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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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Journal : IJCAS (International Journal of Creative and Arts Studies)

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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.
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