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TRANSFORMASI SENI TIGA DIMENSIONAL BALI Seriyoga Parta, I Wayan
Prasi: Jurnal Bahasa, Seni, dan Pengajarannya Vol 6, No 11 (2010): Periode Januari-Juli 2010
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (345.663 KB) | DOI: 10.23887/prasi.v6i11.6814

Abstract

The art of carving in Bali has been considered as a part of the transformation fromthe soul’s sacrifice in the prehistoric period, which was continued untuil the arrivalof Hinduism-Buddhism influence, and also Chinese culture. Sculpture, at the beginning,served as a means of manifesting gods in Hinduism’s belief and is placedin temples. From this phenomenon, traditional statue come into existence, whichhave peculiar patterns or characteristics in terms of their figurations. This wasthen followed by the existence of traditional natural or autodidact artist in carving,who certainly had a good knowledge in the features of traditional carvings.However, in line with the development of the traditional carving art, the traditionalartists have been capable of development of the traditional carving art products,which are beyond the carving patterns that they have acquired. This results in anew form of creativity, which is appreciated as a modern carving art. The moderncarving art can be considered as an assimilation of local values and western interferencebrought by western artists to Bali. Even though there has been a stagnation,the Balinese carving has been developing in accordance with the dynamics ofthe time. From academic young artists, there appears a new development whichleads the art of carving to the development contemporary art, with its experimentalworks, not only in terms medium and material, but also in terms of creativityor thought in the form of installation art and multimedia. This fact has made theart of carving in Bali moves dynamically and experiences development untul now.Key words: carving art, Hinduism, traditional, religious, modern, contemporaryexperimental
Subconscious Memory Narrative In The Exploration Of Iconic Puppet Of I Ketut Teja Astawa’s Painting Parta, I Wayan Seriyoga; Suardana, I Wayan
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 3 No 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1042

Abstract

The process of creation in creating works of art is stimulated by various factors, one of which is the personal experience of the artist who is so imprinted that makes it an inspiration and motivation in the work. In the context of the creation of experiential works of art, it then undergoes a process of internalization and interpretation in an artist, which is then reconstructed back into the medium of art. The reconstruction is related to the reimagining process, which at the level of implementation can vary by artist. Similarly, the work process of Teja Astawa, a young artists who grew up in the coastal environment of Sanur, Bali. Teja’s works highlight his childhood experiences when playing with frangipani leaves and jackfruit leaves which then made into various forms of puppets. That experience made an impression and room in Teja’s artistic life as an adult, especially in the media of painting. Teja also re-knits the series of experiences by bringing back the puppet figures in his work. To begin the reconstruction process, Teja conducted a field study by observing various forms of puppets with their respective symbolic characters.
SISTEM PEWARISAN KETERAMPILAN MENGUKIR WARGA TRANSMIGRASI BALI DI PROVINSI SULAWESI TENGAH Wastra, Komang; Parta, I Wayan Seriyoga; Hasdiana, Hasdiana
Jurnal Pendidikan Seni Rupa Undiksha Vol 12, No 1 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (755.349 KB) | DOI: 10.23887/jjpsp.v12i1.40972

Abstract

This study intends to determine the Inheritance System of carving skills for Balinese transmigration residents in Sari Bhuana Village, Toili District, Banggai Regency, Central Sulawesi Province. And to study the inheritance system of carving as an academic study, so that it can become a knowledge for the Balinese Transmigration community, especially in developing carving through the inheritance system. The method used in this research is descriptive qualitative, data collected by observation, interviews and documentation. Data analysis uses data reduction, data presentation and drawing conclusions. The results of this study indicate that the inheritance system for carving Balinese transmigration skills in Sari Bhuana Village is a horizontal inheritance system (horizontal transmission) where this inheritance system occurs within the scope of peers or playmates, while still having the same cultural and artistic relationship. With a unique learning process for someone who has mastered the skill of carving, to become a teacher or mentor by being involved in every carving activity he does. Keywords: inheritance system, carving, craftmanship, sari buana village
DINAMIKA PERKEMBANGAN SEMI PATUNG (TIGA DIMENSIONAL) DI BALI I Wayan Seriyoga Parta
Ars: Jurnal Seni Rupa dan Desain No. 8/ Mei - Agustus 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.270

Abstract

Sculpture in Pali was a part o f the departed spirit worship transformation practiced from thepre- history time until the coming o f the Hinduism & Buddhism and Chinese culture. At its early stage,sculpture was the materialization o f Gods in the Hindu belief placed in Pur a (house o f worship in Hindureligion) It became the fetus o f the Pali traditional sculpture that held its own fashions and rules. The nextphase ziyis the emergence o f the autodidact artists who mastered these fashions and rules. In their careercourses, they developed a new form o f sculpture that disobeyed them: This new form then appreciatedas a novel creativity which by many art observers defined as 'modern' sculpture. It ivas an assimilationo f the local values and the Western influence carried by Western artists and cultural observers to Bali.Even though it was stagnant once, Bali sculpture moved forward along tlte time dynamics. The youngartists coming from the academic world pioneered further development which led this art branch to thecontemporary art progression. The statues created were experimental, not only seen from the media andmaterial, but also from the ideas and thoughts underlying them which were represented in installation andmultimedia arts. That is why Pali sculpture has been developing dynamically up to now.Keyzvords: sculpture, Hindu, traditional, religious, modern, contemporary, and experimental
Modernisasi dan Transformasi Seni Lukis Bali pada karya I Gusti Nyoman Lempad I Wayan Seriyoga Parta
Ars: Jurnal Seni Rupa dan Desain Vol 3, No 11: September-Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i11.123

Abstract

Pita Maha was founded by Cokorda Gede Raka Sukawati, with Walter Spies and Bonnet Rodelf  in. Pita Maha as an organization that embodies activity Balinese painters and sculptors at that time, 1937th contribute to the marketing of  art works. Through this Pitamaha values-aesthetic identity Balinese art and artists built awareness (constructed), then be the names then began confirmed its position as an individual artist.  So the position of  an artist for most of  Balinese painters at that time was in a state of  given situation, rather than grow out of  their consciousness as an individual artist (modern). Although the development is slowly starting to appear professional awareness of  the individual artists but again, awareness is not as modern individual artist. I Gusti Nyoman Lempad is one of the most important generation of  artists Pita Maha, displaying his works of  art aesthetic transpormasi postHindu Balinese to fine art (painting) modern Balinese.Keywords: Pita Maha, aesthetic, transformation, indivial artist, visual art (Bali)
AHASA RUPA TRADISI BALI DALAM WACANA SENI RUPA KONTEMPORER I Wayan Seriyoga Parta
Imaji Vol 10, No 1 (2012): IMAJI FEBRUARI
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (68.914 KB) | DOI: 10.21831/imaji.v10i1.6366

Abstract

Self-educated Balinese artists develop Balinese visual art based fully on practices, diligence, and tenacity in creating their works so that they can master all the established techniques used in visual art production. Their long struggles in dealing with technical matters to process materials have enriched them with important experience and become the base of their technical knowledge. The self-creativity they possess, untouched by academic values, enable them to beat their collective unconsciousness. Thus, they can consciously create innovations in the visual language they are working on within their collective domain. This enables them to hold their own identity and to base their work on the values coming from their local culture. This kind of creativity can also play an important role in global context. On the other hand, many contemporary artists including istallation and textile artists have conducted a kind of critical reflection upon the social condition in which they live. The above situation creates optimism that the potential of the visual art in Balinese tradition may give various colors on the development of contemporary visual art.
TRANSFORMASI SENI TIGA DIMENSIONAL BALI I Wayan Seriyoga Parta
Prasi: Jurnal Bahasa, Seni, dan Pengajarannya Vol. 6 No. 11 (2010): Periode Januari-Juli 2010
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (345.663 KB) | DOI: 10.23887/prasi.v6i11.6814

Abstract

The art of carving in Bali has been considered as a part of the transformation fromthe soul’s sacrifice in the prehistoric period, which was continued untuil the arrivalof Hinduism-Buddhism influence, and also Chinese culture. Sculpture, at the beginning,served as a means of manifesting gods in Hinduism’s belief and is placedin temples. From this phenomenon, traditional statue come into existence, whichhave peculiar patterns or characteristics in terms of their figurations. This wasthen followed by the existence of traditional natural or autodidact artist in carving,who certainly had a good knowledge in the features of traditional carvings.However, in line with the development of the traditional carving art, the traditionalartists have been capable of development of the traditional carving art products,which are beyond the carving patterns that they have acquired. This results in anew form of creativity, which is appreciated as a modern carving art. The moderncarving art can be considered as an assimilation of local values and western interferencebrought by western artists to Bali. Even though there has been a stagnation,the Balinese carving has been developing in accordance with the dynamics ofthe time. From academic young artists, there appears a new development whichleads the art of carving to the development contemporary art, with its experimentalworks, not only in terms medium and material, but also in terms of creativityor thought in the form of installation art and multimedia. This fact has made theart of carving in Bali moves dynamically and experiences development untul now.Key words: carving art, Hinduism, traditional, religious, modern, contemporaryexperimental
SISTEM PEWARISAN KETERAMPILAN MENGUKIR WARGA TRANSMIGRASI BALI DI PROVINSI SULAWESI TENGAH Komang Wastra; I Wayan Seriyoga Parta; Hasdiana Hasdiana
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 1 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i1.40972

Abstract

This study intends to determine the Inheritance System of carving skills for Balinese transmigration residents in Sari Bhuana Village, Toili District, Banggai Regency, Central Sulawesi Province. And to study the inheritance system of carving as an academic study, so that it can become a knowledge for the Balinese Transmigration community, especially in developing carving through the inheritance system. The method used in this research is descriptive qualitative, data collected by observation, interviews and documentation. Data analysis uses data reduction, data presentation and drawing conclusions. The results of this study indicate that the inheritance system for carving Balinese transmigration skills in Sari Bhuana Village is a horizontal inheritance system (horizontal transmission) where this inheritance system occurs within the scope of peers or playmates, while still having the same cultural and artistic relationship. With a unique learning process for someone who has mastered the skill of carving, to become a teacher or mentor by being involved in every carving activity he does. Keywords: inheritance system, carving, craftmanship, sari buana village
Kajian Karya-Karya I Nyoman Erawan, antara Tradisi dan Modernitas I Wayan Seriyoga Parta; Yustiono Yustiono; Nuning Y. Damayanti
Journal of Visual Art and Design Vol. 5 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

I Nyoman Erawan is an artist who develops abstraction shape manner by fusing formal aspects (line, area, color and texture), with the symbols in the Balinese culture tradition which is absorbed by his own religious experience as a part of Hinduism Balinese Community. The experience exists and gives deep influence to his works, when he took art study at Indonesian Art Institute of Yogyakarta in the year of 1980 and then was introduced to modern art included to its' technique and concept. The Nyoman Erawan's works development in presenting the values of the tradition and modernity can be seen from three aspects, which includes; technique, medium and theme. The exploration of Nyoman Erawan's technique and medium was begun from two dimension artworks in1982, painting technique and assemblage, collage various materials was fused for his works and then it developed become installation work in 1993-1994, and has become performance work since 1996. The tradition values in his work are presented in west modern art manner. He uses the modernity spirit to preserve the tradition value. He represents the development of modernity in different way than modernity in West context. This is a development of his work.
PEMBUATAN SOUVENIR DARI CANGKANG TELUR Hasmah Hasmah; Hariana Hariana; I Wayan Seriyoga Parta
Jurnal Abdimas Terapan Vol. 2 No. 2 (2023): JURNAL ABDIMAS TERAPAN (MEI)
Publisher : Program Vokasi Universitas Negeri Gorontalo

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (324.847 KB) | DOI: 10.56190/jat.v2i2.22

Abstract

Tujuan dari kegiatan pengabdian adalah untuk memberikan keterampilan pada masyarakat di Desa Molotabu dalam memanfaatkan limbah laut berupa kerang untuk dijadikan souvenir. Ketersediaan souvenir dari kerang sebagai salah satu upaya dalam mendukung potensi wisatawan yang berkunjung di Desa Molotabu. Kelompok yang menjadi sasaran dalam kegiatan pengabdian ini remaja karang taruna di Desa Molotabu Kecamatan Kabila Bone Kabupaten Bone Bolango Gorontalo. Metode dalam kegiatan pengabdian ini dengan melakukan workshop yang mengarahkan peserta pelatihan memperaktekkan langsung pembuatan souvenir dengan mengikuti langkah kerja. Akhir dari kegiatan pengabdian ini adalah: (1) Menghasilkan produk yang bernilai jual tinggi melalui pemanfaatan kerang yang sebelumnya hanya sebagai limbah laut; (2) Produk yang dihasilkan berupa souvenir dari kerang dapat menumbuhkan minat masyarakat dalam berwirausaha guna meningkatkan ekonomi dalam rumahtangga dan dapat meningkatkan perekenomian masyarakat pada umumnya di Desa Molotabu.