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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 244 Documents
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Mengeksplorasi Relief dan Rerajahan dalam Penciptaan Seni Rupa Sedana, I Gusti Ngurah Agung Putra Wahyu; Wirakesuma, I Nengah; Mudana, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 6 No 1 (2026): "Majukan Seni Lewat Ekspresi dan Literasi"
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v6i1.6007

Abstract

The Merdeka Belajar Kampus Merdeka (MBKM) program is a policy of the Ministry of Education and Culture aimed at encouraging students to master various fields of knowledge as preparation for entering the professional world. At ISI Denpasar, the MBKM program this year is implemented in collaboration with industry partners in the fields of art, design, creative industries, and culture. This research originates from the idea of creating visual artworks inspired by reliefs and rerajahan. Reliefs, as two- and three-dimensional carvings found in Balinese temples, hold strong historical, religious, and artistic values, although some have been diminished due to renovations that neglect the original ornamentation. Meanwhile, rerajahan represents magical and spiritual symbols in Balinese Hindu traditions, enriched with sacred modre characters believed to possess divine energy. The creative process was carried out through literature review, observation of temple reliefs, and visual exploration of modern scripts in rerajahan. The outcomes consist of two-dimensional artworks (paintings) and three-dimensional ornamentations that integrate the form of reliefs with the symbolic strength of rerajahan, using expressionist and impressionist approaches to reinterpret traditional forms. The implication of this work shows that combining reliefs and rerajahan can create contemporary artistic expressions rooted in tradition while also contributing to the preservation of Balinese cultural, historical, spiritual, and aesthetic values.
Strategy for Developing Traditional Concrete Sculptures in Yan Dede's Studio Setia pradnyana, Putu Heri; Mudana, I Wayan; Bendi Yudha, I Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 6 No 1 (2026): "Majukan Seni Lewat Ekspresi dan Literasi"
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v6i1.6014

Abstract

This study aims to analyze the process of creating symbolic concrete sculptures at Yan Dede Studio through an artistic practice approach. The research focuses on the development of conceptual ideas, material exploration, and technical realization in producing sculptures with socio-cultural meaning. The method used in this research follows four stages of artistic creation: exploration, experimentation, realization, and evaluation. Data were collected through observation of the sculpting process, documentation of artistic development, and reflective analysis of the final artwork. The results show that the sculpture represents a symbolic critique of human moral conflict through the hybrid figure of a human body combined with a pig’s head holding a rooster. The work reflects the duality of human nature between rationality and instinct. This study confirms that artistic creation in concrete sculpture can function as a medium for social reflection and cultural expression in contemporary art practice.
FERDINAND DE SAUSSURE'S SEMIOTIC ANALYSIS ON DJOKO PEKIK'S “GO TO HELL CROCODILLE” PAINTING Semara Putra, Edy
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 6 No 1 (2026): "Majukan Seni Lewat Ekspresi dan Literasi"
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v6i1.6907

Abstract

This study aims to identify and interpret the symbolic meaning embedded in Djoko Pekik’s painting Go to Hell Crocodile through the semiotic framework of Ferdinand de Saussure. The painting is recognized as a significant work in contemporary Indonesian art that conveys social criticism through symbolic visual language. While previous studies have examined this artwork from formal and aesthetic perspectives, research applying Saussure’s structural semiotic approach remains limited. This research employed a qualitative design using a semiotic analysis method. Data were collected through visual observation, documentation, and literature review. The analysis was conducted by identifying visual elements as signifiers, determining their conceptual meanings as signified, and examining the relationships between these elements within relevant social and cultural contexts. The findings indicate that visual elements such as the crocodile figure, spiral ground patterns, crowds of people, pointed bamboo, traditional Honai houses, and mountainous landscapes form a structured system of signs representing social conflict and power inequality. The interpretation suggests that the painting reflects issues related to natural resource exploitation, social resistance, and socio-political dynamics in Indonesian society. This study confirms that artworks function as visual communication systems capable of conveying complex social messages through symbolic representation and demonstrates the relevance of Saussure’s semiotic theory in the analysis of contemporary visual art.
Conceptual and Aesthetic Transformation in “Baris Dance” Painting by Anak Agung Gede Sobrat after the influence of Rudolf Bonnet and Wallter Spies Paramarta Krisna Prabu, A.A. Gede Bayu
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 6 No 1 (2026): "Majukan Seni Lewat Ekspresi dan Literasi"
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v6i1.6911

Abstract

This research aims to analyze the transformation of concepts and aesthetic forms in the “Baris Dance” painting by Anak Agung Gede Sobrat following the influence of Western artists, namely Wallter Spies and Rudolf Bonnet. Anak Agung Gede Sobrat, known as Sobrat, is recognized as one of the pioneers of modern Balinese painting, particularly within the Ubud style, which experienced significant development through interaction with Western culture during the colonial period. This research employs a qualitative method with a descriptive-analytical approach. The aesthetic analysis is conducted using the theory of Monroe Beardsley, which emphasizes three main aspects: unity, complexity, and intensity. Meanwhile, the theory of cultural change proposed by Poerwanto is used to examine the processes of cultural transformation resulting from external influences, particularly diffusion and acculturation between Western and Balinese artistic traditions. The results indicate that the “Baris Dance” painting by Anak Agung Gede Sobrat demonstrates strong aesthetic qualities through harmonious compositional unity, intricate visual complexity, and expressive intensity. Furthermore, significant transformations are identified in terms of theme, technique, and media usage. The thematic focus, which initially centered on epic narratives such as wayang stories, evolved into representations of Balinese social and cultural life. The application of coloring techniques and materials also reflects Western influence, while still preserving traditional Balinese values. In conclusion, the “Baris Dance” painting represents a synthesis of local tradition and Western influence, resulting in a new aesthetic form within the development of modern Balinese painting, particularly in the Ubud style.

Page 25 of 25 | Total Record : 244

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