In general, Tualen is in puppetry, but in Taman Baka Temple, it appears in the form of a statue using Ketu. When viewed in the concept of puppetry this has gone beyond the power of a king who is revered by his people. The status of tualen is also very different, surpassing the color level in Hinduism. So the existence of Tualen Maketu needs to be studied to find out how the concept of Tualen actually is. This study is included in qualitative research with the research methods used, namely observation, and interviews. So that the results obtained, namely, ethical values gave rise to the habit of offering tulung sayut squeeze with Wayang Kelupak Tiying when falling in Batubulan. In addition, good actions seen from the figure of Tualen who has noble and wise qualities give rise to moral aspects. Ketu in Tualen also has a spiritual value that also shows that the local community does not forget about history and must remember its obligation as a Hindu community to always worship Ida Sang Hyang Widhi and its manifestations. Aesthetic Value, namely the figure of Tualen appears in the form of a statue made of solid stone with a height of approximately one meter. Tualen Maketu is a Bhujangga who is made a Bhagawanta who knows all activities. The figure of Tualen who uses this ketu is also believed to be a figure who protects the Batubulan area, so Togog Tualen Maketu is still worshipped today. The socio-cultural value, namely the existence of Tualen Maketu, brought changes in people's lives.
<p><em>Dewa Ruci text tells of the Bhima character's journey in running his swadarma as a disciple of Master Drona to fulfill the task of seeking tirtha amerta pawitra. From the story contained in the Dewa Ruci’s Text has a different phenomenon or contradictions between Bhima-Drona with tirtha amerta pawitra. Thus a more in-depth study of the character, essence and religiosity of Bhima's characters on his journey in the literary works of the Dewa Ruci Text is required. Based on these descriptions, in this study Bhima figures on the Dewa Ruci Text as the object of research, with the title "Bhima In the Text of Dewa Ruci (Hindu Theological Studies). </em></p><p><em>The results obtained in this study, that the structure that builds the Text of Dewa Ruci consists of synopsis, figure, incident, plot, background, theme and message. While the characters possessed by Bhima characters in Text of Dewa Ruci include obedient characters, ego and arrogant characters, strong character, honest character, unyielding character, knight character, wise character, and diligent character. The essence of Bhima's release in the Text of Dewa Ruci is contained in the discourse given by Hyang Dewa Ruci to Bhima, that all living beings must always be conscious of the self according to the way they choose based on karma (action), jnana (knowledge) and dharma. Thus, it will guide man to unite with the highest essence. The religiosity of the Bhima figures is reflected in Bhima journey which is a process of self-control and submission. In addition, the Bhima character's journey also reflects the holy journey that sanctifies itself so that he is able to meet with Hyang Dewa Ruci, in other words Bhima journey is a form of thirtayatra. As well as other theological teachings contained in the Text of Dewa Ruci is the existence of the concept of pramana as a concept that supports living things. By knowing this knowledge is expected Bhima as human depiction can reach moksartham jagadhitaya.</em></p>
This study focuses on the study of religious ethics in the lontar text of Sila Kramaning Aguron-guron in building a pattern of interaction between teachers and students (sisya) according to Hindu teachings. The method used is an interpretive qualitative method using a content analysis pattern. This study focuses on the description of the teachings of religious ethics contained in the lontar Sila Kramaning Aguron-guron on sheet 1b and analyzes the aspects of the teachings related to building patterns of interaction between teachers and students (sisya). This study formulated three results in accordance with those formulated in the research focus. First, the description of the lontar is more focused on the aspect of religious ethics that must be adhered to and obeyed by the student (sisya) in improving spiritual quality in order to achieve the goal of life in accordance with what is taught in the teachings of Hinduism. Second, the essential values contained in the lontar Sila Kramaning Aguron-guron are related to building patterns of interaction between teachers and students in everyday life. In essence, the teachings taught in the lontar text must be used as guidelines by Hindus who want to improve the quality of spiritual life in achieving eternal freedom.
The ruwatan tradition is one of the Javanese traditional ceremonies which is held after the farmers harvest the rice. This is meant to express gratitude because the rice plants have been successfully harvested and have produced a satisfying harvest. Besides that, the ritual is also a tribute to the ancestors who have passed away and pray that their sins will be forgiven by God. For the Javanese people, this annual activity called sadranan is an expression of social religious reflection so that it has implications for the realm of theology. Descriptively, this work describes aspects of the Hindu theology of this ruwatan tradition, that is, it leads to the form of devotion to God Almighty. Ruwatan is a form of expression of gratitude to God in its various manifestations. The purpose of the ruwatan ceremony is to remind that in humans there is evil and risks that humans may have to bear as a result, so that the worship of God becomes the focal point. Likewise, theologically, ruwatan is also said to be a traditional ceremony from an ancient tradition left over by animism (worship of ancestral spirits or ancestor spirits) that originated in ancient times and is a relic of an agrarian culture that is thousands of years old. The agrarian culture used to be very strong and the name of Java itself is often known as Jawa Dwipa which means rice island.
<p><em>The ritual form of the use of wayang klupak tiying at the ceremony ngulapin implemented rikala there bad events, accidents or musih experienced by the people in the village Pakraman Jero Kuta. this ritual process begins from making a means of bebantenan and seek klupakan tiying which is used as means of wayang, time and place of ritual held where the event occurred or if someone is not aware where he experienced bad events, can ngacep from front lebuh yard, when the incident happened inside the yard of the house does not use the means of wayang klupak tiying, only using bebanten pras, penyeneng, tulung sayut.</em></p><p><em>The religious function of the ritual of wayang klupakan tiying in the ceremony of ngulapin has a very absolute function because the impact is directly felt or experienced by the people who run this ritual. While the puppet character of malen and merdah is symbolized kebiajksanaan, glory, and savior in understanding the philosophical meaning contained in these two puppet figures .</em><strong><em></em></strong></p><p><em>The axiology contained in the rituals of wayang klupak tiying in ceremonies ngulapin, has values that include ethics, aesthetics, and religious social. of that many life values taken and the demands contained in both puppet figures along with positive energies emitted during this ngulapin ceremony.</em><strong><em></em></strong></p>
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