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All Journal PRABANGKARA Segara Widya: Jurnal Penelitian Seni Panggung VCD (Journal of Visual Communication Design) Randwick International of Social Science Journal ARTISTIC : International Journal of Creation and Innovation Jurnal Ilmiah Wahana Pendidikan International Journal of Social Science calaccitra: jurnal film dan televisi International Journal of Multidisciplinary Research and Literature (IJOMRAL) Jurnal Desain Komunikasi Visual Nirmana Journal of Aesthetics, Creativity and Art Management Journal of Industrial Product Design Research and Studies Innovative: Journal Of Social Science Research Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Hastagina: Jurnal Kriya dan Indsutri Kreatif Panggung
I Nyoman, suardina
Institut Seni Indonesia Denpasar
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Character Design of Mahapatih Gajah Mada Based on Visual References from Bima and Brajanata/Kertala Statues Setia Budi, Hutomo; Adnyana, I Wayan; Swandi, I Wayan; Suardina, I Nyoman
VCD: Journal of Visual Communication Design Vol. 8 No. 1 (2023): VCD: Journal of Visual Communication Design
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v8i1.3956

Abstract

Mahapatih Gajah Mada was a great figure who united the archipelago in his time, but no statues have been found that depict the figure. Archaeologists disagree on the accuracy of the human head statue artifact referenced by Mr. Muhammad Yamin, as it does not have any markers that indicate it is a statue of Mahapatih Gajah Mada. To design an accurate visualization of the character design of Mahapatih Gajah Mada, this design is divided into 2 stages: data mining and character design. Data mining involves a data search related to Mahapatih Gajah Mada and culture during the Majapahit Kingdom Era. Character design involves designing the character design of Gajah Mada using data from the references that have been obtained. Data searches have revealed that Mahapatih Gajah Mada is likely to be the Brajanata/ Kertala character in the Panji story and the Bima character in the Mahabarata story. The character has a large, tall body, strapping, crossed mustache, and wavy curls, using a headdress in the form of a foreheadband with carvings, upper arm bands made with snake motifs, a belt with a Kala head patterned buckle, and an upawita (caste rope) that crosses from the left shoulder to the right waist depicting Gajah Mada's caste. For weapons, Gajah Mada carries a keris with a cundrik type (not notched) and an oval mace, which means that Gajah Mada is one of Lord Vishnu's attendants who has a guardian nature. The design of the oval mace takes reference from door guard statues. Keywords: Character Design, Gajah Mada, Majapahit kingdom
Beyond the Lantern Festival: Designing Fantasy Illustrations Inspired by Lontong Cap Go Meh and Kelenteng Hok An Kiong Sutanto, Shienny Megawati; Mudra, I Wayan; Udayana, A. A. Gde Bagus; Suardina, I Nyoman
VCD: Journal of Visual Communication Design Vol. 9 No. 1 (2024): VCD: Journal of Visual Communication Design
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v9i1.4697

Abstract

This study examines the creative process behind the illustrations of the fantasy novel "Warisan Dua Dunia" inspired by the Lontong Cap Go Meh tradition in Hok An Kiong Temple, Surabaya. This tradition is an interesting example of Indonesian and Chinese cultural acculturation. A qualitative descriptive method with observation, interview, and documentation techniques was used in this study. The theoretical framework used includes Visual Language (Tabrani) and The Big Triangle (Mc Cloud). The results showed that the creative process of the novel illustration began with observation and reflection on the Lontong Cap Go Meh tradition. The researcher combined the results of observation and reflection with personal experience to form a personal interpretation visualized in a manga style. Imaginative and realistic visualizations inspired by Chinese culture enrich the work's aesthetics and transport the reader into an imaginary world full of meaning. This study shows that the combination of contemplation, personal interpretation, and manga visual style produces a work that is not only relevant to the younger generation but also opens up new interpretation towards tradisi Lontong Cap Go Meh di Kelenteng Hok An Kiong.
Visual Language of Angling Dharma Relief at Jago Temple Wardaya, Marina; Mudra, I Wayan; Udayana, A. A. Gde Bagus; Suardina, I Nyoman
VCD: Journal of Visual Communication Design Vol. 9 No. 1 (2024): VCD: Journal of Visual Communication Design
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v9i1.4717

Abstract

The relief panels depicting the Angling Dharma story on the Jago Temple offer a valuable resource for researchers, similar to the Kresnayana story reliefs in Prambanan. These reliefs serve as visual narratives, conveying the Angling Dharma epic. The sculptors meticulously selected key scenes from the text, translating them into captivating visuals and arranging them within individual panels. These panels, when assembled, form a cohesive narrative of the Angling Dharma story. In a modern context, this sequence of panels resembles a movie, unfolding the story through a series of images. To encompass the entirety of the narrative within the confines of the relief's surface, the sculptors employed a distinct drawing method known as the "space-time-flat" system. This approach differs significantly from modern Western artistic conventions. The unfamiliar style can pose challenges in interpreting the depicted scenes. This research proposes a descriptive and qualitative analysis of the "space-time-flat" method used in the Angling Dharma reliefs. By delving into this unique drawing system, the study aims to glean valuable insights that can be applied in the creation of various visual media. The analysis can shed light on artistic practices that predate the arrival of Western drawing techniques with their emphasis on naturalism, perspective, and single-moment depiction.
THE VISUAL METAPHOR OF WATER IN FLAT AND SPATIAL MOTION ARTISTRY IN THE CREATION OF ANIMATED FILMS TOYANING MAHAGUNA Wijaya, I Kadek Adi Putra; Raharja, I Gede Mugi; Suardina, I Nyoman; Pramana, I Made Bayu
International Journal of Multidisciplinary Research and Literature Vol. 5 No. 2 (2026): INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND LITERATURE
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ijomral.v5i2.422

Abstract

Water constitutes a fundamental element of the universe and functions as a primary source of life for all living beings on Earth. In Hindu cosmology, Bhuana Alit (the microcosm of the world) is composed of five essential elements Pertiwi (earth), Apah (water), Teja (fire), Bayu (air), and Akasa (ether) that together structure both the physical environment and human existence. Among these elements, water occupies a particularly vital position, as it is directly perceivable through the human senses and indispensable for biological, social, and spiritual continuity. In Gianyar Regency, especially within the Traditional Village of Tegallalang, natural springs represent not only essential ecological resources but also sacred cultural sites that sustain community life. This research employs a qualitative methodology with an ethnographic approach to examine the animated film Toyaning Maha Guna as a cultural narrative that articulates the significance of water through historical, mythological, and folkloric perspectives. The study integrates observations on water utilization, environmental conditions, and spiritual values embedded in local traditions. Structurally, the film adopts the temporal framework of Tri Semaya Kala, particularly emphasizing Atita (the past) in its opening sequence. This segment portrays the descent of the Trimurti Brahma, Vishnu, and Iswara to rescue the Earth from destruction, symbolizing divine intervention as a response to ecological imbalance. From a Hindu philosophical perspective, the visualization and narrative construct water not merely as a physical resource but as a sacred medium of purification, regeneration, and cosmic harmony. The voluntary descent of the gods signifies an ethical model of responsibility and care toward nature, projecting an ideal relationship between humanity, divinity, and the environment. Through this narrative strategy, Toyaning Maha Guna functions as both an aesthetic expression and an environmental discourse, reinforcing the moral imperative to preserve water sources as the foundation of life, civilization, and spiritual well-being.
Co-Authors Adiputra, Komang Anak Agung Gde Bagus Udayana Anak Agung Gede Sugianthara Arimbawa, I Gede Aryadi, I Gusti Made BAYU PRAMANA, I MADE BUDIAPRILLIANA, LUH Cahayana Putra, I Gede Darmawan, James Fatkurrohanif, RM Mochamad Gusti Ngurah Agung Dalem Diatmika Hutomo Setia Budi I Ketut Muka I Komang Ananta Pradnya Wikarna I Kt. Suteja I Made Berata I Made Suparta I Made Suparta I Made Widhya Divabhawana I Made, Suparta I NYOMAN PAYUYASA . I Putu Putra Suryadana I Wayan Adnyana I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Suardana I Wayan Swandi Ida Ayu Dyah Maharani, Ida Ayu Dyah Ida Ayu Gede Artayani Ismayana, Diva Jana, I Made Karuni, Ni Kadek Laba, I Nyoman Made Gana Hartadi Made Mikki Bharadvaja Wirawan Mahardika, I Wayan Agus Mahendra, I Putu Agus Marina Wardaya Ni Kadek Karuni Prayatna, I Wayan Dedy Putrayasa, I Ketut Raharja, I Gede Mugi Shienny Megawati Sutanto Sukron Madani Dwi Prasetyo Sukron Madani Dwi Prasetyo Udayana, A. A. Gde Bagus UDIANA NINDHIA PEMAYUN, TJOKORDA Widhi Adnyana, I Wayan Wijaya, I Kadek Adi Putra