I Kadek Dwi Noorwatha, Imam Santosa, Gregorius Prasetyo Adhitama, Anak Agung Gede Rai Remawa

Iconographic Analysis on Intermediality Transfer of Undagi's Indigenous Knowledge Lexicon to Visual Cinematography

Introduction

Iconographic analysis on intermediality transfer of undagi's indigenous knowledge lexicon to visual cinematography. Explore how Balinese undagi indigenous architectural knowledge translates to cinematography. Iconographic analysis reveals dynamic cinematic narratives preserve cultural heritage effectively.

Abstract

This study aims to investigate how the indigenous knowledge lexicon of Balinese undagi (traditional architects) in architecture can be transferred into visual cinematography to preserve cultural heritage, with a focus on engaging broader audiences. Employing an iconographic approach, the research analyzes the documentary Calaccitra Undagi Mahottama: Biografi I Gusti Made Gede (1843-1940) through three stages: pre-iconographic identification of visual motifs, iconographic interpretation of thematic meanings, and iconological assessment of cultural significance. Results reveal that Balinese architectural lexicons—such as Tri Mandala, Sanga Mandala, and CWSGR—are effectively abstracted into cinematic frames via intermediality, using symbolic natural imagery and spatial grids rather than physical structures to convey aesthetic and philosophical values. The study concludes that visual cinematography offers a potent medium for preserving architectural heritage by translating static spatial concepts into dynamic narratives, fostering continuity of traditional knowledge, particularly among younger generations, though its efficacy hinges on audience reception and contextual adaptation.

Review

The paper, "Iconographic Analysis on Intermediality Transfer of Undagi's Indigenous Knowledge Lexicon to Visual Cinematography," presents an intriguing and timely investigation into the preservation of Balinese architectural heritage. The core objective of transferring the indigenous knowledge lexicon of *undagi* (traditional architects) into visual cinematography to engage broader audiences is highly relevant in an era where cultural preservation faces challenges of accessibility and intergenerational transmission. The study's focus on intermediality as a means to translate complex spatial and philosophical concepts into a dynamic visual medium is particularly innovative, offering a fresh perspective on how traditional knowledge can be revitalized and disseminated beyond conventional academic or physical preservation methods. This research holds significant potential for contributing to both heritage studies and the evolving field of visual anthropology. Methodologically, the study employs a robust iconographic approach, examining the documentary *Calaccitra Undagi Mahottama: Biografi I Gusti Made Gede (1843-1940)* through pre-iconographic identification, iconographic interpretation, and iconological assessment. This systematic framework allows for a detailed analysis of how visual motifs in cinematography abstract the underlying principles of Balinese architectural lexicons such as Tri Mandala, Sanga Mandala, and CWSGR. The findings effectively demonstrate that these static architectural concepts are not merely replicated but "effectively abstracted into cinematic frames" using symbolic natural imagery and spatial grids. The strength of this approach lies in its ability to articulate *how* intermediality functions to convey aesthetic and philosophical values, rather than just *if* it can. The revelation that the transfer relies on symbolic and spatial representation rather than direct physical structures underscores the transformative power of the cinematic medium in cultural translation. While the study powerfully illustrates the *potential* of visual cinematography for heritage preservation, its abstract acknowledges that "its efficacy hinges on audience reception and contextual adaptation." This vital point, though mentioned, is not explored in depth in the abstract, leaving a key area for further discussion and empirical investigation regarding audience engagement and interpretation. A deeper analysis of how different audience segments (e.g., younger generations, non-Balinese audiences) interpret these cinematic abstractions would significantly strengthen the claims of effective cultural transmission. Despite this, the research makes a valuable contribution by laying a theoretical and analytical foundation for understanding how indigenous architectural knowledge can be dynamically preserved and disseminated through the powerful lens of visual cinematography, opening avenues for future practical applications and scholarly inquiry.

Full Text

Comments

You need to be logged in to post a comment.