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JNANASIDDHÂNTA : JURNAL TEOLOGI HINDU
Published by Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja
ISSN : 26865203     EISSN : 26864509     DOI : -
Core Subject : Religion, Humanities, Art,
Religion Arts Humanities
Jurnal Jñānasiddhânta merupakan Jurnal Teologi Hindu yang terbit tiap semester. Artikel dalam jurnal mengadopsi nilai Teologi Hindu dan teologi lokal yang bekembang. Penulis dalam Jurnal Jñānasiddhânta berasal dari kalangan akademis di lingkungan STAH N Mpu Kuturan Singaraja serta masyarakat umum bisa mengajukan artikel ilmiah untuk diterbitkan di Jurnal Jñānasiddhânta.
Arjuna Subject : Seni dan Humaniora - Studi Agama
Articles 80 Documents
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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.
ETIKA HINDU DALAM CERITA TANTRI KAMANDAKA Ni Luh Putu Trisdyani; Ida Bagus Putu Eka Suadnyana Eka Suadnyana
Jnanasidanta Vol 1, No 1 (2019): 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.v1i1.341

Abstract

Satua Bali is one of Bali's kind of literature in its delivery using spoken language and in it contains the values of such a noble education : religious values , cultural values , ethics or moral values as well as values tatwa or philosophy. Satua Bali as one of the stories for the kids loaded with educational value , one of which is the story Kamandaka Tantri, Kamandaka Tantri story as one of the cultural product in containers using animal figures are expressed in the form of human behavior are full of messages religious so it needs to be developed and disseminated among the public in order to increase the sense of devotion presented to Ida Sang Hyang Wasa Widhi and contain educational value sublime.Keywords : Values, Education Hinduism, Stories, Tantri Kamandaka
Estetika dan Religi Penggunaan Rerajahan pada Masyarakat Bali I Made Gami Sandi Untara; I Wayan Titra Gunawijaya
Jnanasidanta Vol 2, No 1 (2020): 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.v2i1.819

Abstract

Rerajahan is Balinese Hindu culture as a local product of the genus of Balinese Hindus. Hindus in Bali firmly believe that this rerajahan contains magic. The magical powers that can be generated by the rerajahan are used for sacred purposes, namely for things related to Hinduism which are called "Panca Yadnya". in addition, rerajahan is also a very inspirational work of traditional art, and has become a source of ideas for some Balinese artists in creating individual works. The very expressive form of rerajahan with a variety of motifs which are stylized from natural and fictional forms, is a work of art that is attractive and has high aesthetic value, integrated with spiritual values. Balinese people consider rerajahan as a religious, magical and mystical art object. In rerajahan, between religious values and aesthetic values are present as one unit. Therefore, it is fitting that rerajahan be called one of the single manifestations of art with religion. This research uses a qualitative approach, in which the data in this study are collected through literature studies related to the essence of Rerajahan, collecting libraries including books related to Rerajahan. The data that has been collected is then reduced to determine the appropriate data for analysis using the hermeneutic method
KEUTAMAAN API SEBAGAI SIMBOL DEWA AGNI DALAM AKTIVITAS RITUAL KEAGAMAAN UMAT HINDU Komang Heriyanti
Jnanasidanta Vol 1, No 2 (2020): 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.v1i2.493

Abstract

Fire is an important element in human life. For Hindus people, fire has the main function in a religious ritual. Fire has a very deep theological meaning, because it is a symbol of God in its manifestation as an God Agni. Take fire material in empowering the universe, fire or Agni displayed in real during the ceremony by Hindus people. Various forms of fire in upakara facilities can be grouped into two, using Agni in the form of a flame and Agni in the form of fumes. Agni in the form of a flame like a torch. Agni in the form of fumes is certainly represented by incense and pasepan which prioritizes puffs of fumes in every religious ritual. This is seen in many daily rituals, both from canang and banten, which always use incense.Keywords: Fire, God Agni
PURA SEBAGAI BENTUK PENERAPAN KONSEP KETUHANAN SAGUNA BRAHMA Komang Heriyanti
Jnanasidanta Vol 1, No 1 (2019): 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.v1i1.346

Abstract

Hindu faith in supporting the improvement of Sradha and Bhakti has a holy place called temple. The meaning of the temple in general is a place of worship to God in various aspects for Hindus ranging from the smallest family level to the largest region. In general the function of the place of worship is as a mean to worship God with all its manifestations and to worship ancestral holy spirit at all levels. In the holy book and the book of Vedanta, God is mentioned with two different views, namely God who is tangible (Saguna Brahma) as the form of the gods and God who are not tangible. In the view of Saguna Brahma there are many symbols of religius symbols such as the life of the Hindu peoples in Bali that are inseparable from the holy place and various upakara. Temple is one of the applications of the Saguna Brahma concept. Keywords: Temple, Saguna Brahma, Hindu
Dharmagita; Seni Budaya Dalam Siar Agama Hindu Yunitha Asri Diantary Ni Made; I Made Hartaka
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.v2i2.1141

Abstract

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.
Makna Teologi Gamelan Gambang dalam Upacara Ngaben Ni Wayan Suantini
Jnanasidanta Vol 2, No 1 (2020): 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.v2i1.824

Abstract

The Gamelan Gambang is one of the ancient gamelans found in the archipelago. This can be seen from the material which is made of wood and the blades are made of bamboo. The Gamelan Gambang is a gamelan that functions as a guardian in the Ngaben ceremony in Bali. This gamelan is thought to have developed around the XIII and XV centuries. Playing the Gamelan Gambang in the Ngaben ceremony is a form of service to God Almighty. The rhythm of the Gamelan Gambang is such an expression of human gratitude and desire to be close to God. Efforts to unify refinement, concentration and movement when playing the gamelan can provide its own experience, and is able to place human thought waves on theta waves. When the gamelan is played in a ceremony, it means reciting Sang Hyang Dasa Aksara. Sang Hyang Dasa Akasara is a medium for worshiping the Dewata Nawa Sanga and is the prabawa of Ida Sang Hyang Widhi Wasa. Thus it can be seen that the Gamelan Gambang is a sacred art that has the sound of the Genta Pinara Pitu.
Penjor Galungan Sebuah Seni Religius I Ketut Wartayasa; Komang Heriyanti
Jnanasidanta Vol 2, No 1 (2020): 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.v2i1.815

Abstract

Art in a religious activity is very necessary, because art is an expression of the beauty of a people who is presented to Ida Sang Hyang Widhi Wasa. The Hindu community in Bali in various religious rituals emphasizes the value of art. One of them is the art of penjor which is used on Galungan Day. Penjor is a religious ceremony equipment for Hindus, so penjor is a part of religious art that contains sacred symbols in the materials used. Penjor is a decoration made of bamboo (from base to tip). Penjor religiously is a means of ceremony in celebrating Galungan and is a symbol of the mountain that provides safety and prosperity. Penjor is plugged in front of the house the day before Galungan Day, namely Penampahan Galungan. Installing penjor aims to create a sense of devotion and as an expression of our gratitude for the prosperity given by Ida Sang Hyang Widhi Wasa. The curved bamboo is a depiction of the highest mountain as a sacred place. Making penjor for ceremonies requires certain conditions, and is in accordance with religious literature, so that it is not just as decorative. Penjor is also a symbol of expression of gratitude to the earth or nature for providing a place to live and human welfare and in order to create peace and human welfare to achieve the victory of dharma against adharma.
AJARAN PEMBEBASAN DALAM LONTAR SANGHYANG MAHÃJÑANA Ida Made Windya
Jnanasidanta Vol 1, No 2 (2020): 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.v1i2.486

Abstract

One source of Śiva’s teachings is Sanghyang Mahãjñana, the kind of śāstra tattwa . Tattwa refers to the core meaning or essence. Tat refers to the existence of God, that is, He is the absolute Bhatāra-soul. Twa is an affirmation as well as an affirmation of the existence of him who is as the Most and transcends the senses. Tattwa Sanghyang Mahãjñana is the essence of great liberating knowledge, teachings that give directions to enter the realm of Śunya or Śiwa. The teachings of Tattwa Sanghyang Mahājñana, discussed in this article include, the concept of liberation, namely the liberation of the soul, the union of the universe with the universe, and the loss of the attachment of the soul to the body is often referred to as release, and the path of liberation and stages of liberation in the Sanghyang Mahājñana include; this initial stage is the stage to uncover the secrets of human beings, the core stage is the stage of inner training to realize the teachings contained in the Sanghyang Mahājñana texts that have been occupied so far in order to achieve the highest goal of life, and the final stage which is the process of Sanghyang atma's journey. in the body going outside the body to achieve liberation from the bond of the material elements and the circle of birth-life-death that has shackled it, and re-integrates with its source, namely Śiva.
Ulap-Ulap Sebagai Media Seni Sakral Dalam Kebudayaan Bali I Wayan Hendra Purnawan; Ni Wayan Suantini
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.v2i2.1137

Abstract

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.

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