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Program Studi Kriya, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar Jl. Nusa Indah, Sumerta, Kec. Denpasar Timur, Kota Denpasar, Bali 80235
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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
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Penciptaan Keramik Kitchen Set Kolaborasi Dengan Ud. Tri Surya Keramik: Kreamik Kreasi Adi Gunawan I Made; Muka I Ketut; Rai Sunarini Ni Made
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.v6i01.5667

Abstract

Balinese ceramic crafts are a cultural heritage rich in artistic and religious values, but face sustainability challenges due to the declining interest of the younger generation. This research aims to study the process of making ceramics with the electric wheel technique at UD. Tri Surya Keramik, Badung Regency, Bali, and develop ceramic products with local cultural nuances to meet tourism needs, especially kitchen sets and decorations. The methods used include active participation, observation, interviews, and literature study to understand the stages of production, starting from clay processing, forming, decorating, glazing, to firing. The learning process at UD. Tri Surya Keramik includes systematic stages such as clay processing through drying, pounding, sifting, and kneading to ensure a plastic texture, forming with electric wheel techniques to produce symmetrical shapes such as cylinders, vases, bowls, and plates, decorating with incised techniques, glazing with dip or spray techniques, and firing biscuits (800-900°C) and glaze (1,200-1,250°C). The aesthetics of decoration on ceramic products reflect Balinese culture through incised and cukil techniques that produce carved patterns with natural nuances, such as leaf motifs and curved lines, which add artistic value and local identity. The results showed that the learning process at UD. Tri Surya Keramik produces functional and decorative products, such as tableware and vases, with high quality that combine traditional Balinese aesthetics and modern market needs. The products exhibit symmetry, surface smoothness, and glaze color harmony, with great potential to improve competitiveness through design innovation. This research also provides insight into the importance of collaboration between industry and education to preserve and develop ceramic crafts, while encouraging the younger generation's interest in local ceramic art.
Produksi Set Meja dan Kursi Teras Rumah Tinggal pada Nave Wood Furniture: Furniture Mamo Antonius Wilibrodus; Mudra I Wayan; Suparta I Made
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.v6i01.5674

Abstract

This paper discusses the process of designing and manufacturing a set of tables and chairs for a residential terrace, considering functional, aesthetic, and user comfort aspects. This activity was carried out as part of the Independent Learning Campus (MBKM) program of the Indonesian Arts Institute, Bali, which was implemented at the Nave Wood furniture business partner in 2025. Data collection was carried out using observation, interviews, documentation, and qualitative descriptive data analysis. The design planning, material and tool selection, and production process were carried out directly by the author at the partner's location. The main material used is solid wood, which is resistant to outdoor weather. The result of this MBKM implementation is a table and chair product that not only meets the need for seating on the terrace but also beautifies the appearance of the residence. This activity also provided the author with direct experience as a student in enriching insight into the field of furniture, mastery of woodworking techniques, tool use, and finishing processes. Through this activity, students were also able to develop creative and innovative thinking according to market needs. The final result of this MBKM activity is a table and two chairs made of Dutch teak wood with strong construction and a simple design, according to the user's needs and the character of the terrace space. Additional products created to complement the table include a mineral water container, a cake stand, and a flower vase made from leftover wood.
Pemanfaatan Limbah Bunga Canang Sebagai Sumber Warna Alam : Natural Dyes Suryawan I Made; Sumantra I Made; Karuni Ni Kadek
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.v6i01.5686

Abstract

Bali, as a major tourist destination in Indonesia, boasts a rich cultural heritage and rich religious traditions, one of which is the use of canang (a kind of sacred offering) as a means of worship for Balinese Hindus. Canang, a sacred offering made from flowers, leaves, and other natural materials, is used daily in various religious ceremonies. However, the high use of canang generates large amounts of organic waste, which has not been optimally managed. The accumulation of canang waste not only pollutes the environment but also contributes to Bali's waste management crisis. However, flower waste from canang has significant potential as a raw material for natural dyes. The natural pigments in flowers can be utilized to produce environmentally friendly and skin-safe natural colors, particularly in ecoprinting. Through the MBKM Program at PT Bali Karya Kreatif, a local business focused on sustainable textile products utilizing natural materials to produce natural dyes, the internship method used is collaborative. This method was chosen because it encourages students to actively engage in interactions, discussions, and collaboration with PT Bali Karya Kreatif to help each other solve problems and achieve shared learning goals. This activity aims to explore the process of processing canang flower waste into natural dyes and its application in ecoprinting techniques on RB 1 rayon fabric. The expected result is a textile product that not only has aesthetic value but also elevates environmental sustainability and local cultural preservation. With this approach, canang waste can be transformed from trash into a creative resource with high economic value.
PROSES KREATIF PEMBUATAN TOGOG TRADISIONAL DI MERTANING TOGOG ART GALLERY BALI: PROSES KREATIF PEMBUATAN TOGOG TRADISIONAL DI MERTANING TOGOG ART GALLERY BALI Satrio Purwo Yudho; Suardina I Nyoman; Sumantra I Made
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.v6i01.5687

Abstract

The creation of this work aims to explore figurative forms in the art of paras stone sculpture and develop sculptural techniques that are efficient and have high aesthetic value while still being based on Balinese traditions. Through this work, the author seeks to present figures that have a strong visual character and are full of symbolic meaning, so that they can represent the spiritual values and local wisdom of the Balinese people. The creation method used refers to the Sp. Gustami method, which consists of three main stages, namely exploration, design, and realization. The exploration stage is carried out by exploring ideas and references from traditional Balinese cultural sources and iconography. The design stage includes sketching, determining anatomical proportions, and making an initial model. Meanwhile, the embodiment stage is realized through the process of manual level stone carving, including the formation of bare, refining, and finishing. The result of the creation produced five sculptures with the figures of Rsi, Delem, the Suratma, the Head of the Buddha, and the Cow, each with its own characteristics and symbolic meaning. Each work highlights a blend of technique, expression, and philosophy, thus bringing strong aesthetic value and spiritual depth. In conclusion, this creation shows that traditional Balinese sculpture art is still very relevant to be developed as a medium of artistic expression and cultural preservation. Through the exploration of form and the application of proper sculptural techniques, the work of the paras stone sculpture is not only an aesthetic representation, but also a container for the inheritance of the noble values and spirituality of the Balinese people.
The Eksplorasi Kosmologi Jawa dalam Inovasi Batik Tulis Berbasis Ikonografi Jawa Timur: Kosmolologi Jawa dalam Batik Tulis Ony Setyawan
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.v6i01.6857

Abstract

This creative work endeavors to present an exploration of Javanese cosmology through the design of hand-drawn batik (batik tulis). Spiritual and ecological values serve as the core elements reflected in the artistic form. The motifs, which mirror Javanese cosmology, are derived from cultural icons found in East Java—a region renowned for its wealth of cultural artifacts, including temples (candi), sacred water springs (petirtaan), and a well-preserved cultural ecology. The creation process follows six systematic stages: reference study, form study, sketching, composition study, production, and dissemination. The interpretation of the work focuses on individual motif elements, color palettes, and structural patterns. The results of the creation and analysis delineate that the Meru, Candi Jawi, and the Tree of Life (Pohon Hayat) serve as the primary motifs representing Javanese cosmological values. These are complemented by supporting motifs such as the lotus flower, the Belahan water spring, and coffee, with connecting motifs appropriated from temple panel ornaments. While these forms have historically existed in traditional batik, this work specifically functions as a medium to sustain a continuous cultural narrative. It offers an interpretation rooted in Javanese philosophy—a depth that is increasingly rare in the batik creations of contemporary artisans.

Page 13 of 13 | Total Record : 125

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