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Tri Hita Karana: A contemporary sculpture creation Pande Putu Ogy Mega Sanjaya; I Wayan Adnyana; I Ketut Muka
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Tri Hita Karana in Hinduism is the understanding of three main things that cause prosperity for human life which consist of Parhyangan, Pawongan, and Palemahan. The phenomenon stimulates creator to create a sculpture that aimed to provide an understanding related to Tri Hita Karana. The method applied in this creation uses five stages, namely the search for ideas, the search for materials, experiments, the embodiment of the work, and the presentation of the work. In this creation of three-dimensional works of art in the form of sculptures, the creator tries to express Tri Hita Karana issues with the concept of recycle, a process to turn used materials into new materials with the aim of preventing waste that can actually be turned into useful goods. The form of the work will be in the form of contemporary sculpture by displaying unique and authentic new forms. Keywords: Tri Hita Karana, recycle, contemporary sculpture.

Symbolic Meaning of Batik In Madura Bridal Kebaya Clothes Soelistyowati Soelistyowati; I Wayan Mudra; I Ketut Muka; Tjok Istri Ratna
Journal of Social Science Vol. 4 No. 1 (2023): Journal of Social Science
Publisher : Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/jss.v4i1.495

This study was conducted to determine the meaning of the batik symbol on the Madurese bridal kebaya. At weddings, Madurese people wear batik and kebaya, especially for women getting married. Madurese batik motifs are classified as having the characteristics of plant (vegetal) motifs, animals and geometric shapes. The influence on the Madurese batik motifs is the mixing of Javanese-Hindu, Chinese and Dutch cultures. Chinese mythology dominates the fenghuang bird and dragon motifs believed to have philosophy in each symbol. Bright and bold colors are characteristic of Madurese batik, such as red, black, yellow and green. This research approach using literature study is done by looking for references that are relevant to the cases or problems found using the semiotic theory of Charles Sanders Peirce. By analyzing the data of this study, it was carried out by means of 5W1H, what, where, when, why, who, and how. The results of this study, a. The icon as a sign of the message using the kebaya dress interprets the kebaya as an Indonesian woman who is elegant, feminine and has manners, as a procession that is carried out is a cultural carnival procession as a mandatory dress that must be worn. b) symbols, the colors red, black, yellow and green on the decoration, as well as the appearance of the dragon and fenghuang bird motifs are characteristic of batik motifs, on the jarik or sarong worn at traditional wedding ceremonies in Madura. c) Index: Madurese philosophy considers that the colors red and black are courage and assertiveness, yellow symbolizes abundance and green means religious. The dragon motif brings fortune, guards and is authoritative. The fenghuang bird in batik means honesty and thoroughness, tolerance, knowledge, loyalty and integrity. When the dragon is juxtaposed with the fenghuang bird, it symbolizes bringing luck, honesty, happiness and repellent to evil, which is believed to be obtained from generations of cultural heritage to be preserved and maintained.

Symbolic Meaning of Batik In Madura Bridal Kebaya Clothes Soelistyowati Soelistyowati; I Wayan Mudra; I Ketut Muka; Tjok Istri Ratna
Journal of Social Science Vol. 4 No. 1 (2023): Journal of Social Science
Publisher : Syntax Corporation Indonesia

This study was conducted to determine the meaning of the batik symbol on the Madurese bridal kebaya. At weddings, Madurese people wear batik and kebaya, especially for women getting married. Madurese batik motifs are classified as having the characteristics of plant (vegetal) motifs, animals and geometric shapes. The influence on the Madurese batik motifs is the mixing of Javanese-Hindu, Chinese and Dutch cultures. Chinese mythology dominates the fenghuang bird and dragon motifs believed to have philosophy in each symbol. Bright and bold colors are characteristic of Madurese batik, such as red, black, yellow and green. This research approach using literature study is done by looking for references that are relevant to the cases or problems found using the semiotic theory of Charles Sanders Peirce. By analyzing the data of this study, it was carried out by means of 5W1H, what, where, when, why, who, and how. The results of this study, a. The icon as a sign of the message using the kebaya dress interprets the kebaya as an Indonesian woman who is elegant, feminine and has manners, as a procession that is carried out is a cultural carnival procession as a mandatory dress that must be worn. b) symbols, the colors red, black, yellow and green on the decoration, as well as the appearance of the dragon and fenghuang bird motifs are characteristic of batik motifs, on the jarik or sarong worn at traditional wedding ceremonies in Madura. c) Index: Madurese philosophy considers that the colors red and black are courage and assertiveness, yellow symbolizes abundance and green means religious. The dragon motif brings fortune, guards and is authoritative. The fenghuang bird in batik means honesty and thoroughness, tolerance, knowledge, loyalty and integrity. When the dragon is juxtaposed with the fenghuang bird, it symbolizes bringing luck, honesty, happiness and repellent to evil, which is believed to be obtained from generations of cultural heritage to be preserved and maintained.

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.

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.

Drawing Pattern On Novels In Contemporary Art I Made Jana; I Wayan Sujana; I Ketut Muka
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 1 (2019): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i1.751

This study is prompted by the concern over stagnant rates of creation in producing contemporary statues in Bali, both in the northern and southern regions, by using stone, wood, and metal mediums. The technology of using gips (plaster of Paris) is easier in statue production, however dismisses innovation in the process. The researcher took interest in I Wayan Sujanaâ€™s 10 years long research (2007-2017) on transferring of the unconscious onto art from novels (books). Based on that research I Wayan Sujana produced thousands of drawings with rich periodicity patterns. Those patterns are reviewed and selected to be made as contemporary statues. The production method for the contemporary statues, using Drawing Pattern on Novel, was participatory, involving traditional art carving experts. User Participation Method, an approach with user involvement in the art, judgment and creation methods by SP Gustami, was employed to conduct this study. The data was gathered with interviews, observation, documentation, and then exploration, planning and embodiment. This study aimed to create innovation of the fine arts, based on research, using Drawing Pattern on Novels, and can be recognized as part of Indonesian fine arts development. Indonesian contemporary fine arts focuses on local genius as the spirit of its creation. This research generated innovative statutes from stone with Indonesian national cultureâ€™s aesthetic motifs.

The Acceptance of Wayang Kamasan Porcelain Ceramics at Petitenget Temple Bali Rai, Sunarini; I Wayan, Mudra; Anak Agung Ayu Oka, Saraswati; I Ketut, Muka; I Wayan, Karja
Mudra Jurnal Seni Budaya Vol 39 No 3 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i3.2795

Temples, integral to Hindu Dharma worship, are quintessential features of Balinese architectural tradition. Among these, Petitenget Temple stands out with its distinctive interior, adorned with ceramic plates embellishing the pelinggih (shrine). This study focuses on Petitenget Temple, where porcelain ceramic plates featuring the Wayang Kamasan motif are utilized within the Tri Angga framework, representing a novel exploration. Research related to the study of the use of porcelain ceramics as ornaments in old buildings in Bali. Previous research has been carried out but has not been studied in depth on the use of Wayang Kamasan motifs on pelinggih with the Tri Angga concept in particular. This research aims to reveal the form, meaning, and aesthetic value of porcelain ceramics with wayang kamasan motifs as ornaments on pelinggih. Using qualitative methods with a descriptive approach, data collection involved observation, in-depth interviews, and documentation, and data reduction flow. Meanwhile, the data source sampling technique uses purposive sampling. The findings obtained through analysis of the Wayang Kamasan motif applied to porcelain ceramic plates at Petitenget Temple, Kerobokan Badung, are the harmony of Wayang motif porcelain ceramics, as a prototype or reference for preserving the use of Wayang Kamasan motif porcelain ceramics in sacred buildings and other functions, and temple visitors can enjoy the form, meaning, and aesthetics displayed by the porcelain ceramics with Wayang Kamasan motifs installed. From this research, it can be concluded that Wayang Kamasan porcelain ceramics are accepted by the community, temple owners, or Petitenget Temple owners.

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