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All Journal JNANASIDDHÂNTA : JURNAL TEOLOGI HINDU Cultoure: Jurnal Ilmiah Pariwisata Budaya Hindu
Ariyasa Darmawan
STAHN Mpu Kuturan Singaraja
Religion Arts Humanities Environmental Science Social Sciences

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IMPLEMENTASI UU NOMOR 11 TAHUN 2010 TENTANG CAGAR BUDAYA DALAM PENGEMBANGAN PARIWISATA BUDAYA DI CANDI TEBING JEHEM, BANGLI Hamdan Kamal Nugraha; Ariyasa Darmawan
Cultoure: Jurnal Ilmiah Pariwisata Budaya Hindu Vol 2, No 2 (2021)
Publisher : Sekolah Tinggi Agama Hindu Negeri Mpu Kuturan Singaraja

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (188.331 KB) | DOI: 10.55115/cultoure.v2i2.1553

Abstract

The Jehem Cliff Temple and the Additional Cliff Temple are located in one village, namely Jehem village, Tembuku sub-district, Bangli district, which is a historical heritage in the form of a temple carved on a cliff. Currently the two cliff temples have been protected by the Cultural Conservation Law and their existence must be maintained and utilized as well as possible for the benefit of education, research, tourism and the community's economy. The method used in this article is a field study and literature, by visiting the Jehem Cliff Temple and reviewing books, similar scientific articles, and references related to cliff temples and the use of cultural heritage as a cultural tourism destination. More vigorous promotion through various media should be carried out to attract public interest to visit Tebing Jehem Temple, either to enjoy the nature around the temple, explore the history of the temple, or educational, spiritual activities, in accordance with the mandate of the Cultural Conservation Law in utilizing the potential of cultural heritage. The potential of the surrounding community also supports Jehem Cliff Temple as a cultural tourism because the community produces sokasi crafts from woven bamboo as superior products when visiting the temple. Tri Hita Karana's philosophy, namely the existence of a temple as a historical center, the existence of an area that is still beautiful and supported by the potential of the community in making crafts, supporting the preservation and utilization of cultural heritage.
Estetika Hindu Dalam Lontar Aji Ghurnnita Ariyasa Darmawan
Jnanasiddhanta : Jurnal Teologi 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/jnana.v4i1.2487

Abstract

Karawitan comes from the word rawit which means smooth or beautiful, to karawitan which means the art of instrumental and vocal sound using the barrel or scales of pelog and selendro. Balinese instrumental karawitan is called gamelan, and vocal karawitan is called tembang or sekar.               Hindu aesthetics is essentially a perspective on the sense of beauty that is bound by Hindu religious values based on the teachings of the Vedic scriptures. There are several concepts that would become an important foundation of Hindu aesthetics, namely purity (Shiwam), truth (Satyam), and balance (Sundaram). Holiness (Shiwam) is essentially about divine values which also includes Yajña and taksu. Truth (Satyam) includes the values of honesty, sincerity, and sincerity. Balance (Sundaram) which includes similarities and differences can be reflected in several dimensions.               Aesthetic reflection with the concept of balance that has two dimensions can produce symmetrical forms that are at the same time asymmetrical or harmonious and disharmony relationships which are commonly called rwa bhineda. Balance in the three dimensions is closely related to the concept of Hindu cosmology which divides this world into three parts: upper, middle, and lower which is commonly known as Tri Bhuwana. The underworld (Bhur loka) is the world of bhuta kala, the middle world (Bhwah loka) which is the realm between the human world and the rest of the world, and the upper world (Shwah loka) is the world of God and the gods.            The balance of the two Balinese musical arts that is often mentioned in Lontar Aji Ghūrṇnita is the existence of pelog and selendro barrels, ngumbang ngisep, lanang and wadon, as well as the concept ofbaikan or patet or saih. The balance of the three Balinese musical arts mentioned in Lontar Aji Ghūrṇnita is the concept of tri angga, consisting of pengawit or percussion opening, pengawak or percussion body, and pressing or closing the percussion.
Co-Authors Hamdan Kamal Nugraha