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I Putu Udiyana Wasista
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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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POLA WORKSHOP MENGGAMBAR PADA NOVEL, REPETISI GARIS DAN WARNA, KEKUATAN KELENTURAN BAMBU Sujana, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 1 (2021): 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.v1i01.137

Abstract

The purpose of writing 'The Patterns of Wayan Sujana Suklu's Art Workshop' is in an effort to bring the artistic arts that have been designed by the author into the midst of society. The tendency of today's society to want art activities as an effort to meet the needs of self-actualization, and to feel the art process. The forms of art workshops that are typical of the medium and applied aspects are important both practically and theoretically. Why is it necessary to write an art workshop, what are the forms and stages of the art workshop process, then the experience gained from the art workshop process, these three things become topics in writing. Supporting theories and concepts include Nicolas Bourriaud's Relational Aesthetics and the formal principles of art by De Witt H. Parker. In this paper, three patterns of art workshops are presented, namely: Line and Color Repetition, Drawing on Novel, Bamboo Flaxi and Strong.
REPRESENTASI SUNGAI SEBAGAI NAGA BASUKI UNTUK MENJAGA KESEIMBANGAN KOSMOLOGI AIR DALAM PENCIPTAAN SENI LUKIS Setem, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 1 (2021): 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.v1i01.138

Abstract

The phenomenon of shifts in Balinese knowledge and treatment of rivers in a Hindu perspective is a very important fact and urgent to be explored and revealed. On the basis of the thought of awareness of the reality conditions that occur in rivers in the industrial era, the creator has hopes, ideals, longings, and spiritual values which are ideals as cosmos humans, so a view is born which is the idea of creating a painting with the title Representation of the River as a Dragon Basuki for Maintaining the Cosmological Balance of Water in the Creation of Painting. It means that by representing the river with symbols that can be understood, the artwork created is a metaphorical language that is able to communicate with the audience and will build appreciation. In this case, it is the creator's desire to convey certain thoughts (messages) to everyone through the created works of art and can produce meaning through the mechanism of articulation by the audience.
EKSPRESI WAJAH POTRET DIRI SEBAGAI SUMBER IDE PENCIPTAAN SENI LUKIS Artayasa, I Made Ariawan Mahendra; Budiarta, Dewa Putu Gede; Yugus, A.A Gde
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): 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/ctkr.v4i2.715

Abstract

The face is a representation and the identity of a person's individual. Facial expressions in social life serve as one of the mediums of communication. Various facial expressions of mutual significance can be listed as signs. Visualizing the face with its expressions (signs) into the art of painting is interesting. Real facial expressions are expressive while facial expressions in painting can contain a metaphor that can mean more than can be seen. The realization of ideas to the art of painting constitutes a phenomenon that occurs in people's lives and personal lives, while it conveys a message asa critical power that one hopes to grasp its meaning through the process of aesthetic and practical experience many benefits obtained for future reference and basis Alluding to the theme raised, it will be describred word by word with several studies of sources to avoid confusion about the meaning contained in the meanin of the title that the author has adopted so that works such as Just Fanny”, Reflecting”, Focus”, Upset”, Shame”, and Scared”. In the embodiment of the work, the sepia color is more prominent. By combining contrasting colors to produce works that become the identitiy of the ceator. In the end, the work related to the title that was appointed, namely Self-Potrait Facial Ekspressions as a Source of Painting Creator Ideas” is expected to be useful and become a shared learning.
Rutinitas Petani Arak Di Karangasem Bali Sebagai Ide Penciptaan Karya Seni Patung Naturalis Suarsa, Si Ngurah; Mustika, I Ketut; Sukarya, I Wayan
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): 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/ctkr.v4i2.717

Abstract

The routine of arak farmers in Karangasem Bali is very interesting to be made an object of research on the creation of fine art (statues) with the title "Routines of Arak Farmers in Karangasem Bali as an Idea for Creating Naturalist Sculpture Art". To find out the problems of creation above, research steps, creation and presentation of art were carried out using the approach of art theory, aesthetics, construction and semiotics. The research approach uses a qualitative approach using the method of collecting observation data, interviews, documentation and literature studies. Results of the discussion: (1) the form of the statue from the representation of the routine of arak farmers in Karangasem Bali: (a) nadah tuak, (b) harvest tuak, (c) mulangin tuak, (d) ngedig lau, (e) nginum arak. (2) the technique used is the technique of adding and reducing materials. (3) the author displays the visual form of arak farmers who are carrying out daily activities or routines of the arak farmers, with a naturalistic style in each form of work emphasizing naturalness and beautifying without significantly changing the shape of the object. From this concept, 5 works were created that can be reviewed from the ideoplastic aspect and the physioplastic aspect. The output of this research is in the form of a thesis, five pieces of sculpture.
TARI MERAK ANGELO SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS Ardiana, I Komang; Ruta, I Made; Putra, I Gusti Ngurah
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): 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/ctkr.v4i2.718

Abstract

Tari Merak Angelo merupakan salah satu seni tari kreasi baru yang termasuk ke dalam jenis tari Balih-balihan yakni tari yang berfungsi sebagai tari hiburan. Tari ini diciptakan oleh I Ketut Rena, S.ST, M.Si pada tahun 2008, memiliki gerak tari yang dinamis, mengisahkan tentang gerak-gerik seekor merak jantan dalam musim kawin yang menari serta meliuk-liukan keindahan bulu ekornya untuk menarik perhatian betina. Ketertarikan penulis pada tari ini muncul setelah menonton pementasanya, sehingga muncul pengalaman estetis penulis pribadi terhadap pementasan tarian ini dan menginspirasi untuk memvisualkannya dalam karya seni lukis. Metode penelitian kualitatif digunakan dalam pengamatan dilapangan untuk mengetahui informasi tentang Tari Merak Angelo. Untuk melandasi ide karya lukis, digunakan teori estetika A.A.M Djelantik. Berdasarkan hasil pengamatan, proses eksplorasi, dan eksperime perwujudan kaya senilukis yang berjudul (1) Ngagem Ngegol, (2) Ngelo, (3) Terbang, (4) Mengibaskan Ekor, (5) Memadu Kasih, (6) Ceria. Melalui karya seni ini diharapkan dapat bermanfaat bagi pengamat karya seni, pencinta karya seni sehingga karya seni lukis yang penulis ciptakan dapat menginspirasi masyarakat luas.
Interpretasi Karakteristik Dewa Siwa Sebagai Inspirasi Seni Lukis Sadewa, Kadek Ian Gangga; Adnyana, I Wayan; Yudha, I Made Bendi
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): 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/ctkr.v4i2.1061

Abstract

This thesis contains a description of the creation of painting with the theme "Interpretation of the Characteristics ofLord Shiva as the Inspiration for Painting". The discussion of this theme is based on the symbolic form of Lord Shiva who has a background story and deep spiritual meaning, feels very relevant to be implemented regarding thephenomenon of social life in the modern era like today. The results are manifested in paintings using the creationmethod of Graham Wallas. The creation method includes the stages of preparation, incubation, getting inspiration, totesting. At the preparation stage, knowledge, insight, and framework of thinking are processed as instruments in findingproblems and solving problems, including the preparation of mind mapping. Towards the incubation stage, thesubconscious/preconscious takes over the process of searching and solving problems. At the stage of getting inspiration, the conscious and logic take back control to be able to elaborate on data or even ideas obtained previously to then beformulated as a concept. This stage is carried out by making a sketch as a record of the idea so that it is not biased andspread everywhere. The last is the testing stage which is carried out simultaneously with the formation or manifestationof the work. The results of this research and creation are in the form of six paintings about the characteristics of LordShiva with the titles (1) Shiva Nilakantha, (2) Shiva Trinetra, (3) Shiva Nataraja, (4) Lingga Yoni, (5) Trisula, (6) Nandhi. The meaning of the characteristics of Lord Shiva is poured into metaphorical visual symbols, with relevantassumptions, so as to achieve a narrative that is intended to be conveyed. The concept of the painting is adjusted to thestyle of surrealism and symbolism, namely the expression of concepts through forms that go beyond reality, and byusing symbols as its strength.
Bunga Mawar Sebagai Simbol Perilaku Manusia Menjadi Sumber Ide Dalam Seni Lukis Udghitasari, Ni Made; Budiarta, I Dewa Putu Gede; Putra, I Gusti Ngurah
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (2021): 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.v1i2.1528

Abstract

The purpose of the Final Project of Fine Arts Creation is a requirement for S1 graduation. This makes me want to metaphor the various types, shapes, and colors of roses as ideas for creating paintings in a naive style. Then perform various compositional processing, phenomena in life can be used as ideas in creating a work of painting, ideas or ideas cannot be separated from observations and interactions with surrounding conditions, as well as personal experiences. With the problem of how to express the technique, and the meaning of the various types and colors of roses into a painting. There are supporters in expressing techniques, and meanings, namely the theoretical basis as a reference for realizing paintings. So, my theoretical basis is to use aesthetic theory, semiotic theory to express the meaning of the rose metaphor, and naiveism to enrich the visuals of painting. The results of this creation are in the form of six works of art with the title: Breastfeeding Mother, Fighting Corona Virus, Self-Esteem, Rejecting Love, Relaxing, and Inhaling Taste. Through the writing that has been done, I can express the roses expressed in a naive style. Through this, a work can be created that will have a symbol or meaning.
Corak Ikan Koi Sebagai Sumber Inspirasi Dalam Karya Seni Lukis Agus Deddy Krisna Adi Saputra, I Putu; Supriyatini, Sri; Wirakesuma, I Nengah
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (2021): 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.v1i2.1529

Abstract

The general purpose of this research and creation is to revive the author's love for fauna, especially koi fish. The variety of life in God's creation is very interesting to be used as an idea for creating art, one of which is the koi fish. The attraction of koi fish lies in the variety of patterns, colors, and movements that are captivating. Judging from its existence, koi fish have long been a part of human life, from the imperial era in China and Japan several centuries ago to the present. The beauty of koi fish is an attraction for humans to own, maintain, even as part of a lifestyle that can improve economic status and social status. For the writer's life, koi fish is one part of a hobby that since childhood, can bring fun and entertainment, calm the soul, as well as a source of inspiration in creating painting. These works of art can add to the richness of the repertoire of visual arts in Indonesia, in terms of the concepts, media, and techniques that are revealed. The method used in this research is the first observation or direct observation of the object under study, data collection through interviews, the internet, books, and data analysis. While the method of creation used is exploration, experimentation and creation of works. From these methods, six works were realized, including: 1. Tanco and the Japanese Flag, 2. Samurai Shiro, 3. Gosanke Worldwide, 4. Peace and Calm, 5. Victory, 6. The King of Ornamental Fish. In realizing a work, it is viewed from two aspects, namely ideoplastic aspects and physioplastic aspects. The benefit of this creation is that the public can appreciate this painting, both in terms of aesthetics and ethics.
Nilai-Nilai Grhasta Asrama Dalam Penciptaan Seni Patung Agus Adi Suarthawan, I Putu; Merta, I Dewa Putu; Udiana NP, Tjok.
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (2021): 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.v1i2.1530

Abstract

Grhasta Asrama adalah tingkat kehidupan berumah tangga. Kata Grhasta berasal dari kata "Grha" artinya rumah, dan kata "stha" artinya berdiri atau membina. Grhastha artinya fase kehidupan dalam rangka membina rumah tangga. Grhastha Asrama memiliki tanggung jawab yang besar seperti; tanggung jawab terhadap istri, anak, leluhur, orang tua dan masyarakat. Beberapa kewajiban yang harus dilaksanakan dalam berumah tangga adalah melanjutkan keturunan, membina rumah tangga, bermasyarakat, dan melaksanakan panca yajnya (Dewa Yajna, Rsi Yajna, Manusa yajnya, Pitra Yajna, Bhuta Yajna). Nilai – Nilai Grhasta Asrama sangat menarik diangkat menjadi objek penelitian penciptaan karya seni patung dengan judul “Nilai – Nilai Grhasta Asrama Dalam Penciptaan Seni Patung”. Untuk mengetahui fenomena tersebut maka dilakukan langkah – langkah penelitian. Penelitian ini menggunakan penelitian kualitatif dengan menggunakan metode pengumpulan data melalui observasi, wawancara, dokumentasi dan studi kepustakaan. Hasil pembahasan: (1) Penulis mewujudkan karya seni patung dengan mengangkat tentang nilai – nilai Grhasta Asrama yaitu; perjumpaan dengan jodohnya, kehidupan dalam menjalani rumah tangga, anak sebagai cerminan diri, anak sebagai tumpuan hidup, hingga memiliki garis keturunan. (2) Proses pembuatan karya menggunakan bahan beton dengan teknik menempel, teknik menambah dan teknik mengurangi. Dalam memvisual karya, penulis memvisualkan nilai – nilai Grhasta Asrama dalam karya seni patung dengan menampilkan bentuk figure manusia yang di deformasi dengan merubah susunan bentuk yang dilakukan dengan sengaja untuk kepentingan seni, yang terkesan kuat sehingga tidak lagi berwujud figure semula atau bentuk manusia utuh yang sebenarnya. Dengan menampilkan tekstur, garis tegas dan luwes sehinga mendukung gerak dan irama pada karya untuk mencapai dinamika yang dinamis serta warna yang cenderung natural sangat mendukung konsep garapan.
Makna Sosial Kehidupan Manusia Di Desa Adat Galiukir Dalam Penciptaan Seni Lukis Dwi Kerta Utama, I Made; Mudana, I Wayan; Yosef Tjokropramono, Gd.
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 1 No 2 (2021): 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.v1i2.1531

Abstract

Era globalisasi ditandai dengan kebudayaan manusia serba cepat, mudah dan instan. Persaingan kehidupan semakin ketat, semakin tertekan dan makna hidup semakin memudar. Makna hidup merupakan suatu hal berharga bagi setiap orang, apabila sudah ditemukan tentu menimbulkan perasaan bahagia, tentram dan damai. Makna hidup bisa ditemukan dari berbagai kejadian dalam perjalanan hidup, salah satunya melalui aktivitas sosial. Ide penciptaan karya seni lukis ini terinspirasi dari makna sosial kehidupan manusia yang terjadi di desa adat Galiukir, Kebon Padangan, Pupuan, Tabanan, Bali. Menampilkan bentuk visual makna sosial kehidupan manusia dalam bentuk lukisan. Sebagai acuan mewujudkan karya Tugas Akhir penulis menggunakan aliran Klasisisme periode Renaisans dan Barok. Dengan pendekatan teori estetika, bentuk bermakna dan semiotika. Untuk merepresentasikan ide tersebut, digunakan metode penciptaan Wayan Setem, menjelaskan tentang langkah-langkah penciptaan karya seni secara garis besar melewati proses: tahap observasi atau kegiatan mengamati; tahap percobaan; tahap persiapan alat dan bahan; tahap pembentukan; tahap evaluasi. Pembahasan makna sosial kehidupan diwujudkan dengan enam buah karya seni lukis dengan tema; (1) Kelahiran melukiskan awal mula dari kehidupan yang memberikan banyak makna kehidupan; (2) Bercanda gurau melukiskan tentang kehidupan yang memerlukan hiburan; (3) Persahabatan melukiskan kehidupan yang memerlukan sahabat; (4) Menolong melukiskan derajat yang terangkat ketika menolong sesama; (5) Saling memberi melukiskan kehidupan yang saling mengisi antar sesama; (6) Mengenang melukiskan penghormatan yang dilakukan kepada seseorang yang telah berpisah. Dalam menciptakan karya Tugas Akhir penulis menggunakan teknik opaque dan teknik chiaroscuro diimbangi dengan skill dan bahan yang memadai.

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