Rambut-siwi

Rambut Siwi Tonja Temple

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Administratively, Pura Rambut Siwi Tonja is located on Jl. Ratna, Gang Seruni, Tonja Village, North Denpasar Sub-District, Denpasar City. Geographically, this temple is situated at coordinates 50 L 0305046, 9044164 UTM. The ownership status of Pura Rambut Siwi Tonja is still unknown, as well as the status of the temple itself. Currently, Pura Rambut Siwi Tonja is managed by the Ketut Kani family, who reside to the west of the temple. Within the temple area, there is one Prasada building made of red bricks located on the eastern side of the courtyard facing west, and one remaining structure to the north of the Prasada building.

1. Candi Prasada

Candi Prasada is a sacred building where the gods or deceased kings who have returned to Brahmaloka reside. Prasada is a holy structure in Bali that closely resembles the typical temples found in East Java. The Prasada is primarily made of red bricks, although some are constructed from coral, like the Prasada located on Serangan Island. Additionally, within the structure, there is a chamber or room to house a pratima (image or idol), further confirming its similarity to temples. The term Prasada means a high seat or elevated terrace at the top of a building above a tall foundation, which can refer to a palace, temple, shrine, or worship place. In Bali, Prasada represents a blend of traditional temples with terraced structures from prehistoric times (Kempers, 1979: 13).

This Prasada has a similar type to the two Prasada found in Pura Maospahit Tonja. Its design is slender, made of red bricks, and consists of a base, feet, body, and roof arranged in five tiers, each tier becoming progressively smaller towards the top, with a roof cap called Murda, resembling a gem. There is a space designated for placing a statue or pratima (currently, this space is empty). On the feet and body of the Prasada, there are triangular tumpal decorations with vine motifs, and at the corners, there are coral decorations resembling bird heads. The roof features coral eye designs and bird head decorations at each corner, along with simple hanging decorations. Above the door, there is a relief panel depicting the sun and clouds. Additionally, on the feet and body of the Prasada, there are indentations that once held plates and ceramic bowls as decorations for the Prasada. This Prasada has five steps that provide access to the chamber.

The Prasada faces west with an orientation towards the east (sunrise), and in front of it, there is an altar used to place offerings to God Almighty. Furthermore, fragments of terracotta statues, which are loose finds from the area of Pura Rambut Siwi Tonja, are placed on the altar. Based on its style and architectural features, it can be said that this Prasada shares a similar age with the Prasada found in Pura Maospahit Tonja. The architectural characteristics of this Prasada are influenced by the temples in East Java, and it is likely that this Prasada style developed in Bali after the Majapahit influence entered Bali around the 14th to 16th centuries CE. Fragments of statues made from... 

Sumerta Puseh Temple

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Pura Puseh Sumerta is located on Gang Merak, Jl. Kenyeri, Banjar Sima, Desa Sumerta Kaja, Kecamatan Denpasar Timur, Denpasar. It is situated at coordinates 50 L 0305218 UTM 9043892 (58 meters above sea level). The precise historical background of Pura Puseh Sumerta has not yet been found in writing, but the author attempts to compile the history of the existence of Desa Sumerta based on interviews and literature studies. According to stories from local elders documented in Eka Suwarnita Desa Adat Sumerta (2014: 2-3), it is said that Desa Sumerta was formerly known as Wongaya, which gradually evolved into Sumerta Wongaya. The term "Sumerta" is derived from the name of a ruler of the region at that time, found in the Babad Ki Bendesa Kerobokan Badung. The following is an excerpt from the chronicle:

“…walian ikang kata, ceritanen mangke tmajanira Ki Gusti Pasek Gelgel Aan, pada sahing Hyang Widi, apasanakan rahning nalikang rat, tembenia Gde Pasek Sumerta tmajanira Ki Gusti Pasek Aan, angalih lungguh mareng jagat bandana, sira kawuwus Pasek Sumerta, muang lungguh hira raju ingaranan Sumerta, apan sira Ki Pasek Gegel winuwus widagda wicaksana, sida pwa sira anampa sajnira Sang Natheng Bandana…” (Anonim, 2014: 3)

The departure of Ki Pasek Sumerta to Jagat Bandana (Badung), according to the story above, is estimated to have occurred at the end of the reign of Dalem Waturenggong. The word "Sumerta" appears several times in the excerpt above when mentioning figures, and based on interviews with the temple keeper of Pura Puseh Sumerta, it was also explained that Desa Sumerta was once led by a figure named I Gusti Ngurah Sumerta. This gives rise to the assumption that the area formerly known as Wongaya changed its name to Sumerta due to the lineage of the figure who once ruled this area, namely Gde Pasek Sumerta according to the Babad Ki Bendesa Kerobokan Badung and I Gusti Ngurah Sumerta according to the testimony of the temple keeper of Pura Puseh Sumerta. 

Regarding the existence of Pura Puseh Sumerta, its construction background can be traced through a 15th-century Saka inscription that is still kept by the family of the temple keepers of Puseh Sumerta in Banjar Sima. The inscription mainly contains orders from I Gusti Ngurah Sumerta to Ki Bendesa Bekung in Sumerta Wongaya, to promptly build Pura Puseh and Pura Kebon within a year in exchange for land complete with seeds/seedlings (Anonymous, 2014: 3). Pura Puseh Sumerta has a tri mandala structure, which consists of jaba sisi (nista mandala) as the open yard, jaba tengah (madya mandala), and jeroan (utama mandala). Symbolically, these three yards are connected to the concept of Tri Bhuwana, which represents the levels of the universe (bhuwana agung), where nista mandala symbolizes bhurloka (the mortal realm for humans), madya mandala symbolizes bwahloka (the realm of ancestors/souls or the transitional realm), and utama mandala symbolizes swah loka (the realm of the gods or the eternal world). In accordance with the temple construction patterns in Bali, Pura Puseh Sumerta features three courtyards with slight variations, where the nista mandala (the outermost yard) is not surrounded by walls but is an open courtyard (alley) on the southern side. 

The utama mandala (jeroan/the holiest courtyard) and madya mandala (jaba tengah) are surrounded by a wall made of red bricks and are bounded by a gate/paduraksa. Meanwhile, the nista mandala is separated from the madya mandala by a candi bentar and a red brick wall. Pura Puseh Sumerta can be categorized as a Cultural Heritage site because it contains objects, structures, and buildings of cultural significance.

Pura Puseh Sumerta has the character of a Pura Kahyangan Tiga, a place of worship dedicated to Ida Sang Hyang Widhi in His manifestation as Dewa Wisnu along with His sakti. Based on the temple's characteristics, the supporting community consists of the residents of Banjar Tegal Kuwalon and Banjar Sima, while the worship of Pura Puseh Sumerta is conducted by the community of Desa Pakraman Sumerta, with the piodalan ceremony held every Purnama Sasih Katiga.

1. Gapura/Paduraksa Kori Agung

The gapura/paduraksa, which can be categorized as a Cultural Heritage structure, serves as the boundary and entrance from the jaba tengah (madya mandala) courtyard to the jeroan (utama mandala) courtyard. This gapura/paduraksa structure is divided into three parts: the base, body, and roof. The base is made of large long stone blocks with five steps in the center. The presence of these large long stone blocks suggests that the base of the gapura is still original and has not undergone repairs, while the body and roof have been renovated in 1941, as indicated by the year found on the northern side wall. The door leaves are made of brown wood, and above the doorframe is adorned with a kala head made of coral boma, featuring bulging eyes and protruding fangs. Both sides of the gapura's body are decorated with subeng in the shape of dove footprints, ears, and util. The roof of the gapura consists of five tiers, each tier decreasing in size as it rises, with each corner adorned with simbar duduk, simbar gantung, and antefik decorations in the form of leaf vines, culminating in a menur/murdha at the peak of the roof.

2. Gedong Ratu Puseh

Gedong Ratu Puseh, which can be categorized as a Cultural Heritage building, is the central structure in Pura Puseh Sumerta, located in the jeroan (utama mandala) courtyard. This Gedong Ratu Puseh building is divided into three parts: the base, body, and roof. The base of the building is made of stones that are estimated to be older than the body and roof, which are constructed from a series of stone blocks with five steps in the center. Some parts of the base are adorned with karang tapel at the front corners, karang manuk at the back corners, karang gajah at the bottom corners, and karang bintolo (eye coral) on the front face. The structure also features pelipit patterns forming a decorative motif of patra kakul and patra mas-masan, along with relief panels carved with Egyptian motifs. The body of the building is also made of stone and decorated with pelipit, with the front lower corners embellished with karang tapel. It has two entrances leading to the garbha graha, made of brown wood. In the front terrace, there are three lion statues supporting a wooden post on their backs, and in the center of the terrace stands a statue of Ganesha. The roof of the building is constructed from wood and thatch, topped with terracotta decorations.

3. Arca Ganesha

The statue is carved in a seated position with a wirasana pose on a double lotus pedestal, standing 9 cm tall, and leans against a stela. The body of the statue is plump and has a protruding belly. The hair is adorned with a crown shaped like petals that narrow towards the top, arranged in three layers. The eyes are open, and there is a hole in the center of the forehead, possibly part of a decorative skull. The trunk hangs to the left, likely drawing from the contents of a patra, while an upawita, represented by a snake, crosses from the left shoulder to the right waist. Both fangs (danta) are broken. The statue features a large kundala that covers part of the ear, with four arms (chaturbhuja). The right front hand holds an object that is broken, possibly a fragment of a danta; the right back hand carries an aksamala; the left back hand holds a parasu, and the left front hand supports a patra that rests on the trunk. The legs of the statue have anklets made of a series of beads, and the lower part of the statue is draped in a knee-length cloth patterned with geometric squares, complemented by sampur and uncal on both sides of the waist.

4. Lingga     

The found lingga is placed alongside the statues representing bhatara and bhatari at Pura Alit (Pura Purbakala). It is a complete lingga (tri bhaga) consisting of three parts: the brahma bhaga as the base in a square shape, the wisnu bhaga in the middle with an octagonal form, and the siwa bhaga at the top, which is circular. Additionally, the lingga features a spout on the front side of the circular part (siwa bhaga).

5. Arca Perwujudan Bhatara – Bhatari di Pura Alit

The statues are arranged in a line on a stone base, sharing similar iconographic features and are estimated to date from the 11th to the 15th centuries AD. A total of 17 statues were found, some of which are intact while others are damaged. Generally, the statues are carved to stand upright, resembling a corpse, in a samabhanga posture. They likely stood on a base, but the base down to the ankles is covered with cement, leaning against a stela with an egg-shaped top and large round breasts. The hair is adorned with a crown shaped like a stack of petals that diminishes in size upward, complemented by a broad petitis on the forehead and behind the ears decorated with decorative elements. The face appears flat, as the eyes, lips, and nose have eroded over time. The statues wear kundala that hang down to touch the shoulders, with both arms bent forward resting on the waist, holding round objects. Each wrist and ankle features kankana in simple twisted patterns stacked in threes. The keyura on the arms consists of leaf-like curls forming a triangle similar to a mountain. They are draped in plain-patterned cloth that reaches the knees, with a fold at the waist touching the base, and the waist is adorned with sampur and uncal hanging down.

6. Arca Balagana I

The statue is carved with the head of an elephant, standing in an abhanga posture on a seat-like pedestal adorned with vine motifs, complete with a patra kakul. The right leg is bent higher than the left leg, and the facial expression is depicted as fierce, with tusks protruding, bulging eyes, and wide ears. The right hand is directed backward holding a lotus bud, while the left hand rests beside the belly, supporting the tip of the trunk. The hair is carved in loose curls, using a wide petitis on the forehead. Both hands wear keyura on each arm and kankana on the wrists. The neck is adorned with a decorative motif of vine patterns, and the udarabandha embellishes the waist with a motif of karang manuk. The legs also have kankana, and a cloth covers them up to the knees, featuring a wiron with split ends that touch the pedestal.

7. Arca Balagana II

The statue is carved with the head of an elephant, standing in an abhanga posture on a seat-like pedestal adorned with vine motifs, complete with a patra kakul. The left leg is bent higher than the right leg, and the facial expression is depicted as fierce, with tusks protruding, bulging eyes, and wide ears. The right hand is directed backward holding a lotus bud, while the left hand rests beside the belly, supporting the tip of the trunk. The hair is carved in loose curls, using a wide petitis on the forehead. Both hands wear keyura on each arm and kankana on the wrists. The neck is decorated with vine motif patterns, and the udarabandha embellishes the waist with a motif of karang manuk. The legs also have kankana, and a cloth covers them up to the knees, featuring a wiron with split ends that touch the pedestal.

Puseh Temple of Peguyangan

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Pura Puseh Peguyangan is located at coordinates 50 L 0303451 UTM 9048721 (85 meters above sea level), adjacent to Pura Desa Peguyangan. It is a sacred place owned by the local community of Peguyangan Customary Village and is administratively located in North Denpasar District. The historical background of the existence of Peguyangan Customary Village can be understood through the contents of Dresta Ilikita Desa Pakraman Peguyangan, which reveals several elements referring to the history of the village. For instance, the name Peguyangan comes from the story of the elephant Kyai Panji Sakti, which rolled over (berguling-guling) in the place where it is said to have rolled is called peguyangan. The term peguyangan is also associated with the contents of a copper inscription at Pura Dalem Batan Celagi, which mentions that the holder of the inscription was granted freedom from paying taxes, as they were given the responsibility to take care of and ngaci sam sat kahyangan, meaning “to maintain the place of hyang.” Maintaining this sacred place must be pageh (steadfast/consistent), which then led to the formation of the name peguyangan from the words pageh and hyang (Anonim, 2011: 1).

Regarding the inscription found at Pura Dalem Batan Celagi (Prasasti Peguyangan), only one plate was discovered, which is the 8th sheet on sides A and B, written in ancient Balinese script (Kawi – Bali) and Old Javanese. This Prasasti Peguyangan belongs to the group of inscriptions issued by King Sri Haji Jayapangus around the years Śaka 1099 – 1103 (1177 -1181 AD), which briefly mentions the name of the village Er Saling and about the exemption from several types of taxes (drwi haji) because the village was formerly a jataka (an area managing a sacred building exempt from certain taxes and other obligations) for Bhaṭāra in Burwan, which has been turned into rice fields by the villagers. They were not required to pay certain contributions related to ceremonies, including newlyweds who were not obligated to offer pamapas to Sanghyang Candi in Burwan. Other contents include provisions or permits for duck farming, keeping tugel dogs, pirung, and freedom to travel to other villages (Wiguna et al., 2015: 19).

There is an assumption that around the 13th-14th century AD, an ancient temple building similar to the miniature temple found at Pura Desa Peguyangan once stood around the area of Peguyangan Customary Village. This assumption is strengthened by the numerous fragments of temple structures found at Pura Desa, Puseh, Manik Tahun, and Penyarikan Peguyangan, which are similar in form to the peak/tower corners of the miniature temple. 

Pura Puseh Peguyangan has a dwi mandala structure, with jaba sisi (nista mandala) located and facing east, while jeroan (utama mandala) is located and facing west, forming one complex with Pura Desa, Pura Bale Agung, Pura Penyarikan, and Pura Manik Tahun Peguyangan. The utama mandala (jeroan/the most sacred courtyard) and nista mandala (outer courtyard) are separated by a gapura/paduraksa facing east, surrounded by a wall made of red bricks. Characteristically, Pura Puseh Peguyangan is categorized as a territorial temple (kahyangan tiga), a place of worship for Ida Sang Hyang Widhi in His manifestation as Dewa Wisnu along with His sakti, with the community of Peguyangan Customary Village as the caretakers and supporters. The piodalan ceremony is held every Redite Wuku Sinta (Banyu Pinaruh).

1. Gapura/paduraksa

The gapura/paduraksa, also known as Kori Agung, serves as the boundary and entrance from the outer courtyard (nista mandala) to the inner courtyard (utama mandala). This gapura/paduraksa is divided into three parts: the base, the body, and the roof. The structure is made of bricks combined with stone padas, adorned with reliefs of leaf tendrils and statues, such as lion statues at each corner of the gapura's base and dwarapala statues serving as door guardians facing east. In the center of the gapura's body, there are brown wooden doors, and above the doorframe is decorated with a kala head featuring bulging eyes and protruding fangs, embellished with leaf tendrils. On each side of the gapura's body, the left side facing east is adorned with a relief of Rahwana, characterized by a cecandian kurung crown, two protruding upper tusks, holding a sword, and carrying Dewi Sita. On the right side facing east, the gapura is decorated with a relief of Wilmana (Rahwana's vehicle), depicted as a winged giant wielding weapons with two tazaman. On the right side of the west body of the gapura, there is also a relief of Wilmana and a relief of Garuda on the left side of the gapura, characterized by a bird's head gripping a snake with its feet. This gapura is further beautified with 279 porcelain plates and bowls of various sizes. The roof of the gapura consists of five tiers, each decreasing in size as it rises, with each corner adorned with simbar duduk, complete with a round-shaped sudat tower, hanging simbar reliefs, and at the peak of the roof, it is decorated with menur/murdha.

2. Gedong Ratu Puseh

This building serves as the central structure in Pura Puseh Peguyangan, made from a combination of red bricks and stone padas, consisting of three parts: the base, the body, and the roof. It features a candi bentar constructed from stone padas, adorned with hanging simbar, sitting simbar, and antefik that embellish the courtyard, complete with dragons on both sides of the stairs. The upper body of the gedong is made of red bricks, decorated with flower pot reliefs featuring tendrils carved on the right and left sides of the gedong body. In the center of the gedong body, there is a garbha graha, flanked by two statues: the balagana statue, also known as gajawaktra, and a character whose identity is unknown, as it lacks clear attributes. Above the doorframe, a kala head is carved, characterized by bulging eyes, without hands or leaf tendril carvings beside it. The roof of the building is pyramid-shaped, becoming smaller towards the top, supported by 10 wooden pillars and upheld by wanara statues. The front side of Gedong Ratu Puseh, from the base to the body, is adorned with 106 plates and 162 bowls made of porcelain (ceramics) in white, yellow, and green colors.

3. Kemuncak Sudut Atap Candi I

This pinnacle is placed in front (on the eastern side) to the right of the gapura/paduraksa and is likely a remnant of the decorative elements of the temple roof from the past, made of stone padas. Its shape is similar to the corner pinnacles of the temple at Pura Desa Peguyangan. This corner pinnacle/tower is shaped like a six-tiered structure that becomes smaller towards the top, culminating in a cylindrical shape. In terms of mythology, the people of Desa Adat Peguyangan believe this object represents the fist of Ki Kebo Iwa.

4. Kemuncak Sudut Atap Candi II

This pinnacle is placed in front (on the eastern side) to the left of the gapura/paduraksa and is likely a remnant of the decorative elements of the temple roof from the past, made of stone padas. Its shape is similar to the corner pinnacles of the temple at Pura Desa Peguyangan. This corner pinnacle/tower is shaped like a six-tiered structure that becomes smaller towards the top, culminating in a cylindrical shape. In terms of mythology, the people of Desa Adat Peguyangan believe this object represents the fist of Ki Kebo Iwa.

5. Kemuncak Sudut Atap Candi III

This pinnacle is placed in front (on the eastern side) to the left of the gapura/paduraksa and is in very damaged condition. The people of Desa Adat Peguyangan also believe that this object represents the fist of Ki Kebo Iwa.

6. Kemuncak Sudut Atap Candi IV

This pinnacle is placed in the inner courtyard (main mandala) in front of Gedong Ratu Puseh and is likely part of the decorative elements of the temple roof from the past, made of stone padas. Its shape is similar to the corner pinnacles of the miniature temple at Pura Desa Peguyangan. This pinnacle is shaped like a five-tiered structure that becomes smaller towards the top, culminating in a rounded shape.

7. Kemuncak Sudut Atap Candi V

This pinnacle is placed in the inner courtyard (utama mandala) in front of Gedong Ratu Puseh and is likely a remnant of the decorative elements of the temple roof from the past, made of stone padas. Its shape is similar to the corner pinnacle of the miniature temple at Pura Desa Peguyangan. This pinnacle is shaped like a five-tiered structure that becomes smaller towards the top, culminating in a rounded shape.

8. Ambang Pintu Candi

This block of stone padas is likely a remnant of a rectangular door lintel from a temple, featuring notches on several parts. This door lintel may have a connection to the discovered pinnacles as components supporting the entrance of the garbha graha in a temple from the past.

9. Arca Balagana

The statue is placed on the terrace to the right of the garbha graha of Gedong Ratu Puseh, standing in an abhanga posture on a plain base with the number 1933 carved on its front side. The statue is sculpted with an elephant head (not Ganesha), but as a manifestation of balagana/gajawaktra, wearing a complete cecandian crown adorned with petitis and ron-ronan behind the ears. The right hand supports the trunk at the side of the belly, while the left hand is placed in front of the belly, grasping a sampur cloth. The cloth extends above the knees, featuring a striped pattern and is complemented by a wiron fold that touches the base.

10. Arca Tokoh I

The statue is placed on the left side of the garbha graha of Gedong Ratu Puseh, standing in an abhanga posture on a plain pedestal. The statue is sculpted with a complete cecandian crown featuring petitis and ron-ronan behind the ears. The right hand is bent beside the abdomen in an abhaya mudra posture, while the left hand is positioned in front of the abdomen, holding a sampur cloth. The cloth extends above the knees and has a striped pattern, complemented with wiron folds whose ends touch the pedestal.

Maospahit Tonja Temple

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Pura Maospahit Tonja is geographically located on Jl. Ratna, directly in front of Banjar Tatasan Kelod, Tonja Village, North Denpasar District, Denpasar City. Astronomically, it is situated at coordinates 50 L 0304919, 9044056, with an elevation of 47 meters above sea level.

In accordance with the temple construction pattern in Bali, Pura Maospahit Tonja also features three courtyards. Here, there is a small variation where the jaba sisi (outer courtyard) is not surrounded by a wall, but instead is an open courtyard facing east. Only the jeroan (the most sacred courtyard) and jaba tengah (middle courtyard) are enclosed by walls made of brick. A wall separates the jaba tengah from the jeroan, which includes a kori agung (great gate). Additionally, the jaba tengah is also separated from the jaba sisi by a surrounding wall and connected by a candi bentar (split gate). 

Upon further examination of the temple structure and the functions of each of its shrines, it is evident that Pura Maospahit Tonja Denpasar still adheres to local culture (local genius) with concepts of worshiping the sacred spirits of ancestors. This is reflected in the names of the sacred buildings, which carry local names such as Pelinggih Ratu Dalem Ketut, Pelinggih Ratu Biang Susunan, Gedong Dewa Hyang, and Pelinggih Ratu Dalem Maospahit. 

In the main courtyard or jeroan of Pura Maospahit Tonja, there are two Prasada buildings located on the northern side facing south, and on the eastern side facing west. The architectural character of the Prasada is similar to that found in the Prasada building at the Pura Rambut Siwi Tonja site.

A Candi Prasada is a sacred building serving as a shrine for the spirit of the deceased king who has been purified and returned to Brahmaloka. Prasada is a sacred structure in Bali that closely resembles a temple, akin to the temples found in East Java. The Prasada is entirely made of brick, although some are constructed from coral, as seen in the Prasada located on Serangan Island. Additionally, within its structure, there are chambers for placing pratima (sacred images), further confirming its resemblance to a temple. 

Prasada means a high seat that rises above the top terrace of a building on a tall foundation, such as a palace, temple, candi (temple), pura (Hindu temple), or place of worship. In Bali, Prasada is the result of a fusion between typical temples or Prasada and terraced burial mounds from prehistoric times (Kempers, 1979: 13).

1. Candi Prasada Tumpang Lima (Linggih Ratu Dalem Ketut)

The entire structure is made of bricks, including the base, body, and roof. The form of the prasada is slender, similar to the temples found in East Java, which become smaller as they rise, and the roof has a tiered design. At the base of the temple, there are coral goak decorations at each corner, and there are also holes from the decorative Chinese bowls that have not been installed anymore due to being broken as a result of natural disasters, specifically earthquakes that have occurred in Bali. On the body of the temple, there is an entrance made of wood for placing statues and offerings. In this section, several small white bowl decorations can still be found attached to the body of the temple. There is also a decoration of a winged lion at the top of the entrance to the temple. On the roof of the temple, there is a decorative motif of coral eyes located in the center, and at each corner of the temple's roof, there are corner tower decorations filled with vine motifs. The roof of this temple consists of five tiers that get taller as they rise.

2. Candi Prasada Tumpang Sia (Linggih Ratu Muter) 

Overall, the base, body, and roof are made of brick, with a tiered roof that becomes smaller and slimmer as it rises. This prasada is an archaeological relic that closely resembles the temples found in East Java. The prasada faces west, allowing worshippers to perform their prayers towards the east, facing the temple. The base and body of the temple are adorned with Chinese bowls; however, these are no longer installed since the restoration carried out in 1986 by the Cultural Heritage Preservation Office. The Chinese bowl decorations could not be reused because many were broken due to earthquakes in Bali. We can identify the existence of these decorations because there are holes in the base and body of the temple where the bowls were placed, as well as vine motifs on the body of the temple. On the right and left of the entrance to the temple, there are bentulu coral decorations, and above the entrance, there is a decorative motif of the sun. Candi Tumpang 9 measures 3.05 m in length and 2.65 m in width. This prasada is used to worship the goddess Ratu Maospahit, who serves as the center for seeking safety. 

3. Gedong Bata Ratu Gde Maospahit

This building is made of brick, with the right and left sides adorned with decorative carvings. The roof is also constructed from brick and is decorated at each of its four corners with simbar featuring coral motifs. The body of the gedong is embellished with simbar at every corner. The entrance is made of teak wood and is adorned with carvings of patra punggel motifs. A new statue made of stone padas is placed at the front left of the gedong. The function of this building is to worship Ratu Gede Maospahit for seeking safety. The building is oriented eastward, facing west, with dimensions of 3.20 m in length, 3.20 m in width, and 5.45 m in height.

4. Kolam Petirtaan

The structure of this pond is located in the main courtyard (jeroan) of Pura Maospahit Tonja, forming an L-shape with a corner in the northeastern part of the main courtyard. The dimensions of this pond are 16.15 meters in length from west to east, and 17.12 meters from north to south, with a consistent width of 1.12 meters, made of stone padas. According to interviews with the temple caretaker, this pond structure was discovered during excavations around the prasada building that was to be renovated, indicating that the pond has existed since ancient times alongside the prasada at Pura Maospahit Tonja. At the southern end of the pond, there is a purification pond (penglukatan) known as Naga Sesa. This pond has a depth of 82 cm and is used for purification or cleaning, measuring 16 cm in width and 79 cm in length. The pond features three steps leading down to it. From the interviews, the function of this pond is for the bathing of widyadara-widyadari (celestial beings). There is a kind of drainage that penetrates and channels the pond water to the jaba tengah (madya mandala), where this water is used for purification or cleaning before entering the main area of the temple. 

5. Meja Batu (dolmen)

The Dolmen / Stone Table is a relic from the megalithic era made of stone, featuring a circular top supported by four legs, also made of stone. This dolmen is placed on a square stone base with dimensions of 110 cm in length, 112 cm in width, and 72 cm in height. The function of this dolmen remains the same as in the megalithic period, serving as a place to place offerings for worship to God (Ida Sang Hyang Widhi), the gods, and ancestral spirits. This dolmen is situated directly in front of Prasada Tumpang Sia (9).

6. Lumpang Batu 

This stone mortar is placed on a square stone base with dimensions of 90 cm in length, 75 cm in width, and 26 cm in height. Surrounding this mortar are statues that are in a very deteriorated condition. This stone mortar originates from the megalithic period, where it was once used as a place for grinding grains for ceremonial purposes. However, in the present day, this stone mortar is no longer used for grinding grains but rather serves as a container for water used in purification or cleansing rituals. The community also believes that the water in this stone mortar can heal illnesses.

Tonja Bungkeneng Temple

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Pura Dalem Bungkeneng is one of the Khayangan Tiga Temples of Desa Adat Tonja. Administratively, Pura Dalem Bungkeneng is located on Jl. Ratna, Tonja Village, North Denpasar District, Denpasar City. Geographically, this temple is situated at coordinates 50 L 0365081, 9044539 UTM. 

Pura Dalem Bungkeneng consists of two courtyards with the temple facing west. The temple compound is divided into the jeroan (innermost courtyard) and jaba tengah (middle courtyard), while the outermost area, jaba sisi, is an open space. Symbolically, these three courtyards are connected to the concept of Tri Bhuwana, representing the levels of the universe or macrocosm (bhuwana agung). Jaba sisi symbolizes bhurloka, the earthly realm where humans reside; jaba tengah represents bwahloka, the realm of spirits or the transitional world; and jeroan signifies swah loka, the realm of the gods or the eternal world. Following the typical layout of Balinese temples, Pura Dalem Bungkeneng also has these three courtyards. However, a slight variation is observed, as the outermost area (jaba sisi) is not enclosed by walls, but is an open courtyard (public path) to the west. Only the jeroan (the holiest section) and jaba tengah (middle courtyard) are surrounded by brick walls. The jaba tengah and jeroan are separated by a wall and a kori agung (main gate), while the jaba tengah and jaba sisi are also separated by a wall and connected by a candi bentar (split gate).

1. Arca Dwarapala I

The statue is carved sitting without support, with both legs bent on top of a square base adorned with geometric line patterns forming triangles and vine-like motifs. The face is square-shaped, with large round eyes, a broad flat nose, and a wide open mouth revealing teeth and fangs. The ears are large, adorned with leaf-shaped earrings (simping), and the hair is styled in a topknot. The neck is short, wearing an upavita (sacred thread) that crosses from the neck over the front of the statue to the waist on both sides, with tumpal motifs on the back. The figure wears a plain waist belt. The stiff arms are pressed close to the body, with the right hand extending forward holding a mace, while the left arm is also pressed against the body, with the wrist broken. Both arms are adorned with armlets (keyura) featuring tumpal motifs and plain bracelets (kankana). The figure is posed as if sitting on a stone, with the right leg lifted over the left thigh, and a cloth (uncal) is seen draped downward from the abdomen to the base. 

2. Arca Dwarapala II

The statue is carved seated without a backrest on a square pedestal, with the left leg bent upward. The face is round, featuring large, bulging eyes, thick eyebrows, a large nose, thick lips, and an open mouth revealing fangs. The top of the head is bald, with hair growing only along the sides, depicted as curly and long, flowing down the back. The small ears are adorned with ear ornaments (simping) and flower-shaped earrings (kundala) with leaf-like details (ron ronan). The statue has a long, curly beard extending down to the chest. The right arm is bent, with the fist clenched, wearing a bracelet (kankana) with geometric line and plain circle motifs. The left arm is straight, with the hand resting on the knee, also adorned with a bracelet (kankana) with geometric line and plain circle motifs. The figure has a bulging belly, wears a thigh-length cloth, and a belt with a plain diamond-shaped geometric pattern, with the uncal tied behind the waist.

3. Arca Macan 

The statue is carved in a prone position, as if sleeping. All four legs are bent forward, with the tail flicked upwards over the back. The face is oval-shaped, with large, bulging round eyes, wide ears, and a flat nose. It is adorned with a curly mustache and beard. The wide mouth is open, showing teeth and fangs. This animal figure serves as a guardian statue, which is typically depicted as a giant but in this case is represented in an animal form.

4. Arca Dwarapala III

The statue is carved sitting without support, with the right leg folded over the left thigh. The face is square-shaped, with large round eyes, a broad flat nose, and a wide open mouth revealing teeth and fangs. The ears are large and adorned with leaf-shaped earrings (simping), and the hair is styled in a topknot. The neck is short, wearing an upavita (sacred thread) crossing from the neck down the front of the statue to the waist on both sides. The figure wears a plain waist belt. The stiff arms are positioned close to the body, with the right hand extending forward, though the wrist is broken. The left arm is also pressed against the body, with the hand clenched into a fist in front of the chest. Both arms feature armlets (keyura) with vine motifs, and plain bracelets (kankana). The figure sits on a stone, and beneath the abdomen, a cloth (uncal) is seen draped downward to the base, featuring a pattern of lines, inverted triangular tumpal motifs, and vine-like designs. 

5. Arca Dwarapala IV 

The statue is carved sitting without support, with both legs bent on top of a square base adorned with geometric line patterns forming triangles and vine-like motifs. The face is square-shaped, with large round eyes, a broad flat nose, and a wide open mouth revealing teeth and fangs. The ears are large, adorned with leaf-shaped earrings (simping), and the hair is styled in a topknot. The neck is short, wearing an upavita (sacred thread) that crosses from the neck over the front of the statue to the waist on both sides, with tumpal motifs on the back. The figure wears a plain waist belt. The stiff arms are pressed close to the body, with the right hand extending forward holding a mace, while the left arm is also pressed against the body, with the wrist broken. Both arms are adorned with armlets (keyura) featuring tumpal motifs and plain bracelets (kankana). The figure is posed as if sitting on a stone, with the right leg lifted over the left thigh, and a cloth (uncal) is seen draped downward from the abdomen to the base.

6. Arca Dwarapala V 

The statue is carved in a kneeling position on a square base, with wide, bulging eyes, a large nose, and an open mouth showing fangs. The head is adorned with a headband (jamang) tied to the back of the head, and the hair is straight with curly ends. The ears are decorated with wide ear ornaments (simping), and the figure wears large earrings. The statue is adorned with a necklace (hara) featuring vine-like motifs and is depicted without clothing. The right arm is bent across the chest toward the right shoulder, holding an axe, while the left arm is bent beside the body, with the palm resting on the left knee. Both arms are adorned with armlets and bracelets featuring plain geometric line and triangle motifs. A plain cloth is draped from the waist and tucked to the back, without any decorative patterns. The right leg is bent forward, while the left leg is bent backward, and both legs are adorned with three-layered anklets featuring simple geometric line patterns.

7. Arca Dwarapala VI

The statue is carved sitting with one leg folded forward and the other backward on a square base. The face is round, with wide, bulging eyes, a large nose, and an open mouth revealing fangs. The head is adorned with a headband (jamang) tied at the back of the head, and the hair is straight, with curly ends. The ears are decorated with wide ear ornaments (simping), and the figure wears earrings and a necklace (hara) with vine-like motifs. The statue is depicted without clothing. The right arm is bent upwards, holding a mace resting on the head, with no decoration (plain), while the left arm is bent beside the body, with the palm resting on the left knee. Both arms are adorned with armlets and bracelets featuring simple geometric line and triangle motifs. A plain cloth is draped from the waist and tucked to the back, without any decorative patterns. The right leg is folded forward, while the left leg is bent backward, and both legs are adorned with anklets featuring simple geometric line and triangle motifs.

8. Fragmen Arca Terakota

This statue fragment is part of a terracotta head. The face is square-shaped, with thick eyebrows, round eyes, a prominent nose, thick lips open to reveal teeth, and a mustache. The hair appears to be tied up (in a topknot) at the center of the head, and there is a four-pointed star decoration on the forehead. Both ears are broken. Currently, this head fragment is affixed with cement to an andesite stone and placed in a garden area near a well on the eastern side. 

9. Arca Tokoh 

The statue is carved standing on a square pedestal without any support. The head is oval-shaped, featuring a crest of hair at the front, round bulging eyes, a flat nose, and a mouth open with the tongue sticking out (giving a mocking smile). The ears are long, reaching down to the shoulders. The right hand is positioned holding the back of the head, while the left hand is holding the belly, and the figure is unclothed (naked) with a protruding belly that reveals the genitals (palus). Statues of this type emerged during the 19th century (modern period), but the depiction of the genitals has historical roots, dating back to earlier periods such as prehistory and the Middle Bali era of the 15th century CE. This display of the genitals symbolizes the warding off of calamities (disasters/dangers), and is often found in guardian statues (dwarapala), serving also as a symbol of fertility and prosperity.

Tonja Village Puseh Temple and Bale Agung

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Pura Puseh Desa and Bale Agung are part of the Tri Khayangan in the Tonja Traditional Village. Etymologically, Khayangan Tiga consists of two words: "khayangan" and "tiga." Khayangan comes from a word meaning "sacred," with the prefix "ka" and the suffix "an," indicating a place, while "tiga" means "three." The complete meaning is three sacred places: Pura Desa or Pura Bale Agung, Pura Puseh, and Pura Dalem. The function of Pura Desa is as a place of worship for Lord Brahma in his role as the creator of the universe; Pura Puseh is for worshiping Lord Vishnu as the preserver of the universe; and Pura Dalem is dedicated to worshiping Lord Shiva and the Goddess Shakti, with the function of dissolving the universe. The Piodalan ceremony at Pura Puseh Desa and Bale Agung Puseh Tonja is held on the day of Purnama Sasih Kasa.

Pura Puseh Desa and Bale Agung Tonja are administratively located at Jl. Seroja, Gang Tunas Mekar, Tonja Village, North Denpasar District, Denpasar City. Geographically, it is situated at the geographic coordinates 50 L 03605209, 9045475 UTM, 66 meters above sea level. The structure of this temple consists of two courtyards: the inner courtyard (jeroan) and the middle courtyard (jaba tengah), while the outer courtyard (jaba sisi) is an open area. Symbolically, these three courtyards are connected to the concept of Tri Bhuwana, which represents the levels of the universe or macrokosmos (bhuwana agung). The jaba sisi symbolizes bhurloka, the mortal realm where humans reside; the jaba tengah symbolizes bwahloka, the realm of spirits or the transitional state; while the jeroan symbolizes swah loka, the realm of the gods or the eternal world. 

 1. Gedong Ratu Gede Desa

Gedong Ratu Gede Desa is a sacred building designated as the dwelling place for the manifestation of God in the form of Dewa Brahma, the creator of the universe. It is constructed from a combination of brick and stone, with wooden columns and a thatched roof. The supporting pillars and other wooden ornaments are decorated with gold leaf and blue coloring. The top of the door is adorned with coral. The structure consists of a base, foot, body, and roof. The building has a stout form with a plain body, giving it a simple appearance. In front of Gedong Ratu Gede Desa, there are three statues of Ganesha and one statue of Dewi Durga displayed.

 2. Arca Ganesha I

The statue is carved in a seated position known as wirasana on a plain square base, leaning against a circular stela. It features a jatamakuta crown, which is a braid of hair resembling a crown, tied with an ardha candra kapala (crescent moon and skull), a characteristic of the Shiva family. A plain prabha (a halo or aura) of divine light is visible behind the crown. The statue has wide ears and small round eyes, with two tusks protruding from the mouth; the right tusk is broken while the left is intact. A trunk hangs down to the left, its tip touching a bowl. The statue has four arms: two arms in the back emerge from the elbows, each holding a divine attribute— the right hand holds a parasu (axe) and the left hand holds a padma (lotus flower). The two front arms each hold a blooming lotus, and the left front hand carries a complete patra (offering vessel).

3. Arca Dewi Durga 

The statue is carved standing on a plain square pedestal with a backrest (stela), featuring thin lips in a smile, adorned with a crown of hair styled in a topknot (jata makuta) decorated with an ardhacandra kapala (crescent moon skull), and wearing a jamang with a floral motif. There is a prabha (divine aura) behind the head. The statue of Goddess Durga has eight arms, each holding a deity's attribute. Starting from the front left arm, which is bent towards the front of the abdomen with an outstretched palm, the second arm carries a camara (fly whisk), the third arm holds a shield, and the fourth arm bears a bow. The right front arm is straight down holding a sword, the second arm holds a cakra, the third arm wields a trident, and the fourth arm holds an arrow. The front two arms wear keyura wrist bracelets with a floral motif. The remaining six arms appear from the elbows, resembling shadowy arms without visible limbs.

4. Arca Perwujudan Bhatari

The statue representing Bhatari is carved standing in samabhanga on a plain square pedestal. It has a slender body, appearing to wear a crown that is worn out, and the ears are adorned with kundala reaching the shoulders with simping attached to the stela. The statue is dressed in a cloth that extends from the waist to the ankles in three layers. In front of the cloth, there is an uncal, and on both sides of the waist, there are sampur flowing down to the pedestal.  

5. Arca Ganesha II

The statue of Ganesha is carved sitting in wirasana on a round pedestal with a double lotus motif. The face is very damaged, with the trunk broken, both front wrists broken, and both back arms broken. It has a protruding belly, and the ankles are adorned with bracelets shaped like genitri (prayer beads). 

6. Arca Ganesha III

The statue of Ganesha is carved sitting in wirasana on a round pedestal with a double lotus motif. The face of the statue is damaged, showing two tusks in worn condition. The trunk extends to the left, touching a bowl resting on the left palm. Both back arms are broken, and it has a protruding belly. The ankles are adorned with bracelets shaped like genitri (prayer beads).

7. Arca – arca di Pelinggih Ratu Panji

The Pelinggih Ratu Panji is located to the south of Gedong Ratu Gede Desa. This shrine is shaped like a square structure made of concrete. It houses many fragments of statues that are already damaged, such as parts of the feet or heads of Bhatara-Bhatari statues, as well as a fragment of the Siwa Mahaguru statue characterized by its beard and jatamakuta crown. Additionally, there are two statues representing figures holding chickens and fragments from the apex of a building. Based on their iconographic characteristics, these statues date back to the 11th to 15th centuries AD.

8. Arca di Pelinggih Ratu Ayu Mas Maketel

Statues were also found at Pura Ratu Biang Susunan, which is within the same area as Pura Puseh Desa lan Bale Agung Puseh Tonja and is closely related. The statue is carved very simply, reminiscent of primitive statues from prehistoric times. It is sculpted in a seated position with both soles of the feet meeting on a plain square pedestal, with hands positioned as if in prayer before the chest. The face is round, with large open eyes, a flat nose, thick lips, and hair flowing down the back. Statues of this type are typically referred to as Polynesian-type statues, which are products of prehistoric times during the megalithic tradition. However, in subsequent developments, this type of statue re-emerged during the Middle Bali period and tended to flourish during the Majapahit influence in Bali around the 14th to 17th centuries AD, particularly in remote areas far from the center of government (the kingdom). This statue serves as a symbol or embodiment of the ancestral spirit or a figure respected during their lifetime who has reached the spiritual realm.

The Pelinggih Meru Ratu Puseh is located on the northern side, where a statue was found seated in a crouched position on a plain square pedestal. The statue's head is missing, and the right elbow is broken, with the hand bent and resting on the thigh. The left hand is extended forward with the palm resting on the thigh.

Pelinggih Meru Ratu Puseh terletak di sisi utara, ditemukan sebuah arca duduk bersimpuh di atas lapik persegi polos, kepala arca sudah patah hilang, bagian siku kanan patah dengan sikap tangan ditekuk ditaruh di atas paha, tangan kiri lurus ke depan dengan telapak tangan ditaruh diatas paha.

History of Tonja Village

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Tonja is a village located in the district of North Denpasar, within the city of Denpasar. The history of Desa Tonja is detailed in Babad Dalem Batu Ireng and explained in Ilikita Desa Adat Tonja, which states that in the year Saka 1250 (circa 1328 AD), Bali was ruled by a king named Dalem Batu Ireng, later known by the title Raja Sri Astasura Ratna Bhumi Banten. He had renowned ministers such as Ki Pasung Grigis, Ki Buahan, Ki Tunjung Tutur, Ki Kalung Singkal, and Ki Gudung Basur, among others. Raja Sri Astasura Ratna Bhumi Banten refused to submit to the Majapahit Kingdom, prompting the Majapahit ruler to send Patih Gajah Mada to Bali in order to subdue the island.

This conquest led Raja Sri Astasura Ratna Bhumi Banten, also known as Dalem Batu Ireng, to flee to several areas, including Taro, Gegel, Baturyang (Batuyang), Batu Sasih (Batubulan), Bukut Kali, Batu Belig Kalanggendis, and Taman Yang Batu. Throughout his journey, he sought refuge with Pasek Bendesa, Pande, and other local villagers. While in hiding, Dalem Batu Ireng disguised himself as a commoner and eventually met I Gusti Ngurah Bongaya at the crossroads of Desa Pagan, where a yadnya ceremony was about to take place. Out of curiosity, Dalem Batu Ireng stopped by Pura Desa Adat Pagan to observe the ceremony.

Knowing that he was not of good appearance, Dalem Batu Ireng stayed only in the middle courtyard (jaba tengah) of the temple. His presence was noticed by the temple herald (juru canang), who, upon seeing Dalem Batu Ireng's disheveled and dirty appearance, was shocked by his unpleasant features. The juru canang, frightened, screamed "Tonya," considering him a disturbance to the ongoing ceremony. As a result, Dalem Batu Ireng was labeled "Tonya" and was driven away by I Gusti Ngurah Bongaya and other villagers. Angered by this, Dalem Batu Ireng cursed I Gusti Ngurah Bongaya, saying that the village would become tas-tas (split or fractured), leading to conflicts and severed relationships among the villagers, particularly those north of the village temple (Pura Desa). As Dalem Batu Ireng traveled north after being expelled, he tripped over a stone in the Ajungut-jungut area, which is now known as Banjar Tega. He blessed the stone to become "Bhumi Tonjaya."

From this story, we can understand that the name "Tonja" originates from the word ketonjok (from ke + tonjok, meaning "to trip"). The transformation from tonjok to "Tonja" symbolizes the event where Dalem Batu Ireng tripped over a stone, and over time, the name became known as Tonja.

Peguyangan Village Temple

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Pura Desa Peguyangan is located at coordinates 50 L 0303433 UTM 9048711 (85 meters above sea level) and serves as a sacred site for the community of Desa Adat Peguyangan. Administratively, it is situated in the Denpasar Utara district. The historical background of Desa Adat Peguyangan is understood through the Dresta Ilikita Desa Pakraman Peguyangan, which reveals several aspects related to the history of the village. For instance, the name Desa Adat Peguyangan is said to have originated from the story of Kyai Panji Sakti's elephant, which rolled around (maguyang) in the area, and the place where the elephant rolled became known as Peguyangan. Additionally, the term peguyangan is linked to the contents of a copper inscription found at Pura Dalem Batan Celagi, which mentions that those who worshipped at the temple were granted tax exemption because they were entrusted with the responsibility of maintaining the sacred place (ngaci sam sat kahyangan), meaning "guardians of the sacred site." The term peguyangan is thought to derive from the words pageh (firm/consistent) and hyang (divine), which eventually evolved into the name Peguyangan (Anonim, 2011: 1).

Regarding the inscription found at Pura Dalem Batan Celagi (the Peguyangan Inscription), only one plate has been found, the eighth sheet, side A and B, written in Old Balinese script (Kawi-Bali) and Old Javanese language. The Peguyangan Inscription is categorized as part of the inscriptions issued by King Sri Haji Jayapangus between Śaka 1099–1103 (1177-1181 CE). In summary, the inscription mentions the village of Er Saling and the exemption from various taxes (drwi haji) because the village was once a jataka (a sacred site exempt from certain taxes and obligations) dedicated to Bhaṭāra in Burwan, which had been converted into rice fields by the villagers. The villagers were not required to pay several ceremonial dues, including the newlyweds being exempt from offering pamapas to Sanghyang Candi in Burwan. The inscription also mentions regulations or permissions related to raising ducks, keeping asu tugel (a breed of dog), and freedom to travel to other villages (Wiguna et al., 2015: 19).

There is an assumption that around the 13th-14th century AD, an ancient temple building similar to the miniature temple found at Pura Desa Peguyangan once stood around the area of Peguyangan Customary Village. This assumption is strengthened by the numerous fragments of temple structures found at Pura Desa, Puseh, Manik Tahun, and Penyarikan Peguyangan, which are similar in form to the peak/tower corners of the miniature temple. 

Pura Desa Peguyangan follows the structure of the tri mandala, consisting of jaba sisi (outer courtyard, or nista mandala), which is combined with the jaba sisi (nista mandala) of Pura Bale Agung Peguyangan, the middle courtyard (madya mandala), and the innermost courtyard (jeroan or utama mandala). Pura Desa Peguyangan is part of a complex that includes Pura Bale Agung, Pura Penyarikan, Pura Puseh, and Pura Manik Tahun Peguyangan. The utama mandala (jeroan, the holiest area) is separated from the madya mandala (middle courtyard) by a gate (paduraksa) and a brick wall, while the madya mandala is separated from the nista mandala (outer courtyard) by a split gate (candi bentar). This temple holds territorial significance as part of the Kahyangan Tiga, serving as a place of worship for Ida Sang Hyang Widhi in His manifestation as Dewa Brahma and His consort. The temple is maintained by and dedicated to the community of Desa Adat Peguyangan. The temple's anniversary (piodalan) is celebrated every Redite Wuku Sinta (Banyu Pinaruh).

 

1. Gapura/paduraksa 

The gapura or paduraksa is also known as kori agung, serving as the boundary gate and entrance between the jaba tengah (middle courtyard, madya mandala) and the jeroan (innermost courtyard, utama mandala). The structure of the gapura/paduraksa is divided into three parts: the base (foot), the body, and the roof. The base is made of bricks coated with cement, featuring six steps in the center. The gapura/paduraksa is symmetrically adorned on both sides with seated decorative motifs (simbar duduk) and hanging decorative reliefs (simbar gantung). On both sides of the gate's body, there are additional ornaments including subeng (earrings) in a pseudo-pentelasi shape, kuping (ears), and util (small decorative elements). On the left side of the gapura/paduraksa, there is an inscription of the number 1940, which is likely the year of its construction. The roof consists of three tiers that taper as they ascend, with each corner adorned with simbar duduk and simbar gantung in the form of simple triangular shapes. The peak of the roof is decorated with a finial known as menur or murdha.

2. Lumpang batu

A stone mortar (lumpang batu) was found in the jeroan (innermost courtyard) of Pura Desa Peguyangan. It is a monolithic stone with a central hollow depression, originally used in ancient times as a base for pounding grains. However, it is now repurposed as a religious medium and is regarded as highly sacred by the local community.

3.Kelompok batu monolit

Two monolithic stones were found in the jeroan (innermost courtyard) of Pura Desa Peguyangan. These stones are irregularly shaped, with no evidence of human craftsmanship, and are now utilized as religious media, held in great reverence and considered highly sacred by the local community.

4. Arca Tokoh I

The statue is placed on the right veranda of Gedong Hyang Api, sculpted in a standing position with the right leg bent higher (abhanga) on a plain square pedestal. It is unclear who this statue represents, as the attributes it holds are indistinct. The statue wears a pepudakan crown, adorned with a plain petitis on the forehead, complete with ron-ronan behind the ears. The eyes are depicted as wide and bulging, the nose is sharp, the lips are thick, revealing a row of front teeth, and the figure has a mustache.

5. Arca Tokoh II

The statue is placed on the right terrace of Gedong Hyang Api, carved standing with the right leg bent higher (abhanga) on a plain square pedestal. The identity of the figure represented by this statue is unknown, as the attributes it carries are unclear. It is depicted wearing a pepudakan crown, adorned with a plain petitis on the forehead, complete with ron-ronan behind the ears. The eyes are round and bulging, the nose prominent, the lips thick, showing the front row of teeth, and the figure sports a mustache.

6. Arca Dwarapala I

The statue is placed on the stones in front of the right side of Gedong Hyang Api, carved standing with legs spread apart and both knees bent (abhanga) on a plain square pedestal. It wears a pepudakan crown, adorned with a plain petitis on the forehead, complete with ron-ronan behind the ears. The face of the statue is quite terrifying, with bulging round eyes, a large nose, wide thick lips that reveal the front row of teeth, and protruding tusks. 

7. Arca Dwarapala II

The statue is placed on the stones in front of the left side of Gedong Hyang Api, carved standing with legs spread apart and both knees bent (abhanga) on a plain square pedestal measuring 10 cm in height. It wears a pepudakan crown, adorned with a plain petitis on the forehead, complete with ron-ronan behind the ears. The face of the statue is quite terrifying, with bulging round eyes, a large nose, wide thick lips that reveal the front row of teeth, and protruding tusks. 

8. Arca Dwarapala III

The statue is placed on the front porch to the right of Gedong Ratu Desa, carved standing with both knees bent (abhanga) on a plain square pedestal. The statue is depicted turning to the left, wearing a pepudakan crown, adorned with a pointed petitis on the forehead, complete with ron-ronan behind the ears. The face of the statue is quite terrifying, with bulging round eyes, a large nose, wide thick lips that reveal the front row of teeth, protruding tusks, curly beard, and hair flowing down to the waist.

9. Arca Dwarapala IV

The statue is placed on the front porch to the left of Gedong Ratu Desa, carved standing with both knees bent (abhanga) on a square pedestal with a stone patra motif. The statue is depicted turning to the right, wearing a pepudakan crown, adorned with a pointed petitis on the forehead, complete with ron-ronan behind the ears, and the face of the statue is quite terrifying.

10. Kemuncak Sudut Atap Candi I

The pinnacle is likely a part of the decorative roof of a temple building from the past, made of andesite stone. Its shape is similar to the corner pinnacle of the miniature temple at Pura Desa Peguyangan. This pinnacle is tiered, with the topmost part shaped like a cylinder, featuring a 4 cm deep hole at the top, which probably served as a place to insert a finial. According to mythology, the people of Desa Adat Peguyangan believe that this object represents the clenched fist of Ki Kebo Iwa.

11. Kemuncak Sudut Atap Candi II

This apex is likely part of the decorative roof of a temple building from the past, made of padas stone. Its shape is similar to the corner apex of the temple miniature at Pura Desa Peguyangan. The apex is tiered, with the topmost part shaped like a cylinder. On top, there is a hole 4 cm deep, which probably served as a place to insert a peg for the apex. In mythology, the community of Desa Adat Peguyangan believes this object represents the clenched fist of Ki Kebo Iwa.

12. Kemuncak Sudut Atap Candi III 

This apex is also likely part of the decorative roof of a temple building from the past, made of padas stone. Its shape resembles that of the corner apex of the temple miniature at Pura Desa Peguyangan. The apex/tower has a tiered shape that narrows towards the top, with a hole 4 cm deep on the uppermost part, probably intended for inserting a peg to secure the apex. According to mythology, the community of Desa Adat Peguyangan believes this object represents the clenched fist of Ki Kebo Iwa.

13. Kemuncak Sudut Atap Candi IV

This apex is likely part of the decorative roof of a temple building from the past, made from padas stone. Its shape resembles that of the corner apex of the temple miniature at Pura Desa Peguyangan. The corner apex/tower is tiered, becoming smaller towards the top, featuring five circular grooves. The top is square-shaped with finely carved details at each of its four corners. Above this, there is a hole 3.5 cm deep, which likely served as a place to insert a peg for securing the apex. According to mythology, the community of Desa Adat Peguyangan believes this object represents the clenched fist of Ki Kebo Iwa.

14. Kemuncak Sudut Atap Candi V

Kemuncak ini kemungkinan bagian dari hiasan atap bangunan candi pada masa lampau yang terbuat dari batu padas, keadaannya sudah sangat aus. Secara mitologi, masyarakat Desa Adat  Peguyangan mempercayai benda ini sebagai kepalan tangan Ki Kebo Iwa.

15. Kemuncak Sudut Atap VI

This apex also resembles the corner apex of the miniature temple at Pura Desa Peguyangan. The corner apex/tower is tiered, becoming smaller towards the top. The community of Desa Adat Peguyangan, according to their mythology, believes that this object represents the clenched fist of Ki Kebo Iwa.

16. Batu Pancang

The standing stone pillar, placed upright by the community, has an uneven surface with several small and large holes. This square-shaped stone, likely made of andesite, may have been part of the structural components of a temple building in ancient times.

17. Arca Tokoh III

The standing stone pillar, placed upright by the community, has an uneven surface with several small and large holes. This square-shaped stone, likely made of andesite, may have been part of the structural components of a temple building in ancient times. 

18. Arca Tokoh IV

 The statue is placed on the front terrace to the right of the Pelinggih Piyasan Ratu Desa. It is sculpted standing with both legs bent (abhanga) on a square pedestal with a patterned stone base. The statue's hair is tied at the top of the head, while the back hair is left flowing down the back, adorned with a simple forehead ornament and complemented by 'ron-ronan' behind the ears. The eyes are depicted as bulging and round. The identity of this statue cannot be determined as it does not carry any identifiable attributes or characteristics. 

19. Cakra Biwa (miniatur candi)

This miniature temple is carved from a block of stone and is divided into three parts: the base, the body, and the roof. The base of the temple is square-shaped, while the body features a false door on the west side. The body is connected to the base with a decorative lip and bell-shaped edges, and the roof is similarly connected to the body with a decorative lip and bell-shaped edges. The roof consists of three tiers, each topped with eight corner finials. Additionally, each tier of the roof is adorned with hanging decorations, and the highest tier is crowned with a square-shaped finial that progressively decreases in size over four tiers. The existence of this miniature temple suggests that there was likely a similar temple structure in this area around the 13th to 14th century CE. This assumption is supported by the discovery of numerous fragments of temple finials at Pura Desa, Puseh, Manik Tahun, and Penyarikan Peguyangan, which resemble the corner finials of this miniature temple. The community of Desa Adat Peguyangan mythologically refers to this as Cakra Biwa.

 

Temple of Kahyangan and Dalem Penataran of Taman Pohmanis

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The existence of this temple cannot be separated from the presence of Jero Agung Pohmanis. It is said that when I Dewa Karang was rescued by I Ngakan Kaleran during the suppression of I Gusti Agung Maruti's power by I Dewa Jambe along with Kyai Anglurah Singharsa, Kyai Anglurah Panji Sakti, Kyai Anglurah Macan Gading, I Dewa Paduhungan, I Dewa Kereng, and I Dewa Negara in the Swecapura Gelgel – Klungkung Kingdom. I Dewa Karang is the grandson of I Dewa Paduhungan, the son of I Dewa Sumerta, a descendant of Dalem Sagening from his wife Penawing. I Dewa Karang, when taken to Denbukit (Buleleng), was accompanied by his parekan and panginte. Upon arriving in Denbukit, I Dewa Karang was entrusted to a trader (panghalu) from Bun Badung. This trader from Bun (panghalu Bun) then placed the young child in his trade basket (katung/kalesan) and took him back to the Bun Badung area (Kertha et al., 2001 in Basudewa, 2017: 74-76). 

The Bun area is the northern border of the Badung Kingdom, which at that time was led by a noble named I Gusti Ngurah Bija. The people of Bun gathered at Bencingah to hear the news that the son of I Dewa Agung Karang in Klungkung had gone missing along with his parekan and panginten. Hearing this news, the panghalu Bun reported that he had received a young child in Denbukit while trading. I Gusti Ngurah Bija hurried to meet I Dewa Agung in Klungkung to confirm the existence of the child and to request that if it was indeed the son of the king, he could be raised in Bun. Hearing this request made I Dewa Agung in Klungkung happy and confirmed that the child was I Dewa Karang, the son of I Dewa Agung Karang. He then allowed I Dewa Karang to be raised in Bun with a retinue of 400 people. After growing up in Bun, I Dewa Karang was known as I Dewa Kalesan because when he was taken from Denbukit by panghalu Bun, he was placed in the trade basket (kalesan).

The story of the disappearance of I Dewa Karang (I Dewa Kalesan) spread to various regions and was heard in the Badung Kingdom, which at that time was ruled by I Gusti Ngurah Jambe Pule. I Gusti Jambe Pule wanted I Gusti Ngurah Bija to hand over I Dewa Karang (I Dewa Kalesan) to Badung because he would be given a place to rule in the eastern border area of the Badung Kingdom, namely in the Taak area with a retinue of 1000 people. I Dewa Karang (I Dewa Kalesan), after gaining power in the Taak area, then received the title of Abhiseka I Dewa Gde Sukahet while residing in Puri Agung Batubulan. I Dewa Gde Pameregan, as the second generation successor of I Dewa Gde Sukahet, had nine sons: I Dewa Rai Guwang, I Dewa Gde Dukuh, I Dewa Gde Ngurah, I Dewa Made Batan, I Dewa Ketut Tegal, I Dewa Wayan Muntur, I Dewa Made Muntur, I Dewa Nyoman Badung, and I Dewa Gde Rai. The authority of I Dewa Gde Pameregan was supposed to be succeeded by I Dewa Gde Rai, but a rebellion led by the descendant of I Dewa Wayan Panenjoan named I Dewa Made Lukluk, in collaboration with I Dewa Manggis Jorog from Puri Gianyar, succeeded in killing I Dewa Gde Rai in Payangan, and I Dewa Made Muntur was killed in Bangli. After I Dewa Gde Rai was killed, I Dewa Made Lukluk automatically ascended to the throne but had no male descendants, so he appointed a son from Gianyar named I Dewa Gelugu, who subsequently ascended the throne with the title I Dewa Oka. Since I Dewa Oka ascended to the throne and ruled in Batubulan, the dynasty of I Dewa Gde Sukahet was replaced by the dynasty of I Dewa Manggis (Gianyar).

Seeing the behavior of the noble (royal family) in Batubulan at that time made the King of Badung angry and handed over the Batubulan region to the Sukawati Kingdom, which at that time was already controlled by the Gianyar Kingdom in 1810 AD. 

At that time, the situation was chaotic, and many of the royal princes left Puri Batubulan because they felt disappointed with the condition of the palace. I Dewa Wayan Muntur, along with I Dewa Nyoman Badung, sought refuge in Badung to meet the King of Badung to report the situation in Batubulan. I Dewa Nyoman Badung was accompanied by the retinue of citizens from the soroh pungakan Banjar Kalah Batubulan, such as I Kepang, I Taring, I Mastra, I Ngembu, and I Garda, while the retinue from Sumerta included I Dawa along with his son named I Pinrih and I Malang, I Silur along with his child named Nyoman Del and I Medil, and I Bagus Pengunteran with his children such as Bagus Coak and Bagus Made Bandem. The retinue of I Dewa Wayan Muntur consisted only of two people, namely I Gulingan and I Mandesa (Kertha et al., 2001: 20-21). 

At that time, the King of Badung wanted I Dewa Wayan Muntur and I Dewa Gde Pande to establish and cultivate a new perdikan area in the northeastern border of Badung (now Denpasar) to block the Mengwi Kingdom, which had taken over Bun and the Gianyar Kingdom, which had taken control of Batubulan Sukawati. Finally, I Dewa Wayan Muntur, together with I Dewa Gde Pande, went to the border area accompanied by a retinue of citizens totaling 40 people from the Pasek, Kalah, and Karang Buncing clans, such as Pan Edan, Pan Gejor, Pan Gobyah, and Pan Gudug, settled in Kalah Penatih, while I Dunia, I Tusan, I Enteg, I Nedeng, I Runia, and I Tebeng accompanied them to the area of pemanis/pomanis (now Pohmanis) (Kertha et al., 2001: 22).

The presence of I Dewa Wayan Muntur along with I Dewa Gde Pande and their followers in pemanis was able to quell the military invasion of the Mengwi Kingdom from the north and the Gianyar Kingdom from the east. This secure situation allowed the people to gradually build jero, houses, sacred places (temples), and divide agricultural areas that would later be used for farming. Hearing that the situation in the pemanis area was becoming safer, the King of Badung was very pleased and sent additional retinue from the citizens of the Pande and Senggehu clans to reinforce the pemanis area as a defensive stronghold in the northeastern part of the Badung Kingdom at that time.

Regarding Pura Kahyangan lan Dalem Penataran, several sources mention that Pura Kahyangan was built first as it is adjacent to and connected with the setra (graveyard). Several years later, the main mandala (jeroan) of Pura Dalem Penataran was constructed. The structure of Pura Dalem Penataran indicates that this temple, besides serving as Pura Kahyangan Tiga, was initially a place of worship (kawitan) for the Jero Agung Pohmanis family and their followers (panjak tatadan) such as Karang Buncing, Kalah, and Pasek, which is evidenced by the existence of a three-tiered meru, while the communities that came later to the pemanis (pohmanis) area participated in the maintenance of the temple, marked by the construction of seven Pelinggih Sanak such as Pelinggih Sanak Pande, Senggehu, Pasek Bendesa, Bendesa Manik Mas, and two Pelinggih Sanak Pasek.

Pura Kahyangan lan Dalem Penataran has a tri mandala structure, namely jaba sisi (nista mandala), jaba tengah (madya mandala), and jeroan (utama mandala). Pura Kahyangan is located in the madya mandala, marked by the presence of Palinggih Gedong Kahyangan, and Pura Dalem Penataran is located in the utama mandala, marked by the presence of Palinggih Gedong Dalem. Pura Dalem Penataran Taman Pohmanis has the character of Pura Kahyangan Tiga as a place of worship for Ida Sang Hyang Widhi in his manifestation as Dewa Siwa along with his sakti. Additionally, it can be said to have a genealogical character (family) evidenced by the existence of Pelinggih Meru Tumpang Telu and seven Palinggih Sanak from various clans in the Taman Pohmanis village. Pura Penataran is often associated with temples owned by kings/rulers, signifying that all clans/soroh can worship there. Regarding the notion of royal ownership, it can be observed in the naming of pratima and the structure of the palinggih that relate to titles within a kingdom such as Ratu Dalem (king), Ratu Kahyangan (mother/sakti/wife), Ida Bhatara Alit (prince), Pamayun Agung (royal deputy), Panyarikan (secretary), Panglurah (royal assistant/patih), Sedahan Agung (finance and tax management), Pangenter (spokesperson/minister), and Sanak (family/community). 

The piodalan ceremony is conducted biannually, occurring every six months. The piodalan of Pura Kahyangan falls on Saniscara (Saturday) of Wuku Wayang (Tumpek Wayang), while the piodalan of Pura Dalem Penataran occurs on Soma (Monday) of Pahing Wuku Langkir (Pahing Kuningan). The community that maintains and supports Pura Kahyangan lan Dalem Penataran is involved in worshipping there.

1. Gapura Kori Agung

This ancient gate is divided into three parts: the base, body, and roof. The base of the gate is made from a composition of volcanic stones adorned with various ornaments (patra) of vine leaves, flowers, as well as karang manuk (bird head) and karang asti (elephant head), which decorate every corner of the gate's base on the northern and southern sides. On the southern side of the gate, there are two dwarapala statues holding gada (maces) flanking both sides of the entrance. The body of the gate is predominantly made of red bricks, complemented by ornamental decorations (patra) made from volcanic stone. 

 The ornaments adorning both sides (north and south) of the threshold of this ancient gate feature a unique kala head (karang boma), which is rarely found on other temple buildings in Bali. This kala head is flanked by a winding makara (elephant-headed serpent). The makara ornament is intertwined in a position facing away from each other, similar to the concept of the makara ornament found in the niches of Candi Sari (Central Java). The karang bhoma ornament is made from volcanic stone and has three motif components: a crown that includes crown and hair decorations, a face that encompasses eyes, nose, mouth, chin, and horns, as well as hands depicting finger positions and nails. Between the kala head (karang bhoma) and the makara, there is a simple human figure carved with hands crossed in front of its stomach. This kala head is quite large, with a naturalistic style, bulging eyes, upper and lower jaws with fangs, and both palms open as if to pounce, entwined by the makara (Basudewa et al., 2015: 183-184). According to the community, the roof of the Kori Agung used to have five tiers, but it collapsed due to a gejer (earthquake in Bali) and was repaired to have only three tiers.

2. Padmasana

Structurally, the Padmasana is made from a composition of volcanic stone adorned with various ornaments (patra) such as vine leaves, flowers, karang manuk (bird head), karang tapel, and karang asti (elephant head), all complemented by hanging embellishments. The base of the Padmasana's feet is decorated with a bedawang (tortoise) entwined with a dragon, with the dragon's head positioned at the front of the structure and its tail at the back. The body of the Padmasana is primarily made of red bricks combined with ornamental decorations (patra) made from volcanic stone. Ornaments of papalihan and floral ceplok predominantly adorn the flat surfaces, while the corners of the Padmasana are decorated with karang manuk ornaments, all enhanced with hanging embellishments. The body of the Padmasana also features a colonnade, with each corner equipped with statues representing figures such as Bala Gana in the northeast, a representation of a priest in the southeast, and figures in the southwest and northwest. The upper part of the Padmasana resembles a throne, complete with a backrest adorned with depictions of leaves and flowers (patra).

3. Arca Raksasi I

The statue is placed in the Pelinggih Ameng-ameng (to the left) with a standing posture, the left leg bent higher on a square pedestal. The face is depicted as terrifying, with four protruding fangs, bulging eyes, flowing hair, large breasts hanging down to touch the thighs, and a tongue extending down to touch the knees. The cloth used only covers up to the thighs (above the knees). Both hands hold strands of hair beside the breasts, and almost the entire body of the statue is sculpted in a large form.

4. Arca Raksasi II

The statue is placed in the Pelinggih Ameng-ameng (to the right) with a standing posture, the left leg bent higher on the pedestal. The face is depicted as terrifying, with four protruding fangs, bulging eyes, flowing hair, large breasts hanging down to touch the thighs, and a tongue extending adorned with flame carvings down to the knees. The cloth used only covers up to the thighs (above the knees). The right hand is positioned beside the head, while the left hand holds strands of hair beside the breasts, and almost the entire body of the statue is sculpted in a large form.

5. Arca Raksasi III

The statue is placed in the Pelinggih Gedong Ratu Kahyangan (to the left) with a standing posture, both legs bent on a plain square pedestal. The face of the statue is depicted as very frightening, with bulging eyes, protruding fangs, and hair styled like a snail shell tied up. Both hands grip a sampur at the waist. The statue is adorned with a kankana, shoulder bands, hara (a type of traditional attire), ears adorned with subeng, and a cloth extending down to the ankles with a checkered pattern, while the legs are sculpted stiffly in a large form.

6. Arca Raksasi IV 

The statue is placed in the Pelinggih Gedong Ratu Kahyangan (to the left) with a standing posture, both legs bent on a plain square pedestal. The face of the statue is depicted as very frightening, with bulging eyes, protruding fangs, and hair styled like a snail shell tied up. Both hands grip a sampur at the waist. The statue is adorned with a kankana, shoulder bands, hara (a type of traditional attire), ears adorned with subeng, and a cloth extending down to the ankles with a checkered pattern, while the legs are sculpted stiffly in a large form.

7. Arca Raksasi V

The statue is placed in front of the Gapura Kuna/Kori Agung (to the left) in a standing posture with the left leg bent higher on a plain square pedestal. It has a frightening giant face showing fangs, the right hand carries a club, and the left arm is broken. The clothing extends above the knees, with a two-ended wiron hanging down to touch the pedestal. The waist is adorned with karang tapel whose tongue protrudes, and it features kankana on the legs and arms. The shoulder band consists of a string of beads, the hara is made of a string of beads adorned with leaf motifs, the upavita is also a string of beads, the ears are decorated with subeng, and the crown is styled as papudakan.

8. Arca Dwarapala I

The statue is placed in front of the Gapura Kuna/Kori Agung (to the left) in a standing posture with the left leg bent higher on a plain square pedestal. It has a frightening giant face showing fangs, the right hand carries a club, and the left arm is broken. The clothing extends above the knees, with a two-ended wiron hanging down to touch the pedestal. The waist is adorned with karang tapel whose tongue protrudes, and it features kankana on the legs and arms. The shoulder band consists of a string of beads, the hara is made of a string of beads adorned with leaf motifs, the upavita is also a string of beads, the ears are decorated with subeng, and the crown is styled as papudakan.

9. Arca Dwarapala II

The statue is placed in front of the Gapura Kuna/Kori Agung (to the right) in a standing posture with the right leg bent higher on a plain square pedestal. It has a frightening giant face displaying fangs, the right hand carries a club, and the left hand is positioned in front of the abdomen. The clothing extends above the knees, with a two-ended wiron hanging down to touch the pedestal. The waist is adorned with karang mata whose tongue protrudes, and it features kankana on the legs and arms. The shoulder band consists of a string of beads, the hara is made of a string of beads adorned with leaf motifs, the upawita is also a string of beads, the ears are decorated with subeng, and the crown is styled as perbudakan.

10. Arca Balagana/Gajawaktra

This statue, in mythology, represents the giant elephant-headed troops of the god Shiva, led directly by Lord Ganesha. Gajawaktra can mean having an elephant face/mouth. The statue is placed behind the Padmasana (to the northeast) in a standing posture with both legs bent on a plain square pedestal. It features a crown adorned with petitis, bulging eyes, prominent tusks, and a trunk that extends down to the abdomen. The right hand of the statue holds a cakra weapon positioned at the waist, while the left hand rests on the knee. It has a shoulder band, a hara in the form of a badong, and clothing that reaches above the knees. The wiron extends down to touch the pedestal, and the kankana on the hands and feet is in a plain circular shape.

11. Arca Pendeta

The statue is placed behind the Padmasana (to the southeast) in a standing posture with both legs bent on a plain square pedestal. It wears a crown shaped like a ketu adorned with petitis and ron ronan. The craftsmanship of the statue is very rigid and thick, with the ears featuring round earrings. The right hand of the statue is placed on the thigh, with the middle finger and index finger raised upward. The left hand rests on the thigh, holding fabric. It includes a shoulder band, wears a vest, and has a upawita made of a string of beads. The clothing reaches above the knees, and the wiron used has two ends that touch the pedestal.

12. Arca Tokoh I

The statue of Character I is placed in front of the Padmasana (to the northwest) in a standing posture with the right leg bent higher on a plain square pedestal. It wears a crown called supit urang adorned with petitis and ron-ronan, showcasing prominent teeth. The ears are adorned with earrings, the right hand is positioned in front of the chest with the thumb and index finger touching, and the left hand is placed in front of the abdomen holding fabric. The garment extends above the knees, and the wiron has two ends that dangle down to touch the pedestal. The belt is decorated with karang mata, and it features kankana on the legs and arms, a shoulder band made of a string of beads, and a hara composed of a string of beads enhanced with leaf motifs.

13. Arca Tokoh II

The statue is placed in front of the Padmasana (to the southwest) in a standing posture with the left leg bent higher on a plain square pedestal. It wears a crown called papudakan adorned with petitis and ron-ronan, showcasing prominent teeth, bulging eyes, and earrings. The right hand is positioned in front of the chest, emphasizing the thumbnail, while the left hand rests on the knee. The garment extends above the knees, and the wiron has two ends that dangle down to touch the pedestal. The belt is decorated with karang mata, and it features kankana on the legs and arms, a shoulder band made of a string of beads, and a hara composed of a string of beads enhanced with leaf motifs.

Great Temple of Penatih

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The existence of Pura Penataran Agung Penatih is linked to the journey of Maha Rsi Markandeya, who was accompanied by his disciple, Bhujangga Sari. Together, they built Pura Gunung Raung, Pura Payogan, and in Campuhan, they built Pura Tangga Hyang Api on the banks of the Hoos River. Bhujangga Sari, who had long pursued knowledge, wished to establish a monastery on a piece of white land, which was already inhabited by the Bali Aga people from the Taro region. The temple built on this White Land was named Payogan Hyang Api as a worship site for tri sakti and as a place of worship for the local community (pakraman). 

The term "Tanah Putih" (White Land) is the origin of the name "Penatih," which comes from the words pinih and tih, meaning "first" (Dhaksa, n.d.). After Bali was conquered by the Majapahit Kingdom around the 14th century AD, Patih Gajah Mada, under the command of Queen Tribhuwana Tunggadewi, sent Dalem Ketut Kresna Kepakisan (Dalem Samprangan) to be appointed as the Adipati (duke) of Bali. He was accompanied by several followers, including Arya Kanuruhan, Arya Demung, Arya Belog, Arya Mengori, Arya Tumenggung, Arya Kenceng, Arya Delancang, Arya Kepakisan, Arya Pangalasan, Arya Kutawaringin, Arya Gajah Para, Arya Getas, and Arya Wang Bang.

The Penatih region was settled by Arya Wang Bang Pinatih, who held the title Kyai Anglurah Pinatih Mantra, with a force of 35,000. During the reign of Kyai Anglurah Penatih Mantra, many developments occurred in Penatih, including the construction of several sacred structures. Pura Payogan Hyang Api, which had already existed during Bhujangga Sari's time, was also renovated. Originally, it was a place of worship for tri sakti, and several ancestral shrines (palinggih kawitan) were added, including Palinggih Manik Angkeran, Pelinggih Dukuh Belatungan, Pelinggih Padma Siwa, and Palinggih Padma Budha (Padma Kurung). The construction of the two Padma (Siwa and Buddha) was in honor of their ancestors, Mpu Sidhimantra, a follower of the Buddha teachings, and Mpu Sedah, a follower of the Siwa teachings (Dhaksa, n.d.).

Pura Penataran Agung Penatih has a tri-mandala structure, which includes the jaba sisi (nista mandala), jaba tengah (madya mandala), and jeroan (utama mandala). Pura Penataran Agung Penatih is characterized as a Pura Kahyangan Tiga Tunggal (Puseh, Desa, Dalem) where worship is offered to Ida Sang Hyang Widhi. Additionally, it has genealogical significance (kawitan/family), as evidenced by the presence of Pelinggih Manik Angkeran and Pelinggih Dukuh Belatungan.

1. Kemuncak Bangunan Candi

This building fragment is placed to the left of Pelinggih Gedong Ratu Agung and is part of a temple building material, such as the pinnacle/corner tower, which has a peg to fit into a square-shaped hole beneath it. The body of this building fragment has a hole at the top with decorated molding and bell-shaped sides, complemented by circular tenons. The hanging simbar decoration remains only in one corner, and the pedestal is square-shaped. The arrangement of the pinnacle and its body is believed not to be the original pair, as the size of the peg and hole do not match or fit properly.

2. Susunan Batu 

This stone arrangement is located in front of Pelinggih Gedong Ratu Agung and consists of four layers: the bottom layer is a fragment of batu padas with scratches, which are estimated to have been used for sharpening weapons. The layer above it consists of smaller batu padas, and the top layer is made up of two smaller andesite stones.

3. Lingga Semu

This lingga is placed in front of the left side of Pelinggih Bhatara Siwa, and it is not a lingga of the tri bhaga type because it is simply cylindrical and is set on a square pedestal. The upper circle of the lingga is larger than the lower circle.

4. Lumpang Batu dan Palung Batu

The stone mortar and stone trough are located in front of the right side of Pelinggih Bhatara Siwa. Both stone mortars are made from andesite, while the stone trough is made from sandstone. The stone mortar serves as a base for pounding/crushing grains, whereas the stone trough was historically used as a container for water and a feeding place for livestock.

5. Kemuncak Bangunan Candi

This peak is placed in front of the left side of Pelinggih Pangaruman Kelod and is part of the roof of a temple building, featuring a peg designed to fit into a square hole beneath it. The top is shaped like a circle with three tiers, and the feet on all four sides are adorned with hanging decorations. The body of this building fragment has a hole at the top, decorated with a frieze, and the side of the bell is equipped with a hole above it. The base of the structure in the lowest layer is octagonal in shape. It is estimated that this peak and its body are not the original pair, as the sizes of the pegs and holes do not match.

6. Arca di Atas Lilitan Ular

The statue is placed in front of the left side of Palinggih Gedong Pangiasan, seated cross-legged on a coiled serpent, without any decorations on its body. The head is missing, the left hand is gone, and the right hand is resting on the thigh. Statues with characteristics of serpent and skull attributes are typically associated with tantric art (Bhairawa), similar to several statues found at Pura Kebo Edan Pejeng, Gianyar.

7. Arca Perwujudan Bhatari Bersayap

The statue is placed in front of Palinggih Gedong Pangiasan, with both legs bent backward (kneeling) on a round pedestal. It wears a papudakan crown adorned with petitis and ron-ronan, accentuating the breasts, with half-closed eyes and ears decorated with subeng. Both hands are raised upward, accompanied by wings, and it is draped in a thick cloth with striped decorative motifs.

8. Arca di Atas Lilitan Ular

The statue is placed in front of the left side of Pelinggih Pangaruman, sitting cross-legged on a serpent's coil, without any adornments on its body. The head is missing, both arms are gone, and there is only a decorative fold of wiron at the back of the statue. Statues featuring serpent and skull attributes are typically associated with tantric art (Bhairawa), similar to several statues found at Pura Kebo Edan in Pejeng, Gianyar.

9. Kemuncak Bangunan Candi 

This building fragment consists of four layers placed in front of the right side of Pelinggih Pangaruman Kelod. The top fragment resembles a miniature temple or may indeed be a part of a temple (the decoration on the corner of the temple roof). Its shape decreases in size as it rises, adorned with hanging decorations at each corner, measuring 62 cm in height and 41 cm in width. The fragment below the pinnacle/corner tower, specifically the second layer from the top, is a plain square shape measuring 28 cm in height and 39 cm in width. The third layer from the top is a square fragment measuring 16 cm in height and 70 cm in width. The condition of the fragment is worn on all sides, and on one side of this fragment, there is a spout for draining water (yoni fragment). The bottom fragment is a plain rectangular shape measuring 46 cm in height and 33 cm in width.