Related Papers
The Asian Institute of Research Journal of Social and Political Sciences
The Function and Typology of the Padmasana Tiga Architecture in Besakih Temple, Bali Indonesia
2020 •
Dr. Ir. Ngakan Ketut Acwin Dwijendra, ST, SDs, MA, IPU, ASEAN Eng.
Padmasana architecture is part of traditional Balinese architecture, it is a sacred building that functions as God's sthana (place/position). The existence of symbols as religious expressions is very thick coloring the realization of padmasana architecture, a very diverse typology, and there are still many meanings that need to be expressed. Padmasana tiga is one of the most important types of padmasana buildings, manifested from three Padmasana, standing tall on a rectangular base. Its unique shape, different from other padmasana buildings, gives rise to diverse interpretations, thereby increasing the attractiveness of this building for research. Padmasana tiga is located in the main and largest temple in Bali, Besakih Temple, on the slopes of Mount Agung, Karangasem Regency, Bali Province. The purpose of this study is to reveal the padmasana tiga functions and their typology which are closely related to the teachings of Shiva Siddhanta, so that they can be better understood by the Hindu community in Bali and the wider community. In order to express its function and typology, a descriptive qualitative method was used, by observing, documenting and interviewing Hindu priests, intellectuals who understood the Shiva Siddhanta concept, and undagi (traditional Balinese craftsman). Padmasana tiga is the embodiment of the great soul of the universe, a vertical representation of God, a God in three different realms called 'Tri Purusa'. Judging from its layout which is in the middle of the mandala (zone) facing the entrance and at its peak there are 3 rongs (empty throne), this padmasana belongs to the type of padmasana kurung (brackets). Judging from the number of rongs and the number of palih (level), which amounted to 7, padmasana tiga including the type of padmasana anglayang.
International Journal of Advanced Science and Technology
Architecture of Padmasana Tiga in Besakih Temple, Bali Indonesia: Interpreted from the Concept of Shiva Siddhanta
2020 •
Dr. Ir. Ngakan Ketut Acwin Dwijendra, ST, SDs, MA, IPU, ASEAN Eng., Ngakan Sueca
The dynamics of civilization can cause radical changes in the lives of Balinese people, the government and the people of Bali must work hard so that traditional Balinese architecture can be stretched, adjusting itself to the time and conditions encountered. Padmasana tiga is a part of traditional Balinese architecture, a sacred building that functions as the sthana (place/seat) of God. Padmasana is one of the various types of Padmasana architecture in Bali, located in the largest holy place in Bali, Besakih Temple. The basic shape is a long rectangle, on which stands three forms of the same padmasana, parallel and symmetrical. Its manifestation is very different from other typology of padmasana, complemented by legendary Hindu iconography, causing padmasana tiga to be very interesting objects to study. The purpose of this study is to reveal the meaning contained in the form of padmasana tiga, so that it can be used as a guide in the development of traditional Balinese architecture in the future. To express its meaning the hermeneutic method that has been developed is used, by carrying out three stages of meaning: semantic, reflexive, and existential or ontological. From the interpretation results, the meaning of padmasana tiga is a picture of lingioni/lingam, meeting of linga and yoni, as the embodiment of the great soul of the universe. Three linga above yoni is a vertical representation of God, God in three different realms called 'Tri Purusa'. The parts of padmasana tiga represent the five elements of creation (five maha bhuta) which are depicted with legendary Hindu iconography, as well as the five levels of human spiritual attainment that are in line with the Five Brahmas (five acts of God). The highest peak of the human journey is the deepest center of the essence of the lotus flower, depicted with an empty throne at the peak of the padmasana, as a representation of God's position, a symbol of the natural freedom and eternal perfection.
MANDALA and ARCHITECTURE
Dr. Uday Dokras
International Journal of Engineering and Emerging Technology
Ornamental Variety of Garuda and Wilmana on Padmasana Architecture at Kahyangan Jagat Temple in Bali, Indonesia
2020 •
Dr. Ir. Ngakan Ketut Acwin Dwijendra, ST, SDs, MA, IPU, ASEAN Eng., Ngakan Ketut Acwin Dwijendra
Garuda was known in prehistoric India, where his paintings were found in the Harappa (Sindhu River valley), then spread to all corners of the world affected by Indian civilization. Its head, beak and claws are eagles, the light of the gods shining from its body. While Wilmana as a picture of a space vehicle that moves beyond the speed of thought. Wilmana is also a worldwide character, presented in the world of the internet, film and games. Padmasana architecture is a sacred building as a place/position of God, on the back is often carved by the two kinds of decoration. This research about ornamental variety is research in the context of traditional architecture, as an exploration of building concepts that have been developed in the past and are useful to apply to contemporary architecture. This study aims to re-express the meaning of Garuda and Wilmana and how they are placed on Padmasana architecture. The steps taken are to record the Padmasana in the Kahyangan Jagat Temple in Bali, followed by comparing the use of these two types of decoration on each Padmasana. The next step is to interpret the meaning by connecting the object with its past (expanding the horizon of the researcher). The results of the study show that the use of Garuda and Wilmana decoration in the Padmasana architecture is not a necessity. The use of Garuda points to the message that humans must try to free themselves from the bondage of worldly passions. While the use of Wilmana refers to the sky vehicle that carries passengers, both Giant and Dewata to the place they want. Both are symbolic decoration types, have the same position, placed on the body behind the padmasana. The position of the two becomes different if applied together, Garuda is placed in a position above Wilmana, because only a soul that has been freed from worldly slavery can ride Garuda.
INAC
Comparison between the Padmasana Shrines in Bali and the Prambanan Shiva temple
2023 •
Dr. Uday Dokras
Comparison between the Padmasana Shrines in Bali and the Prambanan Shiva temple
Indo Nordic Authors’ Collective
Tiered Pada of Kandariya Mahadeva Temple
2023 •
Dr. Uday Dokras
Tiered Pada of Kandariya Mahadeva Temple
Indo Nordic Author's Collective
The Three mandalas of Bali
2022 •
Dr. Uday Dokras
The concept of the Three mandalas of Bali which is peculiar to the Balinese Hinduism and animism mix
Sacred landscapes in Asia: shared traditions, multiple histories
Parul Pandya Dhar (2007) Kala-Makara-Toranas: Javanese Expressions of a Shared Motif, In Sacred Landscapes in Asia, Shared Traditions, Multiple Histories, ed. Himanshu Prabha Ray, Delhi: Manohar, pp. 257-281
2007 •
Parul Pandya Dhar
Proceedings of 181ST IASTEM INTERNATIONAL CONFERENCE Phonom Penh, Cambodia
Changes in the Function and Form of Mandalas Puri Agung Karangasem Bali, Indonesia
2019 •
Dr. Ir. Ngakan Ketut Acwin Dwijendra, ST, SDs, MA, IPU, ASEAN Eng.
Puri Agung Karangasem is the residence of the descendants of the royal family of Karangasem Bali which was built in the 19th century by Stedehouder I namely Anak Agung Gede Jelantik, the first king of the Kingdom of Karangasem. The concept of puri development in general in Bali uses the concept of Sanga Mandala, while in Puri Agung Karangasem uses the concept of Tri Mandala (Utama Mandala, Madya Mandala and Nista Mandala). This change in concept resulted in changes in the function and shape of the building in each mandala. The meaning of mandala cannot be separated from the buildings that surround it. Changes to the physical mandala castle result in changes to the message and the signs and initial meaning contained. The purpose of this study was to determine the changes in mandala that occurred in Puri Agung Karangasem. This study used descriptive qualitative method. The results of this study are a change in the mandala castle which includes a change in function which results in changes in the shape of the mandala in Puri Agung Karangasem. The cause of the change was Dutch influence and acculturation with Chinese culture. Other causes are the result of the development of functions and space requirements resulting in changes in the form of the building and the addition of area to support the new building functions.
Bindu and Mandala: Manifestations of Sacred Architecture
Jaffer A A Khan
For ages, the concept of Vastu-Purusha through " Bindu " and " Mandala " have been the primary form generator in architecture in several Asian cultures and particularly in India. The paper will focus on the ability of Sri Yantra to unpack itself into various progressive geometries that have inherent relationships which attain its final form the " mandala " , known as the " mask of God through which eternity is to be achieved. " The pioneering work by the authors, in representing this concept into an architectural form will demonstrate how the various elements of nature manifests within these geometries to generate an ephemeral form as a symbol of spirituality and awakening of consciousness. The present work on a peace museum project will be the benchmark for discussion and to evolve a paradigm for contemporary architectural thought process associated with the sacredness of built environment.
