CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI
Full Journal Title : Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni ISSN (online) : 2829-0879 Chief Editor : Luh Budiaprilliana Publisher : Pusat Penerbitan LP2MPP Institut Seni Indonesia Bali Indexing : SINTA | Google Scholar | Garuda | Dimensions Lisensi : CC-BY 4.0 Archiving : CLOCKSS, LOCKSS Publication Frequency : Biannual Publication Medium : Electronic DOI : https://doi.org/10.59997/ctkr Editorial Team : Link Template : Link Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni, yang telah terakreditasi SINTA 5 berdasarkan Keputusan Direktur Jenderal Riset dan Pengembangan Kementerian Pendidikan Tinggi, Sains, dan Teknologi Republik Indonesia Nomor 10/C/C3/DT.05.00/2025 tentang Peringkat Akreditasi Jurnal Ilmiah Periode 1 Tahun 2025 dan sesuai dengan sertifikat SINTA 5, mengundang kontribusi dari para akademisi dan peneliti dalam bidang seni murni, sesuai dengan fokus dan ruang lingkup jurnal. Melalui publikasi ini, Jurnal Cita Kara bertujuan untuk menjadi platform diskusi yang dinamis dan berkelanjutan bagi perkembangan isu-isu terkini dalam seni murni. Selain itu, jurnal ini diharapkan dapat mendorong terciptanya dialektika inklusif yang mendukung kemajuan dan keberlanjutan seni murni di masa depan.
CONCEPTUAL AND AESTHETIC TRANSFORMATION IN “BARIS DANCE” PAINTING BY ANAK AGUNG GEDE SOBRAT AFTER THE INFLUENCE OF RUDOLF BONNET AND WALLTER SPIES
This research aims to analyze the transformation of concepts and aesthetic forms in the “Baris Dance” painting by Anak Agung Gede Sobrat following the influence of Western artists, namely Wallter Spies and Rudolf Bonnet. Anak Agung Gede Sobrat, known as Sobrat, is recognized as one of the pioneers of modern Balinese painting, particularly within the Ubud style, which experienced significant development through interaction with Western culture during the colonial period. This research employs a qualitative method with a descriptive-analytical approach. The aesthetic analysis is conducted using the theory of Monroe Beardsley, which emphasizes three main aspects: unity, complexity, and intensity. Meanwhile, the theory of cultural change proposed by Poerwanto is used to examine the processes of cultural transformation resulting from external influences, particularly diffusion and acculturation between Western and Balinese artistic traditions. The results indicate that the “Baris Dance” painting by Anak Agung Gede Sobrat demonstrates strong aesthetic qualities through harmonious compositional unity, intricate visual complexity, and expressive intensity. Furthermore, significant transformations are identified in terms of theme, technique, and media usage. The thematic focus, which initially centered on epic narratives such as wayang stories, evolved into representations of Balinese social and cultural life. The application of coloring techniques and materials also reflects Western influence, while still preserving traditional Balinese values. In conclusion, the “Baris Dance” painting represents a synthesis of local tradition and Western influence, resulting in a new aesthetic form within the development of modern Balinese painting, particularly in the Ubud style.
Copyright (c) 2026 A.A. Gede Bayu Paramarta Krisna Prabu https://creativecommons.org/licenses/by/4.0
FERDINAND DE SAUSSURE'S SEMIOTIC ANALYSIS OF DJOKO PEKIK'S “GO TO HELL CROCODILE” PAINTING
This study aims to identify and interpret the symbolic meaning embedded in Djoko Pekik’s painting Go to Hell Crocodile through the semiotic framework of Ferdinand de Saussure. The painting is recognized as a significant work in contemporary Indonesian art that conveys social criticism through symbolic visual language. While previous studies have examined this artwork from formal and aesthetic perspectives, research applying Saussure’s structural semiotic approach remains limited. This research employed a qualitative design using a semiotic analysis method. Data were collected through visual observation, documentation, and literature review. The analysis was conducted by identifying visual elements as signifiers, determining their conceptual meanings as signified, and examining the relationships between these elements within relevant social and cultural contexts. The findings indicate that visual elements such as the crocodile figure, spiral ground patterns, crowds of people, pointed bamboo, traditional Honai houses, and mountainous landscapes form a structured system of signs representing social conflict and power inequality. The interpretation suggests that the painting reflects issues related to natural resource exploitation, social resistance, and socio-political dynamics in Indonesian society. This study confirms that artworks function as visual communication systems capable of conveying complex social messages through symbolic representation and demonstrates the relevance of Saussure’s semiotic theory in the analysis of contemporary visual art.
Copyright (c) 2026 Edy Semara Putra https://creativecommons.org/licenses/by/4.0
PAPER CLAY FROM USED PAPER WASTE AS AN EFFORT TO OVERCOME THE LIMITATION OF CLAY MATERIALS FOR SCULPTURE PRACTICE
The issue of environmental pollution due to household waste, office waste, agricultural waste, and livestock waste, which has become a global issue, requires a solution. One type of waste that is quite commonly found in several environmental units of the Faculty of Fine Arts and Design, ISI Bali, is used paper waste. Practical materials for the realistic sculpture course in the Fine Arts Laboratory of the Faculty of Fine Arts and Design initially used Jogja clay and plasticine as the forming materials, but over time these materials became difficult to obtain because they had to be transported from Jogja, which required a large cost to get to Denpasar. For this reason, the creation and testing of substitute materials that have almost the same characteristics or perhaps have advantages over the previous material, namely in the form of paper clay. The purpose of this research is to solve the problem of scarcity of clay practical materials and be able to overcome environmental problems, especially used paper waste in laboratories and several units within the Faculty of Fine Arts and Design ISI Bali. The creation process includes the exploration stage, the improvisation stage, and the composition stage (forming). The results of the research obtained are that clay from used paper as a practical material is very easy to obtain and produce and is much more economical when compared to sculpture soil. The characteristics of paper clay are better than sculpture soil, such as having a higher level of strength, smaller shrinkage, easier to shape and stick, and faster drying time.
Copyright (c) 2025 Gede Putra Jaya https://creativecommons.org/licenses/by/4.0
ASMAT SPIRIT MASKS AS AN IDEA FOR CREATION OF PAINTINGS
The purpose of designing this artwork is to be a suggestion for the continuity of maintaining the noble traditions and culture of the Asmat tribe, to be a means of knowledge of cultural science between generations, and to be a means of spiritual respect for ancestral spirits. Data collection methods include observation and documentation. Observations observe the activities of the spirit mask party ceremony or ritual using the interview method with informants of the object of research Spirit Mask and the subject of research, informants. Documentation is done by collecting data from several studies such as books, scientific articles, popular articles, magazines, photographs, and videos. The research on the Asmat spirit mask was carried out by the author based on the following stages: first, efforts to find ideas or concepts; second, data collection; third, data analysis is carried out by designing or making representations of the spirit mask folklore and documentation in the form of videos and photos; fourth, data visualization in the form of paintings; fifth, data presentation in the form of an art exhibition, and scientifically accounted for through written works. The tools and materials needed for making paintings include paint, pencils, paint brushes, sand beads, broomsticks. Canvas and bark as media for painting while for installation works are broomsticks and glue guns. The creation of paintings and installation artworks of spirit masks begins with a pencil sketch followed by paint.
Copyright (c) 2025 Bayu Aji Suseno https://creativecommons.org/licenses/by/4.0
TRADITIONAL CONCRETE SCULPTURE DEVELOPMENT STRATEGY AT YAN DEDE STUDIO
This study aims to analyze the process of creating symbolic concrete sculptures at Yan Dede Studio through an artistic practice approach. The research focuses on the development of conceptual ideas, material exploration, and technical realization in producing sculptures with socio-cultural meaning. The method used in this research follows four stages of artistic creation: exploration, experimentation, realization, and evaluation. Data were collected through observation of the sculpting process, documentation of artistic development, and reflective analysis of the final artwork. The results show that the sculpture represents a symbolic critique of human moral conflict through the hybrid figure of a human body combined with a pig’s head holding a rooster. The work reflects the duality of human nature between rationality and instinct. This study confirms that artistic creation in concrete sculpture can function as a medium for social reflection and cultural expression in contemporary art practice.
Copyright (c) 2026 Putu Heri Setia pradnyana, I Wayan Mudana, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
EXPLORING RELIEFS AND RERAJAHAN IN THE CREATION OF FINE ARTS
The Merdeka Belajar Kampus Merdeka (MBKM) program is a policy of the Ministry of Education and Culture aimed at encouraging students to master various fields of knowledge as preparation for entering the professional world. At ISI Denpasar, the MBKM program this year is implemented in collaboration with industry partners in the fields of art, design, creative industries, and culture. This research originates from the idea of creating visual artworks inspired by reliefs and rerajahan. Reliefs, as two- and three-dimensional carvings found in Balinese temples, hold strong historical, religious, and artistic values, although some have been diminished due to renovations that neglect the original ornamentation. Meanwhile, rerajahan represents magical and spiritual symbols in Balinese Hindu traditions, enriched with sacred modre characters believed to possess divine energy. The creative process was carried out through literature review, observation of temple reliefs, and visual exploration of modern scripts in rerajahan. The outcomes consist of two-dimensional artworks (paintings) and three-dimensional ornamentations that integrate the form of reliefs with the symbolic strength of rerajahan, using expressionist and impressionist approaches to reinterpret traditional forms. The implication of this work shows that combining reliefs and rerajahan can create contemporary artistic expressions rooted in tradition while also contributing to the preservation of Balinese cultural, historical, spiritual, and aesthetic values.
Copyright (c) 2026 I Gusti Ngurah Agung Putra Wahyu Sedana, I Nengah Wirakesuma, I Wayan Mudana https://creativecommons.org/licenses/by/4.0
EXPRESSING THE ESSENCE OF CLASSICAL GAMBUH DANCE DRAMA THROUGH BATUAN TRADITIONAL PAINTING
This independent study project explores how the essence of Gambuh, Bali’s oldest and most sacred dance-drama, can be interpreted through the lens of traditional Batuan painting. Motivated by a desire to preserve and reinterpret cultural heritage, this project focuses on visualizing six main characters, Putri Rangkesari, Panji, Condong, Prabhu Lasem, Kade-Kadean, and Arya, each rendered with deep attention to gesture, costume, and symbolic presence. The research employs a method rooted in artistic creation, combining aesthetic approaches such as heuristic, hermeneutic, and symbolic exploration with field observations and traditional mentorship. The creative process followed three key stages: exploration through direct observation of Gambuh performances and Batuan traditional painting studios; improvisation through sketching and experimenting with visual composition; and forming, where the final works were developed using Chinese ink and watercolor on watercolor paper and canvas in the Batuan style. The artworks produced do not merely document the characters but reinterpret them as reflections of emotional and philosophical dimensions relevant to today’s social reality. This project concludes that Batuan painting offers a powerful visual medium to convey the layered narratives of Gambuh, enabling the audience to engage with classical themes of love, power, longing, and moral conflict through a contemplative visual experience.
Copyright (c) 2026 Ashlesha Barde, Ni Made Purnami Utami, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
EVOLUTION TOWARDS FREEDOM: SUN GOKONG AS A SYMBOL OF HUMAN BEHAVIORAL TRANSFORMATION AS INSPIRATION FOR SCULPTURE CREATION AT THE LABDA SCULPTURE STUDIO
This study aims to create a series of sculptures that represent the philosophical concept of freedom through the symbolic transformation of human behavior, using the character of Sun Gokong as the central figure. The research adopts a practice-based approach combining additive and subtractive sculpting techniques. Various materials, including aluminum wire, resin, gypsum, and clay, were used to construct six sculptures representing stages of human development from primitive existence to spiritual awareness. The results demonstrate that the sculptural series visualizes a gradual transformation of human consciousness, from instinctive behavior to rational and spiritually mature conditions. The final sculpture depicting Sun Gokong symbolizes the attainment of self-control and inner liberation. This study confirms that sculpture can function not only as an aesthetic object but also as a medium for philosophical reflection on human transformation and the meaning of freedom in contemporary life.
Copyright (c) 2026 Nyoman Ferry Frasnanda, I Made Bendi Yudha, I Ketut Mustika https://creativecommons.org/licenses/by/4.0
VISUAL SYSTEM OF WAYANG KAMASAN PAINTING
Iconography plays a crucial role in the visual interpretation of Wayang Kamasan, wherein various symbols and icons are embedded within a complex system that warrants in-depth analysis. This study, therefore, centers on the archiving and examination of iconography within the Wayang Kamasan painting tradition. The author conducts a stylistic documentation of several painters who are heirs to this tradition to map contemporary artistic tendencies in Kamasan. The rationale for this research arises from the paucity of scholarly inquiry into the visual aspects and creative processes, particularly the transformation of textual narratives into visual imagery. Under the auspices of the Gurat Institute, this research deconstructs the visual elements and narrative structures inherent in Kamasan painting. The objective is to systematically document and deepen the understanding of the formal structures and narrative strategies employed by the artists, while simultaneously fostering opportunities for novel explorations in iconography and thematic development.
Copyright (c) 2026 Made Chandra Putra Adnya, Luh Budiaprilliana, Anak Agung Gde Trisna Suryadinata T.Y. https://creativecommons.org/licenses/by/4.0
THE APPLICATION OF GLAZING AND PAINTING TECHNIQUES FOR COLORING CERAMIC TABLEWARE
This study explores the application of glazing and underglaze painting techniques in the creation of ceramic tableware inspired by the aesthetic qualities of plant forms. The research adopts a practice-based artistic approach consisting of observation, exploration, and material embodiment in ceramic media. The artworks produced include a series of functional tableware items, specifically three cups and three bowls, created using wheel-throwing and handbuilding techniques. Surface decoration was developed through carving and coloring processes that combine underglaze painting and glaze finishing to produce varied visual effects. The findings demonstrate that the integration of multiple coloring techniques enhances both the aesthetic quality and functional value of ceramic tableware. This study contributes to the development of creative strategies in ceramic art practice, particularly in the exploration of decorative surface treatments.
Copyright (c) 2026 Angeline Immanuel Sanusi, Tjokorda Udiana Nindhia Pemayun, Ni Made Purnami Utami https://creativecommons.org/licenses/by/4.0
WOMEN IN THE WORLD OF MODELING AS AN INSPIRATION FOR CREATING FINE ART PAINTINGS
This study explores how the female body is represented in the visual world of fashion as a source of inspiration in the creation of paintings that highlight female figures by emphasizing aesthetic and symbolic aspects. The representation of the female body in the modeling world is not merely a physical expression but also carries cultural constructions, ideologies, and complex social narratives related to women’s identity, roles, and existence in society. Within this approach, the body is understood as a space of expression that embodies grace, strength, and gentleness, as well as vulnerability, which can be transformed into a visual language in art. The research applies a practice-based creative exploration method, involving stages of visual observation, technical experimentation, and critical reflection on issues of bodily representation in visual art. The Sigar Mangsi technique, a distinctive Balinese painting tradition, is combined with the use of Chinese ink and acrylic paint to create expressive visual compositions. This combination of media symbolizes the duality of strength and fragility in the female body, visualized through metaphors such as insect fibers, wings, and butterfly forms as symbols of transformation and freedom. The resulting works depict female figures in artistic costumes rendered on canvas, presenting both glamorous and reflective nuances while contributing to the development of contemporary painting rooted in local wisdom. This study not only produces aesthetically engaging visual forms but also opens critical discourse on the body, beauty, identity, and symbolism in visual art, thereby enriching perspectives on the relationship between art, fashion, culture, and painting.
Copyright (c) 2026 Ni Nyoman Triani Sartika, I Wayan Gulendra, I Made Jodog https://creativecommons.org/licenses/by/4.0
THE ROLE OF AI IN CONTEMPORARY ART: CAN AI WORK BE CONSIDERED "ORIGINAL" ART?
The development of artificial intelligence (AI) in contemporary visual arts has presented both challenges and opportunities. This study examines the role of AI in art creation and its legal and ethical implications, particularly regarding copyright and originality. Using a qualitative descriptive method through literature review, this research analyzes how AI influences the definition of art and the role of artists in the digital era. The findings indicate that AI can serve as a creative tool that expands artistic exploration but raises debates over the authenticity and copyright of AI-generated works. Furthermore, this study recommends clearer regulations regarding the ownership of AI-based artworks to provide legal certainty for artists and technology users.
Copyright (c) 2025 Edy Semara Putra https://creativecommons.org/licenses/by/4.0
FACIAL EXPRESSIONS OF BIPOLAR COLOR: COMFORTABLE, EXCITED, CALM, LACKING SELF-CONFIDENCE, ELEGANT, ROMANTIC, AND PATIENT IN PAINTING
People with bipolar disorder often experience dramatic mood swings, characterized by manic, depressive and mixed symptoms. Drastic emotional changes include feelings of happiness, sadness, fear and other excessive emotions. By using the theory of color psychology, the author wants to visualize facial expressions that come from drastically changing emotional colors. These colors are combined in the opposite way like bipolar traits, resulting in new colors that are visualized in the form of facial expressions "Comfortable, Enthusiastic, Calm, Lack of Confidence, Graceful, Romantic and Patient".The method of creation is carried out through the stages of exploration or search for ideas, improvisation or experimentation, namely conducting various trials of techniques, compositions, sketch forms, blocking, combining materials, and trials of techniques such as paint melting techniques, marker and palette strokes, splashes, twig blows, and stamps; and formation, namely realizing it in the form of aesthetic works and in accordance with aesthetic works and in accordance with aesthetic and artistic experiences.
Copyright (c) 2025 dewa ayu sakania pradnya aristi, I Wayan Sujana, Ni Made Purnami https://creativecommons.org/licenses/by/4.0
ANXIETY DISORDERS AS A SOURCE OF INSPIRATION OF IDEAS IN THE CREATION OF PAINTING WORKS
This final report of this independent study/project raises the theme of anxiety disorders as a source of inspiration for the idea of creating a work of art. Anxiety disorders are a category of psychological disorders associated with feelings of anxiety and fear that occur excessively. Fear usually arises because of emotional or psychological feelings. Fear can also arise because of threats both physically and non-physically. The factors that underlie anxiety disorders are trauma, environment, and genetic factors. The problem faced is how to apply the concept, how to visualize the meaning contained in the work of art, what materials and media will be used in creating the work. The goal to be achieved in creating this work is to find out how anxiety disorders through creativity and imagination into the form of a work of art by combining certain techniques, styles, colors, and references to achieve the desired goal. From the theme above, there are 5 (five) works that can be realized with the titles: Claustrophobic, I Got PTSD, I Got GAD, Keep It Clean, and I Feel To. It can be concluded that anxiety disorders inspire the author in creating works of art and developing imaginative ideas and concepts, which will become valuable and meaningful works. With the creation of this work, it is hoped that it will be able to convey a moral message, as well as being an educational medium about anxiety disorders.
Copyright (c) 2025 I Gede Bayu Arisuta, I Gede Yosef Tjokropramono, I Made Jodog https://creativecommons.org/licenses/by/4.0
CAFE LIFE VISUALIZATION IN DIGITAL ARTWORK
This independent project report is entitled "Visualization of Cafe Life' in Digital Artwork and aims to reveal the phenomenon of life in a coffee shop through digital artwork. This study explores how the function of a coffee shop has shifted, which now not only provides coffee, but also sells a lifestyle that is popular with many people. This study also illustrates the anxiety that the author faces when carrying out his two daily activities as a barista and a student. The process of creating this digital artwork involves stages of exploration, improvisation, and formation, which are realized using digital media such as iPads and illustration software. The result is a series of digital illustration artworks that identify aspects of life in a coffee shop, and the researcher's personal challenges in carrying out two activities. There are six works produced, all of which are based on digital illustrations and the presentation media themselves vary from drinking cups, coffee grinders, tote bags, and t-shirts. This research contributes to the understanding of cafe life as a socio-cultural phenomenon and technological development, and offers a new perspective in creating digital artwork that is relevant to the development of the times. It is hoped that this work can inspire students, artists, and the younger generation to continue exploring and developing their creative potential through the use of digital technology and direct experience in everyday life.
Copyright (c) 2025 I Komang Sucita, I Wayan Adi Sucipta, Luh Budiaprilliana https://creativecommons.org/licenses/by/4.0
THE IMPACT OF PLASTIC USE ON MARINE LIFE AS A SOURCE OF INSPIRATION FOR THE CREATION OF INSTALLATION ARTWORKS USING VIDEO MAPPING AND LASER TECHNOLOGY
Art is basically created through experience, whether personal experience, other people's, socio-cultural environment, politics or religion. Art becomes a medium for artists to express ideas, concepts, from experiences felt, which are manifested in a beautiful and meaningful work of art. Along with the development of the times, art also develops. This means that the development of art is something that cannot be avoided. Likewise in the Jagratara installation artwork, with the use of technology, this Jagratara installation artwork is present as a new color in the world of art. This installation artwork is inseparable from the results of several methods carried out by the creator, including the recycle method and the exploration method. The Recycle method is a process of turning used materials into new materials with the aim of preventing waste that can actually be something of artistic value, while the media exploration method is a method as a medium to express the potential and creativity of the compiler. Basically, this method is used as an ability to find, create, redesign, and combine new or old things or ideas into new combinations of various mediums, techniques, ideas and personal interpretations in depicting the reality chosen to be visualized. Jagratara comes from Sanskrit which means always alert. The word always be alert is often heard when signs of danger begin to appear. Always be alert is a reminder sentence that is often said when danger is coming. This installation artwork is present with the aim of being a reminder and reflection on the negative impacts of plastic use, especially for marine ecosystems.
Copyright (c) 2025 Arief Makhrozi Y, I Wayan Karja, Anak Agung Gde Trisna Suryadinata T.Y. https://creativecommons.org/licenses/by/4.0
FIRE CHARACTERS AS SYMBOL OF AN EMOTION IN THE CREATION OF WORKS OF PAINTING
This report contains a description of the creation of works of painting with the theme "Fire character as a symbol of an emotion in the creation of works of painting." This theme is inspired by the use of fire symbols to represent various emotions in art. In general, this report discusses how the symbol of fire can be used to depict emotions and characters in works of art. The problem faced is how to visualize emotions and characters through the symbol of fire to represent ideas, phenomena, meanings and techniques presented in creating works of painting. The creation method is a process of creating work systematically. In realizing this creation, the methods used include: basic research, exploration stages, experimentation, improvisation, and formation. The aim to be achieved in creatingthis work is to reveal how fire as a symbol of emotion can be a medium for creativity and imagination in the form of paintings, by applying the principles of fine art to create six works during this sixth semester.
Copyright (c) 2025 Ida Bagus Mas Putra Rahditya, I Ketut Mustika, I Gede Jaya Putra https://creativecommons.org/licenses/by/4.0
THE SANGHYANG JARAN DANCE IN NYALIAN VILLAGE, KLUNGKUNG, AS A SOURCE OF INSPIRATION FOR THE CREATION OF VISUAL ART WORKS
The report on the creation of this work of pure art was inspired by the Sanghyang Jaran dance in Nyalian Village, Banjarangkan District, Klungkung Regency. As a source of inspiration for creative ideas, the author has lived side by side with the Balinese customs and traditions around him since childhood, and one of them is the Sanghyang Jaran dance. The Sanghyang Jaran dance is also a religious art because it involves the spirit of Sanghyang Jaran, which will possess the selected dancer and will experience a trance, and Sanghyang Jaran dance performances are held at several temples. is in Nyalian Village. The creation process used stages: basic research, exploration, canvas experiments with acrylic paint totaling 4 (four) works, and 2 (two) works of wood-based sculpture. In the process of creating the work, the author took references from the Wasundari Kamasan studio as a source for creating the work. The author combines the ornaments given. In the creation process, the author took the form of patterns, proportions of rock shapes, standards, and several other techniques.
Copyright (c) 2026 I Putu Eka Darmasuta, I Wayan Setem, I Wayan Adi Sucipta https://creativecommons.org/licenses/by/4.0
CILI AS A SOURCE OF INSPIRATION FOR IDEAS FOR CREATING WORK OF FINE ART
This report describes the creation of works of painting with the theme "Cili as a source of inspiration for ideas for creating works of fine art", which was inspired by the unique shape of a cili, a ceremony in agrarian life that is involved in most people. In this case, Cili is a symbol of the transformation of the Goddess Sri into the Goddess of Fertility, Prosperity of the Mother Goddess or Mother Earth, from the land or Mother Earth all human needs emerge, for example plants and others. Cili is a symbol that is closely related to life and fertility. sometimes cili is associated with the goddess Sri, the goddess of rice, who symbolizes fertility. The meaning of chili in Balinese culture is closely related to the ceremonies in agricultural life that most people participate in. In this case, chili becomes a symbol of the reproduction of Dewi Sri as the goddess of fertility, prosperity of the Mother Goddess or Mother Earth, from whom the land or Mother Earth produces all human needs, for example plants and others. In the creation process using steps: basic research, exploration, improvisation. In the process of creating the work, the author took references from the Wasundari Kamasan studio as a source for creating the work. The author combines the given ornaments. In the creation process the author took the shape of water, the shape of rocks, and the shape of a tree.
Copyright (c) 2025 Pande Komang Budhi Sastra Utama, I Wayan Setem, I Wayan Kondra https://creativecommons.org/licenses/by/4.0
SUSTAINABLE ART MANAGEMENT IN THE SCOPE OF FOLK ART FESTIVALS
In the ever-evolving evolution of cultural events, the integration of sustainable practices in curatorial and art management is becoming increasingly important. This report explores the application of sustainability strategies in the context of art festivals, examining the intersection between environmental responsibility, cultural preservation, and community engagement. By analyzing case studies of leading art festivals that have successfully adopted sustainability practices, the report identifies key approaches such as resource optimization, waste reduction, and promotion of eco-friendly materials. In addition, the report highlights the role of stakeholders, including artists, organizers, and spectators, in fostering a culture of sustainability. These findings underscore the potential for sustainable arts management that not only reduces the environmental impact of festivals but also increases social and economic impacts. The report aims to provide a comprehensive framework for art festival organizers to integrate sustainability into their planning and implementation processes, ultimately contributing to a more resilient and responsible cultural sector.
Copyright (c) 2026 Joey Rahmat, I Wayan Sujana, I Made Jodog https://creativecommons.org/licenses/by/4.0
CURATORIAL PAINTINGS BY I WAYAN BENDI AND IDA BAGUS INDRA COLLECTION OF THE RUDANA MUSEUM
The internship at the Rudana Museum provided valuable experiences in the curatorial field, deepening the author's understanding of the curator's role in preserving and showcasing art collections. The author participated in exhibition projects, including background research on artworks and collection preparation. The works of artists like I Wayan Bendi and Ida Bagus Indra were analyzed to understand the philosophical, spiritual, and social meanings they embody. During the internship, the author evaluated the need for in-depth research, team coordination, and communication strategies for different audiences. The author also analyzed the stylistic differences between I Wayan Bendi's more experimental and contemporary works and Ida Bagus Indra's classical and detailed pieces. These differences reflect the variations in their experiences and approaches to Balinese fine art in the modern context. This internship provided insights into the challenges and opportunities in curatorial work, highlighting the importance of teamwork and dedication to cultural heritage preservation. The experience enriched the author's practical knowledge and expanded their understanding of the importance of collection accessibility through educational approaches and public programs.
Copyright (c) 2025 Serevina Rikel Carroland Ginting, I Wayan Kondra, I Wayan Gulendra https://creativecommons.org/licenses/by/4.0
VISUAL EXPRESSION OF THE LOTUS FLOWER PHILOSOPHY IN PAINTING ARTWORKS
This report explains the creation of a painting with the theme "Visual Expression of Lotus Flower Philosophy in Painting". The abstract of the lotus flower philosophy describes the beauty that emerges from less than ideal conditions, where the lotus grows from mud but remains clean and beautiful on the surface of the water. In its life, the lotus flower is a plant with beautiful flowers, but behind the beauty of its flowers, the plant grows in a muddy and dirty environment to achieve the beauty of the lotus flower. This abstract reviews the application of the lotus flower philosophy in human life, describing how values such as resilience, beauty, and growth can be applied in the context of personal and professional development. The statement about the life of the lotus flower contains important values that can be applied in human life, how values such as resilience, beauty, and growth can be applied in the context of personal and professional development. This philosophy also describes the importance of living in the midst of difficulties, seeking light in the darkness, remaining calm in chaos, and how we process ourselves in finding our identity. By exploring the balance between hardness and softness, and the ability to thrive in difficult environments, this philosophy inspires humans to reach their highest potential in everyday life. This report explains the concept of painting inspired by the philosophy of the lotus flower that can be applied in human life by exploring the aesthetic elements and symbolism in the lotus flower. This painting tries to capture the beauty and meaning of the philosophy of the lotus flower with a creative context. by combining various techniques in one painting that can symbolize the meaning and philosophy of the lotus flower.
Copyright (c) 2025 I Made Prayoga, Luh Budiaprilliana, I Dewa Putu Gede Budiarta https://creativecommons.org/licenses/by/4.0
APPLICATION OF DECORATIVE PAINTING ON TABLEWARE CERAMICS
This internship/work practice report explores the theme of nature and its surroundings as the inspiration for creating artwork. In this project, the author is inspired by the natural environment, including the sea, leaves, and stones. From these ideas, textures, shapes, and colors are developed in the artworks. The work created will be tableware. Tableware refers to the dishes and utensils used by people for eating and drinking. Besides its primary functions of eating, serving food, and setting the table, tableware can also serve as decorative art that can be displayed. The goal of this project is to make functional tableware more attractive by applying painting art, making it not only functional but also decorative. The artworks feature various techniques in terms of shape, texture, coloring, decoration, and more. The creation process begins with observation, studying, and managing ideas, followed by contemplation, and ultimately the creative process is realized through painting on ceramics. This report aims to understand the utility of the tools and materials, as well as the stages of the creation process. In conclusion, the author has gained valuable learning and knowledge during the internship/work practice. The author hopes that this creation will serve as an inspirational piece for readers.
Copyright (c) 2025 Ivana Gabriella Halim, I Ketut Mustika, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
DESIGNING TATTO ARTWORK WITH THE CONCEPT OF BALI CULTURE USING THE DARK ART STREAM AT KINK TATTO BALI
This study explores Balinese culture through Dark Art to depict the grandeur and complexity of the community's spirituality. Dark Art, with its dark tones and profound symbolism, reflects the mystical power and sacredness of nature represented by mythological figures like Dewi Durga. In Balinese culture, Dewi Durga symbolizes the formidable forces of nature, revered through various rituals and arts. Her portrayal in a horror-themed style emphasizes not only the terrifying aspects but also the majesty and sacred mystery of nature. Dark Art elements such as horror nuances and Rangda masks enhance the symbolism of the niskala (spiritual) world, a vital aspect of Balinese life. The Rangda mask, often associated with negative forces, represents diseases or spiritual disturbances that are addressed through traditional rituals. The use of these elements illustrates how Balinese people maintain balance between physical and spiritual aspects. The study's artistic outcomes combine Dark Art aesthetics with Balinese traditions, creating a profound visual interpretation of the community's views on nature and spirituality. This approach highlights the significance of the niskala realm in Balinese culture, particularly in preserving harmony in life. The research contributes to understanding how Balinese art and culture utilize Dark Art symbolism to express their beliefs and spiritual practices.
Copyright (c) 2025 I Made Agus Wira Dharma, I Dewa Putu Gede Budiarta, I Gede Jaya Putra https://creativecommons.org/licenses/by/4.0
DEATH AND REINCARNATION AS INSPIRATION OF CREATION FINE ARTWORK
This report contains a description of the creation of works of art that take the theme "Death and Reincarnation as Ideas in the Creation of Works of Art" which was inspired when reading a book that made the author interested in raising the theme of death in this semester IV independent project, namely the book "History of Death" from Michael Kerrigan. It reminded the author of the confusion of finding a concept and finally it was recommended to use a concept that was close, so the author raised death because there is nothing closer to death. The goal to be achieved in the creation of this work is to find out how death and reincarnation are packaged in religious sciences, cultures that exist in Indonesia, especially Bali through creativity and imagination into the form of paintings using various techniques, media, considering the elements and principles of fine art. From the written work and paintings produced, the author hopes that this work will be useful as literacy and a source of inspiration for society in the future. From the above theme, there are 5 (five) works that can be realized from death and reincarnation that can provide an overview of culture and religious science about death and reincarnation, especially in Bali.
Copyright (c) 2025 I Nengah Kariana, I Nengah Wirakesuma, I Made Ruta https://creativecommons.org/licenses/by/4.0
BALINESE MASKS AS A SOURCE OF INSPIRATION FOR IDEAS IN THE CREATION OF PAINTING WORKS
Mask art is one of the cultural arts products of the Indonesian people that we still encounter a lot. In various regions, masks have different roles and functions because each region has different customs and beliefs. Apart from being associated with dance, Balinese masks are also often used in theatrical performances or a combination of dance and theater, because Balinese masks themselves have many different characters. Balinese masks themselves have many meanings of life in them which the author then packages into a work of painting which contains messages and knowledge that can broaden insight for a wide audience. The creation method used is a method of creation by creating works of painting in a systematic way. The stages of creating a work of painting which outlines the design of the process of creating a work of art according to the stages of creation from getting the inspiration (idea), designing, to realizing the work of art is a creation method developed by Hawkins. The author chose Balinese masks as an idea for creating this painting because Balinese masks themselves have many different characters, Balinese masks themselves have many meanings of life in them. Which is then packaged by the author into a work of fine art containing messages and knowledge that can broaden insight for a wide audience. This makes the author create paintings using masks as objects combined with the shape of the human body to support the creation of inspirational ideas.
Copyright (c) 2025 I Gusti Made Dwi Suantara Putra, I Wayan Gulendra, Ni Made Purnami Utami https://creativecommons.org/licenses/by/4.0
FLOWER METAPHOR INSPIRATION IN FINE ARTS
This report is written to explain the creation of a work of art with the theme "Flower Metaphor Inspiration in Fine Arts". This topic is inspired by the author's experience when he listened to stories from his friends and books that talk about the meaning of flowers. Metaphor is a figure of speech that uses words or groups of words with figurative meanings, not their real meanings, to describe something by comparing it to something else. The flower metaphor is argued here as a small part that is almost the same as a colorful life journey. This work identifies how the flower metaphor is a meaning that produces the expression of a woman's feelings through creativity and imagination in artwork. There is one work that will be produced in the form of a painting. Each work will use various techniques and media, based on the essence and principles of fine art. More specifically, this report covers how artists use artwork to express the flower metaphor that represents a woman's feelings. Thus it can be seen that every visual artwork of the flower metaphor can appear in a smile, disappointed, disappointed, broken, love. Therefore, the other side of this artwork can help to do an in-depth and interpretive analysis on this painting, and strictly speaking, this will allow to gain an understanding of the complexity of the flower metaphor that is the inspiration in this work.
Copyright (c) 2025 Anak Agung Ramanda Putra, I Wayan Mudana, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
BALI PUPPET IN CONTEMPORARY PAINTING ART
The independent campus learning program is a policy of the Minister of Education and Culture, which aims to encourage students to master various knowledge that is useful for entering the world of work. This independent project study report highlights the concept of Balinese Shadow Puppetry in Contemporary Painting. Departing from the rare Shadow Puppetry which has become one of the inspirational ideas for creating art. The selection related to Shadow Puppet visuals in the creation of this work of painting presents the story of wayang as expressed through 6 (six) works of Painting. The problem faced is the concept, method and embodiment of Balinese Shadow Puppetry in Contemporary Painting. The aims and benefits are to provide a reflection on the creation of Balinese Shadow Puppets in Contemporary Painting. To answer the problems above, the creation method is a solution by applying exploration, improvisation, forming. Soedarsono (2001: 207), in realizing his work, the author used his own techniques or (experiments) combined with Shadow Puppet visuals and combined them with the characteristic ornaments of Sanggar Wasundari. Wet technique and application of color from Shadow Puppet and Kamasan Puppet. It is hoped that it can produce quality work and become the identity of the creator. In the end, it can be concluded that Balinese Shadow Puppets can inspire writers in creating valuable and meaningful works. With the creation of this work, it is hoped that it will be able to convey the message in this work of painting.
Copyright (c) 2025 I Wayan Swantara Yoga, I Wayan Mudana, I Wayan Kondra https://creativecommons.org/licenses/by/4.0
This study aims to analyses the characteristics of portraiture in realistic tattoo art, one of the most popular tattoo styles today. The main focus of this research is to identify the key elements that make portrait tattoos look realistic and lifelike, as well as the techniques used by tattoo artists to achieve these results. This research is part of the MBKM internship report and employs a descriptive qualitative research method. Data were collected through interviews with tattoo artists experienced in the realistic style, direct observation during the tattoo-making process, and photographic documentation of their works. Content analysis was used to identify common features that define realistic portrait tattoos, such as accuracy in capturing facial proportions, placement of light and shadow, and the use of smooth shading gradients to create depth effects, along with attention to small details that enhance the realistic impression. The main findings of this study show that accuracy in depicting facial expressions and skin texture significantly impacts the quality of realistic portrait tattoos. Additionally, a deep understanding of facial anatomy and proficiency in ink application and colour gradients are crucial factors. The implications of this research suggest that mastering these techniques not only improves the quality of tattoos but also promotes the development of the realism style within the tattoo art industry.
Copyright (c) 2025 I Kadek Dena Ari Prayoga, I Gede Yosef Tjokropramono, I Gede Jaya Putra https://creativecommons.org/licenses/by/4.0
TUNA FISH AS A SOURCE OF INSPIRATION FOR IDEAS IN THE CREATION OF PAINTINGS
The final report of this independent study/project raises the theme "Tuna Fish as a Source of Inspiration in the Creation of Paintings". The phenomenon of fish bombing, especially referring to tuna which still often occurs even though it has been urged and given a deterrent effect by giving fines or imprisonment, but there are still many who use explosives or bombs to hunt fish, the cause of fishing perpetrators is mostly aimed at getting a lot of profit in a short time and with the energy expended is so limited. The problem faced is how to apply the concept and how to visualize the meaning contained in the painting, the purpose to be achieved in the creation of this work is to appeal to the wider community, especially those in coastal areas and to ISI Denpasar students not to use explosives or bombs in catching tuna and other fish. Through the idea of creativity and imagination channeled into the form of paintings by combining certain techniques, styles, symbols, colors, and references to achieve the desired goals and meanings. It can be concluded that tuna fish inspire writers in creating paintings and develop imaginative ideas and ideas that will become valuable and meaningful works. With the creation of this work, it is hoped that it will be able to convey messages and meanings, as well as an educational medium from the impact of tuna bombing.
Copyright (c) 2025 I Putu Bisma Maha Gangga, I Wayan Adnyana, Ni Made Purnami Utami https://creativecommons.org/licenses/by/4.0