Landasan filosofis pembangunan rumah

source : © Yayasan Bali Galang 2000 - 2003. All rights reserved. http://www.babadbali.com/canangsari/hkt-perumahan.htm
Landasan filosofis, etis. ritual
Landasan filosofis.
Hubungan Bhuwana Alit dengan Bhuwana Agung.
Pembangunan perumahan adalah berlandaskan filosofis bhuwana alit bhuwana agung. Bhuwana Alit yang berasal dari Panca Maha Bhuta adalah badan manusia itu sendiri dihidupkan oleh jiwatman. Segala sesuatu dalam Bhuwana Alit ada kesamaan dengan Bhuwana Agung yang dijiwai oleh Hyang Widhi. Kemanunggalan antara Bhuwana Agung dengan Bhuwana Alit merupakan landasan filosofis pembangunan perumahan umat Hindu yang sekaligus juga menjadi tujuan hidup manusia di dunia ini.
Unsur- unsur pembentuk.
Unsur pembentuk membangun perumahan adalah dilandasi oleh Tri Hit a Karana dan pengider- ideran (Dewata Nawasanga). Tri Hita Karana yaitu unsur Tuhan/ jiwa adalah Parhyangan/ Pemerajan. Unsur Pawongan adalah manusianya dan Palemahan adalah unsur alam/ tanah. Sedangkan Dewata Nawasanga (Pangider- ideran) adalah sembilan kekuatan Tuhan yaitu para Dewa yang menjaga semua penjuru mata angin demi keseimbangan alam semesta ini.


Landasan Etis
Tata Nilai.
Tata nilai dari bangunan adalah berlandaskan etis dengan menempatkan bangunan pemujaan ada di arah hulu dan bangunan- bangunan lainnya ditempatkan ke arah teben (hilir). Untuk lebih pastinya pengaturan tata nilai diberikanlah petunjuk yaitu Tri Angga adalah Utama Angga, Madya Angga dan Kanista Angga dan Tri Mandala yaitu Utama, Madya dan Kanista Mandala
Pembinaan hubungan dengan lingkungan.
Dalam membina hubungan baik dengan lingkungan didasari ajaran Tat Twam Asi yang perwujudannya berbentuk Tri Kaya Parisudha


Landasan ritual
Dalam mendirikan perumahan hendaknya selalu dilandaskan dengan upacara dan upakara agama yang mengandung makna mohon ijin, memastikan status tanah serta menyucikan, menjiwai, memohon perlindungan Ida Sang Hyang Widhi sehingga terjadilah keseimbangan antara kehidupan lahir dan batin.



Konsepsi perwujudan
Konsepsi perwujudan perumahan umat Hindu merupakan perwujudan landasan dan tata ruang, tata letak dan tata bangunan yang dapat dibagi dalam:
Keseimbangan alam
Rwa Bhineda, Hulu- teben, Purusa- Pradhana
Tri Angga dan Tri Mandala.
Harmonisasi dengan lingkungan.


Keseimbangan Alam:
Wujud perumahan umat Hindu menunjukkan bentuk keseimbangan antara alam Dewa, alam manusia dan alam Bhuta (lingkungan) yang diwujudkan dalam satu perumahan terdapat tempat pemujaan tempat tinggal dan pekarangan dengan penunggun karangnya yang dikenal dengan istilah Tri Hita Karana.


Rwa Bhineda, Hulu Teben, Purusa Pradhana.
Rwa Bhineda diwujudkan dalam bentuk hulu teben (hilir). Yang dimaksud dengan hulu adalah arah/ terbit matahari, arah gunung dan arah jalan raya (margi agung) atau kombinasi dari padanya. Perwujudan purusa pradana adalah dalam bentuk penyediaan natar. sebagai ruang yang merupakan pertemuan antara Akasa dan Pertiwi.


Tri Angga dan Tri Mandala.
Pekarangan Rumah Umat Hindu secara garis besar dibagi menjadi 3 bagian (Tri Mandala) yaitu Utama Mandala untuk penempatan bangunan yang bernilai utama (seperti tempat pemujaan). Madhyama Mandala untuk penempatan bangunan yang bernilai madya (tempat tinggal penghuni)
dan Kanista Mandala untuk penempatan bangunan yang
bernilai kanista (misalnya: kandang).
Secara vertikal masing- masing bangunan dibagi menjadi 3 bagian (Tri Angga) yaitu Utama Angga adalah atap,
Madhyama angga adalah badan bangunan yang terdiri dari
tiang dan dinding, serta Kanista Angga adalah batur (pondasi).


Harmonisasi dengan potensi lingkungan.
Harmonisasi dengan lingkungan diwujudkan dengan memanfaatkan potensi setempat seperti bahan bangunan dan prinsip- prinsip bangunan Hindu.



Pemilihan Tanah Pekarangan.
Tanah yang dipilih untuk lokasi membangun perumahan diusahakan tanah yang miring ke timur atau miring ke utara, pelemahan datar (asah), pelemahan inang, pelemahan marubu lalah(berbau pedas).


Tanah yang patut dihindari sebagai tanah lokasi membangun perumahan adalah :
karang karubuhan (tumbak rurung/ jalan),
karang sandang lawe (pintu keluar berpapasan dengan persimpangan jalan),
karang sulanyapi (karang yang dilingkari oleh lorong (jalan)
karang buta kabanda (karang yang diapit lorong/ jalan),
karang teledu nginyah (karang tumbak tukad),
karang gerah (karang di hulu Kahyangan),
karang tenget,
karang buta salah wetu,
karang boros wong (dua pintu masuk berdampingan sama tinggi),
karang suduk angga, karang manyeleking dan yang paling buruk adalah
tanah yang berwarna hitam- legam, berbau "bengualid" (busuk)


Tanah- tanah yang tidak baik (ala) tersebut di atas, dapat difungsikan sebagai lokasi membangun perumahan jikalau disertai dengan upacara/ upakara agama yang ditentukan, serta dibuatkan palinggih yang dilengkapi dengan upacara/ upakara pamarisuda.



Perumahan Dengan Pekarangan Sempit, bertingkat dan Rumah Susun.
Pekarangan Sempit.
Dengan sempitnya pekarangan, penataan pekarangan sesuai dengan ketentuan Asta Bumi sulit dilakukan. Untuk itu jiwa konsepsi Tri Mandala sejauh mungkin hendaknya tercermin (tempat pemujaan, bangunan perumahan, tempat pembuangan (alam bhuta).
Karena keterbatasan pekarangan tempat pemujaan diatur sesuai konsep tersebut di atas dengan membuat tempat pemujaan minimal Kemulan/ Rong Tiga atau Padma, Penunggun Karang dan Natar.


Rumah Bertingkat.
Untuk rumah bertingkat bila tidak memungkinkan membangun tempat pemujaan di hulu halaman bawah boleh membuat tempat pemujaan di bagian hulu lantai teratas.


Rumah Susun.
Untuk rumah Susun tinggi langit- langit setidak- tidaknya setinggi orang ditambah 12 jari. Tempat pemujaan berbentuk pelangkiran ditempatkan di bagian hulu ruangan.



Dewasa Membangun Rumah.
Dewasa Ngeruwak:
Wewaran : Beteng, Soma, Buda, Wraspati, Sukra, Tulus, Dadi.
Sasih: Kasa, Ketiga, Kapat, Kedasa.


Nasarin:
Watek: Watu.
Wewaran: Beteng, soma, Budha, Wraspati, Sukra, was, tulus, dadi,
Sasih: Kasa, Katiga, Kapat, Kalima. Kanem.


Nguwangun
Wewaran: Beteng, Soma, Budha, Wraspati, Sukra, tulus, dadi.


Mengatapi
Wewaran : Beteng, was, soma, Budha, Wraspati, Sukra, tulus, dadi.
Dewasa ala : geni Rawana, Lebur awu, geni murub, dan lain- lainnya.


Memakuh/ Melaspas
Wewaran : Beteng, soma, Budha. Wraspati, Sukra, tulus, dadi.
Sasih : Kasa, Katiga, Kapat, Kadasa.



Upacara Membangun Rumah.
Upacara Nyapuh sawah dan tegal.
Apabila ada tanah sawah atau tegal dipakai untuk tempat tinggal.
Jenis upakara : paling kecil adalah tipat dampulan, sanggah cucuk, daksina l, ketupat kelanan, nasi ireng, mabe bawang jae.
Setelah "Angrubah sawah" dilaksanakan asakap- sakap dengan upakara Sanggar Tutuan, suci asoroh genep, guling itik, sesayut pengambeyan, pengulapan, peras panyeneng, sodan penebasan, gelar sanga sega agung l, taluh 3, kelapa 3, benang + pipis.


Upacara pangruwak bhuwana dan nyukat karang, nanem dasar wewangunan.
Upakaranya ngeruwak bhuwana adalah sata/ ayam berumbun, penek sega manca warna.
Upakara Nanem dasar: pabeakaonan, isuh- isuh, tepung tawar, lis, prayascita, tepung bang, tumpeng bang, tumpeng gede, ayam panggang tetebus, canang geti- geti.


Upakara Pemelaspas.
Upakaranya : jerimpen l dulang, tumpeng putih kuning, ikan ayam putih siungan, ikan ayam putih tulus, pengambeyan l, sesayut, prayascita, sesayut durmengala, ikan ati, ikan bawang jae, sesayut Sidhakarya, telur itik, ayam sudhamala, peras lis, uang 225 kepeng, jerimpen, daksina l, ketupat l kelan, canang 2 tanding dengan uang II kepeng.
Oleh karena situasi dan kondisi di suatu tempat berbeda, maka upacara dan upakara tersebut di atas disesuaikan
dengan kondisi setempat

aksara bali

http://balidwipa.wordpress.com/2008/06/17/aksara-bali/

source : http://balidwipa.wordpress.com/2008/06/17/aksara-bali/

Arsitektur Tradisional Bali
Arsitektur tradisional Bali dapat diartikan sebagai tata ruang dari wadah kehidupan masyarakat Bali yang telah berkembang secara turun-temurun dengan segala aturan-aturan yang diwarisi dari jaman dahulu, sampai pada perkembangan satu wujud dengan ciri-ciri fisik yang terungkap pada rontal Asta Kosala-Kosali, Asta Patali dan lainnya, sampai pada penyesuaian-penyesuaian oleh para undagi yang masih selaras dengan petunjuk-petunjuk dimaksud.
Arsitektur tradisional Bali yang kita kenal, mempunyai konsep-konsep dasar yang mempengaruhi tata nilai ruangnya. Konsep dasar tersebut adalah:
Konsep hirarki ruang, Tri Loka atau Tri Angga
Konsep orientasi kosmologi, Nawa Sanga atau Sanga Mandala
Konsep keseimbangan kosmologi, Manik Ring Cucupu
Konsep proporsi dan skala manusia
Konsep court, Open air
Konsep kejujuran bahan bangunan
Tri Angga adalah konsep dasar yang erat hubungannya dengan perencanaan arsitektur, yang merupakan asal-usul Tri Hita Kirana. Konsep Tri Angga membagi segala sesuatu menjadi tiga komponen atau zone:
Nista (bawah, kotor, kaki),
Madya (tengah, netral, badan) dan
Utama (atas, murni, kepala)
Ada tiga buah sumbu yang digunakan sebagai pedoman penataan bangunan di Bali, sumbu-sumbu itu antara lain:
Sumbu kosmos Bhur, Bhuwah dan Swah (hidrosfir, litosfir dan atmosfir)
Sumbu ritual kangin-kauh (terbit dan terbenamnya matahari)
Sumbu natural Kaja-Kelod (gunung dan laut)
Dari sumbu-sumbu tersebut, masyarakat Bali mengenal konsep orientasi kosmologikal, Nawa Sanga atau Sanga Mandala. Transformasi fisik dari konsep ini pada perancangan arsitektur, merupakan acuan pada penataan ruang hunian tipikal di Bali
Bangunan Hunian
Hunian pada masyarakat Bali, ditata menurut konsep Tri Hita Karana. Orientasi yang digunakan menggunakan pedoman-pedoman seperti tersebut diatas. Sudut utara-timur adalah tempat yang suci, digunakan sebagai tempat pemujaan, Pamerajan (sebagai pura keluarga). Sebaliknya sudut barat-selatan merupakan sudut yang terendah dalam tata-nilai rumah, merupakan arah masuk ke hunian.
Pada pintu masuk (angkul-angkul) terdapat tembok yang dinamakan aling-aling, yang tidak saja berfungsi sebagai penghalang pandangan ke arah dalam (untuk memberikan privasi), tetapi juga digunakan sebagai penolak pengaruh-pengaruh jahat/jelek. Pada bagian ini terdapat bangunan Jineng (lumbung padi) dan paon (dapur). Berturut-turut terdapat bangunan-bangunan bale tiang sangah, bale sikepat/semanggen dan Umah meten. Tiga bangunan (bale tiang sanga, bale sikepat, bale sekenam) merupakan bangunan terbuka.
Ditengah-tengah hunian terdapat natah (court garden) yang merupakan pusat dari hunian. Umah Meten untuk ruang tidur kepala keluarga, atau anak gadis. Umah meten merupakan bangunan mempunyai empat buah dinding, sesuai dengan fungsinya yang memerlukan keamanan tinggi dibandingkan ruang-ruang lain (tempat barang-barang penting & berharga).
Hunian tipikal pada masyarakat Bali ini, biasanya mempunyai pembatas yang berupa pagar yang mengelilingi bangunan/ruang-ruang tersebut diatas.
Kajian Ruang Luar dan Ruang Dalam
Mengamati hunian tradisional Bali, sangat berbeda dengan hunian pada umumnya. Hunian tunggal tradisional Bali terdiri dari beberapa masa yang mengelilingi sebuah ruang terbuka. Gugusan masa tersebut dilingkup oleh sebuah tembok/dinding keliling. Dinding pagar inilah yang membatasi alam yang tak terhingga menjadi suatu ruang yang oleh Yoshinobu Ashihara disebut sebagai ruang luar. Jadi halaman di dalam hunian masyarakat Bali adalah sebuah ruang luar. Konsep pagar keliling dengan masa-masa di dalamnya memperlihatkan adanya kemiripan antara konsep Bali dengan dengan konsep ruang luar di Jepang. Konsep pagar keliling yang tidak terlalu tinggi ini juga sering digunakan dalam usaha untuk “meminjam” unsur alam ke dalam bangunan.
Masa-masa seperti Uma meten, bale tiang sanga, bale sikepat, bale sekenam, lumbung dan paon adalah masa bangunan yang karena beratap, mempunyai ruang dalam. Masa-masa tersebut mempunyai 3 unsur kuat pembentuk ruang yaitu elemen lantai, dinding dan atap (pada bale tiang sanga, bale sikepat maupun bale sekenam dinding hanya 2 sisi saja, sedang yang memiliki empat dinding penuh hanyalah uma meten).
Keberadaan tatanan uma meten, bale tiang sanga, bale sikepat dan bale sekenam membentuk suatu ruang pengikat yang kuat sekali yang disebut natah. Ruang pengikat ini dengan sendirinya merupakan ruang luar. Sebagai ruang luar pengikat yang sangat kuat, daerah ini sesuai dengan sifat yang diembannya, sebagai pusat orientasi dan pusat sirkulasi.
Pada saat tertentu natah digunakan sebagai ruang tamu sementara, pada saat diadakan upacara adat, dan fungsi natah sebagai ruang luar berubah, karena pada saat itu daerah ini ditutup atap sementara/darurat. Sifat Natah berubah dari ‘ruang luar’ menjadi ‘ruang dalam’ karena hadirnya elemen ketiga (atap) ini. Elemen pembentuk ruang lainnya adalah lantai tentu, dan dinding yang dibentuk oleh ke-empat masa yang mengelilinginya. Secara harafiah elemen dinding yang ada adalah elemen dinding dari bale tiang sanga, bale sikepat dan bale sekenam yang terjauh jaraknya dari pusat natah. Apabila keadaan ini terjadi, maka adalah sangat menarik, karena keempat masa yang mengelilinginya ditambah dengan natah (yang menjadi ruang tamu) akan menjadi sebuah hunian besar dan lengkap seperti hunian yang dijumpai sekarang. Keempatnya ditambah natah akan menjadi suatu ‘ruang dalam’ yang ’satu’, dengan paon dan lumbung adalah fungsi service dan pamerajan tetap sebagai daerah yang ditinggikan. Daerah pamerajan juga merupakan suatu ruang luar yang kuat, karena hadirnya elemen dinding yang membatasinya.
Kajian Ruang Positif dan Ruang Negatif
Sebagai satu-satunya jalan masuk menuju ke hunian, angkul-angkul berfungsi sebagai gerbang penerima. Kemudian orang akan dihadapkan pada dinding yang menghalangi pandangan dan dibelokan ke arah sembilan-puluh derajat. Keberadaan dinding ini (aling-aling), dilihat dari posisinya merupakan sebuah penghalang visual, dimana ke-privaci-an terjaga. Hadirnya aling-aling ini, menutup bukaan yang disebabkan oleh adanya pintu masuk. Sehingga dilihat dari dalam hunian, tidak ada perembesan dan penembusan ruang. Keberadaan aling-aling ini memperkuat sifat ruang positip yang ditimbulkan oleh adanya dinding keliling yang disebut oleh orang Bali sebagai penyengker. Ruang di dalam penyengker, adalah ruang dimana penghuni beraktifitas. Adanya aktifitas dan kegiatan manusia dalam suatu ruang disebut sebagai ruang positip. Penyengker adalah batas antara ruang positip dan ruang negatip.
Dilihat dari kedudukannya dalam nawa-sanga, “natah” berlokasi di daerah madya-ning-madya, suatu daerah yang sangat “manusia”. Apalagi kalau dilihat dari fungsinya sebagai pusat orientasi dan pusat sirkulasi, maka natah adalah ruang positip. Pada natah inilah semua aktifitas manusia memusat, seperti apa yang dianalisa Ashihara sebagai suatu centripetal order.
Pada daerah pamerajan, daerah ini dikelilingi oleh penyengker (keliling), sehingga daerah ini telah diberi “frame” untuk menjadi sebuah ruang dengan batas-batas lantai dan dinding serta menjadi ‘ruang-luar’ dengan ketidak-hadiran elemen atap di sana.Nilai sebagai ruang positip, adalah adanya kegiatan penghuni melakukan aktifitasnya disana.
Pamerajan atau sanggah, adalah bangunan paling awal dibangun, sedang daerah public dan bangunan service (paon, lumbung dan aling-aling) dibangun paling akhir.
Proses ini menunjukan suatu pembentukan berulang suatu ruang-positip; dimana ruang positip pertama kali dibuat (Pamerajan atau sanggah), ruang diluarnya adalah ruang-negatip. Kemudian ruang-negatip tersebut diberi ‘frame’ untuk menjadi sebuah ruang-positip baru. Pada ruang positip baru inilah hadir masa-masa uma meten, bale tiang sanga, pengijeng, bale sikepat, bale sekenam, lumbung, paon dan lain-lain. Kegiatan serta aktifitas manusia terjadi pada ruang positip baru ini.
Konsistensi dan Konsekuensi
Tidak seperti di beberapa belahan bumi yang lain dimana sebuah bangunan (rumah, tempat ibadah) berada dalam satu atap, di Bali yang disebut sebuah bangunan hunian adalah sebuah halaman yang dikelilingi dinding pembatas pagar dari batu bata dimana didalamnya berisi unit-unit atau bagian-bagian bangunan terpisah yang masing-masing mempunyai fungsi sendiri-sendiri. Sebuah hunian di Bali, sama dengan dibeberapa bagian dunia yang lain mempunyai fungsi-fungsi seperti tempat tidur, tempat bekerja, tempat memasak, tempat menyimpan barang (berharga dan makanan), tempat berkomunikasi, tempat berdoa dan lain-lain. Ruang-ruang, sebagai wadah suatu kegiatan contoh untuk aktivitas tidur, di Bali merupakan sebuah bangunan yang berdiri sendiri.Sedang dilain pihak secara umum sebuah ruang tidur merupakan bagian sebuah bangunan.Ruang tidur adalah bagian dari ruang-dalam atau interior. Uma meten, Bale sikepat, Bale sekenam, Paon merupakan massa bangunan yang berdiri sendiri. Menurut Yoshinobu Ashihara ruang-dalam adalah ruang dibawah atap, sehingga Uma meten dan lain-lain adalah juga ruang-dalam atau interior.Ruang diluar bangunan tersebut (natah) adalah ruang luar, karena kehadirannya yang tanpa atap. Apabila bagian-bagian bangunan Hunian Bali dikaji dengan kaidah-kaidah ‘Ruang luar-Ruang dalam’, terutama juga apabila bagian-bagian hunian Bali dilihat sebagai massa per massa yang berdiri sendiri, maka adalah konsekuensi apabila pusat orientasi sebuah hunian adalah ruang luar (natah) yang juga pusat sirkulasi.Pada kenyataannya ruang ini adalah bagian utama (yang bersifat ‘manusia’) dari hunian Bali.
Apabila dikaji dari rumusan suatu hunian, maka natah adalah bagian dari aktifitas utama sebuah hunian yang sudah selayaknya merupakan bagian dari aktivitas ruang-dalam atau interior. Kemudian apabila dikaitkan dengan keberadaan bale sikepat, bale sekenam dan bale tiang sanga yang hanya memiliki dinding dikedua sisinya saja, serta posisi masing-masing dinding yang ‘membuka’ ke arah natah jelaslah terjadi sebuah ruang yang menyatu. Sebuah ruang besar yang menyatukan uma meten disatu sisi dan bale tiang sanga, bale sikepat, bale sekenam serta natah yang layaknya sebuah hunian. Hunian yang sama dengan yang ada pada masa kini, dimana bale-bale adalah ruang tidur, natah adalah ruang tempat berkumpul yang bisa disebut sebagai ruang keluarga. Apabila dikaitkan lebih jauh, jika kegiatan paon (dapur) bisa disamakan dengan kegiatan memasak dan ruang makan, maka hunian Bali, teryata identik dengan hunian-hunian berbentuk flat pada hunian orang Barat.
Kajian terhadap hunian Bali ini, apabila hunian tersebut dipandang sebagai satu kesatuan utuh rumah tinggal, konsekuensinya adalah ruang didalam penyengker (dinding batas) adalah ruang-dalam. Bangunan dalam hunian Bali tidak dilihat sebagai massa tetapi harus dilihat sebagai ruang didalam ruang. Apalagi bila dilihat kehadiran dinding-dinding pada bale tiang sanga, bale sikepat maupun sekenam yang ‘membuka’ kearah yang me-enclose ruang, maka keadaan ini memperkuat kehadiran nuansa ruang-dalam atau interior pada hunian tradisional Bali. Dengan kondisi demikian maka penyengker adalah batas antara ruang-dalam dan ruang-luar (jalan desa). Hal ini ternyata memiliki kesamaan dengan pola yang ada di Jepang, yang oleh Ashihara (1970) dinyatakan:
Pada kajian ini terlihat adanya kesamaan sifat halaman sebagai ruang-dalam atau interior pada hunian arsitektur tradisional Bali maupun arsitektur tradisional Jepang. Meskipun pada hunian Bali kesan ruang-dalam lebih terasa dan jelas dibandingkan dengan hunian Jepang.
Kajian ini semakin menarik apabila dikaitkan dengan teori Yoshinubo Ashihara diatas; bahwa ruang-luar adalah ruang yang terjadi dengan membatasi alam yang tak terhingga (dengan batas/pagar dll) dan juga ruang-luar adalah ruang dimana elemen ketiga dari ruang (yaitu atap) tidak ada. Dilain pihak ruang-dalam adalah lawan dari ruang-luar (dimana terdapat elemen ruang yang lengkap yaitu alas, dinding dan atap). Maka pada kasus hunian, teori Yoshinobu Ashihara ternyata saling bertentangan. Baik pertentangan antara ruang-luar terhadap ruang-dalam dikaitkan dengan terjadinya maupun keterkaitan dengan elemen alas, dinding dan atap.

Balinese Architecture:A Home for Body, Mind and Spirit

Information Center Art, Architecture, Music
source : http://hotelwww.net/architecture.htm

Balinese Architecture:A Home for Body, Mind and Spirit Traditionally, Balinese architecture offered not just shelter from sun and storm but provided a commentary on the order of the cosmos. Just as Balinese ritual is directed toward rebalancing the opposing poles of the world - good and evil, order and disorder, right and wrong - so Balinese traditional architecture attempts to balance the relationship between the human body, the world in which it lives, and the unseen world of mystical forces with which human beings are always in constant relation. Traditional Balinese architecture comprises an extremely detailed body of ancient knowledge, called Asta Kosala Kosali, which is inscribed in palm leaf lontar books written in the Old Javanese language of Kawi which few Balinese today understand.
Filling a social function halfway between a priest and an expert contractor, the undagi ensures that the house will be physically, socially and spiritually appropriate for the people who are to inhabit it. The traditional architect who has mastered this lore and knows how to apply it to creating human habitation is called an undagi. But while the theory and practice of building in Bali might be quite complex in its entirety, its basic principles are simple. Because the human body is a microcosmos or a miniature copy of the world in which it dwells, which in turn is a microcosmos of the divine order of the universe, one’s house must be built in harmony with one’s body. By applying principles of balance between opposing forces, traditional Balinese architecture can create a harmonious living space, bringing optimal health and happiness to a house’s inhabitants.
The majority of homes in Bali are constructed not as single family dwellings but as compounds that can house an extended group of relatives, comprising a series of separate pavilions surrounded by a high wall. To build a new house, the undagi first measures various parts of the body of the head of the household, usually the senior male of the family. Using a length of bamboo, he will note such bodily dimensions as the distance between the tips of the middle fingers with arms spread wide, the distance between the elbow and the tips of the middle fingers, the width of the fist, the length of the index finger, the space between the joints of the index finger and the width of the little finger.
These measurements will determine the size of the compound, the dimensions of the individual pavilions and the spacing of the supporting posts, and eve the width and length of the beds. Other factors which the undagi uses to match to house to its future inhabitants include the person’s caste, for traditionally one’s place within the social hierarchy determined the type of house one should build. And, of course, with a variety of building materials and levels of decorative complexity to choose from, one’s budget will also play a deciding role.
The undagi works to make sure that the layout of the compound is aligned not only with the owner’s body but with the powerful forces at work in the worlds of humans and the gods. In Bali, spatial alignment is organized not according to the absolute directions of north, south, east and west, but in reference to kaja, the direction of the holy Mount Agung, which rises up from the center of the island and is said to be the home of the gods, and kelod, the direction of the sea. Towards the mountain is the direction of purity and sacredness, and toward the sea is the direction of impurity, for the sea is where the ashes of one cremated will be returned to the elements. Between the mountain and the sea, sacred and profane, is where humans live out their everyday lives, trying to balance good and evil in all they do.
Likewise, the human body is divided into pure, impure and intermediate parts. The head is the most sacred part of the body, the feet the most impure. Traditional architecture, seeking to align the human body properly in space, specifies the position of the various parts of the house in relation to their relative purity and impurity. In the direction of the mountain will be built the family temple. In the direction of the sea, the bathroom, animal pens, and garbage heap will be placed. In the middle of the compound will be located a number of pavilions, called bale, which are usually semi open structures where the family will sleep and gather to talk and to work. Even the beds will be laid out so that one’s head will face the mountain and one’s feet will point towards the sea.
When the house is finished, ceremonies will be held to bring the house to life and to appease any negative forces that might be lingering around the site. The building materials that have been taken from the earth and “killed” to construct the house are now reanimated by a priest through ritual. The house is now alive, possessing feet, head and body, and it must be taken care of like one would take care of any human being with whom one has a close relationship. On important ritual occasions, the pavilions and posts of the house will even be “dressed” as human beings, wrapped in colorful cloth skirts and sashes. And every day, the women of the house will make small offerings of rice and flowers that she will place in certain spots around the house and yard to ask for the good will of the spirits of the unseen world who are sharing the space with her and her family.
Traditionally, Balinese houses were constructed of wood, preferably the iron hard teak wood that resists high tropical humidity and hungry termites. Roofs were made of thatch, woven tightly to provide protection against the sun and the torrential rains of the monsoon. The walls that surrounded traditional compounds were made of sun baked mud bricks or even, in South Bali, of chunks of coral from the reefs lining the shore. In contemporary Bali, a wide and worldly variety of materials are now used. Concrete and brick are cheap and easy to work with, and ceramic tile has become a must for anyone hoping to appear modern and prosperous.
Many Balinese, in fact, now build homes far from their ancestral compounds that serve as nuclear family dwellings, and the traditional open platform style is fast being replaced by the rumah kantor or “office house,” with enclosing walls, windows and low roofs - a style which may satisfy the new craving for a cosmopolitan modernity but which makes little concession to Bali’s hot, humid weather. In fact, in contemporary Bali it is often ironically the tourist hotels or the grand homes of Bali’s large expatriate community that display the greatest obsession with creating authentic Bali Style. While it is, of course, impossible for a hotel to follow all the tenets of traditional Balinese architecture by matching rooms to fit the bodies of an ever changing parade of guests, today’s hotels try to incorporate elements of traditional architecture in their design.
Lumbung barns used to store the rice harvest provide inspiration for guest rooms. Meeting rooms are done over in the manner of a Balinese wantilan, or public assembly hall. The split gates that guide Balinese into temples and family compounds frame lobbies decorated with coconut wood pillars, carved stone sculptures and paintings depicting colorful characters from local mythology. Statues of gods and demons do double duty as garden lamps, while the temple for the guardians of the land serves as a command post for hotel security. Even if these modern temples to tradition express a more secular relationship with space than the old style Balinese house compound, they nevertheless can still serve to initiate Bali’s guests into some of the beauty and balance that characterize Balinese architecture.

OFFERINGSgifts to Gods, Ancestors and Demons

taken from : http://www.baliforyou.com/bali/bali_guide/bali_offering.htm

OFFERINGSgifts to Gods, Ancestors and Demons
The many unseen inhabitants of Bali - gods, ancestors and demons - are treated by the Balinese as honored guests through the daily presentation of offerings (banten) of every imaginable shape, color and substance. These are first and foremost gifts - expressing gratitude to benevolent spirits, and placating mischievous demons to prevent them from disturbing the harmony of life.
Simple offerings are presented daily as a matter of course, while more elaborate ones are specially produced for specific rituals. After the daily food is prepared, for example, tiny packets are presented to the resident gods of the household before the family eats. Every day, too, the spirits are presented with tiny canang - palm leaf trays containing flowers and betel as a token of hospitality.
Being gifts to higher beings, these offerings must be attractive, and a great deal of time and effort is expended to make them so. Leaves are laboriously cut, plaited and pinned together into decorative shapes (jejaitan). Multi-colored rice flour cookies (jajan) are modeled into tiny sculptures and even into entire scenes which have a deep symbolic significance quite apart from their decorative function. In many ways, therefore, the production of offerings may be regarded as an important traditional art form that still flourishes on Bali.
Materials and preparation
Aside from a few durable elements employed, like coins, cloth and an occasional wooden mask, offerings are generally fashioned of perishable, organic materials. Not only the materials, but also the function of these objects is transitory. Once presented to the gods, an offering may not be used again and similar ones have to be produced again and again each day.
The preparation of offerings is one of the many tasks undertaken by every Balinese woman. Within the household, women of several generations work together, and in this way knowledge and skills are handed down to the young. To a limited extent, men also cooperate, for it is their task to slaughter animals and prepare most meat offerings.
Many women in Bali even make a living by acting as offering specialists (tukang banten). Their main task is to direct the armies of people who collectively produce offering for large rituals at home or in the communal temple. They are able to coordinate this work because they know the types and ingredients of offerings required for each occasion.
As more and more Balinese women work outside the home in offices or tourist hotel they have less time to undertake elaborate ritual preparations themselves. This result in an increasing demand for ready-mad offerings that many tukang banten produce in their own home with the help of women they employ. In spite of this limited commercialization, the meaning and ritual use of offerings is not diminishing in Bali.
Ritual uses
For almost any ritual, the enormous number and variety of offerings required is quite a astounding. There are literally hundreds of different kinds - the names, forms, sizes an ingredients of which differ greatly. Further more, there is considerable variation fro region to region, and even from village to village. The basic form of most offerings is quite similar, however. Rice, fruits, cookies, meat and vegetables are arranged on a palm leaf base and crowned with a palm leaf decoration, called a sampian, which serves also as a container for betel nut and flowers.
Certain offerings are used in many rituals, whereas others are specific to a particular ceremony. Basic offerings form groups (soroh) around a core offering, and since most rituals can be performed with varying degrees of elaboration depending upon the occasion and the means and social status of the participants, the size and content of these offering groups vary also according to the elaborateness of the ritual.
The size of an offering may be scaled up or down to match the occasion. For example, an ordinary pula gembal contains, among other things, dozens of different rice dough figurines in a palm leaf basket. In more elaborate rituals, this becomes a spectacular construction of brightly-colored cookies, measuring several meters from top to bottom.
Besides the major communal offerings associated with a particular ritual, each family brings its own large and colorful offering to a temple festival. It is a spectacular sight when women of a neighborhood together carry offerings in procession to a temple.
At the temple offerings are placed according to their destination and function. Offerings to gods and ancestors are placed on high altars, whereas demons receive theirs on the ground. An important difference is that offerings to demons may contain raw meat, while those for the gods and ancestors may not. Specific offerings required for a ritual are Placed in a pavilion or temporary platform.
During the ceremony, a priest purifies the offerings by sprinkling them with holy water and intoning prayers or mantras. The smoke of incense then wafts the essence of the offerings to their intended destination. The daily Presentation of offerings at home takes place In a similar way, through the use of holy water and fire. After the ritual is over and their "essence" has been consumed, the offerings may be taken home and eaten by the worshippers.
Symbolism
The elements that make life on earth possible are transformed into offerings and thus returned as gifts to their original Creator. But an offering not only consists of the fruits of the earth, but also mirrors its essential structure - decorative motifs often symbolize the various constituents of the Balinese universe.
The colors and numbers of flowers and other ingredients, for example, refer to deities who guard the cardinal directions. The requisite betel on top of every offering symbolizes the Hindu Trinity, as do the three basic colors used - red for Brahma, black or green for Wisnu, and white for Siwa.
Conical shapes, whether of offerings as a whole or of the rice used in it, are models of the cosmic mountain whose central axis links the underworld, the middle world and the upper world - symbolic of cosmic totality and the source of life on earth. Cookies of rice dough represent the contents of the world plants, animals, people, buildings or even little market scenes and gardens. Pairs of such cookies, like the sun and moon, the mountain and sea, the earth and sky, symbolize the dual ordering of the cosmos in which complementary elements cannot exist without one another. The unity of male and female, necessary for the production of new life, is in many ways represented in the composition of offerings. By recreating the universe through the art and medium of offerings, it is hoped that the continuity of life on earth will be assured.

THE VILLAGE A Place of Communal Order

http://www.baliforyou.com/bali/bali_guide/the_village.htm

The Balinese village is a closely knit network of social, religious and economic institutions to which every Balinese belongs. Most Balinese live in villages, yet even those who now reside and work in cities like Denpasar still identify with and actively participate in organizations in the village of their birth.
Spatial organization
Spatial orientation plays an eminent role in all things Balinese. The most important points of reference are kaja ("upstream" or "toward the mountain") and kelod ("downstream" or 11 seawards"), although kangin (east), kauh (west) and the intermediary compass points are of almost equal importance. Note that kaja in south Bali lies to the north, whereas in north Bali, on the other side of the mountains, it refers to a southerly direction.
At the heart of every traditional Balinese village (desa adat) is the so-called kahyangan tiga - the three core village temples that are physically located in close accordance with this system of orientation. Thus the Pura puseh ("temple of origin") lies nearest the mountains, the Pura bale agung ("temple of the great meeting hall") lies in the center of the village, and the Pura dalem (temple of the not-yet-purified deceased and of magically charged and potentially dangerous forces) lies to the seaward side of the village.
Clustered around the Pura desa, generally between the Pura Puseh and the Pura dalem, lie the residential quarters of the village, known as banjar (sometimes translated as "hamlets" but actually comprising distinctive neighborhoods within the village). These are usually referred to as "eastern," "western" and "central," but are often named according to the dominant profession or caste of their residents. Thus, we find banjar pande where smiths live, and banjar brahmana where members of the brahmana caste predominate.
Each banjar has its own meeting hall (bale baniar), which is the secular counter part of the bale agung temple. These bale banjar are the social centers of the community, often now equipped with ping-pong tables and TV sets and surrounded by small portable food stalls in the late afternoon.
Each banjar is surrounded by rice fields and gardens. The outer boundaries of the village are usually clearly marked by hedges, valleys, streams, forests and the like. There are many local and regional variations in village layout determined by local topography, population density, and so on, but there is a common pattern.
The family compound
In stark contrast to the open social and religious spaces of the village, the family living quarters are enclosed and private. House compounds are surrounded by a wall and from the outside nothing much can be seen.
A family compound consists of several buildings whose location and function are strictly defined and spacially determined. In the mountain ward-eastern corner of the compound lies the family temple. Also toward the mountain ward side is the bale gunung rata or meten bandung in which the parents and grandparents usually live.
The bale dangin or bale gede (the "east" or "great" pavilion) is where family ceremonies such as tooth-filings and weddings are held, but the children may also sleep here. Guests are normally received in the eastern pavilion.
The western pavilion (bale dauh) is where children normally sleep. In the seaward or downhill section of the compound we find the more mundane and functional structures the kitchen (fiaon), rice granary (lumbung), pigsty and the bathroom (if there is one).
It is within the house compound that a child is reared and integrated into the ways of village life with the help and care of parents, siblings and, most especially, the grandparents. Male children continue to live here; a girl moves to the compound of her in-laws.
Social and religious organization
The Balinese village may be said to be "semiautonomous" in the sense that it is largely responsible for its own socio-religious affairs and yet still forms part of wider governmental and religious networks. The desa adat is the lowest administrative level of the state. A number of desa adat form a "sub-district" (desa or perbekelan), several of which form a district (kecamatan), which in turn make up the regency (kabupaten). The boundaries of the latter are for the most part identical with those of the former Balinese kingdoms.
The semi-autonomous status of the village creates the need for a dual village administration a klian adat or chief responsible for internal village affairs, and a klian dinas who is responsible to the regional government. Below these are several banjar chiefs.
The village is further characterized by the existence of numerous groupings, membership in which is only partially voluntary. Before marriage, a person is a member of the boys' or girls' club. These have specific duties in the context of village rituals, and may be regarded as a "training ground" for the person's later participation in village affairs as a married adult. Upon marriage, a Balinese becomes a member of the neighborhood association (banjar), the village association, the irrigation society (subak), and several other groups such as the local music club, the rice harvest association, and so on.
Every Balinese thus lives within a complex matrix of interconnecting and overlapping associations. He or she has multiple duties to fulfill as members of these various institutions, as well as in the complex rounds of regional, village and family-based ceremonies. It is due to the great complexity of these groups and their attendant support of the individual's personal identity that the village has retained its vital role as the focal point of Balinese life, even in the face of rapid modernization and change.

bali spatical principles

http://www.apsa2005.net/FullPapers/PdfFormat/Full%20Paper%20(O-Z)/TNirata%20Samadhi.pdf


1REINFORCING IDENTITY:Urban Design Concepts for Achieving Balinese Cities with Cultural IdentityT. Nirarta SamadhiDepartment of City and Regional PlanningNational Institute of Technology (ITN Malang)Jalan Bendungan Siguragura No.2, Malang 65145, INDONESIAnirarta@hotmail.com

Existence in the Balinese world, for both animate and inanimate objects, is a matter ofoccupying the right space at the right time, hence to seek cosmological balance and thus participationin such a process is life.
The cosmoses are kept in a harmonious balance in Balinese architecture andbuilt environment by assigning attributes to the space, creating a matrix that is simultaneouslyhierarchical in religion (sacred/profane) and society (reflecting castes and kinship) as well as inphysical arrangement.
However, it should be noted that more sacred directions are not ‘better’ thanmore profane ones. In other words, it is to find the appropriate relative position for something or actionwhich is considered to be of much greater importance.
The concept of center –hence middle or neutral—therefore, is important to the Balinese as it isfor most of the Southeast Asian tribes, not just in religious and cosmological terms but also in political landscape from other.
They are the cultural constants, and are to an extent, unconscious decisions thatare taken for granted by the people local to the built environment.The traditions of settlement design and place-making ensure that the complicated task ofmatching built environment to cultural need is successful and that a society’s environment carries asmuch cultural meaning as possible. Traditions can and should change constantly to improve the qualityof the match, especially when the culture itself is changing.
Existence in the Balinese world, for both animate and inanimate objects, is a matter ofoccupying the right space at the right time, hence to seek cosmological balance and thus participationin such a process is life.
The cosmoses are kept in a harmonious balance in Balinese architecture andbuilt environment by assigning attributes to the space, creating a matrix that is simultaneouslyhierarchical in religion (sacred/profane) and society (reflecting castes and kinship) as well as inphysical arrangement.
However, it should be noted that more sacred directions are not ‘better’ thanmore profane ones. In other words, it is to find the appropriate relative position for something or actionwhich is considered to be of much greater importance.
The concept of center –hence middle or neutral—therefore, is important to the Balinese as it isfor most of the Southeast Asian tribes, not just in religious and cosmological terms but also in political 4realm (Tambiah, 1985). The physical manifestation of the concept of center in the Balineseenvironment has taken the form of a ‘great crossroad’, pampatan agung, in which forces from the firstworld (bhurloka, the world of the gods) and third world (swahloka, the world of the demons), and fromall Balinese windrose directions (kaja, kelod, kangin, kauh, and their inter-cardinal directions)7 meetand greet by human beings –the dwellers of the second world (bhuwahloka).
The important Balinesesettlement’s functions such as the palace (puri), temple (pura), plain open space (lapangan), the publicmeeting hall (wantilan), and the marketplace (pasar) are thus arranged in the surrounding areas(quadrants) of the crossroad as a way to accumulate the ‘power’ –religious, socio-economic, andpolitical in nature—into one place.
As such, this particular crossroad consequently becomes a landmarkand identity maker for Balinese cities and settlements8.Another important concept to understand is the psycho-cosmic dimension9 of the relationshipbetween bhuwana agung, or macrocosm and bhuwana alit, or microcosm.
Any place in Bali can bedefined by its relative position to other places, and thus it is only understandable as an element in alarger cosmos. At the same time, every place or entity generates its own universe, a microcosm,composed of five basic elements or panca mahabhuta, i.e. pertiwi (earth/solid substance), apah(water/fluid substance), teja (fire/light/heat), bayu (air), and akasa (space/ether). Thus a man sets up hisown universe of order, as does the house compound he lives in, and the village beyond that compound,and the island of Bali, and finally the world.
The ultimate goal of Balinese Hindu, moksa or spiritualliberation, urges that as a bhuwana alit (microcosm) a man should harmonize himself with the universeas a bhuwana agung (macrocosm), because, as has been mentioned, the human body and the universeare originating from the same elements and both interplay to participate in the process to constitute life.
It is precisely because of this notion that it is critical for the Balinese to assure harmonious balance ineverything they come in contact with, so that their entire world works to perpetuate their way of life.
To distort balance or to neglect to bring an object to life by way of cosmicization10 is to invitemisfortune or disaster.The concept of harmonious balance in the philosophy of the Balinese is believed to constitutethe basis for achieving prosperity and welfare which, in its application, has developed and crystallizedinto the religious teaching of Tri Hita Karana or literally ‘three causes of goodness’ (Kaler, 1983;Surpha, 1991; Pitana: 1994).
In architecture and spatial design this teaching is essentially intended toestablish harmonious relations between human beings and the God, human beings and the environment,and human beings among themselves.
This concept can be clearly observed in Balinese housingcompounds and desa pekraman settlements in the form of 1) spatial zoning, and 2) elementclassification. The zoning divides the space into: sacred places (parahyangan), settlement areas(pawongan) and utilities/settlement supporting functions (palemahan); while the element classificationbreaks it into: 1) parahyangan indicated by the three temples/Tri Kahyangan11 (representing therelationships between man and God, located on the sacred part of the area), 2) pawongan takes theform of the dwellers or sima krama desa (representing the relationships among men), and 3)palemahan or settlement territory (representing the relationships between man and the environment).
This triad classification essentially signifies the three elements of Tri Hita Karana, that is the spirit(atma), the energy (prana) and the body/vessel (sarira) which can be found in all kinds of entities inthis universe (see Table 1).
The placement of the three temples of the Tri Kahyangan in a settlement area is very similar tothe siting of the eight temples in accordance with the principles of the vastu-widya in Indian cities,whereby the temples function as a mandala defining and sanctifying the space they enclose (Puri,1995). In the Balinese case, the spatial area definition by way of the siting of Tri Kahyangan templescreate a cosmic unit in which its dwellers –hence a collection of bhuwana alit—feel they belong to a 5bhuwana agung.
The defined unit is called a desa adat12 (Kaler, 1983; Surpha, 1991; Pitana; 1994). Inthis unit the dichotomy of kaja-kelod, or mountainward-seaward and luan-teben or upstreamdownstream,and the spatial attribute differentiation of Tri Angga13 are applicable, thus creating a truesymbolically independent spatial unit (see Geertz, 1980; 45, 52).
As such, a downstream-located desapekraman can find the most sacred end of its area located further down to the most profane part of aneighboring desa pekraman􀂶s area without any disharmonious effect.
Table 1: Elements of Tri Hita KaranaCONTAINER(COSMOS)SPIRIT(atma)(utama or sacred)ENERGY(prana)(madya or neutral)VESSEL(sarira)(nista or profane)Universe ParaatmanPower to move the universe,e.g. planetary movement. Panca mahabhuta elements.Village/desa pekraman Tri Kahyangan temples orparahyanganSima krama or pawongan ordwellers/villagers and theiractivities.Palemahan orsettlement/village territory.House House temple. House dwellers. Dwelling unit with its yards.Human being. Soul/spirit Energy BodyThe upstream-downstream or mountainward-seaward continuum may be accounted for as atopographical axis which divides the environment into three distinctive spaces: the high ground(mountain), the plain land and the low ground (sea). In accordance to the principle of Tri Angga, thesespaces posses the spatial quality of utama (sacred), madya (neutral) and nista (profane) respectively.
Ina similar manner, the temporal dimension of an environment recognizes sunrise (the birth of a day) as afavorable direction, hence qualified as utama (sacred), and sunset (the death of a day) as a nonfavorableone (nista or profane). This sunrise-sunset continuum may be considered as an astronomicalaxis.
The interplaying between these orientation axes and the principles of Tri Hita Karana and TriAngga necessitates the existence of Sanga Mandala or ‘nine-fold spatial division’, where each of thespace has different spatial cosmological quality with the central space occupies by a sacred or greatcrossroad (pampatan agung) (see Figure 1). In a Balinese settlement, desa pekraman, such a spatialquality determines appropriate land uses.
The spatially cohesive unit of a desa pekraman is also amplified by the fact that the desadwellers serve a similar temple congregation (pemaksan) and develop their local values and knowledgesystems to be formulated in awig-awig (literally ‘customary law’).
Seen in this context, as Egenter(1996: 215) concludes for the Japanese village, desa pekraman becomes an autonomous culture withall traits of a higher culture: harmonious philosophy, local ontology and value system, aesthetics, socialhierarchy and so forth. Therefore, desa pekraman may be said as the only Balinese settlement unitbased on traditional-religious spatial conceptions (Samadhi, 2001b).

Mecaru

Bhagavan Dwidja source : dari www.hindu-indonesia. Copyright 2002, hindu-indonesia.com,

Padmasana
Rekan-rekan sedharma Yth.Om Swastyastu,Mengingat rekan-rekan sedharma di Bali dan diluar Bali banyak yang membangun tempat sembahyang atau Pura dengan pelinggih utama berupa Padmasana, perlu kiranya kita mempelajari seluk beluk Padmasana agar tujuan membangun symbol atau "Niyasa" sebagai objek konsentrasi memuja Hyang Widhi dapat tercapai dengan baik.Padmasana berasal dari Bahasa Kawi, menurut Kamus Kawi-Indonesia yang disusun oleh Prof. Drs. S. Wojowasito (Penerbit CV Pengarang, Malang, 1977) terdiri dari dua kata yaitu : "Padma" artinya bunga teratai, atau bathin, atau pusat. "Sana" artinya sikap duduk, atau tuntunan, atau nasehat, atau perintah. Dengan demikian Padmasana adalah symbol yang menggambarkan kedudukan Hyang Widhi sebagai bunga teratai, atau dapat juga dikatakan bahwa Padmasana sebagai tuntunan bathin atau pusat konsentrasi. Bunga teratai dipilih sebagai symbol yang tepat menggambarkan kesucian dan keagungan Hyang Widhi karena memenuhi unsur-unsur :
1)
Helai daun bunganya berjumlah delapan sesuai dengan jumlah manifestasi Hyang Widhi di arah delapan penjuru mata angin sebagai kedudukan Horizontal : Timur (Purwa) sebagai Ishwara, Tenggara (Aghneya) sebagai Mahesora, Selatan (Daksina) sebagai Brahma, Barat Daya (Nairity) sebagai Rudra, Barat (Pascima) sebagai Mahadewa, Barat Laut (Wayabya) sebagai Sangkara, Utara (Uttara) sebagai Wisnu, Timur Laut (Airsanya) sebagai Sambhu.
2)
Puncak mahkota berupa sari bunga yang menggambarkan symbol kedudukan Hyang Widhi secara vertikal dalam manifestasi sebagai : Siwa (adasthasana/dasar), Sadasiwa (madyasana/tengah) dan Paramasiwa (agrasana/puncak).
3)
Bunga teratai hidup di tiga alam yaitu tanah/lumpur disebut pertiwi, air disebut apah, dan udara disebut akasa. Bunga teratai merupakan sarana utama dalam upacara-upacara Panca Yadnya dan juga digunakan oleh Pandita-Pandita ketika melakukan surya sewana.
Menurut Lontar "Dwijendra Tattwa", pelinggih berbentuk Padmasana dikembangkan oleh Danghyang Dwijendra, atau nama (bhiseka) lain beliau : Mpu Nirartha atau Danghyang Nirartha. Berdasarkan wahyu yang diterima beliau di pantai Purancak (Jembrana) ketika pertama kali menginjakkan kaki di Bali setelah menyeberang dari Jawa Timur di abad ke-14, penduduk Bali perlu dianjurkan membangun pelinggih Padmasana. Sebelum kedatangan beliau, agama Hindu di Bali telah berkembang dengan baik dimana penduduk memuja Hyang Widhi terbatas dalam kedudukan-Nya secara horizontal. Ajaran itu diterima dari para Maha Rsi yang datang ke Bali sejak abad ke-8, seperti Rsi Markandeya, Mpu Kuturan, Danghyang Siddimantra, Danghyang Manik Angkeran, Mpu Jiwaya, Mpu Gnijaya, Mpu Sumeru, Mpu Ghana, dan Mpu Bharadah. Bentuk-bentuk pelinggih sebagai symbol/niyasa ketika itu hanya : meru tumpang tiga, Kemulan rong tiga, bebaturan, dan gedong. Wahyu yang diterima oleh Danghyang Nirartha untuk menganjurkan penduduk Bali menambah bentuk palinggih berupa Padmasana menyempurnakan symbol/niyasa yang mewujudkan Hyang Widhi secara lengkap, baik ditinjau dari konsep horizontal maupun vertikal.NIYASA STANA HYANG WIDHI.Pelinggih Padmasana adalah niyasa atau symbol stana Hyang Widhi dengan berbagai sebutan :
1)
Sanghyang Siwa Raditya, dalam manifestasi yang terlihat/dirasakan manusia sebagai matahari atau "Surya",
2)
Sanghyang Tri Purusa, dalam tiga manifestasi yang manunggal yaitu sebagai Siwa, Sada Siwa dan Parama Siwa. Memperhatikan makna niyasa seperti diatas, jelaslah bahwa Padmasana adalah niyasa yang digunakan oleh Hindu dari sekte Siwa Sidhanta karena sentral manifestasi Hyang Widhi yang menjadi pujaan utama adalah sebagai Siwa. Danghyang Nirartha yang mengembangkan bentuk niyasa Padmasana adalah Pandita dari kelompok Hindu sekte Siwa Sidhanta.
HIASAN PADMASANA.Hiasan Padmasana adalah :
1)
Di dasar bangunan ada Bhedawangnala, yaitu ukiran "mpas" (kura-kura besar) yang dililit dua ekor naga. Kura-kura adalah symbol dasar bhuvana dibayangkan sebagai api magma, sedangkan naga adalah symbol Basuki yaitu kekuatan yang mengikat alam semesta. Bhedawangnala adalah Bahasa Kawi, dimana bheda" artinya : lain, kelompok, selisih; "wang" artinya: peluang, kesempatan; "nala" artinya : api. Jadi bhedawangnala artinya : suatu kelompok (unit) yang meluangkan adanya api. Api disini bisa dalam arti nyata sebagai dapur magma inti bumi, dapat juga dalam arti symbol lain yaitu energi kekuatan hidup. Karena letaknya dibawah/dasar bangunan maka symbol bhedawangnala dapat bermakna sebagai kekuatan bumi ciptaan Hyang Widhi yang perlu dijaga, dan dapat pula bermakna sebagai dasar kehidupan manusia yaitu energi yang senantiasa perlu ditumbuh kembangkan.
2)
Dewa Wisnu yang mengendarai Garuda diletakkan di bagian tengah belakang, adalah symbol Hyang Widhi dalam manifestasi sebagai pemelihara.
3)
Angsa diletakkan di bagian atas belakang, adalah symbol Sanghyang Saraswati bermakna sebagai : pengetahuan, ketelitian, kewaspadaan, ketenangan dan kesucian.
4)
Acintya diletakkan di bagian atas depan, adalah symbol Hyang Widhi yang tidak dapat dilihat, dipikirkan wujudnya, di raba, namun vibrasinya dapat dirasakan.
5)
Hiasan lainnya dapat berupa karang gajah, karang boma, karang bun, karang paksi, dll. yang semuanya bermakna sebagai symbol keaneka ragaman alam semesta. Kesimpulan arti symbolis dari semua bentuk Padmasana adalah : Stana Hyang Widhi yang dengan kekuatan-Nya telah menciptakan manusia sebagai mahluk utama dan alam semesta sebagai pendukung kehidupan, senantiasa perlu dijaga kelanggengan hidupnya.
BENTUK-BENTUK PADMASANA. Dilihat dari bentuk bangunan Padmasana, dibedakan adanya lima jenis Padmasana yaitu :
1)
Padma Anglayang, memakai dasar bhedawangnala, bertingkat tujuh dan dipuncaknya ada tiga ruang. Digunakan selain sebagai niyasa stana Sanghyang Siwa Raditya atau Sanghyang Tripurusa, juga sebagai niyasa stana Trimurti.
2)
Padma Agung, memakai dasar bhedawangnala, bertingkat lima dan dipuncaknya ada dua ruang. Digunakan selain sebagai niyasa stana Sanghyang Siwa Raditya atau Sanghyang Tripurusa, juga sebagai niyasa Ardanareswari yaitu kekuatan/kesaktian Hyang Widhi sebagi pencipta segala yang berbeda misalnya : lelaki-perempuan, siang-malam, kiri (pengiwa) - kanan (penengen), dst
3)
Padmasana, memakai bhedawangnala, bertingkat lima dan dipuncaknya ada satu ruang. Digunakan selain sebagai niyasa stana Sanghyang Siwa Raditya atau Sanghyang Tripurusa, juga sebagai niyasa Sanghyang Tunggal yaitu Hyang Widhi Yang Maha Esa
4)
Padmasari, tidak memakai dasar bhedawangnala, bertingkat tiga dan di puncaknya ada satu ruang. Digunakan hanya untuk niyasa stana Sanghyang Siwa Raditya atau Sanghyang Tripurusa.
5)
Padma capah, tidak memakai dasar bhedawangnala, bertingkat dua dan di puncaknya ada satu ruang. Digunakan untuk niyasa stana Hyang Widhi dalam manifestasi sebagai Baruna (Dewa lautan).
Pemilihan bentuk kelima jenis Padmasana itu berdasar pertimbangan kemampuan penyungsung melaksanakan upacara, baik ketika mendirikannya maupun pada setiap hari piodalannya. Oleh karena itu dipertimbangkan juga jumlah penyungsungnya. Makin banyak penyungsungnya makin "utama" bentuk padmasana, sesuai dengan urutan diatas.LETAK PADMASANA. Letak Padmasana menurut arah mata angin (pengider-ider bhuwana) ada sembilan macam yaitu :
1)
Padma Kencana : di timur (purwa) menghadap ke barat (pascima).
2)
Padmasana : di selatan (daksina) menghadap ke utara (uttara).
3)
Padmasari : di barat (pascima) menghadap ke timur (purwa).
4)
Padma lingga : di utara (uttara) menghadap ke selatan (daksina).
5)
Padma asta sedhana : di tenggara (agneya) menghadap ke barat laut (wayabya).
6)
Padma noja : di barat daya (nairity) menghadap ke timur laut (airsaniya).
7)
Padma karo : di barat laut (wayabya) menghadap ke tenggara (agneya). 8) Padma saji : di timur laut (airsanya) menghadap ke barat daya (nairity).
9)
Padma kurung : di tengah-tengah Pura (madya) menghadap ke pintu keluar/masuk (pemedal).
Pemilihan letak Padmasana berdasar pertimbangan letak Pura dan konsep "hulu - teben". Filsafat hulu - teben timbul karena manusia sulit membayangkan Hyang Widhi, kemudian "menganggap" Hyang Widhi seperti organ tubuh manusia yang mempunyai unsur-unsur kepala, badan dan kaki. Perhatikan gambar symbol Acintya. Kepala dikatakan sebagai hulu, badan sebagai madya dan kaki sebagai teben. Yang utama selalu berada di hulu. Konsep ini membawa tatanan kehidupan "skala" (nyata) dan "niskala" (tidak nyata), misalnya dalam aturan-aturan membangun Pura. Adanya bagian yang sangat sakral disebut sebagai "utama mandala", bagian yang kurang sakral disebut sebagai "madya mandala" dan bagian yang tidak sakral disebut sebagai "nista mandala". Hulu - Teben memakai dua acuan yaitu Timur sebagai hulu dan Barat sebagai teben, atau Gunung sebagai hulu dan Laut sebagai teben. Timur sebagai hulu karena di timurlah matahari terbit. Matahari dalam pandangan Hindu adalah sumber energi yang menghidupi semua mahluk, sedangkan Gunung sebagai hulu karena berfungsi sebagai pengikat awan yang turun menjadi hujan kemudian ditampung dalam humus hutan yang merupakan sumber mata air kehidupan. Tiada kehidupan tanpa air.Dalam membangun Padmasana, jika memakai Timur sebagai hulu, tidak masalah karena dimana-mana arah timur selalu sama. Tetapi jika memakai Gunung sebagai hulu maka ada perbedaan hulu teben. Misalnya di daerah Den Bukit (Buleleng) dimana hulunya (Gunung) adalah arah selatan maka sesuai letaknya dibangun Padmasana. Sebaliknya diselatan "bukit" (Gunung) mulai dari Pancasari ke Bali selatan dimana hulunya adalah arah utara maka sesuai letaknya dibangun Padma lingga. Di daerah Karangasem bagian timur dimana hulunya (Gunung) ada dibagian barat, maka sesuai letaknya dibangun Padma sari. Demikian seterusnya. Pemilihan letak Padmasana juga ditentukan oleh lokasi tanah pekarangan, misalnya untuk perumahan di kota-kota besar dimana sulit memilih letak tanah sesuai dengan konsep hulu - teben seperti di Bali, maka jika membangun Padmasana silahkan memilih alternatif yang terbaik diantara kesembilan jenis lokasi seperti tersebut diatas.MEMILIH LOKASI.
Bila ingin membangun Padmasana untuk penyungsungan jagat artinya yang permanen dan akan digunakan selamanya serta untuk kepentingan rekan sedharma dalam jumlah besar, perlu memperhatikan pemilihan lokasi yang tepat dengan aturan-aturan yang sudah ditetapkan dalam Lontar Keputusan Sanghyang Anala, lontar mana ditulis berdasarkan wahyu yang diterima oleh Bhagawan Wiswakarma. Selain untuk membangun Padmasana, aturan ini juga dapat berlaku untuk membangun Pura, Sanggah Pamerajan, dan perumahan. LOKASI YANG BAIK :
1)
Lebih tinggi di Barat (dari arah pusat kota atau dari arah jalan raya). Disebut "manemu labha" dimana sinar matahari tidak terhalang sejak pagi sampai sore, membawa keberuntungan dan umur panjang.
2)
Lebih tinggi di arah laut, disebut "paribhoga wredhi", membawa kemakmuran yang melimpah bagi penghuninya.
3)
Rata (dengan jalan atau pusat kota) disebut "madya" tidak ada keistimewaan artinya biasa-biasa saja, namun dengan syarat : sinar matahari, udara dan air tersedia cukup tidak terhalang apapun.
4)
Ketika berada diatas tanah itu perasaan damai, tentram dan hening, walaupun lokasi itu tidak memenuhi persyaratan seperti nomor 1,2,3 diatas, disebut "dewa ngukuhi", membawa ketentraman bathin dan kedamaian.
5)
Tanah berbau pedis ketika dicongkel sedalam 30 Cm, disebut "sihing kanti" sangat baik karena akan mempunyai banyak sahabat.
HINDARI LOKASI YANG BERIKUT INI, disebut "palemahan hala" :
1)
Tanah yang berwarna hitam, selintas kelihatan seperti kotor, disebut "ucem", membawa sial.
2)
Lokasi dimana kita merasa panas tidak wajar, disebut "melekpek", membawa bencana pertikaian, perkelahian, tidak damai.
3)
Lokasi dalam satu batasan pagar yang ditempati oleh lebih dari satu keluarga yang tidak ada hubungan darah, disebut "manyeleking", membuat kesehatan sering terganggu.
4)
Berhadapan dengan pertigaan atau perempatan jalan disebut "sandang lawe" atau tusuk sate, membuat penghuni sakit-sakitan.
5)
Lokasi dikelilingi jalan, disebut "sula nyupi", membawa sial.
6)
Lokasi dimuka dan dibelakang atau disamping kiri dan kanan ada jalan umum (diapit jalan), disebut "kuta kabanda", membawa bencana.
7)
Lokasi disamping tanah kosong sandang lawe (lihat nomor 4), disebut "teledu nginyah", membawa kesusahan hidup dan kesehatan sering terganggu.
8)
Lokasi bersebelahan (kurang dari jarak "apenimpug", "apeneleng" yaitu sekitar 200 - 300 meter) dengan Pura Kahyangan Tiga, Dang Kahyangan, Sad Kahyangan, disebut "karang grah", sering dimasuki pencuri, dan tidak merasa tentram karena selalu terancam bahaya.
9)
Dua bidang tanah yang saling berhadapan namun dibatasi jalan raya, kedua-duanya dimiliki oleh satu orang atau satu keluarga, disebut "amada-mada Bhatara", membuat penghuninya selalu sedih dan sakit-sakitan.
10)
Satu bangunan namun mempunyai dua pintu masuk/keluar yang sama ukuran dan bentuknya disebut " boros wong" membuat penghuninya sulit ekonominya, serba kekurangan, dan susah menabung.
11)
Satu bangunan dimana air limbahan, atau air hujan dari atap jatuh kepekarangan orang lain, maka tanah yang ketimpa air limbah itu disebut "suduk angga" membawa sial dan sakit-sakitan.
KARANG KEBAYA-BAYA.
Selain "palemahan hala" seperti yang dikemukakan diatas, perlu juga dihindari tanah pekarangan yang disebut "karang kebaya-baya" yaitu :
1)
NEMU BAYA, ketika berada di tengah-tengah pekarangan, perasaan seperti sunyi dan takut, walaupun ada banyak orang dan banyak rumah disekitarnya. Untuk menyimak hal ini perlu berada ditanah itu beberapa saat, sekitar 30 menit dengan mengkonsentrasikan pikiran. Jika benar demikian, penghuninya akan mendapat berbagai bahaya.
2)
KARANG TENGET, tanah bekas pura atau sanggah pamerajan, bekas kuburan, dan bekas Geria atau pertapaan Sulinggih. Jika ditempati akan membawa bencana perkelahian.
3)
BHUTA SALAH WETU, di tanah pekarangan itu pernah ada binatang melahirkan tidak wajar, misalnya babi atau anjing beranak satu, sapi atau binatang yang mestinya berkaki empat lahirnya hanya berkaki tiga atau kurang, pohon pisang keluar tandannya dari tengah-tengah batang, pohon kelapa diatasnya bercabang dua, dll. jika dibangun perumahan atau Pura akan membawa bencana kemalangan.
4)
BHUMI SAYONGAN, dari dalam tanah keluar asap misterius tanpa bekas pembakaran, dan banyak binatang tabuhan atau nyawan berterbangan apalagi membuat sarang. Penghuninya nanti akan mendapat kecelakaan.
5)
OONG BAYA, ada cendawan tumbuh liar, pertanda penghuninya kelak akan mendapat kesulitan hidup.
6)
TOYA BAYA, jika ada air berwarna kemerahan seperti darah keluar dari dalam tanah membawa akibat penghuninya sering berkelahi bahkan sampai terjadi pertumpahan darah.
PANGUPA HAYU, adalah usaha untuk menghindarkan bahaya-bahaya yang mengancam, karena "palemahan hala" dan "karang kebaya-baya". Bila terpaksa harus membangun di tanah-tanah kurang baik seperti tersebut diatas, lakukan hal-hal sebagai berikut :
1)
Untuk pekarangan "sandang lawe", buatkan padma capah tepat diarah jalan dari depan, dimana distanakan Sanghyang Indra Balaka.
2)
Untuk pekarangan : "sula nyupi", "kuta kebanda", dan "teledu nginyah" ditengah-tengah pekarangan dibuat padma capah dimana distanakan Sanghyang Dhurgamaya
3)
Untuk "karang grah" dibuatkan bangunan "sombah" yaitu tembok pagar yang berlubang sebagai symbol keluar-masuknya Sang Kala Awengku Rat.
4)
Untuk tanah-pekarangan lain-lain yang termasuk palemahan hala dan karang kebaya-baya agar dibuatkan banten caru dengan tingkatan yang lebih besar misalnya "manca sanak", "manca kelud", dan "balik sumpah"
ASTA KOSALA dan ASTA BUMI. Yang dimaksud dengan Asta Kosala adalah aturan tentang bentuk-bentuk niyasa (symbol) pelinggih, yaitu ukuran panjang, lebar, tinggi, pepalih (tingkatan) dan hiasan. Yang dimaksud dengan Asta Bumi adalah aturan tentang luas halaman Pura, pembagian ruang halaman, dan jarak antar pelinggih. Aturan tentang Asta Kosala dan Asta Bumi ditulis oleh Pendeta : Bhagawan Wiswakarma dan Bhagawan Panyarikan. Uraian mengenai Asta Kosala khusus untuk bangunan Padmasana telah dikemukakan pada bab : Hiasan Padmasana, Bentuk-bentuk Padmasana dan Letak Padmasana. Asta Bumi menyangkut pembuatan Pura atau Sanggah Pamerajan adalah sebagai berikut :
1)
Tujuan Asta Bumi adalah :
(a) Memperoleh kesejahteraan dan kedamaian atas lindungan Hyang Widhi. (b) Mendapat vibrasi kesucian. (c) Menguatkan bhakti kepada Hyang Widhi.
2)
Luas halaman : a) Memanjang dari Timur ke Barat ukuran yang baik adalah : Panjang dalam ukuran "depa" (bentangan tangan lurus dari kiri ke kanan dari pimpinan/klian/Jro Mangku atau orang suci lainnya) : 2,3,4,5,6,7,11,12,14,15,19. Lebar dalam ukuran depa : 1,2,3,4,5,6,7,11,12,14,15. Alternatif total luas dalam depa : 2x1,3x2, 4x3, 5x4, 6x5, 7x6, 11x7, 12x11, 14x12, 15x14, 19x15. b) Memanjang dari Utara ke Selatan ukuran yang baik adalah : Panjang dalam ukuran depa : 4,5,6,13,18. Lebar dalam ukuran depa : 5,6,13. Alternatif total luas dalam depa : 6x5, 13x6, 18x13. Jika halaman sangat luas, misalnya untuk membangun Padmasana kepentingan orang banyak seperti Pura Jagatnatha, dll. boleh menggunakan kelipatan dari alternatif yang tertinggi. Kelipatan itu : 3 kali, 5 kali, 7 kali, 9 kali dan 11 kali. Misalnya untuk halaman yang memanjang dari Timur ke Barat, alternatif luas maksimum dalam kelipatan adalah : 3x(19x15), 5x(19x15), 7x(19x15), 9x(19x15), 11x(19x15). Untuk yang memanjang dari Utara ke Selatan, alternatif luas maksimum dalam kelipatan adalah : 3x(18x13), 5x(18x13), 7x(18x13), 9x(18x13), 11x(18x13).
HULU-TEBEN. "Hulu"artinya arah yang utama, sedangkan "teben" artinya hilir atau arah berlawanan dengan hulu. Sebagaimana telah diuraikan terdahulu, ada dua patokan mengenai hulu yaitu 1) Arah Timur, dan 2) Arah "Kaja" Mengenai arah Timur bisa diketahui dengan tepat dengan menggunakan kompas. Arah kaja adalah letak gunung atau bukit. Cara menentukan lokasi Pura adalah menetapkan dengan tegas arah hulu, artinya jika memilih timur sebagai hulu agar benar-benar timur yang tepat, jangan melenceng ke timur laut atau tenggara. Jika memilih kaja sebagai hulu, selain melihat gunung atau bukit juga perhatikan kompas. Misalnya jika gunung berada di utara maka hulu agar benar-benar diarah utara sesuai kompas, jangan sampai melenceng ke arah timur laut atau barat laut, demikian seterusnya. Pemilihan arah hulu yang tepat sesuai dengan mata angin akan memudahkan membangun pelinggih-pelinggih dan memudahkan pelaksanaan upacara dan arah pemujaan.MENETAPKAN PEMEDAL.
Pemedal adalah gerbang, baik berupa candi bentar maupun gelung kori. Cara menetapkan pemedal sebagai berikut : 1) Ukur lebar halaman dengan tali. 2) Panjang tali itu dibagi tiga. 3) Sepertiga ukuran tali dari arah teben adalah "as" pemedal. Dari as ini ditetapkan lebarnya gerbang apakah setengah depa atau satu depa, tergantung dari besar dan tingginya bangunan candi bentar dan gelung kori. Yang dimaksud dengan teben dalam ukuran pemedal ini adalah arah yang bertentangan dengan hulu dari garis halaman pemedal. Misalnya hulu halaman Pura ada di Timur, maka teben dalam menetapkan gerbang tadi adalah utara, kecuali di utara ada gunung maka tebennya selatan, demikian seterusnya. Penetapan gerbang candi bentar dan gelung kori ini penting untuk menentukan letak pelinggih sesuai dengan asta kosala.
JARAK ANTAR PELINGGIH.
Jarak antar pelinggih yang satu dengan yang lain dapat menggunakan ukuran satu "depa", kelipatan satu depa, "telung tapak nyirang", atau kelipatan telung tapak nyirang. Pengertian "depa" sudah dikemukakan didepan, yaitu jarak bentangan tangan lurus dari ujung jari tangan kiri ke ujung jari tangan kanan. Yang dimaksud dengan "telung tampak nyirang" adalah jarak dari susunan rapat tiga tapak kaki kanan dan kiri (dua kanan dan satu kiri) ditambah satu tapak kaki kiri dalam posisi melintang. Baik depa maupun tapak yang digunakan adalah dari orang yang dituakan dalam kelompok "penyungsung" (pemuja) Pura. Jarak antar pelinggih dapat juga menggunakan kombinasi dari depa dan tapak, tergantung dari harmonisasi letak pelinggih dan luas halaman yang tersedia. Jarak antar pelinggih juga mencakup jarak dari tembok batas ke pelinggih-pelinggih. Ketentuan-ketentuan jarak itu juga tidak selalu konsisten, misalnya jarak antar pelinggih menggunakan tapak, sedangkan jarak ke "Piasan" dan Pemedal (gerbang) menggunakan depa. Ketentuan ini juga berlaku bagi bangunan dan pelinggih di Madya Mandala.
PELINGGIH (STANA) YANG DIBANGUN.
Jika bangunan inti hanya Padmasana, sebagaimana tradisi yang ada di luar Pulau Bali, maka selain Padmasana dibangun juga pelinggih TAKSU sebagai niyasa pemujaan Dewi Saraswati yaitu saktinya Brahma yang memberikan manusia kemampuan belajar/mengajar sehingga memiliki pengetahuan, dan PANGRURAH sebagai niyasa pemujaan Bhatara Kala yaitu "putra" Siwa yang melindungi manusia dalam melaksanakan kehidupannya di dunia. Bangunan lain yang bersifat sebagai penunjang adalah : PIYASAN yaitu bangunan tempat bersemayamnya niyasa Hyang Widhi ketika hari piodalan, dimana diletakkan juga sesajen (banten) yang dihaturkan. BALE PAMEOSAN adalah tempat Sulinggih memuja. Di Madya Mandala dibangun BALE GONG, tempat gambelan, BALE PESANDEKAN, tempat rapat atau menyiapkan diri dan menyiapkan banten sebelum masuk ke Utama Mandala. BALE KULKUL yaitu tempat kulkul (kentongan) yang dipukul sebagai isyarat kepada pemuja bahwa upacara akan dimulai atau sudah selesai.
Jika ingin membangun Sanggah pamerajan yang lengkap, bangunan niyasa yang ada dapat "turut" 3,5,7,9, dan 11. "Turut" artinya "berjumlah". Turut 3 : Padmasari, Kemulan Rong tiga (pelinggih Hyang Guru atau Tiga Sakti : Brahma, Wisnu, Siwa), dan Taksu. Jenis ini digunakan oleh tiap keluarga di rumahnya masing-masing. Turut 5 : Padmasari, Kemulan Rong Tiga, Taksu, Pangrurah, "Baturan Pengayengan" yaitu pelinggih untuk memuja ista dewata yang lain. Turut 7 : adalah turut 5 ditambah dengan pelinggih Limas cari (Gunung Agung) dan Limas Catu (Gunung Lebah). Yang dimaksud dengan Gunung Agung dan Gunung Lebah (Batur) adalah symbolisme Hyang Widhi dalam manifestsi yang menciptakan "Rua Bineda" atau dua hal yang selalu berbeda misalnya : lelaki dan perempuan, siang dan malam, dharma dan adharma, dll. Turut 9 adalah turut 7 ditambah dengan pelinggih Sapta Petala dan Manjangan Saluwang. Pelinggih Sapta Petala adalah pemujaan Hyang Widhi sebagai penguasa inti bumi yang menyebabkan manusia dan mahluk lain dapat hidup. Manjangan Saluwang adalah pemujaan Mpu Kuturan sebagai Maha Rsi yang paling berjasa mempertahankan Agama Hindu di Bali. Turut 11 adalah turut 9 ditambah pelinggih Gedong Kawitan dan Gedong Ibu. Gedong Kawitan adalah pemujaan leluhur laki-laki yang pertama kali datang di Bali dan yang mengembangkan keturunan. Gedong Ibu adalah pemujaan leluhur dari pihak wanita (istri Kawitan).
Cara menempatkan pelinggih-pelinggih itu sesuai dengan konsep Hulu dan Teben, dimana yang diletakkan di hulu adalah Padmasari/Padmasana, sedangkan yang diletakkan di teben adalah pelinggih berikutnya sesuai dengan turut seperti diuraikan diatas. Bila halamannya terbatas sedangkan pelinggihnya perlu banyak, maka letak bangunan dapat berbentuk L yaitu berderet dari pojok hulu ke teben kiri dan keteben kanan.
RANGKAIAN UPACARA NGENTEG LINGGIH.
Setelah bangunan selesai dalam bentuk Padmasana atau berbentuk Sanggah Pamerajan dan Pura, maka dilaksanakan upacara Ngenteg Linggih. Dalam Bahasa Bali "Ngenteg" artinya mengukuhkan, dan "Linggih" artinya kedudukan. Jadi Ngenteg Linggih dalam arti luas adalah upacara mensucikan dan mensakralkan Niyasa tempat memuja Hyang Widhi. Yang akan diuraikan dibawah ini adalah upacara Ngenteg Linggih menurut versi tradisi beragama Hindu di Bali berdasarkan Lontar-lontar : Bhuwana Tattwa Rsi Markandeya, Tutur Kuturan, Gong Besi, dan Sanghyang Aji Swamandala. Mungkin saja ada rangkaian upacara dalam bentuk lain menurut versi atau tradisi setempat untuk Niyasa-Niyasa tertentu, seperti di Jawa, Kalimantan, Sumatra, dll. boleh saja namun tujuannya tetap sama yaitu mensucikan dan mensakralkan Niyasa.
MEMANGGUH.
Tahap awal adalah upacara Memangguh. Asal katanya : "kepangguh" atau "kepanggih" artinya menemukan. Keyakinan tentang kekuasaan Hyang Widhi sebagai sang pencipta bahwa seluruh jagat raya adalah milik-Nya. Sebidang tanah yang dijadikan Pura ditemukan oleh manusia secara "Skala" (nyata) dan "Niskala" (tidak nyata, artinya berkat penugrahan Hyang Widhi). Memangguh lebih cenderung diartikan sebagai menemukan bidang tanah secara niskala.
MEMIRAK.
Berasal dari kata "pirak" artinya membeli. Kaitannya juga secara niskala, yang bermakna mohon ijin kepada Hyang Widhi untuk menggunakan bidang tanah dimaksud.
NYENGKER.
Berasal dari kata "sengker" artinya batas. Jadi upacara nyengker adalah memberi batas-batas luas tanah, baik secara skala dengan cara membangun pagar keliling, maupun secara niskala dengan menaburkan tepung beras putih kesekeliling batas tanah.MECARU. Berasal dari kata "caru" artinya korban suci untuk menuju keseimbangan dan keharmonisan. Keseimbangan dan keharmonisan dalam arti luas adalah TRI HITA KARANA (Tri = tiga, hita = kebaikan, karana = sebab; Jadi Trihitakarana adalah tiga hal yang menyebabkan kebaikan). Keseimbangan dan keharmonisan yang bersentral pada manusia, yaitu : 1) Bhakti manusia kepada Hyang Widhi dan sebaliknya kasih sayang Widhi kepada manusia, ini biasa disebut sebagai PARHYANGAN. 2) Hubungan antar manusia yang baik dengan inti kasih sayang, biasa disebut sebagai PAWONGAN. 3) Kecintaan manusia pada alam dengan memelihara kelestarian, biasa disebut sebagai PALEMAHAN. Mecaru dalam rangkaian upacara Ngenteg Linggih tujuannya adalah mohon kepada Hyang Widhi agar di area Pura dapat terwujud Trihitakarana.MLASPAS.
Mlaspas berasal dari kata "pas-pas" artinya menggunakan bahan-bahan bangunan yang perlu saja, sedangkan sisanya dikembalikan ke alam semesta. Misalnya sebatang pohon yang tumbuh di kebun/hutan tidak seluruhnya digunakan untuk tiang bangunan pelinggih. Bagian yang diperlukan diminta kepada Hyang Widhi sedangkan yang tidak digunakan dikembalikan lagi dalam berbagai bentuk. Pengertian lebih luas dari istilah "mengembalikan" adalah upaya menanam bibit baru dari jenis pohon yang ditebang.
MEMAKUH.
Asal kata dari "kukuh" artinya menyatu dan kuat. Dalam kaitan ini memakuh tujuannya menyatukan bagian-bagian bangunan pelinggih mulai dari pondamen, tiang dan atap, sehingga berbentuk suatu jenis bangunan misalnya "Meru", Padmasana, Piasan, dll. Jadi upacara memakuh dapat pula diartikan mewujudkan bentuk bangunan dari bahan-bahan : batu, semen, pasir, kayu, genting, dll. menjadi pelinggih, rumah, dll. Dengan kata lain yang tadinya berupa tumpukan material, sekarang sudah menjadi bangunan yang mempunyai nama.
NGURIP.
Berasal dari kata : "urip" artinya hidup. Maksudnya adalah : segala sesuatu yang digunakan untuk bangunan yang diambil dari alam, dahulunya hidup. Misalnya pohon nangka, batu-batuan, pasir, tanah, dll. Setelah pohon ditebang, batu dipecah, pasir dikeruk, tanah dibakar (untuk batu-bata/genting) maka bahan-bahan itu "mati". Segala apa yang mati adalah "bangkai". Agar supaya pelinggih (Niyasa) tidak terdiri dari bahan-bahan bangkai, maka bangunan itu perlu dihidupkan atau di-urip dengan puja mantra, dan upakara.
MASUPATI.
Asal katanya "pasupati" berarti menjadikan sakral. Bangunan pelinggih (Niyasa) perlu di-sakralkan dengan prosedur pensucian dan memohon nilai magic dari Hyang Widhi. Pelaksanaannya adalah dengan tirta pasupati dan "matatorek" yaitu memberi tanda dengan pewarna : merah (symbol Brahma), putih (symbol Siwa) dan hitam (symbol Wisnu)MEMASANG : AKAH, DAGING, ORTI, PALAKERTI, ULAP-ULAP.
MEMASANG : AKAH/PEDAGINGAN, ORTI, PALAKERTI, ULAP-ULAP.
Setiap pelinggih atau bangunan Niyasa, di suatu Pura atau Sanggah Pamerajan harus dilengkapi dengan akah/pedagingan, orti, palakerti dan ulap-ulap. Jika tidak demikian maka dalam Lontar Sanghyang Aji Swamandala disebutkan sebagai berikut : ..............."muang yen ngewangun kahyangan tan mapedagingan, nista, madya, utama, luwire wewangunane, mearan asta dewa, dudu kahyangan dewa ika, dadi umahing detya kubanda, tan pegat nandang wiadin sang madruwe kahyangan ika sami mangguh kageringan, mekadi mati salah ton, kerangenkaning bhuta pisaca" Artinya : ..........dan lagi jika membangun tempat suci tidak diisi "pedagingan" baik dalam bentuk sederhana, menengah maupun utama serta kelengkapannya, bangunan itu cacat, bukan stana para Dewa, bahkan ditempati setan, menjadikan yang punya mendapat rintangan, sakit-sakitan, mungkin saja mati mendadak, atau dikuasai setan.
Akah/pedagingan yang ditanam didasar bangunan terdiri dari : masing-masing satu lembar "pripih" (lembaran kecil ukuran 0,5 x 2 cm) : selaka (perak), temaga (tembaga), wesi (besi), mas (emas), kayu cendana, semua "merajah" (ditulisi) aksara "dasa bayu" : OM, I, A, KA, SA, MA, RA, LA, WA, YA. Pudi (permata mirah), bunga harum 7 macam, uang logam 700 keping (boleh memakai uang logam RI yang berlaku sekarang), miniatur alat-alat pertanian dan pertukangan dari besi, penggorengan kecil, kwangen dua buah. Korsi, capung, bathil (sejenis kendi) semua dari emas kecil-kecil. Semua itu dimasukkan kedalam kendi tanah, dibungkus kain putih, diikat benang tridatu (merah, putih, hitam). Bersama dengan sejumput caru dan sejumput banten "suci" ditanam didasar bangunan. Untuk bangunan niyasa selain Padmasana, akah/pedagingan itu lebih sederhana, tanpa memakai korsi-capung-bathil emas dan uang logamnya hanya 11 keping. Banten pemendemnya hanya pejati (tegteg daksina peras ajuman) dan sejumput caru.
Akah/pedagingan yang ditanam dibagian tengah bangunan terdiri dari : lima macam pripih seperti diuraikan diatas, ditambah : pudi dan buah pala dengan daunnya, ditaruh didalam kendi tanah, dibungkus kain putih dan diikat benang tridatu. Dipuncak bangunan diikatkan janur dari daun lontar yang dinamakan :orti/bagia, palakerti. Ulap-ulap adalah selembar kain putih bergambar "acintya" dan "padma angelayang" (bunga teratai berdaun delapan dilengkapi dengan "Dasa Aksara" suci : SANG, BANG, TANG, ANG, ING, NANG, MANG, SING, WANG, YANG dan gambar dari sembilan buah senjata para Dewata Nawa Sangga yaitu : BAJRA dari Iswara, DUPHA dari Mahesora, GADA dari Brahma, KADGA MOKSALA dari Rudra, NAGAPASA dari Mahadewa, DWAJA ANGKUS dari Sangkara, CAKRA dari Wisnu, TRISULA dari Sambu, dan PADMA dari Siwa). Untuk bangunan niyasa selain Padmasana, ulap-ulapnya tidak memakai gambar Acintya, hanya padma angelayang saja.
MEMENDAK.
Memendak artinya mohon kehadiran. Yang dimaksud dalam uraian ini adalah memendak Ida Bethara (Ista Dewata) yang akan distanakan di bangunan-bangunan pelinggih. Upacara memendak dapat dilakukan setempat (di area Pura/Sanggah Pamerajan) atau di "Catus Patha" (perempatan Desa). Prosedur memendak adalah dengan sarana (upakara) berupa : 1) Pelinggihan Ida Bethara (symbol) berupa "pretima" (patung) atau "daksina lingga" (sejenis banten daksina). 2) Banten secukupnya antara lain : pengulapan/ pengambean, pejati, segehan agung. Cara memendak adalah dengan menghadap ke Timur, Selatan, Barat, dan Utara, dengan tujuan memohon penugrahan Dewa Iswara, Brahma, Mahadewa dan Wisnu untuk mengijinkan kita menstanakan Ida Bethara didalam symbol niyasa berupa patung atau daksina lingga itu.
MESUCIAN.
Mesucian artinya menjauhkan roh-roh yang tidak diinginkan, agar tidak mengganggu kesucian niyasa Pelinggihan Ida Bethara. Mesucian dapat dilakukan setempat (di area Pura/Sanggah pamerajan) atau di sumber mata air.NGELINGGIHANG. Upacara ngelinggihang didahului dengan menanam "Pangenteg Gumi" yaitu sebuah gentong tanah yang didalamnya berisi banten : suci, panca datu, pala gantung (buah-buahan), pala bungkah (umbi-umbian), orti pala kerti, dan uang logam sebanyak 700 keping. Pangenteg gumi itu ditanam dibelakang bangunan Padmasana. Setelah selesai memendak, mesucian dan menanam pangenteg gumi, maka niyasa itu distanakan di pelinggih yang sudah disediakan. Seterusnya dihaturkanlah persembahan atau upakara untuk keperluan Ngenteg Linggih dan juga aturan/bhakti dari para pemdek (para bhakta yang hadir pada upacara itu).
PEMUSPAAN.
Persembahyangan bersama dilanjutkan dengan nunas tirta wangsuh pada, bija, dll.
PENYINEBAN.
Ida Bethara yang distanakan dapat "nyejer" artinya terus menerus dipuja selama 3, 7, 11, 42 hari, tergantung keinginan dan kemampuan para bhakta. Jika tidak ada keperluan lain, maka penyineban dapat dilakukan segera setelah upacara persembahyangan selesai, atau sore harinya, atau keesokan harinya. Tata cara "nyineb" dimulai dengan menghaturkan banten "sidakarya", kemudian persembahyangan, dan seterusnya niyasa Ida Bethara disimpan ditempat yang aman. Jika menggunakan daksina lingga, tetap dibiarkan di pelinggih. Setelah itu hiasan-hiasan Pura/Sanggah pamerajan dibuka dan kotoran-kotoran berupa sisa-sisa banten dibersihkan.
Om Santi, santi, santi, OmIda Pandita Nabe Sri Bhagawan Dwija Warsa Nawa Sandhi, Geria Tamansari Lingga Ashrama, Jalan Pantai Lingga, Banyuasri, Singaraja, Bali. Telpon : 0362-22113, 27010. HP 081-797-1986-4.
Source : Bhagawan Dwija

balinese village designs

The village in Bali is the most unique village. If we have enough time to visit villages located away of the city, we will find out the real Balinese village. As soon as we enter the traditional village of Bali, on the right and left hands we will see vast green rice fields. The birds are flying over while pathways cross the rice of farmers.On top of the village, it will be found village temple and yard for villagers to mebakti ( pray) and worshipping every purnama (full moon), tilem (death moon) and kajeng kliwon. Once in six months, there is a ceremony where the villagers go out of their houses wearing traditional clothes, bring offerings and dedicate pujawali (ceremony).On the end of the village, it is always being there a pura dalem (inside temple) and pura prajapati with the village's grave on the next. In this grave, the dying villagers are burred and cremated in ceremonial ritual, Ngaben.The most interesting thing is that in the middle of the village, there is a bale banjar, a wantilan (building), a place for the villagers to gather together, have a discussion of any aspects of life, from piodalan (ceremony), cremation, agriculture, managing subak (traditional irrigation system) to selection of village leader. From this banjar the villagers take decision autonomously known as desa mawacara.
Gate House
If we walk around and enter villagers' houses, there are angkul-angkul (gate house) with the yard which is often cultivated with bunga jepun (frangipani) or sometimes nyuh gading (yellow coconut). The street splitting the village is very beautiful. There are many traditional villages having such kind of street in Bali, like Penglipuran Village, Tenganan Village and Sembiran Village or Sukawati Village.
Village Temple
Banjar is the smallest unit of village as place of villagers to gather together, to socialize and to interact with each other. Though banjar is the smallest part of area in Bali, however the structure is not clear, which one is formed firstly, village or banjar (sub-village). But the obvious thing is that banjar is a place for people to discuss their mutual interest called sangkep or parum (meeting).For most villagers in Bali, banjar is a place for value transformation of Hindu Bali society. Most of social activities are conducted at banjar.It is not surprising anymore if we see the villagers learn playing gamelan, ngigel (dancing) and even metajen ( gambling or cock fighting) as well as masliahan ( relaxing).
Some people said that the term of banjar is derived from banjah meaning open and spread out called bebanjaran or parallel. The articulation of the word provides meaning that banjar respects its community by placing them on the same right and obligation for krama (all members) of the banjar itself.The members of banjar can be divided into krama desa tua or brahmacari (unmarried members), krama pengarep or grehasta (main members), krama penyada, the members who are freed from duties as members and krama penglingsir (old members).
Cremation Ritual
The other thing that is necessary to be paid attention is the establishment of bale kulkul (wooden bell tower) in every banjar building. Kulkul is a big bell made of wood to give information to the members of banjar.Banjar as if a center of activity for Balinese people in ngambel (running their customs). Even, is the indicator of self image for Balinese in expressing their social attitude and friendship they have. Therefore it is not surprising if there are members of banjar being kasepekang (isolated). That's why, banjar is a traveling magnet, if we really want to explore Bali.There are various kinds of buildings in Bali, and one known to all is the umah (a building in which you live). For the Balinese umah doesn't mean one building.The building itself consists of several bales. One umah consists of several bales which occupy the entire plot of land on which the house is built. The proportioning of an umah is called karang sikut satak. That is, a single plot of land which measures 14 x 13 depa, one depa being equal to the length between the two hands of an adult man when he stretches them. This karang sikut satak is divided into three parts. The division is based on the concept of tn mandala, which divides a plot of land into zone utama, madya, and nista. Zone utama is for "parahyangan" a place where the family pray, zone madya is for "pawongan" - a place where members of the family do their daily activities, and zone nista is for "palemahan" a place for animals, cages, plants etc. Around the umah are built confining walls with 4 paduraksas, pillars on the walls having four angles. The names of each angle are sri raksa, aji raksa, rudra raksa, and kala raksa. The entrance to the yard of the umah is called angkul-angkul. The simplest angkul-angkul is called lelengen and the most complicated is called bintang aring and kori/gelung kori.
Praying
After you enter the angkul-angkul, you will see a wall called aling-aling facing you. Aling-aling is a wall which limits and at the same time guides so as to prevent people from viewing from and into the yard (natah of the house through angkul-angkul).Natah is an open space in the middle of the house. The Balinese's activities, including all kinds of ceremonies, take place here. Another place where they can do their religious activities is the sanggah (a place of worship for family) with its several pelinggih (holy buildings). While a place of worship at a parahyangan is called a sanggah, at a pawongan it is called a pelangkiran (a place of worship for each bale), and at a palemahan it is called a penunggun karang. The number of bales in one umah varies according to the concepts of desa, kala, patra (place, time, situation) and desa mawa cara (local customs/traditions). However, in general there are four to six units of bale, the names of each being based on their position or the direction of compass such as the bale daja (balai in the north), bale dangin (balai in the east), bale delod (balai in the south), and bale dauh (balai in the west).The naming of a bale is also based on the typology of the building. The simplest bale daja is called meten. The meten. The meten which has a veranda with four pillars in front is called meten bandung. If another four pillars are added in front as if it looks like a two-floored veranda, then it is called meten gunung rata. The same applies to the bale dangin which is based on the number of its pillars : bale dangin sakaenam ( six pillars), sakakutus (eight pillars), and sakaroras (twelve pillars).
Bell Tower
A bale delod is not so common in Bali. At the puri (In the past a house for kings), the bale delod is known as the bale sumanggen or bale mundak, and the bale dangin is called bale singasari.Other building which form traditional Balinese houses are the paon (kitchen) and jineng (rice barn). The interesting thing about the paon is its shape which is called kong kampiah. The shape enables the air and the sun's rays to flow freely into the kitchen. A topo (a big container which is made of sedimentary rocks) to keep water in is usually put in front of the paon. Based on its typology, a jineng is often given different names : kelumpu, gelebeg and kelingking. Next to the jineng are the lesung and alu (mortar/rice pastle for pounding race).

TATANAN ARSITEKTUR TRADISIONAL BALI

TATANAN ARSITEKTUR TRADISIONAL BALIPosted by Wijaya Kusuma on 2004-08-05 [ print artikel ini beritahu teman dilihat 456 kali ]
IntroductionCulture is a result of the interrelationship between humans and their environment. Traditional Balinese architecture as part of culture has its background on Hindu religion laws, customs and manners. It has always been followed by the people of Bali, and contains exalted values which are considered eternal.The Balinese believe that three factors are crucial to a person's well-being, happiness and health:The microcosm (Bhuwana Alit) which is made up of individual personsThe macrocosm (Bhuwana Agung) which comprises the universeThe supreme God (Hyang Widhi Wasa)In their daily lives, the Balinese strive to keep the three factors in equilibrium, a concept called Tri Hita Karana. Kaja (towards the mountain, upwards) leads towards the sacred; kelod (towards the sea, downwards) leads to demons or evil; and the middle world, secular and without special forces, is where people live. Similarly, the village is located between the temple (upwards) and the haunted graveyard (downwards), and the house should be located between the house shrine and the refuse pit. Natar (centre) harmony and balance are unconsciously striven for in many aspects of thought, emotion and behaviour in daily living.Traditional reasoning of zoning area follows the physics of microcosms (Bhuwana Alit) and macrocosms (Bhuwana Agung). The region is divided into three sub-areas called Poverty, Middle, and Primary areas (Nista, Madya, and Utama, respectively).According to four palm leaf manuscripts ( named Lontar) the Asta Kosala, Asta Kosali, Asta Patali and Swakarman, the housing area is divided into nine regions. In traditional Balinese architecture, people follow the upwards and downwards directions (hulu and teben, respectively). Upwards and downwards directions are defined following the movement of the sun or the mount - sea direction. Sun-rises upwards and sun-sets downwards, or the mount is upwards and the sea is downwards.A simple village in the southern part of Bali consists of family compounds, each side of a wide well built avenue that runs in the direction of the cardinal points; from the mountain to the sea, the Balinese equivalent to the north (upwards) and south (downwards). But this is reverse to that of a village in the northern part of Bali, with the Balinese equivalent to the south (upwards) and north (downwards). The Balinese make a clear differentiation between the dwelling-grounds and the unlived parts of the village, those for public use such as temples, assembly halls and market. The village is a unified organism in which every individual is a body and every institution is an organ. The heart of the village is the central square, invariably located in the centre of the village, at the intersection of the two main avenues. Consequently, the crossroads are the centre of a rose of the winds formed by the entire village, the cardinal directions mean a great deal to the Balinese and the crossroads are a magic spot of great importance.All around and in the square are the important public places of the village: the town temple (Pura Desa), the palace of the local feudal monarch (Puri), the market, the assembly hall (Wantilan) the elaborate tower of drum alarm (Kulkul tower), a giant banyan, the sacred tree of the Hindus (Waringin) and, in the outskirts of the village, the temple of dead (Pura Dalem).Most temples have two courtyards, outer and inner. Entrance to the first court is gained through the split gate, which is like the two halves of a solid tower cut clean through the middle. Furthermore, the two inner sides are invariably smooth, clean surfaces that shine by contrast with the elaborately carved rest of the temple.In the right-hand corner of the first courtyard or outside the gate is the high tower where the village drums are hanged. Inside the outer court are a number of simple sheds: a kitchen where the food for feasts is cooked, a shed for the orchestra and another building used as rest-house by the people and for the making of offerings. Another monumental gate leads into the second court.Buildings Locationa. Zoning of livingZoning of traditional Balinese architecture is divided into nine regions following the wind-rose directions: East, south-east, South, south-west, West, north-west, North, north-east, and Centre. These nine regions, named Sanga Mandala (Sanga = nine , Mandala = region).Buildings are placed following this arrangement,1. The Holy Place, shrines of the gods (Merajan),The place to pray, must lie in the upwards zone or primary zone2. Bedroom (Balé),This is placed in the middle of the primary zone3. Assembly Hall (Balé Adat, Wantilan),A ritual place, lies in the middle zone4. Kitchen (Pawon),The best location is in the south-west or South5. Rice shed/granary (Jineng),The best location is in the south-west or South6. Waterhole (Sumur),The best location is in the south-west or south-east or north-eastb. DistanceApproximations of the distance between buildings and distance from buildings to the fence were calculated by foot's size.c. Building OrientationThe front side of the building is oriented to the centre (natar).d. CirculationAir circulation from outside to inside the area is from the downwards to the upwards zone through the centre (natar).According to the Tri Hita Karana concept, the Balinese believe that one's soul is involved in illness and that they will become vulnerable to illness if these three factors are not in equilibrium. The Balinese believe that both natural (e.g., fractures) and supernatural factors (e.g., evil spirits, mistakes in ceremonies, and sins of ancestors) cause illness. The above statement implies that everyday life in Bali is influenced by religion, custom and manners which are kept eternal from several centuries ago. Tri Hita Karana is a way of life for the Balinese people and it makes an equilibrium in their daily-lives. Therefore, in order to understand and improve Balinese culture, one should refer to this concept.As an organic unit, the structure, significance, and function of the home is dictated by the same fundamental principles of belief that rule the village: blood-relation through the worship of the ancestors, rank, indicated by higher and lower levels, and orientation by the cardinal directions, the mountain and the sea (the cardinal directions also follow the sun rise and sun set).The Balinese say that a house, like a human being, has a head (the family shrine), arms (the sleeping-quarters and the social parlour), a navel (the court yard), sexual organs (the gate), legs and feet (the kitchen and granary) and anus (the pit in the back yard where the refuse is disposed of).The principle of orientation -the relation from the mountains to the sea or the sun rise to the sun set- that constitutes the ever present Balinese rose of the winds, rules the orientation and distribution of the temple and house units.Magic rules control not only the structure but also the building and occupation of the house. A Balinese home consists of a family or a number of related families living within one enclosure, praying at a common family temple, with one gate and one kitchen. The square plot of land (natar) in which the various units of the house stand is entirely surrounded by a wall of whitewashed mud, protected from rain erosion by a crude roofing of thatch.The gate of a well-to-do family can be composed of a pair of brick and carved stone, but more often it consists of two simple pillars of mud supporting a thick roof of thatch. Behind the doorway is a small wall (aling - aling) that screens off the interior and stops evil spirits. The pavilions of the house are distributed around a well-kept yard of hardened earth free of vegetation except for some flowers (frangipani or hibiscus). The area between the house and the wall is planted with coconut, banana or papaya trees. In the southern part of Bali, the place of honour, the higher north-east corner of the house towards the mountain was occupied by the family temple (sanggah kemulan) for worshipping their ancestors. Family temple is an elemental version of the formal village temple.Next in importance to the family temple is the building for sleeping-quarters of the occupants (uma meten), built towards the mountain side of the house. This small building is of bricks or sand stone with a thick roof of thatch supported by eight posts and surrounded by four walls. There are no windows and the light comes through the narrow door. This building is the sanctuary of the home and normally where the heads of the family sleep.The other three sides of the courtyard are occupied by three open pavilions; on the left is the nine posts building (balé tiang sanga) the social parlour and guest house, on the right is the four posts building (balé sakapat) and at the back is the six posts building (balé sakanem). Both four and six posts buildings are small pavilions where other relatives sleep with the children and where the women place their looms to work, respectively. In the lowest part of the land, towards to the sea, the kitchen (paon) and the granary (lumbung, jineng) were built.The better homes often have more elaborate pavilions, by enclosing half of the pavilions with four walls, leaving the other half as an open veranda. This will provide a second sleeping-quarter for a married son. In the house of the well-to-do there is often a great square pavilion (balé gedé) with an extraordinarily thick thatch roof supported by twelve beautiful carved posts which is used for social life.A well built construction is a masterpiece of simplicity, ingenuity and good taste. It consists of a platform of mud, brick or stone reached by three or four steps and covered by a cool roof of thick thatch. The roof is supported by more or less elaborate wooden posts, the number of which determines their name and function. The roof is built of grass sown on the long ribs of coconut leaves, placed close together like shingles and lashed to the bamboo skeleton of the roof with indestructible cords of sugar-palm fibre, with an extra thickness of grass added to the four corners. Such a roof, often a foot and a half in thickness, will last through fifty tropical rainy seasons. The beams that support the roof are ingeniously fitted together without nails, and are held in place with pegs made of heart of coconut wood. Generally, one or two sides of the building are protected by a low wall.Cultural ReviewCulture does not simply constitute webs of significance, systems of meaning that orient humans to one another and their world. They also constitute ideologies; and so it matters to ask who has the power to enforce their views of what is to count and for what. Culture may be depicted as neat and orderly and may be represented as being composed of constituent parts which articulate in a structure of logical and reassuring consistency. This statement indicates that culture can beassessed, reinvestigated, improved and developed in several manners.Culture tends to evolve with modern technology, and this often creates a conflict between the traditional and the modern. On the one hand one wants to keep traditional values, while on the other there is a tendency to change to a modern process. To resolve these conflicts, a research study is needed which mixes modern technology in order to prove that traditional reasoning is valid and still relevant in the future.Some studies on Balinese culture have been carried out, but most concentrated on anthropological aspects. Traditional Balinese architecture is only presented in a small section of these works. Although traditional Balinese architecture plays the most important part on Balinese culture and community, unfortunately none of them tried to explain this role deeper.Bali has no changing seasons, only wet and dry seasons. The south-east monsoon, which is the dry season, is from April to November. During this time there are very heavy seas on the south coast of Bali. The wet season is from November to March, but this does not mean that the rain never ceases. Temperature average is now around 29 C, an increase of a few degrees from the last decade. During the wet season it seems much hotter because of higher humidity and almost constant sun shine. In the mountain areas, it rains more than on the plains and at the shores.Based on a traditional village, Bayung Gede, Bateson and Mead assumed that Bali had a cultural base upon which various intrusive elements have been progressively grafted over the centuries, and that a more rewarding approach would be to study this base first (Bayung Gede is a traditional mountain village and now has gained fame among students of culture as a result of Bateson and Mead's detailed work in 1936-1939). Their explanation was contrasted by Suryani and Jensen in 1989 who described that several traditional aspects did not change and appear to be the same as those in Bateson and Mead's work.Those statements indicate that traditional culture in Bali did not change dramatically and is still eternal after more than 50 years. Therefore, both Bateson and Mead's and Suryani and Jensen's contributed works can be used for the study of changes in Balinese culture. This means that traditional Balinese culture has various intrusive elements which possibly change the culture, but the acculturation process itself is not dramatic.The issue of change in Balinese culture over the last half a century is relevant for some researchers to revise Bateson and Mead's work. How different might the Balinese have been in the 1930s compared with recent years? Some cultural anthropologists concur that a few decades is a relatively short time for any significant change to occur in basic aspects of a culture. In the case of Bali, Mead addressed the issue of possible change in the 40 or more years after Dutch occupation, including automobiles, tourism, etc. Two characteristics of Balinese culture are the ready acceptance of those small changes in custom and technology which can be absorbed without changing the basic premises of life, and the utterinability and unwillingness to contemplate any more drastic change.Covarrubias observed that the Balinese assimilate new and foreign ideas into their traditional forms. This enables the islander to create new styles constantly, to inject new life steadily into their culture, which at the same time never loses its Balinese characteristics. Ramseyer stated that the Balinese absorbed material culture without a break in tradition and that the basic values shaped by religious and communal social interactions have remained remarkably intact.Balinese culture is a living system that is dynamic and not static. In spite of surface changes, especially as evidenced by technology, it is remarkably stable in its basic elements, Suryani et al (1988). Therefore, it is more clear that technology is one parameter which has possibly changed Balinese culture. Another that appears to have changed surely is Balinese architecture.A reinvestigation of Bateson and Mead's works was described by Suryani and Jensen. Since the comparison study is based on Bayung Gede village, several plates were taken which were based on this village. Their contributed works are applied on the present study, which is correlated to traditional Balinese architecture.Although Suryani and Jensen concluded that there is no change on Balinese culture, several years later (in 1990s), the Balinese landscape has changed. There are many areas with hotels and building complexes, even near sacred places and temples. The development of these buildings did not consider the Tri Hita Karana concept. This offends most Balinese people, especially on their ritual ceremony. The Tri Hita Karana concept slowly but surely will disappear from Balinese life, unless some scholars can explain it.Traditional Reason ReviewTraditional Balinese architecture will be approached by using several parameters such as natural ventilation and thermal comfort and wind engineering/architectural aerodynamics. Therefore, several reviews are taken into consideration.The granary and kitchen lie on the front side (poverty area). The meeting and ceremonial halls lie on the middle area. The parents' sleeping quarters lies on the primary area. How did the traditional architects arrange this configuration? Why did not the parents' sleeping quarters lie on the middle, the granary on the primary and the halls on the poverty area? Did they have a building code for this design?The type of roof differs from one to another building and depends on its function. For instance, a triangular roof is used as granary. How did they learn this phenomenon?Building orientation and distance between buildings are also parameters to be considered in traditional Balinese architecture. Posts (or pillars) and open surfaces are also taken into account. Therefore, further questions were addressed here;· If heat transfer was well-known several centuries ago, why this knowledge did not seem to be improved?· If building design has a correlation to architectural aerodynamics, why do we not have a Balinese wind code for building design?· Did traditional architects (undagi) learn the knowledge of traditional Balinese architecture as a part of culture and/or as a dogma that cannot be changed or improved?We suggest that traditional architects learned traditional reason as part of culture but without a strict dogma. This can be seen from the building model itself, where each area/village has a different style, but traditional reasons such as Tri Hita Karana and Sanga Mandala concepts are exactly the same.In accordance to cultural reviews, most traditional Balinese villages are not changing so much. Some traditional buildings for instance may not be suitable for inhabitants health, since the only open surface is a small door for lighting and air re-circulation. Therefore, these conditions are possible to create several diseases i.e. dermatitis (see Suryani and Jensen for further reviews, but unfortunately, Suryani who is a physician did not explain the relationship between these diseases and building condition).In order to increase the heat transfer rate and air re-circulation between the building and its surrounding, some buildings should have a very large open surface at the windward side. Traditional architects might have considered this option, especially for buildings which are used as convention halls. Again, if traditional architects have considered health and comfort parameters, another question to be addressed here is why did this basic knowledge not apply to all buildings? Or, why terms of comfort and health are considered only for a special building? The parent's sleeping quarters which inhabitants used all the time do not have a good natural ventilation and lighting.The traditional Balinese architecture has been correlated to magic rules, i.e., evil spirit, illness, etc. Hence traditional reason becomes less attractive in the modern age since it is difficult to explain the exact meaning. Some studies about traditional Balinese architecture usually explained architectural changes in recent years, but definition and meaning of traditional reason itself are not clear. Therefore, one can interpret traditional meaning in several ways.The population of Bali (especially in the capital) has substantially increased in the last two decades and this increases the energy demand, but unfortunately Bali does not have its own energy sources to support this request. The building arrangements in recent years are multifarious, do not consider environmental conditions and are sometimes unusual. The governmental code for buildings should be revised in order to control emission of carbon dioxide, energy demand, population growth and land availability, impact of tourism and migration, and local climate changes. According to these problems, going back to traditional Balinese community is an alternative suggestion for urban planning in Bali island. The suggestion is realistic since traditional villages and towns produce better living conditions than that in cities and the capital.Some parts of traditional Balinese architecture (e.g. small openings) perhaps should be reviewed to improve thermal comfort of occupants. Before changing these parts, the meaning, concepts and conventions of traditional Balinese community as experienced by the people should be understood. Therefore, traditional Balinese architecture can be improved without loss of identity.As an organic unit, the structure, significance, and function of the house have the same fundamental principles of belief that rule larger communities. By understanding the structure and function of traditional Balinese house, the same principle and analogy can be used to improve larger community or village. Then, we believe that traditional Balinese architecture and community can be modified by considering the above aspects.The study of traditional Balinese reason starts from traditional Balinese architecture by using several key parameters such as heat transfer, wind engineering and architectural aerodynamics, as presented and used in several countries. The new rule of building arrangement and urban planning in Bali will not only consider the several aspects above but also take into account traditional reason, Tri Hita Karana.This new idea is based on the concept that traditional rule can be explained by using modern buildings arrangements, since it contains several terms that should be understood from a scientific point of view. The screen behind the gateway (aling - aling) is considered and its position related to wind load on building surfaces, energy transfer and occupants comfort. The gate is placed at several locations in order to find a relationship between energy transfer and wind load on building surfaces.Some traditional definitions such as centre, shrines of the gods, orientation of all buildings to the centre and distance between buildings to the shrines of gods are analysed in relation to heat transfer, wind engineering, architectural aerodynamics and thermal comfort of occupants.The gate of a well-to-do family house can be composed of brick and carved stone, but more often it consists of two simple mud pillars supporting a thick roof of thatch, and lies on the west side of the site. In Balinese manuscripts (lontar), it has a similar description to the gateway with a few differences in their meaning, where the location of the gate will affect the occupant. This traditional meaning cannot be explained but is believed by the people of Bali. This is the reason why people in Bali carefully consider the gate's position.In several published works, the gateway is correlated to the magic rule, therefore, in order to understand this phenomenon, the gate position is considered in the present investigation. In this study, we start to investigate the gate of a well-to-do family house by placing it at the south-west side.Gateway at the South-West SideAdding fences around the site changes the flow profile near the ground. Without fence, the turbulent kinetic energy was relatively high near the ground. By adding a gate on the west side, the turbulent kinetic energy on the windward walls becomes greater. The air from the gate directly moves to the granary/kitchen and create re-circulation at the windward side (in the area between the fence and granary/kitchen). The flow moves toward the area between the fence and all buildings therefore, the turbulent kinetic energy on those three buildings is very high at the windward side, near the ground.The fence influences the air motion and creates a higher momentum at the roof. The turbulent kinetic energy at the roof of the granary/kitchen is relatively lower than that on walls. Therefore, the momentum of air from the gateway to the granary is greater than that from the fence. In order to minimise this momentum, a fully open surface should be taken into account. By removing the wall, both drag force and turbulent kinetic energy can be minimised.The turbulent kinetic energy at the roof of the wantilan is now greater than that near the ground. Since the turbulent kinetic energy near the ground is relatively high, the wantilan/assembly hall should have a strong foundation. And, in order to minimise the effects of drag and turbulent kinetic energy at the roof, those buildings should have a strong construction, e.g., by adding several posts.The turbulent kinetic energy near the ground tends to increase at the sleeping parent's quarter. This is explainable since air motion from the gateway creates a high momentum in the corner where the this building lies and should also have a strong foundation.A gate on the west-side increases the pressure on wantilan/assembly hall and the sleeping parent's quarter buildings and tends to reduce both the turbulent kinetic and energy dissipation on all buildings.Prof. Wijaya Kusumasumber: milis HDnet


hak cipta oleh iloveblue.com