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Candi Panataran: Candi Kerajaan Masa Majapahit. Hariani Santiko
KALPATARU Vol. 21 No. 1 (2012)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/kpt.v21i1.103

Abstract

Candi Panataran adalah candi kerajaan (State Temple) Kerajaan Majapahit, didirikan di sebuah tanah yang berpotensi sakral karena di tempat itu terdapat prasasti Palah dari jaman Kadiri, berisi tentang pemujaan Bhatara ri Palah. Berdasarkan angka tahun yang ditemukan di kompleks candi, setidaknya Candi Panataran dipakai sejak pemerintahan Raja Jayanagara hingga Ratu Suhita. Pada jaman Majapahit, Candi Panataran adalah candi untuk memuja Paramasiwa yang disebut dengan berbagai nama, tattwa tertinggi dalam agama Siwasiddhanta. Bahkan ada kemungkinan sebuah Kadewaguruan (tempat pendidikan agama) dibangun di sekitar kompleks candi, tetapi dimana kepastian letaknya, belum jelas. Candi Panataran adalah “pusat spiritual” kerajaan Majapahit. Abstract. Panataran Temple was a state temple of the Majapahit Kingdom, which was built on a piece of land that had the potency to be sacred because there was an inscription, the Palah inscription, from the Kadiri period. The inscription is about devotion to Bhatara ri Palah. Based on a date found within the temple complex, it is assumed that at least the Panataran Temple was functioned since the reigning periods of King Jayanagara until Queen Suhita. During the Majapahit period, the Panataran Temple was a temple dedicated to Paramasiwa, who was known by various names, the highest tattwa in Siwasiddhanta religion. In fact, there is a possibility that a Kadewaguruan (centre of religious teachings) was built around the temple complex, but the exact location is yet to be found. The Panataran Temple was the “spiritual centre” of the Majapahit Kingdom.
AGAMA DAN PENDIDIKAN AGAMA PADA MASA MAJAPAHIT Hariani Santiko
AMERTA Vol. 30 No. 2 (2012)
Publisher : Badan Riset dan Inovasi Nasional

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Abstract

Abstrak. Pada zaman Majapahit, pendidikan agama memegang peranan penting. Pendidikan dapat dilakukan secara perorangan, bisa pula mengikuti pendidikan di sebuah pusat pendidikan agama yang disebut “Mandala atau Kadewaguruan”. Letak Kadewaguruan jauh dari permukiman/kota, terletak di tempat yang sunyi di hutan-hutan, di puncak bukit, di lereng gunung, di tepi pantai dan sebagainya. Kadewaguruan dipimpin oleh seorang mahāresi yang disebut pula śiddharesi, dewaguru, oleh karena itu pusat pendidikan ini disebut Kadewaguruan. Dalam kesehariannya dewaguru dibantu oleh para murid senior yang disebut para ubwan, pendeta-pendeta wanita, dan manguyu, pendeta laki-laki. Para murid yang masih pemula disebut kaki, tapaswi (laki-laki) dan, endang atau tapi, kili (perempuan). Pengetahuan diajarkan secara bertahap, pada tahap awal (ajaran pendukung) diajarkan “tata upacara” (dīksā-widhi-widhāna), kemudian tahap berikutnya berupa ajaran inti tentang konsep Realitas Tertinggi dan usaha melebur diri (kalěpasan, moksa) dengan Bhattara tersebut. Ringkasan ajaran dewaguru terdapat dalam kitab-kitab keagamaan yang disebut Tutur.Kata kunci: tattwa Śiwa, dīksā-widhi-widhāna, catur wiphala, kalěpasan, moksa Abstract. Religion and Religious Teaching During the Majapahit Period. During the Majapahitperiod religious teaching played an important role. The teaching could be done individually or in acentre for religious teaching called “Mandala” or “Kadewaguruan”. A Kadewaguruan was usuallylocated far from habitation places (cities), such as quiet forest, on top of a hill, mountain slope, or bythe sea shore. A Kadewaguruan is led by a mahāresi (high priest), who is also known as śiddharesi or dewaguru; hence the education centre is called Kadewaguruan. In his daily activities, a dewaguru was assisted by his senior disciples named ubwan, female priests, and manguyu or male priests. New disciples were called kaki, tapaswi (male ones) and endang or tapi, kili (female ones). The teachings were taught in phases. During the first phase (supportive teachings), ceremony procedures (dīksāwidhi-widhāna) were taught, and in the next phases were taught hings about the concept of the Utmost Reality and the attempt to unite oneself (kalěpasan, moksa) with Bhattara (god). The summary of the dewaguru teachings can be found in religious manuscripts namedTutur.Keywords: tattwa Śiwa, dīksā-widhi-widhāna, catur wiphala, kalěpasan, moksa
THE ROLE OF BHIMA AT CANDI SUKUH (As represented by a number of reliefs¹) Hariani Santiko
AMERTA Vol. 29 No. 2 (2011)
Publisher : Badan Riset dan Inovasi Nasional

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Abstract

Abstrak. Peranan Bhima di Candi Sukuh. Tokoh Bhima digambarkan dalam sejumlah relief di Kompleks Percandian Sukuh. Tokoh ini dijumpai pada episode-episode ceritera Bhimaswarga yang dipahatkan pada dinding Candi Kyai Sukuh, yaitu sebuah kuil kecil di muka kuil utama Candi Sukuh. Fragmen dari cerita yang sama juga ditemukan di gerbang Kala-mrga. Selain itu, ditemukan pula fragmen ceritera Sudamala yang menggambarkan Bhima menyerang tokoh iblis di sebuah papan batu, sedangkan sejumlah relief Bhima lainnya yang belum dikenali asal ceriteranya ditemukan tersebar di halaman Kompleks Percandian Sukuh. Berdasarkan studi banding antara data artefaktual dan data tekstual penulis meyakini bahwa tokoh Bhima dipuja sebagai perantara antara Dewa Siwa dan orang-orang yang ingin mencapai pelepasan akhir (moksa). Peranan Bhima sebagai penyelamat manusia dapat dijumpai pada ceritera Bhimaswarga. Pada relief yang mengambarkan episode terakhir Bhimaswarga, tokoh Bhima digambarkan sedang diberi sebotol amrta oleh Siwa. Kata kunci: Werkodara, Amrta, Kalamrga, Kebenaran Sejati, Sang Hyang Tunggal Abstract: Bhimafigureis represented in a number of reliefs at the complex of Candi Sukuh. It isfound I the Bhimaswarga episodes depicted on the wall of Kyai Sukuh temple, a small temple in front of the ma temple of Sukuh. A fragment of the same story is also depicted in a Kala-mrga arch. A fragment of the Sudamala illustrating Bhima s attacks on a demon, is depicted on a slab of stone, and another unidentifi reliefs of Bhima scattered in the courtyard of Sukuh. From the comparative study of the artefactual data with the textual data, I presume that Bhima was worshipped as a mediator between god Siwa and men who wanted to get theirfinalrelease (moksa). Bhima s role as the saviour of men is found in the story ofBhimaswarga. In thefinalepisode of Bhimaswarga-reliefs, Bhima is given a bottle of amrta by Siwa. Keywords: Werkodara, Amrta, Kalamrga, Ultimate Truth, Sang Hyang Tun