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All Journal SURYA SENI Jurnal Kajian Bali IJCAS (International Journal of Creative and Arts Studies) MUDRA Jurnal Seni Budaya Panggung Proceeding VCD (Journal of Visual Communication Design) Journal of Music Science, Technology, and Industry (JOMSTI) Jurnal Cahaya Mandalika Jurnal Desain Komunikasi Visual Nirmana Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology
I Wayan Adnyana
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Arena Seni Pita Maha: Ruang Sosial dan Estetika Seni Lukis Bali 1930‘an Adnyana, I Wayan ‘Kun’
PANGGUNG Vol 25, No 3 (2015): Ekspresi, Makna dan Fungsi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i3.22

Abstract

Sejak akhir 1920-an di Ubud dan sekitarnya berlangsung praktik seni lukis dalam ruang interaksi dan dialog yang sangat intensif antara pelukis remaja, pelukis senior, patronase puri Ubud dan pelukis Barat. Praktik seni ini kemudian berkembang pesat menjadi arena seni bernama Pita Maha. Pita Maha diumumkan berdiri resmi 29 Januari 1936, mengakomodasi berbagai komponen art world di Bali, di antaranya galeri, kritikus dan kurator. Adapun tujuan dari kajian ini adalah untuk mengidentifikasi arena seni dan estetika Pita. Kajian dilakukan dengan pendekatan sosiologi Bourdieu tentang field (arena), dan hermeneutika mendalam (depth-hermeneutics) Thompson. Kajian ini menemukan berbagai capaian arena seni Pita Maha. Estetika Pita Maha adalah  ‘Spiritualisme’ yang kemudian dilanggengkan sebagai ideologi estetika. Estetika yang secara tegas mengeksplorasi tema dan pandangan subjektif tentang hubungan Tuhan dan manusia dalam artistik dan stilistik seni lukis Bali yang baru.Kata kunci: Arena Seni , Estetika Pita Maha.
The Comparison of the Baroque and Renaissance Aesthetics Paintings of “The Last Supper” by Caravaggio and Leonardo da Vinci Adnyana, I Wayan Kun
PANGGUNG Vol 27, No 4 (2017): Comparison and Development in Visual Arts, Performing Arts, and Education in C
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v27i4.292

Abstract

Abstract The paintings of Caravaggio’s and Leonardo da Vinci’s “The Last Supper” are two iconic art works from two maestros in different era. Caravaggio is one of the fame Baroque’s artists and da Vinci is the most famous Renaissance man, who created the same theme of painting: The Last Supper. The theme represents the story of Christ’s supper. Through an inductive view, this comparative study analyzes the aesthetic structures of both paintings, by using Feldman’s perspective (Art as Image and Idea (1967). The analysis includes visual structures: line, form, darkness-lightness; elements of organization: unity, balance, rhythm, and proportion; and elements of perception and aesthetic: empathy and a psychic distance. The result of this research discovers two different perspectives of aesthetic characteristics of Baroque and Renaissance pantings.Key words: Baroque, Caravaggio, Leonardo da Vinci, Renaissance, The Last Supper.
KETELANJANGAN DALAM SENI LUKIS INDONESIA: PERSPEKTIF KRITIK SENI RUPA I Wayan ‘Kun’ Adnyana
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.99

Abstract

Nudity in the Indonesia Painting: Perspective of  Art Critics. Nude painting (art) is not something new in Indonesia. Many archaeological remains show how nudity, from its most sacred to its mundane forms, has existed in many cultures of this Nusantara archipelago.Although not all of the painters’ (artist’s) current creativity is infl uenced by the custom of this ancient mystic culture, it can be said, however, that the creative heritage of these people of Nusantara who expressed nudity as a language of symbolicand religion languages: lingam-yoni for example, has had an infl uence on these artists especially on the Balinese painters (artists).The creative principle, which obviously of a bigger infl uence has been the tradition of nude painting as part of the teaching process of academic arts, which initially intended to strengthen the skill in anatomic rendition but later developed into a subject of visual art that challenge the artists’ independent creativity. Indeed, several Indonesian artists explore nudity very intensely as their language of expression. And several visual phenomena inherent in their works become widely recognized as artistic and conceptual achievements and receive awards from the global art community. It’s true that works with nudity as their subjects do not receive immediate acceptance from the publik. Some actually  experience confl ict and even rejection; conflict which arises from the lack of agreement over the standard valuethat an art work has to be read solely from an artistic parameter.Reading the existing confl ict on the one hand, and refl ecting upon the enormous appreciation on the other, especially the recognition of concepts behind those works with subject of nudity, makes the research on Nudity in the Indonesian Paintings evermore urgent. Keywords: Indonesian Nude Painting and Eroticism
Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali I Wayan Adnyana
Jurnal Kajian Bali (Journal of Bali Studies) Vol 9 No 1 (2019): WACANA KRITIS BUDAYA BALI
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (453.746 KB) | DOI: 10.24843/JKB.2019.v09.i01.p03

Abstract

This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.
Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) I Wayan Adnyana
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 2 (2015): December 2015
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v2i2.1798

Abstract

Research Topic: Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) aims at describing creative waves of Balinese village youth in designing new paintings. The artwork is considered to be the latest development of classical paintings of Kamasan puppet. The pattern of development is not just on artistic technique, but also on aesthetic paradigm. Yet, the invention and development of painting concept, which were previously adopted from stylistic pattern of puppet Kamasan has successfully disseminated paintings as a medium of personal expression. The artist and patron consolidated art practice in the art function, which was well ordered and professional. Agents including palaces, Balinese and foreign painters as well as collectors and dealers were united in arts social movement, named Pita Maha. Despite the fact that Pita Maha also encompassed the sculpture, this research focuses more on the path of paintings. Socio-historical method is applied to explore the characteristics and models of social capital-institutional ideology that brought forth and commercialized paintings on Pita Maha generation. This topic is also an important part of the writer’s dissertation entitled Pita Maha: Social Movement on Balinese Paintings in 1930s. The discussion on socialinstitutional capital enables expansion and exploration of a more complete socio-historical construction on Pita Maha existence. The study on social capital aspects, which embodies the initiation of Pita Maha, has constructed a tremendous growth of Balinese paintings, both in terms of aesthetic “ideology”, and institutional competence of the painters.
Original Soundtrack dan Scoring Film Televisi Drama-Musikal “Bung Karno di Bawah Pohon Sukun” Guntur Eko Prasetyo; Ketut Sumerjana; I Komang Darmayuda; Ni Wayan Ardini; I Komang Arba Wirawan; I Wayan Adnyana; Nyoman Lia Susanthi; Agustinus Sani Aryanto
Journal of Music Science, Technology, and Industry Vol. 5 No. 1 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (430.4 KB)

Abstract

The Comparison of the Baroque and Renaissance Aesthetics Paintings of “The Last Supper” by Caravaggio and Leonardo da Vinci I Wayan Kun Adnyana
PANGGUNG Vol 27, No 4 (2017): Comparison and Development in Visual Arts, Performing Arts, and Education in Co
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (470.279 KB) | DOI: 10.26742/panggung.v27i4.292

Abstract

Abstract The paintings of Caravaggio’s and Leonardo da Vinci’s “The Last Supper” are two iconic art works from two maestros in different era. Caravaggio is one of the fame Baroque’s artists and da Vinci is the most famous Renaissance man, who created the same theme of painting: The Last Supper. The theme represents the story of Christ’s supper. Through an inductive view, this comparative study analyzes the aesthetic structures of both paintings, by using Feldman’s perspective (Art as Image and Idea (1967). The analysis includes visual structures: line, form, darkness-lightness; elements of organization: unity, balance, rhythm, and proportion; and elements of perception and aesthetic: empathy and a psychic distance. The result of this research discovers two different perspectives of aesthetic characteristics of Baroque and Renaissance pantings.Key words: Baroque, Caravaggio, Leonardo da Vinci, Renaissance, The Last Supper.
Arena Seni Pita Maha: Ruang Sosial dan Estetika Seni Lukis Bali 1930‘an I Wayan ‘Kun’ Adnyana
PANGGUNG Vol 25, No 3 (2015): Ekspresi, Makna dan Fungsi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (213.885 KB) | DOI: 10.26742/panggung.v25i3.22

Abstract

Sejak akhir 1920-an di Ubud dan sekitarnya berlangsung praktik seni lukis dalam ruang interaksi dan dialog yang sangat intensif antara pelukis remaja, pelukis senior, patronase puri Ubud dan pelukis Barat. Praktik seni ini kemudian berkembang pesat menjadi arena seni bernama Pita Maha. Pita Maha diumumkan berdiri resmi 29 Januari 1936, mengakomodasi berbagai komponen art world di Bali, di antaranya galeri, kritikus dan kurator. Adapun tujuan dari kajian ini adalah untuk mengidentifikasi arena seni dan estetika Pita. Kajian dilakukan dengan pendekatan sosiologi Bourdieu tentang field (arena), dan hermeneutika mendalam (depth-hermeneutics) Thompson. Kajian ini menemukan berbagai capaian arena seni Pita Maha. Estetika Pita Maha adalah  ‘Spiritualisme’ yang kemudian dilanggengkan sebagai ideologi estetika. Estetika yang secara tegas mengeksplorasi tema dan pandangan subjektif tentang hubungan Tuhan dan manusia dalam artistik dan stilistik seni lukis Bali yang baru.Kata kunci: Arena Seni , Estetika Pita Maha.
CREATIVE CONTEMPORARY PAINTING BASED ON THE ICONOGRAPHY OF YEH PULU RELIEF I Wayan Adnyana
Proceeding IICACS No 2 (2017)
Publisher : Proceeding IICACS

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (711.375 KB)

Abstract

This paper is a report of creative art research under the program of Researching, Creating and Presenting Art of the Research, Technology and Higher Education Ministry of Indonesia. The subject of this research is an iconographic people‟s hero of Yeh Pulu relief. This relief is an ancient artifact of Balinese art, located in Bedulu, Gianyar Regency. Visual analysis of the Panofsky‟s iconography method (D‟alleva, 2005: 22-23) is used as a means of iconography analysis with three aspects: visual/artistic characters, allegories, and symbols. The first-year of the study focuses on analyzing the fundamental visual/artistic approach of my new of contemporary painting series. Deep analysis revealed five findings of visual/artistic approach that explore this theme as the newest visual art concept: cutting (imagining the relief like a poster); smashing (the natural effect of the relief being broken down into many small pieces); drawing (incorporating the visuals of a relief in the method of drawing); highlighting (like a macro camera that presents the profile in its largest and most detailed capacity); coloring (using color to make the visuals impressionistic). The research members are: A. A. Bagus Udayana (photographer), I Nengah Sudika (data collector), and Desi In Diana Sari (layout designer).Keywords: Iconography, People‟s hero, Yeh Pulu relief, Visual/artistic approach
Exploring Yeh Pulu Relief (An Iconography Approach) I Wayan Kun Adnyana; I Nengah Sudika Negara; Desi In Diana Sari; A.A Bagus Udayana
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.176

Abstract

Yeh Pulu relief, located in Bedulu Village, Gianyar Regency, is one of the important Balinese visual art work. It serves as a proof of the ultimate artistic achievement in the ancient Balinese kingdom era. It possesses some distinctive characteristics, such as a particular style of figuration, a specific theme, and unique sculptural characters. There are very few articles focusing on this topic. Therefore, there is a need to explore Yeh Pulu relief by conducting an in-depth research. Based on Panofsky’s iconography perspective, this research aims to analyze stylistic figurations of the relief, the theme, the sculptural characters and the meaning of the depiction. Panofsky’s iconography consists of three levels of analysis, i.e. pre-iconography, iconography and iconology. Employing his theory, the first stage of this analysis focuses on the physical characters on the relief; the second stage focuses on the concept of narration; and the third one deals with discourse around the subject of this study. The image of Yeh Pulu relief very clearly reveals the theme of heroism found in the everyday life by ordinary people. The result of this research is defined of the theme is reinforced by the figuration of the relief’s subjects that tends to be realistic (using the body proportion of a normal adult human) and is complemented by carvings of plant tendrils that are nearly naturalistic in style. The research participants are I Nengah Sudika Negara (data collector), Luh Desi in Diana Sari (layout designer), and Anak Agung Udayana (photographer).Relief Yeh Pulu, lokasi di Desa Bedulu, Kabupaten Gianyar merupakan salah satu karya seni rupa terpenting. Relief ini merupakan pencapaian artistik puncak di era kerajaan Bali Kuna. Selain itu juga memiliki karakter yang khas, seperti gaya figurasi yang khusus, memiliki tema spesifik, dan keunikan pahatan. Sangat sedikit tulisan yang fokus membahas tentang topik ini. Sehingga menjadi penting untuk mengeksplorasi Relief Yeh Pulu melalui riset yang mendalam. Penelitian ini bertujuan untuk menganalisa gaya figurasi, tema, karakter pahatan dan makna dari relief. Melalui pendekatan ikonografi Panofsky, analisis dilakukan melalui tiga tahapan, yakni praikonografi, ikonografi dan ikonologi. Analisis level pertama terfokus pada analisis karakter fisik dari relief; kedua, fokus pada konsep narasi; ketiga, terkait tentang diskursus yang melingkupi subjek kajian. Berdasar analisis tersebut, dapat ditegaskan bahwa relief Yeh Pulu mengungkap tema kepahlawanan dunia sehari-hari orang-orang biasa. Selain itu, dapat disimpulkan pula bahwa secara figurasi relief ini cenderung bersifat realistik (terlihat dari proporsi yang berukuran sama dengan ukuran tubuh manusia dewasa normal), begitu juga dengan pemahatan tentang tetumbuhan yang cenderung bergaya naturalistik. Anggota peneliti di antaranya: I Nengah Sudika Negara (pengumpul data), Luh Desi in Diana Sari (layout desain), dan Anak Agung Udayana (fotografer).
Co-Authors Agus Cahyono Agus Cahyono Agustinus Sani Aryanto Anak Agung Gde Bagus Udayana Anak Agung Gde Rai Remawa Arba Wirawan, I Komang Darmayuda, I Komang Giri Nugraha Hartono Hartono Harum Sunya Iswara Hutomo Setia Budi I Wayan Agus Eka Cahyadi I Wayan Mudra I Wayan Swandi I Wayan Swandi Ketut Sumerjana, Ketut Muhammad Jazuli Muhammad Jazuli Muka, I Ketut Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Wayan Ardini, Ni Wayan Nyoman Dewi Pebryani Pande Putu Ogy Mega Sanjaya Pande Putu Yogi Arista Pratama Pande Putu Yogi Arista Pratama Prasetyo, Guntur Eko Putu Asri Wardani SUARDINA, I NYOMAN Susanthi, Nyoman Lia Warananingtyas Palupi Wayan Karja