Multinarasi Relief Yeh Pulu Basis Penciptaan Seni Lukis Kontemporer

Kajian ini merupakan skema penelitian terapan, yang bertujuan untuk mengungkap konsep multinarasi relief Yeh Pulu, Bedulu, Gianyar, Bali, sebagai basis penciptaan seni lukis kontemporer. Secara metodologis penelitian ini dilakukan dalam dua tahapan: penelitian lapangan (kajian atas narasi relief) berdasar perspektif ikonologi Panofsky (1971), dan berikutnya penelitian eksperimen terkait penciptaan seni lukis kontemporer berdasar perspektif ‘art practice as a research’ (Sullivan, 2005) yang menunjuk pada tiga tahapan: eksperimen medium, bahasa visual, dan penyusunan konteks yang relevan. Berdasar kajian ikonologi, terutama tahap analisis ikonografi, ditemukan bahwa narasi relief Yeh Pulu bersifat multinarasi, yakni pahatan relief yang memiliki beragam jenis tema cerita, seperti praktik pertanian, berburu, meditasi, pesta, asmara, dan lain-lain. Kemudian konsep multinarasi dalam penciptaan seni lukis kontemporer, menjadi: (a) secara medium menggunakan multiteknik dan medium; (b) bahasa visual, menghadirkan berbagai adegan secara berulang, terpadu dan bahkan terkesan saling berlawanan; (c) konteks yang relevan, dengan memasukan ikon tokok-toko pahlawan dunia pop, seperti superman, superwomen, dan lain-lain. Secara ikonologis, bangunan visual yang mempertemukan adegan multinarasi relief Yeh Pulu dengan narasi kepahlawanan dunia pop, menjadi semakin menguatkan konsep multinarasi dalam membangun pesan kepahlawanan dunia sehari-hari dalam karya seni lukis kontemporer semakin berhasil. Penelitian ini melibatkan: Anak Agung Rai Remawa (pengumpul data), dan  Ni Luh Desi In Diana Sari (fotografi dan layout).This paper serves as an applied research scheme which aims to reveal the concept of multiple narratives of Yeh Pulu Relief, located in Bedulu, Bali, as the basis for the creation of contemporary painting. Methodologically speaking, this study was conducted in two stages: a field research (a field study on the relief narratives) based on Panofsky’s perspective on iconology (1971), and an experimental research on the creation of contemporary painting based on the perspective of ‘art practice as a research’ (Sullivan, 2005) which consists of three stages: medium experimentation, visual language depiction, and relevant context preparation. Based on the study of iconology, particularly the stage of iconographic analysis, it was found that Yeh Pulu relief contains multiple narratives in that the sculptural relief has various narrative themes, such as farming, hunting, meditation, feast, romance, and others. The concept of multiple narratives in the creation of contemporary painting has led to: (a) the use of multiple techniques and media; (b) visual language depiction by presenting the scenes repeatedly, where they are clashed one against another and create a contradictory impression; (c) presentation of relevant contexts by incorporating iconic superheroes of the popular world, such as Superman, Superwoman, and others. In terms of the iconology, the visual build that brings together the Yeh Pulu relief’s multiple-narrative scenes with the narratives of the popular superheroes reinforces the notion that the concept of multiple narratives in constructing the message of everyday-world heroism in contemporary painting will achieve more success. The contributors of this research also include Anak Agung Rai Remawa (as a data collector) and Ni Luh Desi In Diana Sari (as a photographer and layout designer).