| Pura Lempuyang |
| Pura Lempuyang (Lempuyang temple) is located on Lempuyang Mountain, Karangasem Regency, east Bali. The Balinese Hindu’s named it Sad Khayangan Agung Lempuyang Luhur, which is the place for Hyang Iswara and Hyang Agni Jaya. Puja Wali/ piodalan (sacred day) is held every six months, exactly on Umanis Galungan, Kamis (Thursday) wuku Dungulan, or the day after the Galungan ceremony.
To go to Lempuyang temple from Denpasar, it is about 80 km, a 2 hour journey to the east. Along the way, you will see beautiful scenery, rice field panoramas and rivers.
Lempuyang Temple contains a lot of mysteries from a long time ago, when Sang Hyang Pasupati recommended Hyang Gni Jaya together with Hyang Putra Jaya and Dewi Danuh to save Bali from disaster. Later, according to the villagers, as well as for praying, there are also people who come to Lempuyang Temple for other purposes, such as to recover from illnesses, avoid evil, and there are even politicians or officials who pray that their authority will be forever or to try to obtain a certain position. Usually they come in the middle of night, in order to avoid the public. |
| Balinese Temples |
| JBali is sometimes called the "Island of 10.000 Temples" (or "Island of the Gods") and this is not exaggerated. First of all, every village has at least three temples: the Pura Desa, where religious festivals are celebrated, the Pura Dalem for the Goddess of Death (this is the place where the funeral cremation rites start), and the Pura Puseh that is dedicated to the Gods of Heaven. Temples are everywhere, on the mountains and in the valleys, in the ricefields (they are small shrines for the Rice Goddess), and on the seaside, and every temple is different.
The Balinese religion is still very much alive. Every morning you can somewhere in Bali see small or larger groups of girls and women bringing offerings to a temple and the important festivals are celebrated by everybody with large processions to the temple that are accompanied by gamelan musicians.
The Balinese religion is based on Hinduism, but incorporates a lot of pre-Hindu, animist beliefs (primarily ancestor worship). In ancient times the founder of a village was revered as a god after his death by the village people. When the Hindu princes from Java occupied Bali (see ">Short Overview of the History of Bali) their form of worshipping their dead kings as gods came very close to the old Balinese ancestor worship. The many different gods of Bali (gods of Earth, Fire, Water, and Fertility) were now all viewed as different manifestations of the Trimurti, the Hindu trinity of Brahma, Vishnu, and the destroyer/creator Shiva. |
| Mantram |
| Sacred keys and magic words to God. Many common Mantram are used in the original Sanskrit language. However it is of utmost importance to truly know and be fully aware of a Mantram's true spiritual meaning. To benefit from its true and Divine Power of freeing and healing you should know the true meaning and you should fully agree with its meaning and identify yourself with its meaning and Divine power.
For that particular reason we prefer to use Mantram in your own language or a language you truly understand. The Divine power of any Mantram is completely free of the language the Mantram is used in. It is your intent - your inner attitude that frees the Divine magic power contained in every Mantram.
Words are magic. Use words consciously and concentrated. Be aware of what you say and use your words - and thoughts - always with Love for the greatest spiritual result and benefit. Anything else - any other attitude - may give any different result - may be even detrimental to your spiritual goals and detrimental to your souls well-being !!!
Be wise in the use of Mantram - choose the path of Love and Mantram of Love only and do it with all the power of your soul and heart to result in ONENESS in God. What ever you do with all the Divine power of your soul and heart is always enough to lead you to the final destination of ONENESS in God in Love. If at any time you put all at stake that you have, all your possession, all your power, all your Love, all you ever have created, collected, earned, including ALL your memories and turn it ALL to God with Love - in Love - then it ALWAYS is sufficient to open and pass through the door of Love to God. |
| Ongkara |
| Ongkara, or the Balinese Om, is one of the most sacred symbols in the Balinese culture, symbolising the universe and life itself.When Au Kara meets Ulu Candra, the romanization is not “Aung”, but “Om”. And the letter has a special name Ongkara This word is used almost everywhere in the text, as it is the symbol of God Himself. The most notable sentences using OM are the greetings: Om Swastiastu
(May God blesses you), Om Şanti Şanti Şanti, Om
(May peace be everywhere) |
| Gayatri Mantram |
| om bhur bwah swah tat sawitur warenyam bhargo dewasya dhimahi dyo yonah pracodayat |
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| Baris Dance |
| Senin, 14 Juli 2008 |
 Baris is a traditional dance of Bali, in which a solo dancer depicts the feelings of a young warrior prior to battle. Originally, Baris was performed as a religious ritual. The dancer may bear a kris, a spear, a bow, or other weapons, depending on the variant performed. baris literally means line or file, and referred to the line of soldiers who served the rajas of Bali. Just as the Legong is essentially feminine, Baris, atraditional wardance, glorifies the man hood of the triumphant Balinese warrior. The word baris means a line orfile, in the sense of a line of soldiers, and referred to the warriors who fought for the kings of Bali. There are numerous kinds of Baris, distinguished by the arms borne by the dancers-spear, lance, kris, bow, sword, orshield. Originally, thedancewas a religious ritual: the dedication of warriors and their weapons during a temple feast. From the ritualistic Baris Gede grew the dramatic Baris, a story prefaced by a series of exhibition solo dances which showed a warrior's prowess in battle. It is from these that the present Baris solo takes its form. The Balinese saya good Baris dancerisr are. He must undergo rigorous training to obtain the skill and flexibility, that typifies the chivalrous elegance of the Sale. A Baris dancer must be supple, able to sit on his heels, keeping his knees spread wide apart in line with his body. His face must be mobile to convey fierceness, disdain, pride, acute alertness, and, equally important, compassion and regret-the characteristics of a warlike noble. The Baris is accompanied by gamelan gong. The relation between dancer and orchestra is an intimate one, since the gamelan must be entirely attuned to the changing moods of the warrior's imperious will. The dancer enters the stage-a field of action where he will display the sublimity of his commanding presence. At first, his movements are studied and careful, as if he were seeking out foes in an unfamiliar place. When he reaches the middle of the stage, hesitation gives way to self-assurance. He rises on his toes to his full stature, his body motionless with quivering.limbs. In a flash, he whirls on one leg, his feet patter the ground to the tumult of the gamelan, and his face renders the storm of passions of a quick-tempered warrior. Such a spectacular show of style, mental controf and physical dexterity would intimidate any enemy worthy of the Baris! |
posted by I Made Artawan @ 12.27  |
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