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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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Multinarasi Relief Yeh Pulu Basis Penciptaan Seni Lukis Kontemporer I Wayan Adnyana; A.A Rai Remawa; Ni Luh Desi In Diana Sari
Mudra Jurnal Seni Budaya Vol 33 No 2 (2018): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i2.372

Abstract

Kajian ini merupakan skema penelitian terapan, yang bertujuan untuk mengungkap konsep multinarasi relief Yeh Pulu, Bedulu, Gianyar, Bali, sebagai basis penciptaan seni lukis kontemporer. Secara metodologis penelitian ini dilakukan dalam dua tahapan: penelitian lapangan (kajian atas narasi relief) berdasar perspektif ikonologi Panofsky (1971), dan berikutnya penelitian eksperimen terkait penciptaan seni lukis kontemporer berdasar perspektif ‘art practice as a research’ (Sullivan, 2005) yang menunjuk pada tiga tahapan: eksperimen medium, bahasa visual, dan penyusunan konteks yang relevan. Berdasar kajian ikonologi, terutama tahap analisis ikonografi, ditemukan bahwa narasi relief Yeh Pulu bersifat multinarasi, yakni pahatan relief yang memiliki beragam jenis tema cerita, seperti praktik pertanian, berburu, meditasi, pesta, asmara, dan lain-lain. Kemudian konsep multinarasi dalam penciptaan seni lukis kontemporer, menjadi: (a) secara medium menggunakan multiteknik dan medium; (b) bahasa visual, menghadirkan berbagai adegan secara berulang, terpadu dan bahkan terkesan saling berlawanan; (c) konteks yang relevan, dengan memasukan ikon tokok-toko pahlawan dunia pop, seperti superman, superwomen, dan lain-lain. Secara ikonologis, bangunan visual yang mempertemukan adegan multinarasi relief Yeh Pulu dengan narasi kepahlawanan dunia pop, menjadi semakin menguatkan konsep multinarasi dalam membangun pesan kepahlawanan dunia sehari-hari dalam karya seni lukis kontemporer semakin berhasil. Penelitian ini melibatkan: Anak Agung Rai Remawa (pengumpul data), dan  Ni Luh Desi In Diana Sari (fotografi dan layout).This paper serves as an applied research scheme which aims to reveal the concept of multiple narratives of Yeh Pulu Relief, located in Bedulu, Bali, as the basis for the creation of contemporary painting. Methodologically speaking, this study was conducted in two stages: a field research (a field study on the relief narratives) based on Panofsky’s perspective on iconology (1971), and an experimental research on the creation of contemporary painting based on the perspective of ‘art practice as a research’ (Sullivan, 2005) which consists of three stages: medium experimentation, visual language depiction, and relevant context preparation. Based on the study of iconology, particularly the stage of iconographic analysis, it was found that Yeh Pulu relief contains multiple narratives in that the sculptural relief has various narrative themes, such as farming, hunting, meditation, feast, romance, and others. The concept of multiple narratives in the creation of contemporary painting has led to: (a) the use of multiple techniques and media; (b) visual language depiction by presenting the scenes repeatedly, where they are clashed one against another and create a contradictory impression; (c) presentation of relevant contexts by incorporating iconic superheroes of the popular world, such as Superman, Superwoman, and others. In terms of the iconology, the visual build that brings together the Yeh Pulu relief’s multiple-narrative scenes with the narratives of the popular superheroes reinforces the notion that the concept of multiple narratives in constructing the message of everyday-world heroism in contemporary painting will achieve more success. The contributors of this research also include Anak Agung Rai Remawa (as a data collector) and Ni Luh Desi In Diana Sari (as a photographer and layout designer).
Iconography of Woman Image in Sri Tanjung Relief at Candi Surowono Giri Nugraha; I Wayan Adnyana; Wayan Karja
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 1 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (830.265 KB) | DOI: 10.31091/jacam.v1i1.1591

Abstract

This study aims to analyze the iconographic woman image in Sri Tanjung relief at Candi Surowono located in Kediri Regency, East Java. The qualitative research done involves understanding, concepts, values, and characteristics attached to the object of research. It uses a humanities approach with Panofsky's Iconology Theory. The relief of one of the panels (1400 AD) carved at Candi Surowono is seen as an embodiment resembling two human figures. One male figure is carved holding a female figure with an expression of body anatomy full of intimacy with each other. The central human figure and the expression of holding this are present on the background of the patra motif, buds, accompanied by leaf tendrils and a motif that looks like a flower resembling a mandala is depicted shading these two human figures. The feeling of love and longing for something that cannot be described (ngalembana) is present in the embodiment of these two figures. This classic visual art presents a shock, as if space and time have melted into one. The theme of the image conveys the wisdom of the ancestors in providing a free perspective on woman, love, and compassion.
Tri Hita Karana: A contemporary sculpture creation Pande Putu Ogy Mega Sanjaya; I Wayan Adnyana; I Ketut Muka
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (310.999 KB) | DOI: 10.31091/jacam.v1i2.1847

Abstract

Tri Hita Karana in Hinduism is the understanding of three main things that cause prosperity for human life which consist of Parhyangan, Pawongan, and Palemahan. The phenomenon stimulates creator to create a sculpture that aimed to provide an understanding related to Tri Hita Karana. The method applied in this creation uses five stages, namely the search for ideas, the search for materials, experiments, the embodiment of the work, and the presentation of the work. In this creation of three-dimensional works of art in the form of sculptures, the creator tries to express Tri Hita Karana issues with the concept of recycle, a process to turn used materials into new materials with the aim of preventing waste that can actually be turned into useful goods. The form of the work will be in the form of contemporary sculpture by displaying unique and authentic new forms. Keywords: Tri Hita Karana, recycle, contemporary sculpture.
Metafora Baru dalam Seni Lukis Kontemporer Berbasis Ikonografi Relief Yeh Pulu I Wayan Adnyana; Anak Agung Gede Rai Remawa; Ni Luh Desi In Diana Sari
Mudra Jurnal Seni Budaya Vol 34 No 2 (2019): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i2.704

Abstract

Artikel ini merupakan luaran penelitian terapan tahun ketiga, bertujuan untuk mengungkap penciptaan seni lukis kontemporer berbasis ikonografi relief Yeh Pulu. Penciptaan seni lukis dilakukan melalui dua tahap: analisis ikonografi untuk menemukan konsep, dan tahap penciptaan karya. Tahap analisis menggunakan teori ikonologi Panofsky melalui tiga tingkatan analisis: pra-ikonografi, analisis ikonografi, dan analisis ikonologi. Artikel ini mengedepankan pada analisis (interpretasi) ikonologis untuk menginvestigasi makna dari motif, simbol, dan alegori atas konteks budaya yang melekat pada objek analisis (D’Alleva, 2005). Interpretasi ini menemukan konsep metafora baru, yakni kepahlawanan orang-orang biasa. Pada praktik penciptaan seni lukis kontemporer, metafora dibentuk dengan tiga pendekatan estetik, yakni pembingkaian ulang, perombakan ulang, dan pemindahan ke ruang atau lokus global kontemporer. Artinya, figur ikonik relief Yeh Pulu dibingkai ulang dalam ruang lanskap baru, memindahkan yang kuno ke dalam konteks tata kehidupan masa kini, termasuk mobilitas pada ruang-ruang global.
Abinawa Musara Ahyung: Analogi Anggrek Pensil Dalam Busana Feminine Exotic Putu Asri Wardani; I Wayan Adnyana; Nyoman Dewi Pebryani
BHUMIDEVI: Journal of Fashion Design Vol. 3 No. 1 (2023): Bhumidevi
Publisher : BHUMIDEVI: Journal of Fashion Design

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Abstract

Anggrek pensil yang memiliki nama latin papilionanthe hookeriana merupakan tanaman hias yang menyandang gelar sebagai Ratu Anggrek dan mendapat hadiah berupa “First Class Certificate” dikarenakan keindahannya yang mampu menawan para pemerintah inggris dan masyarakatnya pada tahun 1882. Tanaman yang terkenal memiliki habitat alami di Danau Dendam Tak Sudah ini menjadi ide pemantik untuk mewujudkan busana ready to wear, ready to wear deluxe dan haute couture yang kemudian dikemas dengan konsep busana Feminine Exotic yang berjudul Abinawa Musara Ahyung. Pembedahan tanaman anggrek pensil ke dalam bentuk mind mapping menghasilkan 5 kata kunci yang kemudian dapat diimplementasikan lewat teori analogi. 5 kata kunci terpilih yaitu: bergelombang, tutul ungu, halus, ungu gradasi, dan lurus. Metode penciptaan yang digunakan dalam pembuatan busana Abinawa Musara Ahyung adalan metode FRANGIPANI yang terdiri dari delapan tahapan penciptaan desain fashion yang ditulis oleh Dr. Tjok Istri Ratna Cora Sudharsana, tahun 2016. Hasil akhir dari rekacipta penciptaan busana Abinawa Musara Ahyung ini diharapkan dapat menambah kepustakaan dalam bidang fashion.
Character Design of Mahapatih Gajah Mada Based on Visual References from Bima and Brajanata/Kertala Statues Hutomo Setia Budi; I Wayan Adnyana; I Wayan Swandi; I Nyoman Suardina
VCD Vol. 8 No. 1 (2023): Journal of Visual Communication Design VCD
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v8i1.3956

Abstract

Mahapatih Gajah Mada was a great figure who united the archipelago in his time, but no statues have been found that depict the figure. Archaeologists disagree on the accuracy of the human head statue artifact referenced by Mr. Muhammad Yamin, as it does not have any markers that indicate it is a statue of Mahapatih Gajah Mada. To design an accurate visualization of the character design of Mahapatih Gajah Mada, this design is divided into 2 stages: data mining and character design. Data mining involves a data search related to Mahapatih Gajah Mada and culture during the Majapahit Kingdom Era. Character design involves designing the character design of Gajah Mada using data from the references that have been obtained. Data searches have revealed that Mahapatih Gajah Mada is likely to be the Brajanata/ Kertala character in the Panji story and the Bima character in the Mahabarata story. The character has a large, tall body, strapping, crossed mustache, and wavy curls, using a headdress in the form of a foreheadband with carvings, upper arm bands made with snake motifs, a belt with a Kala head patterned buckle, and an upawita (caste rope) that crosses from the left shoulder to the right waist depicting Gajah Mada's caste. For weapons, Gajah Mada carries a keris with a cundrik type (not notched) and an oval mace, which means that Gajah Mada is one of Lord Vishnu's attendants who has a guardian nature. The design of the oval mace takes reference from door guard statues. Keywords: Character Design, Gajah Mada, Majapahit kingdom
Ideologi Maskulinitas dalam Pewarisan Tari Baris di Desa Adat Batur Bali Pande Putu Yogi Arista Pratama; Muhammad Jazuli; I Wayan Adnyana; Agus Cahyono
Prosiding Seminar Nasional Pascasarjana Vol. 5 No. 1 (2022)
Publisher : Pascasarjana Universitas Negeri Semarang

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Abstract

Abstrak. Konstelasi posisi kesenian begitu juga kebudayaan, tampaknya tidak akan pernah berhenti melainkan terus berkembang. Ideologi para seniman sebagai sebuah reaksi atas fenomena kebudayaan dalam arti luas pada akhirnya akan memberikan implikasi kepada kesadaran ekspresi berkeseniannya. Karakteristik ketradisian sebagai sebuah ekspresi kolektif suatu masyarakat kemudian terus diuji. Fenomena ini tampak jelas pada kesenian tari Baris di Desa Adat Batur, dengan sistem patriarki yang dianut oleh masyarakatnya menjadikan laki-laki sebagai unjung tombak untuk menjawab tantangan atas wacana pewarisan nilai tradisi kepada generasi penerusnya. Tulisan ini berisi pembahasan secara menyeluruh terkait, (1) bentuk dan struktur pertunjukan tari Baris; dan (2) hegemoni maskulinitas sebagai keyakinan ideologis dalam pewarisan tari Baris. Data yang tersaji dalam tulisan ini bersumber pada data primer yang diperoleh dari hasil pengamatan kemudian memperdalamnya dengan wawancara kepada narasumber, serta data sekunder diperoleh dari kumpulan buku, jurnal, maupun artikel terkait tari Baris dari penelitian terdahulu. Data yang telah terkumpul kemudian di analisis melalui tahapan reduksi data, display data, dan verifikasi data sebelum disimpulkan. Guna teoritis pada perspektif akademis, maka diharapkan tulisan ini dapat mereposisi, merekonstruksi, menginterpretasi, pewarisan tari baris yang terjadi pada masyarakat Desa Adat Batur melalui hegemoni maskulinitas sebagai keyakinan ideologis masyarakat. Abstract. The constellation of the position of art and culture will never stop developing but will continue to grow. The ideology of the artists as a reaction to cultural phenomena in a broad sense will ultimately respond to their expressions. The characteristics of tradition as a collective expression of society continue to be tested. This phenomenon is evident in the art of Baris dance in the Batur Traditional Village, where the patriarchal system adopted by the community makes men the spearhead to answer the challenges of the discourse of inheriting values to future generations. This paper contains a thorough discussion regarding (1) the form and structure of the Baris dance performance; and (2) hegemonic masculinity as an ideological belief in the inheritance of Baris dance. The data presented in this paper is sourced from primary data obtained from observations and then deepened by interviewing sources, as well as secondary data obtained from a collection of books, journals, and articles related to Baris from previous research. The data that has been collected is then tested for validity through data reduction, data display, and data leveraging before keywords. For theoretical purposes from an academic perspective, it is hoped that this paper can reposition, reconstruct, interpret, and inherit the line dance that occurs in the Batur Traditional Village community through the hegemony of masculinity as an ideological belief of the community.
Digitalisasi Pertunjukan Dolanan Pesta Kesenian Bali Sebuah Upaya Konservasi Permainan Tradisional Warananingtyas Palupi; Agus Cahyono; Wayan Adnyana; Hartono Hartono
Prosiding Seminar Nasional Pascasarjana Vol. 5 No. 1 (2022)
Publisher : Pascasarjana Universitas Negeri Semarang

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Abstract

Pesatnya perkembangan tehnologi dewasa ini mengancam keberadaan berbagai permainan tradisional, menggantikannya dengan berbagai permainan pabrikan, serta gawai, yang cenderung kurang mengedepankan permainan kolektif dan interaksi sosial. Sarana tehnologi interaktif, video games, playstation atau internet perlahan namun pasti telah mengubah suasana rumah, kelas maupun ruang bermain anak. Penelitian ini bertujuan untuk mengetahui bagaimana upaya yang dilakukan masyarakat dan pemerintah untuk menjawab tantangan bagi eksistensi permainan tradisionaldi Bali. Penjelasan deskriptif kualitatif yang diperoleh dari data observasi, wawancara serta dokumentasi dilakukan dalam penelitian ini. Sesuai amanah Peraturan Menteri Dalam Negeri Nomor 52 Tahun 2007 Tentang Pedoman Pelestarian dan Pengembangan Adat Istiadat dan Nilai Sosial Budaya Masyarakat, pemerintah penggiat budaya dan masyarakat mengupayakan tetap eksisnya bentuk-bentuk permainan tradisional. Salah satu caranya adalah menjadikan dolanan tradisional sebagai salah satu bentuk pertunjukan yang dipentaskan secara periodik pada Pesta Kesenian Bali sejak tahun 1998 hingga 2019, serta upaya digitalisasi pertunjukan dolanan melalui kanal Youtube.
The Didactic Process in Sacred Baris Dance Performances in Batur Traditional Village: Conservation Strategies Traditional Balinese Art Pande Putu Yogi Arista Pratama; Muhammad Jazuli; I Wayan Adnyana; Agus Cahyono; Harum Sunya Iswara
International Conference on Science, Education, and Technology Vol. 8 (2022)
Publisher : Universitas Negeri Semarang

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Abstract

Abstrak. The Baris Dance in the Batur Traditional Village of Bali is a sacred dance performed during the Dewa Yadnya ceremony (an offering to the gods), which takes place at the Ulun Danu Batur Temple and its surroundings. The performance of the sacred baris dance is still seen today; this is due to the didactic process that is the basis for preserving the sacred baris dance. The study aimed to analyze the didactic process of performing the sacred baris dance as a strategy for preserving traditional Balinese art. Qualitative research design, with data sources derived from observations, interviews, and documentation. The validity of the data is carried out with triangulation techniques based on the principles of transferability and dependability. In contrast, data analysis includes the didactic process of sacred baris dance performances and strategies for preserving traditional Balinese art. The results of the study include; (1) the form of sacred baris dance performance consisting of 3 parts, namely, papeson (beginning), pangadeng (middle), and pakaad (end); (2) the didactic process in the conservation of traditional Balinese art is derived from knowledge on aspects of tattwa, morals, and ceremonies. The new findings of this study in the correlation between the didactic value in sacred Baris dance performances and the conservation of traditional art found on the island of Bali.
VISUAL NARATIF LUKISAN WAYANG KAMASAN PADA BALE KAMBANG TAMAN GILI PURI KLUNGKUNG-BALI I Wayan Agus Eka Cahyadi; I Wayan Adnyana; I Wayan Mudra; I Wayan Swandi
Jurnal Cahaya Mandalika ISSN 2721-4796 (online) Vol. 3 No. 2: Jurnal Cahaya Mandalika
Publisher : Institut Penelitian Dan Pengambangan Mandalika Indonesia (IP2MI)

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Abstract

Lukisan wayang Kamasan adalah seni lukis tradisional yang berasal dari Desa Kamasan di Kabupaten Klungkung, Bali, Indonesia. Lukisan ini menggambarkan cerita epik atau mitologi Hindu. Lukisan wayang Kamasan memiliki sistem hierarki yang ketat dalam penyusunan elemen visualnya. Setiap elemen lukisan memiliki makna simbolis, dan komposisi keseluruhan menggambarkan nilai-nilai religius dan filosofis yang mendalam. Seni lukis wayang Kamasan telah menjadi bagian integral dari warisan seni dan budaya Bali. Meskipun diciptakan sebagai hiasan, lukisan ini juga dinilai sebagai karya seni yang memiliki nilai estetika tinggi dan kaya akan makna simbolis.Artikel ini menganalisis visual naratif dari lukisan wayang Kamasan yang terdapat pada Bale Kambang Taman Gili Puri Klungkung-Bali. Penelitian ini menggunakan metode kualitatif, data penelitian dikaji dengan menggunakan teori bahasa rupa Primadi Tabrani yang menyebutkan lukisan tradisional termasuk lukisan wayang kamasan merupakan media komunikasi visual.Hasil penelitian menunjukkan bahwa lukisan wayang Kamasan di Bale Kambang tidak hanya merupakan ekspresi seni visual, melainkan juga memiliki peran signifikan dalam kehidupan masyarakat Bali. fungsinya meliputi pendidikan, ramalan, hiburan, sejarah, identitas budaya, dan ekspresi seni. Artikel ini berkontribusi dalam pemahaman bahwa keseluruhan lukisanwayang Kamasan menjadi bagian integral dari warisan budaya Bali, yang terus dilestarikan dan dihargai oleh masyarakatnya.
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