Article Per Year (5 Year)
p-Index From 2021 - 2026
7.026
P-Index
This Author published in this journals
All Journal Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya Wikrama Parahita : Jurnal Pengabdian Masyarakat Syntax Literate: Jurnal Ilmiah Indonesia Journal on Education Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya Jurnal Pendidikan dan Konseling Journal of Social Science Jurnal Sosial dan Teknologi Indonesian Journal of Multidisciplinary Science Journal of Social Research Abdi Widya: Jurnal Pengabdian Masyarakat Journal of Aesthetics, Creativity and Art Management 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 JHSS (Journal of Humanities and Social Studies)
I Nengah Wirakesuma, I Nengah
Institut Seni Indonesia Bali
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Immunology & microbiology Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Physics Public Health Social Sciences Other

Published : 47 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 47 Documents
Search

 1   2   3   4   5 
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

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

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.
Rerajahan Sebagai Sumber Inspirasi Penciptaan Seni Lukis Arsad Tri Gunawan, I Made; Wirakesuma , I Nengah; Setem, I Wayan
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.v2i1.1545

Abstract

Departing from an idea about rerajahan illustration which always has its own meaning in each of its strange forms, it creates an impetus to present rerajahan visualization by combining certain techniques and references to achieve goals and meanings that are in accordance with what is desired. The problem faced is how to process the rerajahan visuals to represent ideas so that the embodiment of the work looks interesting. The purpose and benefits are to provide a new reflection and elevate the existence of rerajahan which is full of use in various yadnya ceremonies in Bali, and to increase the author's understanding of the forms of rerajahan. To answer what is the purpose of this work, the method of creation uses exploration, improvisation, and forming. By arranging elements of art, and going through the stages of exploration, improvisation, and the forming stage, and combined with ideas and ideas to create 6 works entitled: 1) "covered", 2) "Self Struggle", 3) "Formed", 4 ) “Temporarily”, 5) “Destroyed”, 6) “Ready? Go!”. In the embodiment of the work, the author will use several technical references from other artists. By combining the blurry technique and the oil paint suction technique in the visualization of works that have a strange shape, and combined with texts such as in comic books to represent a movement, it is hoped that they will produce quality works and become the identity of the author. In the end, it can be concluded that traditional arts, especially rerajahan, provide a lot of inspiration in their work and are very interesting to be raised and developed with imaginative ideas that will become valuable and meaningful works. With the creation of this work, it is hoped that it can convey a message or meaning to a personal phenomenon that the author has experienced.
POTRET PEREMPUAN BALI DI PASAR KUMBASARI Dharma, I Made Aryswara; Wirakesuma, I Nengah; Nindhia, Cokorda Istri Puspawati
Retina Jurnal Fotografi Vol 3 No 1 (2023): Retina Jurnal Fotografi
Publisher : Lp2mpp Isi Denpasar - Ps. Fotografi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/rjf.v3i1.2045

Abstract

Masyarakat tidak hanya menjadikan pasar tradisonal sebagai tempat jual beli melainkan sebagai sumber nafkah sehari – hari, sebagaian besar aktivitas pasar lebih banyak dilakukan oleh para perempuan dari segi penjual maupun pembeli. Perempuan dalam kebudayaan khususnya Bali lebih banyak terlibat dalam aktivitas pasar tradisional , peran perempuan secara aktif tidak hanya tampil sebagai wajah konsumen, namun juga terlibat sebagai penjual barang dan penyedia jasa. Potret perempuan Bali didedikasikan agar dapat merubah pola pikir masyarakat tanpa membedakan laki – laki atau perempuan, tujuan dari pembuatan ide yang menarik dan unik ini di tuangkan dalam judul Potret Perempuan Bali di Pasar Kumbasari dengan menerapkan teknik – teknik fotografi dan diharapkan karya seni ini bermanfaat untuk semua kalangan dan dapat di terima dari berbagai generasi yang akan mendatang. Dalam memvisualisasikan karya ini pencipta melakukan observasi pengamatan langsung ke lokasi, kemudian dilakukan pengumpulan data dan mengamati beberapa aktivitas yang ada di pasar Kumbasari, hal ini dilakukan untuk mempermudah proses pembuatan karya seni, berdasarkan dengan pengetahuan dan gagasan yang sudah diketahui. Metode studi Pustaka pun juga dilakukan membaca berbagai referensi serta hasil penelitian sebelumnya yang sejenis yang berguna untuk mendapatkan landasan teori yang berguna dalam proses penelitian dan penciptaan Penciptaan dengan ide potret perempuan Bali dapat ditarik kesimpulannya , bahwa memvisualisasikan sebuah objek dengan situasi suasana pasaryang sangat amat ramai dan padat aktivitas, dalam proses ini ada beberapa hal yang dikuasi selain menguasai teknik – teknik fotografi pencipta juga harus mempelajari suasana yang ada di pasar, hal ini dilakukan untuk mempermudah proses pemotretan.
Teknik Film Soup Fotografi Analog Mengarungi Liga 1 Di Bali United Saputra, Kadek Dwi Martha; Wirakesuma, I Nengah; Mudana, I Wayan
Retina Jurnal Fotografi Vol 4 No 2 (2024): Retina Jurnal Fotografi
Publisher : Lp2mpp Isi Denpasar - Ps. Fotografi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/rjf.v4i2.3343

Abstract

Fotografi analog adalah proses representasi citra menggunakan medium perekam dengan proses kimiawi tertentu yang memanfaatkan film. Medium perekam dan penyimpan data berupa citra visual dalam fotografi analog adalah film. Film adalah sejenis lapisan plastik tipis yang peka terhadap cahaya, digunakan untuk pengambilan gambar dalam fotografi atau video. Film terdiri dari berbagai macam bentuk dari bentuk lembaran, roll (35mm,120mm,110mm). Teknik Film Soup Fotografi Analog Di Bali United menggunakan metode eksplorasi, eksperimen, dan pembentukan. Eksplorasi untuk menemukan ide terkait dengan Bali United yang merupakan sebuah tim sepak bola profesional dengan fotografi analog. Tahap selanjutnya menggunakan metode eksperimen yaitu eksperimen dalam penggunaan teknik film soup dan masih menggunakan kamera analog dan roll film dalam penciptaan karya foto ini. Metode selanjutnya yaitu visualisasi, metode visualisasi merupakan proses pengubahan dari konsep menjadi gambaran dalam bentuk nyata disajikan dalam bentuk karya seni. Dalam mendokumentasikan Bali United mengarungi Liga 1 melalui teknik film soup. Berawal dari kecintaan saya terhadap klub bola tersebut, maka saya sendiri berinisiatif untuk berkarya menggunakan kamera analog yang mungkin generasi sekarang sudah jarang mengetahui kamera tersebut. Tenkik-teknik fotografi analog yang digunakan yaitu teknik ekspose roll film, merebus dan merendam roll film dalam cairan tertentu. Penerapan teknik ini menghasilkan sebuah karya yang unik karena menghasilkan nuansa masa lampau. Teknik komposisi rule of third, sudut pengambilan atau angle, garis, dan bentuk adalah unsur-unsur penting dalam penciptaan karya Teknik Film Soup Fotografi Analog Mengarungi Liga 1 di Bali United.
Natural Color Mangosteen Skin on Canvas Fabric I Nengah Wirakesuma; I Wayan Mudana
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.
Co-Authors Adipura Satrio Nugroho Agus Deddy Krisna Adi Saputra, I Putu Amoga Lelo Octaviano Arsad Tri Gunawan, I Made Aryani, Ni Nyoman Ayu Suti Cokorda Istri Puspawati Nindhia Dharma, I Made Aryswara Dresser Julian Hendri Titihalawa Drs. I Wayan Mudana,M.Si. . Gede Pasek Putra Adnyana Yasa I Gusti Agung Bagus Wimajaya I Ketut Adi Sugita I Ketut Muka I Ketut Mustika I Komang Dimas Putra Winangun I Made Aryswara Dharma I Made Dennis Penn Yohan Kayansa I Made Ruta I Nyoman Larry Julianto I Nyoman Larry Julianto I Nyoman Widhi Adnyana I Putu Huwa Bagus Utama I Wayan Adnyana I Wayan Agus Eka Cahyadi I Wayan Mudana I Wayan Setem I Wayan Suardana I Wayan Suardana I Wayan Sujana I Wayan Sujana I Wayan Swandi Ida Bagus Candra Yana Kadek Dwi Martha Saputra Kariana, I Nengah Kondra, I Wayan Muhammad Faqih Soya Pramono Nanda Darmayanta, Kadek Ni Putu Paramesti Mitha Cahyani Nugroho, Adipura Satrio Pramono, Muhammad Faqih Soya Putu Raka Narendra Dinata Raharjo, Anis Raharjo, Anis Rai Remawa, Anak Agung Gede Rekha Bayutha , Ida Bagus Saputra, Kadek Dwi Martha Sedana, I Gusti Ngurah Agung Putra Wahyu Sucipta, Wayan Gede Adi Supriyatini, Sri Tirta Ray , D.A. Tirta Ray, D.A Titihalawa, Dresser Julian Hendri Totton, Mary Louise Vanesa Vanesa Martida, Vanesa