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Kebudayaan, Kesehatan Orang Papua Dalam Perspektif Antropologi
Antropologi Papua (ISSN: 1693-2099) Volume 1. No. 1, Agustus 2002 KEBUDAYAAN, KESEHATAN ORANG PAPUA pengetahuan berdasarkan kebudayaan mereka masing-masing dalam DALAM PERSPEKTIF ANTROPOLOGI KESEHATAN menanggapi masalah kesehatan. Kajian etnografi ini akan memberikan ilustrasi tentang bagaimana A.E. Dumatubun kebudayaan, kesehatan orang Papua berdasarkan perspektif antropologi, (Staf dosen Jurusan Antropologi Universitas Cenderawasih) yang dapat memberikan pemahaman kesehatan secara kultural. Abstract B. KEBUDAYAAN DAN PERILAKU SEBAGAI KONSEP DASAR In this article the author tries to look on social and cultural interpretation of the health problems on Papuan’s societies. The Papuan’s traditionally, have different views to care Kebudayaan sebagai pedoman dalam kehidupan warga penyandangnya jauh out their health. lebih kompleks dari sekedar menentukan pemikiran dasar, karena kenyataan As found in most – perhaps all – societies some illnesses are viewed as having “natural” or kebudayaan itu sendiri akan membuka suatu cakrawala kompetensi dan “naturalistic” causes, while others have “magical” or “supernatural” or “personalistic kinerja manusia sebagai makhluk sosial yang fenomenal. Untuk itu dapatlah causes. In this causes, most of the Papuan’s depent on supernatural or personalistic to care dikemukakan beberapa rumusan kebudayaan: about their health. My finding is more complexs. That is how the decision was made and what kind of help to look for depent on many factors such as perceived the gravity of the “…dalam konteks suatu aliran atau golongan teori kebudayaan yang besar illness, past experience with different kinds of healers, family knowledge and therapeutic pengaruhnya dalam kajian antropologi, atau yang dikenal dengan “Ideasionalisme” skills (couple with the advice of friends and neighbors), cost of different kinds of treatment, (ideationalism) (Keesing, 1981; Sathe, 1985) dalam kajian khususnya kesehatan. -
Sculptures of Kamakhya Temple: an Aesthetic View
International Journal of Scientific and Research Publications, Volume 3, Issue 10, October 2013 1 ISSN 2250-3153 Sculptures of Kamakhya Temple: An Aesthetic View Mousumi Deka Research Scholar, Department of Visual Arts, Assam University, Silchar Abstract- The Kamakhya temple is one of the world known religious centre. Though, the temple is regarded as the great religious Tantriccentre but, it lays great emphasis on the sculptural art. The temple exits at the Nilachal hill of Assam. The myth, religion and art are amalgamated in the Kamakhya temple. The reconstructed temple shows the sculptural art of different times. Numerous sculptural images are very similar to the Gupta art style. The study focuses upon the characteristics of the stone images and traces the myth behind the temple. The stone images are analyzed according to the subject matter. Index Terms- Aesthetic, Kamakhya temple, Myth, Sculptures I. Section I he Kamakhya temple is one of the main pithas (sacred place) among fifty oneSaktipithas and the temple is dedicated to Mother T Goddess Kamakhya. Kamakhya is another form of Goddess Parvati. The Kamakhya temple is located on the Nilachal hill in western part of Guwahati city in Assam. There is an incomplete stone staircase known as the Mekhalaujua path along with the Kamakhya temple. Mother Goddess Kamakhya is worshiped here in the „Yoni’ (genitalia)form. The most celebrated festival is the Ambubachi festival. It is widely believed that during the period of festival of each summer, Devi Kamakhya goes through her menstrual cycle. The history was silent that when the temple was originally built. But, it was estimated that the temple was built around the 4th -5th century A D. -
Pola Lantai Panggung Un Dan Kompetensi Dasar Yang Tercantum Dalam Kurikulum
Alien Wariatunnisa Yulia Hendrilianti Seni Tari Seni Seni S e untukuntuk SSMA/MAMA/MA KKelaselas XX,, XXI,I, ddanan XXIIII n i Tari untuk SMA/MA Kelas X, XI, dan XII untuk SMA/MA u nt u Yulia Hendrilianti Yulia Alien Wariatunnisa PUSAT PERBUKUAN Kementerian Pendidikan Nasional Hak Cipta buku ini pada Kementerian Pendidikan Nasional. Dilindungi Undang-undang. Penulis Alien Wariatunnisa Seni Tari Yulia Hendrilianti untuk SMA/MA Kelas X, XI, dan XII Penyunting Isi Irma Rahmawati Penyunting Bahasa Ria Novitasari Penata Letak Irma Pewajah Isi Joni Eff endi Daulay Perancang Sampul Yusuf Mulyadin Ukuran Buku 17,6 x 25 cm 792.8 ALI ALIEN Wiriatunnisa s Seni Tari untuk SMA/MA Kelas X, XI, dan XII/Alien Wiriatunnisa, Yulia Hendrilianti; editor, Irma Rahmawati, Ria Novitasari.—Jakarta: Pusat Perbukuan, Kementerian Pendidikan Nasional, 2010. xii, 230 hlm.: ilus.; 30 cm Bibliograę : hlm. 228 Indeks ISBN 978-979-095-260-7 1. Tarian - Studi dan Pengajaran I. Judul II. Yulia Hendrilianti III. Irma Rahmawati IV. Ria Novitasari Hak Cipta Buku ini dialihkan kepada Kementerian Pendidikan Nasional dari Penerbit PT Sinergi Pustaka Indonesia Diterbitkan oleh Pusat Perbukuan Kementerian Pendidikan Nasional Tahun 2010 Diperbanyak oleh... Kata Sambutan Puji syukur kami panjatkan ke hadirat Allah SWT, berkat rahmat dan karunia-Nya, Pemerintah, dalam hal ini, Departemen Pendidikan Nasional, pada tahun 2009, telah membeli hak cipta buku teks pelajaran ini dari penulis/penerbit untuk disebarluaskan kepada masyarakat melalui situs internet (website) Jaringan Pendidikan Nasional. Buku teks pelajaran ini telah dinilai oleh Badan Standar Nasional Pendidikan dan telah ditetapkan sebagai buku teks pelajaran yang memenuhi syarat kelayakan untuk digunakan dalam proses pembelajaran melalui Peraturan Menteri Pendidikan Nasional Nomor 49 Tahun 2009 tanggal 12 Agustus 2009. -
Cialis Discount
Iconography: Meaning and Myths of Icons Aditi Trivedi (HUMCUS103) LE2012761005 The Saptamātṝkās Iconography: Meaning and Myths of Icons – Assignment 3 Name: Aditi Trivedi Class: FSLE 1 Application No.: LE2012761005 Word Count: 2385 1 Iconography: Meaning and Myths of Icons Aditi Trivedi (HUMCUS103) LE2012761005 The Saptamātṝkās Worship of goddess is one phenomenon which can be observed across many cultures but it is not a recent idea. The famous ‘Venus Figurine’ from the prehistoric times is one of the first indications of worship of female deities. Like most other goddesses, this deity is also believed to have been worshipped for fertility1. While other civilisations have also had male deities of fertility (e.g.: Min in Egypt), women’s association with fertility in humans as well as vegetation of the earth has been observed throughout. In Egypt itself, the need for the female principle has been acknowledged and one of the deities of fertility, Hapi is depicted as being half-man and half-woman, while a civilisation like Mesopotamia had a distinct fertility goddess, Ninhursag2. In India, female deities are known to have been worshipped right from the Vedic times. However, back then, their worship was not very popular, and the number of goddesses was limited, with some of the most important ones being Ushas and Aditi. Over the centuries, the number of goddesses in the Brahmanical religion has increased as more people became a part of the cult worshipping goddesses. Goddesses like Lajja Gauri3 and the figurine found of a woman with a flower issuing from her womb (from the Harappan Civilisation)4 are some of the earliest references to goddess worship for fertility in India. -
Sapta Matrikas in Indian Art and Their Significance in Indian Sculpture and Ethos: a Critical Study
Anistoriton, vol. 9, March 2005, section A051 1 SAPTA MATRIKAS IN INDIAN ART AND THEIR SIGNIFICANCE IN INDIAN SCULPTURE AND ETHOS: A CRITICAL STUDY Meghali Goswami, Dr.Ila Gupta, Dr.P.Jha Indian Institute of Technology Roorkee, INDIA This paper focuses on the study of ancient Indian sculptures of seven mother goddesses called Sapta Matrikas, and brings out their distinctive features as conceived by the master sculptures of different periods. It also explains their importance in Indian art and cultural ethos. Introduction The seven mother goddesses are: Brahamani, Vaishnavi, Maheshwari, Kaumari, Varahi, Indrani and Chamunda.Their description in ancient Puranas, such as Varaha Purana, Matsya Purana, Markandeya Purana etc refers to their antiquity. Each of the mother goddesses (except for Chamunda) had come to take her name from a particular God: Brahamani form Brahma, Vaishnavi from Vishnu, Maheswari from Shiva, Kaumari from Skanda, Varahi from Varaha and Indrani from Indra1.They are armed with the same weapons,wears the same ornaments and rides the same vahanas and also carries the same banners like their corresponding male Gods do. The earliest reference of Sapta Matrika is found in Markandeya Purana and V.S Agarwalla dates it to 400 A.D to 600 A.D Mythology There are different Puranic versions related to the origin of Matrikas. According to Puranic myths Matrikas are Shakti of Shiva,Indra and other gods and they are goddesses of the battlefield. But in the sculptural portrayals, they are depicted differently as benevolent, compassionate and aristocratic mothers. It is said that the Sapta-Matrikas are connected with Shiva. -
Van Galen's Memorandum on the Alor Islands in 1946. an Annotated
14 HumaNetten Nr 25 Våren 2010 Van Galen’s memorandum on the Alor Islands in 1946. An annotated translation with an introduction. Part 1. Av Hans Hägerdal Among the 17,000 islands of Indonesia, the Alor Islands are among the lesser known, but far from the least interesting. For the modern tourist they are primarily known as an excel- lent diving resort, that attracts a modest but devoted group of Westerners each year. For art historians their fame rests on the moko, the hourglass-shaped bronze drums that were once found all over the islands. Students of anthropology may know Alor via the well-known monograph of Cora Du Bois, The People of Alor (1944). Linguists find the plethora of local languages, at least fifteen in number, intriguing, the more so since speakers of Austronesian and Papuan languages meet here. And avid readers of tropical travel literature may have en- countered the islands as the supposed abode of ferocious cannibals and headhunters. To put it briefly, the Alor Islands are situated in the Nusa Tenggara Timur province of eastern Indonesia, north of Timor and east of Flores and the Solor Islands. They consist of two larger islands, Alor and Pantar, and some smaller ones. The mountainous islands cover an area which is about half of Bali’s, with a mixed population of Christians and Muslims. As is the case with much of Indonesia’s history outside Java, the past of this little archipelago is fragmentarily known up to the nineteenth century. Knowledge of the written word was utterly limited until modern times, and scholars have to piece Alorese history together from indigenous oral tradition, accounts by foreigners, and linguistic and archaeological data. -
Early Medieval Representation of Human Anatomy: a Case Study of Chamunda Stone Image from Dharamsala, Odisha
Early Medieval Representation of Human Anatomy: A Case Study of Chamunda Stone Image from Dharamsala, Odisha Rushal Unkule1, Gopal Joge1 and Veena Mushrif‐Tripathy1 1. Department of Ancient Indian History, Culture and Archaeology, Deccan College Post Graduate and Research Institute, Deemed to be University, Pune – 411 006, Maharashtra, India (Email: [email protected]; [email protected]; [email protected]) Received: 17October 2017; Revised: 10November 2017; Accepted: 13 December 2017 Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017): 191‐200 Abstract: The understanding of the human anatomy was a subject of an investigation of various civilizations for the purpose of varied reasons. However, in Indian tradition, it is often seen and discussed taking into consideration its religious background, and to some extent, it was a subject of magico‐ medicinal studies. Whereas, this traditional understanding of human anatomy is seen in various types of visuals since Early Historic period. In which most fascinating portrayal of human anatomy is noticed on stone sculptures. Especially, the Early Medieval depictions of some Brahmanical deities began to show with its anatomical details, in which the representation of goddess Chamunda took an important place where her skeletal features developed had become an identical norm. While making an image of Chamunda with all its anatomical details the sculptor requires the basic knowledge of the human anatomy. This knowledge may have been gained by these sculptors through the observation of actual human anatomy to achieve the certain perfection. This artistic perfection can be seen resulted in some of the sculptures found different parts of the country. However, such types of several stone images of Chamunda with its micro anatomical details are often noticed in the state of Odisha, which once was the primecenter of Shaktism. -
Lot Limit Estimation 1 VAJRA 50 € 75 € Silver with Turquoise Tibet, 19Th Century
Lot Limit Estimation 1 VAJRA 50 € 75 € Silver with turquoise Tibet, 19th century Dimensions: Height 2 cm , Wide 4 cm , Depth 1 cm Weight: 10 grams Small brooch in decorative vajra shape with a turquoise inlay in the centre. 2 A THANGKA OF VAJRAVARAHI 800 € 1.000 € Distemper on cloth; with original silk mounts Tibet , 19th century Dimensions: 70 cm by 44 cm Weight: 139,2 grams - Seite 1 / 112 - Lot Limit Estimation 3 BODHISATTVA 1.200 € 1.500 € Bronze firegilt Tibet , 18th century Dimensions: Height 36 cm by 14 cm Weight: 6218 grams Standing on a square plinth, Bodhisattva in slight tribhanga pose with right hand forming the varada mudra, dispensing of boons. The thumb and middle finger of the other hand are touching. The Bodhisattva is dressed in a dhoti with decorative waistband and adorned with different jewellery and an opulent tiara with stone inlay. The eyes are downcast and the expression is benevolent. 4 DRAGON 12.000 € 15.000 € Bronze China , Tang Dynasty (618-907 AD) Dimensions: Height 17 cm Weight: 1004 grams Dragon seated on his hind legs with front legs stretched out. The body is covered in scales and the limbs are slender in nature. The mouth is opened and bears a beak-like shape with beard-hair on the chin. The eyes are squinted and the dragon seems to be roaring or snarling. Two horns are shaped to the back from the front head and on top of its head is a lotus bud. Sitting dragons are extremely rare. The dragons were probably an ornament on the royal vehicle and the royal throne. -
SECULAR, RELIGIOUS and SUPERNATURAL – an EASTERN INDONESIAN CATHOLIC EXPERIENCE of FEAR (Autoethnographic Reflections On
SECULAR, RELIGIOUS AND SUPERNATURAL – AN EASTERN INDONESIAN CATHOLIC EXPERIENCE OF FEAR (Autoethnographic Reflections on the Reading of a New Order-Era Propaganda Text) Justin Laba Wejak Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy 2017 Faculty of Arts The University of Melbourne Abstract This thesis examines an Eastern Indonesian Catholic experience of fear by analysing how a New Order-era propaganda text dealing with the political upheavals of 1965- 66 triggers and maintains fear in one Eastern Indonesian Catholic reader – myself. It uses the methodology of autoethnography to examine the fears that I myself experienced in 2004 when encountering a 1967 Catholic propaganda text entitled, ‘Dari Madiun ke Lubang Buaya, dari Lubang Buaya ke…?’ [From Madiun to the Crocodile Hole, from the Crocodile Hole to...?]). By analysing my own experience of fear in reading the text, I argue that the Eastern Indonesian Catholic experience of fear involves three interlocking dimensions – secular, religious and supernatural. These three forms of fear are experienced simultaneously by the reader (myself). The From Madiun text is primarily a secular narrative of the 1965-66 events, but the reader brings his culturally-conditioned religious and supernatural fears when reading it. I argue that supernatural fear is the most unspoken but most powerful form of fear that I experienced when reading the text, and this reflects my membership of the Lamaholot community in which supernatural fear is pervasive. The thesis contends that in relation to 1965, the Catholic Church’s propaganda created an explicit secular fear of communists, an implicit religious fear of Muslims, and a hidden supernatural fear of ghosts. -
Shiva Lingam to Appease Lord Shiva
Mahashivaratri Festival Mahashivaratri Festival or the ‘The Night of Shiva’ is celebrated with devotion and religious fervor in honor of Lord Shiva, one of the deities of Hindu Trinity. Shivaratri falls on the moonless 14th night of the new moon in the Hindu month of Phalgun, which corresponds to the month of February - March in English Calendar. Celebrating the festival of Shivaratri devotees observe day and night fast and perform ritual worship of Shiva Lingam to appease Lord Shiva. Legends of Mahashivratri There are various interesting legends related to the festival of Maha Shivaratri. According to one of the most popular legends, Shivaratri marks the wedding day of Lord Shiva and Parvati. Some believe that it was on the auspicious night of Shivaratri that Lord Shiva performed the ‘Tandava’, the dance of the primal creation, preservation and destruction. Another popular Shivratri legend stated in Linga Purana states that it was on Shivaratri that Lord Shiva manifested himself in the form of a Linga. Hence the day is considered to be extremely auspicious by Shiva devotees and they celebrate it as Mahashivaratri - the grand night of Shiva. Traditions and Customs of Shivaratri Various traditions and customs related to Shivaratri Festival are dutifully followed by the worshippers of Lord Shiva. Devotees observe strict fast in honor of Shiva, though many go on a diet of fruits and milk some do not consume even a drop of water. Devotees strongly believe that sincere worship of Lord Shiva on the auspicious day of Shivaratri, absolves a person of sins and liberates him from the cycle of birth and death. -
Sources of Ancient Indian Iconography: - Vedas Are the Primary Sources of All Ideology of the Indian Culture
Sources of Ancient Indian Iconography: - Vedas are the primary sources of all ideology of the Indian culture. Various forms of various deities have been praised in the Vedas, icons or idols have mentioned in the various eulogies of Vedas. Many deities were conceived in Indian religions. Different sect of Brahmin religion such as Shaivite, Vaishnavism, Shakt, and solar belong to Siva, Vishnu, Shakti and Sun deities respectively. Similarly, Jain and Buddhism are related to Tirthankaras and Buddha respectively. The Brahmin literature: - The early literature of various religions gives a description of the imagination, origin and development of various deities. Various stories, events and different themes related to the deities are found in the early religious literatures such as Vedic texts, Puranas and later Vedic literature. In the Rigveda, Yajurveda, Atharvaveda, Taittariya Samhita, Shatapatha Brahmana, Aitreya Brahmana, Ramayan, Mahabharat, Vayu Purana, Vishnu Purana, Shiva Purana, Markandeya Purana, Matsya Purana, Linga Purana, Harivansh Purana, Padma Purana, Brahma Purana, Devi Bhagavata Purana and Garuna Purana has described the character and nature of Gods and Goddesses, their stories, Armaments, hobbies and interrelations etc. In all the Puranas, the ten chapters of the ancient Matsya Purana described the shape and size of the idols. In this Purana, the details related to the Shivalinga and the human idols of Shiva are presented prominently. The sixteen chapter of Agni Purana describe iconography. In addition to the Saiva and Vaishnav idols in this Purana Devi (Goddess) and sun idols have been discussed. The Vishnu Dharmottar Purana is particularly notable in this context, it has a more detailed description than others Purana. -
E-Book-Agama Dan Kepercayaan Nusantara
Undang Undang Nomor 19 Tahun 2002 Tentang Perubahan atas Undang Undang Nomor 12 Tahun 1997 Pasal 44 Tentang Hak Cipta 1. Barang siapa dengan sengaja dan tanpa hak mengumumkan atau memper- banyak suatu ciptaan atau memberi izin untuk itu, dipidana dengan pidana penjara paling singkat 1 (satu) bulan dan/atau denda paling sedikit Rp 1.000.000,00 (satu juta rupiah), atau pidana penjara paling lama 7 (tujuh) tahun dan/atau denda paling banyak Rp 5.000.000.000,00 (lima miliar rupiah). 2. Barangsiapa dengan sengaja menyerahkan, menyiarkan, memamerkan, meng edarkan, atau menjual kepada umum suatu ciptaan atau barang hasil pelanggaran hak cipta atau hak terkait sebagaimana dimaksud pada ayat (1), dipidana dengan pidana penjara paling lama 5 (lima) tahun dan/atau denda paling banyak Rp 500.000.000,00 (lima ratus juta rupiah). Editor: Sumanto Al Qurtuby & Tedi Kholiludin AGAMA DAN KEPERCAYAAN NUSANTARA © Copyright Nusantara Institutes ISBN: 978-602-6418-38-8 Editor : Sumanto Al Qutuby & Tedi Kholiludin Desain Cover dan Isi : Abdus Salam Cetakan Pertama, Juli 2019 Penerbit: Lembaga Studi Sosial dan Agama (eLSA) Press Perumahan Bukit Walisongo Permai, Jl. Sunan Ampel Blok V No. 11 Tambakaji- Ngaliyan-Semarang 50185 Telp. (024)7627587 CP: 085727170205 (Wahib), 082225129241 (Salam), E-mail: [email protected] Website: www.elsaonline.com/toko.elsaonline.com © Hak pengarang dan penerbit dilindungi undang-undang No. 19 Tahun 2002. Dilarang memproduksi sebagian atau seluruhnya dalam bentuk apapun tanpa izin tertulis dari penerbit. Kata PENGANtaR Merawat Agama dan Kepercayaan Nusantara Oleh: Sumanto Al Qurtuby alah satu fakta getir yang dialami Bangsa Indonesia dewasa ini adalah terjadinya proses marjinalisasi atas berbagai Sagama dan kepercayaan lokal Nusantara yang berlangsung cukup intens dan masif.