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All Journal Harmonia: Journal of Research and Education Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya Indonesian Journal of Multidisciplinary Science Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Retina Jurnal Fotografi Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Framing: Journal of Art, Film, Television, Animation, Games and Technology
I Nengah Wirakesuma, I Nengah
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Arts Humanities Chemistry Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Immunology & microbiology Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Physics Public Health Social Sciences Other

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Foto Prewedding Bali Dengan Gaya Hitam Putih Dinata, Putu Raka Narendra; Wirakesuma, I Nengah; Candrayana, Ida Bagus
Retina Jurnal Fotografi Vol 5 No 1 (2025): Retina Jurnal Fotografi
Publisher : Lp2mpp Isi Denpasar - Ps. Fotografi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/rjf.v5i1.5237

Abstract

Foto prewedding dengan gaya hitam putih di Bali mencerminkan perpaduan antara kreativitas fotografer dan keindahan budaya lokal Bali. Dalam hal ini, foto prewedding tidak hanya berfungsi sebagai dokumentasi, tetapi juga sebagai ekspresi identitas dan simbolisme yang kaya akan makna. Laporan ini mengeksplorasi bagaimana elemen-elemen estetika, seperti pose mempelai pasangan, ragam bangunan Bali dan keindahan alam bali, menemukan nuansa baru dalam pengambilan gambar untuk menciptakan karya yang unik. Gaya hitam putih dalam foto prewedding memberikan nuansa klasik dan dramatis, memungkinkan penekanan pada interaksi antara pasangan. Penggunaan teknik pencahayaan yang tepat serta komposisi yang matang menjadi kunci dalam menghasilkan gambar yang tidak hanya menarik secara visual tetapi juga menyampaikan cerita yang mendalam. Dengan demikian, foto prewedding bali dalam gaya hitam putih menjadi medium penting untuk mengekspresikan keindahan dan kreativitas foto prewedding, sekaligus memperkuat identitas lokal dalam era modern yang terus berkembang.
Natural Color Mangosteen Skin on Canvas Fabric Wirakesuma, I Nengah; Mudana, I Wayan
Journal of Social Science Vol. 5 No. 4 (2024): Journal of Social Science
Publisher : Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/jss.v5i4.893

Abstract

The process of creating art on canvas using natural colors from mangosteen peel represents a distinctive artistic endeavor. Mangosteen peel colors possess unique characteristics compared to synthetic ones. Across various dimensions, mangosteen peel colors tend to exhibit natural nuances such as light brown, brownish, reddish-purple, and blue. Painting with mangosteen peel entails a creative process that begins with harvesting the fruit from the garden. Spontaneously, upon splitting the mangosteen fruit into two equal parts, I decided to use the peel to make marks on the canvas. This technique involves spontaneous finger movements, gently, moderately, and sometimes forcefully pressing the canvas. The resulting color effects emerge naturally, correlating with the intensity of finger movements scraping the mangosteen peel on the canvas. The method of creating paintings using mangosteen peel is carried out spontaneously, following stages of art creation: existence, exploration, experimentation, realization, and evaluation. The realization of paintings using mangosteen peel reflects the dynamics of art creation, encompassing elements of visual arts such as light, point, line, space, plane, color, texture, and composition. The artworks produced are titled as expressions of color and line: Expression of Color and Line 1, Expression of Color and Line 2, Expression of Color and Line 3, and so forth. The use of mangosteen peel colors as an alternative medium in the process of creating paintings is driven by the necessity for creativity to achieve artworks of quality, significance, and harmonious value.
Banana Heart Sap Experiment Wirakesuma, I Nengah; Mudana, I Wayan; Kondra, I Wayan; Mustika, I Ketut; Sujana, I Wayan
Journal of Social Science Vol. 5 No. 5 (2024): Journal of Social Science
Publisher : Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/jss.v5i5.930

Abstract

A unique and interesting creative process using banana blossom sap as a medium. Banana flower sap has specific characteristics compared to other synthetic colors. Banana flower sap tends to display typical milky white, gray, light brown, yellowish-green, red and dark brown colors. Painting using banana blossoms starts from picking the banana blossom. Exploration of the technique of cutting the stem of the banana flower until the sap oozes out and drips onto the canvas. Since then I have been practicing spontaneously using banana sap, involving movements of my fingers, pressing the banana flower gently, medium and hard. The effect of the pressure of the banana flower sap produces natural colors, according to the intensity of the movement of the fingers on the canvas. The method used is carried out spontaneously, following the stages of the art creation process (E4): Existence, Exploration, Experimentation and Evaluation. Realization (E4) represents the existence of my creative process. Utilization of fine art elements such as light, point, line, space, plane, color, texture and composition. The resulting works of art include the following titles: Banana Sap Color 1, Banana Sap Color 2, Banana Sap Color 3, and so on. The use of banana blossom sap is driven by the need to express the soul in order to produce new works of art of high quality and have high aesthetic values
Nature Trofis and Young Artist's Light Painting at Penestanan Ubud Bali Mudana, I Wayan; Wirakesuma, I Nengah; Adi Sucipta, I Wayan; Mustika, I Ketut; Kondra, I Wayan
Journal of Social Science Vol. 5 No. 6 (2024): Journal of Social Science
Publisher : Syntax Corporation Indonesia

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Abstract

The purpose and purpose of this research is to find out that tropical nature rich in light effects can be explored as an idea to create paintings. When he lived in Penestanan Ubud Bali in the 1957s, he taught light painting techniques that drove the birth of Young Artist-style painting. The people of Penestanan initially did not respect the painting activities offered by Arie Smit, but driven by the concern of seeing firsthand the condition of the residents of Penestanan village, who were very poor and underdeveloped, then he felt called to liberate the younger generation of the Penestanan community from poverty economically but very culturally rich. To analyze the nature of trophies and paintings of young artists in Penestanan carefully and accurately, a qualitative method is used, imperially using a participatory approach, namely analyzing the works of painters educated by Arie Smit, such as: Soki, Cakra, and Dewa Kaka using a motivational, behavioral, and interaction approach. To depict identity, aesthetic experience, creative process, until it is realized into a painting of young artists is analyzed participatory. The results and discussions in an impermatic manner describe about; (1) Tropical and Campuhan nature as inspiration for light painting, (2) Light Painters, and (3) painting forms produced by the Penestanan people of Ubud. Conclusion; The realm of trophism and light can be explored into paintings by young artists. The young artist's painting style reflects the play of colors, light, lines, and decorative. Meanwhile, perspective is used to obtain gradations and display the impression of far and near. Findings; Light painting in the West and in the East (Bali) has a very distinctive difference. The identity of Western light painting emphasizes the impression, the painter must face a direct object that gives birth to an impressionist style of painting. Meanwhile, in Young Artist's paintings, light capture displays color, decoration, and bold lines. It is arranged with a gradation game so that from perspective to get a far and close impression
DEATH AND REINCARNATION AS INSPIRATION OF CREATION FINE ARTWORK Kariana, I Nengah; Wirakesuma, I Nengah; Ruta, I Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 5 No 2 (2025): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v5i2.4499

Abstract

This report contains a description of the creation of works of art that take the theme "Death and Reincarnation as Ideas in the Creation of Works of Art" which was inspired when reading a book that made the author interested in raising the theme of death in this semester IV independent project, namely the book "History of Death" from Michael Kerrigan. It reminded the author of the confusion of finding a concept and finally it was recommended to use a concept that was close, so the author raised death because there is nothing closer to death. The goal to be achieved in the creation of this work is to find out how death and reincarnation are packaged in religious sciences, cultures that exist in Indonesia, especially Bali through creativity and imagination into the form of paintings using various techniques, media, considering the elements and principles of fine art. From the written work and paintings produced, the author hopes that this work will be useful as literacy and a source of inspiration for society in the future. From the above theme, there are 5 (five) works that can be realized from death and reincarnation that can provide an overview of culture and religious science about death and reincarnation, especially in Bali.
A Documentary Film Sahasra Warsa: Reviving A Thousand Years of Painting in Batuan Village, Gianyar : Martida, Vanesa; Setem, I Wayan; Wirakesuma, I Nengah
Journal of Art, Film, Television, Animation, Games and Technology Vol. 3 No. 1 (2024)
Publisher : Perkumpulan Program Studi Film dan Televisi Indonesia

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Abstract

This documentary film defines 'sahasra warsa' (a thousand years) of painting in Batuan Village, Sukawati Sub-District, Gianyar, Bali Province, Indonesia. The existence of painting in Batuan Village is proven to have a long history, referring to the Baturan inscription 944 caka (1022 AD) of the reign of King Marakata. The king created the term 'citrakara' as recognition of community with the painting profession. In the 1930s, the presence of Pita Maha and the visit of anthropologists Margaret Mead and Gregory Bateson also contributed to the development of painting in Batuan Village. Batuan style paintings have been collected by various museums in Indonesia and abroad, including a collection of President Soekarno. The number of Batuan style painters is decreasing year by year. This observational-poetic documentary style includes historical information, the characteristics of Batuan painting, as well as efforts to preserve it. This documentary aims at serving as an audio-visual archive as well as a learning medium for future generations.
Preserving I Gede Modara’s “Rotating the Mountain of Mandara Giri” Painting Mudana, I Wayan; Wirakesuma, I Nengah; Kondra, I Wayan; Sujana, I Wayan; Mustika, I Ketut
Indonesian Journal of Multidisciplinary Science Vol. 2 No. 12 (2023): Indonesian Journal of Multidisciplinary Science
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/ijoms.v2i12.649

Abstract

I Gede Modara (1770), nicknamed I Gede Mersadi, was a pioneer of the Kamasan wayang painting, which is now called classical balinese painting. Kamasan wayang paintings are very bound by standards and provisions that are binding and standard, used for offerings and enlightenment to the people. One of the works left by Modara enlightenment painting, entitled "Pemuteran Gunung Mandara Giri" is made in the form of parba on wood, using balinese colors, now in very poor condition, not taken care of properly, and has not received attention from the government so that it gives the impression of being very neglectful of the heritage history. In fact, this work is a work that has a high reputation as an art historical heritage which is very important when future generations want to trace the civilization and development of balinese classical painting. Departing from this phenomenon, it is interesting to be used as research "Preservation of I Gede Modara's Painting with the title Screening of Mount Mandara Giri". The analytical approach used the concept of theory and method of preservation. Preservation relates to preservation, development and empowerment to create new or renewable products. In the discussion, discussing: 1) conservation measures, 2) development of creative industries, 3) community empowerment and expanding employment opportunities.
Corak Ikan Koi Sebagai Sumber Inspirasi Dalam Karya Seni Lukis Agus Deddy Krisna Adi Saputra, I Putu; Supriyatini, Sri; Wirakesuma, I Nengah
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (2021): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v1i2.1529

Abstract

The general purpose of this research and creation is to revive the author's love for fauna, especially koi fish. The variety of life in God's creation is very interesting to be used as an idea for creating art, one of which is the koi fish. The attraction of koi fish lies in the variety of patterns, colors, and movements that are captivating. Judging from its existence, koi fish have long been a part of human life, from the imperial era in China and Japan several centuries ago to the present. The beauty of koi fish is an attraction for humans to own, maintain, even as part of a lifestyle that can improve economic status and social status. For the writer's life, koi fish is one part of a hobby that since childhood, can bring fun and entertainment, calm the soul, as well as a source of inspiration in creating painting. These works of art can add to the richness of the repertoire of visual arts in Indonesia, in terms of the concepts, media, and techniques that are revealed. The method used in this research is the first observation or direct observation of the object under study, data collection through interviews, the internet, books, and data analysis. While the method of creation used is exploration, experimentation and creation of works. From these methods, six works were realized, including: 1. Tanco and the Japanese Flag, 2. Samurai Shiro, 3. Gosanke Worldwide, 4. Peace and Calm, 5. Victory, 6. The King of Ornamental Fish. In realizing a work, it is viewed from two aspects, namely ideoplastic aspects and physioplastic aspects. The benefit of this creation is that the public can appreciate this painting, both in terms of aesthetics and ethics.
Barong Kedingkling Sebagai Sumber Penciptaan Karya Seni Lukis Nanda Darmayanta, Kadek; Wirakesuma, I Nengah; Tirta Ray, D.A
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (2021): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v1i2.1536

Abstract

Barong Kedingkling juga sering disebut dengan Barong Blas-blasan, yang berarti mablat-blatan (terpisah-pisah), merupakan cabang seni suatu pertunjukkan pewayangan kuno klasik yang ditarikan oleh manusia. Di Bali terdapat beberapa kesenian tari Barong Kedingkling yang sangat di sakralkan dalam setiap pagelarannya, salah satunya di Pura Luhur Natar Sari, Desa Apuan Baturiti, Tabanan Bali. Penulis tertarik memvisualisasikan masing-masing tokoh Barong Kedingkling tersebut ke dalam karya seni lukis dengan menampilkan bentuk topeng, karakter, kostum beserta atribut yang digunakan dari masing-masing tokoh serta menyampaikan makna yang terkandung didalam karya seni lukis. Dalam proses pengumpulan data penulis menggunakan metode penelitian kualitatif, agar penulis dapat memahami realitas sosial dan makna budaya yang terkandung didalamnya. Analisis data yang digunakan adalah data primer dan data sekunder. Penulis menggunakan metode penciptaan seni didalam mewujudkan Barong Kedingling ke dalam karya seni lukis seperti melakukan proses eksplorasi dan eksperimen dengan memasukkan unsur-unsur seni rupa ke dalam karya yang diantaranya ada titik, garis, bidang, bentuk, warna dan tekstur dengan mempertimbagkan prinsip-prinsip seni rupa seperti keseimbangan, proporsi, komposisi, kesatuan, dan pusat perhatian. Berdasarkan pemaparan penjelasan di atas penulis dapat menciptakan sebuah karya lukisan yang berjudul “Ida Bhatara Sakti Nawa Sangga”. Visualisasi Barong Kedingkling dituangkan ke dalam media kanvas menggunakan teknik plakat dengan gaya ekspresionisme dengan menampilkan objek-objek Barong Kedingkling di pura Luhur Natar Sari yang mengandung nilai-nilai dan makna filosofis sebagai cerminan keseimbangan alam antara baik dan buruk (Rwa Bhineda) serta wujud rasa bhakti umat manusia kepada Ida Sang Hyang Widhi Wasa serta alam semesta agar terciptanya kehidupan yang harmonis antara manusia dengan manusia, manusia dengan alam, dan manusia dengan Tuhan (Tri Hitta Karana).
Representasi Cempaka Dalam Kehidupan Masyarakat Bali Sebagai Inspirasi Penciptaan Seni Lukis Rekha Bayutha , Ida Bagus; Tirta Ray , D.A.; Wirakesuma, I Nengah
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1538

Abstract

Berangkat dari penulusuran sejarahnya seni yang imitatif sudah ada sejak ribuan tahun. Kemudian berkembang dengan hadirnya beragam subjek matter salah satunya adalah bunga. Sejak ditemukannya teknologi fotografi kecenderungan representatif ini mulai ditinggalkan namun demikian seniman akan kembali melakukan proses ‘imitasi’. Keunikan dalam visual akan dicapai bila bentuk-bentuk representasional tersebut digabungkan dengan pemahaman simbolis mengenai nilai-nilai tradisi yang bisa digunakan dalam eksplorasi karya. Dengan mengambil tema cempaka diharapkan dapat mewakili ide-ide dalam penciptaan seni lukis. Ketertarikan penulis diawali ketika melihat lekukan kelopak bunga cempaka dan menyadari bahwa kehadirannya selalu mewarnai aspek kehidupan masyarakat Bali. Sehingga menyakini bahwa cempaka memuat nilai-nilai estetis yang dapat diterjemahkan ke dalam seni lukis dua dimensi. Melalui bimbingan oleh I Nyoman Erawan sebagi mitra MBKM karya-karya yang dihasilkan nanti merupakan sebuah hasil diskusi serta hasil penelusuran pustaka lewat jurnal, skripsi, maupun internet. Tahap visualisasi nanti akan menerapkan prinsip-prinsip seni rupa berupa Keseimbangan, Proporsi, Irama, Penekanan, dan Kesatuan. Selain itu juga menggunakan metode penciptaan berupa Eksplorasi, Improvisasi, dan Pembentukan, melalui tahapan tersebut tercipta 6 buah karya yang berjudul: 1)”Cempaka 1: Gratitude”, 2) “Cempaka 2: Balance”, 3) “Cempaka 3: Paradoks”, 4) “Cempaka 4: Tiga”, 5) “Cempaka 5: Homage to Mahadewa”, 6) “Cempaka 6: Value ?”. Pada akhirnya terwujudlah karya yang terkait dengan judul yang diangkat yaitu ‘Representasi Cempaka dalam Kehidupan Masyarakat Bali Sebagai Inspirasi Penciptaan Seni Lukis“, dan diharapkan dengan tercapainya karya ini dapat berguna bagi khalayak dan dapat memberikan kesadaran bagi kita tentang makna cempaka dalam kehidupan sehari-hari.
Co-Authors Agus Deddy Krisna Adi Saputra, I Putu Aryani, Ni Nyoman Ayu Suti Candrayana, Ida Bagus Dharma, I Made Aryswara Dinata, Putu Raka Narendra Drs. I Wayan Mudana,M.Si. . I Ketut Adi Sugita I Ketut Muka I Wayan Adnyana I Wayan Setem, I Wayan I Wayan Suardana I Wayan Sujana Kariana, I Nengah Kondra, I Wayan Mustika, I Ketut Nanda Darmayanta, Kadek Nindhia, Cokorda Istri Puspawati Nugroho, Adipura Satrio Pramono, Muhammad Faqih Soya Raharjo, Anis Rekha Bayutha , Ida Bagus Remawa, Anak Agung Gede Rai Ruta, I Made Saputra, Kadek Dwi Martha Sucipta, I Wayan Adi Supriyatini, Sri Tirta Ray , D.A. Tirta Ray, D.A Titihalawa, Dresser Julian Hendri Totton, Mary Louise Vanesa Martida, Vanesa