scholarly journals PESONA PURA ULUN DANU BERATAN DI BALI

2019 ◽  
Author(s):  
Sri Wahyuni Lestari

The Ulun Danu Beratan Temple is both a famous picturesque landmark and a significant temple complex located on the western side of the Beratan Lake in Bedugul, central Bali. Ulun Danu Beratan is the island’s most iconic sanctuary sharing the scenic qualities with the seaside temples.The smooth reflective surface of the lake surrounding most of the temple’s base creates a unique floating impression, while the mountain range of the Bedugul region encircling the lake provides the temple with a scenic backdrop.

Author(s):  
Stephen E. Maiden ◽  
Gerry Yemen ◽  
Elliott N. Weiss ◽  
Oliver Wight

This case examines the queueing issues caused by the growth in popularity of one of the most visited Hindu temples in the world. On January 2, 2015, Ramesh and Vasantha Gupta visit Tirumala Venkateswara Temple, just a day after some 210,000 people crowded the 2,000-year-old site. The case describes the many enhancements that the temple administrator, Tirumala Tirupati Devasthanams (TTD), has implemented since its management of the temple complex began in 1932. The soaring popularity of the temple, however, has led to safety and comfort concerns for pilgrims. While challenging students to consider additional improvements that might benefit pilgrim throughput rate and time in the temple system, the case highlights the tension TTD must manage between maximizing efficiency and maintaining religious traditions. Additionally, the case demonstrates the importance of perceived waiting times in the management of queues.


Author(s):  
Veronika V. Kapišovská ◽  

Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.


Author(s):  
Andrea Acri ◽  
Roy Jordaan

Caṇḍi Śiva, sacred centre of the famous ninth-century Loro Jonggrang temple complex at Prambanan, Central Java, is decorated with numerous iconic and narrative reliefs. Starting from the eastern staircase and traversing the perambulatory in a clockwise direction, we find the narrative reliefs of the Rāmāyaṇa on the balustrade wall on our left, and the iconic reliefs of twenty-four seated male deities, each flanked by several attendants – collectively referred to in the accompanying iconographic plan as ‘Lokapālas with attendants’– on our right, that is, on the temple body proper. The prime objective of the present inquiry is propose a new identification of this set of twenty-four deities forming Śiva’s entourage, which remains an unresolved issue in the art history of Central Java. Our findings will have implications for our understanding of the iconographical master plan of Loro Jonggrang, and, in a wider sense, of certain developments in Indo-Javanese and Balinese iconography.


2015 ◽  
Author(s):  
Michael C. Nelson ◽  
Daniel Schowalter ◽  
John Andrew Overman
Keyword(s):  

1927 ◽  
Vol 59 (4) ◽  
pp. 765-768
Author(s):  
S. Langdon

Three years ago the native Arabs of Tello discovered a group of remarkably fine statuettes in low ground on the western side of Tablet Hill, mound V on the plan of de Sarzec, where Captain Cros found a small headless statuette of Gudea in 1903. The head, however, had been previously found by de Sarzec, and was joined to the torso by Leon Heuzey. A photograph of this statuette is published on plate I of the Revue d'Assyriologie, vol. vi. The monuments recovered by the Arabs from the temple of the god Ningishzida in the Tablet Hill are curiously enough all statuettes. All, with the exception of one, which is published in this communication, were illegally transported out of Iraq, and fortunately one was secured by the Louvre, where it rightfully joined the magnificent group of Gudea statues in the national museum of France. This is a fine alabaster statuette of Ur-Ningirsu, son of Gudea, 46 centimetres high, in standing position, and headless. It is reproduced in Monuments et Memoires publié par L' Academie des Inscriptions et Belles-Lettres, tome xxvii, Statuettes de Tello, par F. Thureau-Dangin, plate ix; the circular base is sculptured in relief with two files of four figures each, which meet just below the feet of the patesi of Lagash.


Światowit ◽  
2019 ◽  
Vol 57 ◽  
pp. 185-206
Author(s):  
Hasmik Z. Markaryan

The article is devoted to an artistic and historical study of a marble relief with a symbolic scene of Nero’s victory over Armenia from the Sebasteion sanctuary complex in the ancient town of Aphrodisias in Asia Minor. The temple complex was dedicated to the cult of the Julio-Claudian imperial dynasty. The artistic and stylistic analysis of the relief was performed in the context of the sculptural program and decoration of the whole complex, and took into consideration other images of Nero in the Sebasteion. Through a comparative analysis of the figure personifying Armenia depicted on the marble relief in Aphrodisias, as well as a series of images on coins and small statuary samples, characteristic iconographic traits of Armenia in the Roman imperial art were revealed. Along with this, the paper presents an in-depth ‘reading’ of this scene within the context of specific epi- sodes from the history of the Parthian-Roman conflict and the Roman struggle for Armenia during the period of 54–68 AD.


Author(s):  
Kawshik Saha ◽  
Shamsul Arefin ◽  
Gourpada Dey

This article represents survey data of historical and architectural documentation of Sri Radha Binod Ashrama locally known as the Panishail temple. Temple architecture is a common feature of traditional religious architecture practice in Bangladesh. This article is a historical and architectural investigation of a less known and mixed type of Hindu temple style in the Bengal region. The Panishail temple complex has a collection of structures that include tomb, temples, and residences aged between fifty to two hundred years. Over the ages, these heritage buildings have displayed a unique architectural style of ancient Bengal and still serving as a living sacred landscape heritage. However, like most of the ancient monuments of Bangladesh, Panishail structures inside this complex stand against the threat of decay and anthropogenic destruction with no effort to conserve them. There is a need for immediate action of research, exploration and preservation to save this historic landmark. This research aims to investigate historic and physical features of the temple complex through a systematic survey and documentation effort. This research will lay a foundation for future conservation intervention on this site. Moreover, this work will significantly contribute to historic temple architecture study in Bangladesh.


2021 ◽  
Author(s):  
◽  
Nikki Carter

<p>Situated on Mount Kotilion in the Peloponnese, the Temple of Apollo at Bassae sits high in the middle of a mountain range. Upon rediscovery, it became evident that most of the offerings had long since disappeared, and this was in turn paired with a lack of primary literature. Though the temple is mentioned in Pausanias’ work, discussion about the cultic aspects of the temple is severely lacking. This leads to a large gap in the knowledge of the temple’s religious function. It is for this reason that the architecture of Bassae is explored to help understand the cultic aspects of this temple. This thesis shows that multiple cults were celebrated at the temple of Bassae, and that there is a high probability that multiple cult worship occurred in the adyton of the building.  The cult at Bassae has been celebrated since geometric times, and worship to Apollo was fairly consistent until the sanctuary’s demise in the third century BCE. Three epikleseis are often associated with this temple: Apollo Epikourios, Apollo Bassitas and Hyperborean Apollo. The epithet of Epikourios comes from Pausanias’ passage, and nowhere else. The original reason for this epithet may be either medicinal or martial, and both are explored within this thesis. Bassitas is another epithet provided. However, this is in the form of a singular archaeological find, a small bronze tablet found in the wider Kotilion sanctuary. The third epithet, Hyperborean, is a tenuous but commonly made connection. This epithet relies heavily on the localised subject matter of the sculptural programme at Bassae.  The architecture of the building is also in need of discussion. The temple at Bassae is famed for its odd, and in some cases, unparalleled architectural design. The temple is on a north-south axis, and features not only a northern entranceway, but also an opening in the eastern wall, leading into the adyton. This eastern doorway allows light to enter twice a year, which hits the southern wall. The decorative features of the temple are unparalleled, with the first known Corinthian column and extended engaged Ionic columns. These unusual design features create a focus within the adyton.  Within the adyton, four positions can be considered possible sites for housing offerings or cult statues. These include the southwest corner, the centre of the southern wall, the centre of the northern limits of the adyton directly south of the Corinthian column, and finally, the Corinthian column itself. The evidence for these positions being a focus for cult comes from architectural features, such as the paving of the adyton floor, the light phenomenon and a small plinth.  These four positions are by no means definite, and this thesis discusses the probability of each of these positions in terms of the likelihood of them being the focus of a cult. While the southwest corner is the most likely position for a cult statue, the Corinthian column seems the least likely.  The architecture at the Temple of Apollo at Bassae strongly suggests worship occurring inn the adyton of the temple, and it seems likely it was at least one of these three epithets that was celebrated in one of the four positions in the adyton.</p>


Sign in / Sign up

Export Citation Format

Share Document