Garuda - Garba Rujukan Digital

Fenomena Reproduksi Kerajinan Gerabah Serang Banten Di Bali Mudra, I Wayan; Sunarini, Ni Made Rai
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Denpasar Vol 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Selama ini produk kerajinan gerabah yang dipasarkan di Bali terdiri dari berbagai jenis gerabah daerah yang langsung dipasarkan di Bali namun tidak diproduksi di Bali, seperti gerabah Lombok, Yogyakarta maupun gerabah dari Jawa Timur. Gerabah dengan ciri khas Serang Banten justru dibuat di Bali. Tujuan penelitian ini adalah untuk mengetahui berbagai hal yang berkaitan dengan reproduksi gerabah Serang Banten di Bali, seperti faktor-faktor yang menyebabkan direproduksi di Bali, pemasaran, peran pemerintah daerah dan tenaga kerja usaha kerajinan tersebut. Pendekatan yang digunakan dalam menentukan sampel adalah teori porposive sampling dan snowballing sampling. Lokasi penelitian yaitu di Kota Denpasar. Teknik pengumpulan data dilakukan dengan teknik observasi, wawancara dan dokumentasi. Hasil yang diperoleh dari penelitian ini adalah faktor-faktor yang menyebabkan gerabah Serang Banten direproduksi di Bali yaitu pemilik usaha menghindari kerugian akibat biaya transportasi yang tinggi dan produk sering pecah di jalan jika masih memesan di Serang Banten. Faktor yang lain adalah pemilik usaha dapat melayani pembuatan produk sesuai pesanan calon konsumen, dan gerabah Serang Banten memiliki keunikan. Peluang pasar produk gerabah Serang Banten di Bali sampai 2015 ini dapat dikatakan cukup baik, konsumennya dalam negeri dan luar negeri. Pemerintah daerah belum berperan maksimal dalam meningkatkan usaha kerajinan ini. Tenaga kerja usaha kerajinan ini masih menghandalkan tenaga kerja dari daerah Serang Banten Jawa Barat.So far pottery products which are marketed in Bali consist of various types of local pottery areas that directly marketed in Bali, but is not produced in Bali, such as Lombok, Yogyakarta and East Java potteries. The characteristik of Serang Banten pottery is precisely made in Bali, the purpose of this research is to determine the various issues related to the reproduction of Serang Banten pottery in Bali, as factors that cause it reproduced in Bali, marketing, the role of local government and the craft industry workforce. The approaches used to determine the samples are purposive and snowballing sampling. The location of research is in Denpasar city. The data collection techniques used observation, interview and documentation techniques. The results obtained from this research are the factors that caused the Serang Banten pottery reproduced in Bali is that, the business owner avoiding losses caused by high transportation costs and the products are often broken on the street if still booked at Serang Banten. Another factor is that the business owner can serve the manufacture products to suit the prospective customer orders, and the Serang Banten pottery has a uniqueness. The Serang Banten pottery products market opportunities in Bali through 2015 are quite good, its consumers are from domestic and overseas. The local government has not maximally contribute in enhancing this craft industry. The craft business manpower still rely on the labor from Serang Banten, West Java.

Fenomena Reproduksi Kerajinan Gerabah Serang Banten Di Bali I Wayan Mudra; Ni Made Rai Sunarini
Segara Widya : Jurnal Hasil Penelitian dan Pengabdian Masyarakat Vol. 3 (2015): November
Publisher : Institut Seni Indonesia Denpasar

Selama ini produk kerajinan gerabah yang dipasarkan di Bali terdiri dari berbagai jenis gerabah daerah yang langsung dipasarkan di Bali namun tidak diproduksi di Bali, seperti gerabah Lombok, Yogyakarta maupun gerabah dari Jawa Timur. Gerabah dengan ciri khas Serang Banten justru dibuat di Bali. Tujuan penelitian ini adalah untuk mengetahui berbagai hal yang berkaitan dengan reproduksi gerabah Serang Banten di Bali, seperti faktor-faktor yang menyebabkan direproduksi di Bali, pemasaran, peran pemerintah daerah dan tenaga kerja usaha kerajinan tersebut. Pendekatan yang digunakan dalam menentukan sampel adalah teori porposive sampling dan snowballing sampling. Lokasi penelitian yaitu di Kota Denpasar. Teknik pengumpulan data dilakukan dengan teknik observasi, wawancara dan dokumentasi. Hasil yang diperoleh dari penelitian ini adalah faktor-faktor yang menyebabkan gerabah Serang Banten direproduksi di Bali yaitu pemilik usaha menghindari kerugian akibat biaya transportasi yang tinggi dan produk sering pecah di jalan jika masih memesan di Serang Banten. Faktor yang lain adalah pemilik usaha dapat melayani pembuatan produk sesuai pesanan calon konsumen, dan gerabah Serang Banten memiliki keunikan. Peluang pasar produk gerabah Serang Banten di Bali sampai 2015 ini dapat dikatakan cukup baik, konsumennya dalam negeri dan luar negeri. Pemerintah daerah belum berperan maksimal dalam meningkatkan usaha kerajinan ini. Tenaga kerja usaha kerajinan ini masih menghandalkan tenaga kerja dari daerah Serang Banten Jawa Barat.So far pottery products which are marketed in Bali consist of various types of local pottery areas that directly marketed in Bali, but is not produced in Bali, such as Lombok, Yogyakarta and East Java potteries. The characteristik of Serang Banten pottery is precisely made in Bali, the purpose of this research is to determine the various issues related to the reproduction of Serang Banten pottery in Bali, as factors that cause it reproduced in Bali, marketing, the role of local government and the craft industry workforce. The approaches used to determine the samples are purposive and snowballing sampling. The location of research is in Denpasar city. The data collection techniques used observation, interview and documentation techniques. The results obtained from this research are the factors that caused the Serang Banten pottery reproduced in Bali is that, the business owner avoiding losses caused by high transportation costs and the products are often broken on the street if still booked at Serang Banten. Another factor is that the business owner can serve the manufacture products to suit the prospective customer orders, and the Serang Banten pottery has a uniqueness. The Serang Banten pottery products market opportunities in Bali through 2015 are quite good, its consumers are from domestic and overseas. The local government has not maximally contribute in enhancing this craft industry. The craft business manpower still rely on the labor from Serang Banten, West Java.

Forms And Functions Of Sandstone Handicrafts In Singapadu Kaler Village In The Global Era I Ketut Muka; Ni Made Rai Sunarini
Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i3.500

In this era, the forms and functions of sandstone handicrafts in Singapadu Kaler Village have undergone very rapid development and change. This is marked by the emergence of various types of sandstone handicrafts, which enrich the arts and culture of Bali in particular and Indonesia in general. Several forms of sandstone handicrafts produced by craftspeople in Singapadu Kaler Village are very popular and much in demand by consumers. Among these are garden lampshades, wall lights, ventilation decor, flower pots, fauna and flora bas-relief, statues of the Buddha, and other sculpture motifs. These forms have a different function, style and aesthetic impression than traditional sandstone handicrafts in other regions. Overall, the products were created as a result of the influence of globalization, which gave birth to a wide variety of forms and innovations. Hence, it is important to write about so that the forms and functions as well as the messages contained within them can be clearly revealed. A qualitative interpretive method was used to analyze this phenomenon with a cultural studies approach utilizing deconstructivist theory and postmodern aesthetic theory. This lead the authors to the general conclusion that these new forms and functions of sandstone handicrafts have given rise to positive and negative impacts, which have not only been accepted by the craftspeople, but also the broader community of Singapadu Village and consumer society. In addition, these handicrafts also contain important creative, economic, aesthetic, and cultural change functions. This brief article hopes to be useful as a medium for study by secondary and higher education institutions of art or the general public about the field of sandstone handicrafts growing in Singapadu Kaler Village. It also hopes to be a useful reference for writers and researchers in other regions, so that the repertoire of scientific knowledge on sandstone handicrafts in Indonesia can become more widely known.Dewasa ini bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler mengalami perkembangan dan perubahan sangat pesat. Hal ini ditandai munculnya berbagai jenis kerajinan batu padas dengan fungsi yang berbeda sehingga memperkaya khasanah seni budaya Bali khususnya dan di Indonesia pada umumnya. Ada beberapa bentuk dan fungsi kerajinan batu padas yang sangat populer dan diminati para konsumen merupakan produksi perajin-perajin dari Desa Singapadu Kaler Gianyar. Bentuk kerajian batu padas tersebut memiliki fungsi, gaya dan kesan estetis yang berbeda dengan bentuk kerajinan batu padas tradisional didaerah lain. Secara keseluruhan kerajinan yang diciptakan tersebut pada dasarnya akibat dari pengaruh globalisasi, sehingga melahirkan bentuk dan fungsi kerajinan batu padas yang sangat variatif dan inovatif. Hal tersebut berdampak positif dan negatif tidak saja diterima oleh para pengrajin, namun lebih luas, pada masyarakat desa dan masyarakat konsumen. Selain itu, bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler secara umum mengandung fungsi yang bereka macam dan sangat penting, antara lain: fungsi kreatipvitas, ekonomi, estetis, dan fungsi perubahan budaya. Metode yang dipakai untuk menganalisis permasalahan adalah kualitatif dengan pendekatan kajian budaya, memanfaatkan, teori dekonstruksi, dan teori estetika postmodern. Tulisan ini diharapkan dapat dipakai sebagai media pembelajaran baik oleh lembaga pendidikan seni tingkat menengah dan perguruan tinggi atau masyarakat umum, khususnya dalam bidang kerajinan batu padas yang berkembang di Desa Singapadu Kaler Gianyar. Di samping itu tulisan ini juga dapat dijadikan acuan oleh para penulis dan peneliti dalam melakukan penelitian ilmiah yang lain, agar khasanah ilmu pengetahuan seni kerajinan batu padas di Indonesia semakin diketahui dan berkembang dengan pesat.Â

Sitilirisasi Daun Keladi pada Media Keramik Fungsional Ni Made Rai Sunarini Rai
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

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

Keladi merupakan sekelompok tumbuhan dari genus Caladium (Suku talas-talasan, araceace). Dalam bahasa sehari-hari keladi juga dipakai untuk menyebut beberapa tumbuhan lain yang masih sekerabat, namun tidak termasuk golongan Caladium. Keladi sejati jarang membentuk umbi yang membesar. Ciri khas dari keladi adalah bentuk daunnya yang mengandung lapisan lilin. Ukuran keladi tidak pernah lebih dari 1 meter. Bentuk daun Keladi yang sejati seperti jantung hati. Bentuk tersebut menjadi ketertarikan pencipta untuk menggali dan membangkitkan daun keladi itu sendiri, dilihat dari keindahan bentuk, garis-garis tulang daunnya, dan warna yang mewujudkan nuansa keindahan. Tujuan jangka panjang pencipta mengangkat topik ini adalah mewujudkan sebuah metafora dari hasil identifikasi dalam bentuk Stilirisasi Daun Keladi pada Media Keramik Fungsional yang diaplikasikan sebagai Dekorasi Keramik Hias. Sebagai target khusus, pencipta menginginkan sentuhan Stilirisasi Daun Keladi pada permukaan keramik. Penerapan ornamen Daun Keladi dengan berbagai Stilirisasi merupakan suatu hal yang baru, mengingat keramik tidak saja difungsikan sebagai alat upacara, tetapi difungsikan sebagai benda-benda kebutuhan profan, diantaranya termasuk keramik hias. Penciptaan karya Kriya Seni ini akan mengusung konsep inovatif dan kebaruan (Novelty) yang didukung oleh metode penciptaan seni, yaitu metode eksplorasi dan metode eksperimen. Lima buah karya yang akan diwujudkan adalah karya keramik tiga dimensional yang menggunakan berbagai bahan (media campur). Hal tersebut bertujuan agar pencipta dapat secara total mengeksplorasikan gagasan, mewujudkan suatu karya seni kriya yang unik dan artistik, menambah khasanah ide, bentuk maupun teknik penggarapan. Manfaat khusus serta urgensi (keutamaan) penciptaan Kriya Keramik ini diharapkan dapat menjadi konsumsi visual dalam penyajiannya untuk menumbuhkan apresiasi dalam penggalian seni tradisi.

INTEGRATION OF BALINESE, CHINESE AND EUROPEAN ORNAMENTS IN THE ARCHITECTURE OF PURI AGUNG KARANGASEM-BALI I Nyoman Laba; Ida Ayu Gede Artayani; I Ketut Muka; I Made Mertanadi; I Wayan Sudana; Ni Made Rai Sunarini
Journal of Aesthetics, Design, and Art Management Vol. 3 No. 2 (2023): Journal of Aesthetics, Design, and Art Management
Publisher : Yayasan Sinergi Widya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58982/jadam.v3i2.520

Purpose: This study aims to explain the form of integration of Balinese, Chinese and European ornaments in the architecture of Puri Agung Karangasem. Research methods: A qualitative descriptive method was implemented to explain the integration of ornaments in the architecture of Puri Agung Karangasem. Data collection techniques are observation, interviews, and documentation, while the data sources are ornaments on the architecture of the palace heritage, cultural experts, and community leaders. The Penglingsir Puri (Palace’s Elders) and Abdi Dalem Puri (Palace’s Courtiers) are key informants. Findings: The results showed that the forms of ornaments found at Puri Agung Karangasem could be divided into three, namely ornaments in traditional Balinese, Chinese, and European styles, resulting in a combination of the typical ornament forms of Puri Agung Karangasem. The three styles of ornament were integrated with each other, then developed by Balinese artists to create patra cina, patra olanda, karang sae, karang bentulu, and the visualization of a crowned lion as it is known today. Other integrations can be seen in the technique of making ornaments using casting techniques. Implications: The rulers of Puri Agung Karangasem in ancient times had cultural relations with people from China and Europe, reflected in the visualization of the integration of carved ornaments into the palace’s architecture.

Pelestarian Keramik Porselen pada Bangunan Pura di Puri Agung Satria Denpasar Ni Made Rai Sunarini; I Ketut Muka Pendet; I Wayan Suardana
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.v1i01.64

Penggunaan benda rumah tangga berupa porselen sebagai media ornamen sangat dimungkinkan karena hiasannya indah dan menarik untuk mendekorasi sebuah bentuk bangunan. Di kota Denpasar, khususnya di kalangan bangsawan atau penglingsir di Puri Satria, banyak memanfaatkan barang keramik porselen untuk menghiasi tempat suci keluarga yaitu Pura Agung Satria. Pura Agung kelihatan sangat unik, karena semua bangunannya dihiasi dengan porselen keramik Cina. Adapun pelinggih di Pura Agung Puri Satria yang memanfaatkan porselen terdapat pada pelinggih bagian utara, tengah, dan bagian selatan. Seiring dengan perubahan waktu, pemakaian piring yang awalnya dipergunakan untuk makan, beralih fungsinya sebagai hiasan pada bangunan profan maupun tempat suci seperti Pura atau Pelinggih. Saat ini, pemanfaatan porselen sebagai unsur ornamen telah berkurang jumlahnya, disamping karena pecah, juga karena faktor gaya bangunan yang berubah. Kondisi keramik porselen yang ada pada bangunan-bangunan kuno telah terlepas dari tempatnya dan hilang tanpa bekas. Jika keunikan ini dirawat dengan serius dan dipelihara dengan baik, sudah tentu akan sangat menunjang Puri Satria sebagai destinasi kunjungan wisata. Pemilik Puri mempunyai komitmen yang besar untuk melestarikan keramik porselen tersebut agar dapat terpelihara dengan baik. Keunikan ornamen porselen yang terdapat pada Pura Puri Agung Satria, perlu dikaji lebih mendalam, oleh sebab itu perlu diadakan penelitian secara holistik. Hasil penelitian ini akan sangat bermanfaat sebagai pengetahuan terutama berkaitan dengan pemanfaatan keramik porselen sebagai ornamen pada bangunan Puri maupun Pura.

PEMANFAATAN PASIR SEBAGAI MATERIAL PEMBUATAN KERAMIK SISWA SMK NEGERI 2 SUKAWATI Noor Azreena Malik; Ni Made Rai Sunarini; Mercu Mahadi
Hastagina : Jurnal Kriya Seni Vol 2 No 01 (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.v2i01.1019

Teaching asistency activities in the State High School 2 Sukawati with the material "Utilization of Sand as Ceramic Material Making Class Xii Kriya Ceramics" aims to foster creativity, innovation and initiative from students in creating new ceramic works because based on observations from the authors of the work produced is still monotonous with form, material, same decoration and coloring. In addition to developing the potential for ceramic xii craft students in creating works, this teaching asistency activity has a focus on an experiment in the use of sand material. The results of this experiment are expected to provide references in increasing the educational cauldron in other practical learning processes as well as schools can support teachers to create more varied media to produce more innovative work. can make it easier for teachers to further enhance the creativity and innovation of the work of students. In this activity the author uses qualitative methods, data collected through interviews, observations, and document studies and uses experimental demonstration learning methods for the development of student-splifting creativity. It was concluded that using experimental demonstration methods applied to students produced quite good results. The use of soil mixed with black sand has good results based on the work students make in the form of vases and sugar holders.

Pengembangan Motif Dekorasi Pada Benda Keramik Fungsional Di BTIKK BPPT Bali I Wayan Agus Arya Santika Santika; Ni Made Rai Sunarini; I Made Mertanadi
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.v2i02.1023

Internship activity is a process for students to develop the knowledge they have or get in college and add knowledge to a job or project that is worked on by a company or craftsman. And still related to the field. The reason for choosing BTIKK BPPT Bali as an internship place is because this institution is engaged in ceramics and is still related to the education that the author took in lectures, namely in the field of ceramics, besides that the author wants to add new insights or new knowledge about the world of ceramics and also wants to develop skills which are owned. Another reason is that there are problems that the author faces related to ceramics, the problems include a lack of understanding about decorating techniques, types of decorations, and so on. The method of implementing the MBKM internship is carried out in the initial stages, namely surveys and preliminary research. Proceed to the next stage, namely starting to carry out internship activities. At this stage, the author began to learn related to the production process at BTIKK BPPT Bali, such as forming a ceramic body, decorating ceramics, and also glazing. The technique used in this data collection uses techniques including observation, interviews, and documentation. The writer hopes that with the Merdeka Learning Independent Campus (MBKM) internship, students can gain new knowledge related to the field in which they student is involved.

Bunga Cempaka Sebagai Elemen Estetik Pada Guci Ekspresi Diajeng Wardani; Ni Made Rai Sunarini; I Ketut Muka
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

Jars are one of the crafts that come from clay. Guci itself has various uses, one of which is for expression in works. These expression jars help in conveying the ideas of ceramic artists. Indonesia itself has a variety of flowers, one of which is the champaca flower. Champaca flower has a characteristic that is quite striking. Besides having a beautiful shape, champaca flowers also have a very distinctive fragrance. The existence of this champaca flower is poured into the form of an expression jar with various views. The expression jars that are embodied have different meanings. The use of chrysolite flowers as an element in the creation of jars of expression goes through the stages of finding references, maturing ideas, and realizing works. The process of creating works using rotary techniques, slab techniques and also twist techniques. The creation of his work produces several works with images of expression that are in accordance with the initial concept of the author. There are several things that make this work unique, namely the results of the first and second burning which make it even more impressive. The resulting jar has a different appeal in each shape. The four works produced are an expression of the choice of champaca flower ideas as an aesthetic element. Keywords: Aesthetic Elemen, Champaca Flower, Expression Jars.

EKSPERIMEN/PENCAMPURAN TANAH LIAT STONEWARE DI UD. TRI SURYA KERAMIK MENGGUNAKAN PASIR MALANG DAN PASIR KARANGASEM PADA PRODUK TABLEWARE DAN HOME DÉCOR Wiswambhara, Dewa Gede; Sunarini, Ni Made Rai; Mahadi, Mercu
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.2908

The creation of this ceramic work aims to create a mixture of innovative materials that can be applied to stoneware soil in creating innovative ceramic products. This creation is also one of the exploration spaces in the development of creativity in conducting experiments on ceramic raw materials. The experiment was carried out by combining a mixture of Malang sand and Karangasem sand with stoneware soil in the process of realizing a ceramic body. The experimental process was carried out at the UD company. Tri Surya Ceramics which is one of the companies that takes part in making ceramics with modern contemporary nuances but still traditional nuances. Based on that, UD. Tri Surya Keramik is considered the most appropriate to bridge the space of exploration and experimentation in realizing the idea of mixing Malang and Karangasem sand with stoneware soil. Besides that, it can provide a new color for the company in the choice of materials that will later be applied in the manufacture of ceramic products. Home décor products consist of urns, straight and threaded flower fittings, while tableware products consist of plates, bowls, and glasses. The two products are glazed only on the inside, while the outside is still left natural to display the texture of the material and color caused by the mixing of stoneware soil with Malang and Karangasem sand.

Title

Found 15 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 15 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 15 Documents
Search