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I Nyoman Sila
Universitas Pendidikan Ganesha
Religion Arts Humanities Computer Science & IT Control & Systems Engineering Education Electrical & Electronics Engineering Engineering Languange, Linguistic, Communication & Media Social Sciences Other

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THE ROLE PLAYED BY THE STAKEHOLDERS IN THE INDUSTRIALIZATION OF THE ART OF CRAFT AT TEGALLALANG, GIANYAR, BALI Sila, I Nyoman; Ardika, I Wayan; Atmadja, Nengah Bawa; Dhana, I Nyoman
E-Journal of Cultural Studies Volume 10, Number 1, February 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (512.274 KB) | DOI: 10.24843/cs.2017.v10.i01.p02

Abstract

The industrialization of the art of craft at Tegallalang, Gianyar, Bali results from the technological, economic and cultural development and leads to the production of different types of products of the art of craft. The industrialization of the art of craft cannot be separated from the role played by the stakeholders in order to obtain benefit. The problems of the study are as follows (a) what stakeholders play roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali? (2) How the stakeholders play their roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali? This present study is a qualitative one in which the critical theory of social practice proposed by Bourdieu and the ethnographic approach are used. The result of the study shows that the stakeholders playing roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali include the parents, the traditional village, the administrative village, the local government, the provincial government, craftsmen, the raw material supplier, the formal and informal financial institution, and foreign consumers. The stakeholders play their roles using different capitals such as the cultural capital, social capital, and economical capital. Those who have big capitals will dominate those who have fewer capitals and organize what products should be produced.
Sejarah Komunitas Studio Grafis Undiksha ., Putra Wali Aco; ., Dr. I Nyoman Sila, M.Hum.; ., Drs. I Gusti Ngurah Sura Ardana, M.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 9, No 3 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v9i3.23731

Abstract

Artikel ini merupakan bagian dari penelitian “Komunitas Studio Grafis Undiksha”.Artikel ini bertujuan untuk mengetahui sejarah Komunitas Studio Grafis Undiksha. Sumber data berasal dari hasil observasi, wawancara langsung kepada setiap seniman yang bergabung dalam komunitas. Dokumentasi pada penelitian ini berupa buku, katalog pameran, dan koran. Data kemudian dianalisis secara kualitatif. Artikel ini sampai pada kesimpulan yaitu sejarah terbentuknya Komunitas Studio Grafis Undiksha berawal pada tahun 2009 dari kegelisahan mahasiswa Prodi Pendidikan Seni Rupa Undiksha pada medan sosial seni rupa yang terpusat pada seni lukis dan seni patung. Kata Kunci : Sejarah, Komunitas Studio Grafis Undiksha, Seni Grafis This article is part of the research entitled "Undiksha Printmaking Studio Community". This article aims to find out the history of Undiksha Printmaking Studio Community. The data source comes from observations, direct interviews with each artist who joins the community. Documentation in this research is in the form of books, exhibition catalogs and newspapers. Data were then analyzed qualitatively. This article comes to the conclusion that the history of the establishment of the Undiksha Graphic Studio Community began in 2009 from the anxiety of Undiksha Fine Arts Education Study Program students in the social field of fine arts that was centered on painting and sculpture.keyword : History, Undiksha Printmaking Studio Community, Printmaking
PELATIHAN KERAJINAN DI LAPAS KELAS 2B SINGARAJA ., Miyya Mutiasaphira Ansi; ., I Wayan Sudiarta, S.Pd., M.Si.; ., Dr. I Nyoman Sila, M.Hum.
Jurnal Pendidikan Seni Rupa Undiksha Vol 9, No 3 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v9i3.23744

Abstract

Penelitian ini bertujuan untuk mengetahui; (1) program pelatihan di Lapas Kelas 2B Singaraja, (2) proses pelatihan kerajinan di Lapas Kelas 2B Singaraja, (3) jenis produk kerajinan di Lapas Kelas 2B Singaraja. Subyek penelitian adalah warga binaan di Lapas Kelas 2B Singaraja. Jenis penelitian yang digunakan adalah penelitian deskriptif kualitatif. Metoda pengumpulan data yang dilakukan adalah menggunakan metode observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa (1) Lapas Kelas 2B Singaraja telah menyediakan program pelatihan kerajinan yang berbahan dasar koran bekas dan berjalan secara rutin, guna memberikan pengalaman baru atau mengasah kemampuan warga binaan selama berada didalam Lapas, (2) Tidak ada mentor khusus dalam proses pelatihan kerajinan, sehingga warga binaan belajar secara otodidak dengan melihat, mencoba, dan juga dibantu para warga binaan yang lainnya jika ada kesulitan dalam proses pembuatan kerajinan. (3) jenis produk kerajinan yang dihasilkan warga binaan di Lapas Kelas 2B Singaraja antara : Bokor, Kotak Tissue, Sokasi, Miniatur Motor, dan Celengan.Kata Kunci : Pelatihan, Kerajinan. Lapas. This study aims to find out: (1) Training program in Singaraja Class 2B Prison, (2) the handcraft training process in Singaraja Class 2B Prison, (3) types of handicraft products in Singaraja Class 2B Prison. The subject of this study were inmates in Singaraja Class 2B Prison. Descriptive qualitative research design was used in this proposed study. Data collection methods used in this study were observation, interview, and documentation. The findings of the study revealed that (1) Singaraja Class 2B Prison has provided handcraft training programs that are made from used newspapers and has been run routinely, to provide new experiences or shape the abilities of the inmates while in prison. (2) There was no special mentor in the handcraft training process, so that the inmates learn by themselves through seeing, trying, and also assisted by other inmates if there were difficulties in the process of making handcrafts. (3) The types of craft products produced by the inmates resident in Singaraja Class 2B Prison are: Bokor, Tissue Box, Sokasi, Miniature Motorbike, and Piggy Bank.keyword : Training Program, Craft, Prison
Ruang dan Waktu dalam Anime Kimi No No Wa ., VINCENT CHANDRA; ., Drs. Hardiman, M.Si.; ., Dr. Drs. I Nyoman Sila, M.Hum.
Jurnal Pendidikan Seni Rupa Undiksha Vol 9, No 3 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (546.888 KB) | DOI: 10.23887/jjpsp.v9i3.23188

Abstract

Artikel ini merupakan bagian dari penelitian “Analisis Estetik Anime Kimi No Na Wa”.Artikel ini bertujuan untuk mendeskripsikan ruang dan waktu yang merupakan salah satu unsur visual pada anime Kimi No Na Wa. Pengumpulan data dilakukan dengan teknik observasi, dokumentasi, purposive sampling dan snowball sampling. Pada penelitian ini, data yang dikumpulkan berupa fragmen atau potongan gambar yang dibekukan dari film yang diteliti dengan menyeleksi dan memilah scene yang dirasa memiliki gejala visual sesuai dengan tujuan penelitian. Sehingga dari proses pengumpulan data menghasilkan6050 fragmen yang sesuai dengan kriteria yang ditentukan, kemudian direduksi menjadi sebanyak 292 fragmen dan dipilih beberapadiantaranya sebagai representasi dari tiap unsur yang ada untuk dibahas lebih detil. Artikel ini sampai pada kesimpulan bahwa ruang yang terwujud dalam anime Kimi No Na Wa ialah ruang semu, dan waktu yang dapat teramati berupa adegan yang diperlambat, dipercepat, dan adegan yang singkat.Kata Kunci : ruang dan waktu, analisis unsur visual, anime, Kimi No Na Wa This article is part of the research entitled “Aesthetic Analysis of Anime Kimi No Na Wa”. This article aims to describe space and time which is one of the visual elements in the anime Kimi No Na Wa.Data collection is done by observation, documentation, purposive sampling and snowball sampling techniques. In this study, data collected in the form of fragments or frozen images from the film under study by selecting and sorting scenes that are felt to have visual symptoms in accordance with the purpose of the study. So that from the data collection process produces 6050 fragments in accordance with the criteria specified in the study, then reduced to as many as 292 fragments and selected some of them as a representation of each element to be discussed in detail. This article comes to the conclusion that the space that is masifested in the anime Kimi No Na Wa is an imaginary space, and the time that can be observed is in the form of scene that are slowed down, speeded up and in short scene.keyword : analysis of space and time, analysis of visual elements, anime, Kimi No Na Wa
KERAJINAN COR KUNINGAN DI DESA CINDOGO, KABUPATEN BONDOWOSO ., Alfan Hisbullah; ., Drs. I Nyoman Sila,M.Hum; ., I Nyoman Rediasa, S.Sn., M.Si
Jurnal Pendidikan Seni Rupa Undiksha Vol 7, No 2 (2017)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (614.427 KB) | DOI: 10.23887/jjpsp.v7i2.11409

Abstract

Penelitian ini bertujuan untuk mendeskripsikan (1) keberadaan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (3 proses pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. (4) Jenis kerajinan yang dihasilkan dari kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. Penelitian ini adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dokumentasi dan kepustakaan. Hasil penelitian ini menujukkan (1) Keberadaan kerajinan cor kuningan yang merupakan kerajinan turun – temurun. Awal pembuatan kerajinan masih sangat sederhana dan pengerjaanya menggunakan alat tradisional. Pada tahun 1990 hingga sekarang perajin kuningan di Desa Cindogo Bondowoso mengalami kemajuan, alat yang digunakan sudah mengalami perubahan (modern), barang-barang yang dihasilkan semakin bervariasi.(2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan antara lain: cetakan, penjepit, pengasah, saringan, tungku api, palu, gerinda, kowi, blower, kikir, pahat kuningan, spidol, mesin las listrik, mesin poles, mesin bor tangan, kompresor, kuas lukis, blender, tang, gunting kuningan, ampelas, lem kuning, batu hijau, gelput dan bahan yang digunakan adalah logam kuningan, malan, tanah liat, pasir halus, cat minyak, arang halus, serbuk brown, thinner, dan clear. (3) proses pembuatan kerajinan kuningan meliputi pembentukan cetakan, pelapisan, pemopokan, penjemuran, pembakaran dan peleburan, pengecoran, perbaikan, pengikiran, pembuatan motif (sketsa), mengukir, pemolesan, pewarnaan, dan finisihing. (4) jenis kerajinan kuningan yang dihasilkan antara lain: (fungsional) cetakan kue, nampan, kinangan (tempat menyirih), pot bunga, lampu tidur. (non fungsional), miniature kereta kencana, guci jumbo, vas india, garuda pancasila, hiasan dinding kepala kuda, patung ayam jago, patung angsa, patung harimau, patung bebek, patung burung merak dan patung rusa. Kata Kunci : Kerajinan cor kuningan, jenis produk, fungsi. This study aims to describe (1) the presence of brass casting in Cindogo Village, Bondowoso Regency, (2) tools and materials used in the manufacture of brass casting in Cindogo Village, Bondowoso Regency, (3 processes of brass casting in Cindogo Village, Regency of Bondowoso (4) The type of craft produced from the brass casting in Cindogo Village, Bondowoso Regency This research is descriptive qualitative research The data collection technique used is observation, interview, documentation and bibliography. The results of this study indicate (1) The existence of brass casting craft which is a handicraft hereditary. Early crafting is still very simple and the pengerjaanya using traditional tools. In 1990 until now the brass craftsmen in Cindogo Bondowoso Village progressed, the tools used have undergone a change (modern), the goods produced more varied, (2) tools and materials used in the manufacture of brass casting crafts, among others: mold, Clamps, sharpener, strainer, fireplace, hammer, grinder, kowi, blower, miser, brass chisel, marker, electric welding machine, polishing machine, hand drill machine, compressor, paintbrush, blender, pliers, brass scissors, Yellow, green stone, gelput and materials used are brass metal, malan, clay, fine sand, oil paint, fine charcoal, brown powder, thinner, and clear. (3) the process of making brass handicrafts including mold formation, coating, pitting, drying, burning and smelting, casting, repairing, thinking, making motifs (sketches), carving, polishing, coloring, and finisihing. (4) types of brass handicrafts produced, among others: (functional) cookie cake, tray, kinangan (place menyirih), flower pots, sleeping lights. (Non functional), miniature carriage, jumbo jar, vase india, garuda pancasila, horse head wall decoration, statue of rooster, goose statue, tiger statue, duck statue, peacock sculpture and deer statue. keyword : Brass casting, product type, function.
ANALISIS SEMIOTIKA POSTER AKSI BALI TOLAK REKLAMASI KARYA NOBODYCORP ., KOMANG JUNI PARIAWAN; ., Dr. Drs. I Nyoman Sila, M.Hum.; ., Drs. Hardiman, M.Si.
Jurnal Pendidikan Seni Rupa Undiksha Vol 9, No 2 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (845.372 KB) | DOI: 10.23887/jjpsp.v9i2.21516

Abstract

????Poster merupakan media desain grafis yang memuat unsur teks dan gambar/ilustrasi, pengaplikasiannya dengan ditempel di dinding atau permukaan datar lainnya dengan sifat mencari perhatian mata. Poster secara visual biasanya dalam bentuk ilustrasi dua dimensi yang membentuk design tertentu. Dalam penelitian ini bertujuan untuk menganalisis makna poster aksi Bali tolak reklamasi Nobodycorp karya Alit Ambara menggunakan teori semiotika Charles Sanders Peirce. Pengumpulan data dalam penelitian ini dilakukan dengan cara observasi pada website Nobodycorp.org atau Posteraksi.org dalam halamanya yang bertagar #BaliTolakReklamasi(download). Data yang terkumpul kemudian dianalisis dengan menggunakan analisis kualitatif dari teori semiotika Charles Sanders Pierce ikon, indeks, dan symbol. ????Hasil penelitian menunjukkan bahwa 1). Ikon berupa gambar manusia berwajah tengkorak, gambar ekskavator, gambar Pulau Bali , gelombang air laut, gambar orang siluet hitam, gambar perahu layar, gambar orang menaiki perahu, penari wanita legong Bali, gambar tangan kiri mengepal, gambar peluru bom atom, gambar gunung, gambar pura, gambar alat pengangkut material bangunan serta kata Bali 2). Indeks berupa gambar manusia berwajah tengkorak mengenakan jas, gambar Pulau Bali, Gelombang air berbentuk tangan mengepal, manusia menaiki perahu, dan logo ForBALI. 3). Simbol antara lain wajah tengkorak sebagai penggambaran kematian, ekskavator sebagai penggambaran pengerukan reklamasi, bentuk Pulau Bali sebagai penggambaran wilayah Bali, Tangan kiri mengepal simbol melawan keburukan, Siluet hitam manusia sebagai simbol sosok misterius, Perahu layar penggambaran masyarakat pesisir, penari Bali sebagai penggambaran orang Bali, bom atom sebagai penggambaran perang/kehancuran, Pura sebagai penggambaran masrarakat Hindu di Bali, Gunung sebagai penggambaran kesuburan, dan alat pengangkut material sebagai penggambaran proyek pembangunan serta berbagai warna yang memiliki simbolnya masing-masing. ????Kata Kunci : Semiotika, Poster Aksi Bali, Reklamasi. ???Poster is a graphic design media that contains elements of text and images / illustrations, its application is affixed to a wall or other flat surface with eye-seeking nature. Posters visually are usually in the form of two-dimensional illustrations that make up a particular design. In this study aims to analyze the meaning of Balinese action posters reject Alit Ambara's Nobodycorp reclamation using Charles Sanders Peirce's semiotics theory. Data collection in this study was carried out by observation on the website Nobodycorp.org or Posteraksi.org in a yard that fenced #BaliTolakReklamasi (download). The collected data is then analyzed using qualitative analysis of Charles Sanders Pierce's semiotic theory of icons, indexes, and symbols. ???The results showed that 1). Icons in the form of skull-faced humans, images of excavators, images of the island of Bali, waves of sea water, pictures of black silhouettes, pictures of sailboats, pictures of people boarding boats, Balinese legong dancers, pictures of left fists, pictures of atomic bomb bullets, pictures of mountains, temple drawings, pictures of building material carriers and Balinese words 2). The index is in the form of an image of a skull-faced human wearing a suit, a picture of Bali Island, a wave of hand-shaped fisted water, a human riding a boat, and the ForBALI logo. 3). Symbols include the skull's face as a depiction of death, excavators as depictions of reclamation dredging, the shape of the island of Bali as a depiction of the Bali region, the left hand clenching the symbol against ugliness, the human black silhouette as a symbol of a mysterious figure, sailboats portraying coastal communities, Balinese dancers as depictions of Bali , the atomic bomb as a depiction of war / destruction, the temple as a depiction of Hindu society in Bali, the mountain as a depiction of fertility, and the material transport as a depiction of development projects and various colors that have their respective symbols. keyword : Semiotics, Bali Action Poster, Reclamation.
Dawang-Dawang Di Buleleng ., Harta Diwanda Kadek; ., Dr. Drs. I Nyoman Sila, M.Hum.; ., Drs. Gede Eka Harsana Koriawan, M.Erg.
Jurnal Pendidikan Seni Rupa Undiksha Vol 7, No 3 (2017)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (685.064 KB) | DOI: 10.23887/jjpsp.v7i3.12174

Abstract

Penelitian ini bertujuan untuk mendeskripsikan (1) bentuk dawang-dawang di Buleleng, (2) fungsi dawang-dawang di Buleleng, (3) makna dawang-dawang di Buleleng. Sasaran penelitian ini adalah dawang-dawang yang ada di daerah Buleleng. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukaan dengan teknik (1) observasi,untuk mendapatkan data mengenai bentuk, fungsi,dan makna dawang-dawang (2) wawancara,untuk menggali lebih dalam informasi tentang bentuk, fungsi dan makna dawang-dawang (3) dokumentasi,untuk mendapatkan foto dawang-dawang yang ada di Buleleng (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain,untuk mendapatkan gambaran umum mengenai bentuk dawang-dawang (2) dan analisis taksonomi, untuk mengurai lebih rinci mengenai bentuk dawang-dawang. Hasil penelitian menunjukan bahwa (1) Bentuk dawang-dawang mengambil wujud dari manusia yang berpasangan yaitu laki-laki dan perempuan, yang dibuat dari bahan bambu dengan cara dianyam dan dibungkus dengan kertas dan kain. Pada bagian kepala diberi topeng sesuai dengan karakter wajah laki-laki dan perempuan. (2) Fungsi dawang-dawang pada upacara ngaben utama di Buleleng ada tiga, yaitu fungsi religius, fungsi sosial, dan fungsi estetika. Dimana fungsi religius dawang-dawang sebagai pelengkap sarana upacara ngaben dan juga sebagai penuntun jalan roh/atma menuju surga. Sebagai fungsi estetik dawang-dawang adalah sebagai media hiburan, dimana dawang-dawang memiliki unsur keindahan didalam segi seni yang dipertontonkan dalam upacara ngaben di Buleleng, fungsi sosial dari dawang-dawang yaitu sebagai media bersedekah bagi pihak penyelenggara upacara ngaben. (3) Makna dawang-dawang adalah sebagai simbol Rwa Binedha yaitu dua hal berbeda yang selalu berdampingan di dunia ini, serta makna Purusa dan Pradana yaitu simbol laki-laki dan perempuan. Kata Kunci : Dawang-dawang, bentuk, fungsi, makna This research aimed to describe (1) Dawang-dawang form of Buleleng, (2) The function of Dawang-dawang in Buleleng, (3) the meaning of Dawang-dawang in Buleleng. The research was Dawang-dawang in Buleleng. This research was qualitative description. The collecting data of this research was implemented by the technique (1) The observation was to obtain data of the form, the function, and the meaning of Dawang-dawang. (2) The interviewing was to explore more information about the form. (3) The documentation was to take a dawang-dawang’s photo of Buleleng (4) The reference/ the bibliographer. The collecting data was analyzed such as : (1) The domain analysis was to obtain general describing of the Dawang-dawang’s form (2) The Taksonomy analysis was to explain more details of The Dawang-dawang ‘s form. The result of research showed that (1) The form of Dawang-dawang took of the human’s being partner’s form with the boy and the girl were made from the bamboo’s plaiting and wrapped by paper and cloth. The part of head was the mask form . according to the character of boy’s face and the girl’s face. (2) the function of Dawang-dawang for the main of cremation ceremony of Buleleng such as ; the religious, social, and aesthetics’s function. Which the function of Dawang-Dawang’s religious as the material’s completing of the cremation ceremony. And also to guide the soul of the human’s being to the heaven. As the function of Dawang-dawang’s aesthetic was as entertainment’s media , which The dawang-dawang had the beauty of art that showed of the cremation ceremony in Buleleng regency, the social’s function of Dawang-dawang as media’s charity for the committee’s cremation ceremony. (3) the meaning of Dawang-dawang was as Rwa Binedha’s symbol ( two character of the different human’s being that always related in the world, and the meaning of Purusa and Pradana such as Boy and Girl’s symbol. keyword : Dawang-dawang , Form, Function, Meaning
KERAJINAN TENUN ENDEK LUKIS DI DESA SULANG, KECAMATAN DAWAN, KABUPATEN KLUNGKUNG ., A.A. Gede Nangga Bayu Suwita; ., Dr. Drs. I Nyoman Sila, M.Hum.; ., Drs. Gede Eka Harsana Koriawan, M.Erg.
Jurnal Pendidikan Seni Rupa Undiksha Vol 8, No 1 (2018)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (786.81 KB) | DOI: 10.23887/jjpsp.v8i1.13601

Abstract

Tenun endek lukis merupakan jenis kain yang terdapat di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung. Dalam proses pembuatanya, kain tenun endek lukis menggunakan alat tradisional dinamakan alat tenun ATBM ( Alat Tenun Bukan Mesin ). Tujuan penelitian ini adalah mendeskripsikan (1) alat dan bahan yang digunakan dalam pembuatan kerajinan tenun endek lukis di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung, (2) Proses pembuatan kerajinan tenun endek lukis di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung, (3) Motif hias yang dihasilkan pada kerajinan tenun endek lukis di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung. Rancangan penelitian ini menggunakan deskriptif kualitatif dengan sampelnya adalah perajin tenun endek lukis di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung. Teknik pengambilan sampel secara purposive sampling. Teknik pengumpulan data obsservasi, wawancara, dan dokumentasi. Analisis data secara kualitatif. Hasil penelitian bahan dan alat adalah : bahan (a) benang metris katun, kain endek, dan cat deco tekxtil. Alat (b) tenun ATBM, undar, jandra, palet, teropong/sekoci, boom, kayu silang, karap, seleran pipa, sisir, injak-injak, benang lungsi, mal kertas, pensil, kapur, kuas lukis, dan penempelan mal kertas. Proses pembuatan endek lukis adalah : membuat mal kertas, menempelkan mal pada kain endek, melukis pada kain endek dan tahap akhir (menyetrika). Motif hias tumbuhan bunga kembang sepatu, bunga tapak dara, bunga mawar, bunga kamboja, bunga anggrek, dan bunga matahari. Motif binatang merak, kupu-kupu, capung, dan burung madu. Motif manusia wayang (legong).Kata Kunci : Perajin, tenun endek lukis, motif hias WeavingEndek Painting is a type of fabric contained in the village Propose, Dawan, Klungkung Regency. In the process of making, woven fabric endekpainting I don't use traditional tool called ATBM looms (Looms not machines). The purposes of this study are to describe (1) tools and materials used in the manufacture of woven crafts weaving endek painting propose painters at sulang village, Dawan district, Klungkung Regency, (2) the process of making the craft of weavingEndek Painting Propose painters at Sulang village, Dawan district, Klungkung Regency, (3) the resulting ornamental Motives on the craft of weavingEndek Painting Propose painters at sulangvillage, Dawan district, Klungkung Regency. The design of this research uses qualitative descriptive with the sample is a craftsman of weavingEndek painting propose painters at sulang village, Dawan district, Klungkung Regency. Sampling techniques are purposive sampling. Observations the data are gathering techniques, interviews and documentation. Data analysis isqualitative. Results of research materials and tools are: (a) yarn of cotton fabric I don't, metris, and paint deco tekxtil. tool (b) weaving ATBM, undar, jandra, palette, binoculars/lifeboat, boom, wooden cross, karap, seleran pipe, comb, treading, thread lungsi, mal paper, pencils, chalk, brush, and snapping the Mall paper. Process of making a painting is: endek painting make the Mall of paper, pinned the Mall on fabric painting on fabric, paintingin endek painting and the final stage (ironing). The ornamental motifs of plants, Hibiscus flowers, flower Vince, roses, flower of Cambodia, orchids, and sunflowers. Animal motifs arePeacock, butterflies, dragonflies, birds and honey. The motif of the human is puppet (legong).keyword : Craftsman, weaving, painting decorative motives weaving endek painting
TENUN ENDEK MASTULI DI DESA KALIANGET, KECAMATAN SERIRIT, KABUPATEN BULELENG ., Gede Wijana; ., Dr. Drs. I Nyoman Sila, M.Hum.; ., Dra. Luh Suartini, M.Pd.
Jurnal Pendidikan Seni Rupa Undiksha Vol 7, No 2 (2017)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1107.921 KB) | DOI: 10.23887/jjpsp.v7i2.12214

Abstract

Penelitian ini adalah penelitian deskriptif kualitatif, bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam proses pembuatan kain tenun endek mastuli di desa Kalianget, kecamatan Seririt, kabupaten Buleleng, (2) cara pembuatan kain tenun endek mastuli di desa Kalianget, kecamatan Seririt, kabupaten Buleleng, (3) jenis-jenis motif yang terdapat pada kain tenun endek mastuli di desa Kalianget, kecamatan Seririt, kabupaten Buleleng. Hasil penelitian menunjukkan (1) alat yang digunakan dalam proses pembuatan kain tenun endek mastuli di desa Kalinget adalah ATBM (Alat Tenun Bukan Mesin), pengeliingan (undar dan pengeretekan), palet, pencatrian, penamplikan, gegirik, pemapalan, pengeboman, penyucukan, meteran, dan gunting. Sedangkan bahan yang digunakan adalah benang mastuli (sutera), pewarna sintetis basa (basis dye), dan asam cuka (acitec acid). (2) proses pembuatan kain tenun endek mastuli di desa Kalianget terdiri dari, pewarnaan benang lungsin, ngebom, nyucuk, ngeliing benang pakan, mebed, pewarnaan benang pakan, nyatri, mapal, ngeliing pakan siap tenun, dan menenun. (3) jenis-jenis motif hias yang terdapat pada kain tenun endek mastuli di desa Kalianget adalah keplok/ceplok, keplok/ceplok kurung, dobol, dobol endek, pelangi, penyu, cegcegan, pot sungenge, dan pinggiran. Kata Kunci : tenun endek, mastuli, motif hias. This research is descriptive qualitative research. The purpose of this study is to describe (1) the tools and materials used in the process of making endek mastuli weave in Kalianget village, Seririt sub-district, Buleleng regency, (2) the way of making woven endek mastuli in Kalianget village, Buleleng regency, (3) the types of motifs that are found in the woven fabric of endek mastuli in Kalianget village, Seririt sub-district, Buleleng regency. The results of this study showed that (1) the tools used in the process of making woven fabric endek mastuli in Kalianget village are ATBM (traditional tool for weave), pengeliingan (undar and pengeretekan), palet, pencatrian, penamplikan, gegirik, pemapalan, pengeboman, penyucukan, gauge and cutter. While the materials used are yarn mastuli (silk), synthetic dyes base (basis dye), and acetic acid. (2) the process of making woven fabrics endek mastuli in Kalianget village consists of dyeing of warp yarn, ngebom, nyucuk, ngeliing yarn, roll up (mebed), coloring yarn feed, nyatri, mapal, ngeliing weft ready feed, and weave. (3) the types of decorative motifs that are found in the woven fabric of endek mastuli in Kalianget village are keplok/ceplok, keplok/ceplok kurung, dobol, dobol endek, pelangi, penyu, cegcegan, pot sungenge, and pinggiran. keyword : weaving endek, mastuli, decorative motif.
TAS GEGANDEK DESA LOYOK KECAMATAN SIKUR LOMBOK TIMUR ., Muhammad Erwin; ., Dr. I Ketut Sudita, M.Si; ., Dr. Drs. I Nyoman Sila, M.Hum.
Jurnal Pendidikan Seni Rupa Undiksha Vol 8, No 2 (2018)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (880.611 KB) | DOI: 10.23887/jjpsp.v8i2.15170

Abstract

ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan; (1) Bahan dan alat dalam memproduksi tas gegandek di Desa Loyok kecamatan Sikur Lombok Tmur, (2) Proses pembuatan tas gegandek di desa Loyok Kecamatan Sikur Lombok Timur, (3)Motif hias yang diterapkan pada kerajinan tas gegandek di desa Loyok kecamatan Sikur Lombok Timur. Subjek penelitian adalah perajin tasgegandek di desa Loyok kecamatan Sikur Lombok Timur. Jenis penelitian yang digunakan adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang dilakukan adalah menggunakan teknik observasi, wawancara, dan teknik dokumentasi. Hasil penelitian menunjukkan (1) Bahan yang digunakan, (a)Bambu Tali,(b) Cat, (c) Tali rotan dan nilon, (2) Alat yang digunakan (a) Gergaji, (b) Bateq/golok, (c)Maje, (d) Pengkeres,(e)Meteran, (f) kuas cat (3) Proses pembuatan tas gegandek (a) Proses pemilihan bambu, (b) Proses pengolahan bambu, (c) Proses pengirisan, (d) Proses pengecatan,(e) Proses menganyam (f) Proses pembuatan anakan tas, (g) Proses pembuatan tali, (4) Motif hias yang sering diterapkan (a) Motif hias bunga pihuntuan, (b) Motif hias pihuntuan tertutup, (c) Motif hias mata walik, (d) Motif hias kepang pihuntuan, (e) Motif hias bunga gambir, dan (f) Motif hias hiumpik. Kata Kunci : Kerajinan, Tas gegandek, Motif hias ABSTRACT This research aimed to describe (1) the materials and tools in producing gegandek bag at Loyok Village, Sikur, East Lombok, (2) the process of making gegandek bag at Loyok Village, Sikur, East Lombok, (3) the decorative motifs applied to gegandek bag crafts at Loyok Village, Sikur, East Lombok. The object of this research was the gegandek bag craft located at Loyok Village, Sikur, East Lombok. This was a descriptive-qualitative research. The data of this research were collected through observation, interview, and documentation techniques. The result of the research showed that (1) the materials used in producing gegandek bag were (a) bamboo string, (b) paint, (c) rattan string and nyilon, (2) the tools used in producing gegandek bag were, (a) saw, (b) machete, (c) maje, (d) pengkeres, (e) gauge, (f) paint brush. (3) the process of making gegandek bag were, (a) selection of bamboo, (b) bamboo processing, (c) slicing process, (d) painting process, (e) plaiting process, (f) the process of making bag till, (g) the process of making string. (4) the decorative motifs applied to gegandek bag crafts were (a) bunga pihuntuan motif, (b) pihuntuan tertutup motif, (c) mata walik motif, (d) kepang pihuntuan motif, (e) bunga gambar motif, dan (f) hiumpik motif. keyword : Craft, Gegandek Bag, Decorative Motifs
Co-Authors ., A.A. Gede Nangga Bayu Suwita ., Alfan Hisbullah ., Dr. Drs. Hardiman, M.Si. ., Drs. Hardiman, M.Si. ., Gede Wijana ., Harta Diwanda Kadek ., I Kadek Joni Dwi Pranata ., I Komang Wikrama ., I Wayan Sudiarta, S.Pd., M.Si. ., KOMANG JUNI PARIAWAN ., Miyya Mutiasaphira Ansi ., Muhammad Erwin ., Putra Wali Aco ., VINCENT CHANDRA ., WAHYU AMALIA PUTRI A.A. Gede Nangga Bayu Suwita . Abdul Wahid Abdullah . Alfan Hisbullah . Baharuddin BAKHRANI RAUF Delfin Reza Pahlefi Dr. Drs. Hardiman, M.Si. . Drs. Hardiman, M.Si. . Drs. I Gusti Ngurah Sura Ardana,M.Sn. . Drs. I Wayan Mudana,M.Si. . Ganefri . Gede Eka Harsana Koriawan Gede Wijana . Harta Diwanda Kadek . Hentje Ponto I Gede Pasek I Gusti Made Budiarta I Kadek Agus Kuncoro Adi I Kadek Joni Dwi Pranata . I Ketut Sudita I Ketut Supir I Komang Wikrama . I Nyoman Dhana I Nyoman Rediasa, S.Sn., M.Si . I Wayan Ardika I Wayan Sudiarta ifan setiawan Jumadi Mabe Parenreng KOMANG JUNI PARIAWAN . Kuncoro Adi, I Kadek Agus Luh Suartini . M.Si ., I Nyoman Rediasa, S.Sn., M.Si Miyya Mutiasaphira Ansi . Muhammad Agung Muhammad Agung Muhammad Erwin . Muharram Muharram Muharram Nengah Bawa Atmadja Pahlefi, Delfin Reza Putra Wali Aco . Putu Krisna Yuda Utama Reza Septaria Sinta Yuli Putri Marta Sari Suyanta Suyanta Suyanta Usman Mulbar VINCENT CHANDRA . WAHYU AMALIA PUTRI . Wayan Sudiarta Yohandri