Pura Puseh Sumerta is located on Gang Merak, Jl. Kenyeri, Banjar Sima, Desa Sumerta Kaja, Kecamatan Denpasar Timur, Denpasar. It is situated at coordinates 50 L 0305218 UTM 9043892 (58 meters above sea level). The precise historical background of Pura Puseh Sumerta has not yet been found in writing, but the author attempts to compile the history of the existence of Desa Sumerta based on interviews and literature studies. According to stories from local elders documented in Eka Suwarnita Desa Adat Sumerta (2014: 2-3), it is said that Desa Sumerta was formerly known as Wongaya, which gradually evolved into Sumerta Wongaya. The term "Sumerta" is derived from the name of a ruler of the region at that time, found in the Babad Ki Bendesa Kerobokan Badung. The following is an excerpt from the chronicle:
“…walian ikang kata, ceritanen mangke tmajanira Ki Gusti Pasek Gelgel Aan, pada sahing Hyang Widi, apasanakan rahning nalikang rat, tembenia Gde Pasek Sumerta tmajanira Ki Gusti Pasek Aan, angalih lungguh mareng jagat bandana, sira kawuwus Pasek Sumerta, muang lungguh hira raju ingaranan Sumerta, apan sira Ki Pasek Gegel winuwus widagda wicaksana, sida pwa sira anampa sajnira Sang Natheng Bandana…” (Anonim, 2014: 3)
The departure of Ki Pasek Sumerta to Jagat Bandana (Badung), according to the story above, is estimated to have occurred at the end of the reign of Dalem Waturenggong. The word "Sumerta" appears several times in the excerpt above when mentioning figures, and based on interviews with the temple keeper of Pura Puseh Sumerta, it was also explained that Desa Sumerta was once led by a figure named I Gusti Ngurah Sumerta. This gives rise to the assumption that the area formerly known as Wongaya changed its name to Sumerta due to the lineage of the figure who once ruled this area, namely Gde Pasek Sumerta according to the Babad Ki Bendesa Kerobokan Badung and I Gusti Ngurah Sumerta according to the testimony of the temple keeper of Pura Puseh Sumerta.
Regarding the existence of Pura Puseh Sumerta, its construction background can be traced through a 15th-century Saka inscription that is still kept by the family of the temple keepers of Puseh Sumerta in Banjar Sima. The inscription mainly contains orders from I Gusti Ngurah Sumerta to Ki Bendesa Bekung in Sumerta Wongaya, to promptly build Pura Puseh and Pura Kebon within a year in exchange for land complete with seeds/seedlings (Anonymous, 2014: 3). Pura Puseh Sumerta has a tri mandala structure, which consists of jaba sisi (nista mandala) as the open yard, jaba tengah (madya mandala), and jeroan (utama mandala). Symbolically, these three yards are connected to the concept of Tri Bhuwana, which represents the levels of the universe (bhuwana agung), where nista mandala symbolizes bhurloka (the mortal realm for humans), madya mandala symbolizes bwahloka (the realm of ancestors/souls or the transitional realm), and utama mandala symbolizes swah loka (the realm of the gods or the eternal world). In accordance with the temple construction patterns in Bali, Pura Puseh Sumerta features three courtyards with slight variations, where the nista mandala (the outermost yard) is not surrounded by walls but is an open courtyard (alley) on the southern side.
The utama mandala (jeroan/the holiest courtyard) and madya mandala (jaba tengah) are surrounded by a wall made of red bricks and are bounded by a gate/paduraksa. Meanwhile, the nista mandala is separated from the madya mandala by a candi bentar and a red brick wall. Pura Puseh Sumerta can be categorized as a Cultural Heritage site because it contains objects, structures, and buildings of cultural significance.
Pura Puseh Sumerta has the character of a Pura Kahyangan Tiga, a place of worship dedicated to Ida Sang Hyang Widhi in His manifestation as Dewa Wisnu along with His sakti. Based on the temple's characteristics, the supporting community consists of the residents of Banjar Tegal Kuwalon and Banjar Sima, while the worship of Pura Puseh Sumerta is conducted by the community of Desa Pakraman Sumerta, with the piodalan ceremony held every Purnama Sasih Katiga.
1. Gapura/Paduraksa Kori Agung
The gapura/paduraksa, which can be categorized as a Cultural Heritage structure, serves as the boundary and entrance from the jaba tengah (madya mandala) courtyard to the jeroan (utama mandala) courtyard. This gapura/paduraksa structure is divided into three parts: the base, body, and roof. The base is made of large long stone blocks with five steps in the center. The presence of these large long stone blocks suggests that the base of the gapura is still original and has not undergone repairs, while the body and roof have been renovated in 1941, as indicated by the year found on the northern side wall. The door leaves are made of brown wood, and above the doorframe is adorned with a kala head made of coral boma, featuring bulging eyes and protruding fangs. Both sides of the gapura's body are decorated with subeng in the shape of dove footprints, ears, and util. The roof of the gapura consists of five tiers, each tier decreasing in size as it rises, with each corner adorned with simbar duduk, simbar gantung, and antefik decorations in the form of leaf vines, culminating in a menur/murdha at the peak of the roof.
2. Gedong Ratu Puseh
Gedong Ratu Puseh, which can be categorized as a Cultural Heritage building, is the central structure in Pura Puseh Sumerta, located in the jeroan (utama mandala) courtyard. This Gedong Ratu Puseh building is divided into three parts: the base, body, and roof. The base of the building is made of stones that are estimated to be older than the body and roof, which are constructed from a series of stone blocks with five steps in the center. Some parts of the base are adorned with karang tapel at the front corners, karang manuk at the back corners, karang gajah at the bottom corners, and karang bintolo (eye coral) on the front face. The structure also features pelipit patterns forming a decorative motif of patra kakul and patra mas-masan, along with relief panels carved with Egyptian motifs. The body of the building is also made of stone and decorated with pelipit, with the front lower corners embellished with karang tapel. It has two entrances leading to the garbha graha, made of brown wood. In the front terrace, there are three lion statues supporting a wooden post on their backs, and in the center of the terrace stands a statue of Ganesha. The roof of the building is constructed from wood and thatch, topped with terracotta decorations.
3. Arca Ganesha
The statue is carved in a seated position with a wirasana pose on a double lotus pedestal, standing 9 cm tall, and leans against a stela. The body of the statue is plump and has a protruding belly. The hair is adorned with a crown shaped like petals that narrow towards the top, arranged in three layers. The eyes are open, and there is a hole in the center of the forehead, possibly part of a decorative skull. The trunk hangs to the left, likely drawing from the contents of a patra, while an upawita, represented by a snake, crosses from the left shoulder to the right waist. Both fangs (danta) are broken. The statue features a large kundala that covers part of the ear, with four arms (chaturbhuja). The right front hand holds an object that is broken, possibly a fragment of a danta; the right back hand carries an aksamala; the left back hand holds a parasu, and the left front hand supports a patra that rests on the trunk. The legs of the statue have anklets made of a series of beads, and the lower part of the statue is draped in a knee-length cloth patterned with geometric squares, complemented by sampur and uncal on both sides of the waist.
4. Lingga
The found lingga is placed alongside the statues representing bhatara and bhatari at Pura Alit (Pura Purbakala). It is a complete lingga (tri bhaga) consisting of three parts: the brahma bhaga as the base in a square shape, the wisnu bhaga in the middle with an octagonal form, and the siwa bhaga at the top, which is circular. Additionally, the lingga features a spout on the front side of the circular part (siwa bhaga).
5. Arca Perwujudan Bhatara – Bhatari di Pura Alit
The statues are arranged in a line on a stone base, sharing similar iconographic features and are estimated to date from the 11th to the 15th centuries AD. A total of 17 statues were found, some of which are intact while others are damaged. Generally, the statues are carved to stand upright, resembling a corpse, in a samabhanga posture. They likely stood on a base, but the base down to the ankles is covered with cement, leaning against a stela with an egg-shaped top and large round breasts. The hair is adorned with a crown shaped like a stack of petals that diminishes in size upward, complemented by a broad petitis on the forehead and behind the ears decorated with decorative elements. The face appears flat, as the eyes, lips, and nose have eroded over time. The statues wear kundala that hang down to touch the shoulders, with both arms bent forward resting on the waist, holding round objects. Each wrist and ankle features kankana in simple twisted patterns stacked in threes. The keyura on the arms consists of leaf-like curls forming a triangle similar to a mountain. They are draped in plain-patterned cloth that reaches the knees, with a fold at the waist touching the base, and the waist is adorned with sampur and uncal hanging down.
6. Arca Balagana I
The statue is carved with the head of an elephant, standing in an abhanga posture on a seat-like pedestal adorned with vine motifs, complete with a patra kakul. The right leg is bent higher than the left leg, and the facial expression is depicted as fierce, with tusks protruding, bulging eyes, and wide ears. The right hand is directed backward holding a lotus bud, while the left hand rests beside the belly, supporting the tip of the trunk. The hair is carved in loose curls, using a wide petitis on the forehead. Both hands wear keyura on each arm and kankana on the wrists. The neck is adorned with a decorative motif of vine patterns, and the udarabandha embellishes the waist with a motif of karang manuk. The legs also have kankana, and a cloth covers them up to the knees, featuring a wiron with split ends that touch the pedestal.
7. Arca Balagana II
The statue is carved with the head of an elephant, standing in an abhanga posture on a seat-like pedestal adorned with vine motifs, complete with a patra kakul. The left leg is bent higher than the right leg, and the facial expression is depicted as fierce, with tusks protruding, bulging eyes, and wide ears. The right hand is directed backward holding a lotus bud, while the left hand rests beside the belly, supporting the tip of the trunk. The hair is carved in loose curls, using a wide petitis on the forehead. Both hands wear keyura on each arm and kankana on the wrists. The neck is decorated with vine motif patterns, and the udarabandha embellishes the waist with a motif of karang manuk. The legs also have kankana, and a cloth covers them up to the knees, featuring a wiron with split ends that touch the pedestal.
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