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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 536 Documents
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KAJIAN ESTETIKA FOTOGRAFI DJAJA TJANDRA KIRANA ., Zahrawani; ., Drs.Hardiman, M.Si.; ., I Gusti Made Budiarta, S.Pd., M.Pd
Jurnal Pendidikan Seni Rupa Undiksha Vol 7, No 1 (2017):
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (845.611 KB) | DOI: 10.23887/jjpsp.v7i1.11355

Abstract

Penelitian ini bertujuan (1) untuk mendeskripsikan jenis-jenis fotografi Djaja Tjandra Kirana. (2) untuk mendeskripsikan nilai estetika dalam karya fotografi Djaja Tjandra Kirana. Penelitian ini merupakan penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah teknik dokumentasi, kepustakaan dan triangulasi. Hasil penelitian menunjukkan bahwa: (1) Jenis-jenis fotografi Djaja Tjandra Kirana yang terdapat dalam buku “Jiwa Cahaya” adalah: fotografi kehidupan manusia (human interest), fotografi jurnalistik (photojournalism), fotografi pemandangan (landscape photography), fotografi model (photography modelling), fotografi jalanan (street photography), dan fotografi potret (portrait photography) dan (2) Nilai estetika fotografi Djaja Tjandra Kirana yang terdapat dalam buku “Jiwa Cahaya” adalah: unsur-unsur rupa (unsur desain) dibagi menjadi enam unsur yaitu, garis, shape (bangun), tekstur, warna, intensity/chroma, ruang dan waktu. Dasar-dasar penyusunan (prinsip desain) dibagi menjadi empat unsur yaitu, paduan harmoni, paduan kontras, paduan irama, dan paduan gradasi dan hukum penyusunan (azas desain) dibagi menjadi empat unsur yaitu, asas kesatuan, keseimbangan, simplicity (kesederhanaan), emphasis (aksentuasi), dan proporsi. Kata Kunci : Estetika, Fotografi, Djaja Tjandra Kirana. This study aimed (1) to describe the types of Djaja Tjandra Kirana’s photography and (2) to describe the aesthetic values conveyed in Djaja Tjandra Kirana’s photographical work. This was a descriptive qualitative study. The data were collected with documentation, library research, and triangulation techniques. The result showed that (1) the types of Djaja Tjandra Kirana’s photography found in the book “Jiwa Cahaya” were: the photography of human interest, photojournalism, landscape photography, photography modelling, street photography, and portrait photography. The result also showed that (2) the aesthetical values conveyed in Djaja Tjandra Kirana’s photography found in the book “Jiwa Cahaya” were: the design element, which was divided into six elements, namely line, shape, texture, color, intensity/chroma, space and time, and also the design principle, which was divided into four composite elements, namely the composite of harmony, contrast, rhythm, and gradation. Another value found was also the design basis, which was divided into four principles, namely the principle of unity, balance, simplicity, emphasis, and proportion.keyword : Aesthetic, Photography, Djaja Tjandra Kirana
PRODUK CASING FLASH DISK BERBAHAN TULANG DAN RESIN DI HOME INDUSTRI BALI POENYA KEDIRI, TABANAN, BALI ., Gede Agus Wahyu Setia Yasa; ., Drs. I Gusti Ngurah Sura Ardana,M.Sn.; ., Ketut Nala Hari Wardana, S.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (413.706 KB) | DOI: 10.23887/jjpsp.v4i1.2148

Abstract

Seni kerajinan saat ini telah berkembang pesat. Dapat dilihat dari produk seni kerajinan di “Bali Poenya” home industri yang mengkombinasikan antara kerajinan ukiran tulang dan resin sebagai bahan casing flash disk. Artikel ini mengulas tentang jenis produk, motif, alat dan bahan serta proses pembuatan produk seni kerajinan di “Bali Poenya” home industri. Artikel ini bertujuan untuk memberi informasi tentang jenis produk, motif, alat dan bahan serta proses pembuatan produk seni kerajinan di “Bali Poenya” home industri. Artikel ini merupakan penelitian deskriptif kualitatif dengan metode observasi, wawancara, dokumentasi, dan kepustakaan. Hasil temuan peneliti meliputi jenis kerajinan, motif-motif pada produk seni kerajinan serta proses pembuatan produk yang terdiri dari proses ukir tulang dan mencetak resin, alat yang digunakan pada proses pembuatan produk seni kerajinan meliputi feredom, gerinda, amplas, mesin pemotong, kuas, stick es krim, wadah plastic, dan cuter. Bahan utama pembuatannya meliputi, tulang kerbau, sillicone rubber, hardener, resin dan catalys.Kata Kunci : alat, bahan, flash disk, motif, proses. Nowadays, art craft has grown rapidly. It can be seen from art craft products in the “Bali Poenya” home industry which combine between bone carving and resin as the material of casing flash disk. This article reviewed the types of products, motives, tools and materials as well as the process of making art craft products in the "Bali Poenya" home industry. This article aims to provide information about the types of products, motives, tools and materials as well as the process of making art craft products in the "Bali Poenya" home industry. This article is a qualitative descriptive study with the method of observation, interview, documentation, and literature. The findings of the researcher include the type of craft, the motives in art craft products as well as the process of making a product which consist of a bone carving process and print resin, the tools used in the process of making art craft products include feredom, gerinda, amplas, cutting machine, brush, sticks ice cream, plastic containers, and cutter. The main material of manufacture include, buffalo bone, sillicone rubber, hardener, resin and catalys.keyword : tool, material, flash disk, motive, process.
PROSES PENGAJARAN GLASS CARVING DI SMK N 1 SUKASADA ., Made Wijana; ., Drs.Agus Sudarmawan, M.Si.; ., I Gusti Made Budiarta, S.Pd., M.Pd.
Jurnal Pendidikan Seni Rupa Undiksha Vol 8, No 3 (2018)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (352.229 KB) | DOI: 10.23887/jjpsp.v8i3.13388

Abstract

Penelitian ini bertujuan untuk (1) mengetahui bagaimana perencanaan pengajaran Glass Carving di SMK Negeri 1 Sukasada (2) mengetahui bagaimana proses pengajaran Glass Carving di SMK Negeri 1 Sukasada, (3) Apa saja jenis dan motif Galss Carving karya siswa SMK Negeri 1 Sukasada. Dalam penelitian ini, dapat dikumpulkan dengan menggunakan metode penelitian jenis deskriptif dengan pendekatan kualitatif dengan tahap- tahap; (1) Rancangan penelitian,(2) jenis penelitian,(3) lokasi penelitian,(4) Subjek Penelitian, (5) Instrumen Penelitian meliputi observasi, wawancara, dokumnetasi dan kepustakaan, (6) Pengumpulan Data yaitu: teknik observasi, teknik wawancara, teknik dokumentasi dan teknik kepustakaan,(7) Metode Analisis Data meliputi analisis domain, analisis taksonomi, (8) Menyusun Hasil Penelitian. Penelitian ini menghasilkan temuan, yakni : (1) mengetahui perencanaan pengajaran Glass Carving di SMK Negeri 1 Sukasada, yaitu administrasi mengajar yang paling utama yaitu silabus, rencana pelaksanaan pembelajaran (RPP), absensi siswa, media pembelajaran, sumber belajar baik berupa buku yang terkait dengan materi ajar Glass Carving, internet, dan jurnal, serta format penilaian siswa dalam menilai hasil kerja siswa dalam proses pembelajaran. (2) mengetahui proses pengajaran Glass Carving di SMK Negeri 1 Sukasada, yaitu Dalam proses pengajaran Glass Carving di SMK Negeri 1 Sukasada dapat dibagi menjadi tiga tahapan yaitu tahap kegiatan awal dalam pembelajaran yang kegiatannya meliputi : meliputi pelaksanaan apersepsi, motivasi, penyampaian tujuan pembelajaran. Kegiatan inti pembelajaran terdiri atas Proses Pembuatan Glass Carving dan Sand Blasting meliputi : Pengenalan Alat dan Bahan serta fungsinya; proses pembuatan Glass Carving dan Sand Blasting; tahap pinising/pewarnaan. Kegiatan terakhir dalam proses pengajaran ialah tahap penutupan pembelajaran .(3) mengetahui apa saja jenis dan motif Galss Carving karya siswa SMK Negeri 1 Sukasada adalah motif yang dipilih ialah motif flora yang kebanyakan merupakan bunga-bunga seperti bunga angrek, mawar, kamboja, dan bunga-bunga lain yang dianggap memiliki nilai keindahan. Kata Kunci : Pengajaran, Glass Carving, Sand Blasting. This study aims to (1) know how the planning of Glass Carving teaching at SMK Negeri 1 Sukasada (2) know how the teaching process of Glass Carving in SMK Negeri 1 Sukasada, (3) What are the types and motives of Galss Carving by students of SMK Negeri 1 Sukasada. In this study, it can be collected using descriptive research method with qualitative approach with stages; (1) Research design, (2) research type, (3) research location, (4) Research subject, (5) Research Instrument include observation, interview, documentation and bibliography, (6) Data collection that is: observation technique, , documentation techniques and literature techniques, (7) Data Analysis Methods include domain analysis, taxonomic analysis, (8) Prepare Research Results. This research resulted the findings: (1) knowing Glass Carving teaching planning at SMK Negeri 1 Sukasada, that is the most important teaching administration syllabus, learning implementation plan (RPP), student attendance, learning media, learning resource either in the form of related book with Glass Carving teaching materials, the internet, and journals, as well as student assessment formats in assessing student work in the learning process. (2) to know the teaching process of Glass Carving at SMK Negeri 1 Sukasada, that is In the process of teaching Glass Carving at SMK Negeri 1 Sukasada can be divided into three stages: the first activity phase in learning activities covering the implementation of apperception, motivation, delivery of learning objectives. The core learning activities consist of the Glass Carving and Sand Blasting Processes include: Introduction to Tools and Materials and their functions; the process of making Glass Carving and Sand Blasting; stage pinising / staining. The last activity in the teaching process is the closing stages of learning (3) knowing what kind of Galss Carving motifs and works by students of SMK Negeri 1 Sukasada is the motive chosen is the floral motif mostly of flowers like angrek, rose, frangipani and flower - other flowers that are considered to have a beauty value.keyword : Teaching, Glass Carving, Sand Blasting.
TINJAUAN VISUAL KARAKTER TOPENG BONDRES PADA KELOMPOK BONDRES RARE KUAL, BULELENG ., I Kadek Bayu s; ., I Wayan Sudiarta, S.Pd,M.Si.; ., Langen Bronto Sutrisno, S.Sn., M.A
Jurnal Pendidikan Seni Rupa Undiksha Vol 6, No 3 (2016)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (146.894 KB) | DOI: 10.23887/jjpsp.v6i3.6451

Abstract

abtrak Penelitian ini bertujuan nuntuk meninjau karakter topeng yang terkandung pada masing-masing topeng bondres pada kelompok Bondres Rare Kual Buleleng. Bondres Rare Kual Buleleng tepatnya berasal dari Desa Sangsit, Banjar Beji no.70 Buleleng. Kelompok Bondres RareKual berdirisekitartahun 2005. Data analisis Penelitian ini menggunakan tehnik deskritif dengan pendekatan kualitatif. Hasil penelitian menunjukkan bahwa topeng 1)Ngurah Joni Gitorolis topengnya memiliki gigi tonjos kedepan, terdapat tai lalat yang besar di pipi sebelah kiri dan kumis. Warna topeng coklat kemerahan menunjukan kesan pemarah, cekatan, cepat, spontan,dan berani, 2)Topeng Bojes Rosa memiliki kerutan di dahi, susunan gigi yang tidak beraturan, memiliki warna coklat muda dapat juga di artikan sebagai warna tanah menujukan keluguan, bodoh dan mudah diperdaya. 3)Ayu Cintia Bela dikenal dengan sosok perempuan yang centil, manja dengan pakaian yang seksi seperti cinderela dengan dahi yang menonjol kedepan seperti ikan lohan, memiliki warna coklat muda menunjukan kepolosan, lugu,centil, nakal, genit, bodoh, 4)Topeng Slolly memiliki kumis di bagian pinggir saja seperti kumis lele, serta alis tipis yang melengkung di apit guratan wajah terasuk topeng penasar. Sloly memiliki warna coklat muda menunjukan pribadi yang lesu, letih, malas dan gagap.Jenis pakaian yang dimiliki bondres Rare Kual saat ini ada empat, diantaranya adalah pakaian bondres lengkap, pakaian adat Madya, pakaian gaul, dan pakaian sesuai karakter. Setiap kustum di racang sendiri oleh anggota bondres Rare Kual sendiri. Kata Kunci : Kata kunci: topeng, karakter,busana. Abstract The objectives of this study is to review the contain of characters Bondres’s mask on Bondres Rare Kual group in Buleleng. The Rare Bondres Kual Buleleng come from Sangsit Village, Banjar Beji number 70, Buleleng. The Bondres Rare Kual group established since 2005. The analyzes of data use descriptive technique with the qualitative approach. The result of this study shows that: (1) the mask of Ngurah Joni Gitorolis has crook teeth and a moles in his left cheek and mustache. The reddish brown indicate a impression of grumpy, quickly, spontaneous, sufficiency, and daring. (2) the mask of Bojes Rosa has wrinkles on his forehead, the irregular teeth, and has a light brown. It indicates of innocence, ignorant, and easly tricked. (3) Ayu Cintia Bela as known as a female figures has coquettish, spoiled and sexy outfit like a cinderella with proutroding forehead looks like lohan fish. The mask of Bojes Rosa also has a light brown that indicate innocence, unadorned, sassy, naughty, flirty and silly. (4) The mask of Slolly has a mustache at the edge like catfish whiskers, thin eyebrows, and flanked wrinkles face include penasar mask. The mask of Slolly has a light brown that indicate sluggish, lazy, and stutter. There are four costumes which have Bondres Rare Kual group, include the complete of Bondres clothes, the Madya costume clothes, the hanging clothes, and the appropriate character clothes. The all of costumes designed by members of Bondres Rare Kual. keyword : Key terms: mask, character, costume
KARAKTERISTIK KARYA FINGER PAINTING ANAK-ANAK DI TAMAN KANAK-KANAK AISYIYAH BUSTANUL ATHFAL SINGARAJA ., Muhammad Rafiki; ., I Gusti Made Budiarta, S.Pd., M.Pd.; ., Dra. Luh Suartini, M.Pd.
Jurnal Pendidikan Seni Rupa Undiksha Vol 9, No 1 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (649.36 KB) | DOI: 10.23887/jjpsp.v9i1.18775

Abstract

Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, (3) teknik kuesioner/angket, (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain, (2) analisis taksonomi, (3) dan analisis tema. Hasil penelitian menunjukkan bahwa (1) alat dan bahan yang digunakan dalam kegiatan finger painting ini adalah panci, gelas, sendok, centong, kompor gas, mangkok besar, mangkok kecil, cat/media warna finger painting, kertas gambar, tepung kanji, tepung terigu, pewarna makanan, air dan minyak goreng. 2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja dimulai dari mempersiapkan media dan perlengkapan pembelajaran, mengenalkan media dan mendemostrasikannya, mengarahkan dan membimbing, setelah selesai kegiatan anak bercerita dan guru mengapresiasi serta mengevaluasi hasil kerja anak-anak, akhir kegiatan guru melakukan penilaian dengan menggunakan portofolio. 3) Hasil karya finger painting kelompok B TK Aisyiyah Bustanul Athfal Singaraja memiliki subject matter dan visual yang beraneka ragam, penelitian ini dikelompokkan berdasarkan pada karakteristik karya yang dihasilkan oleh anak-anak, dan diperoleh hasil sebagian besar karya anak cenderung mengacu pada tipe haptic dan tipe naturalistik, serta bentuk visual yang sering muncul yaitu bentuk rumah, bunga dan orang.Kata Kunci : finger painting, karakteristik, subject matter This study aims to describe (1) tools and materials used in finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (2) the process of finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter of children's drawings produced in activities finger painting at TK Aisyiyah Bustanul Athfal Singaraja. The target of this study was children of group B TK Aisyiyah Bustanul Athfal Singaraja which consisted of 5 classes in group B. This study was a qualitative descriptive study. Data collection in this study was carried out by techniques (1) observation, (2) interviews, (3) questionnaire / questionnaire techniques, (4) and literature. The collected data is then analyzed by (1) domain analysis, (2) taxonomic analysis, (3) and theme analysis. The results showed that (1) the tools and materials used in finger painting activities were pans, cups, spoons, centongs, gas stoves, large bowls, small bowls, paints / color media finger painting, drawing paper, starch, flour food coloring, water and cooking oil. 2) the process of finger painting activities in TK Aisyiyah Bustanul Athfal Singaraja starts from preparing the media and learning equipment, introducing the media and demonstrating it, directing and guiding, after the completion of the activities the children talk and the teacher appreciates and evaluates the work of the children, the end of the teacher's assessment by using a portfolio. 3) The results of group B's finger painting work TK Aisyiyah Bustanul Athfal Singaraja have a variety of subject matter and visual, this research is grouped based on the characteristics of the work produced by children, and the results of most children's work tend to refer to haptic and type types naturalistic, and visual forms that often appear, namely the shape of the house, flowers and people.keyword : finger painting, characteristics, subject matter
PROSES KREATIF KARTUNIS JANGO PRAMARTHA ., I Gede Panca Gautama; ., Drs. I Gusti Nyoman Widnyana; ., Ni Nyoman Sri Witari, S.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1006.018 KB) | DOI: 10.23887/jjpsp.v4i1.4296

Abstract

Penelitian ini bertujuan untuk mengetahui: (1) catatan perjalanan kartunis Jango Pramartha; (2) proses kreatif dari kartunis Jango Pramartha; (3) wujud karya dari kartunis Jango Pramartha. Subjek dalam penelitian ini adalah kartunis Jango Pramartha. Metode pengumpulan data yang digunakan dalam penelitian ini adalah metode dokumentasi, wawancara dan kepustakaan. Data dianalisis dengan menggunakan teknik deskriptif kualitatif. Hasil penelitian menunjukkan bahwa: (1) perjalanan kartunis Jango Pramartha dipengaruhi oleh orang tuanya yang beraktivitas di bidang bisnis seni rupa dan menyukai gambar ilustrasi Si Jon (Suryono) di majalah GADIS. Jango pernah menggambar kartun strip di koran Bali Post dan sekarang menjadi kartunis di koran Nusa Bali. Pernah melakukan kegiatan pameran kartun bersama kelompoknya dan pameran tunggal skala nasional maupun internasional. (2) Proses kreatif Jango Pramartha dalam berkarya kartun mengutamakan tiga hal yakni intelektual, olah rupa dan humor. Kartun yang digambar Jango berisi muatan satire. (3) Wujud karya kartunis Jango Pramartha adalah kartun strip, kartun editorial dan kartun lepas. Kata Kunci : proses kreatif, kartunis, Jango Pramartha This study aimed to determine: (1) track record cartoonist Jango Pramartha; (2) creative process of cartoonist Jango Pramartha; (3) the nature of the work of cartoonist Jango Pramartha. The subject of this study was the cartoonist Jango Pramartha. Method of data collection used in this study was a method of documentation, interviews and literature. The analyzed data was by using descriptive qualitative techniques. The results showed that: (1) trip cartoonist Jango Pramartha influenced by his parents who move in the field of fine arts business and liked the illustrations Si Jon (Suryono) in GADIS magazine. Jango ever drew a cartoon strip in the Bali Post newspaper and now a newspaper cartoonist in Nusa Bali. Jango ever done a cartoon exhibition with his group and solo exhibition nationally and internationally. (2) The creative process of working in a cartoon Jango Pramartha prioritizes three things; intellectual, form manner and humor. Cartoon drawn by jango contain the content of satire. (3) The form of the work of cartoonist Jango Pramartha are cartoon strips, editorial cartoons and cartoon off keyword : creative process, cartoonist, Jango Pramartha
MAKET KARYA GEDE KRESNA DI BENGKALA, KUBUTAMBAHAN, BULELENG, BALI ., I Putu Suhartawan; ., I Wayan Sudiarta, S.Pd,M.Si.; ., Drs. I Gusti Ngurah Sura Ardana,M.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 5, No 1 (2015)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (288.43 KB) | DOI: 10.23887/jjpsp.v5i1.4729

Abstract

Penelitian ini bertujuan untuk mengetahui: (1) munculnya ide pembuatan maket; (2) alat dan bahan yang digunakan membuat maket; (3) proses pembuatan maket; (4) nilai estetis maket karya Gede Kresna di Bengkala, Kubutambahan, Buleleng, Bali. Penelitian ini merupakan penelitian deskriptif dengan pendekatan kualitatif. Subjek penelitian ini adalah Gede Kresna dan objek penelitian ini adalah maket karya Gede Kresna. Metode yang digunakan untuk pengumpulan data dalam penelitian ini adalah dokumentasi, wawancara dan kepustakaan. Analisis data yang digunakan adalah analisis domain dan taksonomi. Hasil penelitian menunjukkan bahwa: (1) Ide awal pembuatan maket timbul karena ingin mempermudah presentasi karya di depan klien, selain itu ide membuat maket muncul saat Gede Kresna membutuhkan media pembelajaran untuk menemukan gubahan ruang dan sambungan baru, idenya juga muncul saat Gede Kresna melihat material kayu bekas yang tidak dimanfaatkan dengan baik. (2) Alat dan bahan maket : gergaji kecil, lingkaran tangan dan jigsaw, bor, pahat, palu, spidol, pulpen, penggaris siku, meteran gulung, mortising machine, cutter, amplas mesin dan lembaran, alat serut. Bahan yaitu kayu jati bekas, lem G dan epoxy (3) Proses pembuatan maket karya Gede Kresna dimulai dengan proses persiapan : membuat sketsa, pemilihan bahan, memotong bahan; proses perakitan : membuat konstruksi dasar dan dudukan maket, merakit sambungan konstruksi, membuat ruangan; membuat kap atau atap; membuat bagian kecil atau aksesoris maket; menempelkan aksesoris maket dan menggabungkan semua bagian maket; finishing (4) Nilai estetis maket Gede Kresna terlihat saat maket yang diciptakan fungsinya berjalan dengan baik dan benar, selain itu berhasilnya Gede Kresna mensintesa langgam rumah tradisional menjadi bentuk bangunan baru dengan pemikiran modern yang diorientasikan untuk kebutuhan masa kini sehingga memiliki nilai estetis, eksotis dan multifungsi.Kata Kunci : Ide kreatif, maket, nilai estetis This research is intended to determine: (1) the emergence of the idea of making mockups; (2) the tools and the materials for making mockups; (3) the process of macking mockups; (4) the aesthetic value of mockups made by Gede Kresna in Bengkala, Kubutambahan, Buleleng, Bali. This research is a kind of descriptive research by using qualitative approachment. The subject was Gede Kresna and the objects of this research were the mockups made by Gede Kresna. The methods on data collection in this research were documentations, interviews, and literature. The data analysis was domain analysis and taxonomy. As the result, this research has shown that: (1) the initial idea of making mockups arise because he want to simplify the presentation in front of the clients, in addition to the idea of making mockups appeared when Gede Kresna requires a kind of learning media to discover the spin of space and new connections, ideas emerged as Gede Kresna was looking at a used-wood that was not utilized properly. (2) Tools and materials of mockups: small saws, circular hand and jigsaw, drill, chisel, hammer, marker, pen, ruler, meter roll, mortising machine, cutter, sanding machine and sandpaper, and planer. The materials are used-teak, glue, and epoxy. (3) The process of making mockups of Gede Kresna begins with preparation process: sketching, choosing the materials, cutting the materials; assembly process: making basic construction and mockups holder, assembling the construction connections, making the room, making the roof; making the small parts or accessories of the mockups; attaching the accessories and combine all parts of mockups; finishing. (4) The aesthetic value of the mockups made by Gede Kresna can be shown when the mockups function could run properly, in addition to the success of Gede Kresna on synthesizing the style of traditional house into a new building forms with modern ideas which oriented to the present neccesities, so then it is having an aesthetic value, exoticism, and multifunctional.keyword : creative ideas, mockups, aesthetic value
KERAJINAN MINIATUR BARONG KET(KEKET) DI BANJAR PUAYA, DESA BATUAN, KECAMATAN SUKAWATI, KABUPATEN GIANYAR ., Made Sudiksa; ., Drs.Agus Sudarmawan, M.Si.; ., Drs.Mursal
Jurnal Pendidikan Seni Rupa Undiksha Vol 6, No 3 (2016)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (671.595 KB) | DOI: 10.23887/jjpsp.v6i3.6580

Abstract

Penelitian ini bertujuan untuk mengetahui alat dan bahan, proses pembuatan,bentuk dan hiasan/ornamen kerajinan miniatur barong ket dan sistem pewarisan Usaha I Wayan Pica di Banjar Puaya, Desa Batuan Sukawati, Gianyar. Jenis penelitian menggunakan penelitian deskriptif kualitatif. Subjek penelitian adalah I Wayan Pica, Objek penelitian adalah kerajinan miniatur barong ket. Pengumpulan data menggunakan metode observasi, wawancara, dokumentasi, dan kepustakaan, kemudian di analisis menggunakan analisis domain dan analisis taksonomi. Hasil penelitian menunjukkan alat dan bahan yang digunakan sangat beragam dan menjadi salah satu pendukung terciptanya produk kerajinan miniatur barong ket. Proses pembuatan kerajinan miniatur barong ket melalui tahapan pembuatan tapel, pembuatan hiasan/ornamen, pembuatan pemampang, pembuatan kerangka ikut/ekor dan perakitan. Bentuk miniatur barong ket merupakan salinan model yang lebih kecil dari ukuran barong ket sebenarnya. Ornamen/hiasan yang terdapat berupa: badong, sekar taji, kampid dara, kuer, dore, tatak guak, angkeb jit, angkeb kapit dara, gelat, udeng, guak ikut, karang guak, kekendoan, karang gajah, ikut/ekor, bunga dan pajeng. Sistem pewarisan usaha kerajinan I Wayan Pica merupakan usaha turun-temurun dari orang tuanya. Dalam proses pembelajaran, keterampilan mengukir didapatkan dari ayahnya, dalam mengembangkan usahanya ia belajar dari orang-orang dilingkunganya. Kata Kunci : Kerajinan, Miniatur, Barong Ket The aim of this research is to identifity tools and material, the prosesses to make it, and also it’s ornament of barong ket miniature, and interesting system of I Wayan Pica in Banjar Puaya, Batuan Sukawati village, Gianyar of enterpreneur, the kind of research is qualitative descriptive research. The object of this research is I Wayan Pica, meanwhile. The object of this research is barong ket miniature. Data were collected by observation, interview, documentation, literature, adn followed by domain and taxonomy analysis. The results of this research were stewed all sort of the tools and materials that med and it become one support of barong ket miniature as a handicraft. The process of making barong ket miniature, through several prosesses, there were making tapel, making ornament, making pemampang, making frame, and assembling. The form of barong ket miniature was the copy of real barong ket in the small size. The ornament used were badong, sekar taji, kapid dara, kuer, dore, tatak guak, angkeb jit, angkeb kapit dara, gelat, udeng, guak ikut, karang guak, kekendoan, karang gajah, ikut, sekar and pajeng. Interity system of I Wayan Pica handicraft was from a long time ago as inhantance from his parents. In the learning process the measuring skill, was came up from his father while developing the industry, he also learned from the others. keyword : handicraft, miniature, barong ket
PEWARNA ALAMI KAIN TENUN DESA SERAYA TIMUR, KARANGASEM ., I Kadek Susila Priangga; ., Drs.Agus Sudarmawan, M.Si.; ., Drs. I Gusti Ngurah Sura Ardana,M.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 6, No 1 (2016)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (896.111 KB) | DOI: 10.23887/jjpsp.v6i1.8592

Abstract

Desa Seraya Timur terletak di ujung timur pulau Bali, berlokasi di ujung timur Kecamatan Karangasem, Kabupaten Karangasem. Sampai sekarang penggunaan bahan alami sebagai pewarna benang kain tenun dan pembudidayaan tanaman penghasil warna membuat peneliti tertarik untuk meneliti lebih lanjut. Penelitian ini adalah penelitian deskriptif kualitatif yang bertujuan untuk mengetahui tentang (1) alat dan bahan yang digunakan untuk pewarna alami kain tenun Desa Seraya Timur, Karangasem, (2) Proses pewarnaan kain tenun Desa Seraya Timur, Karangasem. Objek penelitian adalah pewarna alami kain tenun Desa Seraya Timur, Karangasem. Teknik pengumpulan data yang digunakan adalah teknik (1) observasi, (2) wawancara, dan (3) pendokumentasian dan (4) kepustakaan, untuk mendapatkan data yang diperlukan. Hasil penelitian menunjukan bahwa (1)Alat dan bahan yang digunakan dalam proses pembuatan warna alami menggunakan alat sederhana yang masih tradisional dan bahan utama penghasil warna alami berasal dari tumbuhan tarum, pinang, mengkudu, delima, sidawayah dan secang dan juga menggunakan bahan lain seperti karat (2) Proses pembuatan pewarna alami kain tenun Desa Seraya Timur, Karangasem menggunakan dua cara yaitu melalui proses ekstraksi dan fermentasi.Kata Kunci : kain tenun, pewarna alami. East Seraya Village located at the eastern most of Bali island, at the eastern most of Karangasem District, Karangasem Regency. Until now, the using of natural materials for coloring the woven cloth and the cultivating of natural color materials plants makes researcher intersted for studying if futher. This research is a qualitative descriptive which aims for (1) the tools and materials used to coloring the woven cloth East Seraya Village, Karangasem Regency, (2) The process of coloring the woven cloth in East Seraya Village, Karangasem Regency.Object of this research is the natural material color of woven cloth in East Seraya Village, Karangasem Regency. The technique used in this research is (1) observation, (2) interviews, and (3) documentation and (4) literature, to obtain the necessary datas. The results of this research is (1) the tools and materials used in process of making a natural color materials are still simple and traditional. And the main natural color are produced from tarum plant (indigofera tinctoria), palm, noni, pomegrade, sidawayah (woodfordia floribunda salibs), secang (caelapinia sappan), and also use other natural color such as iron stain. (2) the process of natural color making for coloring the woven cloth in East Seraya Village, Karangasem Regency, used two technique such as , extraction process and fermentation process.keyword : woven cloth, natural color.
GENDANG BELEQ DI DESA BELANTING KECAMATAN SAMBELIA KABUPATEN LOMBOK TIMUR (KAJIAN SENIRUPA) ., S. Gan. Tatang Sukandar; ., I Wayan Sudiarta, S.Pd,M.Si.; ., Drs. Gede Eka Harsana Koriawan, M.Erg
Jurnal Pendidikan Seni Rupa Undiksha Vol 7, No 1 (2017):
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (334.352 KB) | DOI: 10.23887/jjpsp.v7i1.9624

Abstract

Penelitian ini dilaksanakan di Desa Belanting Kecamatan Sambelia Kabupaten Lombok Timur Nusa Tenggara Barat.Tujuan Pelaksanaan penelitian ini, adalah untuk mengetahui : (1)BagaimanaSejarahGendang Beleqdi Desa Belanting, (2) untuk mengetahui Bentuk Gendang Beleq di Desa Belanting. Untuk menjawab permasalahan ini penulis menggunakanmetode pengumpulan data yang dilakukan dengan menggunakan metode observasi dan wawancara terbuka serta ditunjang dengan studi kepustakaan dan pencatatan dokumen. Data yang diperoleh dianalisis seobjektif mungkin dengan menggunakan deskriptif kualitatif, diikuti dengan argumentasi yang masuk akal. Hasil penelitian menunjukkan bahwa (1) Sejarahlahirnya Gendang Beleqdiperkirakan masuk pada zaman kolonialisme.namun belum ada data yang pasti kapan dan tahun berapamunculnya. Sejarah lahirnyaGendang Beleqditinjau dari kerupaan terdiri dari beberapa pokok seperti : (a)BentukGendang Beleq, (b)Jenis Gendang Beleq, (c)Alat Pemukul Gendang, (d)Ukuran Gendang Beleq, (e) Bagian-bagian pada Gendang Beleq, (f) Hiasan Pada Gendang Beleq. (2) Bentuk Gendang Beleq merupakan bentuk dari Bedugyang memiliki ukuran besar dan panjang 130cm. Kata Kunci : Sejarah, Bentuk,Gendang Beleq This research was conducted in the Belantingvillage Sambelia East Lombok District of West Nusa Tenggara. The Objectives Implementation of this study is to determine: (1) How History of Gendang Beleq in the Belantingvillage, (2) to determine the Form of Gendang Beleq in the Belantingvillage. To solve this problem the author uses the data collection method, done by using the observation method and open interviews with supported by literature study and documents recording. Data were analyzed as objectively as possible by using qualitative descriptive technique, followed by plausible arguments. Results of this study show that (1) Gendang Beleq appears around the Colonial Era, but there is no concrete data shows when and what year its appears. The history of Gendang Beleq from its fine art can be seen from some points : (a) The Shape of Gendang Beleq, (b) Types of Gendang Beleq, (c) The stick of Gendang, (d) Size of Gendang Beleq, (e) Parts of Gendang Beleq, (f) The Ornament of Gendang Beleq. (2) The shape of Gendang Beleq was form of Bedug which has huge size and 130cm long. keyword : History, Shape,Gendang Beleq

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