Article Per Year (5 Year)
p-Index From 2019 - 2024
0
P-Index
This Author published in this journals
All Journal Paramita: Historical Studies Journal AMERTA KALPATARU
Hariani Santiko
Jurusan Arkeologi Universitas Indonesia
Arts Humanities Earth & Planetary Sciences Education Environmental Science Other

Published : 8 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 8 Documents
Search

 1 
PUJA CARU PADA MASYARAKAT JAWA KUNA Santiko, Hariani
Paramita: Historical Studies Journal Vol 21, No 2 (2011)
Publisher : Paramita: Historical Studies Journal

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The offering known as caru or macaru is still done in Bali. This macaru in Bali is actually blood sacrifice offered to the lords of the demonds (bebutan or butabala) before the Balinese doing a special ritual for instance the Nyepi ceremony. The most important caru is called “caru mancasanak”, they sacrifice animals and other ingredients. The word caru is known in Old-Javanese inscriptions and Old-Javanese/Middle-Javanese texts among others are the Adiparwa, Rāmāyana, Sutasoma, Korawasrama, Calon Arang. However no special explanation on the meaning of the word caru and its rituals.   Keywords: pūjā caru, ambhūtayajña, buburpēhan, pindapitryājña, kunda, homayajña, skul-dinyun.   Korban yang dikenal sebagai caru atau macaru masih dilakukan di Bali. Hal ini macaru di Bali sebenarnya darah pengorbanan yang ditawarkan kepada raja butha (bebutan atau butabala) sebelum Bali melakukan ritual khusus misalnya upacara Nyepi. Yang paling penting adalah caru disebut "caru mancasanak", mereka mengorbankan hewan dan bahan lainnya. Kata caru dikenal di prasasti Jawa kuno dan karya sastra Jawa Kuno/Jawa Tengah antara lain adalah Adiparwa, Ramayana, Sutasoma, Korawasrama, Calon Arang. Namun tidak ada penjelasan khusus arti kata caru dan ritualnya. kata kunci: pūjā caru, ambhūtayajña, buburpēhan, pindapitryājña, Kunda, homayajña, skul-dinyun.  
Identification of Karmawibhangga Reliefs at Candi Borobudur Santiko, Hariani
AMERTA Vol 34, No 2 (2016)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2102.587 KB) | DOI: 10.24832/amt.v34i2.179

Abstract

Abstract. Reliefs depicted at Borobudur’s “hidden foot” are scenes taken from the Karmawibhangga texts. These reliefs depicted in 160 panels were rediscovered by J.W. Ijzerman in 1885, and in 1890-1891 were photographed by Kassian Cephas before the reliefs were closed down once again. The Karmawibhangga deals with the Law of Cause and Effect, the Karmic Law. The doctrine was veryimportant for the Buddhist visitors. In order they understand easily the episodes they saw, the sculptors portray many aspects of the early life in Java from the 9th to 10th century AD, during Borobudur’sera. The reliefs were studied by N.J. Krom, S. Levi, and Jan Fontein. Fontein studies these reliefs by comparing the episodes with two Karmawibhangga texts which were translated into Chinesenamed as T 80 and T 81. The purpose in writing this paper is to find out the Karmavibhanga text(s) used by the sculptors in carving the Karmawibhangga at Candi Borobudur. In this case I use theHistorical-archaeology as a method; this approach seeks an equal combination of “historical” and “archaeological” data to the study of the past i.e.Abstrak. Identifikasi Relief Karmawibhangga pada Candi Borobudur. Relief yang dipahatpada dinding kaki Candi Borobudur yang sekarang ditutup merupakan adegan-adegan dari naskah Karmawibhangga, yang berjumlah 160 panel ini ditemukan kembali oleh J.W. Ijzerman pada tahun 1885. Sebelum ditutup kembali relief seluruhnya difoto oleh Kassian Cephas pada tahun 1890-1891. Relief-relief tersebut terkait dengan ajaran hukum karma, hukum sebab akibat, yang sangat penting dalam ajaran agama Buddha. Agar cerita tersebut dimengerti dengan baik oleh pengunjung, makaajaran tersebut dikemas dalam cerita kehidupan masyarakat Jawa Kuna pada abad ke- 9-10 Masehi, semasa Candi Borobudur didirikan. Identifikasi relief telah dilakukan oleh N.J. Krom, S. Levi, dan Jan Fountain yang membandingkan adegan-adegan dengan dua naskah Sutra yang telah diterjemahkan kedalam bahasa Cina yang dikenal sebagai T 80 dan T 81. Tujuan penulisan ini adalah mencari naskah yang dipergunakan oleh para pemahat relief Karmawibhangga. Metode yang dipakai adalah metode Arkeologi-Sejarah yaitu pendekatan yang menggunakan data artefaktual dan data tekstual berupanaskah dan prasasti. Relief yang dibandingkan dengan episode dalam naskah, diketahui bahwa berbagai episode lebih mendekati isi naskah T80.
Bhima dan “Toya Pawitra” dalam Cerita Dewa Ruci Santiko, Hariani
AMERTA Vol 35, No 2 (2017)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2312.775 KB) | DOI: 10.24832/amt.v35i2.275

Abstract

Abstract. Bhima and "Toya Pawitra" in The Dewa Ruci Story.A number of statues and also reliefs of Bhima were found at the slope of mountains nearby the terrace sanctuaries from the Majapahit era. Besides the artefactual data, there is also a story known as Dewa Ruci, telling about Bhima being told by Drona to go to Candramuka Mountain and also to the wide ocean in search of the water of life (“toya pawitra”). Suddenly he met Dewa Ruci, who looks like Bhima but much smaller. Dewa Ruci explains to Bhima about the doctrine of the perfect life according to Śaiwasiddhanta teaching, and also the relationship between man, God and universe in terms of monistic mysticism. The purpose of writing this article is to find out the result of the meeting between Bhima and Dewa Ruci. In this case I use the Historical-Archaeology and also the phenomenology method to understand the symptoms within culture, including archaeology. By talking to his Guru, Dewa Ruci, Bhima the ordinary Pandawa’s warrior became a Divine Guru in the world, who can give guidance to men who want to attain eternal unity between Servant and the Lord/God.Abstrak. Tinggalan arkeologi berupa arca dan relief Bhima banyak ditemukan di sekitar bangunan berundak teras di lereng-lereng gunung pada masa Majapahit Akhir. Di samping data artefaktual itu, terdapat sebuah cerita, yaitu cerita “Dewa Ruci”, yang sangat terkait dengan tokoh Bhima. Dalam cerita tersebut, Bhima disuruh Drona mencari toya pawitra ‘air penghidupan’ di Gunung Candramuka dan juga di tengah laut. Pada waktu itu muncul tokoh Dewa Ruci yang mirip Bhima, namun sangat kecil ukurannya. Ia memberi penjelasan (wejangan) tentang rahasia hidup yang terkait dengan ajaran agama Śaiwasiddhanta dan Bhima dianggap berhasil menghadapi berbagai kesulitan dan tantangan kehidupan. Penelitian ini menggunakan metode fenomenologi atau metode “mengerti”, metode yang mengungkapkan makna berbagai gejala yang terkandung dalam kebudayaan, termasuk arkeologi. Pendekatan yang dipakai adalah pendekatan arkeologi sejarah dengan menggunakan data aktefaktual dan data tekstual. Bhima yang pada awalnya adalah seorang pahlawan Pandawa, setelah bertemu dengan gurunya, Dewa Ruci, menjadi tokoh anutan atau semacam guru bagi mereka yang sedang menempuh “perjalanan spiritual” untuk mencari, bertemu, dan bersatu kembali dengan Tuhan.
Ragam Hias Ular-Naga di Tempat Sakral Periode Jawa Timur* Santiko, Hariani
AMERTA Vol 33, No 2 (2015)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2688.598 KB) | DOI: 10.24832/amt.v33i2.217

Abstract

Abstract. Naga-Snake Ornaments at Sacred Places in East Java Period. Among those archaeological remains from Hindu-Buddhist in East Java period, dated from 8th to 16th centuries, was nagasnakeornament (snake with physical characteristic of a dragon) whether it stands alone or with a garuḍa figure. This ornament was found in temples, sacred bathing sites, and meditation caves. This ornament has not been found in earlier Hindu-Buddhist period in Central Java (early 6th to early 10th centuries). In order to understand the ideas behind this ornament selection, a historical-archaeology method was used based on artefactual and textual data, such as old manuscripts or inscriptions. East-Javanese śilpins used garuḍa and naga snake ornaments to manifest the story of Samudramanthana (Amŗtamanthana) and the story of Garudeya. Both stories tell the churning of the Ksirārnawa by the śura and aśura to get the amŗta (the holy water). This ornament can be found at Jalatunda bathingsite, Kidal temple, and Jabung temple. The preference to use Samudramanthana and Garudeya stories was related with the mythology of the mountain in Hinduism, which is believed as a “ladder” to Gods’ place. A temple is a miniature of Mahameru, the location of amŗta, guarded by the dragon-snake. Abstrak. Tinggalan Arkeologi dari masa Hindu-Buddha di Jawa Timur (abad ke-10-16), di antaranya berupa ragam hias ular-naga (ular dengan ciri-ciri fisik naga) yang digambarkan sendiri, maupun bersama tokoh garuḍa. Ragam hias ular-naga ini ditemukan di kompleks percandian, pemandian suci (patirthan), dan di gua-gua pertapaan. Menarik perhatian adalah, ragam hias jenis ini tidak ditemukan pada kepurbakalaan masa sebelumnya, yaitu masa Hindu-Buddha di Jawa Tengah (abad ke-6 sampai awal abad ke-10). Untuk mengetahui gagasan yang melatari dipilihnya artefak tersebut,akan diterapkan metode arkeologi-sejarah, yaitu metode yang menggunakan data artefaktual dan data tekstual, berupa naskah-naskah atau prasasti. Kemunculan garuḍa bersama ular-naga ini, dikemukakan bahwa para seniman Jawa Kuno menggunakan cerita Samudramanthana (Amŗtamanthana) dan cerita Garuḍeya. Kedua cerita tersebut menceritakan pengambilan dan perebutan air suci amŗta (air suci, air penghidupan) antara dewa (śura) dan aśura. Ragam hias ular-naga terdapat pada Pemandian Jalatunda, Candi Kidal dan Candi Jabung, Candi Panataran, Candi Kedaton dan sebagainya. Dipilihnya cerita Samudramanthana dan Garuḍeya terkait dengan mitologi gunung dalam agama Hindu, yangmerupakan “tangga naik” ke tempat dewa-dewa di puncaknya. Candi adalah bentuk miniatur dari Mahameru tersebut, tempat amŗta yang dijaga oleh ular-naga.
Agama Dan Pendidikan Agama Pada Masa Majapahit Santiko, Hariani
AMERTA Vol 30, No 2 (2012)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (518.745 KB) | DOI: 10.24832/amt.v30i2.393

Abstract

Religion and Religious Teaching During the Majapahit Period. During the Majapahitperiod religious teaching played an important role. The teaching could be done individually or in acentre for religious teaching called “Mandala” or “Kadewaguruan”. A Kadewaguruan was usually located far from habitation places (cities), such as quiet forest, on top of a hill, mountain slope, or by the sea shore. A Kadewaguruan is led by a mahāresi (high priest), who is also known as śiddharesi or dewaguru; hence the education centre is called Kadewaguruan. In his daily activities, a dewaguru was assisted by his senior disciples named ubwan, female priests, and manguyu or male priests. New disciples were called kaki, tapaswi (male ones) and endang or tapi, kili (female ones). The teachings were taught in phases. During the first phase (supportive teachings), ceremony procedures (dīksāwidhi-widhāna) were taught, and in the next phases were taught the main teachings about the concept of the Utmost Reality and the attempt to unite oneself (kalěpasan, moksa) with Bhattara (god). The summary of the dewaguru teachings can be found in religious manuscripts named Tutur.
Candi Panataran: Candi Kerajaan Masa Majapahit. Santiko, Hariani
KALPATARU Vol 21, No 1 (2012)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (343.689 KB) | DOI: 10.24832/kpt.v21i1.103

Abstract

Candi Panataran adalah candi kerajaan (State Temple) Kerajaan Majapahit, didirikan di sebuah tanah yang berpotensi sakral karena di tempat itu terdapat prasasti Palah dari jaman Kadiri, berisi tentang pemujaan Bhatara ri Palah. Berdasarkan angka tahun yang ditemukan di kompleks candi, setidaknya Candi Panataran dipakai sejak pemerintahan Raja Jayanagara hingga Ratu Suhita. Pada jaman Majapahit, Candi Panataran adalah candi untuk memuja Paramasiwa yang disebut dengan berbagai nama, tattwa tertinggi dalam agama Siwasiddhanta. Bahkan ada kemungkinan sebuah Kadewaguruan (tempat pendidikan agama) dibangun di sekitar kompleks candi, tetapi dimana kepastian letaknya, belum jelas. Candi Panataran adalah “pusat spiritual” kerajaan Majapahit. Abstract. Panataran Temple was a state temple of the Majapahit Kingdom, which was built on a piece of land that had the potency to be sacred because there was an inscription, the Palah inscription, from the Kadiri period. The inscription is about devotion to Bhatara ri Palah. Based on a date found within the temple complex, it is assumed that at least the Panataran Temple was functioned since the reigning periods of King Jayanagara until Queen Suhita. During the Majapahit period, the Panataran Temple was a temple dedicated to Paramasiwa, who was known by various names, the highest tattwa in Siwasiddhanta religion. In fact, there is a possibility that a Kadewaguruan (centre of religious teachings) was built around the temple complex, but the exact location is yet to be found. The Panataran Temple was the “spiritual centre” of the Majapahit Kingdom.
The Structure of Stupas at Muara Jambi. Santiko, Hariani
KALPATARU Vol 23, No 2 (2014)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1395.069 KB) | DOI: 10.24832/kpt.v23i2.58

Abstract

Struktur Stūpa di Muara Jambi. Di Muara Jambi dan sekitarnya terdapat tinggalan arkeologi berupa bangunan-bangunan sakral, di antaranya Candi Gumpung, Candi Tinggi, Candi Gedong I dan II, Candi Kedaton, dan Candi Astano yang dibuat dari bata. Tinggalan tersebut bersifat agama Buddha, karena banyak terdapat sisa-sisa bata dengan inskripsi “bija-mantra”, gambar-gambar bunga padmā, dan beberapa patung. Struktur bangunan-bangunan khususnya candi induk pada umumnya berdenah segiempat, dengan perpanjangan ke arah timur atau utara, perkecualian terdapat pada Candi Gumpung. Di atas candi induk tersebut kemungkinan diletakkan sebuah stūpa besar seperti Candi Tinggi. Struktur bangunan stūpa semacam itu dikenal sebagai “terrace-stūpa” yang pertama kali didapati di daerah Gandara pada masa pra-Kushana. Candi Gumpung berdenah hampir bujursangkar, tanpa tangga dan tanpa ruang dalam (garbhagŗha). Boechari pada tahun 1985 membaca inskripsi sebagai peripih candi dan berpendapat bahwa peripih berupa susunan dewa-dewa dalam Vajradhātu-maṇḍala, berarti Candi Gumpung bersifat agama Buddha Vajrayāna. Dengan demikian menurut penulis struktur pertama Candi Gumpung hanya berupa lapik dengan 5 buah stūpa di atasnya yang menggambarkan susunan Vajradhātu- maṇḍala. Dari berbagai data yang dilaporkan dan perbandingan dengan sisa-sisa bangunan di Muara Takus dan Biaro Bahal, penulis perkirakan bahwa tinggalan arkeologi di Muara Jambi adalah sisa-sisa bangunan stūpa, khususnya dalam bentuk “terrace-stūpa”. Abstract. In the vicinity of Muara Jambi are found a lot of archaeological remains, among others a group of brick monuments believed to date from the 9th to 13th Century AD, among others are Candi Tinggi, Candi Gumpung, Candi Gedong I and II, Candi Kedaton, Candi Astano. These monuments are Buddhist, because the majority of the finds in this area are Buddhist statues, many bricks with “bija mantra” inscriptions and drawing such as padmā motives on them. The structures of the main temple, except Candi Gumpung, are generally square in plan with projecting portico on the east or north, and terrace platform that may well served for the enthronement of the big stūpa like the one at Candi Tinggi. The type of this stūpa structure is called the terrace- stūpa, known for the first time in the Gandhāran regions from pre-Kushana period. In Indonesia terrace-stūpas are found at Muara Takus (Candi Tua) and also candi Borobudur in Central Jawa. Candi Gumpung has different structure, a square ground plan measuring 18 x 18 metres without any trace of an inner-room (garbhagŗha). Boechari in 1985 read the inscriptions found in the deposit boxes found inside the temple floor. He recognized the plan of Vajradhātu-maṇḍala found in the base of candi Gumpung. It means that candi Gumpung is a Vajrayāna temple and it embodies the maṇḍala of the five Tathāgath as with Wairocana in the centre. So I assume that the first candi Gumpung in the 9-10th Century was a square platform with five stūpas on it to form the Vajradhātu-maṇḍala. By studying the archaeological data from Muara Jambi and comparing them with the monuments from Muara Takus and Biaro Bahal, I consider the remains of brick monuments at Muara Jambi belonged to stūpas, especially the terrace-stūpas.
PUJA CARU PADA MASYARAKAT JAWA KUNA Santiko, Hariani
Paramita: Historical Studies Journal Vol 21, No 2 (2011)
Publisher : History Department, Semarang State University and Historian Society of Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/paramita.v21i2.1034

Abstract

The offering known as caru or macaru is still done in Bali. This macaru in Bali is actually blood sacrifice offered to the lords of the demonds (bebutan or butabala) before the Balinese doing a special ritual for instance the Nyepi ceremony. The most important caru is called “caru mancasanak”, they sacrifice animals and other ingredients. The word caru is known in Old-Javanese inscriptions and Old-Javanese/Middle-Javanese texts among others are the Adiparwa, Rāmāyana, Sutasoma, Korawasrama, Calon Arang. However no special explanation on the meaning of the word caru and its rituals.   Keywords: pūjā caru, ambhūtayajña, buburpēhan, pindapitryājña, kunda, homayajña, skul-dinyun.   Korban yang dikenal sebagai caru atau macaru masih dilakukan di Bali. Hal ini macaru di Bali sebenarnya darah pengorbanan yang ditawarkan kepada raja butha (bebutan atau butabala) sebelum Bali melakukan ritual khusus misalnya upacara Nyepi. Yang paling penting adalah caru disebut "caru mancasanak", mereka mengorbankan hewan dan bahan lainnya. Kata caru dikenal di prasasti Jawa kuno dan karya sastra Jawa Kuno/Jawa Tengah antara lain adalah Adiparwa, Ramayana, Sutasoma, Korawasrama, Calon Arang. Namun tidak ada penjelasan khusus arti kata caru dan ritualnya. kata kunci: pūjā caru, ambhūtayajña, buburpēhan, pindapitryājña, Kunda, homayajña, skul-dinyun.  
Co-Authors