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All Journal Mahasiswa S1 Teologi Hindu MUDRA Jurnal Seni Budaya Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Kamaya: Jurnal Ilmu Agama Purwadita : Jurnal Agama dan Budaya Kalangwan: Jurnal Pendidikan Agama, Bahasa dan Sastra PARIWISATA BUDAYA: JURNAL ILMIAH AGAMA DAN BUDAYA 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
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Komunikasi Simbolik dalam Penggunaan Upakara Yajña pada Ritual Hindu Tary Puspa, Ida Ayu; Sinta Dewi, Ni Putu; Subrahmaniam Saitya, Ida Bagus
Widya Duta: Jurnal Ilmiah Ilmu Agama dan Ilmu Sosial Budaya Vol 14, No 1 (2019): MARET 2019
Publisher : Institut Hindu Dharma Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/wd.v14i1.1040

Abstract

Hindus in carrying out rituals by way of karma and devotional service use ceremonial means called upakara or also called banten. Upakara presented to Ida Sang Hyang Widhi Wasa and its manifestations must be based on sincerity which is also adjusted to the level of yajña that can be carried out by Hindus both at the level of Nista, masdya, and the main.In the process of making and offering upakara there is symbolic communication, namely the symbol of devotion to God / Ida Sang Hyang Widhi Wasa by sparking gratitude to Him. Symbolic communication is communication that uses symbols that have been agreed upon by the community or a certain group. The message will have the same meaning if it is in accordance with the agreement set by a certain community.Every communication process that is interwoven between individuals with one another means becomes the main element. Whereas language has a very strategic position and the mind becomes a very significant thing in identifying and interpreting a symbolIn the yajña or bebantan upakara there are several principles which are principle, namely the principle of name or designation, it can also be the sound equation in the material of the bull itself. The principle of this name means that the elements of the bull when viewed from the name or sound contain the meaning that is in accordance with the purpose of the upakara.
FAKTOR-FAKTOR PENYEBAB PEREMPUAN HINDU BEKERJA PADA INDUSTRI BANTEN Puspa, Ida Ayu Tary; Jendra, I Made Iwan Indrawan; Saitya, Ida Bagus Subrahmaniam
VYAVAHARA DUTA Vol 15, No 1 (2020): MARET 2020
Publisher : Institut Hindu Dharma Negeri Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/vd.v15i1.1436

Abstract

Ceremonies in Hinduism are carried out by people in their daily lives or certaindays. This gives an opportunity for Balinese women to play a role in the preparation of ceremonies as a means of offering at the ceremony. In this era of globalization because many Balinese women work in the public sector as employees, lecturers, medical staff, and others, causing them to have less time in preparing the ceremony. This gives an opportunity for Balinese women who love and pursue upakara to do so. There are those who make offerings as a home industry and some who work on a shop that prepares services based on orders. Hindu women who work in the banten industry, one of them is in the Desa Pakraman Penatih Denpasar Bali as the center of the banten industry is driven by two factors, namely the presence of internal and external factors. The internal factor is to increase family income and the desire to be independent. As for the external factors because of the opportunities and opportunities also because of the husband. These factors make Hindu women who work in the banten industry earn their own income that can be used for their needs independently and also for family needs.
FAKTOR-FAKTOR PENYEBAB TINDAK PIDANA KEKERASAN SEKSUAL TERHADAP ANAK Subrahmaniam Saitya, Ida Bagus
VYAVAHARA DUTA Vol 14, No 1 (2019): MARET 2019
Publisher : Institut Hindu Dharma Negeri Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/vd.v14i1.1097

Abstract

Law No. 23 of 2002 concerning Child Protection, affirms that children are a mandate as well as the gift of God the Almighty, which we must always guard because in them the dignity, dignity and rights as human beings must be upheld. Children who are victims of crime are weak people who often cannot protect and help themselves because of their situation and conditions. Crime of sexual violence against children is a crime that uses violence or threats of violenceagainst children so that the child can be controlled for sexual relations. Internal factors causing criminal acts of sexual violence such as the proximity of the perpetrator to the victim, the role of the perpetrator, and the position of the victim. External factors that cause sexual violence crimes, namely environmental influences, such as being far from the crowd, lonely, or closed places that allow perpetrators to commit sexual violence.
Secularization Of Pura Besakih In Bali Ida Bagus Subrahmaniam Saitya; I Komang Suastika Arimbawa
Jurnal Penelitian Agama Hindu Vol 4 No 4 (2020)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (150.628 KB)

Abstract

Pura Besakih is the largest temple in Bali and as Pura Kahyangan Jagat. Pura Kahyangan Jagat is a place of worship for Ida Sang Hyang Widhi Wasa and all of His manifestations. Pura Kahyangan Jagat is a general temple, meaning that everyone can pray at the temple to ask for safety/mercy, welfare, and shade in the universe. Pura Pura Besakih as a tourist attraction has an impact on a shift in values ​​and meaning, at the beginning of its establishment, Pura Besakih was a sacred temple, full of religious-magical values, but seen from the use of Pura Besakih as a tourist attraction that has attracted foreign tourists to visit to Pura Besakih. The method used is a qualitative method with data collection techniques in the form of observation and literature. There has been a change in the views and mindsets of the community and local government to take advantage of the Hindu spiritual cultural heritage into the form of economic values. Pura Besakih as an element of the wealth of Hindu spiritual culture that is preserved and observed by the community is commercialized for tourism purposes by utilizing Pura Besakih as a tourist attraction. These problems have caused the sacred and religious values ​​of Pura Besakih to experience secularization. Global culture with its ideology of freedom, may not recognize the rules for menstruation (menstruation) or cuntaka because there are deaths (according to village regulations, kala, patra that apply in the local area) to enter temples due to customary rules / awig-awig, this can cause Hindus feel uncomfortable when praying in temples.
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (321.053 KB) | DOI: 10.37329/jpah.v5i2.1274

Abstract

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.
Multiculturalism In Hindu Religious Education Perspective Ida Bagus Subrahmaniam Saitya; I Komang Suastika Arimbawa; Acyutananda Wayan Gaduh; Putu Emy Suryanti; Ni Putu Ersa Rahayu
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 4, No 1 (2020)
Publisher : Institut Hindu Dharma Negeri Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/ijhsrs.v4i1.1415

Abstract

Indonesia, like other developing countries, has social problems that are not simple. The economic crisis followed by various other crises made people aware of the importance of social capital. Social capital is the collective energy of the community in the form of togetherness, solidarity, cooperation, tolerance, trust, and responsibility of every society members in playing their duties and obligations. The development of dynamic society and social problems that continue to develop these days, require attention and sensitivity from all nation elements, not only from experts and observers of social problems but also the education world, especially concerning religious education which has a very strategic role as a vehicle and “agent of change” for the society. The pluralistic condition of Indonesia both in terms of ethnicity, race, religion, and social status makes an extraordinary contribution to the development and dynamics in society. Therefore, it is considered very important to provide a portion of religious education in a multicultural perspective in the Indonesian education system, both through substance and learning models. This is considered important to provide a briefing and foster the development of insight and personality, also train students' sensitivity in facing the social symptoms and problems that occur in society.
Hindu Society Perception of Catur Varṇa in Bali Ida Bagus Subrahmaniam Saitya; Ida Bagus Putu Adnyana
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 5, No 1 (2021)
Publisher : Institut Hindu Dharma Negeri Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/ijhsrs.v5i1.2140

Abstract

The social life of the Hindu community in Bali cannot be separated from the ins and outs of work which then reflects the profession of the people who claim it. Professions in the social life of society will give birth to something called the professional group. This professional group will then have a social impact in the form of life strata in society. There is a separation between one profession and another, which then gives birth to a concept of ideas called the Catur Varṇa. In recent years there has been a widespread dualism of perspectives on the meaning of this Catur Varṇa concept. Some of them stated that this concept was a tradition passed down from generation to generation and there were also those who stated that this concept was an idea to organize the social life of Balinese people. The Catur Varṇa concept itself can be understood through literature which gives birth to a reality and facts. The concept of Catur Varṇa has been degraded due to the cognitive bias of the Balinese Hindu community in Bali in embodying the meaning of this concept. So that this concept does not give birth to social life that is more organized but instead creates a social problem that causes inequality in the body of community life. This inequality must be corrected immediately so that it does not become a tradition that has increasingly worsened the atmosphere of social life in Bali. Because today the concept of Catur Varṇa is consciously shifting meaning into a new concept that we have previously called the term Catur Wangsa.
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

Abstract

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

Abstract

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)

Abstract

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
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 Putu Emy Suryanti Rahayu, Ni Putu Ersa Sinta Dewi, Ni Putu Subawa, I Made Pasek Suryanti, Putu Emy Wirawan, I Nyoman Gede