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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.

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.

PENERAPAN MOTIF BUNGA MATAHARI DAN BUNGA TERATAI DENGAN TEKNIK 3D PRINTING DALAM PENCIPTAAN PERHIASAN DI UD. ROMO CELUK,SUKAWATI GIANYAR I Nyoman Yudhi Satriawan; I Ketut Muka; I Made Mertanadi
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.v2i01.1088

Internships are practical activities for students with the aim of gaining experience from these activities, which can later be used as professional development for students. This activity is carried out directly in the real world of work. As for this internship, the creators did it at UD. Father Celuk, Sukawati Gianyar Bali. This place of business is engaged in jewelry, especially silver. The method of creation used in the creation of the work of this internship process is through two intuitive approaches, and through a scientific method that has been carefully planned, analytically and systematically. In the method refers to the theory of creation proposed by SP. Gustami in his book entitled "the process of creating craft art: methodological strands" explains the process of creating craft works through three pillars of creation such as exploration, experimentation, and formation. Gustami, 2004:31 (in Kusyati, 2019:22). The concept of creating this work is to make works in the form of jewelry which is the result of the learning process that is obtained at the internship. The process of creating works in the form of jewelry is carried out through the design stage, namely exploring the ideas that will be created. Next is the manufacturing process, namely through the steps of making alternative designs, 3d designs and printing. The result of this work is a master 3D of earring jewelry by applying lotus and sunflower motifs.

CARATAN COBLONG SIMBOLIS PURUSA PREDANA SEBAGAI INSPIRASI DALAM PENCIPTAAN KARYA SENI KRAMIK Mertanadi, I Made; Suardana, I Wayan; Karuni, Ni Kadek
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 3 (2023): 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

Caratan dan Coblong adalah salah satu benda yang berbentuk wadah, yang sering dipergunakan sebagai sarana upacara yadnya di Bali. Namun dari seringnya pemakaian gerabah ini masyarakat belum banyak yang mengerti dan memahami makna simbolisnya. Maka perlu dilakukan penelitian dan penciptaan yang akan menghasilkan karya keramik dengan mengungkap konsep purusa dan predana. Serta mengungkap metode dan teknik pembentukan karya seni keramik dengan inspirasi dari caratan dan coblong. Tujuan penelitian dan penciptaan ini adalah ingin mengetahui historis munculnya caratan coblong, makna, dan fungsinya, menghasilkan karya keramik yang mengungkap konsep purusa predana dalam caratan coblong dan ingin mengembangkan caratan coblong menjadi sebuah karya seni murni atau terapan yang lebih spektakuler dan monumental. Penciptaan ini juga dilakukan sebagai upaya melestarikan tradisi yang ada di Bali dan menggali ide baru untuk menghasilkan karya keramik yang unik, estetik dan inovatif. Metode yang digunakan dalam penciptaan adalah ekplorasi, perancangan, dan perwujudan. Teknik pengumpulan data adalah observasi, wawancara, dan dokumentasi. Analisa data dilakukan dengan identifikasi data, reduksi data, analisa data dan kesimpulan. Pendekatan teori yang digunakan adalah teori makna, fungsi, dan estetika. Hasil penciptaan karya keramik menunjukkan bahwa ide dasar Caratan dan Coblong yang mempunyai makna simbolis dapat ditranformasi pada karya ciptaan baru yang indah dan menarik. Terjadi inovasi yang besar dari berbagai dimensi, baik bentuk, fungsi, teknik, dan penampilan.

EKSPRESI BIOTA LAUT KARYA RELIEF I MADE SUTEDJA Suardana, I Wayan; Muka, I Ketut; Mertanadi, I Made; Karuni, Ni Kadek
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 3 (2023): 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

I Made Sutedja (almarhum) adalah seorang seniman seni ukir dari Guwang Sukawati Gianyar Bali yang sangat terkenal dengan hasil karya yang sangat unik dan artistik. Keindahan biota laut adalah salah satu tema yang sering diangkat dalam ekspresi penciptaan karya seni reliefnya. Tujuan penelitian ini adalah ingin menyelidiki lebih mendalam ekspresi I Made Sutedja dalam mengangkat biota laut dalam karya ciptaannya, dan nilai estetik yang terkandung di dalamnya. Permasalahan yang diangkat dalam penelitian ini adalah: bagaimana ekspresi I Made Sutedja dalam mengangkat biota laut dalam penciptaan karya seni relief?, Bagaimana nilai estetika karya biota laut I Made Sutedja?. Metode dalam penelitian ini adalah kualitatif interpretatif, dengan teknik pengumpulan data yaitu: observasi, wawancara, dan dokumentasi. Teori yang digunakan dalam analisa data adalah teori ekspresi dan estetika. I Made Sutedja adalah seniman seni ukir yang sangat tekun dan ulet dalam berkarya, ekspresinya tercurah sangat total dalam hasil ciptaanya, sehingga karyanya sangat sempurna. Penguasaan teknik seni ukir I Made Sutedja sangat tinggi dengan hasil pahatan yang halus, kuat, dan tegas. Selain mengangkat biota laut dalam ekspresi berkarya, I Made Sutedja juga banyak mengangkat cerita Mahabrata, Ramayana, dan mitologi Dewa-dewa dalam Agama Hindu. Sebagai seorang pendidik, I Made Sutedja telah banyak melahirkan seniman ukir yang memiliki ketrampilan yang sangat tinggi dengan hasil karya yang bervariatif. I Made adalah seorang seniman yang sangat idealis, tidak komersial, sehingga sampai akhir hidup hasil karyanya masih banyak tersimpan di galerinya.

Penciptaan Kostum Tari Wayang Wong Ngereka Seraga Japatuan Adnyana, I Ketut Agus Putra; Mertanadi, I Made; Berata, I Made
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.v4i01.3501

The existence of the Wayang Wong Mask in community interlocution events in the current era has experienced a downturn, which in fact is low in appreciation and a decline in the interest of the millennial generation in its continuation. This phenomenon is because wayang wong dances are mostly performed on certain days, and most wayang wong dances are sacred arts. This very interesting issue was raised as a basis for the creation of new creative wayang wong mask costumes, in the form of creating a wayang wong dance costume set which was packaged innovatively entitled "Wayang Wong Ngereka Seraga Japatuan Dance Costume", which is an interpretation of the visualization of Geguritan Japatuan in the form of a costume set. wayang wong dance. The creation of the Wong Ngereka Seraga Japatuan Wayang Dance Costume works uses a creation method which consists of three stages of creation, namely: exploration, design and realization. Exploration includes activities to explore sources of ideas by identifying and formulating problems regarding creative sources in interpreting Ngereka Seraga Japatuan. Design, ideas are built based on obtaining important points from the results of the analysis which are formulated in the visualization of ideas in alternative sketch forms as design references. Realization, making a model according to a sketch or technical drawing that has been prepared into a prototype model until it reaches the complete form of the work and can represent the substance of Gaguritan Japatuan.

STUDI PROSES MELUKIS WAYANG KAMASAN DI SANGGAR LUKIS KLASIK KAMASAN WASUNDARI KAMASAN, KLUNGKUNG, BALI Putra Astawa, I Gede; Berata, I Made; Mertanadi, I Made
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (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.v5i01.4264

The art of Kamasan puppet painting is a great tradition that deserves attention from the condition of its existence which is experiencing a decline in the next generation of its continuity. This phenomenon is the impact of the skyrocketing modern technology that colonizes the world in seconds. The emergence of digital technology that offers convenience and instant affects the mindset of the young generation of Kamasan Village, eliminating the traditional art of wayang kamasan that is able to sweep its era. This phenomenon is very interesting to explore more closely through the Merdeka Belajar Kampus Merdeka (MBKM) program implemented directly in the field, with the aim of absorbing the process of painting wayang kamasan. Data collection and data analysis use qualitative methods, where researchers are involved in the daily activities of the artists at the Wasundari Wayang Kamasan classical painting studio. In the implementation of the process of painting wayang kamasan, the threestage method and steps of the art creation process are applied to discuss the issues raised, namely the process of painting wayang kamasan through a hierarchical perspective born from the concept of Tri Loka, understanding the figures and characters of wayang, the substance of the literary text that is the source of creation, and understanding the concept of how to read the visual narrative of wayang kamasan painting. The organization of puppet figures or characters that function as “text” in visual language, which can represent the substance of the “context” of the literary text illustrated in the form of puppet paintings. This stage of the painting process is considered complicated and time-consuming, not worth the work with the final result.

Adara Adiluhung Ing Jagat: Representasi Tumpek Bubuh dalam Karya Busana Spirituality di CV De Galuh Boutique Permata Sari, Ni Nyoman Ayu Triadinda; Mertanadi, I Made; Pradnya Paramita, Ni Putu Darmara
BHUMIDEVI: Journal of Fashion Design Vol. 5 No. 1 (2025): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/bhumidevi.v5i1.5893

Inspirasi dalam merancang busana ready to wear, ready to wear deluxe, dan semi couture, mengangkat salah satu upacara Umat Hindu di Bali yaitu Tumpek Bubuh. Tumpek Bubuh merupakan upacara penghormatan Umat Hindu atas segala kelimpahan berupa tumbuh-tumbuhan dengan harapan agar tumbuh-tumbuhan dianugrahi kesuburan sehingga memberikan hasil yang banyak untuk memenuhi kebutuhan hidup manusia. Tumpek Bubuh diperingati setiap enam bulan sekali yakni pada Saniscara Kliwon Wariga. Upacara Tumpek Bubuh adalah pemujaan manifestasi Tuhan dalam wujud Dewa Sangkara manifestasi tumbuh-tumbuhan. Tumpek Bubuh merupakan implementasi dari konsep Tri Hita Karana. Penciptaan busana bertujuan untuk mengetahui bagaimana upacara Agama Hindu Tumpek Bubuh yang menjadi inspirasi dan ide pemantik dalam penciptaan busana agar melestarikan adat dan budaya Agama Hindu. Melalui Tumpek Bubuh, diciptakan sebuah karya dalam dunia fesyen dengan menggunakan tren fesyen spirituality sehingga tercipta koleksi busana “Adara Adiluhung Ing Jagat”. Dalam menciptakan busana menggunkan metedologi FRANGIPANI, The Secret Steps of Art Fashion, yang merupakan 10 tahapan penciptaan busana.

Penciptaan Kostum Tari Wayang Wong Ngereka Seraga Japatuan Adnyana, I Ketut Agus Putra; Mertanadi, I Made; Berata, I Made
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.v4i01.3501

The existence of the Wayang Wong Mask in community interlocution events in the current era has experienced a downturn, which in fact is low in appreciation and a decline in the interest of the millennial generation in its continuation. This phenomenon is because wayang wong dances are mostly performed on certain days, and most wayang wong dances are sacred arts. This very interesting issue was raised as a basis for the creation of new creative wayang wong mask costumes, in the form of creating a wayang wong dance costume set which was packaged innovatively entitled "Wayang Wong Ngereka Seraga Japatuan Dance Costume", which is an interpretation of the visualization of Geguritan Japatuan in the form of a costume set. wayang wong dance. The creation of the Wong Ngereka Seraga Japatuan Wayang Dance Costume works uses a creation method which consists of three stages of creation, namely: exploration, design and realization. Exploration includes activities to explore sources of ideas by identifying and formulating problems regarding creative sources in interpreting Ngereka Seraga Japatuan. Design, ideas are built based on obtaining important points from the results of the analysis which are formulated in the visualization of ideas in alternative sketch forms as design references. Realization, making a model according to a sketch or technical drawing that has been prepared into a prototype model until it reaches the complete form of the work and can represent the substance of Gaguritan Japatuan.

Harmony Implementation "Tri Hita Karana (THK)" in Packaging of Culinary Products to Create a Tourist Experience ARSA, I Ketut Sida; WIDIASTINI, Ni Made Ary; MERTANADI, I Made; KARTA, Ni Luh Putu Agustini
International Journal of Environmental, Sustainability, and Social Science Vol. 5 No. 3 (2024): International Journal of Environmental, Sustainability, and Social Science (May
Publisher : PT Keberlanjutan Strategis Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38142/ijesss.v5i3.1054

The local culinary industry has great potential to attract tourists, but is often hampered by a lack of attractive packaging and effective marketing strategies. This research aims to find out how THK-based packaging design can influence consumer perceptions and purchasing decisions regarding tourism products in Bali and the challenges faced in implementing THK-based packaging. The research uses qualitative methods to gain an in-depth understanding of how the Tri Hita Karana (THK) principles can be integrated into tourism products and how this influences the tourist experience. In-depth interviews can be conducted with relevant stakeholders, such as tourism product developers, marketers and tourists. Through interviews, researchers can understand their perceptions and experiences regarding the implementation and impact of THK in tourism products. In this research, an ethnographic study was also carried out, which involved participatory observation at Bali tourist locations, which will help researchers gain insight into daily interactions between tourists, local communities and the environment. This method is useful for seeing directly how THK principles are integrated into daily practice and how this influences the tourist experience. Through this method, several Balinese culinary product designs were discovered, in the form of food and drinks that combine the Tri Hita Karana (THK) principles. The Packaging of Culinary products in the form of food and drinks sold around tourist attractions and souvenir shops not only offer uniqueness, but also imbue tourists with values rooted in Balinese culture.

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