Bali Tourism News

Bali Island is full of Uniqueness

August 15th, 2006

Perhaps it is too copious if it is said that Bali is an island that is full of uniqueness which distinguishes it with other islands in Indonesia.
In purana pura sada of Kapal Traditional Village of Badung Regency, it is said that when all continents and islands were created, Sang Hyang Pasupati summoned the Gods to gather together on the Top of Mahameru Mount and uttered to make a new island which would be known as Bali Island.

In this island, all Gods would be worshipped and honored to the end of the period. That’s why, this island is surrounded by Sad Kahyangan Temple, as expressed in the classical poems Patijlamit written by Ida Pedanda Ketut Sidemen.

The Creation of Bali Island

As written in the Purana Sada Temple of Kapal Traditional Village, it is said that when the continents and various island had been created on earth, Ida Sang Hyang Widhi/Bathara Pasupati (God), summoned the Gods to gather together on top of Mount Mahameru.

Then Sang Hyang Pasupati uttered to the nine Gods occupying the nine direction, to the six Gods (Sad Winayaka), to the group four Gods (Catur Dewa), to God Rsis, to God Dragon, Gods from Trinayaka group and to Gods in the universe, to make a new island known as Bali Island.

Bathara Pasupati explained to all Gods, that island that is going to be created is a special island for the shrine of all Gods with the leader Bhatara Mahadeva/Putranjaya. In this island, all Gods will be worshipped and dipuja (honored) till the end of the period. In this island the Gods will be awarded with big offerings by the dwellers. The Gods, is then, known as the name of Bali.

When this island was created, the God Dragon Sang Hyang Ananta Boga entered the bottom layer of the earth, and then this big dragon became the support of Bali Island.

After that, Sang Hyang Kurma Gni (turtle) entered the earth and became the foundation of it, and Badawang Nala manifested himself as the bottom layer of the earth of Bali. Sang Hyang Kala, then, created the soil and sky of Bali which is bright with colorful shine.

Finally, a beautiful island was created with the shine of extraordinary holiness. The Gods were very delightful with their successful works, and then selected their everlasting shrines at the new earth (banua bahru) named Bali. From here it is disclosed that Bali is the place of Gods (the Island of Gods). When foreigners came to Bali for the first time, they said this island is the last paradise.

The Corners of Bali are guarded by Gods
The belief of Balinese society on the existence of main temples termed as Kahyangan Jagad of Bali, in Balinese society itself, moreover in spiritual groups, has various and different concept. The difference also happens on the literature of Balinese classic, so there is different perception with different reference.

But with the important role of Hindu Religion experts in Bali, these different views and belief is united in a unity of interpretation and then compiled into a book entitled “Compilation of Seminar Decisions on Interpretation of Hindu Religion Aspects I - XV. This book was published by Local Government of Bali in 1999/2000.

This book stated that Kahyangan Jagad in Bali is divided into two different conception (Rwabineda), such as, Besakih Temple in Karangasem Regency as Purusa (masculine) and Batur Temple in Bangli Regency as Pradana (Feminine).

Based on the conception of Catur Lokapala (four direction), Kahyangan Jagad consists of Lempuyang Luhur Temple in Karangasem Regency, Andakasa Temple is also in Karangasem Regency, Batukaru Temple in Tabanan Regency and Puncak Mangu Temple in Badung Regency.

Based on the conception of Sad Winayaka, Kahyangan Jagad consists of Besakih Temple in Karangasem Regency, Lempurang Luhur Temple also in Karangasem Regency, Gua Lawah Temple in Klungkung Regency, Uluwatu Temple in Badung Regency, Batu Karu Temple in Tabanan Regency and Puser Tasik Temple/Pusering Jagad in Gianyar Regency.

In classical poetry literature (geguritan) entitled Patijlamit written by Ida Pedanda Ketut Sidemen from Griya Taman Kelodan Intaran Sanur, it is stated the names of Local Gods worshipped in the temples considered as Sad Kahyangan Jagad Bali, such as : Bhatara Sang Hyang Purna Jaya is worshipped in Besakih Temple, with His weapon of Kris (tuwek) located in Karangasem Regency; Bhatara Sang Hyang Ningjaya is worshipped in Lempuyang Temple with the weapon of abet also located in Karangasem Regency; Bhatara Sang Hyang Jayaningrat is worshipped in Batukaru Temple with His weapon of arrow, located in Tabanan Regency; Herjeruk Temple is the shrine of Bhatara Sang Hyang Putra Jaya with sword weapon, located in Gianyar Regency; Luhur Uluwatu is the shrine of Bhatara Sang Hyang Manik Gumawang with spear located in Badung Regency; Puser Tasik/Pusering Jagad Temple is the shrine of Bhatara Sang Hyang Manik Galba with duwung weapon, located in Gianyar Regency.

Ida Pedanda Ketut Sidemen
1858 - 1984

On the night of September 10th 1984, Dewi Sasih (the moon) was full & shone brightly. It seemed to appear as if to witness & honor the passing of a multi-talented priest, Ida Pedanda Ketut Sidemen. Sideman met his maker, at the grand old age of 126, concluding his long devotion on earth.

His passing made people thoughtful and perplexed, full of questions. People close to him felt a great loss, proclaiming their admiration for this literary giant of “Taksu” (devotional power).

Ida Pedanda Ketut Sidemen, born one day before the 1858 Balinese Galungan Festival in the traditional village of Intaran, Sanur, was given the name Ida Ketut Aseman. Based on this, we would assume he was the fourth child (Ketut=4th or 8th born). It is unclear as to why, but when his status was raised to that of priest, Ketut became Made, the name usually given to the 2nd or 6th born child.

But then what’s in a name? For the man himself, his name was not such an important issue, as can be seen from his writings, which rarely bore his real name. He preferred to use aliases, such as Tan Arsa, Tan Maha, Hina Arsa, Taman Sukeng Hati, all of which meant sing demen (sidemen) or do not like.

At 27 years of age, Ida Ketut Aseman had already prepared himself for life as a spiritual man. One day before sunrise (around 3.00 am) he went on a journey with a young woman from the village, Ida Ayu Made Rai from Geria Sindhu, whom we would later marry, to a place he had chosen to receive his desired knowledge. The couple walked for miles along the beach on the east coast of Bali to their destination, Geria Mandara in Sidemen Village, Karangasem. It was here that Ida Ketut Aseman sought the teachings of a priest whom he referred to as his Teacher Priest. In his works, he wrote, “I was received by my teacher, as the last student of my teacher.”

At this place, which is referred to as Mandaragiri, Ida Ketut Aseman combined his two great talents; architecture, which was inherited from his mother’s side, and writing, from his father’s. When he was 50, he was dedicated to be a priest to devote himself to God and he was given a new name: Ida Pedanda Made Sidemen. Sidemen is taken from the name of the village from where he got his knowledge. The process of becoming a priest is called “dwijati”(=to be born twice, first by his parents and secondly by his Nabe - the spiritual teacher).

He once said to his wife: “All I want now is to live a simple life, without owning property, so let’s sew within our own selves instead.” This had a deep meaning. By a simple life of course he meant life as an ascetic, a life unattached to material concerns. By sewing within himself, he meant filling himself with knowledge and experience so that it might grow, and one-day bear fruit for the enjoyment of other human beings. These meaningful words were to prove prophetic.

In his works Sidemen maintained the concepts of gandha sesa and bhasma sesa. The former was connected with the writings of Bhagawan Wyasa, whilst the latter was concerned with the architecture of Bhagawan Wiswakarma. As far as we know Bhagawan Wyasa was a great writer who composed the episodes of the Mahabharata and has been identified as a prophet of the Hindu people. Meanwhile Bhagawan Wiswakarma was an architectural figure much admired and highly praised by Hindus everywhere.

The enthusiasm shown by Sidemen in pursuing his scholastic endeavors was like the incessant ebb and flow of the sea near his home in Sanur. He would never forget to Suryasewana - pray to Surya (God of the sun). Every morning, he would read from lontar leaf manuscripts, study them in great detail, meditate upon them, and then write, and write. In this way he produced more than 300 manuscripts of his own, encompassing kidung, kakawin, and gaguritan. Researchers suspect that his earlier works were produced around 1938, and the later works by about 1948. None of them were ascribed to the name Ida Pedanda Made Sidemen, betraying his modesty and humbleness, and his unwillingness to display his ego in this holy craft. Whenever anybody expressed their admiration of his work directly, he would reply modestly,” It’s not for me to judge”.

Titles produced by the great man include: gaguritan Salampah Laku, kakawin Cayadijaya (or kakawin Gunatama or Cantaka), Kalphas Sangkara, Panglepasan (Patitip), Singhalanggyala, and Candra Bherawa. His kidung (songs) include:
Pisacarana, and Kidung Rangsang. Meanwhile his great prosaic work was called Purwagama Sasana (also known as Siwagama or Siwa Budhagama). He also wrote a liturgical document for ceremonial use called Puja Ugra Tattwa. Researchers believe many other works may exist, yet to be discovered. Difficulties they face in retrieving valuable lontar manuscripts include damage due to age, & the use of aliases making identification and authentication difficult, and poor storage, which has led to deterioration & damage caused by the elements, fire and animals.

As well as writings he also produced a number of religious artifacts, including sacred symbols, kulkul, masks, ceremonial equipment, and symbolic drawings.

As a young man he was both a farmer and a weaver. He was also a good friend of the King of Badung Cokorda Mantuk Dirana, with whom he spent a lot of time playing gamelan, reading, discussing literature, studying together, and generally sharing the same interests.

The writings of Ida Pedanda Made Sidemen became the basis of study for experts and researchers, drawing admiration & praise from various sources, throughout time.

It is not surprising therefore, that he received honorary awards from the Government. Former President Soeharto presented him with an Indonesian Arts Award in Jakarta in 1980 along with 19 other people from the realms of the arts, science, education and sport. He also received awards from the Director General of The National Hindu and Buddhist Advisory Board for his religious work, and the Dharma Kusuma award from the former Governor of Bali.

Everybody who knew Ida Pedanda Made Sidemen will testify to his passion for work. And it’s not simply poetic effect to say that for this great man, not a day went by without him working. All his ceremonial tools, holy places and home were made by Sideman himself. He even made his own sarcophagus and cremation tower!

He was able to choose an auspicious day on which to pass away, drawing on his knowledge of the Balinese Hindu Calendar to pick the right time. He chose September 10th 1984, or Uttarayana as it appeared on the Hindu calendar, when the sun was in the north, the most significant and appropriate moment to leave the earth and join the Gods.

His departure reminds us in a sense of Bhisma - in the Mahabharata story- who was also given the right to choose a significant day to die. He also chose Uttarayana, and this is known as a blessing indeed, only reserved for those who have led a life of servitude to God.

Ida Pedanda Made Sidemen is no longer with us but his literary works live on. He is also ‘alive’ in statuesque form, thanks to the work of former pupil Ida Bagus Alit Pidada from Geria Sindhu, Sanur. The statue resides in the family shrine within a special housing, and is wrapped in fresh white cloth on a daily basis. For the family, this statue is sacred, and always ‘alive’. Every day they present it with offerings, just as they do their other deified ancestors.
Source : www.balitourismauthority.net

Entry Filed under: Bali Tourism News