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.

Great Palace of Kesiman

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Puri Agung Kesiman was formed based on the division of the territorial authority of I Gusti Ngurah Made Pemecutan (the King of Puri Denpasar I) to his two sons, I Gusti Ngurah Gede and I Gusti Gede Kesiman. Puri Agung Kesiman was established around the 19th century AD, founded by I Gusti Gede Kesiman, who ascended the throne in 1813 and ruled until November 20, 1865, as the chief of Kesiman. The total area of this puri site is approximately 12,192 m², divided into four mandalas: Ancak Saji, which is the outermost courtyard (front), Sumengen/Senetan, which is the place for conducting funeral ceremonies, Pemereman/Dunungan, which is the residential area for the puri family members, and Pemrajan Agung, which serves as the sacred place of the puri.

1. Gapura/paduraksa 

The gate in the halaman ancak saji serves as the entrance to the halaman saren facing west. It consists of three parts: the base is made of square-shaped brick arrangements, with seven steps in the middle. The body is very stout, constructed using bricks, with a wooden entrance door in the center. Each corner of the upper body is adorned with hanging reliefs, and the sides are decorated with subeng, kuping, and util. The roof of the gate is made of a single layer of stone slabs, with hanging decorations in the form of karang manuk and a standing antefik at each of the four corners, while the center is adorned with karang tapel.

The gate leading to the halaman Pemrajan Agung Puri Kesiman is made of stone slabs. Its architectural design resembles the gate at Pura Dalem Sakenan, featuring a stout shape. Each side of the body is decorated with leaf motifs that form wings, and the lintel above is adorned with a kala head with bulging eyes and a protruding tongue. The roof of the gate consists of three layers, each decorated with a kala head in the center, with antefik decorations on several sides, and the peak is adorned with bentala. 

2. Gapura Bentar 

The gapura bentar located in the halaman ancak saji faces different directions. One faces south and the other faces west. The candi bentar is a gate that appears to be split in two, resembling twin temples. This candi bentar is very stout but rises high, adorned with hanging decorations as well as sitting decorations, and each corner is also decorated with antefik. 

3. Candi Prasada

The candi prasada is made of brick and faces west in the halaman jeroan Pemrajan Agung Puri Kesiman. It has a slender shape like a tower, similar to the temple buildings in East Java (Majapahit period). The base is square with relief decorations of hanging ornaments. The body of the prasada in the middle serves as a garbha graha. The roof is tiered with 9 levels, decreasing in size as it rises, adorned with hanging ornaments and sitting decorations at each corner of the roof's tiers, and at the peak, it is decorated with a murdha/menur. 

4. Meru

The Meru faces west in the courtyard of the Jeroan Pemrajan Agung Puri Kesiman, vertically divided into three parts. The base is made of brick arrangements adorned with pepalihan. Above the base, there are eight statues known as Asta Bratha. The body of the Meru is made of brick but has been coated with white paint. In the middle of the body, there is a wooden door leading to the garbha graha of the Meru. The roof, consisting of 11 tiers, rises high and is made of wood and ijuk (sugar palm fibers). 

5. Kolam

The structure of the pond is located in the main courtyard (jeroan) of the Pemrajan Agung, following the wall of the penyengker of the pemrajan. This pond structure is very wide and deep, and it is estimated to date back to the same period as the prasada and the pelinggih meru, as archival photographs from the colonial era always depict this pond whenever the prasada and pelinggih meru are the subjects. It is believed to originate from the 14th to 15th centuries AD.

6. Arca Asta Brata

These eight statues are made of padas stone and are arranged in a row on the terrace of the Pelinggih Meru. All eight statues share the same style and decorative features. Four statues (on the north side) have their left legs bent backward, while their right legs are bent upward. The other four statues (on the south side) have their right legs bent backward, and their left legs bent upward, with both arms placed beside their waists. These asta bratha statues represent Indra, Candra, Kuwera, Bayu, Surya, Yama, Baruna, and Agni.

Great Temple of Petilan in Kesiman

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Pura Agung Petilan Kesiman, or more popularly known as Pura Pangrebongan, is the site where the Ngerebong ritual is conducted in the Kesiman Traditional Village. The history of the establishment and existence of Pura Agung Petilan Kesiman is documented in the "Eka Ilikita Desa Adat Kesiman," which serves as the central temple for major religious ceremonies, supported by the entire community of the Kesiman Traditional Village. Pura Agung Petilan is closely associated with Pura Luhur Dalem Mutering Jagat, located on the banks of the Ayung River, and is also connected to the existence of the puri in the Kedaton. 

It is said that Arya Wang Bang Pinatih from Puri Kertalangu, who also built Pura Dalem Muter, was defeated by Dukuh Pahang in the Saka year 1527, and then left the puri for Sanur. The community and followers of Arya Wang Bang Pinatih, who lived on the western bank of the Ayung River, such as Batanbuah and Kedaton, felt confused. Finally, Ki Bendesa Sugriwa went to Puri Pemecutan to meet the king in Badung to request a replacement for the leadership of Arya Wang Bang Pinatih. This request was granted by placing Kyai Pemayun and establishing a puri on the eastern bank of the Ayung River named Tegal Kuwum. Kyai Pemayun also continued the worship of Pura Dalem Muter, which was built by Arya Wang Bang Pinatih along with his followers who still resided in Batanbuah, Kehen, and Kedaton (Eka Ilikita Desa Adat Kesiman, 1990: 5).

The term "petilan" is also said to originate from the word "pailen-ilen," which refers to activities carried out at the penyawangan of Pura Dalem Muter Kesiman. The penyawangan takes the form of a lumbung (rice barn) structure that allows for ceremonies to be conducted when crossing the Ayung River is difficult, and it is at this penyawangan that pangilen-ngilen is performed (Subawa, 1990: 74). Furthermore, in the research titled “Upacara Ngilen dalam Pangusaban di Pura Agung Petilan Kesiman,” the term "pethilan" derives from the word "tila," meaning to plant seeds, while "agung" means large and refers to a king. In this context, Pura Agung Petilan is interpreted as the sacred place of a king planting seeds or ideas in the form of concepts (Ranuara, 2017: 83-84).

Pura Agung Petilan Kesiman can be categorized as a territorial temple due to its characteristic of being a worship place for members of a village united by a territorial bond. This village is the Kesiman Traditional Village, which is connected to the Kahyangan Tiga. The piodalan ceremony at Pura Agung Petilan Kesiman is not conducted in the same manner as in other temples, because Pura Agung Petilan serves as the pasamuan (gathering place) for rituals in the Kesiman Traditional Village, marked by the gathering of pratima, pacanangan, and the sacred barong and rangda from various temples throughout the Kesiman Traditional Village. The pangilen ritual at Pura Agung Petilan is held every six months, with the first called Pangebekan, conducted on Thursday (Wraspati) Umanis Wuku Dungulan (the day after the Galungan holiday), the second known as Pamapagan/Pamendak Agung, held on Monday (Soma) Paing Wuku Langkir (two days after the Kuningan holiday), and the third pangilen is called Ngarebong or Pangrebongan, which takes place on Sunday (Redite) Pon Wuku Medangsia (eight days after the Kuningan holiday).

1. Gapura Kori Agung

Kori Agung is a boundary gate and the entrance from the outer courtyard (madya mandala) to the inner courtyard (utama mandala). The structure of this gateway/paduraksa is divided into three parts: the base, the body, and the roof. The base is made of brick, but the upper surface of the steps has been coated with concrete in front and is equipped with nine steps, while the inner side of the base has 11 steps.

The body of the gateway/paduraksa is entirely made of bricks, measuring 1,623 cm in length and consisting of the body of pengawak gede, body of caping, and body of pegandong. The body of pengawak gede is made of bricks, and the doors and frame are made of wood with a six-layered door sill (dedanga/ulap-ulap). At the top of the door sill, there is a carving of a winged kala head, with brickwork jutting out, although it has not yet been fully carved. Each corner of the body is adorned with reliefs of simbar gantung at the top and simbar duduk at the bottom. The caping body is the part that frames the pengawak gede body, made from bricks, with each corner of the caping body decorated with a pattern of simbar duduk at the bottom and simbar gantung at the top, as well as square beams made of bricks, commonly referred to as subeng, shaped like dove tracks. The roof of the gateway/paduraksa is made from bricks, consisting of the roof of pengawak gede, roof of caping, and roof of pegandong. The roof of pengawak gede is made of bricks, arranged in seven tiers, becoming smaller towards the top. The peak is shaped like a murdha made of andesite, and the four corners of the roof are decorated with antefik made of bricks shaped like triangular tumpal, also known as simbar duduk, complete with the accompanying ornament called celedu. 

2. Tugu Pangrebongan

Tugu Pangrebongan is located in front of the Kori Agung Gate/Paduraksa of Pura Agung Petilan. It is made from bricks, without a roof, and consists of a base and a body, complete with decorations of simbar gantung and simbar duduk. The peak is shaped like a throne made of andesite, complete with a base and a backrest, referred to in Bali as ulon. The base of the peak has an inscription carved on the front indicating its date of establishment, which is 5 – 9 – 1966. 

3. Gedong Manca Desa

Gedong Manca Desa is located on the southernmost side of the inner courtyard (utama mandala), facing west. In the middle, there is a door leading to the garbhagraha. In front of the door, there are four umpak supporting wooden pillars that hold up the building's roof. In front of the garbha graha door, there is also a U-shaped platform used for placing pratima and pacanangan statues during ceremonies. 

4. Gedong Agung Petilan

Gedong Agung Petilan, also known as Gedong Dalem or Gedong Mandaragiri, is located on the eastern side and serves as the central building in the inner courtyard (utama mandala), facing west. The base is shaped like a turtle wrapped in a dragon, above which is a square structure made of bricks. The body of the building is decorated with characteristic bebadungan reliefs on three sides, and it has a door to the garbha graha on the west side. There are nine umpak supporting wooden pillars for the building's roof. At the front of the building, there is a niche made of bricks, on top of which are placed the statues of Siwa Mahadewa, Nandiswara, Mahakala, and two character statues, while inside the niche is a turtle's head wrapped in a dragon (bedawang nala). The garbhagraha is a sacred room for placing pratima statues such as Ratu Dalem, Ratu Pura Pauman, Ratu Kahyangan, Ratu Panji, and Ratu Cakraningrat during ceremonies. 

5. Gedong Pangerob

Gedong Pangerob is located on the eastern side, specifically to the north of Gedong Agung Petilan/Gedong Dalem/Gedong Mandaragiri in the inner courtyard (utama mandala), facing west. The base is adorned with characteristic bebadungan reliefs on the north and south sides, with some parts already damaged. There are seven steps leading to the building's platform. The stair railings are made of bricks, and at each end, there are platforms for statues shaped like stone carvings. The body of the building is made from bricks, decorated with protruding pelipit forming characteristic bebadungan reliefs, and in the middle, there is an altar for placing pratima statues during ceremonies, such as the pratima from Pura Tojan, Pura Siman, Pura Daton, Pura Dalem Wirasana, Pura Sekar Ambara, Pura Kahyangan Bajangan, and Pura Petapan Dalem Denpasar. In front of the platform, there are two umpak supporting wooden pillars for the building's roof.

6. Pelinggih Pangenter Pangider Bhuwana

Pelinggih Pangenter Pangider Bhuwana is located in the inner courtyard (utama mandala), facing east, precisely on the southeastern side of the Kori Agung gate/paduraksa. The body of the building is also made from bricks with decorative protruding pelipit, has a sacred space or garbha graha, and the roof of the building is made of bricks arranged in five layers, becoming smaller towards the top, with a peak adorned with a murdha.

7. Pelinggih Pengrurah Agung

Pelinggih Pangrurah Agung is situated in the inner courtyard (utama mandala), facing east, exactly on the northeastern side of the Kori Agung gate/paduraksa. Structurally, it has the same form as the Pelinggih Pangenter Pangider Bhuwana, featuring a sacred space or garbha graha, and the roof of the building is made from bricks arranged in five layers that become smaller as they rise, with a murdha at the peak.

8. Arca Balagana I

The statue stands with both legs bent on a pedestal decorated with karang bentolu. The right hand is bent beside the abdomen, with the fingers clenched and the thumb elongated, while the left hand is bent supporting the end of the trunk. The statue is carved with an elephant head, bulging eyes, and the trunk hanging down towards the left side of the abdomen. 

9. Arca Balagana II

The statue stands with both legs bent on a pedestal decorated with karang bentolu. The left hand is bent beside the abdomen, with fingers clenched and the thumb elongated, while the right hand is bent behind the head holding a flower bud or flower sari. The attributes carried by this statue make it known as nawasari.

10. Arca Dwarapala Nawasari I

The statue is placed standing with the left leg bent higher on a pedestal with a simbar karang motif. The right hand is bent beside the abdomen in a grasping position, where the thumb is folded out between the index and middle fingers, while the left hand is bent behind the head holding a flower bud or flower sari. This attribute is what gives this dwarapala statue the name nawasari. 

11. Arca Dwarapala Nawasari II

The statue is placed standing with the left leg bent higher on a pedestal with a simbar karang motif. The right hand is bent beside the abdomen in a grasping position, where the thumb is folded out between the index and middle fingers, while the left hand is bent behind the head holding a flower bud or flower sari. This attribute is what gives this dwarapala statue the name nawasari. 

12. Arca Tokoh I (Dewa Brahma)

The statue is placed in the niche at the front of Gedong Agung Petilan/Gedong Dalem/Gedong Mandaragiri. The statue is already painted in a combination of red and gold, carved in a standing position with both legs bent on a pedestal with a stone motif. The right hand of the statue is carved bent towards the chest holding a sampur, while the left hand is bent beside the abdomen holding the edge of a cloth. The head of the statue wears a cecandian crown, complete with karang asti at the back, and a petitis on the forehead in a plain shape. 

13. Arca Tokoh II (Dewa Wisnu)

The statue is placed in the niche at the front of Gedong Agung Petilan/Gedong Dalem/Gedong Mandaragiri. The statue is painted in a combination of green and gold, carved in a standing position with both legs bent on a pedestal with a stone motif. The left hand of the statue is carved bent towards the chest holding a sampur. The style and decorative motifs of this second statue are the same as the first, differing only in their facial expressions. The expression of the second statue's face is calm, while the first statue's eyes bulge.

14. Arca Tokoh III (Siwa Mahadewa)

The statue is placed in the middle niche at the front of Gedong Agung Petilan/Gedong Dalem/Gedong Mandara Giri. The statue is painted in a combination of white and gold, carved in a standing position with both legs bent on a petal-shaped pedestal. The statue is carved with four arms, with both hands joined in front of the chest in a mudra position; the right hand holds a flower supported by the left hand, while the two hands at the back are bent upward holding broken laksana attributes. The head of the statue wears a cecandian crown, complete with karang manuk at the back, and a petitis on the forehead in a plain shape. 

15. Arca Mahakala

The Mahakala statue is placed in the niche at the front of Gedong Agung Petilan/Gedong Dalem/Gedong Mandara Giri. The statue is painted in a combination of black and gold, in a half-sitting position with legs crossed on a pedestal with a stone motif. The face is carved to appear fearsome, with bulging eyes and protruding fangs. The right hand is bent in front of the chest holding a gada, while the left hand holds a sampur beside the abdomen. The Mahakala statue is typically a door guardian (dwarapala), usually paired with the Nandiswara statue, but at Pura Agung Petilan, specifically at Gedong Agung Petilan, both statues are placed below and flank the Siwa Mahadewa statue.

16. Arca Nandiswara

The Nandiswara statue is placed in the niche at the front of Gedong Agung Petilan/Gedong Dalem/Gedong Mandara Giri as a door guardian (dwarapala), usually paired with the Mahakala statue. However, at Pura Agung Petilan, specifically at Gedong Agung Petilan, both statues are placed below and flank the Siwa Mahadewa statue.

Pura Dalem Kahyangan Kesiman

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Pura Dalem Kahyangan sebagai tempat pemujaan Dewi Durga oleh masyarakat Desa Adat Kesiman dalam melaksanakan sistem religi dengan menggunakan konsep panca lingga, yaitu Pura Pahoman dan pura Dalem menjadi satu lingga tempat pemujaan Siwa Ludra/Siwa Adhi Guru dan Hyang Giri Putri/Uma Dewi, Pura Desa dan Pura Puseh menjadi 1 lingga tempat memuja Dewa Brahma dan Dewi Sri, Pura Dalem Kahyangan tempat memuja Dewi Durga, Pura Budha Cemeng tempat memuja Dewa Wisnu, dan Pura Kahyangan Sala khusus memuja Dewa Siwa Ludra dan Agni. Pura Dalem Kahyangan kesiman memiliki dua pintu masuk, yaitu sisi utara dibangun aling-aling dengan relief arca rangda dan sisi barat dibangun aling-aling dengan relief arca Garuda. Pura Dalem Kahyangan memiliki struktur tri mandala, yaitu terdiri dari jaba sisi (nista mandala), jaba tengah (madya mandala), dan jeroan (utama mandala). Masing-masing halaman dibatasi oleh tembok, dan candi bentar terbuat dari susunan batu bata. Pada bagian jaba sisi dan jaba tengah terdapat dua buah candi bentar, yaitu di sisi utara dan di sisi barat. 

1. Aling-aling Garuda

Aling-Aling garuda terletak di sisi barat jaba tengah (madya mandala) di pintu masuk sisi barat pura. Aling-aling ini berbentuk Burung Garuda dengan sayap mengembang. Kemungkinan aling-aling ini berkisah tentang cerita Garudeya dalam kisah Samudramanthana. Di bagian bawah kaki Garuda terdapat binatang-binatang seperti Gajah, Kura-Kura, Empas (Bedawangnala), Ular, Macan. Garuda digambarkan dengan Posisi jongkok dengan tangan kanan dan kiri memegang lutut. Pada bagian belakang aling-aling terdapat hiasan sulur-suluran, kepala raksasa yang digambarkan berwajah menyeramkan, mata melotot, bertaring, menggunakan mahkota, tangan berada di samping rahang dengan kuku yang panjang, di bawahnya terdapat relief-relief binatang, namun keadaan yang aus membuat sulit mengidentifikasikan jenis-jenis binatang yang di pahatkan.

2. Aling-aling Rangda (Prajapati)

Aling-aling Rangda atau disebut juga Pura Prajapati berada di sisi utara halaman menggunakan kain di atas lutut motif simbar dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

3. Arca Balagana I 

Arca diletakkan pada Pelinggih Tajuk Ratu Agung berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap abhaya dengan jari ditekuk, tangan kanan kiri sikap abhaya tetapi jari sudah patah. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kanan/walampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan hiasan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang bentolu, menggunakan kain di atas lutut motif polos dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

4. Arca balagana II

Arca diletakkan pada Pelinggih Tajuk Ratu Agung dengan kondisi mulai aus, dan dilapisi pamor, berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap seperti abhaya dengan jari ditekuk, tangan kanan kiri sikap seperti abhaya dengan jari ditekuk. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kiri/itampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang bentulu.

5. Arca Balagana III

Arca berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan memegang belalai, tangan kanan kiri sikap seperti abhaya tetapi jari sudah patah. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kanan/walampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan hiasan kankana motif simbar, hara motif simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif garis dan bunga dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

6. Arca Balagana IV

Arca berdiri di atas lapik persegi motif garis – garis dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap seperti abhaya dengan jari ditekuk, tangan kanan kiri menempel di perut. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kiri/itampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang simbar, menggunakan kain di atas lutut motif simbar dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

7. Bentala 

Bentala merupakan kemuncak sebuah bangunan, diletakkan di bawah sebelah selatan ruang utama mandala. Kondisi bentala baik tetapi sudah ditumbuhi lumut. Terdapat beberapa hiasan, seperti karang manuk, karang bentulu, karang simbar.

8.  Arca Mahakala

Arca diletakkan pada Bale Pengaruman dengan kondisi mulai aus, dan dilapisi pamor yang sudah pudar. Arca digambarkan dengan sikap kaki kanan ditekuk ke depan dan kaki kiri dilipat ke belakang di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri sikap abhaya dengan jempol dilipat ke dalam. 

9. Arca Nandishwara

Arca diletakkan di Bale Pengaruman dengan kondisi mulai aus, dan dilapisi pamor yang sudah pudar. Arca digambarkan dengan sikap kaki kanan dilipat ke belakang dan kaki kiri ditekuk ke depan di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri memegang wiru.

10. Arca Dwarapala I

Arca dipahatkan dengan sikap kaki kanan dilipat ke belakang dan kaki kiri ditekuk ke depan di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri memegang wiru. Menggunakan mahkota ketu terdapat hiasan karang manuk, jamang motif karang simbar, simping motif sulur daun, kundala aus, kankana motif karang bentulu, keyura motif karang simbar, gelang lengan motif sulur dan bunga, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, sampur terjuntai di kanan dan kiri, wiru motif garis vertikal terjuntai sampai lapik, ujung wiru terbelah dua. Gelang kaki motif karang simbar.

11. Arca Pendeta

Arca dipahatkan bersikap bersila di atas lapik yang sudah aus. Bertangan dua, masing – masing, yaitu tangan kanan dengan sikap jari menggenggam dan tangan kiri membawa genta. Wajah persegi, mata aus, hidung sedang, bibir aus, dagu datar berjenggot, menggunakan mahkota ketu dengan hiasan karang manuk.

12. Arca Dwarapala II

Arca dipahatkan sangat menyeramkan menjaga pintu masuk pura, kaki kanan ditekuk ke depan dan kaki kiri dilipat ke belakang di atas lapik persegi motif karang bentolu dan karang manuk. Menggunakan hiasan petitis, kankana motif karang simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, wiru motif bunga terjuntai sampai lapik. Gelang kaki motif karang simbar.

13. Arca dwarapala III

Arca dipahatkan menyeramkan berpasangan dengan arca dwarapala II, bertangan dua, masing – masing, yaitu tangan kanan membawa pedang dan tangan kiri ditekuk di sebelah pinggang posisi menggenggam. Menggunakan hiasan petitis, kankana motif karang simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, wiru motif bunga terjuntai sampai lapik. Gelang kaki motif karang simbar.

1. Aling-aling Garuda

Aling-Aling garuda terletak di sisi barat jaba tengah (madya mandala) di pintu masuk sisi barat pura. Aling-aling ini berbentuk Burung Garuda dengan sayap mengembang. Kemungkinan aling-aling ini berkisah tentang cerita Garudeya dalam kisah Samudramanthana. Di bagian bawah kaki Garuda terdapat binatang-binatang seperti Gajah, Kura-Kura, Empas (Bedawangnala), Ular, Macan. Garuda digambarkan dengan Posisi jongkok dengan tangan kanan dan kiri memegang lutut. Pada bagian belakang aling-aling terdapat hiasan sulur-suluran, kepala raksasa yang digambarkan berwajah menyeramkan, mata melotot, bertaring, menggunakan mahkota, tangan berada di samping rahang dengan kuku yang panjang, di bawahnya terdapat relief-relief binatang, namun keadaan yang aus membuat sulit mengidentifikasikan jenis-jenis binatang yang di pahatkan.

2. Aling-aling Rangda (Prajapati)

Aling-aling Rangda atau disebut juga Pura Prajapati berada di sisi utara halaman menggunakan kain di atas lutut motif simbar dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

3. Arca Balagana I 

Arca diletakkan pada Pelinggih Tajuk Ratu Agung berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap abhaya dengan jari ditekuk, tangan kanan kiri sikap abhaya tetapi jari sudah patah. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kanan/walampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan hiasan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang bentolu, menggunakan kain di atas lutut motif polos dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

4. Arca balagana II

Arca diletakkan pada Pelinggih Tajuk Ratu Agung dengan kondisi mulai aus, dan dilapisi pamor, berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap seperti abhaya dengan jari ditekuk, tangan kanan kiri sikap seperti abhaya dengan jari ditekuk. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kiri/itampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang bentulu.

5. Arca Balagana III

Arca berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan memegang belalai, tangan kanan kiri sikap seperti abhaya tetapi jari sudah patah. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kanan/walampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan hiasan kankana motif simbar, hara motif simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif garis dan bunga dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

6. Arca Balagana IV

Arca berdiri di atas lapik persegi motif garis – garis dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap seperti abhaya dengan jari ditekuk, tangan kanan kiri menempel di perut. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kiri/itampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang simbar, menggunakan kain di atas lutut motif simbar dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

7. Bentala 

Bentala merupakan kemuncak sebuah bangunan, diletakkan di bawah sebelah selatan ruang utama mandala. Kondisi bentala baik tetapi sudah ditumbuhi lumut. Terdapat beberapa hiasan, seperti karang manuk, karang bentulu, karang simbar.

8.  Arca Mahakala

Arca diletakkan pada Bale Pengaruman dengan kondisi mulai aus, dan dilapisi pamor yang sudah pudar. Arca digambarkan dengan sikap kaki kanan ditekuk ke depan dan kaki kiri dilipat ke belakang di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri sikap abhaya dengan jempol dilipat ke dalam. 

9. Arca Nandishwara

Arca diletakkan di Bale Pengaruman dengan kondisi mulai aus, dan dilapisi pamor yang sudah pudar. Arca digambarkan dengan sikap kaki kanan dilipat ke belakang dan kaki kiri ditekuk ke depan di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri memegang wiru.

10. Arca Dwarapala I

Arca dipahatkan dengan sikap kaki kanan dilipat ke belakang dan kaki kiri ditekuk ke depan di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri memegang wiru. Menggunakan mahkota ketu terdapat hiasan karang manuk, jamang motif karang simbar, simping motif sulur daun, kundala aus, kankana motif karang bentulu, keyura motif karang simbar, gelang lengan motif sulur dan bunga, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, sampur terjuntai di kanan dan kiri, wiru motif garis vertikal terjuntai sampai lapik, ujung wiru terbelah dua. Gelang kaki motif karang simbar.

11.Arca Pendeta

Arca dipahatkan bersikap bersila di atas lapik yang sudah aus. Bertangan dua, masing – masing, yaitu tangan kanan dengan sikap jari menggenggam dan tangan kiri membawa genta. Wajah persegi, mata aus, hidung sedang, bibir aus, dagu datar berjenggot, menggunakan mahkota ketu dengan hiasan karang manuk.

12. Arca Dwarapala II

Arca dipahatkan sangat menyeramkan menjaga pintu masuk pura, kaki kanan ditekuk ke depan dan kaki kiri dilipat ke belakang di atas lapik persegi motif karang bentolu dan karang manuk. Menggunakan hiasan petitis, kankana motif karang simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, wiru motif bunga terjuntai sampai lapik. Gelang kaki motif karang simbar.

13. Arca dwarapala III

Arca dipahatkan menyeramkan berpasangan dengan arca dwarapala II, bertangan dua, masing – masing, yaitu tangan kanan membawa pedang dan tangan kiri ditekuk di sebelah pinggang posisi menggenggam. Menggunakan hiasan petitis, kankana motif karang simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, wiru motif bunga terjuntai sampai lapik. Gelang kaki motif karang simbar.

1. Aling-aling Garuda

Aling-Aling garuda terletak di sisi barat jaba tengah (madya mandala) di pintu masuk sisi barat pura. Aling-aling ini berbentuk Burung Garuda dengan sayap mengembang. Kemungkinan aling-aling ini berkisah tentang cerita Garudeya dalam kisah Samudramanthana. Di bagian bawah kaki Garuda terdapat binatang-binatang seperti Gajah, Kura-Kura, Empas (Bedawangnala), Ular, Macan. Garuda digambarkan dengan Posisi jongkok dengan tangan kanan dan kiri memegang lutut. Pada bagian belakang aling-aling terdapat hiasan sulur-suluran, kepala raksasa yang digambarkan berwajah menyeramkan, mata melotot, bertaring, menggunakan mahkota, tangan berada di samping rahang dengan kuku yang panjang, di bawahnya terdapat relief-relief binatang, namun keadaan yang aus membuat sulit mengidentifikasikan jenis-jenis binatang yang di pahatkan.

2. Aling-aling Rangda (Prajapati)

Aling-aling Rangda atau disebut juga Pura Prajapati berada di sisi utara halaman menggunakan kain di atas lutut motif simbar dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

3. Arca Balagana I 

Arca diletakkan pada Pelinggih Tajuk Ratu Agung berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap abhaya dengan jari ditekuk, tangan kanan kiri sikap abhaya tetapi jari sudah patah. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kanan/walampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan hiasan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang bentolu, menggunakan kain di atas lutut motif polos dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

4. Arca balagana II

Arca diletakkan pada Pelinggih Tajuk Ratu Agung dengan kondisi mulai aus, dan dilapisi pamor, berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap seperti abhaya dengan jari ditekuk, tangan kanan kiri sikap seperti abhaya dengan jari ditekuk. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kiri/itampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang bentulu.

5. Arca Balagana III

Arca berdiri di atas lapik persegi motif karang bentolu dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan memegang belalai, tangan kanan kiri sikap seperti abhaya tetapi jari sudah patah. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kanan/walampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan hiasan kankana motif simbar, hara motif simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif garis dan bunga dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

6. Arca Balagana IV

Arca berdiri di atas lapik persegi motif garis – garis dengan kedua kaki sedikit ditekuk. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan sikap seperti abhaya dengan jari ditekuk, tangan kanan kiri menempel di perut. Wajah bulat, mata melotot, belalai terjuntai hingga perut mengarah ke kiri/itampiri, mulut lebar, bibir tebal, dagu lancip, kuping besar, rambut ikal sampai pinggang, leher pendek, dada besar, perut buncit, tangan besar, kaki besar. Menggunakan kankana motif simbar, hara motif simbar, menggunakan udarabandha dengan gasper motif karang simbar, menggunakan kain di atas lutut motif simbar dengan sampur polos terjuntai di kanan dan kiri sampai ke lapik, wiru tanpa motif terjuntai sampai lapik, ujung wiru terbagi dua dengan tiga lipatan, gelang kaki motif simbar.

7. Bentala 

Bentala merupakan kemuncak sebuah bangunan, diletakkan di bawah sebelah selatan ruang utama mandala. Kondisi bentala baik tetapi sudah ditumbuhi lumut. Terdapat beberapa hiasan, seperti karang manuk, karang bentulu, karang simbar.

8.  Arca Mahakala

Arca diletakkan pada Bale Pengaruman dengan kondisi mulai aus, dan dilapisi pamor yang sudah pudar. Arca digambarkan dengan sikap kaki kanan ditekuk ke depan dan kaki kiri dilipat ke belakang di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri sikap abhaya dengan jempol dilipat ke dalam. 

9. Arca Nandishwara

Arca diletakkan di Bale Pengaruman dengan kondisi mulai aus, dan dilapisi pamor yang sudah pudar. Arca digambarkan dengan sikap kaki kanan dilipat ke belakang dan kaki kiri ditekuk ke depan di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri memegang wiru.

10. Arca Dwarapala I

Arca dipahatkan dengan sikap kaki kanan dilipat ke belakang dan kaki kiri ditekuk ke depan di atas lapik persegi motif karang bentulu. Bertangan dua, masing – masing dengan sikap, yaitu tangan kanan membawa gada, tangan kanan kiri memegang wiru. Menggunakan mahkota ketu terdapat hiasan karang manuk, jamang motif karang simbar, simping motif sulur daun, kundala aus, kankana motif karang bentulu, keyura motif karang simbar, gelang lengan motif sulur dan bunga, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, sampur terjuntai di kanan dan kiri, wiru motif garis vertikal terjuntai sampai lapik, ujung wiru terbelah dua. Gelang kaki motif karang simbar.

11. Arca Pendeta

Arca dipahatkan bersikap bersila di atas lapik yang sudah aus. Bertangan dua, masing – masing, yaitu tangan kanan dengan sikap jari menggenggam dan tangan kiri membawa genta. Wajah persegi, mata aus, hidung sedang, bibir aus, dagu datar berjenggot, menggunakan mahkota ketu dengan hiasan karang manuk.

12. Arca Dwarapala II

Arca dipahatkan sangat menyeramkan menjaga pintu masuk pura, kaki kanan ditekuk ke depan dan kaki kiri dilipat ke belakang di atas lapik persegi motif karang bentolu dan karang manuk. Menggunakan hiasan petitis, kankana motif karang simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, wiru motif bunga terjuntai sampai lapik. Gelang kaki motif karang simbar.

13. Arca dwarapala III

Arca dipahatkan menyeramkan berpasangan dengan arca dwarapala II, bertangan dua, masing – masing, yaitu tangan kanan membawa pedang dan tangan kiri ditekuk di sebelah pinggang posisi menggenggam. Menggunakan hiasan petitis, kankana motif karang simbar, menggunakan udarabandha, menggunakan kain di atas lutut motif polos, wiru motif bunga terjuntai sampai lapik. Gelang kaki motif karang simbar.

Pura Dalem Mutering Jagat Kesiman

by with No Comment Explore North Denpasar

Pura Dalem Mutering Jagat terletak di tepi Sungai Ayung. Keberadaanya erat kaitannya dengan Pura Agung Petilan (Pura Ngerebong). Berdasarkan data yang termuat dalam “Eka Ilikita Desa Adat Kesiman”, Pura Dalem Muter dibangun oleh Arya Wang Bang Pinatih di Puri Kertalangu. Lokasinya berada di tempat Ida Dalem Batu Ireng mencapai moksa di tepi We Ayu. “we” berarti air dan “ayu” berarti kedamaian. Lokasi ini sekarang dikenal dengan Sungai Ayung. 

Diceritakan, bahwa setelah Ida Dalem Batu Ireng  mencapai moksa, para pengikutnya mendirikan sebuah tugu peringatan berupa batu besar yang dinamakan Batu Sima. Putranya yang bernama Arya Panji kemudian mendirikan kerajaan yang terletak di Buruan Tegal Asah Sanur sekitar Tahun Saka 1265. Batu peringatan yang terletak di Sungai Ayung kemudian dikenal bernama Batumenjong. 

Seiring berjalannya waktu, ketiga keturunan Ida Dalem Batu Ireng menuju Sungai Ayung yang diikuti oleh Bendesa Manik Mas. Mereka kemudian bertemu di Gaduh mengambil batu peringatan (Batu Sima), dan diletakkan di tepi Sungai Ayung. Ketiga keturunan Dalem Batu Ireng mengikuti yadnya moksa di Sungai Ayung. Bendesa Mas dan Gaduh kemudian membangun grema (desa pakraman) bernama Pendem, lengkap dengan Prahyangan Desa Puseh dan Manik Aji di Hutan Ambengan Abian Nangka (Eka Ilikita Desa Adat Kesiman, 1990: 3-4).

Di tepi Sungai Ayung tepat di tempat Ida Dalem Batu Ireng moksa, Arya Wang Bang Pinatih bertemu dengan masyarakat Bali, dan memperkenalkan diri sebagai utusan dari Sang Prabhu Majapahit untuk melanjutkan Simakrama yang dijalankan oleh masyarakat Bali di wilayah kekuasaan Dalem Batu Ireng. Wilayah tersebut bernama Ngerebongan. Setelah Arya Wang Bang  menerima warisan dari Ida Dalem Batu Ireng (Dalem Moksa) di tepi Sungai Ayung, kemudian Arya Wang Bang mengukuhkan tempat peninggalan Ida Dalem Batu Ireng dengan nama Kusima dan tempat inti Ida Dalem Batu Ireng moksa apengrebongan bernama Amuter Bhuana. Arya Wang Bang menegaskan arti Kusima, yaitu “ku” berarti kukuh atau kuat dan “sima” merupakan wilayah Prahyangan Dalem Muter. Prahyangan yang dibangun oleh Arya Wang Bang di tepi Sungai Ayung selesai pada hari Wraspati wuku Sungsang (Sugihan Jawa), sebagai penanda masyarakat Bali yang berasal dari Jawa melaksanakan upacara piodalan Sugihan Jawa. Kemudian kata Kusima lama kelamaan disebut dengan Kesiman hingga saat ini (Eka Ilikita Desa Adat Kesiman, 1990: 4). 

Pura Dalem Mutering Jagat Kesiman terletak pada koordinat  50 L 0307399; UTM 9043602; 38 Mdpl, tepat di timur Dam Sungai Ayung di lingkungan Kertapura, Desa Kesiman Kertalangu. Pura ini memiliki halaman yang begitu luas. Selain itu, pura ini juga menggunakan konsep Tri Mandala yang terdiri dari halaman luar (nista mandala/jaba sisi), halaman tengah (madya mandala/jaba tengah) dan halaman utama (utama mandala/jeroan). Halaman tengah dihubungkan dengan gapura Kori Agung untuk masuk ke halaman utama.

1. Tugu (Pelinggih Ratu Penglurah Pengider Bhuana)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian yakni bagian kaki, badan, dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan, dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat bertumpang 3 dengan hiasan kemuncak seperti mahkota di bagian atasnya.

2. Tugu (Pelinggih Ratu Penglurah Agung)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian yakni bagian kaki, badan dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat semakin keatas semakin mengecil seperti piramida, serta terdapat hiasan kuncup bulat pada puncaknya.

3. Tugu (Pelinggih Ratu Penglurah Jong)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian, yakni bagian kaki, badan, dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, dan terdapat tangga berjumlah 4 pada sisi depannya. Sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan, dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat bertumpang 3 dengan hiasan kemuncak seperti kuncup bulat di bagian atasnya.

4. Gapura Kori Agung 

Gapura ini terbuat dari susunan batu bata yang disusun sederhana dengan 3 pintu masuk untuk menuju halaman utama (jeroan). Pada sisi depan gapura bagian bawah, tepatnya di tengah-tengah terdapat 7 buah anak tangga yang dibuat dengan susunan batu kali. Pada bagian tengah gapura dibuat dengan pola bangunan lebih besar dan tinggi, serta bagian atapnya terdiri dari 5 tingkatan berbentuk persegi empat semakin keatas semakin mengecil dengan hiasan simbar pada setiap sisinya. 

5. Belong 

Belong merupakan tempat air yang terbuat dari batu padas, atau disebut juga gentong berbentuk polos tanpa hiasan dengan bentuk bulat. Bagian kaki kendi dibuat agak mengecil pada bagian bawahnya, sementara bagian atas kendi terdapat tepian bibir untuk penyangga tutup kendi. Tutup kendi dibuat agak meruncing, serta di dalam kendi terdapat lubang yang cukup dalam dan lebar untuk tempat menaruh air.

6. Arca Perwujudan Bhatari

Arca perwujudan bhatari dengan sikap duduk bersimpuh diatas lapik yang berhiaskan sulur-suluran. Posisi tangan kanan ditekuk di sebelah pinggang, sementara tangan kiri lurus diletakkan diatas paha kiri. Pada bagian telinga memakai perhiasan, bagian leher menggunakan kalung, bagian dada di tengah-tengah terdapat hiasan menjuntai, serta pada bagian pinggang terlihat menggunakan kain hingga ke lutut. Bibir dalam keadaan tersenyum, sementara rambut berbentuk ikal dan terurai di belakang.

7. Arca Perwujudan Bhatara

Arca perwujudan bhatara duduk diatas lapik berhiaskan sulur-suluran dengan posisi kaki kiri dilipat ke belakang seperti bersimpuh dan kaki kanan ditekuk ke depan. Posisi tangan kiri agak ditekuk ke belakang seperti memegang ikat pinggang dan tangan kanan dilipat kedepan seperti memegang benda menghadap keatas. Telinga menggunakan anting, lengan kiri dan kanan menggunakan gelang, pada bagian dada, dan pinggang menggunakan hiasan, serta pada bagian paha kanan dan kiri terlihat menggunakan kain yang menjuntai hingga kaki. Posisi mulut dalam keadaan tersenyum.

8. Arca Perwujudan Wanita

Arca perwujudan seorang wanita dengan posisi kaki bersimpuh ditutupi kain yang terjuntai pada bagian depannya. Posisi tangan dalam sikap asana menempel di depan dada di tengah-tengah. Kepala memakai hiasan, telinga memakai anting, kedua tangan memakai gelang, jari manis memakai cincin, leher memakai hiasan, dada memakai hiasan, mulut tertutup, serta pandangan mata menghadap kebawah.

9. Arca Perwujudan Laki-laki

Arca perwujudan seorang laki-laki dengan posisi kaki bersila ditutupi kain yang terjuntai pada bagian depannya. Posisi tangan dalam sikap asana menempel di depan dada di tengah-tengah. Kepala memakai hiasan, telinga memakai anting, kedua tangan memakai gelang, jari manis memakai cincin, leher memakai hiasan, dada memakai hiasan,  mulut tertutup, serta mata menghadap ke bawah.

10.Arca Dwarapala I

Arca penjaga dalam posisi jongkok diatas lapik berhiaskan sulur-suluran dengan posisi kaki kanan dilipat kedalam dan kaki kiri ditekuk di depan. Posisi kedua tangan ditekuk di sebelah pinggang dengan jari-jari mengepal. Wajah arca terlihat menyeramkan dengan mata melotot dan mulut terbuka, serta terdapat taring. Lengan memakai hiasan gelang, kepala memakai hiasan, serta rambut diikat agak tinggi. Terlihat memakai kancut pada bagian tengah kaki

11. Arca Dwarapala II

Arca penjaga dalam posisi jongkok diatas lapik berhiaskan sulur-suluran dengan posisi kaki kiri dilipat kedalam dan kaki kanan ditekuk di depan. Posisi kedua tangan ditekuk di sebelah pinggang dengan jari-jari mengepal. Wajah arca terlihat menyeramkan dengan mata melotot dan mulut terbuka, serta terdapat taring. Lengan memakai hiasan gelang, kepala memakai hiasan, memakai hiasan di dada, memakai ikat pinggang, serta rambut diikat agak tinggi. Terlihat memakai kancut pada bagian tengah kaki.

12. Fragmen Arca

Fragmen arca karena bagian kepala telah patah dan hilang. Terlihat arca dalam posisi berdiri diatas lapik. Sementara permukaan arca telah aus dan tidak dapat diidentifikasi secara ikonografi.

13. Batu Alam

Batu alam berbentuk persegi empat agak lonjong pada salah satu sudut, bentuknya tidak beraturan, ditemukan 6 buah batu alam di Pura Dalem Mutering Jagat Kesiman. 

14. Arca Dwarapala III

Arca dwarapala merupakan arca penjaga pintu berdiri diatas lapik berhias dengan sikap kaki agak ditekuk. Posisi tangan kanan dibentangkan di depan dada memegang senjata, sementara tangan kiri memegang sesuatu di pinggang. Tangan memakai gelang, memakai hiasan telinga, hiasan bahu. Terlihat memakai kain menjuntai ke samping kanan dan kiri, serta kancut pada bagian depan yang menjuntai ke bawah. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring, rambut tergerai panjang di belakang.

15. Arca Dwarapala IV

Arca dwarapala berdiri diatas lapik berhiaskan sulur-suluran dan terdapat hiasan kedok muka. Posisi kaki keduanya agak ditekuk. Posisi tangan kanan ditekuk di sebelah dada memegang senjata, sementara tangan tangan kiri menempel di perut. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring, rambut tergerai di belakang. Kedua tangan memakai gelang, leher memakai hiasan, memakai kain diatas lutut, serta terdapat kancut di bagian depan yang terjuntai kebawah.

16. Arca Dwarapala V 

Arca dwarapala duduk diatas lapik dengan posisi kaki kanan ditekuk di depan, sementara kaki kiri dilipat ke belakang. Posisi tangan kiri ditekuk menghadap ke depan di sebelah dada, serta tangan kanan diletakkan diatas paha kanan dengan posisi terlipat memegang sesuatu. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring tajam, dan rambut ikal terurai di belakang. Memakai gelang pada kedua tangan, memakai hiasan telinga, memakai hiasan perut, serta terdapat kain pada bagian depan.

17. Arca Dwarapala VI

Arca dwarapala duduk diatas lapik dengan posisi kaki kanan ditekuk di depan, sementara kaki kiri dilipat ke belakang. Posisi tangan kanan dibentangkan ke bahu kiri memegang sesuatu, serta tangan kiri ditekuk di sebelah pinggang diletakkan diatas paha kiri dengan menjulurkan dua jari kedepan. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring yang tajam, rambut ikal terurai di belakang. Kedua lengan dan pergelangan tangan memakai gelang, serta terlihat kain terjuntai kebawah pada sisi depan dengan motif hias bunga dan garis.

1. Tugu (Pelinggih Ratu Penglurah Pengider Bhuana)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian yakni bagian kaki, badan, dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan, dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat bertumpang 3 dengan hiasan kemuncak seperti mahkota di bagian atasnya.

2. Tugu (Pelinggih Ratu Penglurah Agung)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian yakni bagian kaki, badan dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat semakin keatas semakin mengecil seperti piramida, serta terdapat hiasan kuncup bulat pada puncaknya.

3. Tugu (Pelinggih Ratu Penglurah Jong)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian, yakni bagian kaki, badan, dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, dan terdapat tangga berjumlah 4 pada sisi depannya. Sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan, dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat bertumpang 3 dengan hiasan kemuncak seperti kuncup bulat di bagian atasnya.

4. Gapura Kori Agung 

Gapura ini terbuat dari susunan batu bata yang disusun sederhana dengan 3 pintu masuk untuk menuju halaman utama (jeroan). Pada sisi depan gapura bagian bawah, tepatnya di tengah-tengah terdapat 7 buah anak tangga yang dibuat dengan susunan batu kali. Pada bagian tengah gapura dibuat dengan pola bangunan lebih besar dan tinggi, serta bagian atapnya terdiri dari 5 tingkatan berbentuk persegi empat semakin keatas semakin mengecil dengan hiasan simbar pada setiap sisinya. 

5. Belong 

Belong merupakan tempat air yang terbuat dari batu padas, atau disebut juga gentong berbentuk polos tanpa hiasan dengan bentuk bulat. Bagian kaki kendi dibuat agak mengecil pada bagian bawahnya, sementara bagian atas kendi terdapat tepian bibir untuk penyangga tutup kendi. Tutup kendi dibuat agak meruncing, serta di dalam kendi terdapat lubang yang cukup dalam dan lebar untuk tempat menaruh air.

6. Arca Perwujudan Bhatari

Arca perwujudan bhatari dengan sikap duduk bersimpuh diatas lapik yang berhiaskan sulur-suluran. Posisi tangan kanan ditekuk di sebelah pinggang, sementara tangan kiri lurus diletakkan diatas paha kiri. Pada bagian telinga memakai perhiasan, bagian leher menggunakan kalung, bagian dada di tengah-tengah terdapat hiasan menjuntai, serta pada bagian pinggang terlihat menggunakan kain hingga ke lutut. Bibir dalam keadaan tersenyum, sementara rambut berbentuk ikal dan terurai di belakang.

7. Arca Perwujudan Bhatara

Arca perwujudan bhatara duduk diatas lapik berhiaskan sulur-suluran dengan posisi kaki kiri dilipat ke belakang seperti bersimpuh dan kaki kanan ditekuk ke depan. Posisi tangan kiri agak ditekuk ke belakang seperti memegang ikat pinggang dan tangan kanan dilipat kedepan seperti memegang benda menghadap keatas. Telinga menggunakan anting, lengan kiri dan kanan menggunakan gelang, pada bagian dada, dan pinggang menggunakan hiasan, serta pada bagian paha kanan dan kiri terlihat menggunakan kain yang menjuntai hingga kaki. Posisi mulut dalam keadaan tersenyum.

8. Arca Perwujudan Wanita

Arca perwujudan seorang wanita dengan posisi kaki bersimpuh ditutupi kain yang terjuntai pada bagian depannya. Posisi tangan dalam sikap asana menempel di depan dada di tengah-tengah. Kepala memakai hiasan, telinga memakai anting, kedua tangan memakai gelang, jari manis memakai cincin, leher memakai hiasan, dada memakai hiasan, mulut tertutup, serta pandangan mata menghadap kebawah.

9. Arca Perwujudan Laki-laki

Arca perwujudan seorang laki-laki dengan posisi kaki bersila ditutupi kain yang terjuntai pada bagian depannya. Posisi tangan dalam sikap asana menempel di depan dada di tengah-tengah. Kepala memakai hiasan, telinga memakai anting, kedua tangan memakai gelang, jari manis memakai cincin, leher memakai hiasan, dada memakai hiasan,  mulut tertutup, serta mata menghadap ke bawah.

10.Arca Dwarapala I

Arca penjaga dalam posisi jongkok diatas lapik berhiaskan sulur-suluran dengan posisi kaki kanan dilipat kedalam dan kaki kiri ditekuk di depan. Posisi kedua tangan ditekuk di sebelah pinggang dengan jari-jari mengepal. Wajah arca terlihat menyeramkan dengan mata melotot dan mulut terbuka, serta terdapat taring. Lengan memakai hiasan gelang, kepala memakai hiasan, serta rambut diikat agak tinggi. Terlihat memakai kancut pada bagian tengah kaki.

11. Arca Dwarapala II

Arca penjaga dalam posisi jongkok diatas lapik berhiaskan sulur-suluran dengan posisi kaki kiri dilipat kedalam dan kaki kanan ditekuk di depan. Posisi kedua tangan ditekuk di sebelah pinggang dengan jari-jari mengepal. Wajah arca terlihat menyeramkan dengan mata melotot dan mulut terbuka, serta terdapat taring. Lengan memakai hiasan gelang, kepala memakai hiasan, memakai hiasan di dada, memakai ikat pinggang, serta rambut diikat agak tinggi. Terlihat memakai kancut pada bagian tengah kaki.

12. Fragmen Arca

Fragmen arca karena bagian kepala telah patah dan hilang. Terlihat arca dalam posisi berdiri diatas lapik. Sementara permukaan arca telah aus dan tidak dapat diidentifikasi secara ikonografi.

13. Batu Alam

Batu alam berbentuk persegi empat agak lonjong pada salah satu sudut, bentuknya tidak beraturan, ditemukan 6 buah batu alam di Pura Dalem Mutering Jagat Kesiman. 

14. Arca Dwarapala III

Arca dwarapala merupakan arca penjaga pintu berdiri diatas lapik berhias dengan sikap kaki agak ditekuk. Posisi tangan kanan dibentangkan di depan dada memegang senjata, sementara tangan kiri memegang sesuatu di pinggang. Tangan memakai gelang, memakai hiasan telinga, hiasan bahu. Terlihat memakai kain menjuntai ke samping kanan dan kiri, serta kancut pada bagian depan yang menjuntai ke bawah. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring, rambut tergerai panjang di belakang.

15. Arca Dwarapala IV

Arca dwarapala berdiri diatas lapik berhiaskan sulur-suluran dan terdapat hiasan kedok muka. Posisi kaki keduanya agak ditekuk. Posisi tangan kanan ditekuk di sebelah dada memegang senjata, sementara tangan tangan kiri menempel di perut. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring, rambut tergerai di belakang. Kedua tangan memakai gelang, leher memakai hiasan, memakai kain diatas lutut, serta terdapat kancut di bagian depan yang terjuntai kebawah.

16. Arca Dwarapala V 

Arca dwarapala duduk diatas lapik dengan posisi kaki kanan ditekuk di depan, sementara kaki kiri dilipat ke belakang. Posisi tangan kiri ditekuk menghadap ke depan di sebelah dada, serta tangan kanan diletakkan diatas paha kanan dengan posisi terlipat memegang sesuatu. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring tajam, dan rambut ikal terurai di belakang. Memakai gelang pada kedua tangan, memakai hiasan telinga, memakai hiasan perut, serta terdapat kain pada bagian depan.

17. Arca Dwarapala VI

Arca dwarapala duduk diatas lapik dengan posisi kaki kanan ditekuk di depan, sementara kaki kiri dilipat ke belakang. Posisi tangan kanan dibentangkan ke bahu kiri memegang sesuatu, serta tangan kiri ditekuk di sebelah pinggang diletakkan diatas paha kiri dengan menjulurkan dua jari kedepan. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring yang tajam, rambut ikal terurai di belakang. Kedua lengan dan pergelangan tangan memakai gelang, serta terlihat kain terjuntai kebawah pada sisi depan dengan motif hias bunga dan garis.

1. Tugu (Pelinggih Ratu Penglurah Pengider Bhuana)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian yakni bagian kaki, badan, dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan, dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat bertumpang 3 dengan hiasan kemuncak seperti mahkota di bagian atasnya.

2. Tugu (Pelinggih Ratu Penglurah Agung)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian yakni bagian kaki, badan dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat semakin keatas semakin mengecil seperti piramida, serta terdapat hiasan kuncup bulat pada puncaknya.

3. Tugu (Pelinggih Ratu Penglurah Jong)

Struktur bangunan pelinggih ini terbuat dari susunan batu bata yang disusun sederhana, serta berdenah persegi empat. Pelinggih terdiri dari 3 bagian, yakni bagian kaki, badan, dan atap. Pada bagian kaki dibuat polos dengan bentuk persegi empat, dan terdapat tangga berjumlah 4 pada sisi depannya. Sementara pada bagian badan terdapat ceruk persegi empat sebagai tempat bersthananya Tuhan, dan tempat untuk meletakkan sesaji (banten/canang). Pada bagian atap pelinggih dibuat bertumpang 3 dengan hiasan kemuncak seperti kuncup bulat di bagian atasnya.

4. Gapura Kori Agung 

Gapura ini terbuat dari susunan batu bata yang disusun sederhana dengan 3 pintu masuk untuk menuju halaman utama (jeroan). Pada sisi depan gapura bagian bawah, tepatnya di tengah-tengah terdapat 7 buah anak tangga yang dibuat dengan susunan batu kali. Pada bagian tengah gapura dibuat dengan pola bangunan lebih besar dan tinggi, serta bagian atapnya terdiri dari 5 tingkatan berbentuk persegi empat semakin keatas semakin mengecil dengan hiasan simbar pada setiap sisinya. 

5. Belong 

Belong merupakan tempat air yang terbuat dari batu padas, atau disebut juga gentong berbentuk polos tanpa hiasan dengan bentuk bulat. Bagian kaki kendi dibuat agak mengecil pada bagian bawahnya, sementara bagian atas kendi terdapat tepian bibir untuk penyangga tutup kendi. Tutup kendi dibuat agak meruncing, serta di dalam kendi terdapat lubang yang cukup dalam dan lebar untuk tempat menaruh air.

6. Arca Perwujudan Bhatari

Arca perwujudan bhatari dengan sikap duduk bersimpuh diatas lapik yang berhiaskan sulur-suluran. Posisi tangan kanan ditekuk di sebelah pinggang, sementara tangan kiri lurus diletakkan diatas paha kiri. Pada bagian telinga memakai perhiasan, bagian leher menggunakan kalung, bagian dada di tengah-tengah terdapat hiasan menjuntai, serta pada bagian pinggang terlihat menggunakan kain hingga ke lutut. Bibir dalam keadaan tersenyum, sementara rambut berbentuk ikal dan terurai di belakang.

7. Arca Perwujudan Bhatara

Arca perwujudan bhatara duduk diatas lapik berhiaskan sulur-suluran dengan posisi kaki kiri dilipat ke belakang seperti bersimpuh dan kaki kanan ditekuk ke depan. Posisi tangan kiri agak ditekuk ke belakang seperti memegang ikat pinggang dan tangan kanan dilipat kedepan seperti memegang benda menghadap keatas. Telinga menggunakan anting, lengan kiri dan kanan menggunakan gelang, pada bagian dada, dan pinggang menggunakan hiasan, serta pada bagian paha kanan dan kiri terlihat menggunakan kain yang menjuntai hingga kaki. Posisi mulut dalam keadaan tersenyum.

8. Arca Perwujudan Wanita

Arca perwujudan seorang wanita dengan posisi kaki bersimpuh ditutupi kain yang terjuntai pada bagian depannya. Posisi tangan dalam sikap asana menempel di depan dada di tengah-tengah. Kepala memakai hiasan, telinga memakai anting, kedua tangan memakai gelang, jari manis memakai cincin, leher memakai hiasan, dada memakai hiasan, mulut tertutup, serta pandangan mata menghadap kebawah.

9. Arca Perwujudan Laki-laki

Arca perwujudan seorang laki-laki dengan posisi kaki bersila ditutupi kain yang terjuntai pada bagian depannya. Posisi tangan dalam sikap asana menempel di depan dada di tengah-tengah. Kepala memakai hiasan, telinga memakai anting, kedua tangan memakai gelang, jari manis memakai cincin, leher memakai hiasan, dada memakai hiasan,  mulut tertutup, serta mata menghadap ke bawah.

10.Arca Dwarapala I

Arca penjaga dalam posisi jongkok diatas lapik berhiaskan sulur-suluran dengan posisi kaki kanan dilipat kedalam dan kaki kiri ditekuk di depan. Posisi kedua tangan ditekuk di sebelah pinggang dengan jari-jari mengepal. Wajah arca terlihat menyeramkan dengan mata melotot dan mulut terbuka, serta terdapat taring. Lengan memakai hiasan gelang, kepala memakai hiasan, serta rambut diikat agak tinggi. Terlihat memakai kancut pada bagian tengah kaki.

11. Arca Dwarapala II

Arca penjaga dalam posisi jongkok diatas lapik berhiaskan sulur-suluran dengan posisi kaki kiri dilipat kedalam dan kaki kanan ditekuk di depan. Posisi kedua tangan ditekuk di sebelah pinggang dengan jari-jari mengepal. Wajah arca terlihat menyeramkan dengan mata melotot dan mulut terbuka, serta terdapat taring. Lengan memakai hiasan gelang, kepala memakai hiasan, memakai hiasan di dada, memakai ikat pinggang, serta rambut diikat agak tinggi. Terlihat memakai kancut pada bagian tengah kaki.

12. Fragmen Arca

Fragmen arca karena bagian kepala telah patah dan hilang. Terlihat arca dalam posisi berdiri diatas lapik. Sementara permukaan arca telah aus dan tidak dapat diidentifikasi secara ikonografi.

13. Batu Alam

Batu alam berbentuk persegi empat agak lonjong pada salah satu sudut, bentuknya tidak beraturan, ditemukan 6 buah batu alam di Pura Dalem Mutering Jagat Kesiman. 

14. Arca Dwarapala III

Arca dwarapala merupakan arca penjaga pintu berdiri diatas lapik berhias dengan sikap kaki agak ditekuk. Posisi tangan kanan dibentangkan di depan dada memegang senjata, sementara tangan kiri memegang sesuatu di pinggang. Tangan memakai gelang, memakai hiasan telinga, hiasan bahu. Terlihat memakai kain menjuntai ke samping kanan dan kiri, serta kancut pada bagian depan yang menjuntai ke bawah. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring, rambut tergerai panjang di belakang.

15. Arca Dwarapala IV

Arca dwarapala berdiri diatas lapik berhiaskan sulur-suluran dan terdapat hiasan kedok muka. Posisi kaki keduanya agak ditekuk. Posisi tangan kanan ditekuk di sebelah dada memegang senjata, sementara tangan tangan kiri menempel di perut. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring, rambut tergerai di belakang. Kedua tangan memakai gelang, leher memakai hiasan, memakai kain diatas lutut, serta terdapat kancut di bagian depan yang terjuntai kebawah.

16. Arca Dwarapala V 

Arca dwarapala duduk diatas lapik dengan posisi kaki kanan ditekuk di depan, sementara kaki kiri dilipat ke belakang. Posisi tangan kiri ditekuk menghadap ke depan di sebelah dada, serta tangan kanan diletakkan diatas paha kanan dengan posisi terlipat memegang sesuatu. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring tajam, dan rambut ikal terurai di belakang. Memakai gelang pada kedua tangan, memakai hiasan telinga, memakai hiasan perut, serta terdapat kain pada bagian depan.

17. Arca Dwarapala VI

Arca dwarapala duduk diatas lapik dengan posisi kaki kanan ditekuk di depan, sementara kaki kiri dilipat ke belakang. Posisi tangan kanan dibentangkan ke bahu kiri memegang sesuatu, serta tangan kiri ditekuk di sebelah pinggang diletakkan diatas paha kiri dengan menjulurkan dua jari kedepan. Wajah terlihat seram dengan mata melotot, mulut terbuka memperlihatkan taring yang tajam, rambut ikal terurai di belakang. Kedua lengan dan pergelangan tangan memakai gelang, serta terlihat kain terjuntai kebawah pada sisi depan dengan motif hias bunga dan garis.