali:  Universitas Udayana.Soelistyowati, S. P., & Julia, F. R. (2020). Pemanfaatan Sisa Kain Perca pada Desain Wearable Art dengan Menggunakan Teknik Tapestry.
PERBANDINGAN MOTIF DAN PEMASARAN BATIK DIUSAHA IJEN BATIK DAN BATIK MAGENDA DI DESA TAMANAN KABUPATEN BONDOWOSO Nurlaeli Dwi Safitri; I Wayan Mudra
Hastagina : Jurnal Kriya Seni Vol 1 No 01 (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.v1i01.59

Abstract

Ijen Batik dan Batik Magenda merupakan UMKM yang ada di Desa Tamanan Bondowoso Jawa Timur. Kedua usaha ini adalah pelopor usaha batik di Bondowoso yang mengerjakan batik cap, batik tulis, dan batik semi. Selama ini kedua usaha ini belum banyak diangkat dalam karya tulis ilmiah. Tujuan penelitian ini untuk membandingkan motif dan pemasaran produk Ijen Batik dan Batik Magenda. Penelitian ini merupakan penelitian sampel menggunakan pendekatan proposive sampling dan pengumpulan data dilakukan dengan teknik observasi, wawancara dan dokumentasi secara off line dan on line. Penelitian ini dilakukan dengan pendekatan kualitatif dan dilakukan tahun 2020. Hasil penelitian menunjukkan motif produk Ijen Batik lebih unggul di bandingkan dengan motif produk usaha batik Magenda, karena motif yang dibuat oleh Ijen Batik selalu mengikuti trending tahunan, dan selalu melakukan inovasi dalam pengembangan motif. Motif produk-produk Ijen Batik menjadi lebih variatif dibandingkan produk batik Magenta. Demikian juga pemasaran produk Ijen Batik lebih luas dibandingkan dengan Batik Magenda. Ijen Batik telah melakukan promosi sampai pada tingkat televisi nasional, sehingga produk Ijen Batik semakin dikenal masyarakat luas. Peneliti berharap melalui publikasi ini, kedua usaha batik ini dikenal lebih luas dan pemasaran produknya menjadi lebih meningkat.
Kajian Bentuk, Filosofi Ornamen dan Konstruksi Sanggah Rong Tiga Hindu di Bali I Putu Putra Suryadana; I Wayan Mudra; I Nyoman Suardina
Hastagina : Jurnal Kriya Seni Vol 1 No 01 (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.v1i01.68

Abstract

UD Undagi Bali merupakan perusahaan yang bergerak atau berkontribusi di dalam bidang seni ukir style Bali (kriya) kayu dalam bentuk arsitektur tradisional Bali, sanggah, pintu kuwadi dan pepanilan. Penelitian ini bertujuan untuk membahas bentuk, filosofi ornament dan konstruksi pada sanggah rong tiga sebagai arsitektur suci Hindu di Bali. Penelitian ini merupakan penelitian sampel dilakukan dengan pendekatan deskriptif kualitatif, dengan metode pengumpulan data yaitu observasi, wawancara dan dokumentasi. Pengambilan sampel dilakukan tahun 2020 di UD Undagi Bali, Banjar Bantas, Desa Manukaya, Tampaksiring, Gianyar, Bali sebagai keberadaan subjek penelitian. Hasil penelitian menunjukkan bentuk, filosofi ornament dan konstruksi pada sanggah rong tiga sebagai salah satu arsitektur suci masyarakat Hindu di Bali. Peneliti berharap kajian ini dapat memberikan gambaran dalam bentuk ilmu pengetahuan terkait dengan keberadaan sanggah rong tiga yang merupakan arsitektur suci Hindu di Bali, sebagai pijakan dalam perwujudan dan pengetahuan generasi muda (milenial) Bali tentang keberadaan dan pelestarian arsitektur suci yang perlu dijaga dan diterapkan berkaitan dengan pedoman-pedoman perwujudan sanggah rong tiga yang sudah ada sejak dahulu kala.
Beyond the Lantern Festival: Designing Fantasy Illustrations Inspired by Lontong Cap Go Meh and Kelenteng Hok An Kiong Shienny Megawati Sutanto; I Wayan Mudra; A. A. Gde Bagus Udayana; I Nyoman Suardina
VCD Vol. 9 No. 1 (2024): Journal of Visual Communication Design VCD
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v9i1.4697

Abstract

This study examines the creative process behind the illustrations of the fantasy novel "Warisan Dua Dunia" inspired by the Lontong Cap Go Meh tradition in Hok An Kiong Temple, Surabaya. This tradition is an interesting example of Indonesian and Chinese cultural acculturation. A qualitative descriptive method with observation, interview, and documentation techniques was used in this study. The theoretical framework used includes Visual Language (Tabrani) and The Big Triangle (Mc Cloud). The results showed that the creative process of the novel illustration began with observation and reflection on the Lontong Cap Go Meh tradition. The researcher combined the results of observation and reflection with personal experience to form a personal interpretation visualized in a manga style. Imaginative and realistic visualizations inspired by Chinese culture enrich the work's aesthetics and transport the reader into an imaginary world full of meaning. This study shows that the combination of contemplation, personal interpretation, and manga visual style produces a work that is not only relevant to the younger generation but also opens up new interpretation towards tradisi Lontong Cap Go Meh di Kelenteng Hok An Kiong.
Visual Language of Angling Dharma Relief at Jago Temple Marina Wardaya; I Wayan Mudra; A. A. Gde Bagus Udayana; I Nyoman Suardina
VCD Vol. 9 No. 1 (2024): Journal of Visual Communication Design VCD
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v9i1.4717

Abstract

The relief panels depicting the Angling Dharma story on the Jago Temple offer a valuable resource for researchers, similar to the Kresnayana story reliefs in Prambanan. These reliefs serve as visual narratives, conveying the Angling Dharma epic. The sculptors meticulously selected key scenes from the text, translating them into captivating visuals and arranging them within individual panels. These panels, when assembled, form a cohesive narrative of the Angling Dharma story. In a modern context, this sequence of panels resembles a movie, unfolding the story through a series of images. To encompass the entirety of the narrative within the confines of the relief's surface, the sculptors employed a distinct drawing method known as the "space-time-flat" system. This approach differs significantly from modern Western artistic conventions. The unfamiliar style can pose challenges in interpreting the depicted scenes. This research proposes a descriptive and qualitative analysis of the "space-time-flat" method used in the Angling Dharma reliefs. By delving into this unique drawing system, the study aims to glean valuable insights that can be applied in the creation of various visual media. The analysis can shed light on artistic practices that predate the arrival of Western drawing techniques with their emphasis on naturalism, perspective, and single-moment depiction.
Interpreting the Tri Mandala Concept on the Motif of Gringsing Wayang Kebo Woven Cloth Nina Eka Putriani; Sri Marwati; I Wayan Mudra
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 1 No. 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v1i1.343

Abstract

Gringsing wayang kebo woven cloth is one of specialty cloths owned by Tenganan Pegringsingan Village, Manggis Sub-district, Karangasem Regency, Bali. This research aims to interpreting the Tri Mandala concept on the motif of gringsing wayang kebo woven cloth. The approach of this research is descriptive qualitative. Techniques for collecting data are observation, interview, and documentation, data analysis is using interactive analysis model and the validity of the data will be confirmed with triangulation technique. The result of this research shows that the motif of gringsing wayang kebo follows the of Tri Mandala concept that consists of 3 parts, Main pattern, Center pattern, and edge pattern. The motifs consisted of each pattern are 1). The motif on the main pattern consists of the plus, swastika, building, and scorpion motif; 2). The motif on the center pattern consists of an animal motif, floral, mountain, wayang; and; 3). The motif on the edge pattern consists of plus sign (+) and sun.
The Acceptance of Wayang Kamasan Porcelain Ceramics at Petitenget Temple Bali Rai, Sunarini; I Wayan, Mudra; Anak Agung Ayu Oka, Saraswati; I Ketut, Muka; I Wayan, Karja
Mudra Jurnal Seni Budaya Vol 39 No 3 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i3.2795

Abstract

Temples, integral to Hindu Dharma worship, are quintessential features of Balinese architectural tradition. Among these, Petitenget Temple stands out with its distinctive interior, adorned with ceramic plates embellishing the pelinggih (shrine). This study focuses on Petitenget Temple, where porcelain ceramic plates featuring the Wayang Kamasan motif are utilized within the Tri Angga framework, representing a novel exploration. Research related to the study of the use of porcelain ceramics as ornaments in old buildings in Bali. Previous research has been carried out but has not been studied in depth on the use of Wayang Kamasan motifs on pelinggih with the Tri Angga concept in particular. This research aims to reveal the form, meaning, and aesthetic value of porcelain ceramics with wayang kamasan motifs as ornaments on pelinggih. Using qualitative methods with a descriptive approach, data collection involved observation, in-depth interviews, and documentation, and data reduction flow. Meanwhile, the data source sampling technique uses purposive sampling. The findings obtained through analysis of the Wayang Kamasan motif applied to porcelain ceramic plates at Petitenget Temple, Kerobokan Badung, are the harmony of Wayang motif porcelain ceramics, as a prototype or reference for preserving the use of Wayang Kamasan motif porcelain ceramics in sacred buildings and other functions, and temple visitors can enjoy the form, meaning, and aesthetics displayed by the porcelain ceramics with Wayang Kamasan motifs installed. From this research, it can be concluded that Wayang Kamasan porcelain ceramics are accepted by the community, temple owners, or Petitenget Temple owners.
Rebranding Keripik Pelepah Pisang Produk UP2K PKK Desa Kukuh Kerambitan Tabanan Julianto, I Nyoman Larry; Mudra, I Wayan; Suparthana, I Putu; Adnyana, I Nyoman Widhi; Andreani, Ni Putu Elvian
Wikrama Parahita : Jurnal Pengabdian Masyarakat Vol. 8 No. 1 (2024): Mei 2024
Publisher : Universitas Serang Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30656/jpmwp.v8i1.5512

Abstract

Tujuan kegiatan pengabdian adalah pengembangan peningkatan kualitas desain kemasan dan strategi pemasaran keripik pelepah pisang kelompok Usaha Peningkatan Pendapatan Keluarga (UP2K) PKK Desa Kukuh Kerambitan. Kegiatan pengabdian dilaksanakan menggunakan dua tahap yaitu tahap Focus Group Discussion (FGD) untuk penentuan nama produk beserta elemen visual produk dan workshop strategi pemasaran digital melalui pembuatan desain poster digital. Hasil FGD menyepakati nama ‘DèBong’ sebagai identitas produk keripik yang cenderung mampu mewakili bahan bakunya, yakni pelepah pisang atau gedebong. Referensi terkait Ilustrasi dan warna yang disepakati adalah berdasarkan warna alami pada pelepah pisangnya serta unsur lainnya pada pohon pisang, seperti daun dan buahnya. Kegiatan PKM mendapatkan apresiasi yang sangat baik dari Ketua Tim Penggerak Pemberdayaan dan Kesejahteraan Keluarga (TP–PKK) dan Kepala Desa Kukuh Kerambitan. Capaian kegiatan yang dilaksanakan mencapai di angka 120%, yakni pada tingkat pengetahuan dan keterampilan peserta pendampingan dalam memahami dan mengkonsepkan desain kemasan serta strategi promosi melalui media sosial menjadi lebih meningkat.
Mekepung Jembrana Tradition As a Source of Creation of Documentary Film Yogantara, Wayan Arfian; Mudra, I Wayan; Swandi, I Wayan
PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v9i1.3272

Abstract

The Mekepung tradition in Jembrana, Bali, particularly in the form of buffalo racing, is a deeply rooted cultural spectacle representing joy and celebration for agrarian communities. This research aims to explore this tradition and create a documentary film to preserve and promote its significance. Employing a qualitative descriptive method and utilizing the documentary film structure approach, the study incorporates observation, interviews, and documentation to gather authentic data. The documentary follows a three-part story structure, capturing the essence of Mekepung through genuine visual presentations and a well-structured narrative flow. Embracing a performative documentary style, the film emphasizes captivating packaging and meticulous craftsmanship. The creation process encompasses pre-production, production, and post-production stages. Ultimately, the Mekepung Jembrana documentary not only showcases buffalo racing but also serves as a vital tool for cultural preservation and awareness for future generations, ensuring the continuity of this cherished tradition.
Co-Authors A. A. Gde Bagus Udayana Adesastrawiguna, Iputu Adiartha, I Komang Adiputra, Komang Anak Agung Ayu Oka, Saraswati Andreani, Ni Putu Elvian Artawan, Cokorda Alit Asra, Rezky Gustian Ayu Krisna Gayatri Sari Dewi Bhumi, I Made Bayu Puser Deviyani, Ni Kadek Siska Dewa Gede Ardawa Putra Wicaksana Dewa Made Dermawan Dewi, Ayu Krisna Gayatri Sari Dewi, Gusti Ayu Nyoman Santhi Kumari Pusya Elsye Andriani Delfi Faisal, Yusuf Febrian Putra Hasbullah Hasbullah I Gede Adi Sudi Anggara I Gede Mugi Raharja I Gede Mugi Raharja I Gede Yudarta, I Gede I Gusti Ngurah Ardana I Ketut Muka I Ketut Sariada, I Ketut I Komang Arba Wirawan I Komang Sudirga I Made Dwiarya Swandi I Made Radiawan I Made Saryana I Made Suparta I Made Suparta I Nyoman Larry Julianto I Nyoman Widhi Adnyana I Nyoman Wiwana I Nyoman, suardina I Putu Adi Sanjaya I Putu Bagus Restu Pratama Wiwaha I Putu Putra Suryadana I Putu Putra Suryadana I Putu Suparthana I Wayan Adnyana I Wayan Sukarya I Wayan Sukarya I Wayan Sukarya I Wayan Swandi Julianto, I Nyoman Larry Kadek Dwiyani Kadek Meishya Paraswari Putri Kaiway, Yudhi Aji Ristanto Karuni, Ni Kadek Kuswandari, Ni Kadek Diah Nanta Larry Julianto, I Nyoman Made Gana Hartadi Marina Wardaya Mercu Mahadi Muliawati, Ni Putu Muliawati, Ni Putu Ngidep Wiyasa, I Nyoman Ni Gusti Ayu Paramita Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Luh Sustiawati Ni Made Arshiniwati Ni Made Rai Sunarini, Ni Made Rai Ni Putu Desy Sonnya Suandhari Nina Eka Putriani Nurlaeli Dwi Safitri Ongkowidjojo, Maria Christina Paramartha, I Putu Adi Surya Permadi, Giovanni Brewijaya Putra Prasetya, Ignasius Gede Aldo Dani Prastiti, Ni Putu Suci Pratama, Putu Angga Putriani, Nina Eka Rai, Sunarini Ratna Cora Sudharsana, Tjok Istri Ratnamaya, A. A. Ista Remawa, Anak Agung Gede Rai Ricky Fernando Rosaline, Nelly Rosaline, Nelly Samuel Samuel Sarjani, Ni Ketut Pande Satrio Hutomo, Adam Shienny Megawati Sutanto Simanjuntak, Yessica Yosia Virginia Soelistyowati Soelistyowati Sri Marwati Sri Marwati Sudibya, I Gusti Ngurah Suharto, I Sukajaya, I Komang Supandi, Fajar Persada Sutrisnayanti, Ni Nyoman Syahrian, Alfin Teresia Hanna Sanjaya Wasista, I Putu Udiyana Wayan Karja Wicaksana, Dewa Gede Ardawa Putra Wirawan, I Gusti Ngurah Yanti Heriyawati Yogantara, Wayan Arfian