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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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KECANTIKAN WANITA DALAM TEKS RUKMINI TATTWA Ni Made Yunitha Asri Diantary
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.v1i1.349

Abstract

Beauty is synonymous with a woman, beauty is categorized as physical beauty and spiritual beauty. Women are directed to have both types of beauty, physical beauty can be obtained from body care and spiritual beauty obtained by practicing religious teachings such as Tri Kaya Parisudha and Dasa Niyama Brata. Care for the physical body can be done with the principle of dharma by giving priority to the quality of food, cleanliness of the body and doing yoga. The text of Rukmini Tattwa also provides a way to naturally care for the beauty of a woman's body. This text prioritizes how a woman can become a virgin again. This is important for building harmonious relationships within the family. A well-maintained body will raise gods in a woman's bodykey words: Women's Beauty, Text of Rukmini Tattwa
Siva Nataraja Perspektif Teo-Estetik Ni Made Evi Kurnia Dewi
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.v2i2.1135

Abstract

Siva Nataraja is Shiva in the form of dancing. Siva Nataraja is a symbol of the cosmic awareness dance. The Siva Nataraja dance contains very high artistic value and is full of expressions of religiosity. As the master of art, He is called Adiguru or the first art teacher who taught art to gods and mankind. Various mystical movements (mudras) symbolizing the cosmic dance. The Siva Nataraja dance is a combination of the forces of Sekala (Real) and Niskala (Unreal). The essence of the Shiva Nata Raja dance is to guide the soul of every being to realize his divine nature in order to attain the highest awareness of Shiva, as 'sangkan paraning dumadi'.The cosmic dance of Siva Nataraja symbolizes the 5 (five) activities of God called Pancakriya and Panca Aksara (five characters). Pancakriya consists of 1) Srsti (Creation), 2) Shtiti (Maintenance), Samhara (Mengembikan), Tirobhava (Khayal / Illusion), and Anugraha (Gift / Blessing). Panca Aksara is a power that can remove blemishes and sins. Si Wa Ya Na Ma, is a mantra. Si reflects God, Wa is a gift, Yes is the soul, Na is the power that covers the intellect, Ma is the egoism that shackles the soul. The five characters form the body of Shiva and it occurs within each individual soul, at the atomic level. Offerings of beauty or art can be interpreted as an expression of one's devotion to God, In order to attain Siva's cosmic consciousness, the art of devotional service is capable of being a bridge to attaining union with Siva and attaining Samarasya, the pinnacle of aesthetic and mystical experience which culminates in becoming one, namely the highest ananda.
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
Aspek Kapital dalam Teo-estetis Wayang Kalpataru (Studi Wayang JDR Bali) I Made Danu tirta
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.v2i1.818

Abstract

Kalpataru puppets belonging to the JDR Puppet Team Bali have characteristics in the form of internalization of the capital aspect,which has not been found in other puppets. Evidently, many pictures with capital nuances adorn Kalpataru puppets. In narrative, this writing tries to analyze the elements and meanings of capital in Kalpataru puppets. The elements of capital in the Kalpataru puppetscan be observed through the pouring of images or capital symbols such as money, gold, land, rice and milk on the physical puppets.The capital element in the relationship with Kalpataru puppets is shown by the placement of Kalpataru puppets (along with the capital aspect) as a sign of heaven in every play.The capital element in the Kalpataru puppetsperformance was expressed through the emphasis on capital-filled dialogue by Punangkawan(Tualen) when Kalpataru puppetswas performed.The capital aspect of Kalpataru puppets means liberation of the soul or a runway (tool) in achieving the highest goal of Hinduism namely, Moksartham Jagadhitaya Ca Iti Dharma.The Kalpatru puppet is expected to become an artistic aspect that educates the wisdom of utilizing capital in the lives of Hindus.
KEBUGARAN JASMANI DAN ROHANI PERSPEKTIF TEOLOGI HINDU Yunitha Asri Diantary Ni Made
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.v1i2.492

Abstract

Body fitness is one of the important things that need to be considered in life, sometimes humans forget to take care of the body which is the main key in the success or failure to do activities. The better physical fitness of a person, the stronger the physical or endurance they have. Caring for physical fitness is not only felt by the physical, various bodily functions and mental health will have a positive impact. Seeing the importance of the meaning of the physical body in the Hindu view, then in the Vedas and all the knowledge that becomes its branches always emphasize in its description, that the care of the physical body, both those related to cleanliness, health, purity and all related matters should be maintained with orderly, harmonious and remain conducive. Regular physical body care according to the principles of dharma, sistacra or sacred traditions is considered religious worship, soul which is a spark of Parama atma (Brahma) can reside comfortably in it. A clean and holy Physical Body will awaken the spiritual fitness of the human being. The method used in this study is a descriptive method that will systematically describe the physical fitness of the human body physically and spiritually.
Seni Pementasan Tari Kidang Edan Sebagai Ungkapan Religiusitas Masyarakat Desa Adat Sekumpul I Wayan Gata; Putu Cory Candra Yhani
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.v2i2.1140

Abstract

The variety and style of dance is a crystallization of the cultural values of the supporting communities. The art of Balinese dance can be classified into three groups, namely: Wali Dance, which is the art of dance that is performed in temples and in places that have something to do with religious ceremonies that function as means or implementers of religious ceremonies. Bebali dance, which is a dance that functions as an accompaniment to ceremonies and ceremonies that take place in a temple or outside a temple which in its performance uses a play, Balih-balihan Dance, which is all dance arts that have elements and the basis of noble dance arts. Every region in Bali has different artistic traditions, both in terms of the type of art and its meaning. Art traditions in each region in Bali have their own uniqueness which is always preserved because the life of a work of art, whether in the form of dance or drama, is closely related to the life of religious ceremonies. One of the very unique traditions in Bali, especially in the Sekumpul Village, is the performance of the Kidang Edan Dance which is held during the pujawali religious ceremony. In addition to the Kidang Edan Dance, it is a sacred dance that is believed from generation to generation by the people of the Sekumpul Village. Kidang Edan Dance is manifested as a form of gratitude to Ida Sang Hyang Widhi Wasa for the gift given to the people of Sekumpul Village.
KONSEP CAKRA YADNYA TERHADAP PENGGUNAAN BUAH IMPORT DI BALI (Studi Kasus Perayaan Hari Raya Galungan) Putu Maria Ratih Anggraini
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.v1i1.345

Abstract

The belief of the Hindu community towards God the Almighty is practiced through the Religious Ceremony with the actual practice of being Banten/Upakara which is something that is no longer a special thing for Hindus in Bali. In making the ceremony the Hindus began to use the means imported from abroad, this was due to the desire of the people to use better, more interesting, tasty fruit to eat. In the process of making this pillow, the people who performed the Chakra Yadnya Concept did not feel it was a concept of Hindus who contributed to the economy in the community (or in other words contributed to the economic turnover of the community). In the use of local fruits in Beryad, especially on Galungan holidays, more facilities are needed, more people will benefit, including imported fruit previously translated into Hindu language that has proven beneficial to the world that has used fruit from the outside world to Yadnya. Keyword : cakra yadnya, buah import
Tari Barong: Pergulatan Sakral dan Profan (Tinjauan Teologis, Estetis, dan Etis) I Wayan Sunampan Putra
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.v2i1.823

Abstract

The existence of Hinduism is contained in (tattwa, Susila, upakara) Hinduism is also inseparable from religious art, meaning that art is always used in the realization of religious ritual activities, this gives birth to sacred art which is usually used in religious ritual implementation or used to accompany the process of religious ceremonies. . One of the sacred arts that is often used in religious ceremonies is the barong dance. Even the barong dance has various types such as the barong ket dance, barong bangkung, barong brutuk, barong landung and so on. However, along with the development of the era of sacred dance, there has also been a change in the placement, sometimes sacred art is used in the profane realm or is only used for entertainment for material purposes. Like wise with the barong dance which is often performed in the realm of propane such as the world of entertainment tourism and so on. This is what makes a barong dance struggle whether sacred or profane. Through this article, the barong dance will be studied and described from the viewpoint of aesthetics, theology and ethics.
TEOLOGI PEMBEBASAN DALAM TEKS WRSPATI TATTWA Putu Sri Marselinawati
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.v1i2.497

Abstract

The Wrspati Tattwa text is the core teachings of the Sang Hyang Isvara and Rsi Wrspati dialogue. Wrspati Tattwa texts are Sanskrit and Old Javanese The Wrspati Tattwa text is the result of an adaptation of the Sankhya teachings and Yoga Sutra and some of the concepts of the Shiva siddhanta teachings that originally developed in South India. In this article, 5 basic concepts of Hindu liberation theology are derived from the concept of Panca Sradha, the concept of God or Widhi Tattwa mentions in the Wrspati Tattwa text God as the creator is dwaita 'dualistic' which means there are two principles that cause everything. Namely Cetana and Acetana. Cetana is a conscious principle called Shiva Tattwa, which consists of Tri Purusha. Atma Tattwadalam Wrspati Tattwa text comes from Siwatma. The element of thought contained in creation influences karma and reincarnation. Prayogasandi's path on how to connect with God through sense knowledge and control,yoga as a way of liberation to achieve happiness and authenticity. Sad angga Yoga is one of the paths of Yoga that was delivered by Sang Hyng Isvara to Rsi Wrspati as a way to achieve liberation. The parts of sad angga yoga are pratyahara, dhyana, pranayama, dharana, tarka, and samadhi.
Konsepsi Tentang Siwadalam Lontar Ganapati Tattwa (Kajian Singkat Perspektif Teologi) I Made Suweta
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.v1i2.485

Abstract

The principal doctrine of Shiva Siddhanta is that Shiva, is the supreme reality, andpersonal soul or spirit is the same essence as Shiva. In this case Shiva is depicted inthe form of foundation which is the element of Widya (element of consciousness),which is the nature that is not affected by unconsciousness and is immortal, that issturdy can not be shaken, and can not be concealed. There are three forms offoundation namely: Paramasiwatattwa, Sadasiwatattwa, and Siwatattwa. The threeTattwa is called Foundation Telu, which is the triple level of consciousness.Paramasiwatattwa has the highest awareness, Sadasiwatattwa has a moderateawareness, while Siwatattwa has the lowest consciousness.

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