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<![CDATA[Siva Nataraja Perspektif Teo-Estetik ]]>
<![CDATA[Ni Made Evi Kurnia Dewi]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1135
<![CDATA[Siva Nataraja is Shiva in the form of dancing. Siva Nataraja is a symbol of the cosmic awareness dance. The Siva Nataraja dance contains very high artistic value and is full of expressions of religiosity. As the master of art, He is called Adiguru or the first art teacher who taught art to gods and mankind. Various mystical movements (mudras) symbolizing the cosmic dance. The Siva Nataraja dance is a combination of the forces of Sekala (Real) and Niskala (Unreal). The essence of the Shiva Nata Raja dance is to guide the soul of every being to realize his divine nature in order to attain the highest awareness of Shiva, as 'sangkan paraning dumadi'.The cosmic dance of Siva Nataraja symbolizes the 5 (five) activities of God called Pancakriya and Panca Aksara (five characters). Pancakriya consists of 1) Srsti (Creation), 2) Shtiti (Maintenance), Samhara (Mengembikan), Tirobhava (Khayal / Illusion), and Anugraha (Gift / Blessing). Panca Aksara is a power that can remove blemishes and sins. Si Wa Ya Na Ma, is a mantra. Si reflects God, Wa is a gift, Yes is the soul, Na is the power that covers the intellect, Ma is the egoism that shackles the soul. The five characters form the body of Shiva and it occurs within each individual soul, at the atomic level. Offerings of beauty or art can be interpreted as an expression of one's devotion to God, In order to attain Siva's cosmic consciousness, the art of devotional service is capable of being a bridge to attaining union with Siva and attaining Samarasya, the pinnacle of aesthetic and mystical experience which culminates in becoming one, namely the highest ananda.]]>
<![CDATA[Seni Pementasan Tari Kidang Edan Sebagai Ungkapan Religiusitas Masyarakat Desa Adat Sekumpul ]]>
<![CDATA[I Wayan Gata]]>;
<![CDATA[Putu Cory Candra Yhani]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1140
<![CDATA[The variety and style of dance is a crystallization of the cultural values of the supporting communities. The art of Balinese dance can be classified into three groups, namely: Wali Dance, which is the art of dance that is performed in temples and in places that have something to do with religious ceremonies that function as means or implementers of religious ceremonies. Bebali dance, which is a dance that functions as an accompaniment to ceremonies and ceremonies that take place in a temple or outside a temple which in its performance uses a play, Balih-balihan Dance, which is all dance arts that have elements and the basis of noble dance arts. Every region in Bali has different artistic traditions, both in terms of the type of art and its meaning. Art traditions in each region in Bali have their own uniqueness which is always preserved because the life of a work of art, whether in the form of dance or drama, is closely related to the life of religious ceremonies. One of the very unique traditions in Bali, especially in the Sekumpul Village, is the performance of the Kidang Edan Dance which is held during the pujawali religious ceremony. In addition to the Kidang Edan Dance, it is a sacred dance that is believed from generation to generation by the people of the Sekumpul Village. Kidang Edan Dance is manifested as a form of gratitude to Ida Sang Hyang Widhi Wasa for the gift given to the people of Sekumpul Village.]]>
<![CDATA[Teo Estetis Cerita ?akuntala Dalam Teks ?diparwa ]]>
<![CDATA[Ida Bagus Subrahmaniam Saitya]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1136
<![CDATA[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.]]>
<![CDATA[Dharmagita; Seni Budaya Dalam Siar Agama Hindu ]]>
<![CDATA[Yunitha Asri Diantary Ni Made]]>;
<![CDATA[I Made Hartaka]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1141
<![CDATA[The development of technology and information is able to bring changes in all lines of life. Humans have begun to become complacent about the easy and sophisticated life, so that the noble religious values are now not the main thing again. Humans are now busy looking for their existence, competing with their siblings for recognition, especially teenagers who are easily influenced by everything they consider fun, there needs to be an appropriate solution to minimize this, because humans are born to correct previous bad karma and in current lives. This needs an arrangement for oneself, society and the people to become human dharmics. Religious values must be packaged in such a way as to facilitate the spread of teachings in achieving the mission of dharma. Dharmagita as one of the cultural arts in Bali plays an important role in the mission of spreading Hinduism. Dharmagita in the development of mental spiritual religion and increase understanding of the values of religious teachings. Through understanding the practice of Dharmagita, it is possible to form the next generation to have quality sradha and devotional service while preserving the arts and culture in Bali.]]>
<![CDATA[Ulap-Ulap Sebagai Media Seni Sakral Dalam Kebudayaan Bali ]]>
<![CDATA[I Wayan Hendra Purnawan]]>;
<![CDATA[Ni Wayan Suantini]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1137
<![CDATA[Ulap-ulap is one of the sacred arts media in Balinese culture. The caterpillar has an artistic form and holds Hindu theological value in it. Various sacred characters are presented in an anointing (ulap-ulap). Showing a sacred side and influencing the psychology of Hindus to always behave in a good and right way. Hindus in Bali believe that the presence of worms in a building will be able to neutralize the negative effects of the environment, and create a positive atmosphere for the building owner. The use of a white cloth as a basic material for ulcers implies the purity of the heart of the person who builds the building. Buildings for Hindus are not only used as profane media, but also function as sacred media in supporting religious processions. The process of making ulap is carried out by following certain rituals, so that the magical power to be presented in an ulap-ulap can play a role as expected. The existence of ulap-ulap as a sacred art medium in Balinese culture will continue to exist, as long as Hindus in Bali remain obedient to carry out religious ceremonies in accordance with the instructions of religious literature.]]>
<![CDATA[KERAUHAN: Antara Pertunjukan Seni Sacral Dan Profan (Kajian Teologi Hindu) ]]>
<![CDATA[Susi Susi]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1142
<![CDATA[Trance becomes very trending discussed in the order of life of the local community, because trance can not only occur a series of the implementation of yajna ceremony but can happen because there is an energy intervention outside human reason to show its existence. Kerauhan by balinese is very common in the implementation of yajna ceremony, lately it is often debated between profanity and kerauhan that actually occurs / sacral. It is important to review this in order to correct the relevant information. Through qualitative approach is expected to find relevant research results to be applied in people's social life.Kerauhan can be classified in various forms such as a gluttony with the form of a god, of course the gluttony in this form will act calmly, tending to give advice in the implementation of yajna ceremony; kerauhan in the form of pepatih reflects how there is a kingdom of gods complete with pepatih, so that when there is a gluttony one will act like a royal patih; the apeuhan in the form of a sacred animal, certainly in the form of this kind of filth one will act like an animal; bhuta kerauhan ngunying (stabbing kris into him) bergitu also with other forms of kerauhan.]]>
<![CDATA[Pertunjukan Wayang Kulit dan Ritual Keagamaan (Studi Tentang Eksistensi Wayang Kulit di Bali Utara) ]]>
<![CDATA[I Kadek Bhaswara Dwitiya]]>;
<![CDATA[I Putu Ardiyasa]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1133
<![CDATA[Balinese shadow puppet shows always go hand in hand with religious ritual activities. In religious ritual activities in North Bali, it always involves wayang performances as an important part of completing ceremonies in Niskala and Sekala. In Niskala, Tirta Pewayangan is believed to be Pangruwatan, while Sekala, Krama or people who watch puppets are entertained and Kelangen (fascinated). However, since the golden age of wayang in the 80s until the early 2000s, wayang as a show made Kelangen less and less. Although in the order of religious rituals in North Bali, all Yadnya ceremonies use wayang kulit, but often puppets are present without the audience, or only watched by parents. This study wants to see the existence of Wayang Kulit performances in religious rituals in North Bali. To explain the existence of shadow puppet shows in religious rituals in North Bali, a phenomenological approach is used which encourages researchers to empty themselves from previous knowledge. Data were collected by participatory observation and in-depth interviews to obtain accurate data. The results show that the existence of religious ritual puppet shows in North Bali is presented in a simple way with a conventional North Balinese style show pattern. Wayang Kulit performances in North Bali are related to religious rituals, such as ceremonies for death, marriage, birth (otonan, three months) and the ceremony of the god yadnya. This is supported by the belief inherited by the senior officials in each family who have a ceremony]]>
<![CDATA[Teologi-Estetis Tari Daha Malom Kajian Filsafat Agama Hindu ]]>
<![CDATA[Putu Sri Marselinawati]]>;
<![CDATA[Ni Wayan Juli Artiningsih]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1138
<![CDATA[Art is a very important component in the implementation of the yadnya ceremony, especially in Bali, without art the yadnya ceremony will feel meaningless. Daha Malom dance is a sacred dance created expressively to express the omnipotent nature of God giving salvation as a complement to ritual ceremonies at Puseh Temple, Ngis Karangasem Village. In the creation of this sacred symbol, three important elements are inseparable, namely satyam (truth), siwam (holiness) and sundaram (beauty). Daha Malom Dance in Ngis Village is an oral tradition which is the appreciation of the local community with environmental conditions, until now the truth is still believed, this method of proving the truth through oral tradition is in line with the way of proving the truth of Mimamsa Darsana. Respect for nature is one of the implementations of the Sankhya-darsana teachings which aim to remind humans of their origin, as an identity that comes from God, the harmony of Bhuana Agung and Bhuana Alit which is expressed in the Daha Malom Dance reflecting the sradha and devotion of Hindus in Ngis Karangasem Village. This study used qualitative research methods. Qualitative research is research that uses data that is stated verbally and qualifications are theoretical]]>
<![CDATA[Eksistensi Ajaran Tantrayana dalam Kehidupan Beragama Hindu di Bali ]]>
<![CDATA[Ida Ayu Devi Arini]]>;
<![CDATA[Ida Bagus Gede Paramita]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1134
<![CDATA[Tantrayana is a teaching found in the books of Tantra-Sastra which in the development of Shiva Siddhanta in Bali is mentioned based on: Catur Marga (Bhakti Marga Yoga which pays main respect to Karma Marga yoga and Jnana Marga Yoga). Tantrayana emphasized the importance of religious ceremonies (rituals), because the role of religious ceremonies is an activity to create a balance of life in this world. In the Mahanirwana Tantra book, the principles of the Panca Yadnya ceremony are laid out that need to be carried out. It also mentions the means related to caru, such as animal sacrifice. The Tantrayana describes in detail the procedures for performing the yadnya and to whom it is offered. By paying attention to the contents of the Tantra Sastra books containing Tantrayana teachings, it can be understood that the forms of ceremonies and yajna ceremonies that are held in Bali, it is clear that there is an influence from Tantrayana.The purpose of writing this article is to know in general the existence of Tantrayana understanding in religious life in Bali, especially among the younger generations.This research is a qualitative descriptive research with a functional approach. The data collection method in this article is literature study. The results of this study are the knowledge of the concept of Tantrayana teachings, how much this teaching is adopted by Hindu religious life, including the way of art and the lifestyle of the younger generation.]]>
<![CDATA[Teo Estetis Dalam Ritual Tumpek Krulut Pada Masyarakat Bali (Suatu Upaya dalam Mewujudkan Etika Kasih Sayang) ]]>
<![CDATA[I Wayan Sunampan Putra]]>
<![CDATA[ Jnanasidanta Vol 2, No 2 (2021): TEOLOGI HINDU ]]>
Publisher : <![CDATA[Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja ]]>
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DOI: 10.55115/jnana.v2i2.1139
<![CDATA[Hinduism is inseparable from the cultural aspect, between religion and culture can go hand in hand. One of the most visible cultures is art. Art or art in Balinese Hindu society has the most important position. This can be seen from all forms of religious ceremony implementation inseparable from art. Art in Bali is grouped into sacred art and profane art. Art is also inseparable from theological relationships. This can be seen from the concept of gods in the aspect of art. This paper tries to elaborate on the theology of art in krulut tumpek ritual in Balinese society. Where tumpek krulut is a feast of worship kepafda aspect of the Godhead that has conferred kehgran. Tumpek krulut is also a form of moral value that teaches the love of living beings.]]>
