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All Journal MUDRA Jurnal Seni Budaya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Jurnal Pendidikan dan Konseling Indonesian Journal of Multidisciplinary Science Journal of Social Research
I Wayan Mudana
ISI Denpasar
Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Public Health Social Sciences Other

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PENYUSUNAN ENSIKLOPEDIA BIDANG SENI LUKIS KLASIK, SENI UKIR, DAN TEKSTIL DI BALI Wayan Setem; I Wayan Mudana
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 13, No 2 (2021): Brikolase Desember
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i2.3763

Abstract

Artikel ini merupakan hasil riset bertujuan untuk mendeskripsikan leksikon yang rangkuman informasi beragam  terkait istilah-istilah seni rupa bidang seni lukis klasik wayang Kamasan, seni ukir, dan tekstil di Bali. Adapun sebagai sub-sistem, seni lukis klasik wayang Kamasan, seni ukir, dan tekstil mengandung berbagai unsur saling berkait yakni   konsep keindahan yang menjadi arahan, teknik yang dicari, disebarkan dan dikembangkan untuk memberi bentuk kepada konsep-konsep keindahan, ada seniman/pengerajian  yang mengelola pembuatan karya, penularan keahlian, teknik, fungsi, makna, dan peristiwa kesejarahan.  Teori yang digunakan adalah linguistik struktural, leksikologi dan leksikografi. Metode pengumpulan data yang digunakan dalam penelitian ini yakni metode kajian pustaka, wawancara, dan lawatan sejarah yang dilanjutkan dengan  teknik pencatatan. Dalam metode analisis data pemilihan elemen penentu dengan teknik korelasional dilanjutkan teknik analisis induktif dan deduktif. Hasil dari penelitian ini menunjukkan adanya leksikon khas yang digunakan oleh seniman/pengerajin seni lukis klasik wayang Kamasan, seni ukir, dan tekstil di Bali.  Leksikon tersebut terdiri dari tiga katagori, yakni alat dan bahan, proses pembuatan, dan estetika. Leksikon ketiga bidang seni rupa tersebut juga memiliki dua katagori fungsi yakni sebagai pemberian nama dan sebagai proses pembuatan. Begitu juga pada ragam penggambaran/motif memiliki nilai budaya berdemensi vertikal (religi dan kepercayaan) serta nilai budaya berdemensi horisontal meliputi nilai tradisi, nilai perasaan dan kedamaian, berorientasi alam, nilai kesejahteraan, dan nilai sosial.  
Dampak Pariwisata Terhadap Seni Patung Tradisional Di Desa Silakarang I Wayan Mudana
Mudra Jurnal Seni Budaya Vol 21 No 2 (2007): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (120.007 KB) | DOI: 10.31091/mudra.v21i2.1526

Abstract

statue work of art produced by artists at the village of Silakarang is traditional work of art this is raised as a problem highlighting the existence and impact of traditional statue work of art produced by statue artists in the village of Silakarang. The aims of this study are to see the development traditional statue work of art and its existence if compared with modern statue. This study took twenty kinds consisting for sample of 10 traditional statue and 10 modern statue and 30 respondent of stone carver who were divided into three groups, group A,B, and C. They were all used as sample using “ Purposive Sampling”. Data collection used observation technique, interview, documentation, and library research. The study employed descriptive analysis, that is, analysis technique analyzing the existence of traditional status work of art in four aspects: form, function, significance and marketing and analysis with impact; esthetic, social and culture, economic, and environmental.
Regenerasi Seni Rupa Digital Masa Kini I Nengah Wirakesuma; I Wayan Mudana
Jurnal Pendidikan dan Konseling (JPDK) Vol. 4 No. 6 (2022): Jurnal Pendidikan dan Konseling: Special Issue (General)
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jpdk.v4i6.10733

Abstract

Seni rupa digital pada masa kini mengalami berbagai perubahan pasca pandemi covid-19 melanda dunia. Demikian pula perkembangan seni rupa digital telah merasuki urat nadi generasi milenial, menjelajahi ruang dan waktu tanpa sekat dan batas. Berbagai bentuk visual seni rupa digital dapat kita cermati di media sosial pada saat ini. Pameran karya-karya seni rupa digital bisa ditelusuri melalui media sosial, Internet, Facebook, Instagram, WhatsApp, Twitter, YouTube, dan media publikasi lainya seperti : majalah, koran, jurnal, buku-buku, katalogus, dan lain-lainya. Publikasi berbagai cabang seni rupa digital telah diolah sesuai kebutuhan kreativitas senimannya berdasarkan metodologi teori penciptaan karya seni rupa digital dan desain. Produk seni rupa digital sebagai industri penciptaan karya seni rupa baru berkembang pesat sesuai kebutuhan pasar, para seniman berlomba-lomba berinovasi, berkreasi menciptakan karya seni rupa digital baik yang memiliki karakter seni rupa hyperrealisme, hypernaturalisme, hypersurrealisme, dan hyperabstrak deformatif. Dengan proses yang serius dan sungguh-sungguh diharapkan karya seni rupa digital yang dihasilkan dapat menarik perhatian pengamat seni rupa dan desain, pecinta seni, pengamat seni, kurator seni dan masyarakat luas. Perkembangan seni rupa digital di Indonesia mengalami dinamika perubahan yang sistemik dan sistematis sesuai dengan kebutuhan kreativitas senimannya dalam rangka memenuhi kebutuhan pasar baik kebutuan individu, maupun kebutuhan masyarakat luas. Karakter dan ciri kreativitas lintas generasi zaman dalam pengolahan seni rupa digital menunjukan identitas budaya luhur Nusantara yang bernuansa klasik, tradisional, modern dan kontemporer.
Phyticism of the Painting of Wayang Kamasan: the Struggle of Distribution Structure and Order Idealism in Fulfilling Needs Tourism Industry I Wayan Mudana; I Nengah Wirakesuma
Journal of Social Research Vol. 2 No. 3 (2023): Journal of Social Research
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/josr.v2i3.714

Abstract

Phytism is an expression of the thoughts of capitalist society to produce duplicating ideas so that producing similar merchandise can generate economic benefits in the form of money. The timeless symbols of the great and noble tradition of wayang Kamasan painting are commodified into physical art, resulting in a struggle between the idealism of a structure that is binding and standard with the idealism of an order that deifies money. Commodification is a feature of capitalism which is able to transform objects, qualities and signs into commodities to be distributed to the market. Commodities that are distributed to the market are the consumption idealism of the tourism industry. The order practice of capitalist society that works in the realm of habitus and the capital and networks that have been built is very broad. Capital relates to the ability to duplicate, while the network seeks to distribute consumer needs with producers. The physical product of the tourism industry which is distributed to the market is in the form of market paintings, handicrafts and souvenirs. To analyze physical aesthetics, the struggle for order structure, and the production of physicalism, theories and methods are used, namely: commodification theory, cultural-industry physicalism theory, and social practice theory. Discussion: The distribution of ethical ethics discusses; capital (money power), habitus (capital society's desire), image and media. Conclusion: Kamasan wayang painting has been made into a physical art alienated from capital society to get money from the tourism industry. The form of fististic art is obscured into a similar new creativity, interchanging the structure of struggle for order and mass production. Findings: Phitism of wayang Kamasan painting is barter oriented to make money.
Preserving I Gede Modara’s “Rotating the Mountain of Mandara Giri” Painting I Wayan Mudana; I Nengah Wirakesuma; I Wayan Kondra; I Wayan Sujana; I Ketut Mustika
Indonesian Journal of Multidisciplinary Science Vol. 2 No. 12 (2023): Indonesian Journal of Multidisciplinary Science
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/ijoms.v2i12.649

Abstract

I Gede Modara (1770), nicknamed I Gede Mersadi, was a pioneer of the Kamasan wayang painting, which is now called classical balinese painting. Kamasan wayang paintings are very bound by standards and provisions that are binding and standard, used for offerings and enlightenment to the people. One of the works left by Modara enlightenment painting, entitled "Pemuteran Gunung Mandara Giri" is made in the form of parba on wood, using balinese colors, now in very poor condition, not taken care of properly, and has not received attention from the government so that it gives the impression of being very neglectful of the heritage history. In fact, this work is a work that has a high reputation as an art historical heritage which is very important when future generations want to trace the civilization and development of balinese classical painting. Departing from this phenomenon, it is interesting to be used as research "Preservation of I Gede Modara's Painting with the title Screening of Mount Mandara Giri". The analytical approach used the concept of theory and method of preservation. Preservation relates to preservation, development and empowerment to create new or renewable products. In the discussion, discussing: 1) conservation measures, 2) development of creative industries, 3) community empowerment and expanding employment opportunities.
Co-Authors I Ketut Mustika I Nengah Wirakesuma I Wayan Setem I Wayan Sujana Kondra, I Wayan