cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
I Putu Udiyana Wasista
Contact Email
udiyanawasista@isi-dps.ac.id
Phone
+6281805390402
Journal Mail Official
jurnal.hastagina@isi-dps.ac.id
Editorial Address
Program Studi Kriya, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar Jl. Nusa Indah, Sumerta, Kec. Denpasar Timur, Kota Denpasar, Bali 80235
Location
Kota denpasar,
Bali
INDONESIA
Hastagina: Jurnal Kriya dan Indsutri Kreatif
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 28297393     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
 Jurnal ini menerbitkan karya tulis hasil penelitian baik berupa kajian dan penciptaan yang merujuk pada aspek keilmuan kriya yang meliputi jenis medianya seperti: 1) Kriya Logam; 2) Kriya Tekstil; 3) Kriya Keramik; 4) Kriya Kayu; dan 5) Kriya Kulit. Sedangkan berdasarkan fungsinya, yaitu: 1) Kriya Ritual; dan 2) Kriya Dekoratif. Begitupula pada pendekatan yang digunakan, meliputi: 1) Tradisional; 2) Kontemporer; dan 3) Ekologis (penggunaan material berkelanjutan).
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 125 Documents
 9   10   11   12   13 
Peran Seni Kriya Dalam Mendukung Pariwisata Berbasis Budaya di Desa Penglipuran, Bali Mukti, Masetya; Dijani, Karenina Mauren
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.v5i02.5623

Abstract

Penglipuran Village in Bangli Regency, Bali is one example of a culture-based tourism village that successfully prioritizes the preservation of traditions, the natural environment, and the empowerment of local communities. The village maintains the traditional Balinese spatial and architectural layout that has been passed down from generation to generation, reflecting the values of life philosophy, harmony, and sustainability. In addition, Penglipuran Village also develops the potential of craft art, especially bamboo plaiting and various other traditional crafts, as a leading tourist attraction. These craft products are not only an economic commodity, but also serve as a medium for preserving authentic local cultural values. Crafts in this village become a means of cultural expression that strengthens community identity and enriches the tourist experience through direct interaction with the creative process and traditional values. Tourism management in Penglipuran Village is conducted collaboratively between the indigenous community, local government, and local businesses. This management model encourages active community participation in maintaining a balance between cultural preservation and economic development. This research uses a descriptive qualitative approach with observation, interview, and documentation methods to explore the role of craft in supporting the development of tourism villages. The results showed that the existence of craft art not only strengthens the image of Penglipuran Village as a unique and authentic cultural destination, but is also able to improve community welfare through job creation, income generation, and sustainable preservation of cultural heritage. Thus, Penglipuran Village becomes a real representation of the harmonious integration between culture, economy, and environment within the framework of community-based tourism development
Eksplorasi Bentuk dan Teknik Penciptaan Keramik Melalui Metode Cetak I Komang Surya Adi Putra; Rai Sunarini, Ni Made; Berata, 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.v5i02.5668

Abstract

This creation aims to explore various figurative forms in ceramic art while developing an efficient forming technique with high aesthetic value through the application of the slip casting method. The main issues addressed include how to create ceramic works with strong visual character using slip casting techniques and how to design a consistent and effective production process. The creation process applies Sp. Gustami’s method, which consists of three stages: exploration, design, and realization. The exploration stage is used to generate ideas and form concepts, which are then manifested in design plans, model (master) making, and mold production using plaster. The realization process is carried out through the slip casting technique, followed by general ceramic production stages such as drying, firing, and finishing. The exploration of forms focuses on animal-themed works, resulting in ceramic pieces shaped like iguanas, horses, and turtles. The application of the slip casting technique in this creation has proven capable of reproducing forms consistently according to the original model, without reducing creative freedom or aesthetic value. Furthermore, the slip casting method demonstrates greater efficiency compared to manual forming techniques. It allows the creation of ceramics with complex structures and finely detailed surfaces, including curves, protrusions, textures, and small ornaments that enhance the visual character of the works. The results of this creation are expected to serve as a reference for artisans and creative industry practitioners in developing ceramic products based on casting techniques, both for artistic purposes and large-scale production.
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
Eksplorasi Tanah Terracotta dengan Iron Oksida dalam Pembuatan Produk Keramik Tana Ampo: Eksplorasi Tanah Terracotta dengan Iron Oksida dalam Pembuatan Produk Keramik Tana Ampo Kariada Pramana, I Komang; Arimbawa, I Made Gede; Artayani, Ida Ayu Gede
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.v5i02.5676

Abstract

Ceramics is a unique art medium due to its reliance on high-temperature firing at every stage of its formation. Generally, ceramics are objects made from clay and fired to achieve specific forms and characteristics. The development of ceramic art has progressed significantly in recent years, particularly in terms of technique, materials, and supporting tools. In Bali, especially in tourist areas, the ceramic industry has flourished. However, this growth contrasts with the situation in Singaraja, which is more recognized for its traditional glass painting, wood carving, and earthenware crafts. This disparity motivated the author to explore ceramic art through the at Tana Ampo Pottery Studio in Sukawati, Gianyar. The author focused on three main aspects during the internship: (a) the development of the ceramic business at Tana Ampo Pottery Studio, (b) the ceramic forming and creation process, and (c) collaborative approaches in artistic production. The internship involved a collaborative method that included direct observation, literature review, and experimentation with local soil materials combined with iron oxide. The aim was to create a new clay character distinct from commercial clay. The outcome resulted in five ceramic artworks: three wall installations and two three-dimensional pieces, with stone-like visual characteristics in both color and texture. These works integrated Northern Balinese ornament motifs and wayang (shadow puppet) character expressions to reflect and strengthen local identity through artistic expression.
LIMBAH SPREI HOTEL SEBAGAI PRODUK MERCHANDISE DENGAN TEKNIK UPCYCLING Andrianto, Naomi Eunike Erasti; Laba, I Nyoman; Artayani, Ida Ayu Gede
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.v5i02.5680

Abstract

The rapid growth of Bali’s tourism sector has increased hotel occupancy and the frequency of bedsheet replacement, shortening the lifespan of linens and generating large amounts of textile waste. This waste is usually sold without processing, although used hotel linens have high potential as an environmentally friendly and economically valuable upcycling material. This study identifies the potential of hotel linen waste as a recyclable material and describes the process of turning it into value-added merchandise products. The research used a descriptive–collaborative method with a qualitative approach through direct field observation and a review of relevant literature. PT TRI Cinta Bumi, a creative industry engaged in sustainability, was involved to demonstrate how hotel linen waste can be transformed into merchandise. Processing stages included sorting fabrics by quality and color, designing to meet market trends, re-dyeing to enhance visual appeal, and sewing into prototypes. The products were then assessed for aesthetics and functionality and tested with limited market responses to determine acceptance. Findings show that upcycling techniques applied to retired hotel bedsheets produce functional, aesthetically appealing products well received by the market, such as bandanas, small bags, and scrunchies. These results indicate that using textile waste as an alternative raw material offers significant potential to support sustainable practices, design innovation, creative economic empowerment, and market expansion. Furthermore, the process provides new insights for the creative industry on the use of textile waste not only for merchandise but also for decorative items, experimental textile media, and collectible artworks.
Explorasi Estetika dan Teknik Penciptaan Patung Dewi Saraswati Berbahan Beton Okatama, Wayan; Ngidep Wiyasa, I Nyoman; Laba, I Nyoman
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.v5i02.5694

Abstract

Sculpture is a form of three-dimensional visual expression that not only emphasizes aesthetic value but also embodies profound symbolic and spiritual meanings. In Balinese cultural tradition, the statue of Dewi Saraswati holds significant importance as a religious symbol representing knowledge, wisdom, and purity. These values have been passed down from generation to generation, making the statue not merely a work of art but also an integral part of religious practice and spiritual life. Therefore, the exploration of the creation of the Dewi Saraswati statue is considered relevant, particularly in the context of expanding artistic practices to other regions, such as South Lampung Regency. This exploration focuses on both the aesthetic aspects and technical processes involved in creating the statue using concrete as the primary material. Concrete is chosen for its durability, malleability, and strong visual expression. South Lampung is regarded as having great potential, both in terms of raw material availability and the local Hindu community’s demand for religious statues as decorative and symbolic elements in worship spaces and residential environments. The creation process adopts the "Three Stages Six Steps" method proposed by Gustami (2004), encompassing phases from initial observation to final evaluation. The result is a concrete Dewi Saraswati statue that not only highlights aesthetic quality but also carries strong symbolic meaning. These findings affirm that concrete has significant potential to be developed as an alternative medium for sculpture, particularly in the context of South Lampung’s cultural and artistic growth.
Penilaian Estetika Motif Betawi Sebagai Identitas Duta Fakultas Teknik Universitas Negeri Jakarta: Estetika Motif Betawi Listiani Sri; Zahra E Lutfia
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): 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.v6i01.4540

Abstract

This study aimed to obtain an aesthetic evaluation of Betawi motifs designed as the visual identity of the Faculty of Engineering Ambassador at Jakarta State University. The motifs were developed as visual representations that reflect both Betawi cultural values and the institution's character. The research employed a descriptive quantitative method with a pre-experimental design using a one-shot case study approach. Data were collected through a questionnaire instrument administered to four expert panelists to assess the aesthetic quality of the motifs. The research variable consisted of the aesthetic evaluation of Betawi motifs based on three main indicators: form/appearance, content/substance, and presentation/display. The assessment was conducted using a rating scale to determine the aesthetic feasibility of each developed motif. The results showed that the content/substance aspect, which referred to the Indonesia Trend Forecasting 2023/2024 concept, achieved an excellent category with a score of 88%. The presentation/display aspect, including the sub-indicators of harmony, proportion, and rhythm, obtained a score of 87%, while the form/appearance aspect, consisting of the sub-indicators of shape, size, and color, achieved a score of 86.6%. Overall, the five evaluated Betawi motifs demonstrated good aesthetic quality and were considered suitable for use as the visual identity of the Faculty of Engineering Ambassador at Jakarta State University. Based on the panelists’ evaluation, the second motif obtained the highest score of 90.9%. This result was supported by the clarity of the motif design, which integrated ecoprint, shibori, and stamping techniques, a harmonious visual composition, an appropriate color combination aligned with the proposed theme, balanced proportions, and an appealing visual rhythm. Therefore, the second motif is recommended as the most suitable alternative for representing the visual identity of the Faculty of Engineering Ambassador at Jakarta State University.
Perancangan Sarung Bantal Batik Dengan Teknik Ecoprint : Ecoprint Banowati Ellen Setyo Tantoko; Rudianto M.
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): 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.v6i01.5402

Abstract

The ecoprint technique is a form of textile craft development that utilizes natural materials as the primary elements in its creative process. This technique not only produces high aesthetic value but also supports environmental sustainability through the use of natural dyes. This design project aims to create sofa cushion covers for the lobby of Ayom Java Village Hotel Solo by combining batik and ecoprint techniques to strengthen the visual character and identity of the hotel lobby space. The background of this project is based on the condition of the hotel lobby, which was considered to lack a strong cultural character and atmosphere in accordance with the hotel's concept. The method employed in this project refers to Sp. Gustami’s theory of craft art creation, known as the “Three Stages and Six Steps of Art Creation,” which consists of the exploration, design, and realization stages. During the exploration stage, data were collected regarding the hotel’s characteristics, batik techniques, ecoprint techniques, and the selection of suitable leaves and natural dyes. The design stage focused on developing motifs and design compositions, while the realization stage involved the production of sofa cushion covers using a combination of batik and ecoprint techniques. The results indicate that the combination of batik and ecoprint techniques utilizing natural dyes can produce textile products that are aesthetically appealing, culturally valuable, and environmentally friendly. The integration of batik motifs with the natural imprints of leaves creates a unique visual character that enhances the identity of the lobby space at Ayom Java Village Hotel Solo. Furthermore, the resulting product has the potential to serve as an alternative interior decoration solution that supports sustainability in the hospitality industry through the use of natural materials and environmentally responsible production processes.
Implementasi Zero Wrap Menggunakan Kain Linen Dengan Teknik Zero Waste: Teknik Zero Waste Mulyani Gayuh; Wahyuningsih Urip
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): 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.v6i01.5541

Abstract

The increasing volume of single-use packaging waste has become one of the major environmental challenges receiving global attention. Plastic and paper packaging materials that are used for a short period significantly contribute to waste accumulation and environmental pollution. This study aims to explore the implementation of zero wrap using linen fabric through a zero waste approach as an alternative sustainable packaging solution. The research employed an applied experimental method by implementing two wrapping techniques, namely the mummy wrapping technique and the Japanese traditional furoshiki method. Linen fabric was selected as the primary material due to its durability, strength, reusability, and biodegradable properties. The research process included concept and material exploration, application of wrapping techniques to objects of various shapes and sizes, visual observation, documentation, and evaluation based on material efficiency, wrapping strength, ease of use, aesthetic value, and environmental sustainability. The results indicate that linen fabric effectively supports the implementation of the zero wrap concept without generating material waste during the wrapping process. The mummy technique produced a stable wrapping structure capable of adapting to various object forms, while the furoshiki technique demonstrated greater flexibility and provided a more decorative and artistic visual appearance. In addition to its protective function, linen-based packaging offers aesthetic value and the potential for repeated use in different contexts. The study concludes that the implementation of zero wrap using linen fabric represents a sustainable packaging solution that successfully integrates functional, aesthetic, and environmental aspects while supporting the principles of the circular economy and zero waste design in contemporary packaging practices.
Pembuatan Payasan Agung Wedding Bali Khas Gianyar Dengan Teknik Tatah Logam: Payasan Agung Khas Gianyar Raditya Wayan; Rai Sunarini Ni Made; Ngidep Wiyasa I Nyoman
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): 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.v6i01.5664

Abstract

Metal carving art is a cultural heritage of traditional Indonesian visual arts that possesses high aesthetic value and uniqueness. In Bali, this art is manifested in the form of Payasan Agung for wedding ceremonies, which consists of ornaments such as badong, pending, gelang kana, gelang naga satru, and subeng cerorot. Singapadu Village, Gianyar Regency, is known as one of the centers of metal craft with rich tradition and distinctive craftsmanship techniques. The sustainability of this art faces challenges such as decreasing regeneration of young artisans, high costs of raw metal materials, and increased use of synthetic raw materials that are more practical and affordable. This research aims to examine the process of making Gianyar-style Payasan Agung, including procedural techniques, raw material selection, and the embedded cultural values. The creation process involves three main stages: exploration, design, and realization. The exploration stage involves searching for concepts and determining traditional motifs such as patra punggel, mas-masan, cracap, and batun poh. The design stage includes creating sketches according to proportion and function, while the realization stage employs traditional craft techniques such as ngecek (rancapan), meludan (wudulan), and nyawi (terawangan), followed by sanding, setting gemstones, and gold plating as the final step. The outcomes include five main types of ornaments: tajuk, petitis, badong, bros, and pending, each representing Balinese aesthetic, symbolic, and philosophical values.

Page 12 of 13 | Total Record : 125

 9   10   11   12   13 

Filter by Year

2021 2026


Reset
Filter By Issues
All Issue Vol 6 No 01 (2026): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 5 No 02 (2025): Hastagina: Jurnal Kriya dan Industri Kreatif Vol 5 No 01 (2025): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 4 No 01 (2024): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 4 No 2 (2024): Hastagina: Jurnal Kriya dan Industri Kreatif Vol 3 No 02 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 3 No 01 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 2 No 01 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif Vol 1 No 01 (2021): Hastagina: Jurnal Kriya dan Industri Kreatif More Issue