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All Journal Sanjiwani: Jurnal Filsafat Sphatika: Jurnal Teologi
Sari, Anggy Paramitha
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Religion Humanities Social Sciences

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Journal : Sphatika: Jurnal Teologi

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MENGENAL TIKA SEBAGAI KALENDER BALI KUNO DALAM KAITANNYA DENGAN ILMU JYOTISHA Pratama, I Putu Wahyu; Sari, Anggy Paramitha
Sphatika: Jurnal Teologi Vol 14 No 2 (2023)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/sphatika.v14i2.3054

Abstract

A calendar is one item whose function and use is very important at home or in the office, because from the calendar humans get information related to the time period of the day, date, month and year. One of them is the past calendar system used by the ancient Hindu community which used a calendar system known as the Tika Calendar. The Tika calendar is an object that is generally made of wood to see the day, rest and determine the dewasa ayu or auspicious days by using various special signs to determine the time period of the dewasa ayu. To read Tika, knowledge of Wariga science and understanding of special signs in the form of images or symbols that are displayed on the Tika are needed. The basic form of Tika is a picture of 30 wuku columns and 7 rows depicting the 7 long days of each wuku. The seven days in the basic image of Wuku are the homes of Sapta Wara, wewaran whose cycle is 7 days. In general, the Tika section consists of 30 wuku columns located at the top. Then on the side there are eight lines. Seven lines of the day or Saptawara and the eighth line is Ingkel. The shape of Tika also varies, some are made of wood, paper and cloth. The connection between the Tika Calendar and Jyotisha as the Science of Hindu Astronomy and Astrology which are very closely related to the all activities of Balinese Hinduism.
GAMELAN BALI DALAM KONSTELASI FILOSOFIS DAN ESTETIK Sari, Anggy Paramitha
Sphatika: Jurnal Teologi Vol 15 No 1 (2024)
Publisher : Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/sphatika.v15i1.3153

Abstract

Substantially, creativity cannot be separated from the elements of reason and the elements of human taste. Various arts and traditions that were born from human creativity eventually became the salience from each region of their maker. Gamelan is one of the many traditional Indonesian riches that was born from various considerations of thought, idea, notion, taste, and creativity of humans. Gamelan is a group of musical instruments with different beat patterns that are used in playing songs / ending. The emergence of the gamelan began when Hindu-Buddhist culture started to dominate the archipelago. There are several types of gamelan including Javanese gamelan, Sundanese gamelan, Banjar gamelan, Minang gamelan, and Balinese gamelan. All types of gamelan have their own uniqueness according to the area where it is developed. Gamelan is not only used as a musical accompaniment in traditional arts but is also used in various religious rituals. In Bali, almost all religious activities, especially in Hindu religious ceremonies, always use gamelan accompaniment. Balinese gamelan is one of the elements of the five voices (panca suara) that are always present in every yajna ceremony in Bali. These five voices cannot be separated from the Hindu aesthetic concept where each sound produced has a philosophical meaning. Balinese gamelan that is present in various Hindu rituals in Bali is not only for entertainment but also has a magical value that can vibrate the atmosphere. This article will discuss the philosophy of Balinese gamelan in aesthetic constellations.
Co-Authors I Komang Suastika Arimbawa Kurniarini, Ni Nyoman Yunike Pratama, I Gede Bagus Wira Pratama, I Putu Wahyu