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Harai-Kiyome Di Kuil Takekoma Takekoma Jinja De No Harai

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Harai-Kiyome Di Kuil Takekoma Takekoma Jinja De No Harai HARAI-KIYOME DI KUIL TAKEKOMA TAKEKOMA JINJA DE NO HARAI-KIYOME SKRIPSI Skripsi ini diajukan kepada panitia ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan untuk melengkapi salah satu syarat ujian Sarjana dalam Bidang Ilmu Sastra Jepang Oleh: M. BRAWIJAYA NIM: 140708100 PROGRAM STUDI SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Puji dan syukur penulis ucapkan kepada Allah SWT karena dengan rahmat dan hidayah-Nya penulis diberikan kesehatan selama mengikuti perkuliahan hingga penulis dapat menyelesaikan skripsi ini. Usaha yang diiringi dengan doa merupakan dua hal yang membuat penulis mampu menyelesaikan skripsi ini. Penulisan skripsi yang berjudul “HARAI-KIYOME DI KUIL TAKEKOMA” ini penulis susun sebagai salah satu syarat untuk meraih gelar sarjana pada Departemen Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. Dalam penulisan skripsi ini penulis tidak terlepas dari bimbingan, dukungan, dorongan serta bantuan dari berbagai pihak. Oleh karena itu, pada kesempatan ini penulis ingin menyampaikan rasa terima kasih yang sebesar- besarnya kepada: 1. Bapak Dr. Budi Agustono, M.S selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara. 2. Bapak Prof. Hamzon Situmorang, M.S, Ph.D., selaku ketua Program Studi Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. 3. Bapak Drs. Amin Sihombing.,M.Si selaku dosen pembimbing sekaligus Dosen Penasehat Akademik, yang telah ikhlas memberikan dorongan dan meluangkan banyak waktu, pikiran, serta tenaga dalam membimbing penulis sehingga skripsi ini dapat penulis selesaikan dengan baik. 4. Bapak Alimansyar, SS,M.A.,Ph.D selaku dosen Bahasa Jepang yang bersedia membimbing, meluangkan waktu, pikiran serta memberikan i UNIVERSITAS SUMATERA UTARA sumber-sumber data untuk penulis sehingga skripsi ini dapat penulis selesaikan dengan baik. 5. Dosen Penguji Ujian Skripsi yang telah menyediakan waktu untuk membaca dan menguji skripsi ini. 6. Para dosen pengajar beserta staf pegawai di Fakultas Ilmu Budaya, khususnya pada program studi Sastra Jepang yang telah memberikan ilmu dan pendidikan kepada penulis selama perkuliahan sampai penulisan skripsi ini. 7. Secara khusus penulis mengucapkan terima kasih yang sebesar-besarnya kepada orang tua yang sangat penulis cintai. Ayah saya Alm. Edi Mukthar dan Mamak saya Risdiana Pohan, atas kasih sayang, kesabaran, dan tidak pernah lelah mendidik dan memberikan cinta yang tulus ikhlas kepada penulis sejak kecil sampai sekarang. Tanpa kedua orang tua penulis, penulis tidak akan mampu menjadi seperti sekarang ini. Semoga Allah SWT membalas semua kebaikan mereka. Juga terima kasih kepada kakak Mega, kakak Dela dan adik saya Muhamad Yasin yang selalu menghibur dan memberi semangat dikala saya merasa jenuh. Terimakasih juga kepada bang Bayu, bang Tyson, orang-orang Byte Net, serta Dimas yang selama ini selalu ada di sekeliling saya yang selalu memberikan dorongan semangat serta bantuan baik pikiran, hiburan, maupun materil kepada penulis dalam menyelesaikan skripsi ini. 8. Kepada teman-teman terdekat saya Amaiko (Mona, Cici, Intan, Watik, Putra, Nidia, Arya, Pangestu, Mukhbit, Cesar), GH Squad, Pajus Aotake, Fandy, Randu, Amry, Dewinta, Acid, Zura, Selvi, Ditha, Prilka, Rizky ii UNIVERSITAS SUMATERA UTARA Cabe, Fauzan, Ibeb, Aristo, Rajab, Irul, Lord dan Dede yang selalu mewarnai hari-hari dan menjadi penyemangat juga membantu penulis dalam menyelesaikan skripsi. Dan tak lupa teman-teman seperjuangan stambuk 2014 yang tidak bisa penulis sebutkan namanya satu-persatu. Terima kasih untuk 4 tahun lebih ini. 9. Semua pihak yang tidak dapat disebutkan satu persatu yang telah memberikan doa serta bantuan dalam menyelesaikan skripsi ini. Penulis menyadari bahwa skripsi ini masih banyak kekurangan dan jauh dari kesempurnaan. Untuk itu penulis mengharapkan adanya kritik dan saran dari pembaca. Akhir kata, semoga skripsi ini dapat bermanfaat, khususnya bagi penulis sendiri dan bagi para mahasiswa Sastra Jepang. Medan, 09 April 2019 Penulis, M. Brawijaya Nim: 140708100 iii UNIVERSITAS SUMATERA UTARA DAFTAR ISI KATA PENGANTAR .......................................................................................... i DAFTAR ISI ......................................................................................................... iv BAB I PENDAHULUAN ..................................................................................... 1 1.1 Latar Belakang Masalah ........................................................................ 1 1.2 Rumusan Masalah .................................................................................. 6 1.3 Ruang Lingkup Masalah ........................................................................ 8 1.4 Tinjauan Pustaka dan Kerangka Teori ................................................... 8 1.5 Tujuan dan Manfaat Penelitian .............................................................. 12 1.6 Metode Penelitian .................................................................................. 13 BAB II TINJAUAN UMUM MENGENAI HARAI-KIYOME DAN KUIL TAKEKOMA ............................................................................... 15 2.1 Harai-Kiyome ........................................................................................ 15 2.1.1 Defenisi Harai-Kiyome ............................................................. 15 2.1.2 Sejarah Harai-Kiyome ............................................................... 16 2.1.3 Jenis-Jenis Harai-Kiyome ......................................................... 18 2.1.4 Peralatan yang digunakan.......................................................... 20 2.2 Kuil Takekoma ...................................................................................... 23 2.3 Pandangan Tentang Kekotoran .............................................................. 26 2.3.1 Kegare ...................................................................................... 26 2.3.2 Tsumi ........................................................................................ 34 BAB III PELAKSANAAN DAN FUNGSI HARAI-KIYOME DI KUIL TAKEKOMA .............................................................................. 37 3.1 Pelaksanaan Harai-Kiyome ................................................................... 37 iv UNIVERSITAS SUMATERA UTARA 3.1.1 Pelaksanaan Harai ..................................................................... 37 3.1.2 Pelaksanaan Kiyome ................................................................. 44 3.2 Fungsi Harai-Kiyome ............................................................................ 48 BAB IV KESIMPULAN DAN SARAN .............................................................. 52 4.1 Kesimpulan ............................................................................................ 52 4.2 Saran ...................................................................................................... 53 DAFTAR PUSTAKA ABSTRAK LAMPIRAN v UNIVERSITAS SUMATERA UTARA BAB I PENDAHULUAN 1.1 Latar Belakang Masalah Harae atau harai adalah istilah lama untuk banyak hal dari upacara penyucian Shinto atau penebusan dosa yang datang dari kata kerja harau (祓う atau 払う) yang artinya membersihkan, menyucikan, atau mengusir roh jahat. Sekarang ini orang lebih banyak mengucapkan sebagai harai. Harae adalah salah satu upacara terpenting dalam Shinto dan berbagai bentuk telah berkembang, namun pada umumnya ada 3 metode dasar dari harae, yaitu Yang pertama dan bentuk biasa yang paling umum diselenggarakan oleh seorang pendeta Shinto dengan cara mengibaskan tongkat penyucian (Haraigushi) di atas kepala dari kiri ke kanan dan kembali ke kiri. Kadang-kadang ranting kecil dari pohon sakral sakaki ( 榊 ) maupun onusa digunakan sebagai pengganti haraigushi atau lebih dikenal dengan Shubatsu. Yang kedua disebut misogi (禊). Ini lebih umum dihubungkan kepada kessai, yang berarti penyucian dengan air. Penyucian ini dijalankan melalui aktivitas yang mendalam seperti latihan pernapasan, berdiri di bawah air terjun atau membenamkan tubuh di laut atau sungai. Yang ketiga imi (忌み). Ini kontras dengan kedua tipe penyucian yang telah disebutkan, yang mana memerlukan pembersihan dari kekotoran atau kenajisan dengan sebuah tindakan penyucian yang sebenarnya atau secara simbolik. Sedangkan Kiyome berasal dari kata kerja kiyomeru (清める atau浄める ) yang artinya sama yaitu membersihkan, menyucikan, atau mengusir roh jahat. Kiyome merupakan sebutan untuk penyucian yang menggunakan air untuk 1 UNIVERSITAS SUMATERA UTARA menyucikan diri yang dilakukan oleh penganut shinto maupun pendeta Shinto sebelum melaksanakan suatu ritual upacara keagaman atau festival, seperti melakukan misogi (menyiramkan air keseluruh tubuh/mandi), kessai (menjauhkan diri dari kekotoran yang dilakukan oleh pendeta sebelum melaksanakan ritual dan festival) dan temizu (mencuci tangan dan mulut di kuil). Harai-kiyome adalah istilah untuk penyucian diri yang dilakukan oleh penganut agama Shinto baik pendeta kuil maupun masyarakat di Jepang. Dalam ajaran Shinto, penyucian diri dianggap sesuatu yang sangat penting, karena dapat menghilangkan semua kegare (kekotoran) dan tsumi (dosa), maka kesucian jasmani dan rohani dapat dipulihkan kembali. Harai-kiyome dilakukan ketika mengunjungi kuil. Masyarakat percaya bahwa dengan menjadi suci sesuai dengan ajaran agama yang mereka yakini. Agama adalah kepercayaan dan ritual yang berkaitan dengan keberadaan
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