The stories in Painting at Kertagosa and Taman Gili

There are the stories of the Painting at Kertagosa and Taman Gili :

1. Sutasoma Story
Sutasoma story can be seen at Taman Gili building on the panel of first, second, third and fourth from the top on the ceiling of the building. I read it starts from the top panels of the south, from left to right. This fragment narrating the journey of Sutasoma from Astina castle Mahameru into the mountains. In this course, there are many hurdles that must be faced, but with inner strength that is owned, Sutasoma managed to overcome all obstacles.

2. Pan Brayut
Pan Brayut story depicted in the fifth row from the top, on the ceiling Taman Gili. Meanwhile, the chronology of the story can be seen from the northeast corner to the south. This painting tells the life of Pan Brayut endowed with 18 children, so that almost no time to take care of everything else, except the care of children.

3. Palalintangan
Panel on Palalintangan, located on the bottom row of buildings ceilings Taman Gili. Palalintangan is understanding the influence of the stars in the sky to human birth. Here narrated the 35 kinds of human nature which vary by day of birth.

4. Ni Dyah Tantri
Ni Dyah Tantri story contained in the first panel (bottom) on the ceiling Kertagosa building, which starts from the panel flowed east to the south, west and north ends on panels. Ni Dyah Tantri story, tells of a girl named Ni Dyah Tantri who tried to eliminate the desire of a king to always marry the girl every day. Ni Dyah Tantri is a daughter of Maha Patih from king who likes women. As the Maha Patih every day decreed by the King to find a girl. For that Ni Dyat Tantri dare to sacrifice himself to help his father to accompany the king's wife. Because she's smart talk, every night Ni Dyah Tantri gave the story to the king so that his desire to marry a girl every day can be eliminated.

5. Bhima Swarga
The story of Bhima Swarga tells the journey Bhima (the second son of the Pandavas) to Yamaloka accompanied by his mother Kunti, his brothers (Yudhisthira, Arjuna, Nakula and Sadewa), to find her father, and stepmother Pandhu, Madrim. In Yamaloka, found a variety of events experienced by the soul (atma) in accordance with his deeds in the world. For example, people who like lying tongue is pulled, people who like adultery burned and so on. Whatever the obstacles it faces, but because of the spirit and determination that is owned, Bhima finally managed to obtain pure water (amrta) that can be used to redeem his father and his stepmother in Yamaloka.

6. Pelelindon
Pelelindon depicted on the fifth level of the bottom panels on the ceiling Kertagosa Hall building. Pelelindon story starts from the middle of panel north of the next in sequence to the east, south, west and back to the north panel.

Kertagosa | Cultures of Denpasar

Kertagosa is a complex of ancient buildings that were founded during the reign of the first Klungkung king, Dewa Agung Jambe, in the 17th century. Dewa Agung Jambe is the second son of Dalem Dimade, the last king in the kingdom Gelgel Suweca also called Pura (temple). Once Dewa Agung become of Klungkung king, then he made the palace (puri) Klungkung named Semara Pura having meaning "place of love and beauty". In this castle there Kertagosa complex consisting of two main buildings, namely Taman Gili building and Kertagosa building.

Kertagosa buildings in the ancient times has several functions, among which are:
(1) as the place of the hearing, led by the king as supreme judge.
(2) as a meeting place for kings in Bali.
(3) as a place to perform ceremonies Manusa Yadnya or cutting teeth (mepandes) for the sons of kings.

In the reign of King Dewa Agung Putra Djambe, Dutch assault on a large scale (over three days). The attack resulted in Puri Semara Pura was destroyed. There are only a few remaining buildings include buildings Kertagosa, Taman Gili and Pemedal Agung (castle gate). In an attack that became known as "Peristiwa Puputan Klungkung" This (April 28, 1908) Dewa Agung Putra Djambe and his followers were killed.

Once ruled by the Dutch,  Kertagosa still functioned as a court hall. In 1930 the painting puppet contained in Kertagosa and Taman Gili restored by the artists of Kamasan painting. In restoration, the paintings that adorn the ceiling of the building which was originally made of fabric and parba replaced and made on plasterboard, then made again in accordance with the original image. Restoration of the last painting done in 1960.

Baris Dance (Line Dance) | Cultures of Denpasar

This line dance is a dance performance illustrating army. This dance usually danced in the ceremony or at certain events. As a dance ceremony, as the name "Line" is derived from the word which can be interpreted bebaris troops then this dance describes the dexterity of soldiers. This dance is a dance group that performed by men, usually danced by 8 to more than 40 dancers with a lively movement quite sturdy, straightforward, dynamic, with the accompaniment of Kebyar and Gong Gong Gede. Each type, group dancers carried weapons, ceremonial equipment and costumes with a different color, which later became the name of the types of dance line that exist.
Line dances are still in Bali, among others:

Pendet line: line dance the dancers perform without a weapon of war but the offerings (cymbals sari), danced in a ceremony Yadnya god. In the village of Tanjung Bungkak (Denpasar) this line dancers bring cymbals cymbals called oyod and at the end of the dance, the dancers danced a fan with a "ma-cedar-arasan" or merriment.

Dadap lines: Lines that carry weapons dapdap (a kind of shield), the movement is more gentle than other types of other line dance and the dancers dance while menyayikan barreled slendro song to the accompaniment of gamelan is also barreled slendro Angklung and danced in ceremonies god Yanya danced except in Tabanan area in a ceremony Yadnya Pitra, often found in the area of ​​Bangli, Buleleng, Gianyar and Tabanan.

Tamiang lines: Lines that carry weapons and shields, called kris Tamiang, can be found in Badung.

Bedil line: This line is danced by several pairs of dancers carrying long-barreled imitation rifle (rifle) made of wood, shown in the ceremony Yadnya Gods and of the region, Klungkung, Bangli and Badung.

Gowak line: dance which depicts the battle between the forces of Tegal Badeng (Badung) with a group of crows carrying the death, in which several pairs of dancers portray soldiers Tegal Badeng and the other as a bunch of crow with wings wearing costumes. This dance is very sacred by the villagers Selulung, Kintamani (Bangli) and contained in a ceremony Yadnya god.

Katekok champion lines: Lines that carry weapons poleng spear (the spear which stems are black and white) and black and white striped dress danced in the ceremony Yadnya Pitra (Ngaben). Generally there are in the region of Badung and Denpasar. Moderate line dance called the line of its kind in Buleleng, Gianyar Bedug and called Poleng line.

Cendekan line: This line is danced by several pairs of dancers carrying a short spear guns (cendek), displayed in a ceremony Yadnya god.

Jangkang line: This line danced by dancers who carry a long spear gun, displayed in a ceremony Yadnya Gods and of the region of Bangli, Gianyar and Klungkung (Nusa Penida).

Demat line: danced by a group of dancers who depict figures Demat (one of the figures Pagambuhan) in the classical dance drama Gambuh with gun sword, tumbak, arrows and others. This line dance found in Buleleng.

Mamedi line: The dance depicts a group of spirits (mamedi) who lives haunted places such as tombs, the dancers wear clothes made of leaves and twigs are taken from the grave. Gamelan Balaganjur dance gamelan accompaniment. The dance was held in order Pitra Yadnya ceremony (cremation) and of the region of Tabanan.

Tumbak line: The line that carries spear guns and dressed in layered awiran - layers danced in ceremonies god Yadnya, often found in areas of Badung, Bangli and Gianyar.

Presi line: The line dancers are carrying a weapon dagger, and a type of shield called the presidency. Held in conjunction with the ceremony Yadnya god. Often found in Bangli and Buleleng.

Bajra line: The line that carries a weapon to bludgeon-shaped tip Bajra (such as the mace of Bhima) and danced in the ceremony Yadnya god and can be found in the region of Bangli and Buleleng.

Butterfly line: In accordance with the theme, dance line depicts the animal life of butterflies and dancers wearing butterfly wings, agile and dynamic movements mimic the movements of a butterfly. Until now this dance is in the village of Renon and Bees (Denpasar).

Chinese line: This line dance allegedly under the influence of Chinese culture, unique look of fashion (pants with long sleeves, gloves fabric sash, hat, dark glasses and wearing a sword weapon), movement (taking martial arts movements), and the music ( Gamelan Gong Gong Bheri ie without moncol). This dance describes the forces from the land of Java skipper who came to Bali. The dance was featured in the ceremony and there Yadnya Gods in the village and Belanjong Renon, Sanur (Denpasar).

Arrow line: This line is danced by several pairs of dancers who carry guns and arrows displayed in the ceremony Yadnya god, there are in the area in Buleleng and Bangli.

Pots line: This line dancers danced by a group composed of stakeholders with a scoop or Cantil (a tool to bring the holy water), displayed in a ceremony Yadnya Gods and of the region of Bangli, Gianyar and Badung.

Cerekuak line: dance depicting the movements of a group of water birds (cerekuak) when looking for a girlfriend, burungmanuk gods. The dancers wear clothing babuletan (cloth put up above the knee) with a garnish of leaves on the whole body and head, only displayed in the ceremony Yadnya Pitra (Ngaben) with Gamelan music Batel Gaguntangan. Line dances are included in the Tabanan area.

Ketujeng line: This dance describes a group of spirits who live in haunted places that is intended as an introductory dance atman of the deceased to heaven, sung by a group of dancers who wore a dress of leaves. Line dance is performed in the ceremony Yadnya Pitra (Ngaben)

Omang line: Line Dance that uses a spear gun, but her movements slowly like the way a snail (Omang), describes the battle between the forces of Tegal Badeng (Badung) with troops Guwak (crow). This dance is very sacred by the people Selulung (Kintamani - Bangli, and there is a god in a ceremony Yadnya.

Yellow line: It is a ceremonial dance of the Gods Yadnya danced by a group of male dancers dressed in all yellow and armed with kris and Tamiang (shield), located in Buleleng area.

Kelemet line: This dance is performed by a group of dancers who portray the fishermen, with such weapons and describing people rowing boat at sea to catch fish, this dance is in Gods Yadnya ceremony and of the region of Badung.

Jojor line: line dance group of dancers who danced with weapons Jojor (long-stemmed spear) present in the ceremony and there Yadnya god in Buleleng, Bangli and Karangasem.

Tengklong line: Dance, performed by a group of dancers with swords weapons, dynamic movement, and approached the mighty martial arts movements. Displayed in a special ceremony at the Temple Quarry Badung, precisely in the village Pamedilan Denpasar.

Line dance is usually divided into 3 rounds. namely the opening round, round alus, and the closing stages. In the opening round of the movement is usually more aggressive. usual first imprest. hehehe. trus second round of gongs or the music will be more gentle. usually moves even more authoritative. Round cover almost the same as the first half.

Story of Oleg Dance | Cultures of Denpasar

One dance that became an icon and then into the genre of Balinese dance the next time period is Oleg Tamulilingan. A very famous dance works to foreign countries until it was created, I Ketut Marya is then more familiarly called, I Mario. How is the real beginning of the journey to the creation of this Oleg dance Tamulilingan?

Is humanist named John Coast (1916-1989), born in Kent, England, was very impressed with the culture of Bali. Prior to working in Bali, when the second world war broke out, the Coast drafted into the military and as an officer, until the time served in Singapore. When the Japanese occupied Singapore trigger, the Coast who is a prisoner and sent to Thailand. However, the Coast is talented art. He turned out to bear the words "Railroad of Death" in 1946 which later reached best-seller in a short time. That prompted his spirits again to write the book "Return to the River Kwai" in 1969. In between, the Coast had collaborated with the artists music and dance from different cultural backgrounds, to hold a post-war concert performances.

When you feel safe, leave the Coast in 1950 Bangkok to Jakarta because the urge to serve the struggle of Indonesia. In a short time, he won the trust of the Bung Karno to hold office as an attache lighting Indonesia. While in Indonesia, married to Supianti Coast, the daughter of the Regent of Pasuruan. When settled in Bali, he lived in the area Kaliungu, Denpasar.

Coast love on the art of Balinese culture began to grow when touched by tradition and community life. Art was very enticing and his obsession to organize an artistic mission to Europe. During his adventures observing some sekeha gong in Bali, the Coast attracted by the appearance sekaha Peliatan gong. In 1952, the Coast judged that games drums Gong Peliatan with AA Gde Mandera is expressive enough decent display on the international stage. In a plan that trip to Europe, the Coast wanted to also bring a beautiful and romantic dance, in addition to some of the dances that are often seen.

On the advice of Mandera, then contact the Coast renowned dancer and teacher of dance, I Ketut Marya who then familiarly called, I Mario. Mario who was then already created a dance that became Kebyar Sitting dance Terompong, willing to join the Gong Peliatan. Coast "stimulate" Mario to be creative again with a classical dance ballet show book in which there are photographs duet "Sleeping Beauty" is about the love story princess Aurora with her boyfriend Prince Charming. Be inspired Mario then create a Oleg dance. This is desirable Coast.

To bring Oleg dace - the new dance, I Mario chose I Gusti Ayu Raka Rasmi who have a good basic dance. In arranging iringannya, Mario invites I Wayan Sukra, a percussion from Marga, Tabanan. In addition, included also three percussion experts Gong Peliatan in Oleg's work on the Gusti gising Kompyang, AA Gde Mandera, and I Wayan Bees.

Breaking the Freeze

Then, whom I Ketut Marya or I Mario? He was born in 1897, the youngest of five brothers from a family of poor farmers from Banjarangkan, Klungkung. His father died when Mario was six years old. Prolonged drought that caused the suffering of the peasants, forcing families to flee Mario westward until at Village Point, Tabanan. Ni Mentor, Mario's mother, with her children and then "picked up" by a Chinese merchant, Tan Khang Sam.

Mario nature of the humorous and brave master was attracted sympathy. One day, Mario invited to the Castle Kaleran, Tabanan, for the deal. Mario appearance of polite sympathy made the king so that a family servant Mario Castle. In an atmosphere that is often staged tetabuhan Puri and dance, make Mario always sit near the gamelan and sometimes dancing alone. King also saw the talent Mario so he looked for a dance teacher to Mengwi. Thus, at the age of nine years, Mario has mastered several dance.

Appearances Mario began to be valued by senior dancers. Her dance teacher predicted that one day Mario will be a great dancer because her body limber movements, facial expressions full of psychiatric rhythm with gamelan accompaniment. Gong Sekeha Pangkung that often appear in Puri Kaleran have a very important role for the figure of Mario. In 1922, Mario has studied percussion kakebyaran are "born" in Buleleng in 1915. Mario was trained by Wayan Wayan Worship and Gejir.

One dance created by Mario is Kebyar Sit (Kebyar duduk). The story, one day in 1929, Mario watch gong kebyar exercises in a village near Busungbiu, Buleleng. One of his players got to see Mario dancing drum and asked her to dance accompanied Gandrung gising kebyar being played. Mario spontaneously dancing to the beat of gamelan. As a dancer Gandrung, Mario wanted to find partners to dance, but to no avail because it is located in the center circle and surrounded by gamelan musicians. Basic creative artist, Mario finally drum players hold an office. While playing, players also appeared to respond to dance drums Mario. Then, spontaneously born Kebyar Sitting dance.

On another occasion, Mario who liked joking rob players Terompong pelvis and hip improvisational play that followed gising being played. From there, it creates a dance Kebyar Terompong. This dance is further enhanced when Mario became permanent Gong Belaluan dancers to entertain tourists in Bali Hotel, Denpasar. Since then, the name Mario soaring because he dared to break the rigidity of the existence of Balinese dance with a new look. Possibly, the phenomenon as an icon for the renewal of the most fantastic gong kebyar in South Bali.

I Mario had indeed gone for ever in 1978. But his name has been legendary. He has received two gifts of art simultaneously on August 17, 1961, a Dharma Kusuma  and Wijaya Kusuma. Tabanan local government in 1980 has been awarded the Dharma Kusuma Madya. To commemorate Mario with his art, his name has been inscribed as the House of Mario, a multipurpose building in the heart of the city of Tabanan. Oleg Tamulilingan any dance as a symbol of romance, made sculptures decorate the courtyard of the building's monument.

Story of Rambut Siwi Temple | Cultures of Denpasar

The origin of Rambut Siwi Temple Dwijendra Tatwa contained in the papyrus. The existence of this temple is linked with the mythology of the arrival of Dang Hyang MPU Nirartha from East Java to Bali in 1411 or in 1489 BC Caka. The story, when the MPU Dang Hyang Nirartha to Bali one of the temples that he visited was the Temple Hair Siwi. When he entered the temple, the temple guards require that the MPU Dang Hyang Nirartha pray in the temple. If not, he will be attacked by a tiger.

Because required, pray him in the temple. It turns out that pretending to be falling apart. Seeing that, the temple guards finally apologize to Dang Hyang Nirartha MPU. In addition, the temple guards ask that the temple was restored to its original state. Top MPU Dang Hyang Nirartha magic, pretending it was returned intact as before. Then the MPU Dang Hyang Nirartha took a piece of his hair and placed in the temple is to be used as a means of worship. Since then the temple was named Rambut Siwi Temple.

Another story, Dang Hyang Nirartha his way in Bali had lived in the village of Ivory Wani. He heard the village was hit by seriously ill people. In fact, not a few who died from illness. Dang Hyang Nirartha arrival in the village managed to cure the ills of society. Because of that, the society hopes to Dang Hyang Nirartha could remain in the village.

Unfortunately, Dang Hyang Nirartha can not meet the desires of local residents, instead, he presented a piece of her hair as a talisman to resist disease. Hair is then worshiped (Siwi) and made ​​a holy place for storage. That's why the temple is called Rambut Siwi Temple.

Rambut Siwi Temple | Cultures of Denpasar

Rambut Siwi Temple is located in the village of Yeh Embang, east of the city of the State, the capital of Jembrana regency. The distance is about 18 kilometers. If you depart from Kuta, you must travel a distance of 88 kilometers.

Hair Siwi Temple is located on the southern coast of the western part of Bali Island, approximately 200 meters from the highway department Denpasar-Gilimanuk. So easy to reach by any vehicle. Time is best to visit on the afternoon before sunset.

Tenun Dance | Cultures of Denpasar

Tenun dance depicts Balinese women in making cloth weaving (a type of traditional Balinese cloth).

They were dressed in traditional Balinese make the Eastern and Weaving cloth from yarn spinning process, until the weave with a sense of calm and joy.

This dance is generally performed by three dancers or more. Tenun dance created by I Nyoman Ridet and I Wayan Likes in 1957.








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Oleg Dance | Cultures of Denpasar

Oleg dance was originally called Legong Prembon. Coast seems less pleased with the name of the Legong Prembon because it is difficult to translate into English. This dance depicts two beetles, males and females, while having fun in the flower garden while sucking the honey. As the beetle Raka Rasmi male partner, was chosen I Sampih a much older, originating from Bongkasa, Badung.

Word Oleg in the Balinese language dictionary means "shake". In a dance that symbolizes the female beetle, there was indeed a graceful swaying motion as if the trees in the wind. Oleg graceful dance movements are visible on the pengadeng - during which dancers hold oncer bent alternately with both hands crossed across his chest, as he swung to the right and left. Then assessed, a suitable actor who brought him is slim, slim-boned as giving the impression ngoleg.

Sort of. This dance is then initially better known abroad than in Bali, because once created and then used a promotional event outside Bali. Before leaving for Europe, the mission of the government of Indonesia's art first gig at the Merdeka Palace to say goodbye to the President because it will be a visit of about 10 months to visit France, Germany, Belgium, Italy, Britain and several major cities in the United States. Mario did not participate in the group. But a few years later, with Gong Pangkung Tabanan, he was "hypnotized" people of Europe, Canada and the United States with a variety of exquisite dance movement improvisation in dance and dance Terompong Kebyar Sit on the show "Coast to Coast Tour" in 1957 and 1962.

History of Ngurah Rai Airport

Starting from Tuban
Ngurah Rai Airport was built in 1930 by the Department Voor en Verkeer Waterstaats (sort of the Department of Public Works). Along the runway of 700m from the grass airstrip in the middle of the field and graveyard in the village of Tuban. Because of its location in the village of Tuban, the community around this airstrip named as Tuban Airport.

Airports Tuban
In 1942 Airstip South Bali was bombed by the Japanese Army, who then ruled the land for fighter and transport aircraft them. Airstrip repaired damaged by bombing by the Japanese Army by using Pear Still Plate (steel plate systems).

The next five years 1942-1947, airstrips changing. The length of runway to 1200 meters from the first 700 meters. In 1949 the terminal building was built and a simple flight control tower made of wood. Aviation communication using morse code transceiver.

International Airport, Tuban
To increase tourism in Bali, the Indonesian Government to re-build an international terminal building and runway extension towards the west which was originally 1200 meters to 2700 meters with 2 x 100-meter overruns. The project which ran from 1963-1969 year was named Project Tuban Airport as well as preparation for the internationalization of Tuban Airport.

Reclamation process as far as 1500 meters is done by taking material from the limestone Ungasan times as well as sand and stones from the River Antosari - Tabanan.

With the completion of the temporary terminal and runway at the Airport Project Tuban, the government inaugurated an international flight services at Air Port of Tuban, dated August 10, 1966.

Ngurah Rai International Airport
Settlement Development Airport Tuban marked by the inauguration by President Soeharto on August 1, 1969, which also became a moment of change in the name of the Port of Tuban Airport Ngurah RAI International Air (Bali Ngurah Rai International Airport).

To anticipate the surge of passengers and cargo, then in 1975 up to 1978 the Government of Indonesia rebuild their aviation facilities, among others, by building a new international terminal. The next time the terminal building converted into a domestic terminal, while the old domestic terminal building is used as cargo, catering services business and multi-purpose building.

Development of Airports and Aviation Safety Facility (FBUKP) Phase I
FBUKP Project Phase I (1990 - 1992) includes the expansion of the terminals are equipped with Aviobridge, extension of runway to 3000 meters, the relocation of taxiway, apron expansion, renovation and expansion of the terminal building, expansion of the parking lot of vehicles, cargo building development, building operations and facilities development air navigation facilities and supply of aircraft fuel.

Development of Airports and Aviation Safety Facility (FBUKP) Phase II
FBUKP Project phase II (1998-2000), airport development undertaken by the Directorate General of Civil Aviation, among others, by utilizing the mangrove forest area of ​​12 hectares for use as an aviation safety facilities.

Development of Airports and Aviation Safety Facility (FBUKP) Phase III
FBUKP Project Plan Development Phase III includes the Terminal Building, Building Parking and Apron. Area of ​​the current domestic terminal will be developed only up to a total extent of over 12,000 m which will be used as an international terminal. The existing international terminal will be converted into a domestic terminal. Under these conditions, Ngurah Rai Airport will be able to accommodate up to 25 million passengers.

Pulaki Temple | Cultures of Denpasar

Pulaki temple is located in the Banyupoh Village, Grokgak District, Buleleng. Penyungsung temple or consists of the villages that exist in Grokgak and Seririt. From the second district there are 42 traditional villages or Subak as its main pengempon. Pura pujawalinya Pulaki which falls on Purnama Kapat must still be preserved her purity. Because the temple is a place called Mandala Utamaning totally should not be ridden by people carelessly, this place is arguably extremely purified. Do manners pamedek is allowed there (main pelinggih-red) pole as stakeholders are not allowed to step on the place.

And this must be a certain kind of ritual to get to the main pelinggih it. At the bottom there are two pelinggih pelinggih as penyawangnya. From there people ngaturang devotional service and deliver to the means upakara, said Jro Mangku Mas. Said to be highly purified because the main pelinggih it, then it should be free from the claws or "stamping feet", this is solely to maintain the sanctity of the temple. Jro Mangku had little idea of ​​history is precisely why should not rise above.

But if there is a big ceremony like "ngeteg Linggih" in the new temple that is allowed to go upstairs to the main pelinggih, he said. Besides there is a requirement should not be munggah up, especially the main mandala, pamedek also advised extreme caution with apes or monkeys that roam there. Bojog is very naughty, so any manners pamedek who inadvertently do not expect her bag or sandals, and a means upakaranya survived. Each luggage should not take him off guard, because every time this monkey is ready to grab congenital pamedek. Asked why the monkey is very cunning and grabbed pamedek innate? With lightly Jro Mangku say, just because of hunger, because no one care. But Jro Mangku can only recommend it, each guarded by vigilant innate. Because upakara suklapun still be ready to be struck by the mischievous monkey.

Sometimes the monkey was time to fight when we want menghalaunya. Many are frightened by the act pamedek this monkey, he added. It is not yet known why this area bojog who are so hostile to humans, but was not so, obviously I Wayan Natha one at Temple Pulaki manners. Many have predicted this bojog kebringasan to humans, it was likely due to the decreasing foods that are nearby. First, bojog-bojog was looking for food in the woods around the place, now the forest is gone. Automatic bojog rely solely on food provided pamedek and people who happen to pray to the temple. But all this while still in the forecasts.

Dang Kahyangan Temple - Gunung Payung

Finding the fountain in the middle of barren hills is a matchless gift. Similarly with one's spiritual quest for the Creator. Dang Kahyangan Gunung Payung Temple located in the hills south coast of Bali. Or about 30 kilometers south of Denpasar. This temple is located in the Adat Kutuh village South Kuta Badung District.

Location temple located in the hilly terrain makes Dang Kahyangan Gunung Payung Temple also called the Temple Mount Umbrella. How is the history of the Temple Mount Umbrella? Meaning what is contained behind its foundation?

WORD "Umbrella" which is given to the name of this sacred building is not taken from the scene of hills resembling an umbrella. However, the name is strongly associated with the sacred journey of the holy sages Danghyang Nirartha or Danghyang Dwijendra.

Based on a sacred journey ejection (dharmayatra) Maharesi Danghyang Dwijendra, named after the sages came to Luhur Uluwatu Temple and give advice to local communities to utilize and preserve, Danghyang Nirartha then travels eastward through the hills.

When he arrived in a very beautiful area and has a strong spiritual vibration, precisely on the southwest Bualu (now Desa Adat Kutuh), Danghyang Nirartha along with his entourage rest to unwind and enjoy the beautiful scenery in places he was footing.

Hearing the arrival of sages, the surrounding community came in droves please arrange worship and religious guidance to him. After listening to citizen complaints and provide guidance to the people around, then Danghyang Nirartha trying to meet the demand of residents.

Danghyang Nirartha then plugged up the umbrella he was carrying. Thanks to the spiritual power possessed, suddenly splash holy water from the handle of her umbrella. Holy water and the silence is further exploited by him, the bridesmaids and the surrounding community.

Before leaving the village sages to resume the sacred journey back, he gave advice to the local community in order to constantly keep water Amrita (Water of life) that comes out of the cracked from umbrella. And the surrounding community, the holy water at the site was erected a temple that is now known as the Temple Mount Umbrella.

Water source in the form of small bulakan to date remain untreated and always dry though never long dry season hit. Water in this bulakan that in their daily use as tirta given to every people who put in devotion to the Dang Kahyangan Gunung Payung Temple.

Indigenous Bendesa Kutuh, South Kuta Litra Wayan said, the temple is guard by Desa Adat Kutuh manners. Trusted by the people there, the Dang Kahyangan Gunung Payung Temple is the source of life or manners Kutuh source of prosperity.

Although in-medicinal manners Kutuh Adat village, hereditary facts show that the temple is also a place of worship of Hindus from outside the village of Indigenous Kutuh.

Trust, the temple is the manifestation berstana Sang Hyang Sri Batari namely Widhi Wasa and Batari Danu characterized by gedong Linggih. Pamedek that Tangkil to the temple, especially when piodalan coming from all directions in order to nunas kerahayuan to Him.

Therefore, based on the fact that existing literature, since the year 2005, the existence of Temple Mount Umbrella has been recognized and approved by Parisada Hindu Dharma Indonesia (PHDI) Badung regency of Badung regency and the Office of Religious Affairs as one of the six existing Kahyangan Dang Pura in Badung regency.

The physical condition Dang Kahyangan Gunung Payung Temple some time ago quite apprehensive. Some damage at pelinggih and temple building occurred. In addition to age and natural factors, this condition is also not free from financial limitations pangempon manners to do the maximum treatment.

Pangempon any parley, took the initiative to rehabilitate and arrange the Dang Kahyangan Gunung Payung Temple in order to always maintain the purity and sanctity of the temple and its surroundings. Beside that, to provide security and comfort to the faithful who perform prayers.

Behind the limitations that occur during this time, then gradually manners pangempon numbering 600 families begin the restoration and remodeling temple in October 2007. The restoration to cost approximately USD 1.5 billion, in which the funds used came from the government, donors and NGOs. The restoration was completed before piodalan pelinggih in this temple which falls on purnamaning kaulu sasih kaulu or falls around January 2008.

Today, as ever, especially Kutuh Village manners are always working to take care of temples that have historical value. Pangempon temple on an ongoing basis every three months once held a cleanup at the temple. As for day-to-day, there are some who are ready to lap jero ngaturang father in order to maintain the sanctity of the temple or to serve the people who Tangkil to this temple.