MEGALITHIC CULTURE INFLUENCE ON THE ARCHITECTURE OF SEGARA SANUR TEMPLE

1) Nyoman Ratih Prajnyani Salain

1), Faculty of Engineering, Udayana University 1) [email protected]

Abstract

Culture is something that will always exist along with human life. Because, culture is a whole system of ideas, actions, and human breakthrough in people lives, which become a part of human beings that come from learning (Koentjaraningrat, 2002: 148). In fact, culture even exists long before humans knew the term of civilization. So does the Megalithic culture or as known as Big Stone Culture that exist during Neolithicum era (New Stone Age), which then can be categorized as part of The Artifacts Culture form. This research uses qualitative method to specific object named Segara Sanur Temple. This object get choosen because of its physical form that quite different to most temples in Sanur. Its physical form is built from pile of corals which is one of Megalithic culture’s characteristics. This research will analyze the influence of Megalithic culture on Segara Sanur Temple’s architecture, based on mass order and orientation, space hierarchy, also sacred and aesthetic elements it contained.

Keywords: Megalithic Culture, Temple Architecture, ‘Mass Order’, ‘Space Hierarchy’, Aesthetic/ Sacred element

Introduction

Culture definitions could be vary and different according to the experts. According to Koentjaraningrat (2002: 148) ,culture is a whole system of ideas, actions, and human breakthrough in people lives, which become a part of human beings that come from learning. Other mentions that culture is a result of creations, intentions, and tastes (Djojodigoeno in Koentjaraningrat, 2002: 181). From both definitions above, we could understand that culture is indeed a result of human breakthrough, whether it ideas, actions, or things. Which is why, culture will always exist as long as human existence. Megalithic culture is one of Artifacts Culture form, for it is a form of human attainments whether in things or even buildings in Neolithic era (New Stone Age). Megalithic culture is not a developing age or era, but is a form of culture that arises and develops during Neolithic era to Bronze Age.

In , Megalithic culture influences are often found in each region in various forms and functions, as menhir, dolmen, sarcophagus, punden berundak, candi, etc. Megalithic culture forms are generally used to respect and worship ancestor’s spirit, or anything related to life after death, or offering sake. Megalithic culture has been developed long before the Hindu-Budha religion entry in Indonesia. Therefore, its existence gave a huge effect for Hindu-Buddha culture development in Indonesia. If we take Candi as example, is a common used form of Megalithic building that even used and built way more after Hindu-Buddha era. There is significant difference in function that the Candi which built during Megalithic culture are built to worship ancestors, but the Candi that built during Hindu-Buddha era are built to worship Gods and Buddha. For examples, Prambanan Candi and Candi.

The 1st International Conference on Cultural Communication and Space (ICCCS) and ISVS the 9th International Seminar on Vernacular Settlements (ISVS), 28-29 November 2018

This research is using Segara Temple in Sanur as research object, because of Megalithic culture’s effect on its architectural form. That point is shown in the pelinggihs part that used to worship Gods, which are built from coral piles. This physical condition, the materials, is the thing that differentiates Segara Temple from the other temples in Sanur Village. To specify the effect of Megalithic culture in the temple’s architecture, Segara Temple will be analyzed based on mass order and orientation, space hierarchy, also sacred and aesthetic elements it contained.

Research Objectives and Benefits

This research is aiming to know the clear effect of Megalithic culture in the mass order and orientation, space hierarchy, also sacred and aesthetic elements contained in Segara Temple, Sanur. This research result is expected to become further information of Megalithic culture effect to holy buildings architecture, especially in Temples. So it can be reference to help the academics to understand more about Megalithic culture effect to Temples, especially at Segara Temple in Sanur.

Research Method

This reasearch is using qualitative descriptive method, which is using qualitative datas to describe the form and architecture of Segara Sanur Temple. The qualitative datas are consist of theories and literature reviews about Megalithic culture, comprehension about Temples and its architectures, comprehension about Balinese Traditional Architecture (especially Temples), and physical data of Segara Sanur Temple as the research object.

ANALYSIS

Megalithic Culture

Megalithic comes from Greek language, which consists of the words 'mega' which means big and 'lithos' which means stone (Soejono in Pradipta, Martin, 2017:37). Therefore Megaliths means large stones that are used to build structures or monuments. Megalithic culture is not a developing age or era, but is a form of culture that arises and develops during Neolithic era.

Table 1. The Meanings of Space in the Past

No. Products of Megalithic Characteristics Function Culture 1. Menhir Stone Pole that stands single or in groups Place of Worship

2. Punden Berundak Composition of stone pile Place of Worship 3. Dolmen Stone table Place of offerings 4. Pandhusa Stone table with closed legs tomb 5. Sarkofagus Whole stone is made into mortar which has a lid a place to lay dead bodies 6. Grave Chest Composed of stone slab a place to lay dead bodies 7. Stone Statue Human and animal sculptures Respect for figures / likes Source: R Von Heine Geldern in Noor, Yusliani& Mansyur, 2015: 63

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Reframing the Vernacular: Politics, Semiotics and Representation

Nyoman Ratih Prajnyani Salain

The 1st International Conference on Cultural Communication and Space (ICCCS) and ISVS the 9th International Seminar on Vernacular Settlements (ISVS), 28-29 November 2018

Candi or punden berundak-undak is one of Megalithic culture outcomes that have a lot of architectural aspects in their form. The mass order in Candi in general is forming steps, with rectangular bases, which get narrowed up on the way to the top parts. Mostly consist of three steps or more, with their own philosophy which effects the form they used. At those ancient times, people were strongly believed that mountains are personification of sacred and holy places, therefore the mountain shape become the basic form of Candi and Punden Berundak, which is rectangular form base that get narrowed up to the top. Candi and Punden Berundak are often found in hill or mountain areas, because people were intended togive their ancestors a higher place to show their respect.

Candi and Punden Berundak’s building orientation is still based on mountains as holy places personification, so in general the buildings are facing the mountains. In term of space hierarchy, Candi and Punden Berundak were designed based on simple considerations of ancient people, that the stepped form mass order will create a higher place for their ancestors, furthermore, the higher level courtyard will be and will give the sign that their ancestors were residing there.

From the aesthetic and sacred elements, the ancient people in that era werealready able to create menhir and symbolic statues and scluptures.Menhir is an obelisk or stone pillar that used to respect the ancestors, while symbolic statues and sculptures are the representation of either ancestors or animals with simplified form (undetailed form). So that, the Megalithic culture characteristic in architectural aspect are shown in the stepped form (that well known as Candi form), the space hierarchy where the worship areas are places at the highest level and facing the mountain, the building are built on high areas (such as hills and mountains), using rough and simplified form statues that represent the ancestors figures or animals.

Figure 1. Tri division in Temple Source: https://hindualukta.blogspot.com/2015/12/struktur-pura-yang-benar.html

The Temple’s Mandala is divided into three areas, such as Nista Mandala (teben area; dirty area, lowly area), Madya Mandala (middle area), and Utama Mandala (hulu area; holy, sacred). Each areas are divided by ‘candi bentar’ as boundaries.Tri Mandala in a Temple buildings is oriented to natural axis Kaja-Kelod (Mountain-Sea) and ritual axis Kangin-Kauh (sunrise- sunset). In general, the main holy temples will be built in Utama Mandala area; while in Madya Mandala they will build supporting facilities such as Bale Gong, Perantenan (sacred kitchen), , Bale Pesandekan (a place to set offerings / tetandingan ), Bale Pesamuan (a

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The 1st International Conference on Cultural Communication and Space (ICCCS) and ISVS the 9th International Seminar on Vernacular Settlements (ISVS), 28-29 November 2018

place for meetings); and Nista Mandala area is functioned as parking area, yard / garden, toilets, etc.

Space hierarchy in Temple architecture is an embodiment from Tri Loka cosmology, such as Bhur, Bwah, Swah Loka. Outside area which is called as jaba pura is a symbol of the underworld (bhur loka). In Hindus belief, this kind of world is where the bhuta kala live, so then this area is functioned to held ceremonies that related to the bhuta kala, such as mecaru ceremony,tabuh rah, etc. Middle area (jaba tengah) is a symbol of the middle world (bwah loka) which mean a place where human beings live. This area in functioned for any kind of activities to prepare ceremonies offerings for the Temple. While the core / inside area (jeroan) is a symbol of upper / holy and sacred area (swah loka) as a place for God and Gods (God in manifestations).

Statues in Temples are part of aesthetic decoration because they are not united to the building itself. Not united here means that the statues are just ‘patches’ that are not included into the building architecture, and purely functioned just as aesthetic elements in it. Statues in Pelinggih in Temples are also can be the supporting factor that is as symbols of God in God’s each manifestations.

The Influence of Megalithic Culture a. Megalithic Culture

Segara Sanur Temple is located in Pekraman Intaran village, to be exact on Jalan Segara Ayu, Batujimbar, Sanur Village. If we observe from the name, layout and character of the temple, this is a type of Pengulu Temple, known as a place of worship for professional groups such as rice farmers, field farmers, fishermen, traders and other work units that have each temple as a place of worship gathering. And Ulun Segara Temple is called Segara Temple because it is a place for the fishermen who are in a certain coastal area to worship (Gelebet, I Nyoman, 1982: 125).

However, according to the interviews results with Pemangku (Hindus Saint / Holy person) at Segara Temple, Mr.Nyoman Lanang; Segara Sanur Temple is to be precise, categorized into a type of General Temple and Geneological Temple (family lineage). Because, Penyungsung from Segara Temple is an Indigenous Village of Intaran while the Pengempon is the Jero Abian Timbul family, and Pemangku Nyoman Lanang himself is the chosen one in his family. So the selection of mangku is based on the family line, from generation to generation. Information: a. Main Pelinggih (Ida j.Pelinggih Ida Ratu Ratu Penyarikan, Ida Jlih Lambih dan Ida Ratu Dalem Segara, Ratu Mas Melanting Ida Ratu Gunung k. Candi Bentar& Agung, Ida Ratu Aling-aling Batur) l. Bale Pewaregan; b. Bale Banten m.Bale Kulkul; c. Bale Sakenem n. Candi bentar; d. Bale Pengaruman o. Bale Piyasan; e. Bale Tajuk p. Penyawang Dalem f. Ida Ratu Manik Ped Kembar g. Well h. Bale Gong i. Pelinggih Sang Hyang Figure 2. Segara Sanur Temple’s Layout Source: Ratih Salain, 2018

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Division of territory (mandala) in Segara Sanur Temple is divided into Tri Mandala, such as: (1).Nista Mandala consists of: Bale Kulkul, Bale Pewaregan, Bale Piyasan, and Pelinggih Penyawangan Dalem Ped. (2) Madya Mandala consists of: Bale Gong, Pelinggih Sang Hyang Bayu, Pelinggih Ida Ratu Jlih Lambih and Pelinggih Ida Ratu Mas Melanting. (3) Utama Mandala consists of: Ida Ratu Manik Kembar, Pelinggih Tajuk, Bale Pengaruman, Bale Banten, Bale Sakenem, Pelinggih Ida Ratu Penyarikan, Pelinggih Ida Ratu Batur,Pelinggih Ida Dalem Segara, Pelinggih Ida Ratu Batur, and Pelinggih Ida Ratu Gunung Agung.

There is Candi Bentar as the boundaries / gates to the Nista Mandala area, and also located in the Madya Mandala area as well. Whereas in the Utama Mandala area there are no Candi Bentar, but the imaginary boundary still exists and created by the form off floor level difference. b. Mass Order and Orientation of Segara Sanur Temple

The influence of Megalithic culture on the Segara Sanur Temple’s architecture can be clearly seen in the division of territory based on Tri Mandala (Nista, Madya, Utama) with its linear mass order lined from north to south. It also shown in the form of the main Pelinggih in the area of jeroan and madya mandala which has stepped shape like ‘punden berundak’ (Candi shape). It has rectangular pedestal and consist of pile of corals. That ‘Punden Berundak’, which gets narrowed up to the top parts, is similiar as the punden berundak from Megalithic culture that adopts the shape of a mountain. This is due to prehistoric human beliefs at that time that the mountain is a sacred and holy place.

From the physical facade of Segara Sanur Temple which has multilevel mass, it is indeed has Megalithic culture influences, where the difference lays in the functions. In Megalithic culture, punden berundak is functioned as a place to worship spirits or ancestors, but on Segara Sanur Temple, punden berundak is functioned as a place to worship the Gods or Bhatara. This is caused by the fact that at those time, were already got the influences of Hindus-Buddha cultures, when worshiping were means to worship God and God’s manifestations. The mass order in each pelinggih is consist of three masses stacked together like steps, and the higher the mass placed, the smaller it get. This is representing the Tri Loka cosmological concept (Bhur, Bwah, Swah); and the Tri Angga concept, where the building divided into three parts, such as the head, the body, and the legs.

There are four Punden Berundak in Segara Temple, Sanur, those are: (1.a) Ida Ratu Penyarikan (1.b) Ida Ratu Dalem Segara (1.c) Ida Ratu Batur (1.d) Ida Ratu Gunung Agung; (2) Ida Ratu Manik Kembar; (3) Sang Hyang Bayu; (4.a) Ida Ratu Jlih Lambih (4.b) Ida Ratu Mas Melanting. As for the orientation, the Segara Temple is using the natural axis (Kaja- Kelod), and guided also by the ritual axis (Kangin-Kauh / sunrise-sunset).

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Reframing the Vernacular: Politics, Semiotics and Representation

Nyoman Ratih Prajnyani Salain

The 1st International Conference on Cultural Communication and Space (ICCCS) and ISVS the 9th International Seminar on Vernacular Settlements (ISVS), 28-29 November 2018

Figure 3. Left-Right: West View of Main Pelinggih; North View of Main Pelinggih; Ida Ratu Manik Kembar; Sang Hyang Bayu; Ida Ratu Jlih Lambih and Ida Ratu Mas Melanting Source: Ratih Salain, 2018 c. Space Hierarchy of Segara Sanur Temple

Megalithic culture influences in space hierarchy aspect of Segara Sanur Temple can be seen in the division of territory which is differentiated according to the level of 'purity' value. Because it has gained the influence of 'local architecture', the division of the hierarchy is based on Tri Loka which divides the temple area into three worlds areas as Bhur, Bwah, Swah.

(1) Bhur is the underworld area that was abstracted into the world of Bhuta Kala (genie, demon, etc), and known as the Nista Mandala (Jaba Sisi) area, where the value of area is considered as still dirty, lowly, and dark.

In stages of people movement in entering the temple, this area is still considered 'bhuta', dark, or zone that represents the philosophy of the time of not knowing 'God'.

Therefore, in this zone can be found many giant statues that symbolize Bhuta Kala, whereas on the other hand, the statues are also considered as guardsat the Temple’s entry zone.

(2) Bwah is a middle world area that was abstracted into the human world, known as the Madya Mandala area, which functioned as a preparation area, with bale and pelinggih- pelinggih as supporting factors for the existence of the Temple.

In Bwah area, it represents the philosophy when the humans began to realize their existence by concentrating on preparing them selves before worshiping the Gods.

At Segara Sanur Temple, Bwah area consists of: Bale Gong, Pelinggih Ida Ratu Mas Melanting, Ida Ratu Jlih Lambih and Pelinggih Sang Hyang Bayu. Here, there is no Candi Bentar or Gelung Kori as a boundary or gate between the zone Bwah to Swah area, but there are floor level difference which has similar function of dividing areas.

(3) Swah is the upper world area that was abstracted into the world of the Gods, known as the Utama Mandala area, which functioned as the main worship area, and pelinggih area. In

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this area, people do the worship to the Gods, especially Ida Dalem Segara. In this area, it is expected that the community can already concentrate and clear their minds to pray and be grateful. d. Aesthetics and Sacred Elementat Segara Sanur Temple

The last aspect of Megalithic culture influences in the Segara Sanur Temple, is on the aesthetic and sacred element. Aesthetic elements also as sacred element in this temple are statues, which as well became the decoration of the temple. Statues in Megalithic culture have simple formed characteristics, usually rough and not detailed. It forms are vary, from ancestral figures to animals they worship, such as elephants, etc.

But in Segara Sanur Temple, not all the statues are in the form of simplified animals. Although there are some, but the others are not. The animal forms on statues are more clearly visible and detailed, but still considered classic because of their strange shape, for example, an elephant head statue with fish body. most of the statues are fish shaped, because the temple is located on the coastline area.

Several statues that clearly get the influence of Megalithic culture are the statues of elephant- head fish, human-faced statues patched on the well wall, dragon statue on the Aling-aling, turtle statue at Main Pelinggih and in Pelinggih Penyawang Dalem Ped.

In further review, the use of aesthetic and sacred elements is also based on the Tri Mandala and Tri Loka cosmologies. As for the statues in each candi bentar and aling-aling, the form are giants, armed, with wide eyes. And for an animal statue, the expression was carved fierce. At main Pelinggih, the level areas value can be seen clearly through the statues placed on each level of mass areas.The lowly level (Bhur loka) is using dragon statues, the middle level (Bwah Loka) is using armed giant statues, and the upper level (Swah Loka) is using Rsi / Bhagawan (saint) form statue.

Each of these statue placements has Tri Loka's philosophy meanings.The same case goes with The Main Pelinggih, pelinggih Sang Hyang Bayu, that also using Giant Statue at the lowly level area, human statue of puppet in the middle area, and Rsi / Bhagawan (saint) statue at the upper area.

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Figure 4. a)-(e): Statues at Segara Sanur Temple which get the Megalithic culture influences; (f). Tri Loka’s cosmology concepton the statues placement at each mass level at Main Pelinggih and other Pelinggih Source: Ratih Salain, 2018

Conclusion

Segara Sanur Temple is chosen as the research object, because of the existence of unique temple form in the buildings, compared to the other temples in the Sanur village. In general, the facade of Pelinggih-pelinggih founds in temples are in shapes of meru, gedong, tugu, padma, candi, etc. But in Segara Sanur Temple, the Main Pelinggih shape looks like mass pile from corals as material. The using of corals as material is due to the location which is near to the beach. From the observation’s analysis result of Segara Temple, observing all the interview datas, and comparing them to the secunder datas from Megalithic culture, temple architecture literatures, and the relation between them; it decided that the aspects of temple architecture which was stated to get influences from Megalithic culture are: Mass Order and the Orientation, Space Hierarchy, and Aesthetics (sacred) Element at Temple.

Mass Order and the orientation in Segara Sanur Temple can be seen at Madya and Utama Mandala, where the four Pelinggih at those area looks like mass pile by corals as material that assembled to the shape of a mountain. Being rectangular based three level mass that narrowed up to the top, it perceived Hindus cosmological theory Tri Loka (Bhur, Bwah, Swah). The orientation of Segara Sanur Temple is applying the Natural axis known as Kaja-Kelod (Gunung- Laut), and Kangin-Kauh Ritual Axis (sunrise and sunset). This orientation system has similarity with Megalithic culture’s orientation system that using mountains and sun as the center point of the orientation. The orientation of candi bentar (main entrance) at Segara Sanur Temple is facing Mount Agung, as shown in the layout of Main Pelinggih that used Kaja-Kelod (southeast) axis system, so that the worshipers will face east to the Sea (direction of the sunrise) during worshiping time. It found that the mass order and the orientation in this object is absolutely influenced by Megalithic culture. With one difference with to note, is in the function. When during the Megalithic culture they are functioned for worshiping ancestors, but here in Segara Sanur Temple, the function of Pelinggih is for worshiping God and God’s manifestations.

Space hierarchy system at Segara Sanur Temple is materialized in the temple’s layout that based of Tri Loka (Bhur, Bwah, Swah) in according to the sacred value levels.With Nista Mandala as Bhur Loka (Underworld), Madya Mandala as Bwah Loka (human world), and the Utama Mandala as Swah Loka (God’s world). Each Pelinggih also represent the Tri Loka’s

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(Bhur, Bwah, Swah) cosmology theory, that consist of three mass level that get narrowed up to the top, as the mass sacred level got higher the placed.

Aesthetic elements here also divided based on their sacred value, and placed according to it. This is also influenced by Megalithic culture, although however, it is not done on every statues. Several statues that were analyzed get the Megalithic culture influences are statues of elephant- head fish, human-faced one patched on the well’s wall, dragon statue on the Aling-aling, and turtle statue at Main Pelinggih and Pelinggih Penyawang Dalem Ped.

Hopefully this research about the influence of Megalithic Culture on Temple’s Architecture can be useful and become learning material not only for architects, archaeologist, or conservator, but also for all people. Hopefully researchers, this paper can be used as a consideration for the community, especially those related to the field of cultural preservation, that history and cultural diversity are each regional’s treasure,and that each regional culture are special and can not be generalized into one.

Reference

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Reframing the Vernacular: Politics, Semiotics and Representati

Nyoman Ratih Prajnyani Salain

The 1st International Conference on Cultural Communication and Space (ICCCS) and ISVS the 9th International Seminar on Vernacular Settlements (ISVS), 28-29 November 2018