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.
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