The existence traditional pottery in Banjar Basangtamiang, Kapal Village, Mengwi Sub-district, Badung Regency cannot be separated from the influence of global culture. The pottery craft center still serves the needs of the local community in Bali, even though there are various types of pottery from outside of Bali as a competitor. This article aims to describe the existence of traditional pottery craft in Banjar Basangtamiang as a cultural heritage on the global era. This research was done on 2016–2017. The collection (...) of data was done using observation, interview, and documentation. The results show traditional pottery craft in Banjar Basangtamiang Kapal Village is a hereditary culture lived by artisans to the extent called as heritage. Thiscraft survives despite the existence of the pottery from outside Bali that is being sold in Bali and the global influence in artisans’ life. The factors influencing this existence is that traditional pottery is needed by Hindu community in Bali as a mean for religious, custom, and cultural ceremonies. The artisan would not leave their occupation as pottery crafter in fear of experiencing calamity. Nowadays, the young generations are less interested in pursuing this occupation. (shrink)

Men Brayut is one of the interesting stories of Balinese people since ancient times until present that acts as a source of inspiration in art. This study aimed creating and describing the ceramic sculptures inspired by the Men Brayut story. This research uses qualitative descriptive approach in which the researcher becomes the main instrument. Data collection by observation and documentation. This statue was made using SP Gustami's creation method namely exploration, improvisation and embodiment. The results show that the creation process (...) of ceramic sculpture featuring Brayut image can be separated into two, they are the process of making the main character of Men Brayut and the process of making Brayut‟s children as an ornamental media that can show the image of Brayut on the sculpture. The creation this sculpture was started from the bottom using the combined technique of slab, pinching, and coil. Based on its function, the creation of this statue is functioned as the ornamentation and the practice as well as the ornamentation. This work implemented the green, blue and brown glazes with the combustion tempera-ture was 1200°C. Some of the created works were titled to Joy, Fatigue, Affection, and Affection 2. (shrink)

The advantage ceramic of Balinese Kamasan ornament, it has a very strong Balinese identity. Therefore, the this ceramic creation was a novel creation by ceramic artists in Indonesia. Purpose this study to explain the process creation, types of products, and the meaning of ceramic craft creation the Balinese Kamasan puppet. The determination data sources by purposive sampling. Data collection methods by observation, interview, and documentation techniques. The results of creation process consisted of several stages with a fairly long process, from (...) the design to the final combustion process, which iscombusting the puppet ornaments on the ceramics surface at a temperature 10000C. The types of ceramic products produced, namely sangku and jars in several variations. Each ornament presents a snippet of a puppet story which is useful as a reflection of human life. The meaning shown from this creation was creativity, preservation, economy, and the national identity. The study finding was the ceramic creation process required a long time and high accuracy with painting techniques. The conclusion was this creation process requires patience and thoroughness and is part of the preservation of Balinese culture. (shrink)

The puppet arts in Bali can be found in the wayang Kamasan painting at Kamasan Village, Klungkung Regency. This painting inspired the creation and development of new handicraft in Bali. The objectives this research: 1. To find the wayang Kamasan painting in Klungkung Regency; 2. To find the development of handicraft types in Bali inspired by wayang Kamasan painting. This research used a qualitative descriptive approach, and data collection by observation, interview, and documentation. The results that wayang Kamasan painting is (...) estimated to have existed since the reign of the ancient Bali kingdom, which was during the reign of King Dalem Waturenggong in Semarapura Klungkung. The wayang Kamasan painting character painted on a canvas with a light brown base color, stiff, two-dimensional, and the description follows the applied standards. The figures depicted taken from Ramayana and Mahabharata story. The Balinese handicrafts inspired by wayang Kamasan painting include ceramics, wovens such as sokasi/keben, keris sheath, dulang, bokor, guitars, beruk, and others. The authors expect in the future the wayang Kamasan painting can survive, and emerges the world's concern for its preservation. (shrink)