Article Per Year (5 Year)
p-Index From 2020 - 2025
5.443
P-Index
This Author published in this journals
All Journal E-Journal Of Cultural Studies Jurnal Pendidikan Seni Rupa Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts PRABANGKARA Panggung ARTISTIC : International Journal of Creation and Innovation International Journal of Social Science calaccitra: jurnal film dan televisi Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Journal of Aesthetics, Design, and Art Management Hastagina: Jurnal Kriya dan Indsutri Kreatif Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni E-Amal: Jurnal Pengabdian Kepada Masyarakat Global Art Creativity Conference
I Ketut Muka
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemistry Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Health Professions Immunology & microbiology Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Medicine & Pharmacology Physics Public Health Social Sciences Other

Published : 44 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 44 Documents
Search

 1   2   3   4   5 
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

Abstract

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.
NAMAKALIU: METAFORA BURUNG KUAU RAJA DALAM PENCIPTAAN BUSANA DENGAN EDGY STYLE LOOK ANDROGYNY Agustin Dia Sapariadi, I Dewa Ayu Reika; Ratna Cora S., Tjok Istri; Muka, I Ketut
BHUMIDEVI: Journal of Fashion Design Vol. 1 No. 2 (2021): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/bhumidevi.v1i2.730

Abstract

Indonesia merupakan salah satu negara yang memiliki keanekaragaman hayati tertinggi di dunia terutama pada jenis satwa dan tumbuhan. Khususnya keanekaragaman spesies fauna burung Kuau Raja yang penyebarannya terancam punah. Burung Kuau Raja yang mempunyai nama latin Argusianus argus ini merupakan satwa endemik asli Indonesia yang ditetapkan sebagai fauna identitas dari Provinsi Sumatra Barat. Burung Kuau Raja memiliki bulu sayap dan ekor yang panjang, berwarna coklat kemerahan dengan motif abstrak dan bulat menyerupai mata serangga (ocelli), sehingga mendapat julukan burung seratus mata. Dari keindahan burung Kuau Raja menjadi sumber ide pemantik penciptaan karya busana tugas akhir yang diwujudkan ke dalam busana dengan tingkat yang bertahap yaitu Ready To Wear, Ready To Wear Deluxe, dan Haute Couture. Ide pemantik burung Kuau Raja diimplementasikan dengan teori metafora dari beberapa kata kun ci yaitu Koloni, Soliter, Suara, Poligini, Cinta, Edgy style dan Androgyny style. Landasan penciptaan busana ini menggunakan metodelogi desain Tjok Ratna Cora, yaitu “FRANGIPANI, The Secret Steps of Art Fashion” yang terdiri atas sepuluh tahapan dalam proses perancangan desain fashion berdasarkan identitas budaya Bali, namun dalam penciptaan karya tugas akhir ini hanya menggunakan 8 metode yaitu Ide pemantik (design brief), riset dan sumber (research and sourching), pengembangan desain (design development), sample, prototype, and contruction, koleksi akhir (the final collection), promosi (promotion, sales and branding), produksi (production) dan bisnis (business). Hasil penciptaan ini diharapkan dapat menambah kepustakaan khususnya pada bidang mode mengenai metafora burung Kuau Raja yang diimplementasikan kedalam wujud busana edgy style dengan menggunakan branding “Hygge” dan strategi Bisnis Model Canvas (BMC).
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

Abstract

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.
Konsep Tetandingan Jaje Sarad Pulagembal Sebagai Seni Lukis Adi Udyana, I Made; Muka, I Ketut; Ruta, Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1544

Abstract

Jaje Sarad Pulagembal is one of the complementary facilities for the ceremony that attracts the attention of many people, not only the Balinese Hindu community, but also the wider community. In addition to being quite large, it also looks beautiful because it is arranged very artistically. Jaje Sarad Pulagembal is usually displayed in the courtyard of the temple, but not many people know what the purpose and meaning of Jaje Sarad is. Jaje Sarad is usually made during the implementation of the Madyaning Utama piodalan and above, namely the piodalan that uses bebangkit and the ceremony that uses Pulagembal. The method of creation is a systematic way of creating works of art. The stages of creating a work of art that outlines the design of the process of creating a work of art in accordance with the stages of creation from inspiration (ideas), design, to embodiment. How to realize an idea into a painting, of course, is not necessarily done without preparation. Preparation in this process can be divided into 5 stages of creation: (1) preparation, (2) elaboration, (3) synthesis, (4) concept realization, (5) completion or evaluation. In the title chosen, namely "Jaje Sarad Pulagembal's Counter-Concept as Painting", the concept is meant to be defined by various theoretical concepts that include ideas, designs, and the formation of art in general. Here it refers to the basic nature of art, namely composition, form, and color. Sarad is a Hindu religious ceremony in Bali which is mostly made of snacks made from rice flour with visualization of symbols of the contents of the universe. Pulagembal is a collection of several Bantenese that accompany several kojong fruit containing several types of sacred Banten snacks. Jaje Sarad Pulagembal is deemed appropriate to represent various images of life that is felt by the author, by forming new objects into jaje Sarad and not referring to the previous forms of jaje Sarad, the author can pour ideas and new forms into the painting. Not only a description of the author's life, but also raises environmental issues related to the ecology of the Balinese people.
Innovation of Form and Function of Banyumulek Pottery Craftsmanship in Lombok as Heritage of Traditional Culture Muka, I Ketut; Suardana, I Wayan
Harmonia: Journal of Arts Research and Education Vol 24, No 1 (2024): June 2024
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v24i1.44787

Abstract

The pottery craftsmanship of Banyumulek, a cultural heritage of the Lombok community, has undergone a transformation over time. The embodiment of cultural concepts, ideas, and forms has transitioned from functional to aesthetic values, particularly due to the influence of tourism development in Lombok. This research employs a qualitative descriptive method to explore innovations in the form and function of Banyumulek pottery. Data was collected through observation, interviews, and documentation, focusing on various forms and types of pottery in Lombok. Key informants included business owners and pottery craftsmen in the Kediri District, West Lombok. Findings indicate a change in the pottery-making process from traditional to semi-modern. The forms of pottery have evolved from simple to more decorative, and their function has shifted from practical to aesthetic. This innovation is part of a continuous cultural heritage and plays a crucial role in Lombok’s tourism industry. Changes and innovations in Banyumulek pottery reflect economic and tourism growth and affirm the values of the social and cultural identity of the local community. This research highlights the importance of preserving cultural heritage and the adaptive nature of the craft industry in the face of changing times. 
Tension-Pleasure and Education Values of the Meta-Figurative of Indonesian Contemporary Paintings Adnyana, I Wayan Kun; Totton, Mary Louise; Remawa, Anak Agung Gede Rai; Muka, I Ketut; Ruta, I Made; Wirakesuma, I Nengah; Kondra, I Wayan; Suardana, I Wayan; Sugita, I Ketut Adi
Harmonia: Journal of Arts Research and Education Vol 23, No 1 (2023): June 2023
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v23i1.41296

Abstract

Meta-figurative is a physical aesthetic discourse that reaches beyond the physical beauty of ideal bodies (skeletal construction, muscles, and skins). The interpretation approaches used new criticism, according to Culler (2001), that goal to identify what the works repress or illuminate by concealing and portraying society and social attitudes. Meta-figurative encompasses exploration pertaining to the interchangeable position and condition between tensions and pleasures of bodies in the social space. Fifteen Indonesian contemporary artists are: Mangu Putra, Entang Wiharso, Chusin Setiadikara, Agus Suwage, FX Harsono, Ivan Sagito, Heri Dono, Ronald Manulang, Nyoman Masriadi, Nyoman Erawan, Putu Sutawijaya, Laksmi Sitaresmi, Made Djirna, Ugo Untoro, and Bob Sick Yuditha have been conducting creative efforts and questioning about matters of the bodies’ position in the public space, conducting current interpretation through personal artistic and aesthetical language. There are five representation tendencies of meta-figurative paintings thematically, artistic images, and visual meanings: marginalized bodies, fictionalized bodies, bodies of expression, autobiographical bodies, and beyond famous portraits. Indonesian contemporary artists have made figurative subjects in their paintings to make statements, self-reflections, and moral voices of their country’s socio-political conditions, which are educational values of Indonesian Contemporary Paintings in social meaning. Poverty, corruption, and anti-democracy practices still part of Indonesian daily realities are area protests for contemporary artists.
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

Abstract

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
MAKNA SAKRAL DAN FUNGSI SIMBOL KERAMIK PORSELIN MOTIF WAYANG KAMASAN SEBAGAI ORNAMEN DI PURA PETITENGET KEROBOKAN BADUNG Sunarini, Ni Made Rai; Muka, I Ketut; Karja, I Wayan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): 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

Abstract

Pura sebagai tempat pemujaan umat Hindu Dharma merupakan bagian dari Arsitektur Tradisional Bali, memiliki keunikan dan hirarki makna yang paling utama. Pura Petitenget memiliki budaya lokal dengan memakai keramik porselin motif wayang kamasan sebagai ornamen dengan konsep Tri Angga. Pura Petitenget sebagai Cagar Budaya Lokal Kabupaten Badung No 26 Tahun 2013 Pasal 32. Pura Petitenget berdiri sejak abad ke-16 masehi yang diempon oleh masyarakat Desa Adat Kerobokan. Tujuan penelitian ini, yaitu untuk mengetahui makna yang melandasi keramik porselin motif Wayang Kamasan. Penelitian ini menggunakan metode deskriptif kualitatif dengan teknik pengambilan data snowballing dan purposive sampling. Teori yang digunakan adalah teori semiotika dan teori hermenutika. Hasil penelitian menunjukan, makna keramik porselin motif wayang kamasan dengan konsep Tri Angga menerapkan berbagai motif wayang kamasan mulai dari motif Acintya, Dewa-Dewi, tokoh-tokoh Ramayana, dan motif binatang serta motif tumbuh-tumbuhan. Makna keramik porselin motif wayang kamasan yang diaplikasikan ke dalam piring keramik porselin di Pura Petitenget mengandung makna sakral dan fungsi simbol (pada tingkatan Utamaning Angga, Madyaning Angga, dan Nistaning Angga), makna sosial, makna budaya, dan makna ekonomi. Makna yang terkandung memiliki nilai kebaruan yang unik dan berkarakter. Dapat melestarikan nilai-nilai seni budaya dan kearifan lokal dibidang keramik Bali agar tidak hilang karena tergerus oleh modernisasi.
PELATIHAN MANAJEMEN SENI PADA SANGGAR CITRA KARA DI DESA BATUAN, KECAMATAN SUKAWATI, BALI Suardana, I Wayan; Ruastiti, Ni Made; Ruta, I Made; Suryantari, Eka Putri; Prasiasa, Dewa Putu Oka; Muka, I Ketut; Ardika, I Gusti Ngurah Putu
E-Amal: Jurnal Pengabdian Kepada Masyarakat Vol 4 No 3: September-Desember 2024
Publisher : LP2M STP Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47492/eamal.v4i3.3575

Abstract

Arts management training at the Citra Kara aims to increase the practical benefits of crafts activities. Dominant kriyawan are skilled at leather crafts. However, quite a few kriyawan from the Cita Kara admit that their craft works could be more helpful. The problems : 1) What is the form of arts management training?; 2) How does arts management training impact?. The training uses R&D methods. The results : 1) training in selecting commodity materials, training in the production of commodities, technical assistance in the production of commodities, technical assistance in the coloring of commodities, training in the marketing of commodities, training in digital marketing and assistance in the digitalization of marketing of commodities; 2) there is an increase in artists' skills in producing new types of craft art commodities & there is an increase in artists' interest in marketing leather inlaid art commodities in new ways.
Milestone Dan Makna Ornamen Puri Agung Karangasem Dalam Persfektif Hermeneutika Laba, I Nyoman; Adnyana, I Wayan; Muka, I Ketut; Suardana, I Wayan; Gede Artayani, Ida Ayu
PANGGUNG Vol 35 No 1 (2025): Wacana Seni dalam Identitas, Simbol, Pendidikan Karakter, Moral Spiritual dan Pr
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i1.3632

Abstract

The architecture of Puri Agung Karangasem shows important achievements in architectural progress and the trajectory of the meaning of ornaments shows the acculturation of Balinese, Chinese, and European cultures. Researchers have not found research on the milestones and meaning of ornaments in the Puri. The purpose of this research is to explain the important historical achievements and the meaning of architectural ornaments of Puri Agung Karangasem. A qualitative descriptive method is implemented to explain the milestones and meaning of architectural ornaments of Puri Agung Karangasem. Hermeneutic theory is used as an approach to uncover the historicity and interpretation of the meaning of the architectural ornaments of the Puri. Data collection techniques include observation, interviews and documentation, while as a source of data are ornaments on palace architecture, cultural experts, community leaders, and as key informants of Penglingsir Puri and Abdi Dalem Puri. The results of the study show that the architecture of Puri Agung Karangasem has a very important meaning and achievement in the history of Bali, especially in the context of the kingdom. The forms of ornaments found in Puri Agung Karangasem can be distinguished into three, namely ornaments in traditional Balise, Chinese and European styles, resulting in a combination of typical ornamental forms of Puri Agung Karangasem. From a hermeneutic perspective, these ornaments are signs that refer to certain aspects of social, religious, and political life in Bali, especially the kingdom of Karangasem. In addition, the ruler of Puri Agung Karangasem in ancient times had a fairly good cultural relationship with people from China and Europe, as reflected in the visualization of ornaments integrated into the architecture of the Puri.
Co-Authors Adesastrawiguna, Iputu Adi Udyana, I Made Agustin Dia Sapariadi, I Dewa Ayu Reika Alit Parwita Yana, I Made Anak Agung Ayu Oka, Saraswati Angga Maha Putra, I Komang Arba Wirawan, I Komang Ardika, I Gusti Ngurah Putu Arimbawa, I Gede Artawan, Cokorda Alit Artayani, Ida Ayu Gede Berata, I Made Bimo Prasetyo Darmawan, James Dewa Putu Oka Prasiasa Diajeng Wardani Diantari, Ni Kadek Yuni Eka Putri Suryantari Gusti Ngurah Agung Dalem Diatmika I Gede Arya Sugiartha, I Gede Arya I Gede Mugi Raharja I Ketut Adi Sugita I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Sida Arsa, I Ketut Sida I Made Jana I Made Mertanadi I Made Suarpradana, K I Made Sujana I Made Suparta I Nengah Wirakesuma, I Nengah I Nyoman Linggih I Nyoman Suarka I Nyoman Yudhi Satriawan I Nyoman, suardina I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Suardana I Wayan Suardana I Wayan Sudana I Wayan Sujana I Wayan Sujana Ida Ayu Gede Artayani Ida Ayu Nyoman Yuliastuti Jana, I Made Karuni, Ni Kadek Kondra, I Wayan Laba, I Nyoman Made Rai Budaya Bumiarta Miyasa, I Nyoman Ni Luh Gede Putu Purnawati Ni Made Rai Sunarini, Ni Made Rai Ni Made Ruastiti Pande Ketut Ribek Pande Putu Ogy Mega Sanjaya Putu, Tari mey jessica Rai, Sunarini Ratna Cora Sudharsana, Tjok Istri Remawa, Anak Agung Gede Rai Ruta, I Made Ruta, Made Satrio Hutomo, Adam Soelistyowati Soelistyowati Suardana I Wayan, Suardana Sugiartini, Ni Nyoman Ari Totton, Mary Louise Wayan Karja Yogi Kertayasa, I kadek