Academic literature on the topic 'Bali (Hindu mythology)'

Hindu theology from the beginning was different from classical theology. Where religion or divinity does not conflict with science. God is not placed in the sky but exists and permeates His creation. Such a conception of God would be difficult to understand in Western theology. In the text of Usana Bali, concrete and solution-based theology or divinity is implied, which is narrated through the mythology of Tirta Empul and the story of Mayadanawa. Where God in his manifestation as Dewa Indra becomes a liberating agent for the social problems of society. Eradicating the evil king Mayadanawa, providing prosperity through abundant water sources, and giving meaning to the Galungan holiday as an effort to improve the quality of life (winning the inner dharma). This research is a literature study, using the Usana Bali text as primary data. The purpose of this research is to explore theological teachings in a mythology, in order to develop the role and social values in it.Keywords: Mythology, Social Theology, Usana Bali

<em><span lang="EN-US">Culture and mythological narratives about Ganesha are inherent in the life of the Hindu community in Bali, but have undergone various changes along with the pace of civilization. Evidently, Ganesha as one of the sacred symbols is widely used in various life interests of modern society, which has no relevance to the sacred context. This paper analyzes the implementation of Ganesha's symbolic mythology in the contemporary cultural space of Balinese society. Mythologically, Ganesha is believed to be the son of Shiva who has the power to overcome all obstacles. This mythology is contained in the attributes of Ganesha which have a symbolic meaning. The full embodiment of the Ganesha symbol in the modern era is widely implemented in the contemporary culture of Balinese life, both in the fields of architecture, aesthetics (art), social organization, including economic life. This work is expected to be a reference for fostering a critical and selective culture when using the Ganesha symbol in various aspects of Balinese life.</span></em>

The agricultural sector in Bali is increasingly unpopular for the younger generation. This condition is inversely proportional to the increasing need for food and the tourist destination of Bali in the form of beautiful rice fields. Hindu agricultural traditions make the profession of farmers not only as a source of income but also as a medium for preserving the natural environment through the Hindu theo-ecology concepts. This study tries to explore Hindu theo-ecological in the Lontar Sri Purana Tattwa. The method used is a literature study technique by utilizing hermeneutic theory and interpretive theory which emphasizes the interpretation dimension of values ​​in the Lontar Sri Purana Tattwa. Lontar Sri Purana Tattwa explained the teachings of Hindu theo-ecology through the concept of divinity, ritual, ethics, and mythology. God is manifested as Saguna Brahman, namely gods and goddesses who control various aspects of nature. The main deity worshiped is Dewi Sri as the ruler of rice and welfare. Ritual practices are carried out massively and ethics in farming are upheld. The Hindu theo-ecology in the Sri Purana Tattwa makes professions (farmers) a medium to get closer to God, and at the same time preserve nature. Through an understanding of Hindu theo-ecology, it is hoped that it can increase the interest of the Hindu community in the agricultural sector and foster a love for the environment.

AbstrakPenelitian ini merupakan bentuk analisis serta kajian mengenai peran ajaran agama Hindu dalam proses penciptaan karya seni lukis umumnya seni lukis tradisional Bali. Seni lukis sebagai bagian dari seni rupa di Bali berkembang cukup pesat, dimana terdapat dua dikotomi seni lukis di Bali yaitu seni lukis tradisional di Bali dan Seni lukis modern. Seni lukis tradisional Bali merupakan bentuk seni lukis yang proses pembuatannya masih menggunakan tradisi-tradisi baik proses pembuatan dan bahan-bahan yang tradisional walaupun kini sudah umum ditemukan menggunakan alat serta bahan yang sudah tergolong modern, dan seni lukis tradisional Bali ini yang sudah berlangsung sejak dulu yaitu terdapat pakem-pakem serta prinsip yang dilakukan ketika proses penciptaan karya tersebut dikreasikan. Ketika seorang pelukis mencipta sebuah karya maka realita dan imajinasi menjadi sumber ide namun Seni lukis tradisional Bali memiliki ciri khasnya yang sangat kentara ketika dilihat secara langsung, yaitu penggambaran objek bentuk karyanya yang cenderung mengambil bentuk-bentuk alam, cerita-cerita rakyat, mitologi serta ajaran-ajaran agama Hindu yang direinterpretasikan melalui bentuk simbol-simbol didalamnya. Sehingga sebagian besar tema-tema yang dihadirkan dalam seni lukis tradisional Bali adalah mengimajinasikan ajaran-ajaran agama Hindu yang kental akan nilai-nilai spiritual dan memiliki nilai-nilai magis kedalam sebuah karya yang tidak hanya sekedar memuaskan pengalaman keindahan namun secara tidak langsung juga menjadi media wahana pengajaran ajaran agama Hindu. Penelitian ini bertujuan untuk menggambarkan bagaimana ajaran agama Hindu menjadi sumber inspirasi dalam penciptaan karya seni lukis tradisional Bali. Metode yang digunakan dalam mengkaji fokus penelitian ini adalah metode penelitian kualitatif deskriftif dengan pendekatan studi fenomenologi yaitu penelitian menggunakan data-data kualitatif untuk menggambarkan fenomena-fenomena ajaran agama Hindu yang menjadi sumber inspirasi penciptaan. Secara pragmatis penelitian ini diharapkan berdampak dalam memberikan informasi dan menambah wawasan terkait keberadaan seni lukis tradisional Bali sebagai bentuk kekayaan budaya bidang seni yang masih hidup serta keberadaannya yang masih lestari dan hidup di Bali.Kata Kunci: hindu, seni, lukis tradisional, bali.AbstractThis research is a form of analysis and study of the role of the Hindu religion in the process of creation of art painting generally traditional Balinese painting. Art painting as part of the art in Bali develops quite rapidly, where there is two art dichotomy in Bali is a traditional art painting in Bali and the art of modern paint. Traditional Balinese painting is a form of art painting that process is still using the traditions of both the making process and traditional materials although it is now common to be found using tools and materials that are already relatively modern, and the traditional Balinese painting that has been held since the first time is there are pakem and the principle that is done when the process of creation of the work is Reincreikan. When a painter creates a masterpiece, the reality and imagination become the source of ideas but the traditional Balinese painting has its distinctive characteristic when viewed directly, that is the depiction of the object of his form that tends to take the forms of nature, folklore, mythology, and teachings of Hindu religion that is interpreted by the form of symbols inside. So most of the themes presented in the art of traditional Balinese painting are too imaginative Hindu teachings that are strong in spiritual values and have magical values into a work that not only satisfies the experience of beauty but indirectly also becomes a medium of religious teaching of Hindu teachings. This research aims to illustrate how Hinduism's teachings are a source of inspiration in the creation of traditional Balinese art paintings. The method used in reviewing the focus of this research is a qualitative method of research with the approach of phenomenology study using qualitative data to describe the phenomena of Hindu religious teachings that are the source of the inspiration of creation. Pragmatic research is expected to have an impact on providing information and adding insight related to the existence of traditional Balinese art painting as a form of cultural richness of living arts and its existence that is still sustainable and living in Bali. Keywords: hindu, art, traditional painting, bali

In the era of modernization that is happening in the life of the Balinese people today, mask dance still has a position as a work of art that has high value. Cultural arts in Bali are commonly used as a complement to the implementation of upācāra yajña. Based on the decision of the sacred arts seminar, the types of dances in Bali are as follows: Wali Dance (Religious Dance), Bebali Dance (Ceremonial Dance), Balih-balihan Dance (Secular Dance). In particular, this article will discuss the Bebali Dance Art (Ceremonial Dance), namely the Wali Topeng Sidhakarya. In several discussion articles that were used as specific references, there was no discussion related to the religiosity of the Wali Topeng Sidhakarya. For this reason, the main issues raised in this article are: (1) how is the mythology of Dalem Sidhakarya in Bali? (2) the religiosity value of Wali Topeng Sidhakarya in the religious life of Hindus in Bali. The method used is descriptive qualitative with an art transformation approach. Data collection techniques through observation on documents or sources that are relevant to the object of research. Data analysis is inductive/qualitative, the results of the research describe the interpretation of meaning based on the phenomena encountered. The conclusion from the results of this study shows that historiographically the Wali Topeng Sidhakarya in the implementation of the upācāra yajña in Bali has a very important role because the upācāra yajña is believed to be imperfect if it has not presented the Wali Topeng Sidhakarya. Wali Topeng Sidhakarya carries out three main concepts namely Satyam (truth), Śiwam (holiness) and Sundaram (harmony). The religiosity inherent in the Wali Topeng Sidhakarya sasolahan includes six dimensions, namely the dimensions of belief (theology), religious practice (ritualistic), practice, appreciation, and knowledge which as a whole contribute to the inculcation of Hindu spiritual values.

ABSTRAK Buku mewarnai untuk orang dewasa (adult coloring books), kini sedang mewabah di kalangan orang dewasa karena diyakini memberikan efek terapetik. Salah satu buku berjudul “Nirvana” karya I.B.G Wiraga merupakan buku mewarnai untuk dewasa (adult coloring books) dengan visualisasi ornamen yang memiliki fungsi lebih dari sekedar estetik namun memiliki makna simbolik dan nilai-nilai filosofis yang penting didalam kehidupan masyarakat Bali. Visualisasi cili, bajra, kalarau, butakala, karang daun, gebogan, penjor, pelinggih, brahman, canang dan lainnya yang memiliki keindahan garis, detail abstraksi dan stililasi objek, ditambah dengan nilai filosofis yang tinggi merupakan representasi pengalaman batin, pemikiran, ketajaman perasaan dan ekspresi sang illustrator yang dipengaruhi oleh lingkungan alam, sosial dan budaya sangat erat kaitannya dengan kosmologi, mitologi, ideologi dan teologi Hindu Bali sehingga menjadi sangat menarik untuk dikaji lebih dalam melalui pendekatan esetetika dan semiotika. ABSTRACT Now a days Adult colouring books are mushrooming among adulthood because it gives teraupetic effect. One of the book entitled “Nirvana” by I.B.G wiraga is an adult coloring book with ornamental visualization that has functioned more than estetical view but also has symbolical value as well as philosophical value which are very important for balinesse society. Visualization of cili, bajra, kalarau, butakala, karang daun, gebogan, penjor, pelinggih, brahman, canang and the others has their own beautiful lines, detail of the abstract and object stililation in additional with high philosophical value which represents phsycological experiences, thoughts, emotional sharpness and the illustrator experessions which are influenced by the nature, social, and traditions in connection with the cosmology, mythology, ideology and theology of Hindu in bali so that it becoming an interesting thing to be looked in deeper aspect through estethical approach and semiotica

Penciptaan karya tari Sapuh Leger merupakan pencapaian ide serta kreativitas yang di latar belakangi oleh kelahiran seseorang. Menurut masyarakat Hindu sifat baik buruknya seseorang sangat dipengaruhi oleh hari kelahiran. Kelahiran seseorang pada Wuku Wayang merupakan kelahiran yang dianggap tidak tepat, karena dapat mempengaruhi sifat dan tingkah lakunya sehingga terlihat berbeda ketika seseroang yang lahir dihari biasa. Masyarakat Hindu Bali sangat meyakini adanya mitologi kelahiran Wuku Wayang yang berhubungan dengan kelahiran Bhatara Kala. Konon katanya Bhatara Kala memiliki sifat dan watak yang tidak baik, untuk itu setiap kelahiran pada Wuku Wayang wajib diupacarai yang disebut dengan upacara Bayuh Oton Sapuh Leger.Karya ini mengungkapkan beberapa sifat anak yang dilahirkan pada Wuku Wayang menurut umat Hindu Bali. Sifat-sifat tersebut diantaranya pemarah, egois, dan selalu menolak nasetan orang tua. Selain sifar-safatnya karya sapuh Leger juga menampilkan elemen-elemen yang digunakan dalam upacara Bayuh Oton Sapuh Leger seperti membuat Banten, meminta air suci, memercikkan air suci, dan sembayang (berdoa). Penciptaan karya tari Sapuh Leger adalah sebagai cerminan diri pada anak dan orang dewasa yang beberapa tidak dapat mengendalikan amarah dan emosionalnya terhadap orang tua. Karya ini diharapkan dapat menjadi intropeksi dan menjadi kesadaran agar menjahui sifat yang kurang baik.Penari dalam karya ini berjumlah sembilan orang penari putri dengan menampilkan lima adegan yang menegaskan pada sifat anak yang lahir pada Wuku Wayang dan proses upacara pembersihan diri.The creation of Sapuh Leger dance works is the achievement of ideas and creativity that is based on one's birth. According to Hindu society, the merits of a person are greatly influenced by the day of birth. Someone's birth in Wuku Wayang is a birth that is considered inappropriate, because it can affect the nature and behavior of that person so that it looks different when someone is born on an ordinary day. The Balinese Hindu community strongly believes in the mythology of the birth of Wuku Wayang which is related to the birth of Bhatara Kala. It is said that Bhatara Kala has bad character, for that every birth in Wuku Wayang must be celebrated which is called the Bayuh Oton Sapuh Leger ceremony.This work reveals some of the characteristics of children born in Wuku Wayang according to Balinese Hindus. These traits include being angry, selfish, and always rejecting parents' advice. Besides that, the work of Sapuh Leger also displays elements used in the Bayuh Oton Sapuh Leger ceremony such as making Banten, asking for Tirta or holy water, sprinkling holy water, and Sembahyang (praying). The creation of Sapuh Leger dance works is a reflection of children and adults who some cannot control their anger and emotional toward their parents. This work is expected to be introspective and become awareness in order to find out the nature that is not good.The dancers in this work number nine female dancers by presenting five scenes that emphasize the nature of the child born in Wuku Wayang and the process of self-cleansing ceremony.

Bali is very rich with traditions that contain local wisdom values. The tradition in Bali is still preserved until now. This tradition has a strong foundation because it is supported by the beliefs and beliefs of Balinese Hinduism, one of which is the meburu tradition can be trusted to neutralize the influence of negative energy into strength and positive energy. The meburu tradition is a means of purifying Bhuana Alit and Bhuana Agung to be balanced between humans, nature and their environment, both in the sekala realm and in the niskala realms. At present, there are still many people who do not know about the phenomenon created by the concept of sacred space that forms traditions, unique rituals, and the magic of meburu carried out by the people of Panjer Traditional Village. What is the real meaning that can be found from every procession behind all the ritual thoughts, structures, and beliefs that have been carried out continuously so far. This study aims to explore and examine the social values, cultural values, and religious values contained in the meburu tradition, and analyze the implications of the values contained therein. The method used in this study is a qualitative exploration with theological, historical and philosophical approaches. The results of the study found that the series of meburu traditions began with making ceremonial offerings, Ida Bhatara heading to paum/meetings at Bale Agung Temple, melasti, ngembang, meprani, tawur agung panca sata, meburu tradition, and penyimpenan. The foundation in mythology has become a strong foundation in carrying out the religious beliefs of the Panjer Traditional Village community so that the existence of the meburu tradition can remain stable because it is packaged into mythical beliefs. The meburu tradition can maintain cultural values, social values, and religious values that have been passed down from generation to generation in the past to the present so that they remain stable and sustainable. Preserving the meburu tradition can have implications for Hindu devotion, attitudes and ethics, as well as implications for togetherness and cooperation, religious behavior and ethics.

Abstract. Preliminary Study Of Unification Symbols Form From Ancient India Tradition Found In Indonesia. Humans and symbols have a bond that cannot be separated from each other because they always appear in a community group. During the Hindu-Buddhist period in Indonesia, various signs related to religion appeared. One of the religious practices that developed is the worship of the union of life. This study aims to identify the form of symbols and the meaning of the worship of the unification of life for the Hindu-Buddhist period. This study was conducted by collecting data on the worship of the union of life from various secondary sources in research reports, journals, and articles. Data collection is also focused on finding data on artifacts in Indonesia associated with symbols of the unification of life. The data collection results between mythology in India and artifacts in Indonesia are then synthesized to obtain a form of embodiment of the unification of life during the Hindu-Buddhist period in Indonesia. The study results show that the concept of the unification of life is symbolized in the linga-yoni, mudrā bodhyagrimudrā, and shatkona. Depictions of the yoni phallus and shatkona can be found in Indonesia. In Buddhism in Indonesia, the concept of the unification of life is symbolized in the mudrā bodhyagrimudrā found in the Mahavairocana Buddha statue. The gesture of the bodhyagrimudrā hand is a representation of the union of males and females. The depiction of the unification of life is more aimed at fulfilling religious needs, namely to achieve release (moksha) in Hinduism and achieve nirvana in Buddhism. Abstrak. Manusia dan simbol memiliki ikatan yang tidak dapat dipisahkan satu sama lain karena selalu muncul dalam suatu kelompok masyarakat. Pada masa Hindu-Buddha di Indonesia muncul berbagai simbol yang berkaitan dengan religi. Salah satu praktik religi yang berkembang adalah pemujaan penyatuan kehidupan. Kajian ini bertujuan untuk mengidentifikasi bentuk simbol dan makna pemujaan penyatuan kehidupan bagi masyarakat pada masa Hindu-Buddha. Kajian ini dilakukan dengan cara mengumpulkan data mengenai pemujaan terhadap penyatuan kehidupan dari berbagai sumber sekunder berupa laporan penelitian, jurnal, dan artikel. Pengumpulan data juga difokuskan untuk mencari data objek artefak di Indonesia yang berhubungan dengan simbol penyatuan kehidupan. Hasil dari pengumpulan data antara mitologi di India dan artefak di Indonesia kemudian disintesiskan untuk mendapatkan bentuk perwujudan penyatuan kehidupan pada masa Hindu-Buddha di Indonesia. Hasil kajian menunjukkan bahwa konsep penyatuan kehidupan disimbolkan dalam lingga-yoni, mudrā bodhyagrimudrā, dan shatkona. Penggambaran lingga yoni dan shatkona dapat ditemukan di Indonesia. Dalam agama Buddha di Indonesia konsep penyatuan kehidupan disimbolkan dalam mudrā bodhyagrimudrā yang dijumpai pada arca Buddha Mahavairocana. Sikap tangan bodhyagrimudrā merupakan representasi penyatuan laki-laki dan perempuan. Penggambaran penyatuan kehidupan lebih ditujukan untuk pemenuhan kebutuhan religi, yaitu mencapai pelepasan (moksha) dalam agama Hindu dan mencapai nirwana dalam agama Buddha.

This article discusses about the dynamics of interaction and harmony among believers in 41 Christian villages spread over 15 districts in East Java. Although called the Christian Villages, they are populated by Muslims, Catholics, Hindus, and Buddhists. The social diversity is formed through kinship and marriage. The Christian villages, which are called “Pancasila Villages” and “Villages of Diversity”, are melting pots that unite all wisdom, teachings, mythology, and religious traditions. The current qualitative research conducted in Christian villages in Jombang, Malang, and Situbondo go into the following results: first, the esoteric-inclusive interpretation that religion is a way of life that directs its adherents to achieve peace and happiness becomes the basis for religious people to respect each other and guarantee religious freedom; second, interfaith awareness that all religions have an exoteric dimension in the variety of rites to approach God is a basic principle in building harmony; third, the diversity meaning of symbols in the form of values, rituals, and sacred objects are embodied in the interactions of daily life. Religious moderation manifests in tolerance, inclusivism, equality, and cooperation in various cultural spaces. Further researches on interaction pattern and level of religious moderation would be worth investigating. Artikel ini membahas dinamika interaksi dan kerukunan umat beragama di basis desa Kristen yang berjumlah 41 desa yang tersebar di 15 kabupaten di Jawa Timur. Meski disebut Desa Kristen, desa ini juga dihuni pemeluk Islam, Katolik, Hindu, dan Budha. Keberagaman masyarakat terbentuk melalui kekerabatan dan perkawinan. Basis Desa Kristen yang dijuluki “Desa Pancasila” dan “Desa Keragaman” adalah melting pot yang menyatukan semua kearifan, ajaran, mitologi, dan tradisi keagamaan. Hasil penelitian kualitatif yang dilakukan di desa-desa Kristen di Jombang, Malang, dan Situbondo ini menunjukkan: pertama, interpretasi esoteris-inklusif bahwa agama adalah cara hidup yang mengarahkan pemeluknya untuk mencapai kedamaian dan kebahagiaan, menjadi dasar bagi umat beragama untuk saling menghormati dan menjamin kebebasan beragama. Kedua, kesadaran lintas agama bahwa semua agama memiliki dimensi eksoteris dalam ragam ritus untuk mendekati Tuhan merupakan prinsip dasar dalam membangun harmoni. Ketiga, makna keragaman simbol berupa nilai, ritual, dan benda sakral diwujudkan dalam interaksi kehidupan sehari-hari. Moderasi beragama terwujud dalam toleransi, inklusivisme, kesetaraan, dan kerjasama dalam berbagai ruang budaya. Penelitian lebih lanjut tentang pola interaksi dan tingkat moderasi beragama layak dilakukan.