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All Journal Mahasiswa S1 Teologi Hindu MUDRA Jurnal Seni Budaya Kamaya: Jurnal Ilmu Agama Purwadita : Jurnal Agama dan Budaya Kalangwan: Jurnal Pendidikan Agama, Bahasa dan Sastra Widya Duta: Jurnal Ilmiah Ilmu Agama dan Ilmu Sosial Budaya Vyavahara Duta Jurnal Penelitian Agama Hindu JNANASIDDHÂNTA : JURNAL TEOLOGI HINDU Sevanam: Jurnal Pengabdian Masyarakat Sphatika: Jurnal Teologi Widya Duta: Jurnal Ilmiah Ilmu Sosial Budaya

Ida Bagus Subrahmaniam Saitya

Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Author-ID : 1510567

Religion Arts Humanities Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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The Function Of Ngenteg Linggih Ceremony In Pejaten Tabanan Ida Ayu Tary Puspa; Ida Bagus Subrahmaniam Saitya
Jurnal Penelitian Agama Hindu Vol 5 No 2 (2021)
Publisher : Jayapangus Press

The Dewa Yajña Ceremony is a ceremony addressed to Ida Sang Hyang Widhi with all of His manifestations as a form of devotion because He has created the universe and everything in it. This gratitude was manifested by the people of Pejaten Village by holding a ceremony to instill the Creator to rest in the sacred temple building. The Ngenteg Linggih ceremony has functions such as religious, ethics, aesthetics, and social. Each of these functions is related to one another which of course will play a role in the ceremony. Such as a religious function in which the ceremony provides a basis for belief in the community through the rites and ritual equipment to convince the public that through the ceremony carried out, religious emotions will grow. The function of ethics is to provide guidance in living through the Ngenteg Linggih ceremony to always live life by thinking, saying, and doing good according to what you are doing in your ceremony. The aesthetic function provides beauty as well as truth and sanctity so that people feel the beauty in regulating life practices as outlined in the means and implementation of the ceremony. The social function is shown by the community who work together hand in hand to load the ceremony and carry it out with the concept of ngayah.

Teo Estetis Canang Sari Ida Ayu Tary Puspa; Ida Bagus Subrahmaniam Saitya; Gede Agus Siswadi
Purwadita : Jurnal Agama dan Budaya Vol 4, No 2 (2020)
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/purwadita.v4i2.773

All human beings who are still bound by kama need beauty and have an aesthetic encouragement. The human need for aesthetic pleasure has encouraged them to continue to create objects of aesthetic value that can cause a sense of lango (fun). Canang sari is an upakara symbolic of gratitude and thanks to the God, with all His manifestations. Aesthetically, the canang sari, besides containing religious values, also has aesthetic value from the reringgitan, the form with the composition, as well as the combination of the four floral colors. The aesthetic value contained therein increasingly makes calm, comfort, pleasure so that it further enhances spiritual religious both for those who make, those who see, and who give to Ida Sang Hyang Widhi Wasa. Theo aesthetics of canang sari will imply satyam (truth), sivam (purity), and sundaram (balance). Keywords: theo aesthetics; canang sari

Teo Estetis Cerita ?akuntala Dalam Teks ?diparwa Ida Bagus Subrahmaniam Saitya
Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/jnana.v2i2.1136

Theo aesthetic of the ?akuntala story in the ?diparwa text contains elements of Satyam, Siwam, and Sundaram. The Satyam element in ?akuntala's story is when Bagawan Ka?wa sincerely nurtures Sakuntala from infancy to adulthood, even though ?akuntala is not the biological child of Bagawan Ka?wa. In addition, the Satyam element is also seen when King Du?wanta acknowledged the truth that ?akuntala was his wife and Sarwadamana was his son. The Siwam element in the ceritaakuntala story is seen by the mention of Dewat?s, namely Sanghyang ?tma Sanghyang ?ditya (S?rya), Sangyang Candra, Sanghyang Angin (Bayu), Sanghyang Agni, Sanghyang Ak???, Sanghyang P?thiwi, Sanghyang Toya, and Sanghyang Yama. The Sundaram element in the ?akuntala story depicts the beauty of Bagawan Ka?wa's hermitage with a peaceful atmosphere. In addition, the Sundaram element can also be seen in the mabebas tradition in Bali, ?diparwa because it is in the form of parwa generally sung in palawakya, so the mabdeka tradition in Bali consists of wirama, wiraga, and wirasa when palawakya gives beauty to connoisseurs of Balinese art.

Paṇḍita Dalam Teks Agastya Parwa Ida Bagus Subrahmaniam Saitya; A.A. Diah Indrayani
Kamaya: Jurnal Ilmu Agama Vol 3 No 3 (2020)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (462.742 KB)

Agastya Parwa is an old Javanese manuscript in the form of prose and old age (Century IX-XI M). The text of Agastya Parwa is in fact closely related to the name Bhagawān Agastya as a Maha Ṛṣi Hindu who contributed to the spread of Hinduism from the Sindhu river valley to all of India, Central Asia, China, Japan and Indonesia. The text of Agastya Parwa is used as a source in yajña, this means the text belongs to the ceremonial group, but there is also a saying that this text belongs to the ethical group because this text contains the teachings of ethics, especially the doctrine of swadharma from a paṇḍita

Pajejiwan Dalam Upacara Mapeselang: Kajian Siwa-Budha Ida Ayu Tary Puspa; Ida Bagus Subrahmaniam Saitya
Purwadita : Jurnal Agama dan Budaya Vol 6, No 2 (2022)
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/purwadita.v6i2.2350

The ceremony is part of the three frameworks of Hinduism. As part of the five sacrifices that are carried out sincerely, there is Dewa Yadnya. One of them is the mapeselang ceremony, a series of ngenteg linggih. What's unique about this procession is that there is a mlaspas in a holy place, mulang pedagingan, after that so that Ida Hyang Parama Wisesa can sit at the pelinggih, then mepeselang is carried out, namely pratima is lowered through a new buffalo caru to the bale peselang . Finally, they will also be picked up to the bale pedanan. When the procession is finished, there will be a religious dialogue between Pedanda Shiva-Buddha in which the conversation is about the contents of this universe. By holding this rite, it is hoped that the harmony of the cosmos will occur through creation, maintenance, and annihilation.

Konsep Monotheisme dalam Bhagavad Gītā Ida Bagus Subrahmaniam Saitya; I Made Ary Hardana Yasa
Sphatika: Jurnal Teologi Vol. 13 No. 1 (2022)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Sad Darsana are six Indian philosophical systems that are used in the rational logic of human thought to understand the duality of the elements of the universe, the world, and humans. so that dynamic realization occurs independent dualism that stands alone in the absence of interconnection of relations "the principle of consciousness is the true soul and the principle of materiality is the static element of matter and the unity of the two is the stage of human understanding of the entity and the eternality of matter. Eternity evidence of the pluralistic existence of the human soul in Jagadraya is essentially the same, the difference in existence from it is the compensation of life itself for the entity and the eternity of its substance. Excuses in their various forms are real maya, when the senses are shackled by the atomistic operations of objects outside of themselves that cause attachment and desire to dominate life itself, it is possible for God to descend into the world taking various forms of Avatar manifestations.

Kajian Bhagavad Gītā Terhadap Makna Prasadam Bagi Masyarakat Hindu di Bali Ida Bagus Subrahmaniam Saitya; Ni Gusti Ayu Nyoman Meilani
Sphatika: Jurnal Teologi Vol. 12 No. 2 (2021)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Prasadam in Hinduism is a term in Sanskrit which means God's gift, which is the result or remnant of an offering to Ida Sang Hyang Widhi Wasa who has been purified. In the Hindu community in Bali the term lungura/surudan is better known than the term prasadam. Related to the phenomenon of prasadam, after being investigated, it turns out that the term lunguran/surudan indicates the strata or class of a dish that starts with the offering (bebanten), complete with food, after being offered, the contents of the bakuten turn into lunguran/surudan, which is ready to be enjoyed as a form of grace from Ida Sang Hyang Widhi or Ida Bhatara-Bhatari who has been presented with a sincere heart and has sacred values and is meaningful as prasadham (holy dish). The Bhagavad Gītā states that, those who eat holy food after going through an offering or sacrifice will attain eternal Brahman (God). So there is no reason to think, whether to accept or desire to refuse the blessings of the blessing of Prasadam, because it has previously been offered as a sacred dish for Ida Sang Hyang Widhi Wasa and His manifestations.

Implementasi Ajaran Bhakti Marga Yoga di Bali Ida Bagus Subrahmaniam Saitya; Ni Luh Ratna Sari
Sphatika: Jurnal Teologi Vol. 12 No. 1 (2021)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

The existence of Banten in the religious activities of Hindus in Bali goes through a long history. In the Yajur Veda book, it is stated that there are offerings made to Gods as a manifestation of Brahman in the form of; gandam, ksatam, puspam, dupam, dipam, toyam, gretam, and soma. Meanwhile, in the Tantrayana teachings which are still very influential in Bali, it is stated that to show a sense of devotion to God one should carry out the concept of Panca Tattwa namely; matsya, mamsa, madhya, mudra, and maithuna. Both Vedic and Tantrayana teachings, and the local minds of the Balinese people, always underlie the offerings in the form of “offerings” which are packaged in symbols of human hope for God's manifestation. Hindus in Bali in practicing dharma bhakti to Him to God by using the means of offering can increase their faith and sradha bhaki and as an indicator of their longing identity.

Konsep Jñāna dalam Bhagavad Gītā Ida Bagus Subrahmaniam Saitya; Adi Suryana
Sphatika: Jurnal Teologi Vol. 13 No. 2 (2022)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (434.052 KB)

In the Bhagavad-gītā there are several concepts that explain the path to Brahman one of which is the Jñāna path. This is certainly interesting if studied in depth about the point of view of this path of consciousness or knowledge. That is why this article attempts to discuss the concept of Jñāna in the Bhagavad-gītā. This study aims to find out (1) Bhagavad-gītā's Statement About Jñāna; (2) The process of the tmā to Brahman using Jñāna; (3) Jñāna as a means of liberation. The theories used to analyze the problem are: Hermeneutics theory from Hans Georg Gadamer, and Value theory from Tarigan. The subject of this research is Bhagavad-gītā. Data collection techniques are literature study and documentation study. The collected data were analyzed by qualitative descriptive analysis method with steps of data collection, data reduction, data presentation and conclusion drawing. The results show (1) Bhagavad-gītā's statement about Jñāna, namely: Jñāna as a human tool to achieve divine consciousness, Jñāna has the most exalted position of any concept. (2) The process of the tmā to Brahman using Jñāna namely: Suddhā Vikalpa, Bhavana, Suddhā Widya, and uniting with Brahman. (3) Jñāna as a means of liberation, namely: Srawanam, Manana, Nididhyasana, Nirvikalpa. From this research it can be understood the main teachings of Jñāna contained in the Bhagavad-gītā. So this article concludes that Jñāna is one of the most basic and sublime concepts in the Bhagavad-gītā.

PENGARUH MEDIA MASSA TERHADAP TAHAP PERKEMBANGAN PSIKOLOGI AGAMA PADA MANUSIA Hari Harsananda; Ida Bagus Subrahmaniam Saitya
Widya Duta: Jurnal Ilmiah Ilmu Sosial Budaya Vol 16 No 1 (2021): WIDYA DUTA MARET 2021
Publisher : UHN IGB Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/wd.v16i1.390

The presence of mass media in the current era of globalization is nothingspecial, various kinds of media appear, grow and develop likemushrooms in the rainy season, especially with the internet that allowsconnections between individuals in this world. The media enter intopeople's lives and have an influence on one's beliefs, this is in line withthe opinion of Jhon Vivian who said that mass media is a facility thatcarries messages to the public. A person's religious behavior arisesbecause of an internal urge, which then gets an influence from theenvironment. In subsequent developments, religious behavior is muchinfluenced by factors of religious experience, personality, psychologicalelements and others. Human life experiences several phases in the levelof development of the religious soul in itself, including the children'sphase, the adolescent phase, the adult phase, and the advanced phase.Each phase has its own characteristics and uniqueness. One of theformers of religious character in these phases is the mass media. Massmedia in the present era is not only a complement but also a part of life.This media has both positive and negative influences on humans.

Co-Authors A.A. Diah Indrayani Acyutananda Wayan Gaduh Adi Suryana Ambarnuari, Mery Anggriawan, G. Arya Gaduh, Acyutananda Wayan Gaduh, Acyutananda Wayan Gede Agus Siswadi Hari Harsananda Harsananda, Hari Harsananda, Hari Harsananda I Gede Sathya Dharma Putra Mahardika I Ketut Wardana I Komang Suastika Arimbawa I Made Ary Hardana Yasa I Wayan Redi Ida Ayu Tary Puspa IDA AYU TARY PUSPA Ida Bagus Putu Adnyana Jagadhita, Pande Putu Puja Jelly, Ni Kadek Jendra, I Made Iwan Indrawan Kurniarini, Ni Nyoman Yunike Ni Gusti Ayu Nyoman Meilani Ni Luh Ratna Sari Ni Putu Ersa Rahayu Puspa, Ida Ayu Tary Putu Emy Suryanti Rahayu, Ni Putu Ersa Sinta Dewi, Ni Putu Subawa, I Made Pasek Suryanti, Putu Emy Wirawan, I Nyoman Gede Yuliarmini, Ni Made

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