cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Les Pingon
Contact Email
lespingon21@upi.edu
Phone
+6282144647693
Journal Mail Official
hendriklempeh@gmail.com
Editorial Address
Jl. Udayana No.11, Banjar Tegal, Singaraja, Kabupaten Buleleng, Bali 81116
Location
Kota denpasar,
Bali
INDONESIA
Jurnal Pendidikan Seni Rupa
Published by Universitas Pendidikan Ganesha
ISSN : -     EISSN : 26139596     DOI : http://dx.doi.org/10.23887/jjpsp.v11i2.39468
Core Subject : Education, Art,
Arts Education
Jurnal Pendidikan Seni Rupa Undiksha is a scientific journal published by Jurusan Pendidikan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Pendidikan Ganesha. This journal aims to accommodate articles of research results and the results of community service in the field of education and learning about education.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 9 Documents
 1 
Search results for , issue "Vol. 12 No. 3 (2022)" : 9 Documents clear
ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA Made Satya Hariwarman; I Gusti Ngurah Sura Ardana; Luh Suartini
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52685

Abstract

This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
PERWUJUDAN SENI PRASI PALELINTANGAN I Putu Yoga Satyadhi Mahardika; I Wayan Sudiarta; I Gusti Made Budiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52686

Abstract

Prasi is an illustration made on palm leafs from antiquity to the present day. This study aims to (1) describe the explanation regarding the stages of treatment of the material, namely palm leafs in the process of making palelintangan prasi, (2) describe the visual elements that make up palelintangan prasi, (3). Describing the form of presentation of the work of palelintangan prasi. The subject in this research is prasi while the object in this research is palelintangan. This research is a qualitative descriptive study. The data collection in this study used the techniques of (1) observation, (2) interviews, (3) discussions, (4) documentation, (5) literature. The results of this study show (1) The form of treatment of rontal leafs as raw materials for making prasi art works is carried out starting from the design design stage, preparing tools and materials such as rontal leafs that are ready to use, teak plywood, rontal leafs attached to the plywood using glue until at the stage of cutting the rontal leafs, sanding, and until the rontal leafs are ready to be incised, (2). Potential visual elements are manifested as meaningful iconography into prasi, (3) Palelintangan prasi is presented using mica glass instead of cute like the presentation of two-dimensional works in general such as drawings or paintings so that they are easily appreciated by art connoisseurs. Keywords: Prasi, Palelintangan, Ront
PEMBUATAN DEKORASI RUMAH PENGANTIN DI DWIKA DEKORASI DESA SELAT, BULELENG, BALI Putu Yudik Suarmawan; Gede Eka Harsanan Koriawan; I Nyoman Rediasa
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52687

Abstract

This article contains part of the thesis entitled "Making Bridal Home Decorations in Dwika Decorating Selat Village, Buleleng Bali" qualitative research with the objectives: (1) To describe the existence of bridal house decorations in Dwika Decorating Selat Village, Buleleng, Bali. (2) To find out the materials and tools used in making decorations at the gate of the bride's house (3) To understand and know the process of making decorations for the gate of the bridal house and (4) To find out the designs and motifs used in decorating the gates of the bridal house in Dwika Decorating Selat Village, Buleleng, Bali. The data was obtained through the stages of observation and interviews with the business owner of Deika Decor then the data was processed using the Sparadley model (1980) by analyzing the domain and taxonomy. , Bali . (2) the materials used are teak wood, coconut leaves (young, old, and dry), rope (bamboo rope, macrame rope), paint, wire, and nails, while for scissors, saws, knives (large and small) , pliers, tape measure, hammer, kacip (shooter blade and ordinary kacip), and brush. (3) Making decorations for the gate of the bride's house, namely the ordering process, making the frame, making hisan, and installing it. (4) designs and decorations are of two types, namely traditional and modern designs. Keywords: Decoration, Bridal House, Straits Village.
KAJIAN PROSES DAN NILAI ESTETIK BATIK TULIS DI RUMAH “BATIK RATO WMS (WIRAUSAHAWAN MUDA SUMENEP)” KABUPATEN SUMENEP Yulia Nurul Fatih; Agus Sudarmawan; I Gusti Ngurah Sura Ardana
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52688

Abstract

The research that carried out in “Batik Rato WMS” house at sub-regency Sumenep is aimed to Describing aesthetic value in _Batik Tulis_ from “Batik Rato WMS” house. Batik Rato WMS is the batik from Sumenep, Madura-East Java. The subjects of this research are people who are resource persons and Batik Rato WMS craftsmen Jl. Dr. Soetomo, Lingkungan Delama, Pajagalan, Kota Sumenep, Kabupaten Sumenep, Jawa Timur 69416. This research was conducting by using a qualitative type with a descriptive approach. The research focused on the motifs and colors of Sumenep batik. The data in this study were obtained by observation, interviews, and documentation. The following research finding are, as follows: The process of batik making are preparation and process of making. The motifs and colors of Batik Rato WMS through Monroe Beardsley’s aesthetic approach have the value of three aesthetic elements, such as integrity, complexity and sincerity. (1) Unity is found in visual elements that are distilled based on the main motif, combined with guri’, as well as elements of local culture in Sumenep such as the winged horse, Keris Keraton, Kerapan Sape, Blarak and flowers with contrasting and bright colors. (2) The complexity shown in the number of ornaments in each sheet of cloth, which is arranged very finely and repeatedly in expressive way. The variations of the supporting ornaments are quite complicated, this is due to the effort to display the keris element on each sheet of batik cloth which is located on the sleeve as a characteristic of this batik. Batik Rato WMS coloring required time and accuracy in the coloring process with varied motifs and ornaments. (3) The element of earnestness in the motifs and colors found in the shape character of the distinctive motif so that it describes locality of the area and the large motif by considering the quality of the various properties that exist in the value/philosophy, which defined as tenacity, patience and perseverance. Keywords: Aesthetic value, motif, color, Batik Rato WMS
TAMAN PATUNG TERAKOTA PENARI GANDRUNG DI BANYUWANGI JAWA TIMUR Yordan Putra Bintoro; I Ketut Sudita; I Gusti Ngurah Sura Ardana
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52689

Abstract

This research of the terracotta gandrung dancer statue in Banyuwangi, East Java is “rawat ruwat” site in the cultural tradition of the Banyuwangi community to describe (1) the history of terracotta gandrung dancer statue garden in Banyuwangi East Java, (2) the Value, Symbol as well as The meaning of gandrung dancer statue garden in Banyuwangi East Java, (3) the setting of gandrung dancer statue garden in Banyuwangi East Java, (4) Process And Technique of terracotta gandrung dancer statue in Banyuwangi East Java. The type of this study is descriptive qualitative. The object study is the terracotta gandrung dancer statue garden in Banyuwangi, East Java. The method of data collection is used observation, interviews, and documentation. The results of this study is as following: the history of the terracotta gandrung dancer statue is as a care site ruwat on culture Banyuwangi to change era. Symbols and the meaning on terracotta gandrung dancer statue is jejer, ngepren , seblang subuh and also the available makda clothes gandrung that is omprok , kelat bahu, pattern of gajah oling. Setting the garden statue terracotta gandrung dancer forms the latter T, forming circular, vertical or straight. Manufacturing process garden statue terracota gandrung dancer use Technique print or cast in making statue terracotta gandrung dancer and the combustion process. Keywords: garden, terracotta, statue, gandrung
PEMBELAJARAN MEMBATIK DI SMK NEGERI 2 TEGALSARI BANYUWANGI Nabilatul Warda; Luh Suartini; Agus Sudarmawan
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52690

Abstract

This study aims to (1) describe the approach strategy applied by the teacher in learning batik at SMK Negeri 2 Tegalsari (2) describe and determine the learning method applied by the batik learning teacher (3) find out the evaluation strategy of batik learning at SMK Negeri 2 Tegalsari. The results of this study indicate (1) the learning approach used by the teacher at the time of learning to make batik by paying attention to the accuracy of the choice of approach with the condition of the students at SMK Negeri 2 Tegalsari. (2) the learning method applied by the teacher to present learning materials for class XI KKBT batik at SMK Negeri 2 Tegalsari. (3) the evaluation strategy applied to batik learning includes aspects of attitude, knowledge and skills as well as an evaluation strategy through reporting based on the curriculum applied at SMK Negeri 2 Tegalsari. This research is important to be studied as a process of developing learning strategies. The importance of this research is to reveal more about the analysis of batik learning strategies at SMK Negeri 2 Tegalsari. Keywords: Learning, Batik, SMK Negeri 2 Tegalsari.
EKSISTENSI KOMUNITAS SUKABUMI STREET ART DI KOTA SUKABUMI Muhammad Farhan Nugraha; Agus Sudarmawan; I Gusti Ngurah Sura Ardana
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52691

Abstract

This study uses the theory of existence to find out how the ability of the members of the Sukabumi Street Art community can maintain so that there is development, or vice versa, namely experiencing a decline. This research is one of the research that uses descriptive qualitative. The discussion of this type of research is in the form of a descriptive description by describing the data according to what is happening in the field. The subject of this research is the Sukabumi Street Art Community. The data in this study were obtained using source data which was divided into primary data, namely data obtained from sources, and also secondary data, namely data obtained previously by primary sources. Techniques in collecting this data through observation, interviews, documentation, and keputaskaan. The analysis technique for this data uses data analysis from the Miles and Huberman model which consists of data reduction, data presentation, and drawing conclusions. The results of this study on all members of the Sukabumi Street Art Community regarding "The Existence of the Sukabumi Street Art Community in Sukabumi City" have developed everyday. Activities are increasing and even this community is already known and appreciated by the people in Sukabumi City. Keywords: Existence, Sukabumi Street Art Community
THE DEVELOPMENT OF OGOH-OGOH MAKING WITH KINETIC ART’S TECHNOLOGY IN DENPASAR CITY I Gusti Nengah Sura Ardana; I Ketut Sudita
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52692

Abstract

Ogoh-Ogoh is a three-dimensional kind of sculpture made at the time of pengrupukan in Bali, which is very closely related to the celebration of the Nyepi day of the Hindus in Bali as the new year, which comes once a year. In welcoming this celebration, there is something called tawur sange or the pecaruan ceremony, which means purifying the earth, carried out the day before the Nyepi celebration. The purpose of this celebration is to neutralize the forces of power of the negative that often interfere with human life, known as Bhuta Kala. It is what in Somia (neutralize) to be a good force (positive) and become the power of God. During this celebration, ogoh-ogoh are made that resemble the shape of Bhuta Kala or negative power whose shape is made very scary according to the imagination of the artists/young people who make it. The shape and appearance of the ogoh-ogoh today have progressed very rapidly. The development of making ogoh-ogoh today is very rapid and has experienced a very amazing increase, and it is because young people (yuwana) are developing creativity and innovation in making ogoh - ogoh. The innovation made is by incorporating elements of technology, namely Kinetic Art technology, into the manufacture of ogoh-ogoh, so that the ogoh-ogoh seem alive because they move. This research was conducted in Denpasar City with qualitative methods in data collection and has the purpose and benefit of knowing in depth about the development of ogoh-ogoh in the present. Keywords : Development, Ogoh - Ogoh, Kinetik Art
"MY FIRST PAINTING”: ANALYSIS OF EXPRESSIVE IMAGES OF KINDERGARTEN STUDENTS IN BULELENG SUBDISTRICT, BALI" Luh Suartini
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52695

Abstract

This article aims to analyze the first images of kindergarten students in Buleleng district. This article uses interpretive qualitative methods with the theory of art education, especially the development of children's art as formulated by Viktor L. Article comes to the discussion of visual elements and interpretive meanings. The visual element consists of the repetition of shapes, the painting of flat spaces, and the painting of stacked spaces. Interpretively the theme of these children's paintings is my home, and my surroundings. It can be concluded that this article1, the use of lines as the basis of geometry to give the impression of objects. 2, do not yet have space awareness. 3, interpretively the theme of the children's paintings of myself, my home, and my surroundings Keywords, my first painting, kindergarten student, Buleleng.

Page 1 of 1 | Total Record : 9

 1 

Filter by Year

2022 2022


Reset
Filter By Issues
All Issue Vol. 15 No. 2 (2025): Agustus 2025 Vol. 15 No. 1 (2025): April 2025 Vol. 14 No. 3 (2024): Desember 2024 Vol. 14 No. 2 (2024): Agustus 2024 Vol. 14 No. 1 (2024) Vol. 13 No. 3 (2023) Vol. 13 No. 2 (2023) Vol. 13 No. 1 (2023) Vol. 12 No. 3 (2022) Vol. 12 No. 2 (2022) Vol 12, No 1 (2022) Vol. 12 No. 1 (2022) Vol. 11 No. 3 (2021) Vol 11, No 3 (2021) Vol. 11 No. 2 (2021) Vol 11, No 2 (2021) Vol. 11 No. 1 (2021) Vol 11, No 1 (2021) Vol 10, No 3 (2020) Vol. 10 No. 3 (2020) Vol 10, No 2 (2020) Vol. 10 No. 2 (2020) Vol. 10 No. 1 (2020) Vol 10, No 1 (2020) Vol. 9 No. 3 (2019) Vol 9, No 3 (2019) Vol 9, No 2 (2019) Vol. 9 No. 2 (2019) Vol 9, No 1 (2019) Vol. 9 No. 1 (2019) Vol 8, No 3 (2018) Vol. 8 No. 3 (2018) Vol 8, No 2 (2018) Vol. 8 No. 2 (2018) Vol 8, No 1 (2018) Vol. 8 No. 1 (2018) Vol. 7 No. 3 (2017) Vol 7, No 3 (2017) Vol 7, No 2 (2017) Vol. 7 No. 2 (2017) Vol. 7 No. 1 (2017) Vol 7, No 1 (2017): Vol. 6 No. 3 (2016) Vol 6, No 3 (2016) Vol. 6 No. 2 (2016) Vol 6, No 2 (2016) Vol 6, No 1 (2016) Vol. 6 No. 1 (2016) Vol 5, No 1 (2015) Vol. 5 No. 1 (2015) Vol. 4 No. 1 (2014) Vol 4, No 1 (2014) Vol 1, No 1 (2012): sigarmangsi vol 1, no.1 sept 2012 Vol. 1 No. 1 (2012): sigarmangsi vol 1, no.1 sept 2012 More Issue