Catuspatha in Bali is interpreted not merely as a junction or crossroad but a crossroads that have their own sacred values ??and meanings and are equated with the great crossroads. At the time of the kingdom in Bali catuspatha was the center of the royal capital and meant the center of the country. Meanwhile, since the Dutch occupation in Bali, there has been a tendency to place aesthetic elements as the focal points or landmarks of a city at the center of a catuspatha and this trend was continued by the republican government during independence. The purpose of this study is to uncover the concept of catuspatha, the transformation of concepts, changes in the expression of catuspatha from the kingdom to independence and the impact of the changes. To achieve this goal, an observation was carried out on nine catuspathas of royal heritage in the Bali region with document research and reconstruction through interviews with priests of Shiva, Buddhism, Bachelors, and other elements as well as textual observations in the form of literature, research results, and ancient chronicles. The results obtained from this study indicate a change in the idea where the view of the center of the catuspatha as an empty space turned into an aesthetic element of the city that acts as a traffic sign and also as a city orientation. In the political context, there is an impact on the integrity of traditional values ??in the catuspatha where the symbols of royal power were expressed in the castle’s structure. The central facilities of the kingdom, are transformed into a mayor’s office with subordinate units. In the context of transportation technology, traffic lights are also expressed to regulate the flow of traffic on the catuspatha.
Traditional Balinese architecture is a masterpiece born of a tradition, belief and spiritual activity of Balinese people embodied in various physical forms such as traditional houses, shrines, meeting halls and others. The birth of various physical manifestations is also caused by several factors, namely geographical, cultural, cultural and socio-economic conditions. Kori Agung as part of Balinese traditional architecture, is one of the entrance types passed down from generation to generation by our ancestors which is a manifestation of Hindu that underlies trust, custom as the norms of life. So there is an effort to preserve it so that the cultural values contained in it do not become faded.Along with the development of time, some demands emerged from the needs of people living towards the entrance, this paper will discuss matters relating to the layout, materials, size and also the philosophical value of the kori agung. By using comparative methods and analysis of several case studies are expected to provide answers to the differences and similarities of the physical manifestation of kori agung in BaliKeywords : kori agung, philosophy , physical form
Abstract. The development of a city cannot be separated from how its people view a city. People who understand how the culture of the city will give a strong identity and character to the city. Over time, there are differences in how people perceive elements of the city, one of which is the catuspatha. Catuspatha is no longer interpreted as empty space but began to get additional functions as aesthetic and elemental elements of city landmarks (landmarks). There are several meanings arising from the physical aspects and socio-cultural aspects of a catuspatha as a landmark of the City of Semarapura. This research focuses on Catuspatha Semarapura City in terms of physical and socio-cultural aspects. The data search was carried out by means of litelature studies, field observations and interviews with people who were active in and around Semarapura City. By using a qualitative descriptive method, this research results that the Semarapura catuspatha in terms of physical size has different criteria with its environment so that it is physically prominent, unique, easy to remember, easily recognizable, has historical and aesthetic value. From the socio-cultural aspects of the area around the Semarapura catuspatha also functions as a node, in which at this location a variety of activities are held mainly related to social and cultural activities such as Tawur Kesanga, Ngulapin, Nebusin, Ngelawang, and other activities including Ogoh-ogoh parade activities, various festivals and folk parties and also cultural marches. Keyword: catuspatha, identity, landmarks, physical, social culture.
Danau Buyan merupakan salah satu potensi dari Kabupaten Tabanan. Sebagai sebuah bentukan alam, Danau Buyan memiliki banyak potensi yang memiliki peluang besar untuk mampu bersaing di tingkat yang lebih tinggi. Dengan melibatkan peran serta dari seluruh lapisan masyarakat ditambah dengan dukungan dari pihak pemangku kebijakan, upaya untuk meningkatkan kesejahteraan melalui upaya penataan Kawasan Danau Buyan dengan menjadikan partisipasi masyarakat sebagai salah satu faktor utama dalam perjalannya. Tujuan dari penelitian ini adalah untuk menggali potensi potensi yang dimiliki Kawasan Danau Buyan dan menjadikan potensi ini sebagai batu pijakan untuk melahirkan konsep konsep dalam penataan Kawasan Danau Buyan sebagai pengambangan pariwisata berbasis pemberdayaan masyarakat. Metode yang dipergunakan adalah metode deskriptif kualitatif dengan menggunakan observasi, wawancara dan juga litelatur review dalam proses pencarian data di lapangan. Kesimpulan yang di peroleh dari penelitian ini berupa potensi yang layak dikembangkan dan konsep konsep penataannya yakni : penataan pathway sepanjang tepian Danau Buyan, penataan rest area di titik titik tertentu yang juga bisa dimanfaatkan sebagai area berjualan dan menikmati pemandangan ke arah danau.
Traditional Sumba houses not only have meaning arising from the belief system, but also have technical solutions that are able to solve architectural problems arising from the shape of the building. The Mbatangu traditional house in Ratenggaro village, known as the tower house, is divided into 3 parts, namely the lower part (kali kambunga), the middle part or (uma dei), and the upper part (uma deta). These three parts have an integrated structural system from the foundation to the roof structure system so that this traditional house can stand in a unique shape and become part of the cultural heritage of the people of Southwest Sumba. Especially the Mbatangu traditional house on the coast, which has a roof which is much higher than other traditional houses in mountainous areas.
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