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LAUT DAN SAMUDRA DAYA CIPTA SENI CERITA LEGODBHAWA SEBAGAI INSPIRASI PENCIPTAAN KRIYA Suparta, I Made; Muka, I Ketut; Berata, I Made
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

Keberadaan laut Bali kehidupan masyarakat Hindu Bali tidak saja dipandang sebagai luapan rasa air asin semata, namun telah menjadi entitas rutin ritual keagamaan yang berkelanjutan. Ritual keagamaan Panca yadnya dan organisasi profesi dilakukan menurut perhitungan sasih dan wuku perhitungan kalender Bali. Upacara melasti, ngaben, dan pembersihan diri yang disebut melukat adalah suatu cara pemujaan dan pemuliaan serta anugrah yang patut disyukuri oleh masyarakat Bali. Laut oleh seniman dan pencipta seni ditangkap dengan perspektif rupa “mewarnai” bertumbuhkembangnya seni budaya Bali. Literasi agama, itihasa dan mitologi juga menginspirasi lahirnya karya cipta seni yang kreatif dan inovatif. Narasi Legodbhawa adalah salah satu bentuk pencarian sekaligus penyatuan lima unsur alam seperti: teja, apah, bayu, pertiwi dan akasa yang disebut dengan Panca Maha Bhuta. Literasi keagamaan, itihasa dan mitologi yang terkait dengan keagungan air/laut telah dan dapat menginspirasi lahirnya karya cipta seni yang mempunyai nilai estetik. Pemindahan keindahan sebuah narasi yang ada dalam cerita legodbhawa kedalam bentuk karya cipta kriya, merupakan sebuah inovasi kreatif yang nantinya memiliki nilai-nilai kebaruan. Ajaran agama Hindu seperti: tri kona, tri premana, dan panca mahabhuta adalah bagian penting dan mempunyai makna erat dengan air laut. Penciptaan kriya ini menggunakan bahan dasar kayu jati (dua dimensi) dan pohon enau (tiga dimensi) dibuat dengan teknik ukir tembus. Komposisi obyek dibuat secara vertikal dan horisontal dengan irama garis lurus, melengkung, dan lingkaran. Komposisi bidang seperti lingkaran, segi empat dan segi tiga adalah bentuk- bentuk visual yang bermakna simbolis.

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.

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.

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.

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