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1
Subaharianto, Andang, Ghanesya Hari Murti, Erna Cahyawati, Dyah Purwita Wardani e Imam Basuki. "Cerita Beji Antaboga dalam wacana harmonisasi alam dan antaragama". Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 7, n. 1 (27 febbraio 2024): 99–106. http://dx.doi.org/10.30872/diglosia.v7i1.884.
Testo completoAbstract (sommario):
The Beji Antaboga tourist site provides a religious atmosphere full of tolerance by building various statues of religious symbols located in a forest in Banyuwangi. The harmony between humans and nature is very well maintained at this location. This nuance is supported by a fictional story that is believed by the local community, namely the Antaboga dragon. However, the place is fully taken care of by Hindus who are indeed attached to protecting the surrounding nature, and their commitment to guard several points of springs. This research aims to measure the inter-religious relations in the area and also to analyze the extent to which folklore as a discourse can be recontextualized as an effort to harmonize the bond of humans with nature. The research method used is qualitative, the first step applies the narrative structure of the story through actantial theory, the second is tracing the hypogram for the Antaboga story which dated back to Hindu’s teaching, and the last is looking at discourse as a power practice to recontextualize the harmonius reality. The finding shows Antaboga story is indeed to legitimise nature as the centre and not humans as the main actors.
2
Festino, Cielo. "Grinding Songs from Goa". Aletria: Revista de Estudos de Literatura 31, n. 1 (31 marzo 2021): 225–46. http://dx.doi.org/10.35699/2317-2096.2021.25541.
Testo completoAbstract (sommario):
The aim of this paper is to bring an analysis of oviyos, folkloric songs that Indian women from the Hindu community of Goa, former Portuguese colony in India used to sing while working at the grinding stone. These songs, a sample of Goan folklore, were collected by Heta Pandit in the book Grinding Stories. Songs from Goa (2018), based on her field work with singers Subhadra Arjun Gaus, Saraswati, Dutta Sawant and Sarojini Bhiva Gaonkar. The songs, sung in a dialect of Marathi-Konkani, were transcribed into English. These elaborate songs are of psychological and social significance as they provide a release from a sometimes harsh reality, at the same time they are an invaluable cultural document. They have been analyzed from the perspective of Goan folklore as discussed by Phaldesai (2011), the meaning of folkloric narratives (Dundes, 2007) and a reflection on the genre oviyos (Jassal, 2012).
3
RAY, SOHINI. "Boundaries Blurred? Folklore, Mythology, History and the Quest for an Alternative Genealogy in North-east India". Journal of the Royal Asiatic Society of Great Britain & Ireland 25, n. 2 (23 ottobre 2014): 247–67. http://dx.doi.org/10.1017/s1356186314000510.
Testo completoAbstract (sommario):
AbstractThis paper analyses the use of religious folklore among the Meitei people of Manipur in northeastern India in the creation of a racial identity. After the Meiteis, who are ethnically Southeast Asian, were forced to convert to Hinduism in the early eighteenth century by the Manipuri king Garibniwaz, they were provided with a number of folklores regarding their origin that combined Hindu and indigenous Meitei deities and myths. Recently, the rise of anti-Hindu sentiment in Manipur—spurred by a movement to revive the indigenous Meitei religion and a strained political relationship with India—has led to the questioning of the validity of these stories by Meitei academics. As a result a new cannon of literature is being developed by scholars that link the origin of the community to its Southeast Asian roots. Discovering the racial identity of the Meitei people has motived this movement. This paper analyzes the multiple meanings that mythologies concerning origin hold in contemporary Meitei society and challenges the modern notion that historical consciousness is absolute truth.
4
López, Junior, Manuel Cabrera e Fernando Ocampo. "La importancia de enseñar Ciencias Sociales al estudiante en la actualidad". Revista Cognosis. ISSN 2588-0578 6, EE-I- (3 maggio 2021): 35. http://dx.doi.org/10.33936/cognosis.v6i0.3396.
Testo completoAbstract (sommario):
Reflexionar nos convence de que la excelencia está dentro de cada ser humano. La historia nos demuestra que un ser humano hambriento es capaz de matar, pero por el deseo de obtener reconocimiento es capaz de morir tal como sucedió con los apóstoles o con los millones de hindúes que supieron imponer la resistencia pacífica. Trasladando esto a la importancia de enseñar las Ciencias Sociales al estudiante en la actualidad es rescatar los hechos de pasado, asumir una conciencia social de nuestro entorno, valorar nuestra cultura y saber que no existen países pobres sino gobiernos improvisados o regiones sin oportunidades sino dirigentes sociales con oportunismos políticos y sin visión progresista, frente a lo cual el quehacer educativo de los docentes de esta área tienen la potestad de despertar el compromiso de una mente más democrática, valorativa y apreciativa del “Lugar Natal” estudiando sus aspectos geográficos, histórico – temporales, sus símbolos, su gente, su folklor, cultura, leyes y todo el quehacer social para dar paso a una revolución que incite al cambio y a una mentalidad emprendedora y de bien por los suyos. Es por ello que con el surgimiento de las metodologías activas de aprendizaje y las TIC, las Ciencias Sociales, deben considerarse importantes en la educación de los niños y jóvenes ya que lasmismas promuevenla cultura generalque contribuyenacomprenderlosfundamentos de nuestra nacionalidad, la democracia y el desarrollo del pensamiento racional y crítico – reflexivo que aportan al desarrollo de capacidades cognitivas y afectivas exigidas en las sociedades complejas, plurales y cambiante de la actualidad.
PALABRAS CLAVE: Ciencias Sociales; experiencias educativas; didáctica de las Ciencias Sociales.
The importance of teaching social sciences to the student today
ABSTRACT
Reflecting convinces us that excellence is within every human being. History shows us that a hungry human being is capable of killing, but because of the desire to gain recognition, he is capable of dying just as happened with the apostles or with the millions of Hindus who knew how to impose peaceful resistance. Translating this to the importance of teaching Social Sciences to the student today is to rescue the facts of the past, assume a social awareness of our environment, value our culture and know that there are no poor countries but improvised governments or regions without opportunities but social leaders. with political opportunisms and without a progressive vision, in the face of which the educational work of the teachers in this area has the power to awaken the commitment of a more democratic, evaluative and appreciative mind of the "Birthplace" by studying its geographical, historical -temporal aspects. , its symbols, its people, its folklore, culture, laws and all the social work to give way to a revolution that encourages change and an entrepreneurial mentality and good for their own. That is why with the emergence of active learning methodologies and ICT, Social Sciences, should be considered important in the education of children and young people since they promote the general culture that contribute to understanding the foundations of our nationality, democracy and the development of rational and critical-reflective thinking that contribute to the development of cognitive and affective capacities required in today's complex, plural and changing societies.
KEYWORDS: social Sciences; educational experiences; Teaching social sciences.
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Sutarto, Ayu. "Sastra Lisan Tengger Pilar Utama Pemertahanan Tradisi Tengger". ATAVISME 12, n. 1 (30 giugno 2009): 9–21. http://dx.doi.org/10.24257/atavisme.v12i1.153.9-21.
Testo completoAbstract (sommario):
Artikel ini bertujuan membahas sastra lisan Tengger sebagai tiang utama pemertahanan tradisi Tengger dengan pendekatan folklor. Sastra lisan yang dibahas adalah legenda Kasada dan Karo serta mantera. Dalam sejarah, legenda Kasada pernah terpengaruh oleh proses islamisasi, sementara legenda Karo memiliki pesan kultural yang menganjurkan persatuan dan kesatuan dalam perbedaan iman antara Budha-Hindu dan Islam. Meskipun demikian, dalam rekam jejak sejak era kolonial, legenda Kasada dan Karo serta mantra mengalami perubahan. Sastra lisan tersebut dapat bertahan hidup karena pewaris aktifnya telah menggunakannya sebagai tiang utama dalam tradisi Tengger.
Abstract:
This writing is aimed to discuss Tengger oral literature as a main pillar of Tengger tradition mainte- nance with folklore approach. Oral literature being discussed are Kasada and Karo legend and magic formula. In the history, Kasada legend has ever been influenced by islamization process, while Karo legend has a cultural message that suggests the unity in differences between Buddha-Hindu and Islam. Although, in the track record since colonial era, Kasada and Karo legend and magic formula sometimes change, the oral literatures can be still alive because their active heir has used them as a main pillar of Tengger tradition.
Keywords: Tengger, oral literature, Kasada legend, Karo legend
6
Lidova, N. R. "Muṭiyēṯṯu – Field Research of Kerala Folklore Theatre". Orientalistica 5, n. 3 (29 settembre 2022): 644–59. http://dx.doi.org/10.31696/2618-7043-2022-5-3-644-659.
Testo completoAbstract (sommario):
The paper is dedicated to the results of the field research conducted in Tripunithura (India / March 2013) on Muṭiyēṯṯu theatre, one of the local folklore art forms of Kerala. It is argued that the inclusion of Muṭiyēṯṯu in 2010 in the list of Masterpieces of the Oral and Intangible Cultural Heritage / UNESCO, became a turning point in the recent history of this art form, affecting it both in positive and negative way. The positive aspect concerns primarily a fundamental shift in the level of popularity of Muṭiyēṯṯu, manifested in the appearance of a number of research projects, general publications and various databases. It also found reflection in the material status of performers now supported not only by Hindu temples but also by the Indian Government. Less often discussed are the negative consequences. Having been acknowledged as one of the cultural achievements of humankind (UNESCO), the Muṭiyēṯṯu began to change fundamentally. It transformed from a rural religious mystery performance aimed at local community of believers into an exotic theatrical art form intended for the wider international audience. As a result, performances began to be staged not only in accordance with strict religious canons developed over the centuries, but also on various occasions predetermined by commercial and public interests. This tendency poses a significant threat to the preservation of the artistic and religious authenticity of the Muṭiyēṯṯu theatre along with its cultural importance for humanity.
7
Lepekhova, Elena. "The transformation of the wrathful deity Mahākāla into the god of happiness and good luck Daikokuten in Japanese Buddhism." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, n. 3 (2022): 135. http://dx.doi.org/10.31857/s086919080020211-9.
Testo completoAbstract (sommario):
The transformation of the wrathful deity Mahākāla into the god of happiness and fortune Daikokuten in Japanese Buddhism. This study is devoted to the process of the transformation of the wrathful Hindu deity Mahākāla into the god of happiness and fortune Daikokuten in Japanese Buddhism. While in Hinduism and Vajrayāna Buddhism, Mahākāla was a wrathful deity, performing the functions of the Dharma protector, then as a result of the transference of this deity to the Japanese culture, his functions changed. The earliest examples of this process have been already marked in China, from where they later went to Japan. In the paper are traced the description of Mahākāla in the Japanese Buddhist textual tradition in the most notable Japanese text “Daikokutenjin-ho 大黒天神法” (“The Law of the Great Black God”), his iconography and the transformation in local folklore. The formation of Mahākāla iconography in Japan was influenced by a process of the Shintō-Buddhist syncretism, which combined the esoteric doctrines of the Tendai school, traditional Japanese Shintō mythology, Buddhist cosmology and related elements of Hinduism. All these trends are also well traced in Japanese folklore. As a sequence, we could come to conclusion that the process of transformation of the wrathful Hindu deity Mahākāla into one of the Japanese gods of happiness Daikokuten was influenced by the desire to rid Mahākāla of his original destructive deadly attributes, since they were not combined with the original Japanese Shintō tradition, referring to death and its manifestations as an impurity.
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Zain, Shaharir Bin Mohd. "The Malayonesian Cosmological Doctrines in Some Past Scientific Writings in Malay". Andalas International Journal of Socio-Humanities 2, n. 1 (25 luglio 2020): 30–49. http://dx.doi.org/10.25077/aijosh.2.1.30-49.2020.
Testo completoAbstract (sommario):
The Malayonesian cosmological doctrines highlighted here are based on the study of the five Malay inscriptions dated 5th century to 14th century A.D, a traditional Malay folklore on cosmology compiled by Abdullah (1984), and a well known best seller Malay manuscript entitled Taj al-Muluk edited by Syaikh Ismail al-Asyi (1893). We find that the Malayonesian cosmology changes as the people change their religion successively from Hindu to Buddha and to Islam as such that their cosmology became a syncretism of Hindu-Buddha cosmology and Islamic cosmology (after 13th century A.D). But in the second part of the 20th century, the Muslims through out the world began to rediscover their cosmology in relation to a much more pure Islamic cosmology. As a result, a substantial portion of Malayonesians become dualistic or syncretic in their cosmology. Then toward the end of the 20th century came a very powerfull Western cosmology invaded the Muslims thought through economics and malitarism as such that their belief in Islamic cosmology has to accommodate the Western cosmology as well and hence the syncretic Hindu-Buddha-Islamic cosmology became less prominent. A new relativistic dualism, namely a parallel recognition in both the Islamic and the Western cosmologies appeared in Malayonesian cosmology.
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Zain, Shaharir bin Mohd. "The Malayonesian Cosmological Doctrines in Some Past Scientific Writings in Malay". Andalas International Journal of Socio-Humanities 2, n. 1 (27 luglio 2020): 30–49. http://dx.doi.org/10.25077/aijosh.v2i1.13.
Testo completoAbstract (sommario):
The Malayonesian cosmological doctrines highlighted here are based on the study of the five Malay inscriptions dated 5th century to 14th century A.D, a traditional Malay folklore on cosmology compiled by Abdullah (1984), and a well known best seller Malay manuscript entitled Taj al-Muluk edited by Syaikh Ismail al-Asyi (1893). We find that the Malayonesian cosmology changes as the people change their religion successively from Hindu to Buddha and to Islam as such that their cosmology became a syncretism of Hindu-Buddha cosmology and Islamic cosmology (after 13th century A.D). But in the second part of the 20th century, the Muslims through out the world began to rediscover their cosmology in relation to a much more pure Islamic cosmology. As a result, a substantial portion of Malayonesians become dualistic or syncretic in their cosmology. Then toward the end of the 20th century came a very powerfull Western cosmology invaded the Muslims thought through economics and malitarism as such that their belief in Islamic cosmology has to accommodate the Western cosmology as well and hence the syncretic Hindu-Buddha-Islamic cosmology became less prominent. A new relativistic dualism, namely a parallel recognition in both the Islamic and the Western cosmologies appeared in Malayonesian cosmology.
10
Zain, Shaharir bin Mohd. "The Malayonesian Cosmological Doctrines in Some Past Scientific Writings in Malay". Andalas International Journal of Socio-Humanities 2, n. 1 (27 luglio 2020): 30–49. http://dx.doi.org/10.25077/aijosh.v2i1.13.
Testo completoAbstract (sommario):
The Malayonesian cosmological doctrines highlighted here are based on the study of the five Malay inscriptions dated 5th century to 14th century A.D, a traditional Malay folklore on cosmology compiled by Abdullah (1984), and a well known best seller Malay manuscript entitled Taj al-Muluk edited by Syaikh Ismail al-Asyi (1893). We find that the Malayonesian cosmology changes as the people change their religion successively from Hindu to Buddha and to Islam as such that their cosmology became a syncretism of Hindu-Buddha cosmology and Islamic cosmology (after 13th century A.D). But in the second part of the 20th century, the Muslims through out the world began to rediscover their cosmology in relation to a much more pure Islamic cosmology. As a result, a substantial portion of Malayonesians become dualistic or syncretic in their cosmology. Then toward the end of the 20th century came a very powerfull Western cosmology invaded the Muslims thought through economics and malitarism as such that their belief in Islamic cosmology has to accommodate the Western cosmology as well and hence the syncretic Hindu-Buddha-Islamic cosmology became less prominent. A new relativistic dualism, namely a parallel recognition in both the Islamic and the Western cosmologies appeared in Malayonesian cosmology.
11
Indrayani, A. A. Diah, e I. Kadek Widiantana. "Pendidikan Karakter Dalam Satua Anak Agung Di Mesir". Cetta: Jurnal Ilmu Pendidikan 3, n. 2 (25 giugno 2020): 256–69. http://dx.doi.org/10.37329/cetta.v3i2.453.
Testo completoAbstract (sommario):
Over the past few years, the government has given a spesific attention to the character education due to its main purpose to develop good and right behaviour for the students since their early age. To achieve this, one of them is through education. In Bali, according to the concept of its society, education is translated by local values in a simple way, such as learning while travelling, learning while singing, learning while playing a game and so on. The Balinese folklore (Satua) is an implementation of Hindu values which give an understanding on conscience and behaviour to the children since early age. This research is a qualitative research using the hermeneutics method. Bali has many literary heritages which are full of the value of character education, one of them is Satua Bali. Among the many Satua that are available, Satua that will be used is Satua I Nengah Tinggen's with titled Anak Agung di Mesir. He is one of the Balinese literary maestros. The study of this folklore refers to six pillars of character proposed by SD Westwood, covers trustworthiness, respect, responsibility, caring, citizenship, and fairness. It can be concluded that Satua is somewhat effectively used as a character education media because it contains the values of character education needed for the nation's character development and can be taught early with Satua.
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Jha, Gautam Kumar. "Indic Elements in Indonesian Arts and Literature: Shared Heritage Between India and Indonesia". Heritage of Nusantara: International Journal of Religious Literature and Heritage 11, n. 1 (28 giugno 2022): 40–61. http://dx.doi.org/10.31291/hn.v11i1.632.
Testo completoAbstract (sommario):
Indic-Belt or the Greater India is the geographical region where Bharat’s knowledge tradition spread and influenced the local community in terms of language, culture, religions, practices and social values. Southeast Asia, especially Indonesia has been the region that received more Indic knowledge than any other parts of the world due to the easy accessibility to the land and sea routes. This Indic influence is visible in many art forms and folklore due to a long period of rules of Hindu-Buddhist kingdoms. This study aims at exploring the presence of Indic elements in Indonesian artworks, old buildings and folklore. This paper is based on a qualitative descriptive study in which the data was collected through literature study. The study found that Indian epics such as Ramayana and Mahabharata have greatly influenced the literary tradition in Indonesia, as it was present in the forms of puppets, woodcrafts, painting and batik. In addition, Indonesian-present vocabulary ‘Esa’ (singular) to describe the concept of oneness of God came from the Sanskrit word ‘ish’ which was carried out by the Indic permeate to Indonesia. The study suggests that with such influence of Indic culture and tradition to Indonesia, both Indonesia and India shared similar heritage and hence steps to strengthen the cultural bonds between the two nations need to be built and maintained.
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Blackburn, Stuart H. "Domesticating the Cosmos: History and Structure in a Folktale from India". Journal of Asian Studies 45, n. 3 (maggio 1986): 527–43. http://dx.doi.org/10.2307/2056529.
Testo completoAbstract (sommario):
A folktale about two sisters who make a wager on the color of a white horse has been told in India for at least three thousand years; it is recorded in the oldest Vedic texts, and it is still sung today in a Tamil oral tradition. A survey of this historical depth shows that the major variants of the tale reflect developments in Hindu religious thought. But more interesting is the relation between the embedded folktale and its frame text in classical mythology. In each case, the tale echoes the themes of the frame text but reorients them, bringing the cosmic concerns of gods and demons within the compass of human kinship, within the home, even the bedroom. These observations lead to a discussion of general relations between folklore and classical traditions in India.
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Julianto, Toni, Risky Setiawan e Rufer Firma Harianja. "Local-Social Wisdom in the Nyadran Tradition as a Means of Gathering". Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, n. 2 (22 aprile 2021): 830–36. http://dx.doi.org/10.33258/birle.v4i2.1862.
Testo completoAbstract (sommario):
Since ancient times the Javanese people have been familiar with the belief system. Before Islam came the beliefs of Animism and dynamism as well as Hindu and Buddhist religions had already developed in Javanese society. Islam is accepted in Javanese society with youth and peace, because preachers have a high tolerance for Javanese culture. One of the forms of cultural acculturation or inherent in the soul of Javanese society is the Nyadran tradition. The Nyadran tradition is a symbolic ritual that is full of meaning Nyadran traditional ceremony includes partially oral folklore because in it there is a form of oral fochlor, namely the prayers used in the ceremony and there is also a form of non-verbal folklore in the form of uba rampe in the ceremony. In socio-cultural terms, the implementation of nyadran tardisi is not only limited to ceremonial cleaning of ancestral burials , salvation (kenduri), making apem cakes, compote, sticky rice, and various snacks from the market which are used as elements of "offerings" as well as being a prerequisite for the ritual prayer procession. However, the nyadran ritual in a socio-cultural context has also become a medium of friendship between families and communities, as well as a social, cultural and religious transformation. Nyadran is an expression and expression of social piety in a society where a sense of mutual cooperation, solidarity, and togetherness is the main pattern of this tradition.
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Shaw, Julia. "Ayodhya's sacred landscape: ritual memory, politics and archaeological ‘fact’". Antiquity 74, n. 285 (settembre 2000): 693–700. http://dx.doi.org/10.1017/s0003598x00060087.
Testo completoAbstract (sommario):
Great astonishment has been expressed at the recent vitality of the Hindu religion at Ajudhia [sic], and it was to test the extent of this chiefly that … this statement has been prepared. As the information it contains may be permanently useful, I have considered it well to give it a place here. This information is as correct as it can now be made and that is all that I can say CARNEGY(1870: appendix A)After the destruction of Ayodhya's Babri mosque in 1992 by supporters of the Vishva Hindu Parishad (VHP), the statement above seems laden with premonition of the events to come (Rao 1994). More importantly, Carnegy’s comments highlight that the mosque’s destruction was not simply the result of 20th-century politics. The events surrounding and following the outbreak of violence in 1992 have resulted in more ‘spilt ink’ than Carnegy could ever have imagined. This literature can be divided into two main categories; firstly, the initial documentation submitted to the government by a group of VHP aligned historians, which presented the ‘archaeological proof’ that the Babri mosque had occupied the site of a Hindu temple dating to the 10th and 11th century AD (VHP1990; New Delhi Historical Forum 1992). This was believed to have marked the birthplace of the Hindu god Rama (hence the name Rama Janmabhumi — literally ‘birthplace of Rama’), and been demolished at the orders of the Mughal emperor Babur during the 16th century. As a response, a second group of ‘progressive’ Indian historians began a counter-argument, based on the same ‘archaeological proof’ that no such temple had ever existed (Gopal et al. 1992; Mandal 1993). The second category is a growing body of literature which has filled many pages of international publications (Rao 1994; Navlakha 1994). Especially following the World Archaeology Congress (WAC) in Delhi (1994), and subsequently in Brač, Croatia (1998), this has been preoccupied with finding an acceptable route through the battlefield which arises as a result of the problematic, but recurrent, marriage between archaeology, folklore and politics (Kitchen 1998; Hassan 1995).
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Jahangir, Amar. "Historical Analysis of Afghan Folk Culture in Kashmir During 1752-1819". Academy of Education and Social Sciences Review 3, n. 4 (30 novembre 2023): 464–71. http://dx.doi.org/10.48112/aessr.v3i4.377.
Testo completoAbstract (sommario):
Kashmir, the kingdom of fairies and Paradise on World, has a history of being ruled by several dynasties. Hindu, Buddhist, and Muslim empires have all held power over it. Every dynasty has unique folk customs that reflect the character of that dynasty. A community's residents' way of life is referred to as its culture. Afghan and Kashmiri folklore is based on traditional drama, music, and other activities. The current study makes an effort to investigate the traditional view of Afghan authority in Kashmir from 1752 to 1819. Kashmir history demonstrates that several folk beliefs entered Kashmiri society at this time. In the age of Afghan rule, the perceptions of folk culture are supported by historical evidence like material and non-material sources, direct and indirect sources and oral traditional sources. This study highlights the Afghan folk literary work, plays (Raza Pather and Derza Pather) and traditional Kashmiri theatre (Bhand Pathers). The data used in this study is gathered from secondary sources.
17
Vanina, E. Yu. "Modernization of the sacred: two Ramayana novels (a historian’s view)". Orientalistica 5, n. 2 (29 giugno 2022): 243–64. http://dx.doi.org/10.31696/2618-7043-2022-5-2-243-264.
Testo completoAbstract (sommario):
Ramayana, the ancient Indian epic, has been for many centuries a source of religious, social, ethical and aesthetical values for many Indians, primarily Hindus. Apart from the classical Sanskrit version attributed to Valmiki, there have been hundreds of literary, folkloric, visual, dramatic (later on film, animation and TV) variants. Their creators reworked and reconstructed the story, sometimes changing it beyond recognition, up to the emergence of ‘anti-Ramayanas’, thus answering the questions from and catering for the needs of various regional, religious, socio-cultural and political groups. Thus, they adjusted the sacred story to the perceptions of the changing times, trying to make the storyline and personages deeds more adequate to the values of a given epoch. This process has been continuing up to nowadays; the article discussing it, using as a case study two modern Ramayana novels, one in Hindi and one in English.
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Gunada, I. Wayan Agus. "AJARAN AGAMA HINDU SEBAGAI INSPIRASI PENCIPTAAN KARYA SENI LUKIS TRADISIONAL BALI". Gorga : Jurnal Seni Rupa 9, n. 1 (15 giugno 2020): 158. http://dx.doi.org/10.24114/gr.v9i1.18492.
Testo completoAbstract (sommario):
AbstrakPenelitian ini merupakan bentuk analisis serta kajian mengenai peran ajaran agama Hindu dalam proses penciptaan karya seni lukis umumnya seni lukis tradisional Bali. Seni lukis sebagai bagian dari seni rupa di Bali berkembang cukup pesat, dimana terdapat dua dikotomi seni lukis di Bali yaitu seni lukis tradisional di Bali dan Seni lukis modern. Seni lukis tradisional Bali merupakan bentuk seni lukis yang proses pembuatannya masih menggunakan tradisi-tradisi baik proses pembuatan dan bahan-bahan yang tradisional walaupun kini sudah umum ditemukan menggunakan alat serta bahan yang sudah tergolong modern, dan seni lukis tradisional Bali ini yang sudah berlangsung sejak dulu yaitu terdapat pakem-pakem serta prinsip yang dilakukan ketika proses penciptaan karya tersebut dikreasikan. Ketika seorang pelukis mencipta sebuah karya maka realita dan imajinasi menjadi sumber ide namun Seni lukis tradisional Bali memiliki ciri khasnya yang sangat kentara ketika dilihat secara langsung, yaitu penggambaran objek bentuk karyanya yang cenderung mengambil bentuk-bentuk alam, cerita-cerita rakyat, mitologi serta ajaran-ajaran agama Hindu yang direinterpretasikan melalui bentuk simbol-simbol didalamnya. Sehingga sebagian besar tema-tema yang dihadirkan dalam seni lukis tradisional Bali adalah mengimajinasikan ajaran-ajaran agama Hindu yang kental akan nilai-nilai spiritual dan memiliki nilai-nilai magis kedalam sebuah karya yang tidak hanya sekedar memuaskan pengalaman keindahan namun secara tidak langsung juga menjadi media wahana pengajaran ajaran agama Hindu. Penelitian ini bertujuan untuk menggambarkan bagaimana ajaran agama Hindu menjadi sumber inspirasi dalam penciptaan karya seni lukis tradisional Bali. Metode yang digunakan dalam mengkaji fokus penelitian ini adalah metode penelitian kualitatif deskriftif dengan pendekatan studi fenomenologi yaitu penelitian menggunakan data-data kualitatif untuk menggambarkan fenomena-fenomena ajaran agama Hindu yang menjadi sumber inspirasi penciptaan. Secara pragmatis penelitian ini diharapkan berdampak dalam memberikan informasi dan menambah wawasan terkait keberadaan seni lukis tradisional Bali sebagai bentuk kekayaan budaya bidang seni yang masih hidup serta keberadaannya yang masih lestari dan hidup di Bali.Kata Kunci: hindu, seni, lukis tradisional, bali.AbstractThis research is a form of analysis and study of the role of the Hindu religion in the process of creation of art painting generally traditional Balinese painting. Art painting as part of the art in Bali develops quite rapidly, where there is two art dichotomy in Bali is a traditional art painting in Bali and the art of modern paint. Traditional Balinese painting is a form of art painting that process is still using the traditions of both the making process and traditional materials although it is now common to be found using tools and materials that are already relatively modern, and the traditional Balinese painting that has been held since the first time is there are pakem and the principle that is done when the process of creation of the work is Reincreikan. When a painter creates a masterpiece, the reality and imagination become the source of ideas but the traditional Balinese painting has its distinctive characteristic when viewed directly, that is the depiction of the object of his form that tends to take the forms of nature, folklore, mythology, and teachings of Hindu religion that is interpreted by the form of symbols inside. So most of the themes presented in the art of traditional Balinese painting are too imaginative Hindu teachings that are strong in spiritual values and have magical values into a work that not only satisfies the experience of beauty but indirectly also becomes a medium of religious teaching of Hindu teachings. This research aims to illustrate how Hinduism's teachings are a source of inspiration in the creation of traditional Balinese art paintings. The method used in reviewing the focus of this research is a qualitative method of research with the approach of phenomenology study using qualitative data to describe the phenomena of Hindu religious teachings that are the source of the inspiration of creation. Pragmatic research is expected to have an impact on providing information and adding insight related to the existence of traditional Balinese art painting as a form of cultural richness of living arts and its existence that is still sustainable and living in Bali. Keywords: hindu, art, traditional painting, bali
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Roy, Parama. "The Strange Ecologies of Empire". Victorian Literature and Culture 49, n. 1 (2021): 73–105. http://dx.doi.org/10.1017/s1060150319000640.
Testo completoAbstract (sommario):
This essay reads nineteenth-century imperial India as the mise en scène for certain critical concatenations of human sovereignty, divinity, and animality. It does so by focusing on the imperial state's war upon human and extrahuman forms of predation, showcasing in the process a cluster of texts on collective criminal activity, hunting, and popular religion and folklore that share certain grids of intelligibility and vocabularies of rule. Collocating these texts on human and nonhuman predation brings into visibility the degree to which imperial sovereignty in the Victorian period entails traffic across human and extrahuman domains. Thus, thinking about the sanctioned killing of fearsome animal predators comes to be twinned with thinking about wars of pacification against dangerous humans and noxious deities. To think imperial sovereignty consequently involves thinking with humans and animals but also thinking with mutually antagonistic theological forces, Hindu and Christian—and in thinking these together. An attentiveness to these heterogeneous ecologies of empire might serve to illuminate the degree to which the imperial project depends on a complex mesh of transversal and co-constitutive life-forms and forces.
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Havanje, Janardhan Rao, e Caroline D’Souza. "Kaavi Kalé: The indigenous architectural ornamentation technique of the Konkan Coast, India". Journal of Traditional Building, Architecture and Urbanism, n. 1 (20 novembre 2020): 383–94. http://dx.doi.org/10.51303/jtbau.vi1.365.
Testo completoAbstract (sommario):
At the foothills of the formidable Western Ghats of India lies a coastal strip of land, the Konkan Coast, which forms part of the extended coastline along the west coast of the country. The unique culture found in the Konkan coastal landscape has produced a magnificent ornamental style named Kaavi Kalé. Kaavi, or kavé, means in this context “red oxide”, while kalé means “art form”. It is fundamentally an incised work performed on an architectural surface that has been previously finished with lime plaster and then a red oxide layer over it. This forms elaborate murals and motifs inspired by the unique folklore of Dravidian culture. Although predominantly found in Hindu temples, this secular art form can also be seen in churches, a mosque, Jain temples and folk deity temples, as well as in domestic architecture. This paper presents the history of the art form, its techniques, a brief iconographic study of its compositions and possible methods of conservation, through accounts of extensive primary surveys and on-site experiments and a study of secondary sources.
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Karmini, Ni Nyoman. "The Spirit of Hindu Religious Values in Balinese Folktale Men Sugih Teken Men Tiwas". Mudra Jurnal Seni Budaya 38, n. 1 (21 febbraio 2023): 93–99. http://dx.doi.org/10.31091/mudra.v38i1.2101.
Testo completoAbstract (sommario):
Balinese folktale is rich in moral and religious values. Thus,promoting it to the youngergeneration is crucial to cultivate character education. This paper discusses the Balinese folktale, Men Sugih Teken Men Tiwas. It was a famous folktale in Bali. However, nowadays, only a few Balinese parents still tell this folktale to their children. Specifically, this paper discusses the moral and religious values in the folktale of Men Sugih and Men Tiwas. These values were seen from the concept of Hinduism, which is universal and can be applied by anyone. In other words, this study aims to investigate and bring to light the values found in that folktale. The scope discussed is only about the values contained in the folklore of Men Sugih Teken Men Tiwas This study followed a qualitative investigation method. The study data were gathered using documentation and note-taking techniques.Then, the collected data were examined using the hermeneutic and verstehen procedures. Inductive-deductive approaches were also used to portray the research findings descriptively. As a result, Men Sugih Teken Men Tiwas folktale embodies the spirit of Hindu religious principles in the sphere of ethics, especially the teachings of Subha Karma and Asubha Karma. The conclusion is that the teachings of Subha Karma, which are written and implied in the story, are TrikayaParisudha and Dasa Yama Brata. TrikayaParisudha includes kayika, wacika, and manacika. The Dasa Yama Brata includes anresangsya or arimbawa, ksama, satya, dama, ardjawa, priti, prasada, madurya, and mardawa. The figure who carries out the teachings of Subha Karma is Men Tiwas. It was these good qualities that caused Men Tiwas and his children to live happily ever after. The teachings of Asubha Karma that are expressed and implied in the story are lobha and matsarya. The figure who carries out Asubha Karma (lobha and matsarya) is Men Sugih. It was this greed and envy that caused Men Sugih to suffer in his life.
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Singh, Kanak Lata. "A Study on Cultural Sustainable Tourism in Context of Painted Scrolls". Academic Research Community publication 2, n. 2 (27 maggio 2018): 7. http://dx.doi.org/10.21625/archive.v2i2.248.
Testo completoAbstract (sommario):
India is known for its reach in Art and Culture. Cultural tourism provides a major contribution to the development of the country from different aspects. Apart from supporting the Indian economy, cultural tourism also helps in preserving and developing unique art traditions which are slowly dying out due to negligence. patachitra, the painted scroll of Bengal is one of them. The patachitra tradition is an essential part of intangible heritage based on tour practices. Patuas, as they are known as a community, chiefly represent a group of artists wandering with their painted scrolls and narrating the stories from place to place to earn their livelihood. The patachitra is a platform where several mediums of communication are united such as visual messages, oral traditions and music during process of storytelling. These painted scrolls represent narration of Hindu mythologies as well as folklore. In this regard, considering business as one of the purposes of tour, this research about patua artists working for patachitra in West Bengal is an attempt to reveal the fact that artifacts, as a part of culture, and tourism are two sides of the same coin. The existence of one is essential for the survival of the other.
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Spanò, Igor. "A Witchcraft-related cases in India during the Outbreak of Covid 19 Pandemic". Journal of the British Association for the Study of Religion (JBASR) 25 (13 settembre 2023): 106. http://dx.doi.org/10.18792/jbasr.v25i0.76.
Testo completoAbstract (sommario):
Abstract
In India the belief in witches is a phenomenon that is linked to specific elements both of Hindu cults, whose devotional expressions and folkloric elements are rooted in the Vedic texts, and the belief systems of some indigenous communities. Indeed, although influenced by the expressions of the Hindu faith, these groups have retained specific characteristics, in which magical elements like the relationship with evil powers, from which the belief in witchcraft practices derives, are paramount. However, a study of witch-hunting episodes must also consider the social dimension in which they occur, as scholars working on this subject over the last decades did. Most witch hunts occur within closed social systems, based on patriarchy (or which have undergone patriarchalization processes in recent decades) and affected by Hinduization and tribalization. Finally, the analysis of beliefs in witchcraft helps to unveil the power relations that underlie these beliefs. On the one hand, this paper aims to reflect on the religious roots of the belief in witches, without neglecting the possible interpretations just mentioned above; on the other hand, it aims to present an initial assessment of the incidence of the phenomenon in 2020, at a particularly dramatic historical moment marked by the outbreak of the Covid 19 pandemic. The data presented are partial but indicative as they have been collected through daily monitoring of the main Indian newspapers in English and some national and local newspapers in Hindi.
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Sunarya, I. Ketut. "MAKNA SIMBOLIK DAN NILAI ESTETIKA SENI HIAS DAN TATA LETAK PURA JAGATNATHA DI JEMBRANA BALI: DALAM KONTEKS KEHIDUPAN KERAGAMAN MASYARAKAT HINDU BALI". Jurnal Dimensi Seni Rupa dan Desain 9, n. 1 (1 febbraio 2012): 121–36. http://dx.doi.org/10.25105/dim.v9i1.959.
Testo completoAbstract (sommario):
Abstract The art of decoration of Pura Jagatnatha that was found in Jembrana bali was an aesthetical symbol that made the pura which the meaning was a mount interpreted as source of prosperity. Its display created some questions of philosophical concepts of art decoration, glory, unique, and characteristic, and relation between the setting of pura and the real life of Balinese Hindu people. Pura describes three peaks of the big time of Balinese art of decoration; ancient Bali with the Balinese Character, the big time of Gelgel kingdom with its calsical things, and the currentcharacter with its Western influences. The art of decoration of pura have the aesthetical principles, function, related to personal, social, and physical functions. Style was related to formal arrangement that consisted of intelectual, biomorphical, and aesthetical arrangements. Fantasy style was related to the divinities, folklores, and stories of giants world. The meaning assesment told that Balinese refractional bias of Pura Jagatnatha was beautiful and had the core of symbolic meaning AbstrakSeni hias pura Jagatnatha di Jembrana Bali adalah simbol estetik yang menjadikan pura bermakna gunung sebagai sumber kesuburan. Tampilan yang memunculkan pertanyaan tentang konsep filosofi seni hias, kemegahan, keunikan, dan karakteristik, serta hubungan tata letak pura dengan kehidupan masyarakat Hindu Bali. Pura menggambarkan tiga puncak kejayaan seni hias Bali, yakni masa Bali kuno sampai diketemukan karakter kebalian, masa keemasan kerajaaan Gelgel dengan klasiknya, dan karakter kekinian dengan pengaruh baratnya. Seni hias pura berpegang pada prinsip estetika, yakni : fungsi, menyangkut personal, fungsi sosial dan fungsi fisik. Gaya , menyangkut gaya sususnan formal, yakni susuanan intelektual, biomorfis, dan gaya susunan estetik. Gaya fantasi menyangkut cerita kadewatan, cerita rakyat, dan dalam alam buta . Kajian makna menyebutkan bahwa seni bias Pura Jagatnatha Bali selain indah makna simbolik menjadi inti pura tersebut.
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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana e Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA". Jurnal Pendidikan Seni Rupa Undiksha 12, n. 3 (30 settembre 2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.
Testo completoAbstract (sommario):
This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
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Handique, Patrika, e Anurag Bhattacharyya. "Re-understanding Deification and Hunger: An Ecocritical Venture into Shiva Purana". Journal of Humanities and Social Sciences Studies 3, n. 1 (30 gennaio 2021): 116–21. http://dx.doi.org/10.32996/jhsss.2021.3.1.12.
Testo completoAbstract (sommario):
The advent of the Eighteenth Century witnessed emergence of a scientific temperament and shook the foundation of faith or religion in an unbelievable manner. Industrial Revolution, World Wars aggravated the situation and a conflict between science and religion has been prevalent since then. People began to neglect the mores and preaching of theological philosophy and even the tradition and customs handed down by religion or otherwise also culture. In the era of over-all degradation, it has become the need of the hour to restore theology, spiritual and mythical works for re-learning the meanings of humanity and wisdom, although the elimination of religious blindness needs to be done. It is discerned that people discard the ancient philosophy and myths to be irrational and non-scientific, but it is not true. Religion, ancient philosophy and conduct of life is intertwined intricately. In religion and culture, myths and folklores remain popular and are handed down from generation to generation and appear to be so fictional. But, in reality, they carry innumerable valuable messages and codes for life. So, this study intends to shed the irrationality and illuminate the rational and significant implications in the text Shiva Purana, which forms a part of the very precious Mahapuranas, spiritual and mythological text of Hindus. The paper would, however, attempt an ecocritical study of the specified text. As ecological concerns have called for urgent attention, ancient wisdom can assist scientific ideologies and thus, go hand in hand to unite humans to become environmentally sensitive.
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Putra, I. Dewa Gede Rat Dwiyana. "The Implementation of Local Culture-based Project In a Balinese Project Classroom". Journal of Psychology and Instructions 1, n. 1 (1 marzo 2017): 45. http://dx.doi.org/10.23887/jpai.v1i1.9637.
Testo completoAbstract (sommario):
This article was made based on an observation on the application of a Local Culture-Based Project in Balinese Language and Religious Literature Study Program of Denpasar State Hindu Dharma Institute. The basic reason for the application of this Project-Based Learning method is that, students were less motivated in following the EFL course. Students found that English would give a very minimum support for Balinese language and culture. English as a foreign language seems to be a threat for Balinese language sustainability. Therefore, the writer would show the students their actual connection in which English as a world dominant language could empower the existence of local culture including the language itself. (Regmi, 2013) stated that people should consider that the present existed local language that is used to pass the local context and culture on from generation to generation will die. Therefore, its integration to English as a world dominant language is one of the effective ways to preserve the local culture. Writer then designed project task which deal with local Balinese Culture. Students were asked to make a „Multilingual Pictured Folklore Book‟ during EFL course. Methodological triangulation (e.g. survey, interview and observation) were applied to confirm the students‟ respond toward the application of the Project. The result shows that PBL approach implemented in the present study was proven effective in improving the students‟ interest in learning English. Besides, the students gave a positive response toward the application of the Project.
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Subba, Nawa Raj. "Tungdunge Mundhum Establishes a Link Between the Sen and the Samba Dynasties". IAR Journal of Humanities and Social Science 3, n. 01 (28 febbraio 2022): 1–10. http://dx.doi.org/10.47310/iarjhss.2022.v03i01.001.
Testo completoAbstract (sommario):
Mundhum is knowledge. Kirat's Mundhum is comparable to the Hindu Vedas. Some even consider it folklore. The culture of Kirat was formed by combining Mundhum's wisdom and philosophy with faith. Tungdunge Mundhum is the story of Kirat Samba's ancestral relationship, empowerment, and travel details. Tungdunge used to be their ancestral deity to be worshipped every three years. Kirat Limbu is an indigenous group living in Eastern Nepal, India, Bhutan, and abroad. Different surnames identify them, and one of them is Samba Phyang. The study attempted to examine facts to connect the epic and genealogy. This research investigated the historical, archaeological, and biological context. King Kokaha-Baraha used to be considered a god in history and genealogy. Tungdunge was the youngest son of King Kokaha-Baraha in Koshi Baraha region. He belonged to the Sen dynasty. His journey described in the myth began from Koshi-Baraha to the Mewa Khola in the 17th century. In the Socio-biological approach, the gene directs the path to kinship. He had travelled to Mewa Khola searching for his brother, and Samba welcomed him. This Mundhum attests to the Sen and Samba families' ties. It was a historical case of Eastern Nepal similar to the socio-biological model explained. The Shreng and Samba lineages arose from the Sen dynasty, according to history and mundhum. As a result, the Sen dynasty is the forefather of Samba families, including Phyang.
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Choudhary, Shailja, Gitika Chaudhary e Hemlata Kaurav. "AEGLE MARMELOS (BAEL PATRA): AN AYURVEDIC PLANT WITH ETHNOMEDICINAL VALUE". International Journal of Research in Ayurveda and Pharmacy 12, n. 3 (6 luglio 2021): 147–56. http://dx.doi.org/10.7897/2277-4343.120392.
Testo completoAbstract (sommario):
Aegle marmelos is considered as the most sacred or holy plant which is grown by the sides of Hindu temples. This plant is dedicated to Lord Shiva and is also believed that Lord Shiva resides under the Bael tree. Besides this, the plant is associated with a great medicinal value whose medicinal description is also mentioned in the ancient treatise like Vedas, Puranas, Charaka Samhita and Brihat Samhita and has also been portrayed in the paintings of Ajanta caves. Every part of the Bael plant is used to treat various diseases. In Ayurveda, the plant is used in Panchang form to treat diarrhea, dysentery and ulcer. In folklore, the plant parts are used to treat diabetes, skin diseases and typhoid, wound healing, ulcer, stomachache, jaundice, high BP, malaria, cancer and other diseases. The fruit of the plant is edible and carries great medicinal value because of the presence of vitamins, minerals and various antioxidants. The pulp of the fruit is aromatic, sweet, pale orange and resinous. The unripe fruit pulp of the plant is used to prepare murabba, pudding and juice. The plant is associated with ethnomedicinal uses and possesses various therapeutic and pharmacological properties including antioxidant, anti-diabetic, antihistamine, radio protective, antiulcer, anticancer, cardio-protective, antidiarrheal, antibacterial, antimicrobial, hepatoprotective, anti-inflammatory and antiviral. In this review article, attempts have been made to summarize the phytochemistry, ethnomedicinal, Ayurvedic and pharmacological view of the Bael plant.
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Kohdrata, Naniek, e Cokorda Gede Alit Semarajaya. "Memotret Bentuk-bentuk Toleransi di Desa Kampung Kusamba, Karangasem, Bali". Jurnal Lanskap Indonesia 13, n. 1 (1 aprile 2021): 1–6. http://dx.doi.org/10.29244/jli.v13i1.32696.
Testo completoAbstract (sommario):
Kampung Kusamba Village is a relatively small size village in the Bali Island with a majority Muslim population. The village area is surrounded by villages that are predominantly Hindu. The Kampung Kusamba is an example that tolerance in social life is actualized. This research emphasizes on documenting tolerance between Kampung Kusamba dwellers with the Balinese through architectural forms and folklores, myths, or any other oral histories. The research method used is qualitative. Data were collected using a purposive approach, utilizing an in-depth interview technique to resource persons and photographic surveyed for architectural forms. The analysis was carried out descriptively using an ethnographic domain analysis technique approach. Preliminary findings from this study were that physical architectural features that reflect the local culture are the same or almost the same as Balinese architecture. A form of tolerance was also found in the form of artifacts that reflected the diversity of the population of Kampung Kusamba in the past. Oral histories of the past as a manifestation of the intangible landscape also showed the attitude and tolerance of the people of Kampung Kusamba and the people who live in Bali respectively. Moreover, there was also a story that shows the position and special relationship of Kampung Kusamba with Klungkung Royal.
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Marajaya, Made, e Dru Hendro. "Makna Ruwatan Wayang Cupak Dalang I Wayan Suaji". Mudra Jurnal Seni Budaya 36, n. 1 (17 febbraio 2021): 63–74. http://dx.doi.org/10.31091/mudra.v36i1.1329.
Testo completoAbstract (sommario):
Wayang Cupak termasuk pertunjukan langka di Bali, keberadaannya menambah genre pertunjukan Wayang Kulit Bali yang terus berkembang. Pertunjukan wayang kulit berfungsi sebagai wali, bebali, dan balih-balihan. Sebagai seni wali, pertunjukan wayang kulit hadir dalam berbagai jenis upacara termasuk upacara ruwatan. Upacara ruwatan yang paling populer di Bali disebut dengan Sapuh Leger. Selain Wayang Sapuh Leger, Wayang Cupak pun juga difungsikan untuk ruwatan seperti di Kabupaten Badung. Banyak ditemukan dalang wayang kulit di Kabupaten Badung, namun tidak banyak yang khusus mementaskan Wayang Cupak, hanya Dalang I Wayan Suaji yang merupakan keturunan dalang Wayang Cupak mampu meneruskan budaya ruwatan melalui pertunjukan Wayang Cupak. Orang-orang yang diruwat umunnya telah menginjak dewasa yang memiliki sifat loba, rakus, pemalas, dan tidak mengenal etika. Fenomena ruwatan (fenomena budaya) dikaji melalui pendekatan ilmu kajian budaya dengan metode kualitatif yang hasilnya merupakan deskripsi pencatatan hasil pengumpulan data, pengolahan data hingga analisis data tentang gejala atau fenomena yang terjadi dalam kehidupan masyarakat. Ruwatan Wayang Cupak yang terpelihara masyarakat hanya di wilayah Desa Adat Kerobokan dan sekitarnya dan sudah menjadi sebuah tradisi. Bentuk ruwatan Wayang Cupak dapat dilihat sarana dan prasarananya, seperti: canang uleman, banten ruwatan, pementasan wayang, proses ruwatan, mantra ruwatan, dan tirta ruwatan. Setelah dikaji bentuk ruwatannya, kemudian maknanya bagi masyarakat Hindu Bali. Beberapa makna ditemukan berupa: makna filosofis, makna religius, makna simbolik, makna pembersihan diri, dan makna budaya. Dapat dikatakan bahwa pertunjukan Wayang Cupak pada umumnya hanya dipentaskan untuk ruwatan dan belum disentuh oleh teknologi canggih, pertunjukannya masih sangat tradisi, dan hanya diganti gamelannya saja sebagai media untuk menciptakan iringan sesuai dengan adegan dalam lakon. Lakonnya bersumber dari cerita panji/malat atau folklore, sehingga secara filosofis wacana dikaitkan dengan konsep rwa belum ditemukan bhineda yang harus dilalui dalam kehidupan untuk menuju moksartam.
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Alam, Parvez. "TEMPLE DESTRUCTION AND THE GREAT MUGHALS’ RELIGIOUS POLICY IN NORTH INDIA: A CASE STUDY OF BANARAS REGION, 1526-1707". Analisa: Journal of Social Science and Religion 3, n. 1 (31 luglio 2018): 1–18. http://dx.doi.org/10.18784/analisa.v3i1.595.
Testo completoAbstract (sommario):
Banaras also known as Varanasi (at present a district of Uttar Pradesh state, India) was a sarkar (district) under Allahabad Subah (province) during the great Mughals period (1526-1707). The great Mughals have immortal position for their contributions to Indian economic, society and culture, most important in the development of Ganga-Jamuni Tehzeeb (Hindustani culture). With the establishment of their state in Northern India, Mughal emperors had effected changes by their policies. One of them was their religious policy which is a very controversial topic though is very important to the history of medieval India. There are debates among the historians about it. According to one group, Mughals’ religious policy was very intolerance towards non-Muslims and their holy places, while the opposite group does not agree with it, and say that Mughlas adopted a liberal religious policy which was in favour of non-Muslims and their deities. In the context of Banaras we see the second view. As far as the destruction of temples is concerned was not the result of Mughals’ bigotry, but due to the contemporary political and social circumstances. Mostly temples were destroyed during the war time and under political reasons. This study is based on primary Persian sources and travelogues, perusal study of Faramin (decrees), and modern works done on the theme. Besides this, I have tried to derive accurate historical information from folklore, and have adopted an analytical approach. This article showed that Mughals’ religious policy was in favour of Pundits (priests), Hindu scholars and temples of Banaras; many ghats and temples were built in Banaras with the full support of Mughals. Aurangzeb made many grants both cashes and lands to priests and scholars of Banaras.
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GAUTAM, Hitesh. "Culinary Processes as Body of Knowledge and Cultural Phenomenon". Eurasia Proceedings of Health, Environment and Life Sciences 2 (9 gennaio 2022): 12–18. http://dx.doi.org/10.55549/ephels.15.
Testo completoAbstract (sommario):
The central broadest interest besides nutritional values and culinary procedures evaluated there is also commitment to the reflections on the presence of food in ceremonial and communal festivals across the world. For that reason and as focused discourse this paper would give specific cultural examples from Hindu traditions. Discreetly never losing sight of the intercultural interests that give sense of daily nourishments being also as sharable metaphors and part of communal bonding in many cultures. Four examples of culinary techniques will be the approach to the researched tested and transmitted ways of nourishment.1. Ghee: Clarified butter traditionally made by churning fermented milk curd and boiled until fat is separated from milk solids. Discussed are the practicality and symbology of the most commonly used substance in Indian subcontinents as a nourishment, social sharing and part of auspicious rituals and religious beliefs 2. Khichri: As old as Vedic time researched by Rishi’s tested and integrated into daily diet as highly nutritive value, culinary delicacy and also used for dish as celebrating new crop, alleviating medical conditions. The chapter would also look into Khichri as a part of food folklore and food proverbs. 3. Galouti Kebab: Extremely tenderized and fine textured Lamb’s ground meat. Associated in Indian subcontinent as an example of desirable delicacy. It was minced nine times to get extremely fine texture and marinated with spices and raw papaya as a tenderizer. This procedure and its story of origin (Emperor Nawab Asad-ud-Daula 1748 -1797) will be discussed as an example of a relationship of story and food process and enjoyment. Conclusions:In closing the general reflections on culinary skills commitment, social engagement and aesthetic values will be complimented and briefly summarized by presences of traditional, historic and contemporary cultural values
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Dashieva, N. B. "Historical and Cultural Origins of Cosmological Representations of the Balagan Buryats of the Bulagat Tribe (Late 19th – Early 20th Century)". Bulletin of the Irkutsk State University. Geoarchaeology, Ethnology, and Anthropology Series 40 (2022): 57–66. http://dx.doi.org/10.26516/2227-2380.2022.40.57.
Testo completoAbstract (sommario):
Cosmological representations associated with cosmogonic plots belong to the little-studied problems of the traditional culture of the Buryats. The purpose of this article is to identify the historical and cultural origins of cosmological representations of the Balagan Buryats of the Bulagat tribe, personified in the images of celestial deities with the common name “Kings of Waters” (Bur. Ukhan-khat). The relevance of the study is because the images of these deities in the plots of cosmogonic myths and shamanic iconography of the Balagan Bulagats differ from the traditions of all other Buryats groups of the Baikal region. The methods of comparative analysis of the specifics of their cult in the local traditions of the Buryats used in the study, historical and comparative analysis of their leading elements in the language, mythology, folklore, cosmography, and calendar of the Indo-European and historical Indo-Iranian peoples of Eurasia presented their images as a personification of cosmological classifiers. Thus, the images of anthropomorphic figures with three rays on their heads in the iconography of the Kings of the Waters at the Balagan Bulagats go back to the images of Indo-European and Indo-Iranian thunder gods with the functions of defenders of light and servants of their cult, who performed their rituals through singing and dancing. The Buryats' ideas about the origin of the shaman from the eagle and his ability to “travel” in different worlds go back to their images. The views of the Balagan Bulagats about a three-part vertical picture of the world have commonality with Hindu cosmography with the idea of the Polar Star as the top of the sky and the beginning of the process of creation of time in the evening, spatially correlated with the direction “northwest”. The name of the head of the heavenly gods with the functions of the creators of the “Kings of waters” reveals a lexical and semantic commonality with the Scythian term ‘Ud’, reflecting the concept of the soul as a substance bestowed by heaven, which, after the death of a person, separates from the form-body and ascends to heaven again. The study revealed the historical and cultural origins of the cosmological representations of the Balagan Buryats of the Bulagat tribe in the motifs of Indo-European mythology and related worldviews of the peoples of the Scythian cultural circle
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Harper, Catherine. "A LETTER FROM SPECIAL EDITION EDITOR IN CHIEF - DR. CATHERINE HARPER". ShodhKosh: Journal of Visual and Performing Arts 4, n. 2CDSDAD (13 ottobre 2023): 1. http://dx.doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.715.
Testo completoAbstract (sommario):
The contributors to this special issue consider how urban, rural, local, and global communications, experimental and innovative media used alongside indigenous knowledge and folkloric craft practices, respect for the disparity of human identity, heritage, tradition, and culture, and the importance of documenting, preserving, and protecting, and enhancing creativity and cultural diversity is essential for our collective future. They presented their research at the Woxsen and Banaras Hindu Universities’ international conference ‘Cultural Diversity for Sustainable Development in Art and Design’ in June 2023.The context of their work is the sophisticated networks across nations that link product ideation, production, consumption, post-consumption management, and policy in highly complex chains. These chains see wealth move upwards, often at the expense of those lower in the chain, those nearer to the making of the products, arguably those with the greatest creative talent and technical skill. In an inverted triangle of development, the advancement of economies is often at the expense of the sustenance of communities, resources, histories, and individual humans.Radical, and in some cases painful, adjustments to how we live are no longer ‘design decisions’ or ‘sustainable choices’. While we have considered for some time that perhaps we need to slow down, take time to breath, consume less, and cease striving, we have not yet come collectively and universally to understanding that advancement is not always positive. We have not yet concluded that we are operating an obsolete and unsustainable business model, and we have not yet seen holistically that thinking in terms of a smaller Earth is conceivably our only solution.These papers challenge us to think about why humans first created, so that their ‘things’ were not only functional and utilitarian. Communities from distinct geographic regions across the world developed decorative, expressive, ritualised, secular, and sacred objects from early in human development. Individuals sustained themselves, their communities, their beliefs, and their environments by applying their creative imaginations to their tools, coverings, shelters, surroundings, this growing rapidly in sophistication, purpose and embeddedness as human societies and cultures evolved.Our ancestors preserved cultural diversity without even thinking of it, both in their material surroundings and civilisations, but also through storytelling that illuminated their spirit world and imaginations. They gave us the myths and legends, superstitions and belief systems, ideologies and moralities that persist into our folk traditions, societal customs, disparate identities, and artisan-based cultures today. This excellent Special Issue resists a homogenised globalist culture that erases the diversity nourishing vital philosophical, intellectual, instinctual, or imaginary concepts that make up the immaterial and intangible aspects of sustainable development that we so need to protect.
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kashyap, Kishor Kunal, e Prof(Dr ). Saloni Prasad. "Cosmology In Ramayana". Educational Administration: Theory and Practice, 2023. http://dx.doi.org/10.53555/kuey.v29i4.5432.
Testo completoAbstract (sommario):
This analysis delves into the profound cosmological elements embedded within the revered Hindu marvel, the Ramayana, from the vantage point of Hindu studies. In it, the astronomical bodies mentioned in the Ramayana—Surya, the Sun, Chandra, the Moon, Mangala, Mars, and Brihaspati, Jupiter—are examined in great detail, and their symbolic significance within the story's expansive framework is explained. The Hindu universe views these celestial bodies as more than simply physical entities; they are representations of the highest ideals, answering universal prayers and enacting eternal dharma. Insights into ancient Indian understanding of the universe's structure and elements are provided by this study's comprehensive analysis of the Ramayana's cosmological themes, which provide light on the complex interplay between the microcosm and macrocosm. Ramayana serves as a repository of profound learning that transcends the bounds of existence with its mesmerising portrayal of celestial quirks and sublime events. Beyond that, this analysis is in favour of a multidisciplinary strategy that combines Hindu philosophy with rational inquiry. A deeper appreciation for the intricate weaving of Hindu cosmology can be fostered by integrating traditional knowledge with modern logical inquiry in an effort to bridge the gap between folklore and experimental data. Our comprehension of the Ramayana is enhanced by this endeavour, and a more thorough discussion on the intersection of religion, science, and the supernatural is energised. The study concludes that the Ramayana continues to be relevant today as a source of great wisdom and moral guidance. Its ostensible purpose is to lead readers on a journey of discovery as they delve into the sacred texts' venerated eternal truths.
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Beggiora, Stefano. "Aquatic Mythologies: Divine, liminal and fantastic creatures in the Indian tradition". Shima: The International Journal of Research into Island Cultures 16, n. 2 (14 ottobre 2022). http://dx.doi.org/10.21463/shima.181.
Testo completoAbstract (sommario):
This article offers an overview of some of the most peculiar mythological creatures of the Hindu pantheon related to the watery element. Starting from the analysis of the concept of liminality, which is fundamental to Monster Theory, the symbolism and functions of water in ritualism, folklore and the traditions of South Asia will be explored. Indeed, destruction, metamorphosis, transition, purification and rebirth are all concepts that in Indian traditions are frequently sublimated into the dynamics of the circulation of waters. The monsoon phenomenon, the rushing rivers flowing down from the Himalayas and the depths of the Indian Ocean abysses therefore rise here to metaphysical and existential metaphors. Their hidden meaning has been represented in an allegorical key over the centuries by monstrous, bizarre and emblematic figures that have animated art, iconography and literature and popular legends. This essay tries to explore the issue through a religious and anthropological investigative approach, but with particular reference to Sanskrit literature and the sacred texts of Hinduism.
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-, Bishakh Choudhury, e Dr Ashok K. Choudhury -. "Environmental Consciousness as Reflected in Indian Literature since Vedic Era". International Journal For Multidisciplinary Research 5, n. 5 (29 settembre 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i05.7004.
Testo completoAbstract (sommario):
Since the dawn of ancient era, the scriptures and Vedas have portrayed the inter-relation between man and environment. It preaches us its importance and how to protect the environment and use its resources judiciously. A hymn from the ‘Atharva Veda’, ‘Prithvi Sukta’ describes that ‘Earth is my mother and I am her son’. The Hindu scriptures also present a message that God is present in every element of the world and spreads a message of Vasudhaiva Kutumbakam’ (The whole world is one family). Hence, every organism should be treated equally. These evidences prove that people back then whole heartedly followed the scriptures and traditions and developed a linkage of religion with conservation of the ecosystem. The present study aims to identify the essence of environmental thoughts present in the Vedas and other sacred books, our rich folklore, and literature, including Indian English and our Bhasa literature, written since Vedic era to the modern time.
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Chatterjee, Arup. "Lord Ram’s Own Sethu: Adam’s Bridge envisaged as an aquapelago". Shima: The International Journal of Research into Island Cultures, 4 settembre 2021. http://dx.doi.org/10.21463/shima.136.
Testo completoAbstract (sommario):
Taking the current geological, environmental and religious controversy around the iconic Adam’s Bridge or Ram Sethu (as it is referred to in Hindu sacred mythography) and the proposed Sethusamudram canal project—which has been delayed since the late-20th century over several administrative terms, due to litigious procedures and protests by religious groups—this paper examines the Ram Sethu as an aquapelago. The Ram Sethu is an aquapelagic zone, not merely in geo-historical terms but also in psychological ways, that is largely experienced in the Indian consciousness through the evolution of ancient folkloric motifs in contemporary media-loric polemic. As an aquapelagic imaginary, or indeed a performed aquapelago, the Ram Sethu is sustained by accumulating epistemic plurality from multiple geological, secularist, sacred and environmentalist interpretations. This epistemological plurality or transcendence of (geo-)logocentric meanings is an inevitable function of aquapelagic imaginaries, even more so of the Ram Sethu, which is reproduced by multiple determinate negations of religion (negating ambitions of economic development), developmentalism (negating themes of environmental sustainability), and environmentalism (negating majoritarian discourses of what constitutes the sacred).
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B. R., Shyam, e P. S. Aithal. "The Six Tudes for Today’s Dudes: Attitude, Aptitude, Altitude, Magnitude, Solitude, and Gratitude (A3MSG) from Character Sketch of Mahabharata & Ramayana". International Journal of Management, Technology, and Social Sciences, 22 luglio 2023, 1–16. http://dx.doi.org/10.47992/ijmts.2581.6012.0286.
Testo completoAbstract (sommario):
Purpose: Indian mythology is a rich and alluring tapestry of ancient tales, gods, and goddesses, as well as epic conflicts that have influenced the nation's cultural and spiritual environment for millennia. Investigating these fictitious worlds provides a window into the rich symbolism and wisdom ingrained in Indian culture. The researcher explores Indian Mythology in this study and offers a collection of the six greatest Indian Mythology tales for modern males. The publication provides a portal for young people to a cosmos teeming with Gods, heroes, demons, and Divine sages, ranging from the age-old stories of the Mahabharata and Ramayana to lesser-known folklore & regional mythology. Prepare to embark on a mesmerizing journey through the six tudes for today's dudes A3MSG from character sketch of Mahabharata & Ramayana. Objective: The researchers have set the following primary objectives and the current study investigates 2 broad research questions: 1. To identify the persona behaviours from the character sketch of Mahabharata & Ramayana. 2. To evaluate Attitude, Aptitude, Altitude, Magnitude, Solitude, and Gratitude (A3MSG) from the character sketch of Mahabharata & Ramayana. Design/Methodology/Approach: The study is supported by both primary and secondary evidence. The hypotheses are presented for the chosen variables, and they are then examined to support or refute them without making any mistakes. Findings/Results: The researcher identifies A3MSG play relations and all these were related to character sketches of Mahabharata & Ramayana & there were significant relationships observed for persona behaviour development like self-awareness, self-esteem, emotional issues, thinking patterns & handling emotions. Research Limitations/Implications: A3MSG are crucial aspects of the human psyche that have an impact on learning, performance, behaviour, and how one adjusts to their environment. Tudes talk about how we do things; while A3MSG indicates the things we are capable of doing. Therefore, A3MSG, are a highly effective tool for our job performance, our successful integration and our well-being within a team when they are correctly designed. Contrary to popular belief, employers nowadays are not simply searching for talents. They frequently seek out steady-minded, career-focused people who "understand their own path" and "know what they want in a career." Companies "recruit for A3MSG and "train for skills," according to a common saying. A3MSG directly affects how individuals function and perform at work. A3MSG are equally crucial to succeeding in a certain area. It is the proper blending of the two inherited and acquired traits that go hand in hand in defining the wins and losses in a person's life and help shape the progression of one's life in a varied nation like India. Originality/New Knowledge/Interpretation/Value: In the current study, the researchers make an effort to comprehend the research gap in the field; as a result, a comparative conceptual idea is proposed. The study then goes further to demonstrate the significance of learning the degree of relationship between A3MSG from a character sketch of the Mahabharata and the Ramayana. The study contributes to the conclusion that a comparison of A3MSG provides an understanding of Persona and Hindu Mythologies. There are a few connections that may be made between Hindu mythologies and Persona. As a result, it can be argued that if we apply the best practices of Hindu mythologies to the best practices of persona, we will have new companions and be able to function better in the upcoming years. We will also be able to improve how millennia appear and work in organizations in the years to come. Paper Type: The study is based on both secondary & primary evidence.