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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.

I Inovasi Tas Wanita dengan Media Keramik I Made Sujana; I Ketut Muka Pendet; I Nyoman Laba
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (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.v1i02.858

Women in carrying out activities are usually equipped with the use of bag products. The use of bags by women as complementary goods is combined with clothing to harmonize style and improve self-image in society. This phenomenon has inspired creators to create innovative women's bags with ceramic media inspired by the Rejang Asak Da nce crown as a source of creation ideas. The purpose of this creation: 1. How is the process of creating women's bags with ceramic media ?; 2. What are the results of the innovation of women's bags with ceramic media ? The stages of creation are the first to do exploration with observation, interviews, and documentation, the second stage is the design of the bag creation work in the form of rough sketches or manual sketches, and the third is the embodiment of the design. The results of the creation in the form of a Shoulder Bag, Sling Bag and Hand Bag.

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.

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.

PRODUK KERAMIK STONEWARE DENGAN KONSEP FRONTO DI THE FRONTIER HOUSE Satrio Hutomo, Adam; Mudra, I Wayan; Muka, Muka
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.v4i01.3419

Fronto is a concept to create a functional ceramic work for the needs of the coffee shop at The Frontier House which is a partner in completing an independent project in the Merdeka Learning Independent Campus (MBKM) program. Fronto is a mascot from The Frontier House in which Fronto is a dinosaur (T-Rex). Fronto is embodied by an upright posture and holding a cup in his right hand, has a simplified shape, wears a raglan shirt with the F logo on his chest and complete with his pants and shoes. The costume from Fronto is inspired by the costume of American students in the 70s, with the hope that The Frontier House's coffee shop business can remain standing, become big, and everlasting. Based on this, the author got the idea to create a functional ceramic product that can be directly applied to The Frontier House coffee shop business, as a realization of an agreement with MBKM partners. Using creation methods such as observation methods for introduction, exploration methods for exploring ideas, design design methods to illustrate clearly, and work creation methods for the execution stage, with embodiment techniques applying rotation techniques, pinching techniques, and cast printing techniques. The result is the creation of two types of incense holders, glasses, ashtrays, and succulent pots by applying the elements contained in Fronto into the form of ceramic works, by applying vintage colors, namely olive green and orange in accordance with the color concept applied by The Frontier House, thus producing harmony between ceramic products made with The Frontier House concept which can provide comfort and interest for visitors.

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

Teknik Pembelajaran Dan Pembentukan Keramik Menggunakan Elletric Wheel Di UD.Tri Surya Keramik Br.Belulang, Desa Kapal Kecamatan Mengwi Kabupaten Badung Putu, Tari mey jessica; Artayani, Ida Ayu Gede; Muka, I Ketut
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.v5i01.4306

This study aims to create ceramic works using the Electric Wheel technique at UD. Tri Surya, a ceramic company focused on producing high-quality ceramics. This research is driven by the importance of innovation in the ceramic world, particularly in the manufacturing techniques that can produce more complex ceramic forms while being more efficient. The Electric Wheel technique is one method of ceramic production that uses an electrically powered spinning wheel, providing stable speed and ease in shaping clay. The research methodology employed is an experimental approach, where the author creates ceramic works through several stages: preparation of raw clay materials, mixing, shaping with the Electric Wheel, drying, firing, and glazing. This technique is applied to create various forms, ranging from utilitarian ceramics to ceramic art pieces. This study also explores the creative process faced by artisans in using the Electric Wheel and its impact on the quality and aesthetics of the resulting ceramic products. The results of this research show that the Electric Wheel technique offers many advantages, such as precision in shaping and time efficiency. The ceramic works produced are more structured and symmetrical compared to those made with manual pottery wheels. However, the study also identifies several challenges encountered in using this technique, such as speed control and adjustment to specific types of clay. Overall, this study provides a significant contribution to the development of ceramic manufacturing techniques in the industry, particularly in terms of technological innovation and creativity. The application of the Electric Wheel technique at UD. Tri Surya has opened opportunities for improved production quality and product competitiveness, as well as enhancing artisans' understanding of technology use in ceramic art.

Eksistensi Topeng Rangda Gaya Singapadu Adesastrawiguna, Iputu; Mudra, I Wayan; Muka, I Ketut
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.v5i01.4307

In the implementation of the Merdeka Belajar Kampus Merdeka program for the even semester, students took a research program on the Singapadu style Rangda mask. This opportunity was used to explore and understand the Rangda mask in Singapadu, both in terms of history, the manufacturing process, and the form and philosophical meaning of the Singapadu style Rangda mask. In its development, there are still many artists in Singapadu and outside Singapadu who do not know the real history of the Singapadu style Rangda mask. The ignorance and understanding of today's young generation about the history of the Singapadu style Rangda mask is an interesting thing to be studied further. In addition to studying the history of the existence of the Rangda mask Singapadu, also researches the process, form and meaning of philosophy. The method used is a qualitative research method and emphasizes qualitative descriptive analysis. The data collection method used For do study This is method observation, interview in a way in-depth, documentation and study literature. In addition, research This use four method research data analysis qualitative that is method data collection, data reduction, data presentation, and data extraction conclusion. This study uses a historical approach that aims to find out information related to the historical traces of the Singapadu style Rangda mask. The implementation of research on the Existence of the Singapadu Style Rangda Mask resulted in findings related to history, the manufacturing process, and knowing the form and philosophical meaning of the Singapadu style Rangda mask.

PRODUK KERAMIK STONEWARE DENGAN KONSEP FRONTO DI THE FRONTIER HOUSE Satrio Hutomo, Adam; Mudra, I Wayan; Muka, Muka
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.v4i01.3419

Fronto is a concept to create a functional ceramic work for the needs of the coffee shop at The Frontier House which is a partner in completing an independent project in the Merdeka Learning Independent Campus (MBKM) program. Fronto is a mascot from The Frontier House in which Fronto is a dinosaur (T-Rex). Fronto is embodied by an upright posture and holding a cup in his right hand, has a simplified shape, wears a raglan shirt with the F logo on his chest and complete with his pants and shoes. The costume from Fronto is inspired by the costume of American students in the 70s, with the hope that The Frontier House's coffee shop business can remain standing, become big, and everlasting. Based on this, the author got the idea to create a functional ceramic product that can be directly applied to The Frontier House coffee shop business, as a realization of an agreement with MBKM partners. Using creation methods such as observation methods for introduction, exploration methods for exploring ideas, design design methods to illustrate clearly, and work creation methods for the execution stage, with embodiment techniques applying rotation techniques, pinching techniques, and cast printing techniques. The result is the creation of two types of incense holders, glasses, ashtrays, and succulent pots by applying the elements contained in Fronto into the form of ceramic works, by applying vintage colors, namely olive green and orange in accordance with the color concept applied by The Frontier House, thus producing harmony between ceramic products made with The Frontier House concept which can provide comfort and interest for visitors.

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

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