History of Sumerta

Regarding the historical background of Sumerta Village, there is no definitive or written record available to date, but the writer has tried to compile the history of Sumerta Village based on interviews and literature studies. According to stories from elders mentioned in Eka Suwarnita Desa Adat Sumerta (2014: 2-3), it is said that Sumerta Village was formerly called Wongaya and eventually became Sumerta Wongaya. The name Sumerta is believed to have been derived from one of the local rulers at that time, as found in the Babad Ki Bandesa Krobokan Badung. The excerpt from the chronicle is as follows:

“…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)

Ki Pasek Sumerta’s departure to the jagat bandana (Badung) according to the story above is believed to have occurred at the end of the reign of Dalem Waturenggong. The term Sumerta appears several times in the excerpt, referring to a notable figure. Based on interviews with the caretaker of Puseh Sumerta Temple (I Made Rai Suta Maskaya, 2018), it was also explained that Sumerta Village 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 legacy of a prominent leader in the region. According to the Babad Ki Bandesa Krobokan Badung, this figure was Gde Pasek Sumerta, while according to the caretaker of Puseh Sumerta Temple, it was I Gusti Ngurah Sumerta. 

Regarding the existence of Puseh Sumerta Temple and Kebon Sumerta Temple, which are the objects of inventory, their construction background can be traced back to a 15th-century Śaka charter still held by the family of the caretaker of Puseh Sumerta Temple in Banjar Sima. The charter roughly details an order from I Gusti Ngurah Sumerta to Ki Bendesa Bekung in Sumerta Wongaya to promptly build Puseh Temple and Kebon Temple within a year, with the reward being land complete with seeds/plants (Anonim, 2014: 3).

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History of Poh Manis

Talking about the history of Taman Pohmanis Traditional Village cannot be separated from the inscription stored at Pemrajan Agung Pohmanis, which is freely described in the Babad Kesatria Sukahet. It tells of the disappearance of a young child from Puri Klungkung, the son of I Dewa Karang. I Dewa Karang was the son of I Dewa Paduhungan, who was the son of I Dewa Sumretha, the child of Dalem Sagening from his panawing wife. I Dewa Sumretha, son of Dalem Sagening, was estimated to be of the same age as Dalem Dimade, who reigned from 1665-1686 AD. During Dalem Dimade’s rule, a rebellion led by I Gusti Agung Maruti took place, and the kingdom was taken over. Dalem Dimade and his two sons, I Dewa Pemayun and I Dewa Jambe, fled to the village of Guliang Pejeng, where Dalem Dimade eventually passed away. As an adult, I Dewa Jambe strategized to reclaim the kingdom of Swecapura Gelgel with his brother, I Dewa Paduhungan, defeating I Gusti Agung Maruti. 

I Dewa Jambe, around the same age as I Dewa Paduhungan, successfully defeated I Gusti Agung Maruti, reclaiming the kingdom and moving its center from Swecapura Gelgel to Smarajaya Klungkung. I Dewa Jambe ascended the throne in 1710-1775 AD without using the Dalem title, with the name Ida I Dewa Agung Jambe. 

The son of Ida I Dewa Agung Jambe, I Dewa Dimade, continued the reign in Smarapura Klungkung from 1775-1825 AD with the title Ida I Dewa Agung Dimade. During the suppression of I Gusti Agung Maruti’s rebellion in Swecapura Gelgel by Ida I Dewa Agung Jambe, his son, I Dewa Dimade, was still a small child, around the same age as I Dewa Karang, son of I Dewa Paduhungan. The power struggle caused chaos, prompting I Dewa Karang and his retinue to be taken to Denbukit (Buleleng) by I Ngakan Kaleran (Kertha et al., 2001: 9-10).

It is told that a nobleman named I Gusti Ngurah Bija ruled the Bun Kingdom, which had around 5000 inhabitants. The Bun Kingdom is now located north of Angabaya Penatih Village, east of Sibang Badung Village, south of Lambing-Tingas Badung Village, and west of Sedang, Angantaka, and Jagapati Badung Villages.

 The Bun Kingdom is now a rice field area known as Carik Pengumpian, as it was destroyed by I Gusti Agung Mhahiun from the Mengwi Kingdom during his northern expansion into Badung territory. Some inhabitants of the Bun Kingdom worked as traders (panghalu), trading up to Denbukit (Buleleng). One day, a trader from Denbukit gave a child to a trader from Bun, asking him to take the child to Badung (Kertha et al., 2001: 2-3). 

The Bun trader happily accepted the child, who was then placed in a katung (kalesan), and the child's name changed to I Dewa Kalesan. When the trader arrived in the Bun Kingdom, many villagers gathered after hearing the news of the abduction of I Dewa Karang’s son from Klungkung. The trader shared the story of receiving the child in Denbukit. Hearing this, I Gusti Ngurah Bija immediately went to Klungkung to inform I Dewa Agung Klungkung (King of Smarajaya Klungkung) that the lost prince was now in the Bun Kingdom and requested that the child be raised there. I Dewa Agung Klungkung was delighted and confirmed that the child was indeed I Dewa Karang’s son, allowing the child (I Dewa Karang) to be raised in the Bun Kingdom with 400 followers. 

I Dewa Karang (I Dewa Kalesan) grew up in the Bun Kingdom, and news of this spread to the Badung Kingdom, where I Gusti Ngurah Jambe Pule ruled. The King of Badung asked I Gusti Ngurah Bija to send I Dewa Karang (I Dewa Kalesan) to Badung, where he would be given a place to rule in the eastern part of the Badung Kingdom, specifically the Taak region, with 1000 followers (35 from Badung, 40 from Bun, and the rest were perarudan). I Dewa Karang (I Dewa Kalesan) and his followers then cleared the forest for one month (sasih) and eventually found a high place (tegehe). This event led to the names of Banjar Menguntur, Banjar Sasih, and Banjar Tegehe.

Upon continuing north, they reached the intended territory named Taak, under the control of the Badung Kingdom. Senggehu Taak’s house (jero gede) became the center of power for I Dewa Karang (I Dewa Kalesan) under the name I Dewa Gde Sukahet, and Jero Gede Taak’s name changed to Puri/Jero Gede Batubulan. Senggehu Taak’s residence was relocated east to a plain called Pegat Ebang, overgrown with alang-alang grass, which later inspired the name Banjar Pegambangan.

I Dewa Kalesan, also known as I Dewa Karang or I Dewa Gde Sukahet, had seven children, including I Dewa Gde Pameregan from his prami wife and I Dewa Wayan Panenjoan from his panawing wife. The rulership passed to I Dewa Gde Pameregan, who had nine children: 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 rulership was meant to pass to the youngest son, I Dewa Gde Rai, but a rebellion led by I Dewa Made Lukluk, a descendant of I Dewa Wayan Panenjoan, in collaboration with I Dewa Manggis Jorog from the Gianyar Kingdom, resulted in the murder of I Dewa Gde Rai in Payangan and I Dewa Made Muntur in Bangli. I Dewa Gde Rai was deified with a meru tumpang solas (now candi tumpang pitu) at Pura Puseh Batubulan. After his death, I Dewa Made Lukluk took power. He had no children, so a son from Gianyar, I Dewa Gelugu, ascended the throne as I Dewa Oka. The reign of I Dewa Gde Sukahet was replaced by the dynasty of I Dewa Manggis (Gianyar). The bad behavior of the knights (royal family) in Batubulan at that time angered the King of Badung, who handed over Batubulan to the Sukawati Kingdom, which had already fallen under Gianyar's control in 1810 AD. The following is a quote from the inscription at Pemrajan Agung Pohmanis regarding the murder of I Dewa Gde Rai in Payangan:

“…long after, an uprising happened in Badung. I Gusti Jambe lost, and I Gusti Ngurah Kaleran returned. Years after the uprising, in Batubulan, I Dewa Made Lukluk informed I Dewa Agung Manggis, tricking I Dewa Gde Rai (Sukahet) to Payangan, where he was killed. I Dewa Made Muntur was killed in Bangli…” (Free Translation of the Inscription at Pemrajan Agung Pohmanis).

This tragedy left Puri Taak in chaos, with deep sadness and disappointment spreading due to slander and deception. The remaining members of Puri Taak felt unsafe, so they decided to flee. I Dewa Wayan Badung fled to Taman Intaran Sanur with I Dewa Gde Dukuh to Gria Taman Intaran/Ida Pedanda Gde Alang Kajeng. I Dewa Nyoman Badung and I Dewa Wayan Muntur fled to Denpasar to seek protection from I Gusti Ngurah Kajanan at Puri Satria and were eventually relocated to Kusiman (now Kesiman).

It is told that the evacuation of I Dewa Nyoman Badung along with I Dewa Wayan Muntur, under the command of the ruler of Badung at the time, was directed to Kusiman Village (now known as Kesiman). During the journey, they were accompanied by followers from Pungakan Banjar Kalah and other individuals named I Kepang, I Taring, I Mastra, I Ngembu, and I Garda. From Banjar Sumerta, they were escorted by I Pinrih, I Malang, I Silur (the son of Nyoman Del), and I Medil. Additionally, Bagus Pengunteran joined with his sons, Bagus Coak and Bagus Made Bandem. Other followers included I Lebah and I Trekas. I Dewa Wayan Muntur was also accompanied by two individuals, I Gulingan and I Mandesa.

I Dewa Nyoman Badung passed away in Kesiman. He had three children. His daughter was married to I Dewa Gde Pande, the son of I Dewa Gde Dukuh from Taman Intaran. Under the orders of I Gusti Ngurah Gede (the ruler of Badung at the time), I Dewa Gede Pande and I Dewa Wayan Muntur together headed towards the village located at the border between Badung, Mengwi, and Gianyar territories. The ruler of Badung at that time wanted I Dewa Wayan Muntur and I Dewa Gde Pande to develop and cultivate a new territory at the northeastern border of Badung (now Denpasar) as a defense against the Mengwi Kingdom, which had taken control of Bun, and the Gianyar Kingdom, which had taken control of Batubulan Sukawati. Eventually, I Dewa Wayan Muntur, together with I Dewa Gde Pande (I Dewa Nyoman Badung’s son-in-law), went to the border region, accompanied by 40 followers from the Pasek, Kalah, and Karang Buncing clans, including Pan Edan, Pan Gejor, Pan Gobyah, and Pan Gudug, who settled in Kalah Penatih. Meanwhile, I Dunia, I Tusan, I Enteg, I Nedeng, I Runia, and I Tebeng accompanied them to the border region called Pemanes (now Pohmanis) (Kertha et al., 2001: 22). This border area was a dangerous place, as battles often took place there. This is proven by the presence of historical markers such as earthen ramparts surrounding the area, place names like "carik cucukan" and "kalangan," which are associated with warfare, and because the area served as a defensive fortress for Badung at the time. The name "pemanes" evolved into "pemanis" and later "pohmanis," a name that is still used today.

The presence of I Dewa Wayan Muntur and I Dewa Gde Pande, along with other community members in the Pemanes area, succeeded in suppressing military invasions from the Mengwi Kingdom in the north and the Gianyar Kingdom in the east, thus creating a safer environment. This growing sense of security allowed the people to gradually build "jero" (palaces), residents' homes, sacred temples (pura), and divide agricultural land for farming. Upon hearing that the Pemanes area had become safer, the King of Badung was very pleased and sent more followers from the Pande and Senggehu clans to further support Pemanes as a northeastern defensive fortress for the Badung Kingdom. Based on the above description, around 1740 AD, Mengwi’s military invasion defeated the Bun Kingdom, and at almost the same time, a power struggle occurred in the Batubulan Kingdom, resulting in the death of I Dewa Gde Rai (who is now venerated at the Meru Temple in Pura Puseh Batubulan). During these times, several royal families, such as I Dewa Wayan Muntur and I Dewa Nyoman Badung, left Batubulan and moved to Pemanes (now Pohmanis) with their followers (panjak tatadan) to develop and cultivate a new area on the outskirts of the Badung Kingdom, around the 17th 

The term "taman" (garden) only emerged when the village was divided into two customary "banjars" (local communities), namely Taman and Pohmanis, which were once collectively known as Pemanes/Pemanis/Pohmanis. The term "Taman" is associated with the presence of the Pura Taman Sari temple on the western side of the village, which is now owned by the Brahmana from Geriya Bindu Kesiman.

History of Peguyangan

The precise and written background history of the Pakraman Peguyangan Village has not yet been discovered. However, based on a literature study of the contents of the Dresta Ilikita of Pakraman Peguyangan Village, the author found several elements referring to the village's history, such as the name Pakraman Peguyangan arising from the tale of the elephant Kyai Panji Sakti, which maguyang (rolling around), and the place where the elephant maguyang is referred to as peguyangan. The term peguyangan is also linked to the contents of a copper inscription at Pura Dalem Batan Celagi, which states that the caretaker of the inscription was granted the freedom to pay taxes because they were given the responsibility to take care of and ngaci sam sat kahyangan, meaning "who guards the place of hyang." Maintaining the prahyangan must be pageh (steadfast/consistent), which then leads to the terms pageh and hyang becoming the origin of the name peguyangan (Anonymous, 2011: 1).

History of Penatih

The journey of Maha Rsi Markandya, accompanied by his disciple named Bhujangga Sari, involved building Pura Gunung Raung, Pura Payogan, and also constructing Pura Tangga Hyang Api at the confluence along the banks of the Oos River. It is said that Bhujangga Sari had long pursued knowledge and wished to establish a pasraman on a piece of white land, which was found to be inhabited by the Bali Aga people from the Taro region. The temple built on this White Land is named Payogan Hyang Api, serving as a worship site for tri sakti and a place for pakraman worship. The name Tanah Putih is the origin of the name Penatih, derived from the words pinih and tih, which mean first (tih) (Dhaksa, n.d.). 

After Bali was successfully conquered by the Majapahit Kingdom around the 14th century AD, Patih Gajah Mada, under the orders of Queen Tribhuwana Tunggadewi, sent Dalem Ketut Kresna Kepakisan (Dalem Samprangan) to become the Adipati of Bali along with several followers, such as Arya Kanuruhan, Arya Demung, Arya Belog, Arya Mengori, Arya Tumenggung, Arya Kenceng, Arya Delancang, Arya Kepakisan, Arya Pangalasan, Arya Kutawaringin, Arya Gajahpara, Arya Getas, and Arya Wang Bang. They were also accompanied by merchants like Si Tan Kober, Si Tan Kawur, and Si Tan Mundur. The Penatih region was inhabited by Arya Wang Bang Pinatih, who held the title Kyai Anglurah Pinatih Mantra, with an army of 35,000 comprised of the people from Arya Buleteng. Under the rule of Kyai Anglurah Penatih Mantra, Penatih underwent many developmental changes, including the construction of sacred buildings. The Pura Payogan Hyang Api, which had previously existed during Bhujangga Sari's time, was also restored. Initially established for the worship of tri sakti, it was expanded to include several ancestral shrines (kawitan), namely Palinggih Manik Angkeran, Palinggih Dukuh Blatungan, Palinggih Padma Siwa, and Palinggih Padma Budha (Padma Kurung). The construction of these two Padma (Siwa-Buddha) was a tribute to their ancestors, Mpu Sidhimantra, a follower of Buddhism, and Mpu Sedah, a follower of Shiva (Dhaksa, n.d.).

After its restoration and the addition of several shrines, Pura Payogan Hyang Api was renamed Pura Penataran Agung Penatih, which means: Pura refers to a place that is sanctified, Penataran means that which is owned by the ruler, and Penatih is the name of the region and the ruler at that time. Today, Pura Penataran Agung Penatih is inherited by the residents of the Pakraman/Adat Penatih Village, worshiped as Kahyangan Tunggal and as the Kawitan of Arya Wang Bang Pinatih (Dhaksa, n.d.).

History of Kesiman

Kesiman, as an administrative region, is located in the City of Denpasar. According to Eka Ilikita Desa Adat Kesiman (1990), the name Kesiman comes from the words "Ku" and "Sima." This term is mentioned in the Babad Wanggayah, which tells the story of Ida Dalem Batu Ireng. Ida Dalem Batu Ireng built a prahyangan named Dalem Tungkub, which was disungsung by the Pasek Dangka. Then, from Taman Hyang Batur, he continued his journey to Bukit Bali, Batu Belig, and Sumerta. The arrival of Ida Dalem Batu Ireng in Desa Sumerta was ignored by Anglurah Bongaya, and he continued his journey to wander angider bhuwana (angrebong) towards Desa Tangkas, seeking a river and intending to attain moksa using water as a medium, as he believed that achieving moksa through water was the best way and could bring blessings. The river was later named Sungai Ayu or We Ayu, where “we” means water and “ayu” means peace; today, this river is known as Sungai Ayung. After Ida Dalem Batu Ireng attained moksa, his followers established a memorial in the form of a large stone named Batu Sima. The three descendants of Dalem Batu Ireng followed the yadnya moksa at Sungai Ayung, and then Bendesa Mas and Gaduh built a grema (desa pakraman) named Pendem, complete with Prahyangan Desa Puseh and Manik Aji in the Abian Nangka ambengan forest (Eka Ilikita Desa Adat Kesiman, 1990: 3-4).

When Adipati Sri Aji Kresna Kepakisan became the Adipati of Majapahit in Bali, one of his companions, Arya Wang Bang, established a palace on the banks of the Ayung River, right at the place where Ida Dalem Batu Ireng attained moksa. Arya Wang Bang Pinatih Majapahit there met the Balinese community, declaring himself as the envoy of Sang Prabhu Majapahit to continue Sima Krama practiced by the Balinese in the territory of Dalem Batu Ireng, which was called Ngerebongan. After Arya Wang Bang received the inheritance from Ida Dalem Batu Ireng (Dalem Moksa) on the banks of the Ayung River, he then affirmed the legacy of Ida Dalem Batu Ireng by naming the place Kusima and the core place of Ida Dalem Batu Ireng moksa apengrebongan, named Amuter Bhuana. Arya Wang Bang emphasized the meaning of Kusima, which is “ku” meaning strong or firm, and “sima” representing the territory of Prahyangan Dalem Muter. The Prahyangan built by Arya Wang Bang on the banks of the Ayung River was completed on the day of Wrespati wuku Sungsang (Sugihan Jawa), marking the occasion when the Balinese community from Java performed the Sugihan Jawa ceremony. Over time, the term Kusima evolved to be called Kesiman up to the present day (Eka Ilikita Desa Adat Kesiman, 1990: 4).

Kesiman, with its long historical journey, began as a kingdom, district, sub-district, village, and eventually as an adat village. Chronologically, it is also necessary to outline a brief history of the civilization of Denpasar City, as Kesiman is administratively located in Denpasar City. The establishment of the Denpasar Palace in 1788 marked the crowning of I Gusti Ngurah Made as king, with the abhiseka title I Gusti Ngurah Made Pemecutan (1788-1813), as he was a descendant of Pemecutan. The successor to I Gusti Ngurah Made Pemecutan at the Denpasar Palace was I Gusti Gde Ngurah, with the abhiseka I Gusti Ngurah Jambe (1813-1817), serving as King of Denpasar II. Meanwhile, his brother named I Gusti Gde Kesiman founded a palace on the eastern side of the Badung Kingdom, named Puri Kesiman, in 1813 (Geriya et al., 2011 in Amerta et al., 2018: 11-12).


Bale Kulkul Kesiman Kedaton (1906)
Tjokorda Sakti Kesiman (1862)

I Gusti Gde Kesiman, as the first King of Kesiman, previously served as the regent of the Badung Kingdom. After the death of I Gusti Ngurah Jambe, the second King of Denpasar, in 1817, I Gusti Made Ngurah took over the throne as the third King of Denpasar from 1817 to 1829. Due to his young age, the governance was managed by his uncle at Puri Kesiman. I Gusti Gde Kesiman's influence facilitated cooperation based on mutual understanding among the three palaces in the Badung Kingdom: Puri Pemecutan, Puri Denpasar, and Puri Kesiman. This collaboration strengthened the Badung Kingdom, making it respected by neighboring kingdoms. His proficiency in the Malay language also allowed I Gusti Gde Kesiman to communicate easily with foreign traders visiting the Badung Kingdom (Gora Sirikan, II, ANRI, 1964 in Geriya et al., 2011: 38-39).

When I Gusti Gde Ngurah ascended to the throne as the fourth King of Denpasar in 1829, he held the title of Cokorda Denpasar. Following the death of I Gusti Gde Kesiman in 1865, the leadership of the Badung Kingdom began to shift towards Puri Denpasar. At least three more kings ruled from Puri Denpasar before the outbreak of the Puputan Badung war in 1906: I Gusti Gde Ngurah as the fifth King of Denpasar (1863-1883), I Gusti Alit Ngurah as the sixth King of Denpasar (1883-1902), who bore the title I Gusti Ngurah Jambe Pemecutan, and finally, I Gusti Ngurah Made Agung, who became the seventh King of Denpasar in 1902, ultimately falling in the Puputan Badung war on September 20, 1906. In addition to I Gusti Ngurah Made Agung, I Gusti Ngurah Pemecutan (1890-September 20, 1906), the eighth King of Pemecutan, also perished. Furthermore, on September 18, 1906, the King of Kesiman, I Gusti Ngurah Agung/I Gusti Gde Ngurah Kesiman, had already succumbed, pierced by a kris (traditional dagger) within the palace.

After the Puputan Badung war in 1906, the Badung Kingdom with its three palaces—Puri Pemecutan, Puri Denpasar, and Puri Kesiman—officially became a colonial territory under the Dutch Colonial Government. Dutch colonial influences began to be implemented, such as the construction of immigrant settlements, museums, schools, offices, markets, ports, roads, bridges, and more. The city of Denpasar was used to refer to the capital of the afdeling of South Bali, with the site of the former Puri Denpasar utilized as the government center of the Dutch East Indies at the afdeling and onderafdeling levels, along with its officials, namely the Assistant Resident and the Controller (Boon, 1938 in Geriya et al., 2011: 63-64). Kesiman also became one of the district names, namely Kesiman District, overseeing areas located in Benculuk, Tegehkuri, and Tonja, led by a Punggawa named Jero Gede Rai from Singaraja. Around the year 1920, the Kesiman District Office was moved to Bencingah Puri Kesiman (now the East Denpasar Sub-District Office).

Bale Kulkul Kesiman Kedaton (1906)

The sequence of officials who served in Kesiman District includes I Gusti Ngurah Gde Kesiman (1921 – May 1954), I Gusti Ngurah Anom Pacung (1954 – December 12, 196), I Gusti Ketut Redung (1960 – 1963), I Gusti Kompyang Rogig Sugriwa (1963 – 1965), and I Gusti Ngurah Gde (1965 – 1970).

Around 1970, Kesiman District changed its name to Kesiman Sub-District, overseeing 11 villages: Kesiman Village, Tonja Village, Penatih Village, Sumerta Village, Sanur Village, Renon Village, Sesetan Village, Panjer Village, Serangan Village, Ubung Village, and Peguyangan Village. In 1978, there was an expansion of sub-districts in Denpasar City, which initially only had two, namely Denpasar Sub-District and Kesiman Sub-District, which were divided into three: West Denpasar Sub-District, East Denpasar Sub-District, and South Denpasar Sub-District. After the subdivision of the sub-districts, the expansion of villages followed, along with the change in status from village to kelurahan. Thus, Kesiman, which was originally a sub-district, became Kelurahan Kesiman on December 1, 1979, along with the addition of two expanded villages, namely Kesiman Petilan Village and Kesiman Kertalangu Village, which are traditionally overseen by the Kesiman Adat Village in the East Denpasar Sub-District.

Rambut-siwi

Rambut Siwi Tonja Temple

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

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

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

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

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.