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I Putu Udiyana Wasista
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Program Studi Seni Rupa Murni, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar Jl. Nusa Indah Denpasar, Bali
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INDONESIA
Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 28290879     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
The focus of the Cita Kara Journal is to publish articles from students and lecturers dedicated to all aspects of the paradigm of creation and study including the exploration of knowledge and skills of fine arts. Articles in the form of results of creation, research, conceptual ideas, studies, theories, etc. which prioritize materials, concepts, methodologies, and approaches that are extracted from cultural roots in accordance with the vision and mission of the Fine Arts Study Program, Faculty of Fine Arts and Design, the Indonesian Institute of the Arts Denpasar. The scope of the journal consists of various pure arts topics, both concerning the results of thoughts / reviews, research results (paper or full paper, shot communication, rapid /preliminary), reviews and obituaries. The journal publishes creation and research papers in fine arts such as: Paint, Statue, Graphic, Mosaic, Carving, Relief, Calligraphy, Photography, Comic, Cartoon, Other visual arts.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 230 Documents
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Abstraksi Gerak Anjing Dalam Penciptaan Karya Seni Patung Artha Adi Wijaya, I Nengah; Udiana Nindhia Pemayun, Tjokorda; Yosef Tjokropramono, Gede
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1542

Abstract

Dogs are social animals, but the personality and behavior of dogs can vary depending on the breed. In addition, the dog's personality depends on the treatment it receives from the dog and the people who interact with it frequently. From the dog's personality, it is interesting to be appointed as the object of internship at CV. Richstone. The author realizes the work of sculpture by observing the dog's movements by abstracting the dog's movements from various points of view by using line and plane composition to achieve visualization of the work. The process of making the work uses a cast iron frame first using cast concrete, followed by the addition technique in which the cast frame of the statue is wrapped with burlap sacks on the entire frame of the statue. In visualization the work displays two dog figure movements which are abstracted by the presentation not directly, but using non-representational forms or more depicting the shape of the objects depicted which are often difficult to grasp for meaning by ordinary observers/art connoisseurs, the first work with dynamic dog movements running and the second work with the movements of a frightened dog.
Ekplorasi Taman FSRD ISI Denpasar Dalam Seni Instalasi Dwi Kartika, I Gusti Kade; Karja, I Wayan; Mudana, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1543

Abstract

This thesis contains a description of the creation of installation art with the title Exploration of FSRD ISI Denpasar Park in Installation Art. Based on the experience gained while studying at ISI Denpasar. By practicing sensitivity in his work, the author conducts exploration in the garden of FSRD ISI Denpasar in order to explore ideas and get material for discussion in the creation of installation art. This creation uses the Warih Wisatsana creation method as a writer and curator of fine arts, starting with basic research, exploration, experiments or sketches, embodiment, and dissemination. It takes exploration of in-person interviews to create conceptual installation art. The materials used in this creation are cloth, by adopting the Balinese wastra concept and adding color strokes to the cloth. The technique used in the installation art is assembling by arranging materials into other materials, with a length of 270 meters of cloth stretching in the garden of FSRD ISI Denpasar. The response from nature makes this installation art will produce significant changes. In addition, this installation art work has been responded by ISI Denpasar students by adding materials that have been prepared, so the creation of this installation art is included in participatory art because of the intervention of other people in the installation art. In the end, it can be concluded that art is not only enjoyed with a pair of disembodied eyes, art is also able to bring the audience involved in it.
Konsep Tetandingan Jaje Sarad Pulagembal Sebagai Seni Lukis Adi Udyana, I Made; Muka, I Ketut; Ruta, Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1544

Abstract

Jaje Sarad Pulagembal is one of the complementary facilities for the ceremony that attracts the attention of many people, not only the Balinese Hindu community, but also the wider community. In addition to being quite large, it also looks beautiful because it is arranged very artistically. Jaje Sarad Pulagembal is usually displayed in the courtyard of the temple, but not many people know what the purpose and meaning of Jaje Sarad is. Jaje Sarad is usually made during the implementation of the Madyaning Utama piodalan and above, namely the piodalan that uses bebangkit and the ceremony that uses Pulagembal. The method of creation is a systematic way of creating works of art. The stages of creating a work of art that outlines the design of the process of creating a work of art in accordance with the stages of creation from inspiration (ideas), design, to embodiment. How to realize an idea into a painting, of course, is not necessarily done without preparation. Preparation in this process can be divided into 5 stages of creation: (1) preparation, (2) elaboration, (3) synthesis, (4) concept realization, (5) completion or evaluation. In the title chosen, namely "Jaje Sarad Pulagembal's Counter-Concept as Painting", the concept is meant to be defined by various theoretical concepts that include ideas, designs, and the formation of art in general. Here it refers to the basic nature of art, namely composition, form, and color. Sarad is a Hindu religious ceremony in Bali which is mostly made of snacks made from rice flour with visualization of symbols of the contents of the universe. Pulagembal is a collection of several Bantenese that accompany several kojong fruit containing several types of sacred Banten snacks. Jaje Sarad Pulagembal is deemed appropriate to represent various images of life that is felt by the author, by forming new objects into jaje Sarad and not referring to the previous forms of jaje Sarad, the author can pour ideas and new forms into the painting. Not only a description of the author's life, but also raises environmental issues related to the ecology of the Balinese people.
Rerajahan Sebagai Sumber Inspirasi Penciptaan Seni Lukis Arsad Tri Gunawan, I Made; Wirakesuma , I Nengah; Setem, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1545

Abstract

Departing from an idea about rerajahan illustration which always has its own meaning in each of its strange forms, it creates an impetus to present rerajahan visualization by combining certain techniques and references to achieve goals and meanings that are in accordance with what is desired. The problem faced is how to process the rerajahan visuals to represent ideas so that the embodiment of the work looks interesting. The purpose and benefits are to provide a new reflection and elevate the existence of rerajahan which is full of use in various yadnya ceremonies in Bali, and to increase the author's understanding of the forms of rerajahan. To answer what is the purpose of this work, the method of creation uses exploration, improvisation, and forming. By arranging elements of art, and going through the stages of exploration, improvisation, and the forming stage, and combined with ideas and ideas to create 6 works entitled: 1) "covered", 2) "Self Struggle", 3) "Formed", 4 ) “Temporarily”, 5) “Destroyed”, 6) “Ready? Go!”. In the embodiment of the work, the author will use several technical references from other artists. By combining the blurry technique and the oil paint suction technique in the visualization of works that have a strange shape, and combined with texts such as in comic books to represent a movement, it is hoped that they will produce quality works and become the identity of the author. In the end, it can be concluded that traditional arts, especially rerajahan, provide a lot of inspiration in their work and are very interesting to be raised and developed with imaginative ideas that will become valuable and meaningful works. With the creation of this work, it is hoped that it can convey a message or meaning to a personal phenomenon that the author has experienced.
Bentuk-Bentuk Pelelintangan Di Sanggar Wasundari Desa Kamasan Sebagai Sumber Inspirasi Seni Lukis Sudana, I Made; Putra, I Gusti Ngurah; Yugus, A.A Gede
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1548

Abstract

The illustration of pelelintangan is traditional astronomical knowledge that contains information about the prediction of a person's character/personality and fate according to the day of birth. The illustration of pelelintangan is usually presented in the classic form of Kamasan wayang painting. This can be seen in the work of I Nyoman Mandra (late) in the Wasundari Studio. Pelelintangan is basically just a picture of human life which is a prediction and is not absolute or uncertain truth. The creation process is carried out using primary data collection methods such as; interviews and observations, and secondary data collection methods such as reading, documentation, and the internet. The dissected uses several theories such as semiotic theory and aesthetic theory. The problems of this creation are (1) How to visualize the shapes and motifs of the painting in the painting? (2) What is the technique of visualizing the cross-sectional theme on canvas media? (3) What meanings are contained in passing? The purpose of this research and creation of art is to find out visual language, illustration of pelelintangan and their relationship with character/personality by birth and to create six types of works inspired by the shape of pelelintangan
Tradisi Bali dalam Lipatan Kanvas Karya Seri Porosan I Ketut Sugantika ‘ Lekung’ Budiaprilliana, Luh
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1549

Abstract

Tradition in the anthropological dictionary is the same as customs, whic is called the magical-religious habits of the life of an indigenous population which include cultural values, norms, laws and rules that are interrelated, and then become a system or regulations that have been established and include all conceptions of the cultural system of a culture to regulate social action (Arriyono and Siregar, 1985:4). The tradition that is strongly implemented in the environment where the child grows up has an influence in building the memory web of the child in his growth and development. I Ketut Sugantika 'Lekung' as one of the artists who was born and raised in Bali is one of the many artists who brings the memory web of Balinese traditions into their creative process. The Porosan series by I Ketut Sugantika 'Lekung' is a representation of Balinese tradition which is realized through the repetition of folds on canvas. The process of making which is full of repetitions with similar patterns presents a trance for the artist so that he feels a situation like he is meditating focusing on controlling the Tri Pramana which is consisting of Bayu, Sabda, and Idep.
Daun Timbul dalam Ekspresi Karya Seni Rupa Sumarjaya Putra, I Made Adi; Sujana, I Wayan; Supriyatini, Sri
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i2.1834

Abstract

This MBKM Independent Project report, bearing the title "Leaves Timbul in the Expression of Fine Artwork" departs from an embossed tree located in the studio of Kaki Bisma Batan Timbul which inspired the writer to create works of art. The problem is how to visualize the leaves appearing in each work. In visualizing the author uses methods and techniques obtained from the MBKM process. The purpose and benefits are to develop the writer's creativity in expressing imaginary forms as well as images/photos that are edited according to the needs of the author in the work process, the author chooses I Ketut Budiana himself who is a favorite artist and uses his creation method which includes several stages, namely, reflection, research. foundation, exploration, experimentation, execution, completion. From this process the author produced 6 works entitled: 1) "Life", 2) "Science", 3) "Mother Earth". 4) "Ngangon Kebo", 5) "Faithful Animals", 6) "Sidakarya Mask". It can be concluded that the author created works based on his interest in embossed leaves, with ideas originating from phenomena captured in the Kaki Bisma Batan Timbul studio and reading reference sources from the internet. campus, To be realized in the form of 2 dimensions and 3 dimensions From all these processes, it is expected to find identity in the work.
Upakara Aci Usaba Sumbu Desa Pakraman Timbrah Sebagai Inspirasi Penciptaan Karya Seni Lukis Silasana, I Putu Arya; Gulendra, I Wayan; Tjokropramono, I Gede Yosef
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i2.1835

Abstract

the phenomenon of religious rituals in Timbrah Village named Aci Usaba Sumbu which has its own uniqueness from the facilities used in the ritual. Banten Sumbu which resembles a towering tower with all the attributes that adorn the banten and the banten be guling which is presented by the public en masse is an attraction or encouragement to present the visualization of the ceremony in a painting with certain references to achieve the goals and meanings expressed. The problem faced is how to process the visuals of the ceremony so that the meanings contained in a work can be realized and look attractive. The visualization stage in the work will apply the principles of art in the form of Balance, Proportion, Rhythm, Emphasis, and Unity. To answer related to the phenomena described, the method of creation is to carry out exploration, improvisation, formation and completion stages. From the ideas obtained, 6 works were created entitled: 1) "Kesadaran Manusia", 2) "Menjaga Keharmonisan", 3)" Rwa Bhineda", 4) "Keyakinan", 5) "Tulus Iklas" , 6)"Tali Silaturahmi". In the embodiment of the work, the author uses several references related to the tools, colors and styles that produce the work by adopting the form of offerings in the Aci Usaba Sumbu tradition which has the meaning of each object displayed. With the creation of this work, it is hoped that it will be able to convey a message or meaning to the observed phenomena and feelings of the writer.
Ekspresi Gerak Ikan Dengan Media Sampah Plastik Dalam Penciptaan Karya Seni Patung Arsana Putra, I Made Deny; Jodog, I Made; Rinu, Ni Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i2.1836

Abstract

Research on the creation of this work of art with this paper is intended to turn plastic waste, which is currently a serious problem, increasingly polluting the environment of rivers and waterways. This environmental problem prompted the author to process plastic waste into sculptures. This work raises the theme of waste to increase public awareness so as not to litter, especially in the river environment which not only disturbs the habitat of aquatic creatures but also the environment that is essential for all creatures including humans. The river environment in the writer's area has begun to be filled with plastic waste which makes the water polluted and cannot be utilized optimally. The making of this sculpture is based on the theories of sculpture including art theory, aesthetic theory, and semiotic theory. This creation uses a method of creating, knowledge transfer, technology, skills that are adapted to the needs of the author in processing plastic waste to be made into environmentally friendly sculptures and expressing fish movements.
Motif Ornamen Bali Sebagai Sumber Inspirasi Dalam Penciptaan Seni Lukis Wayang Kamasan Adiguna, Made Hendra; Budiarta, I Dewa Putu Gede; Yugus, A.A Gede
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i2.1837

Abstract

Wayang Kamasan painting is the main topic of thought in the creation of painting works of art, which were inspired by Balinese ornamental motifs. As for the research problems, namely: What are the Balinese ornamental motifs that are applied to the Wayang Kamasan form?, How to apply Balinese ornaments to the Wayang Kamasan form?, What techniques are used in creating paintings inspired by Balinese ornamental motifs?.The author conducted research on Balinese ornamental motifs as a source of inspiration in the creation of Wayang Kamasan painting through field research methods, with a source data source named Ni Wayan Sri Wedari, S.Sn who is the owner and leader of the Wasundari studio, with data collection techniques by observation, interviews and literature review. Art creation is carried out in stages (exploration, experimentation, and execution). Produce works of art with a tendency to contemporary style. The six works produced include: Arjuna Tapa, Sutasoma, Hanoman, Gugurnya Bisma, Lata Mahosadhi, and Kumbakarna.

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