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All Journal Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Cetta: Jurnal Ilmu Pendidikan GENTA HREDAYA: Media Informasi Ilmiah Jurusan Brahma Widya STAHN Mpu Kuturan Singaraja Vidya Darśan : Jurnal Mahasiswa Filsafat Hindu JNANASIDDHÂNTA : JURNAL TEOLOGI HINDU Pramana: Jurnal Hasil Penelitian
I Putu Ariyasa Darmawan
STAHN Mpu Kuturan Singaraja
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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AESTHETICS AND ETHICS OF KARAWITAN ART IN LONTAR AJI GHURNNITA I Putu Ariyasa Darmawan; Ayu Veronika Somawati; Ida Bagus Putu Eka Suadnyana
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Vol 5, No 2 (2021)
Publisher : Institut Hindu Dharma Negeri Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25078/ijhsrs.v5i2.3027

Abstract

Art is a form of expression of the soul that cannot be separated from human beings. Art makes human’s life more beautiful and colorful. Various kinds of art forms were created by humans as a form of existence and self-expression, be it in the form of dance, painting, and various other types of art. Bali as one of the world's international tourist destinations cannot be separated from the various kinds of arts in it. One of them is karawitan or art of sound. Karawitan art itself is divided into two types, namely instrumental musical art in the form of gamelan, and vocal karawitan. The art of karawitan, especially gamelan in Bali, is not only a complement to religious ceremonies or the pouring of creative ideas, but also has a very significant influence on the Balinese people and the listeners of the gamelan. The shape of the gamelan is also able to influence the soul and human behavior that dissolves in the atmosphere brought by the gamelan players. The implementation of gamelan art, either directly or indirectly, has ethical and aesthetic values. Through gamelan art, humans will learn ethical and aesthetic values. If viewed from the aesthetic value, gamelan art contains the values of truth (Satyam), purity (Shivam), and beauty (Sundaram) which are concepts of Hindu aesthetics itself. In terms of ethical values, gamelan art teaches one to learn to respect one another and learn the meaning of equality where everyone has the same position according to their respective duties and functions. Through gamelan, humans learn to harmonize what is said and what is done.
Nilai Pendidikan Agama Hindu Dalam Lontar Siwa Sasana Ida Bagus Putu Eka Suadnyana; I Putu Ariyasa Darmawan
Cetta: Jurnal Ilmu Pendidikan Vol 3 No 2 (2020)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/cetta.v3i2.460

Abstract

Hinduism in addition to giving teachings also guides its people to achieve happiness and harmonize their lives physically and spiritually. Efforts to maintain the preservation of Religion can be done through strengthening education in the field of religion. For people in Bali this is the basic capital as a mental and spiritual driving force and is a guide, guide and impetus in humans to achieve a better and perfect quality of life. The teachings of Hinduism are based on the Vedic scriptures, but also in secondary books, one of which is the ancient manuscripts in the form of Lontar. Dealing with this, the author intends to examine in depth in terms of the value of Hindu religious education for a lontar, namely lontar "Shiva Sasana" which is a religious literary work that is currently only in demand by a small portion of the community or less attention from the younger generation of Hindus. Theories used to solve research problems are convergence theory and value theory. This research is in the form of a qualitative design with data collected with literature study techniques and interpretive methods. After the data collected the data were analyzed with descriptive analysis techniques. The teachings contained in the Lontar Shiva Sasana based on the writer's findings include the teachings of Shivaism and the teachings of the Trikaya Parisudha and the values ​​contained in the Lontar Shiva Sasana include the ethical values ​​and devotional values.
ANIMISME DALAM PEMUJAAN BARONG BULU GAGAK DI BALI I Putu Ariyasa Darmawan
Genta Hredaya: Media Informasi Ilmiah Jurusan Brahma Widya STAHN Mpu Kuturan Singaraja Vol 4, No 1 (2020): Filsafat Ketuhanan
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/gentahredaya.v4i1.521

Abstract

Barong as a tool of worshiping God had an animating power which functions as a protector and unifier of the community. The six of Barong crow feathers that found in Bali had a bond in terms of feather source namely Alas Arum Temple which located at Alas Baha, Mengwi District, as a place to beg crow feather. Barong Crow Feather also united by the kinship among Barong Crow Feather, such as the birth relation and visited each other in the ceremony. The animates power of Barong Crow Feather in Bali is believed to protect the community, bound the social religious, provided the serenity, and increased the belief to the almighty God in the form of Barong. In the essence, the society did not worship the Barong form, but the power which animated a facility because the limitation of human ability in imaging and worship the Almighty God.
AJARAN DHARMA DALAM TEKS YAKṢA PRAŚNA I Komang Dedi Diana; I Putu Ariyasa Darmawan
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.v1i1.340

Abstract

The Yakṣa Praśna as part of Itihāsa Mahābhārata is a dialogue between Yudhṣṭhira and the Yakṣa by the lake about the virtues of the Vedas, honesty, knowledge, and respect for parents. The Yakṣa is Lord Dharma who wants to test Yudhṣṭhira's abilities. Yudhṣṭhira placed the Vedas as the basic guidelines in his life, and positioned the people who controlled the Vedas as the main people and ignorance when humans did not know the Vedas. Some of the Yakṣa questions are answered by placing the Vedas as the answers.Yakṣa Praśna teaches humans to always act on truth, honesty, according to rules, and for happiness in the world and after death.The highest Dharma is to do good to all people, the dharma done according to the instructions of the Vedic scriptures always brings results, dengan mengendalikan pikiran, someone is never afraid, and union with goodness is never broken. Keyword: Dharma, Veda, Yudhṣṭhira, Yakṣa Praśna
Eksistensi Pura Purohita di Desa Unggahan Kecamatan Seririt Buleleng I Made Hartaka; I Putu Ariyasa Darmawan; Ni Luh Putu Yuliani Dewi
Genta Hredaya: Media Informasi Ilmiah Jurusan Brahma Widya STAHN Mpu Kuturan Singaraja Vol 6, No 2 (2022)
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/gentahredaya.v6i2.2389

Abstract

The temple is a sacred place to worship God with all His manifestations as well as a place to worship the holy spirits of the ancestors. The temple is also a center for religious, social and cultural activities based on Hinduism. Purohita Temple is located at Unggasan Village, Seririt District, Buleleng Bali. Purohito Temple carries the concept of Shiva-Buddhist worship which is very unique. Pura Purohita has one Siva Phallus which became the highest Shiva Lingga in the world which was included in the MURI list on April 10, 2015. The dedication of Purohita Temple is a special attraction to be studied further about the existence of Purohita Temple in Uploadan village, Seririt District, Buleleng Regency. The research uses qualitative descriptive research methods. Purohita Temple structurally consists of two pages, namely: jaba pisan and jeroan, while when viewed from the shape of the sacred building, it can be classified into several types, namely: Bebaturan, Padmasana, Gedong, and Lingga. The function of Purohita Temple: (1) Religious function where Purohita Temple functions as a means of increasing sradha and bhakti for the people, (2) The function of education as a medium of learning or informal cultural and spiritual education. (3) Economic Function which in the area of Pura Purohita is placed the palinggih Ratu Subandar by taking the form of a statue of Laughing Buddha which is believed to be the god of prosperity and happiness (4) Recreation function where Pura Purohita is one of the religious tourist attractions in the North Bali region. The maning of Siva Phaluss is as a central point of worship to facilitate concentration and unification with God.
Peningkatan Sradha Bhakti Dan Karakter Siswa Sekolah Dasar Di Desa Mayong Melalui Tri Hita Karana Ketut Sri Wahyuni; Ni kadek Yuni Ariningsih; I Putu Ariyasa Darmawan
Vidya Darsan: Jurnal Mahasiswa Filsafat Hindu Vol 4, No 1 (2022)
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/vidyadarsan.v4i1.2679

Abstract

Tri Hita Karana as an effort to realize harmony and as an effort to succeed the four goals of human life called Catur Purusha Artha, a balanced attitude to life between devotion to God, serving fellow humans and protecting the natural environment, the teachings of Tri Hita Karana will be balanced if its implementation carried out properly, a life activity that will continuously be pursued so that the harmonious relationship is truly integrated on an ongoing basis. Ida Sang Hyang Widhi Wasa. Tri Hita Karana comes from the word Tri which means three, hita which means happy and the means of which cause. So Tri Hita Karana means the three causes of Hindu's happiness. The teachings of Tri Hita Karana are divided into three parts of the prahyangan, Pawongan, palemahan. Prahyangan is how we get closer to God, then Pawongan is human relationship with other humans, and the palemahan is how we maintain the environment.The value of the student character can be improved through the practice of Tri Hita Karana so every student will have a skil or ability to understand religion and apply the teachings of Tri Hita Karana
Filosofi Barong Bulu Gagak Di Pura Dalem Kutuh, Desa Gulingan, Kecamatan Mengwi I Putu Ariyasa Darmawan
Pramana: Jurnal Hasil Penelitian Vol 1, No 1 (2021)
Publisher : Pramana: Jurnal Hasil Penelitian

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/jp.v1i1.1844

Abstract

Bali has many Barong, one of which is Barong Ket. Dalem Kutuh Temple in Gulingan village has a Barong Ket who uses crow feathers. The six crow-feathered barongs in Bali are found at Dalem Kutuh Temple, Gulingan Traditional Village, Maspait Temple Banjar Singgi, Pakraman Intaran Village, Dalem Arum Temple, Banjar Nyelati, Kuwum Village, Mrajan Puri Tegal Tamu Batubulan, Pererepan Temple Banjar Bekul, Penatih Dangin Puri Village, and at Celangu Temple, Banjar Pekandelan, Bedulu Village, Gianyar. The function of the crow's feather barong at Dalem Kutuh Temple is to increase sradha and community service, protect. Barong and Rangda are implementations of the application of the concepts of totemism, animism, dynamism, pantheism, anthropomorphism, and monism, because all these concepts are a way for humans to understand the existence of God Almighty with very limited abilities, which are categorized as Saguna Brahman. The existence of the crow's feather barong at Dalem Kutuh Temple, Gulingan village, is able to bind norms and rules that reflect the value of good assumptions so that it functions as social control that is guided by community behavior. This control does not only apply to fellow believers, but also applies to managing community relations with God Almighty and with their environment.
Dosa Dan Kewajiban Agama Dalam Catur Yuga Menurut Parāśara Dharmaśāstra I Putu Ariyasa Darmawan
Pramana: Jurnal Hasil Penelitian Vol 2, No 1 (2022)
Publisher : Pramana: Jurnal Hasil Penelitian

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55115/jp.v2i1.2683

Abstract

The Dharmaśāstra is considered the most important and interesting of the many śāstra books which contain the basic set of Hindu teachings and is known as one of the Vedaṅga books, namely the body part of the Vedas which cannot be separated from other Veda Śruti books. Dharmaśāstra is one of the Vedāṅgas and has the most important meaning and position in Hindu society. It consists of Śikṣa, Vyākaraṇa, Chanda, Nirukta, Jyotiṣa and Kalpa. The most important type of Vedāṅga and which has something to do with this Dharmaśāstra book is the Kalpa type. The origin of this Kalpa book is sourced from the Brāhmaṇa saṁhitā and is written in the form of a sūtra or śloka. Based on their usage, this group of Kalpa vedāṅga consists of four types according to their respective topics. The laws of Mānu were enacted during the time of Satya; the law of Gautama in the time of Tretā; the laws of Śaṅkha and Likhita during the time of Dvāpara; and the law of Parāśara in the Kaliyuga.Strict observance of penance (tapa) was a virtue during the Satyayuga; knowledge of the self (jñana) in the Tretāyuga; performing religious sacrifices (yajña) during the Dvāparayuga period, and performing almsgiving (dānam) during the Kaliyuga period. Kāliyuga means the age of strife marked by the fading of the spiritual life, because the world is fettered by material life. Human orientation is only on pleasure by satisfying sensual desire (Kāma) and if this continues to be followed, then lust is like a fire doused with kerosene or gasoline, it will not go out, but destroys the human being. The characteristics of the Kāli era (Kāliyuga) are increasingly evident in the era of globalization which is marked by the rapid flow of information, driven by technological developments with the content of the philosophy of Hedonism which is only material oriented and attempts to obtain mere pleasures
Co-Authors I Komang Dedi Diana I Made Hartaka Ida Bagus Putu Eka Suadnyana Ketut Sri Wahyuni Ni kadek Yuni Ariningsih Ni Luh Putu Yuliani Dewi Somawati, Ayu Veronika