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<![CDATA[“MANTRA ABU†DALAM TEKS BHŪWANA KOSHA ]]>
<![CDATA[Putra, I Gde Agus Darma]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol 9, No 2 (2019) ]]>
Publisher : <![CDATA[Institut Hindu Dharma Negeri Denpasar ]]>
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DOI: 10.25078/klgw.v9i2.1234
<![CDATA[Bhasma Mantra was delivered by Bhatara to Bhatari. This narrative seems very different from the early part of the text of Bh?wana Kosha. Bhasma Mantra is chapter VII of the XI chapter contained in Bh?wana Kosha. Chapter VII consists of 30 slokas. Bhasma Mantra is one part of the text of Bh?wana Kosha which explains the subject of bhasma [ashes]. The intended ash is Ongkara as a result of burning Brahma mantra into the Fire of Dampati. The Dampati fire is composed of two pairs namely the Ongkara [Purusha] and Ukara [Pradhana]. Bhasma Mantra itself is the body of Shiva. This teaching was delivered by Shiva to Uma. The practice can be found in worship rituals performed by Pandhita or sadhaka. The notion of bhasma does not only stop at ashes. Bhasma in the next stage is divided into two senses, namely sakala bhasma and niskala bhasma. Bhasma Sakala is the body, while bhasma niskala is jñ?na.]]>
<![CDATA[“MANTRA ABU†DALAM TEKS BHŪWANA KOSHA ]]>
<![CDATA[Putra, I Gde Agus Darma]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol 9, No 2 (2019) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/klgw.v9i2.1234
<![CDATA[Bhasma Mantra was delivered by Bhatara to Bhatari. This narrative seems very different from the early part of the text of BhÅ«wana Kosha. Bhasma Mantra is chapter VII of the XI chapter contained in BhÅ«wana Kosha. Chapter VII consists of 30 slokas. Bhasma Mantra is one part of the text of BhÅ«wana Kosha which explains the subject of bhasma [ashes]. The intended ash is Ongkara as a result of burning Brahma mantra into the Fire of Dampati. The Dampati fire is composed of two pairs namely the Ongkara [Purusha] and Ukara [Pradhana]. Bhasma Mantra itself is the body of Shiva. This teaching was delivered by Shiva to Uma. The practice can be found in worship rituals performed by Pandhita or sadhaka. The notion of bhasma does not only stop at ashes. Bhasma in the next stage is divided into two senses, namely sakala bhasma and niskala bhasma. Bhasma Sakala is the body, while bhasma niskala is jñÄna.]]>
<![CDATA[“Mantra Abu” dalam Teks Bhūwana Kosha ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Dharma Sastra: Jurnal Penelitian Bahasa dan Sastra Daerah Vol 1 No 1 (2021): Volume 1 Nomor 1 Tahun 2021 ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/ds.v1i1.497
<![CDATA[Bhasma Mantra was delivered by Bhatara to Bhatari. This narrative seems very different from the early part of the text of Bhūwana Kosha. Bhasma Mantra is chapter VII of the XI chapter contained in Bhūwana Kosha. Chapter VII consists of 30 slokas. Bhasma Mantra is one part of the text of Bhūwana Kosha which explains the subject of bhasma [ashes]. The intended ash is Ongkara as a result of burning Brahma mantra into the Fire of Dampati. The Dampati fire is composed of two pairs namely the Ongkara [Purusha] and Ukara [Pradhana]. Bhasma Mantra itself is the body of Shiva. This teaching was delivered by Shiva to Uma. The practice can be found in worship rituals performed by Pandhita or sadhaka. The notion of bhasma does not only stop at ashes. Bhasma in the next stage is divided into two senses, namely sakala bhasma and niskala bhasma. Bhasma Sakala is the body, while bhasma niskala is jñāna.]]>
<![CDATA[SATUA I SANGGING LOBANGKARA DALAM TRADISI NYASTRA ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Soshum: Jurnal Sosial dan Humaniora Vol 7 No 1 (2017): Maret 2017 ]]>
Publisher : <![CDATA[Politeknik Negeri Bali ]]>
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<![CDATA[Makalah ini berisi analisis karya sastra yang disebut Satua. Satua tersebut dilihat berdasarkan konsep nyastra. Nyastra adalah cara meresepsi teks melalui tiga tahap yaitu wirama, wirasa dan wiraga. Satua yang dipilih dalam makalah ini adalah satua I Sangging Lobangkara. Pemilihan tersebut didasarkan pada pertimbangan bahwa teks I Sangging Lobangkara menceritakan sosok yang bisa mewakili eksistensi manusia dalam perspektif filosofis, terutama Hinduisme. Pembacaan satua I Sangging Lobangkara pada tahapan wirama dan wirasa menghasilkan keterbacaan teks yang koheren, persilangan pikiran serta penerjemahan bahasa dan tanda-tanda. Penokohan dalam satua I Sangging Lobangkara dilakukan dengan tekhnik campuran yakni perpaduan antara tekhnik analitik dan dramatik. Proses wiraga menghasilkan makna universal sesuai dengan hasil bacaan pembaca. Hasil pembacaan dipadukan dengan interteks menunjukkan bahwa I Sangging Lobangkara adalah cerminan manusia beserta sifat-sifatnya. Sifat manusia adalah papa, dan dalam satua I Sangging Lobangkara dituturkan cara pembebasan dari sifat tersebut melalui kisah perjalanan tokoh I Sangging Lobangkara. Kisah perjalanan yang dimaksud dibagi menjadi tiga yakni pertama petualangan ke hutan, petualangan ke laut, terakhir ialah mengetahui hakikat langit dan tidak kembali.]]>
<![CDATA[SIWA TATTWA PURANA [RITUAL-RITUAL KEHIDUPAN DAN KEMATIAN] ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 10 No. 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v10i1.1508
<![CDATA[Shiva Tattwa Purana means ancient stories about the nature of Shiva. This story is begins with a description of Sang Hyang Jagatpati who is in Shiva Loka. Jagadpati is another name for Shiva. Shiva Tattwa Purana provides information and knowledge about Padma Bhuwana, Rituals of Life and Rituals of Death. Padma Bhuwana is a mystical-geographical map. The Ritual of Life according to Shiva Tattwa Purana begins with the union of Smara and Ratih in Cantik Gedong Mas. The ceremony while in the stomach is Pagedong-gedongan. Afterwards continue with the ceremony at twelve days, during a month, three months, six months, start walking and teething, matatah, getting married, then Apodgala. Rituals of Death can be done on people who have a corpse and does not have. This death ritual is carried out starting from the Atiwa-tiwa, Nyekah, Mukur, Ligya to Angluwer levels.]]>
<![CDATA[DALAM KIDUNG BHRAMARA SAṄU PATI ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 7 No. 1 (2017) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v7i1.1580
<![CDATA[Kalangwan is state of Beauty and cause melting of the distance between the seeker and the sought after. The melting distance causes the soul to drift into the sublime beauty. Distance not only as the conception of space and time, but also the consciousness that separate subject and object. Melting distance means the dissapearance of space, time, and consciousness. Such a condition become a goal by Kawi.Bhramara Sangu Pati more like a monologue that contains the expressions of love for the godness. Love expressions of hope, disappointment, sadness, beauty, especially the longing. Such expressions are axpressed in a soft metamorphosis. Literary is a kind of literature that is still in vague areas especially for researchers.Kalangwan in this text does not stop only on the aesthetic, but also the miystical. Aesthetic because it is a literary work of a hymn that has its own prosody. Mystical because in it there are teachings, especially the teachings that can be used as death. Kalangwan in this study is the level that must be followed by those who want to achieve death. Kalangwan is not abolished, but skipped. Its like climbing a ladder, to get to the tenth step, it must be through the first, second, third and so on.]]>
<![CDATA[ANUGERAH KEPADA WAKTU DALAM TEKS KALA TATTWA ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 9 No. 1 (2019) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v9i1.1607
<![CDATA[Kala Tattwa adalah salah satu teks yang membicarakan perihal kelahiran Kala. Kala dalam pemahaman sosial religius, digambarkan sebagai sosok raksasa yang selalu kelaparan. Kala diyakini menelan segala sesuatu yang berada pada ruang dan waktu yang salah. Kewenangan itulah yang didapat oleh Kala sebagai salah satu anugerah dari orang tuanya. Sesungguhnya ada beberapa anugerah yang diberikan kepada Kala oleh Siwa dan Giri Putri. Anugerah itu dalam tulisan ini dibagi menjadi dua yakni anugerah yang diberikan secara khusus oleh Siwa, dan juga anugerah dari Giri Putri. Penting mengetahui anugerah itu untuk memetakan bagaimana sesungguhnya Kala dalam pandangan orang Bali. Beberapa anugerah yang diberikan oleh Bhatara Siwa kepada Kala di antaranya ialah keberhasilan, dapat menyusup ke dalam segala yang berpikir, boleh membunuh dan menghidupkan, dan berhak untuk tinggal di desa-desa tempat manusia hidup. Anugerah dari Giri Putri atau Durga adalah nama, aturan tentang yang boleh dan tidak boleh dimakan Kala, dapat memenuhi seluruh surga, sapta loka, dan sapta patala]]>
<![CDATA[“MANTRA ABU” DALAM TEKS BHŪWANA KOSHA ]]>
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra Vol. 9 No. 2 (2019) ]]>
Publisher : <![CDATA[Universitas Hindu Negeri I Gusti Bagus Sugriwa Denpasar ]]>
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DOI: 10.25078/kalangwan.v9i2.1617
<![CDATA[Bhasma Mantra was delivered by Bhatara to Bhatari. This narrative seems very different from the early part of the text of Bhūwana Kosha. Bhasma Mantra is chapter VII of the XI chapter contained in Bhūwana Kosha. Chapter VII consists of 30 slokas. Bhasma Mantra is one part of the text of Bhūwana Kosha which explains the subject of bhasma [ashes]. The intended ash is Ongkara as a result of burning Brahma mantra into the Fire of Dampati. The Dampati fire is composed of two pairs namely the Ongkara [Purusha] and Ukara [Pradhana]. Bhasma Mantra itself is the body of Shiva. This teaching was delivered by Shiva to Uma. The practice can be found in worship rituals performed by Pandhita or sadhaka. The notion of bhasma does not only stop at ashes. Bhasma in the next stage is divided into two senses, namely sakala bhasma and niskala bhasma. Bhasma Sakala is the body, while bhasma niskala is jñāna.]]>
<![CDATA[WACANA YOGA DALAM TEKS TUTUR/TATTVA ABAD XX ]]>
<![CDATA[W.A. Sindhu Gitananda]]>;
<![CDATA[I Gde Agus Darma Putra]]>;
<![CDATA[I Gusti Agung Paramita]]>;
<![CDATA[I Nengah Artawan]]>;
<![CDATA[I.B. Gede Prastawa]]>;
<![CDATA[Putu Durga Laksmi Devi]]>
<![CDATA[ DHARMASMRTI: Jurnal Ilmu Agama dan Kebudayaan Vol 23 No 1 (2023): Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan ]]>
Publisher : <![CDATA[Pascasarjana Universitas Hindu Indonesia ]]>
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DOI: 10.32795/ds.v23i1.4108
<![CDATA[Wacana yoga selalu mengalami perkembangan seiring tren wacana otoritatif yang dimungkinkan oleh sifat inklusif ajaran Hindu-Siwaistik di Bali. Artikel ini bertujuan mengelaborasi perkembangan wacana yoga tersebut dalam teks Tutur/Tattva abad XX: Siw?gama, Aji Sangkya, dan Rsi Yadnya Sankya dan Yoga. Dalam rangka itu, pendekatan kualitatif dengan penekanan pada stilistika dan hermeneutika dengan perspektif bandingan dalam memahami teks diterapkan untuk tujuan deskripsi dan interpretasi. Berdasarkan elaborasi, dapat dipahami bahwa ketiga teks menunjukkan masing-masing versi wacana yoga yang dipahami sesuai dengan bacaan (intertekstualitas) yang digunakan dalam rangka penyusunannya. Hal tersebut selain mempertegas dasar pandangan tren wacana, juga menyiratkan bahwa intensionalitas penulis dengan horizon bacaannya masing-masing sangat mempengaruhi konstruksi teks Tutur/Tattva yang disusun secara eclectik, yang dalam hal ini untuk mempertegas posisi keberagamaan Hindu-Siwaistik Bali.]]>
<![CDATA[“San Sevaka Dharma” in The Aji Sarasoti Merapi-Merbabu Manuscript ]]>
<![CDATA[Anak Agung Gde Alit Geria]]>;
<![CDATA[I Gde Agus Darma Putra]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 13 No 2 (2023): Volume 13 No 2 Oktober 2023 ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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DOI: 10.24843/JKB.2023.v13.i02.p09
<![CDATA[Sevaka Dharma means servant of truth. This phrase only occurs in the Aji Sarasoti Merapi-Merbabu (MM) manuscript. This paper aims to elaborate on the phrase sa? sevaka dharma (a person who is honored for serving the truth) which is mentioned in the first line of the text so that the concept of sa? sevaka dharma can be understood correctly. Aji Sarasoti text which is used as the material object in this paper is the Merapi-Merbabu manuscript, which is stored in the National Library of Indonesia, code PNRI 11 L. 254. The method used is the basic method, while the theory used is hermeneutic. The PNRI 11 L. 254 manuscript contains not only the Aji Sarasoti text but also the Aji Panarawangan and Aji Pangsoluan Raga. Likewise, other Aji Sarasoti manuscripts were published together with other texts in one file. Meanwhile, the Sa? Sevaka Dharma which is mentioned in the Aji Sarasoti text refers to someone who is having to understand the teachings. The teaching in question is the teaching of liberating knowledge (jñ?na).]]>
