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tri hita karana a conception in conducting balinese arts - Institut Seni ...

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voice activity <strong>in</strong> electronic media besides to comfort society, also<br />

give <strong>in</strong>formation about philosophy, tatwa, manner, and etc. This<br />

activity to establish the harmony relationship among humanity, so<br />

will be happened an <strong>in</strong>teractive between s<strong>in</strong>ger (someone who s<strong>in</strong>g<br />

tembang) <strong>in</strong> the studio with audience <strong>in</strong> the home. In Tri Hita<br />

Karana <strong>conception</strong>, the balance and harmony relationship is called<br />

pawongan. Such too gaguritan that take a theme of environments like<br />

geguritan Cangak, Angsa teken Empas, etc. is a expression<br />

relationship between human with environments. Pupuh Jerum and<br />

Alis-Alis Ijo that are performed on mecaru ceremony (Buta Yadnya)<br />

is a manifestation of human relationship with its surround<strong>in</strong>gs. In Tri<br />

Hita Karana <strong>conception</strong> is called palemahan.<br />

3.5 Tri Hita Karana <strong>in</strong> F<strong>in</strong>e Arts<br />

A f<strong>in</strong>e art is art that its expression decanted <strong>in</strong>to two and three<br />

dimensionals and this art has form (visual). The simplest form <strong>in</strong><br />

pa<strong>in</strong>t<strong>in</strong>g is “dot” if all dots are flock straightly we get “l<strong>in</strong>e” form,<br />

then l<strong>in</strong>es are flock becomes “ rooms” form. So that “form” is basic<br />

elements of all realizations <strong>in</strong> f<strong>in</strong>e <strong>arts</strong>, pretend<strong>in</strong>g to constitute its<br />

build materials (Djelantik,1990: 18).<br />

In art of pa<strong>in</strong>t<strong>in</strong>g, we often see pa<strong>in</strong>t<strong>in</strong>g that its object is taken<br />

from God, human, wayang, animal, plants, etc. A pa<strong>in</strong>t<strong>in</strong>g that has<br />

pepatran form, wayang, dragon, as an ornament on langse, ulon,<br />

pedapa, and saput saka that are used to decorate pura's build<strong>in</strong>g<br />

<strong>in</strong>cluded pel<strong>in</strong>ggih, that is art which devoted to create the balance<br />

with The God. The pa<strong>in</strong>t<strong>in</strong>g of Sanghyang Ac<strong>in</strong>tya (a symbol of<br />

Sangyhang Widhi) on a cloth is called “Ulap Ulap” is usually used on<br />

pemelaspas ceremony of new build<strong>in</strong>g, tample, and also house. A<br />

pa<strong>in</strong>t<strong>in</strong>g on umbul umbul, kober, tedung (umbrella) <strong>in</strong> Tri Hita<br />

Karana <strong>conception</strong> is called parhyangan which is balance<br />

relationship between human with The God via pa<strong>in</strong>t<strong>in</strong>g.<br />

Variably of pa<strong>in</strong>t<strong>in</strong>g that its object of God, human, nature<br />

landscape, animal etc. which are exhibited <strong>in</strong> a gallery, art shop, art<br />

market that accentuates aesthetical for satisfaction to divide its<br />

beneficiary, can say this function to prevent harmony relationship<br />

between human with humanity, and environment, <strong>in</strong> Tri Hita Karana<br />

<strong>conception</strong> is called pawongan and palemahan.<br />

In spite of statue and art of carv<strong>in</strong>g that we can f<strong>in</strong>d <strong>in</strong> any<br />

place, can be said as expression of artist <strong>in</strong> form “face”. The face can<br />

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