Article Per Year (5 Year)
p-Index From 2021 - 2026
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 Journal of Social Science 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 : 45 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 45 Documents
Search

 1   2   3   4   5 
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.
2D ANIMATE CREATION ‘PRODIGAL SON’ GESTALT MOVS Darmawan, Andreas James; Arimbawa, I Made Gede; Muka, I Ketut; Suardina, I Nyoman
International Journal of Social Science Vol. 4 No. 5: Februari 2025
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i5.9928

Abstract

The creation of the 'Prodigal Son' animation stems from the author's realization of the need for fresh and engaging church teaching media for youth aged 12-17. Current media often lack appeal, as they focus only on storylines without offering deeper engagement. This gap highlights the urgency to develop new media that effectively delivers story essence using the Gestalt MoVS(Movement on Voice and Spirit) visual style. The study addresses how to create animation that fills this gap, applies Gestalt MoVS concepts, and visualizes the 'Prodigal Son' story through this approach. Utilizing a descriptive qualitative method and practice-based research, the process includes literature studies on Gestalt MoVS theory, theological philosophy, hermeneutics, semiotics, VCD (Visual Communication Design) principles, and expert interviews with theologians, animators, media experts, and adolescent psychologists. Media trials with targeted audiences also contribute to the visual analysis. The result is an aesthetically pleasing animation that conveys the story's three main essences—repentance, forgiveness, and gratitude—in a paradoxical configuration, addressing both repentant audiences and those who judge others. The animation offers an innovative solution to engage teens and simplify Bible story delivery, emphasizing an interdisciplinary approach to inspire spiritual understanding and real-life application.
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

Abstract

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

Abstract

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.
Dimension and Illusion Of Contemporary Art I Made Suarpradana, K; Muka, I Ketut; Sida Arsa, I Ketut
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 1 (2025): April 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i1.90823

Abstract

The duality that refers to dimensions and illusions becomes an interest in creating a unified work. Dimensions and illusions have different meanings from each other. Dimensions have space (length, width and height) while illusions (optical art) can only be enjoyed from one side (front view). Basic things like this can be developed into various visuals. The output produced by illusions and dimensions complement each other, as dimensions can produce illusions of what is seen, and vice versa, illusions can produce space or dimensions due to the influence of colors and lines. The work of creating this thesis combines the two concepts (dimensionality and illusion) into a unified work. Knowing the weakness of the sense of sight in capturing an object, it seems to be of particular interest if you succeed in realizing a work that has a convex volume that appears concave, or conversely that a concave object appears convex. The basic reason for this creation was to explore the basic elements of fine art into contemporary works of art. It is also hoped that it can provide wider knowledge to the public regarding ideas that cross the boundaries of fine art conventions.
GESTALT SIMPLIFICATION: BIBLE STORY ANIMATION 'THE PRODIGAL SON' Darmawan, Andreas James; Arimbawa, I Made Gede; Muka, I Ketut; Suardina, I Nyoman
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6434

Abstract

Bible story animation 'The Prodigal Son' only presents the storyline without touching the theological meaning. Church youth experience boredom in understanding parable story of 'Prodigal Son'. The problem urgency is the lack of teaching media that convey repentance, forgiveness, and gratitude meaning in an interesting and contextual way. This study used descriptive qualitative method through literature, discussions, and FGD. The creation process involved application of Edgar Rubin's visual simplification theory and Max Wertheimer's, Wolfgang Köhler, Kurt Koffka Gestalt theory; combined with philosophy, hermeneutics, semiotics; to create new interesting and meaningful animation. The animation successfully visualizes the theological essence of repentance, forgiveness, and gratitude through simplified forms and meaningful gestalt compositions, offering a fresh visual narrative that resonates and supports deeper spiritual reflection for adolescent.
“Grha Locita” Analogi Arsitektur Museum Le Mayeur dalam Penciptaan Karya Busana Bergaya Baroque Sugiartini, Ni Nyoman Ari; Pendet, I Ketut Muka; Diantari, Ni Kadek Yuni
BHUMIDEVI: Journal of Fashion Design Vol. 5 No. 1 (2025): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/bhumidevi.v5i1.5892

Abstract

Museum le mayeur berdiri karena kisah cinta dari seorang pelukis dan model Lukis. Museum Le Mayeur yang terletak di Sanur Kaja, Denpasar, Bali. Museum ini sah berdiri pada tanggal 28 Agustus 1949, tahun 1932 Le Mayeur pertama kali datang ke Bali dan bertemu dengan Ni Pollok yang sangat cantik dan anggun lalu menjadikanya model dalam lukisannya. Kerjasama antara model dan pelukisnya terjalin sangat erat, yang akhirnya Le Mayeur menikahi Ni Pollok dan menjadikannya karya abadi dari banyaknya lukisan yang dibuat oleh Le Mayeur, Arsitektur yang terdapat pada interior dan eksterior bangunannya juga memiliki keunikan yang khas dengan ukiran-ukiran ornamen Bali yang padat dengan warna mencolok menjadikan inspirasi dari pembuatan karya busana tugas akhir Program Studi Desain Mode dan penulis ingin memperkenalkan Museum Le Mayeur kepada Masyarakat luas dengan nuansa style Baroque dalam 3 kategori busana ready to wear, ready to wear deluxe, dan semi couture yang diwujudkan berdasarkan metode penciptaan karya busana yang bertajuk "FRANGIPANI", The Secret Steps of Art Fashion (Frangipani: Tahapan-Tahapan Rahasia dari Seni Fashion).
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

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.
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

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
Inovasi Furniture Berbahan Plywood Finishing High Pressure Laminate Sebagai Pendukung Pertumbuhan Properti di Desa Saba Yogi Kertayasa, I kadek; Muka, I Ketut; Suparta, 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.v5i02.5669

Abstract

This study discusses innovation in the design and production process of furniture made from plywood with a High Pressure Laminate (HPL) finish, developed as a solution to support the growth of the property sector in Saba Village, Gianyar Regency, Bali. Along with the increasing development of residential properties, villas, and tourism-supporting facilities in the area, the demand for furniture with high quality, appealing aesthetics, durability, and cost efficiency continues to rise. This research employs a descriptive qualitative method through field studies, observations, interviews with property industry stakeholders and local artisans, as well as product prototyping experiments. Plywood was selected as the primary material due to its advantages, including lightweight properties, stable structural strength, ease of fabrication, and environmentally friendly characteristics compared to solid wood. Meanwhile, the application of HPL finishing adds value by providing resistance to scratches, heat, and humidity, as well as allowing the exploration of various modern and elegant patterns and colors. The design process was carried out by considering ergonomic principles, space efficiency, and harmony with the tropical architectural character of Saba Village.The results indicate that the use of plywood with HPL finishing produces furniture that is not only functional and aesthetically appealing but also competitive in terms of production costs. This innovation has the potential to strengthen the competitiveness of the local creative industry, encourage collaboration between artisans and property developers, and contribute to economic growth based on design and tourism in Saba Village
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