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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.

Motif Lukis Wayang Kamasan Pada Media Keramik Alit Parwita Yana, I Made; Muka, I Ketut; Rai Sunarini, Ni Made
Hastagina : Jurnal Kriya Seni Vol 4 No 2 (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.v4i2.4271

Abstrak The art of Kamasan wayang painting is the main source of inspiration in the application of ceramic painting in the Kamasan decorative style. The Kamasan Wayang motif is applied to porcelain ceramic media using the on-glaze technique with special ceramic colors which go through a 700°C firing process to permanently bond the color to the porcelain surface in various shapes of concave, convex and flat ceramic media. The main aim of creating the art of Kamasan wayang painting on ceramics is to preserve Bali's rich cultural heritage and show the uniqueness of the phenomenal cultural arts. This practice is rare in the modern ceramics industry, making these works rare on the market. Therefore, it is important to introduce and promote this ceramic painting technique to the wider community. Kamasan wayang paintings on ceramics are not only decorative in a classic style, but are also able to present diverse aesthetics in various media. Decorative ceramics with Kamasan wayang motifs are not only objects of art, but also have potential as functional objects. The process of creating this work of art is carried out carefully at the Roki Ceramik Painting Company, ensuring that each work reflects the quality and authenticity of the work. Through a collaboration between tradition and innovation, the art of Wayang Kamasan painting on ceramics has significant potential to develop and integrate into the global art and design industry. By combining traditional craftsmanship with contemporary innovation, this art can gain a relevant position in the international market

MAKNA SAKRAL DAN FUNGSI SIMBOL KERAMIK PORSELIN MOTIF WAYANG KAMASAN SEBAGAI ORNAMEN DI PURA PETITENGET KEROBOKAN BADUNG Sunarini, Ni Made Rai; Muka, I Ketut; Karja, I Wayan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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

Pura sebagai tempat pemujaan umat Hindu Dharma merupakan bagian dari Arsitektur Tradisional Bali, memiliki keunikan dan hirarki makna yang paling utama. Pura Petitenget memiliki budaya lokal dengan memakai keramik porselin motif wayang kamasan sebagai ornamen dengan konsep Tri Angga. Pura Petitenget sebagai Cagar Budaya Lokal Kabupaten Badung No 26 Tahun 2013 Pasal 32. Pura Petitenget berdiri sejak abad ke-16 masehi yang diempon oleh masyarakat Desa Adat Kerobokan. Tujuan penelitian ini, yaitu untuk mengetahui makna yang melandasi keramik porselin motif Wayang Kamasan. Penelitian ini menggunakan metode deskriptif kualitatif dengan teknik pengambilan data snowballing dan purposive sampling. Teori yang digunakan adalah teori semiotika dan teori hermenutika. Hasil penelitian menunjukan, makna keramik porselin motif wayang kamasan dengan konsep Tri Angga menerapkan berbagai motif wayang kamasan mulai dari motif Acintya, Dewa-Dewi, tokoh-tokoh Ramayana, dan motif binatang serta motif tumbuh-tumbuhan. Makna keramik porselin motif wayang kamasan yang diaplikasikan ke dalam piring keramik porselin di Pura Petitenget mengandung makna sakral dan fungsi simbol (pada tingkatan Utamaning Angga, Madyaning Angga, dan Nistaning Angga), makna sosial, makna budaya, dan makna ekonomi. Makna yang terkandung memiliki nilai kebaruan yang unik dan berkarakter. Dapat melestarikan nilai-nilai seni budaya dan kearifan lokal dibidang keramik Bali agar tidak hilang karena tergerus oleh modernisasi.

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 LPPM ISI Bali

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.

Motif Lukis Wayang Kamasan Pada Media Keramik Alit Parwita Yana, I Made; Muka, I Ketut; Rai Sunarini, Ni Made
Hastagina : Jurnal Kriya Seni Vol 4 No 2 (2024): Hastagina: Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v4i2.4271

Abstrak The art of Kamasan wayang painting is the main source of inspiration in the application of ceramic painting in the Kamasan decorative style. The Kamasan Wayang motif is applied to porcelain ceramic media using the on-glaze technique with special ceramic colors which go through a 700°C firing process to permanently bond the color to the porcelain surface in various shapes of concave, convex and flat ceramic media. The main aim of creating the art of Kamasan wayang painting on ceramics is to preserve Bali's rich cultural heritage and show the uniqueness of the phenomenal cultural arts. This practice is rare in the modern ceramics industry, making these works rare on the market. Therefore, it is important to introduce and promote this ceramic painting technique to the wider community. Kamasan wayang paintings on ceramics are not only decorative in a classic style, but are also able to present diverse aesthetics in various media. Decorative ceramics with Kamasan wayang motifs are not only objects of art, but also have potential as functional objects. The process of creating this work of art is carried out carefully at the Roki Ceramik Painting Company, ensuring that each work reflects the quality and authenticity of the work. Through a collaboration between tradition and innovation, the art of Wayang Kamasan painting on ceramics has significant potential to develop and integrate into the global art and design industry. By combining traditional craftsmanship with contemporary innovation, this art can gain a relevant position in the international market

Eksplorasi Bentuk dan Teknik Penciptaan Keramik Melalui Metode Cetak I Komang Surya Adi Putra; Rai Sunarini, Ni Made; Berata, I Made
Hastagina : Jurnal Kriya Seni Vol 5 No 02 (2025): Hastagina: Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v5i02.5668

This creation aims to explore various figurative forms in ceramic art while developing an efficient forming technique with high aesthetic value through the application of the slip casting method. The main issues addressed include how to create ceramic works with strong visual character using slip casting techniques and how to design a consistent and effective production process. The creation process applies Sp. Gustami’s method, which consists of three stages: exploration, design, and realization. The exploration stage is used to generate ideas and form concepts, which are then manifested in design plans, model (master) making, and mold production using plaster. The realization process is carried out through the slip casting technique, followed by general ceramic production stages such as drying, firing, and finishing. The exploration of forms focuses on animal-themed works, resulting in ceramic pieces shaped like iguanas, horses, and turtles. The application of the slip casting technique in this creation has proven capable of reproducing forms consistently according to the original model, without reducing creative freedom or aesthetic value. Furthermore, the slip casting method demonstrates greater efficiency compared to manual forming techniques. It allows the creation of ceramics with complex structures and finely detailed surfaces, including curves, protrusions, textures, and small ornaments that enhance the visual character of the works. The results of this creation are expected to serve as a reference for artisans and creative industry practitioners in developing ceramic products based on casting techniques, both for artistic purposes and large-scale production.

Pembuatan Payasan Agung Wedding Bali Khas Gianyar Dengan Teknik Tatah Logam: Payasan Agung Khas Gianyar Raditya Wayan; Rai Sunarini Ni Made; Ngidep Wiyasa I Nyoman
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v6i01.5664

Metal carving art is a cultural heritage of traditional Indonesian visual arts that possesses high aesthetic value and uniqueness. In Bali, this art is manifested in the form of Payasan Agung for wedding ceremonies, which consists of ornaments such as badong, pending, gelang kana, gelang naga satru, and subeng cerorot. Singapadu Village, Gianyar Regency, is known as one of the centers of metal craft with rich tradition and distinctive craftsmanship techniques. The sustainability of this art faces challenges such as decreasing regeneration of young artisans, high costs of raw metal materials, and increased use of synthetic raw materials that are more practical and affordable. This research aims to examine the process of making Gianyar-style Payasan Agung, including procedural techniques, raw material selection, and the embedded cultural values. The creation process involves three main stages: exploration, design, and realization. The exploration stage involves searching for concepts and determining traditional motifs such as patra punggel, mas-masan, cracap, and batun poh. The design stage includes creating sketches according to proportion and function, while the realization stage employs traditional craft techniques such as ngecek (rancapan), meludan (wudulan), and nyawi (terawangan), followed by sanding, setting gemstones, and gold plating as the final step. The outcomes include five main types of ornaments: tajuk, petitis, badong, bros, and pending, each representing Balinese aesthetic, symbolic, and philosophical values.

Penciptaan Keramik Kitchen Set Kolaborasi Dengan Ud. Tri Surya Keramik: Kreamik Kreasi Adi Gunawan I Made; Muka I Ketut; Rai Sunarini Ni Made
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v6i01.5667

Balinese ceramic crafts are a cultural heritage rich in artistic and religious values, but face sustainability challenges due to the declining interest of the younger generation. This research aims to study the process of making ceramics with the electric wheel technique at UD. Tri Surya Keramik, Badung Regency, Bali, and develop ceramic products with local cultural nuances to meet tourism needs, especially kitchen sets and decorations. The methods used include active participation, observation, interviews, and literature study to understand the stages of production, starting from clay processing, forming, decorating, glazing, to firing. The learning process at UD. Tri Surya Keramik includes systematic stages such as clay processing through drying, pounding, sifting, and kneading to ensure a plastic texture, forming with electric wheel techniques to produce symmetrical shapes such as cylinders, vases, bowls, and plates, decorating with incised techniques, glazing with dip or spray techniques, and firing biscuits (800-900°C) and glaze (1,200-1,250°C). The aesthetics of decoration on ceramic products reflect Balinese culture through incised and cukil techniques that produce carved patterns with natural nuances, such as leaf motifs and curved lines, which add artistic value and local identity. The results showed that the learning process at UD. Tri Surya Keramik produces functional and decorative products, such as tableware and vases, with high quality that combine traditional Balinese aesthetics and modern market needs. The products exhibit symmetry, surface smoothness, and glaze color harmony, with great potential to improve competitiveness through design innovation. This research also provides insight into the importance of collaboration between industry and education to preserve and develop ceramic crafts, while encouraging the younger generation's interest in local ceramic art.

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