I Ketut Sunarya
Biographic Data
| ID | 4984369 |
|---|---|
| NAME | I Ketut Sunarya |
| GIVEN NAMES | I Ketut |
| FAMILY NAME | Sunarya |
| SIGNATURE | SUNARYA I K |
| AFFILIATIONS | Yogyakarta State University |
| ORCID | 0000-0001-6555-0001 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Kembar Mayang and Ronce as Motif Ideas in Natural Dye Batik of Keci Beling Leaves and Honey Mango Leaves
The aim of this research is firstly to create a new motif from Kembar Mayang and Ronce. Secondly, process Keci Beling leaves and honey mango leaves into batik colors. Lastly, find suitable clothing from these motifs. The method of this research is research and development, from processing cultural and natural resources, and then questioning the public about the suitability of the fashion function. The Kembar Mayang and Ronce motifs are interpreta…
Sacred and profane kriya in the island of Bali
This article examines Balinese kriya’s development from sacred to profane. This research is qualitative research with a historical approach. The results show that the presence of past works cannot be separated from the purpose of the religious offering or ceremony. The kriya prehistoric period, which continued in the 8th to 10th centuries with the arrival of Hinduism, was a period of enlightenment. The sacred statues were born as symbols of gods,…
Kriya di Pulau Bali
Kriya merupakan akar seni rupa di Indonesia. Di Bali kriya ketakson terwujud karena fungsi utamanya sebagai simbol Sang Suci, dan menjadi batu loncatan bertemu dengan-Nya. Ia bersifat sakral, dihormati serta dikeramatkan oleh masyarakat. Sejalan konsep ajeg Bali, guna mengantisipasi keberlanjutan kebudayaan Bali, maka keluar keputusan penggolongan sifat budaya (kriya) Bali menjadi 3 (tiga), yakni; wali, bebali, dan balih-balihan. Penggolongan ini…
Kriya Bebali in Bali
In Bali, kriya is classified into three, wali, bebali, and balih-balihan. The classification is based on the nature of the sacred and profane. The sacred nature is reflected in the kriya wali and bebali. This article is focusing on kriya bebali, which is a vein of the community in carrying out their religion; simultaneously, religion is the main driver of the creation of kriya bebali because the perfection of kriya bebali lies in its usefulness i…
The Concept of Rwa Bhineda Kriya on the Island of Bali towards Jagadhita
The concept of “rwa bhineda” on the island of Bali is reflected in the intertwining of “kriya,” religion, tourism and local customs as regulators. These qualities make “kriya” beautiful because it is very adequate in carrying out its functions, namely meeting religious and non-religious needs. This art is sacred and profane, reflecting the nature of “kaja” (north) and “kelod” (south), which denotes mountains and sea, or upstream (above) and “tebe…
Uma Lengge Dalam Kreasi Batik Bima
IKM Batik di Bima, Nusa Tenggara Barat mulai berkembang, tetapi belum memiliki motif khas daerah. Oleh karena itu perlu diciptakan motif batik yang memiliki ciri khas daerah Bima. Tujuan penelitian penciptaan seni ini adalah untuk menghasilkan kreasi baru motif batik yang sumber inspirasinya diambil dari seni budaya daerah setempat, sehingga dapat menghasilkan motif batik berciri khas daerah Bima. Metode yang digunakan yaitu pengamatan mendalam, …
Perkembangan Seni Kriya Di Tengah Perubahan Masyarakat
As human creation, fine art is a human or cultural fact as well as asemiotic fact. A fine art has a specific existence that distinguishes it from otherhuman facts, that is an existence feature inseparable from the balanceconsideration between reason and feeling. Therefore, despite an artist' freedomin actualizing and appreciating what he wants to express, he needs to hold thebasic principle of fine art, namely its closeness to human life. The bas…
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Perkembangan Seni Kriya Di Tengah Perubahan Masyarakat
As human creation, fine art is a human or cultural fact as well as asemiotic fact. A fine art has a specific existence that distinguishes it from otherhuman facts, that is an existence feature inseparable from the balanceconsideration between reason and feeling. Therefore, despite an artist' freedomin actualizing and appreciating what he wants to express, he needs to hold thebasic principle of fine art, namely its closeness to human life. The bas…
Uma Lengge Dalam Kreasi Batik Bima
IKM Batik di Bima, Nusa Tenggara Barat mulai berkembang, tetapi belum memiliki motif khas daerah. Oleh karena itu perlu diciptakan motif batik yang memiliki ciri khas daerah Bima. Tujuan penelitian penciptaan seni ini adalah untuk menghasilkan kreasi baru motif batik yang sumber inspirasinya diambil dari seni budaya daerah setempat, sehingga dapat menghasilkan motif batik berciri khas daerah Bima. Metode yang digunakan yaitu pengamatan mendalam, …
The Concept of Rwa Bhineda Kriya on the Island of Bali towards Jagadhita
The concept of “rwa bhineda” on the island of Bali is reflected in the intertwining of “kriya,” religion, tourism and local customs as regulators. These qualities make “kriya” beautiful because it is very adequate in carrying out its functions, namely meeting religious and non-religious needs. This art is sacred and profane, reflecting the nature of “kaja” (north) and “kelod” (south), which denotes mountains and sea, or upstream (above) and “tebe…
Kriya Bebali in Bali
In Bali, kriya is classified into three, wali, bebali, and balih-balihan. The classification is based on the nature of the sacred and profane. The sacred nature is reflected in the kriya wali and bebali. This article is focusing on kriya bebali, which is a vein of the community in carrying out their religion; simultaneously, religion is the main driver of the creation of kriya bebali because the perfection of kriya bebali lies in its usefulness i…
Kriya di Pulau Bali
Kriya merupakan akar seni rupa di Indonesia. Di Bali kriya ketakson terwujud karena fungsi utamanya sebagai simbol Sang Suci, dan menjadi batu loncatan bertemu dengan-Nya. Ia bersifat sakral, dihormati serta dikeramatkan oleh masyarakat. Sejalan konsep ajeg Bali, guna mengantisipasi keberlanjutan kebudayaan Bali, maka keluar keputusan penggolongan sifat budaya (kriya) Bali menjadi 3 (tiga), yakni; wali, bebali, dan balih-balihan. Penggolongan ini…
Sacred and profane kriya in the island of Bali
This article examines Balinese kriya’s development from sacred to profane. This research is qualitative research with a historical approach. The results show that the presence of past works cannot be separated from the purpose of the religious offering or ceremony. The kriya prehistoric period, which continued in the 8th to 10th centuries with the arrival of Hinduism, was a period of enlightenment. The sacred statues were born as symbols of gods,…
Kembar Mayang and Ronce as Motif Ideas in Natural Dye Batik of Keci Beling Leaves and Honey Mango Leaves
The aim of this research is firstly to create a new motif from Kembar Mayang and Ronce. Secondly, process Keci Beling leaves and honey mango leaves into batik colors. Lastly, find suitable clothing from these motifs. The method of this research is research and development, from processing cultural and natural resources, and then questioning the public about the suitability of the fashion function. The Kembar Mayang and Ronce motifs are interpreta…
Cultural and Artistic Studies (5 works) · Art (4 works) · Cultural and Religious Practices in Indonesia (3 works) · Aesthetics (2 works) · Community-based Tourism Development and Sustainability (2 works) · Medicine (2 works) · Philosophy (2 works) · Semiotics and Cultural Interpretation (2 works) · Sociology (2 works) · Theology (2 works)