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Uci Lestari
"ABSTRAK
Tradisi pemujaan roh dan dewa pada masyarakat Cina terwujud dalam beberapa jenis pemujaan, seperti pemujaan terhadap roh orang yang telah meninggal, roh yang menguasai benda-benda, dan roh yang menguasai alam. Kepercayaan masyarakat Cina terhadap pemujaan roh dan dewa dipertegas dengan ajaran Kong Zi (孔子), yaitu Jing Tian Zun Zu (惊天尊祖) yang berarti mengagungkan langit dan menghormati leluhur. Salah satu wujud pemujaan roh dan dewa pada masyarakat Cina di Indonesia dapat dilihat pada aktivitas pemujaan terhadap Delapan Dewa (Ba Xian 八仙) di Klenteng Boen San Bio, Tangerang, Banten yang telah berlangsung dalam kurun waktu yang cukup lama. Delapan Dewa terdiri dari tujuh laki-laki dan satu perempuan. Pemujaan Delapan Dewa yang dilakukan di dalam kelenteng Boen San Bio merupakan pemujaan sebagai tanda penghormatan terhadap shen dan sebagai jembatan untuk mengantarkan doa-doa yang diajukan kepada Tian. Keberadaan Delapan Dewa di Klenteng Boen San Bio, tidak terlepas dari adanya kepercayaan terhadap legenda dan kisah kuno serta ajaran-ajaran yang berkembang dalam kebudayaan Cina itu sendiri. Akan tetapi, meskipun Delapan Dewa telah dipuja oleh masyarakat Cina di Indonesia, kisah Delapan Dewa tidak banyak diketahui secara mendalam oleh masyarakat luas. Oleh karenanya, jurnal ini akan membahas secara mendalam mengenai sosok Delapan Dewa, bentuk pemujaan terhadap Delapan Dewa, legenda dan kisah yang melatarbelakangi terwujudnya pemujaan tersebut, serta ajaran-ajaran yang berpengaruh terhadap pemujaan Delapan Dewa, khususnya yang berlaku di Klenteng Boen San Bio, Tangerang, Banten.

ABSTRACT
The tradition of worshiping spirits and deities in Chinese society is manifested in several types of worship, such as worshiping spirits who have died, spirits that control objects, and spirits that control nature. The Chinese belief in the worship of spirits and wise men is emphasized by the teachings of Kong Zi (孔子Kongzi), namely Jing Tian Zun Zu 惊天尊祖 which means glorifying the heavens and honoring ancestors. One form of worshiping spirits and deities in Chinese people in Indonesia can be seen in the activities of worshiping the Eight Immortals (Ba Xian 八仙) in Boen San Bio Temple, Tangerang, Banten which has been going on for quite a long time. The Eight Immortals contains of seven mans and one woman. The existence of the Eight Immortals in the Boen San Bio Temple, can not be separated from the belief in legends and ancient stories and teachings that has developed in Chinese culture itself. However, even though the Eight Immortals have been worshiped by Chinese people in Indonesia, the story of the Eight Immortals is not widely known to the public at large. Therefore, this journal will discuss about the each figure of the Eight Immortals, a form of worship to the Eight Immortals, legends and stories underlying the realization of the worship, as well as teachings that influence the worship of the Eight Immortals, especially that has been applied in Boen San Bio Temple, Tangerang , Banten."
2019
MK-pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Fariz Egia Gamal
"ABSTRAK<>br>
Pemujaan leluhur merupakan hal yang paling kuno dan memiliki peranan yang penting dalam kepercayaan Cina. Terkait dengan pemujaan leluhur, maka dilakukan upacara Sembahyang Rebutan yang dilaksanakan setiap tanggal 15 bulan 7 penanggalan Imlek. Upacara ini juga dilaksanakan oleh Kelenteng Boen Tek Bio, Tangerang setiap tanggal 7 bulan 7 penanggalan Imlek. Dalam pelaksanaan upacara Sembahyang Rebutan di kelenteng ini, makna dilakukannya upacara Sembahyang Rebutan terbagi menjadi tiga sudut pandang sesuai dengan agamanya masing-masing. Dalam agama Konghucu, upacara Sembahyang Rebutan dimaknai sebagai bentuk syukur kepada Malaikat Bumi. Dalam agama Buddha, makna upacara ini adalah sebagai penyeberangan arwah. Kemudian dalam ajaran Tao makna upacara ini adalah untuk menghindari malapetaka. Walaupun berbeda-beda dalam memaknai upacara ini, tetapi terdapat kesamaan tujuan yaitu menyembahyangi arwah agar tidak mengganggu manusia.

ABSTRACT<>br>
Ancestor worship is the most ancient and has an important role in Chinese belief. Associated with ancestor worship, then performed the ceremony Sembahyang Rebutan which is held every the 15th of the 7th month of the Imlek calendar. The ceremony is also held by Boen Tek Bio Temple, Tangerang on 7th of 7th day of the Lunar calendar. In the implementation of this ceremony in this temple, the meaning of the ceremony is divided into three points of view in accordance with his religion. In Confucianism, the Sembahyang Rebutan ceremony is interpreted as a form of gratitude to the Angel of the Earth. In Buddhism, the meaning of this ceremony is as a spirit crossing. Then in Taoism the meaning of this ceremony is to avoid catastrophe. Although different in interpret this ceremony, but there is a common goal is to worship the spirit so as not to disturb humans."
Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2017
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Shereen
"ABSTRAK
Ciamsi merupakan sebuah ritual yang dikenal masyarakat Cina untuk melihat peruntungan dan nasib seseorang melalui bilah bambu. Nomor yang tertera pada setiap bilah bambu berisikan syair-syair Cina kuno dipercayai sebagai jawaban dari ?? Shenming Dewa atas berbagai permasalahan yang ditanyakan oleh pengunjung yang melakukan ritual tersebut. Sarana Ciamsi yang disediakan pada setiap kelenteng berupa bilah bambu telah menjadi bagian tradisi yang diikuti oleh pengunjung kelenteng. Makalah ini membahas tentang ritual ramalan Ciamsi di Kelenteng Boen Tek Bio yang terletak di Tangerang beserta kajian budaya atas keyakinan tradisional ini.

ABSTRACT
Ciamsi is a ritual that is known by the Chinese people to discover one rsquo s luck and fortune by using divinatory sticks. Numbers in each divinatory stick that correspond with an ancient Chinese poem believed to be an oracle from the Shenming Deities for any problem that is questioned by the temple visitors. Ciamsi that involves divinatory sticks in every temple has been one of the traditions followed by temple visitiors. This paper discusses Ciamsi ritual and cultural studies about this traditional belief at the Boen Tek Bio temple which is located in Tangerang."
Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2018
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Rizki Dewandaru
"Kajian ini membahas mengenai penggambaran dewa lokal Klenteng Boen San Bio dan Tjoe Soe Kong di Tangerang Menggunakan kajian Agensi. Kajian ini menggunakan sumber data petilasan dewa lokal di Klenteng Boen San Bio dan Tjoe Soe Kong di Tangerang. Dewa pada klenteng biasanya diadopsi dari tokoh Cina atau dewa dewa cina berdasarkan Agama Tri Dharma. Akan tetapi ada Dewa Lokal yang di sembah dan dihormati sampai memiliki petilasan atau ruang ibadah sendiri. Oleh karena itu, Kajian ini berfokus pada penggambaran dewa lokal. Metode yang digunakan adalah kerangka penelitian Sharer dan Ashmore yang terdiri atas enam tahap yaitu tahap formulasi, implementasi, pengumpulan data, pengolahan data, analisis, dan interpretasi. Hasil kajian analisis adalah agensi agensi dewa lokal dan alasan bisa menjadi dewa berdasarkan Petilasan dewa lokal dan Data lainnya.

This study discusses the depiction of local gods in the Boen San Bio and Tjoe Soe Kong temples in Tangerang using the Agency study. This study uses data sources of local deities in the Boen San Bio and Tjoe Soe Kong temples in Tangerang. The gods in pagodas are usually adopted from Chinese figures or Chinese gods based on the Tri Dharma religion. However, there are local gods who are worshiped and respected to the point where they have their own shrine or prayer room. Therefore, this study focuses on the depiction of local gods. The method used is the Sharer and Ashmore research framework which consists of six stages, namely the formulation, implementation, data collection, data processing, analysis, and interpretation stages. The results of the analysis study are the agencies of local gods and the reasons they can become gods based on the Recitation of local gods and other data."
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2022
LP-pdf
UI - Tugas Akhir  Universitas Indonesia Library
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Stefanus Hansel Suryatenggara
"Skripsi ini memfokuskan pembahasan mengenai Kelenteng Boen Tek Bio dari segi arsitektural termasuk komponen pendukung yang ada menurut aturan Feng Shui dan komponen hias, Metode yang digunakan dalam penelitian ini ialah pendeskripsian dari mulai halaman depan, bangunan utama, bangunan pendukung di sebelah samping dan belakang, berikut peranan kelenteng ini dalam festival dan kegiatan masyarakat Cina di Tangerang.
Hasil deskripsi kemudian dilanjutkan dengan perbandingan dengan analisis singkat yang terdiri dari analisis umum menurut aturan arsitektural dan analisis khusus yang meliputi pengunaan metode feng shui. Hasil analisis menyatakan keberadaan Kelenteng Boen Tek Bio sebagai kelenteng yang mengikuti gaya asli pencitraan di Cina Selatan dengan perbedaan yang signifikan dan mendasar.
The study focuses Boen Tek Bio Chinese Temple on its architectural orientation. The methods used description of the building, starts from the front courtyard, main hall, and the supportive structure on the rear and aft sides and its account in maintaning several festivities and social affairs on Chinese society in Tangerang.
The results of the descriptive phase proceeds to analythic phase consists of general and specific analysis which includes basic Chinese Architectural Designs and the usage of feng shui methods. The overall results of this study remarks Boen Tek Bio Chinese Temple to maintain its architectural styles to the original Southern Style with significant differences.
"
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2011
S212
UI - Skripsi Open  Universitas Indonesia Library
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Stefanus Hansel Suryatenggara
"Skripsi ini memfokuskan pembahasan mengenai Kelenteng Boen Tek Bio dari segi arsitektural termasuk komponen pendukung yang ada menurut aturan Feng Shui dan komponen hias, Metode yang digunakan dalam penelitian ini ialah pendeskripsian dari mulai halaman depan, bangunan utama, bangunan pendukung di sebelah samping dan belakang, berikut peranan kelenteng ini dalam festival dan kegiatan masyarakat Cina di Tangerang.
Hasil deskripsi kemudian dilanjutkan dengan perbandingan dengan analisis singkat yang terdiri dari analisis umum menurut aturan arsitektural dan analisis khusus yang meliputi pengunaan metode feng shui. Hasil analisis menyatakan keberadaan Kelenteng Boen Tek Bio sebagai kelenteng yang mengikuti gaya asli pencitraan di Cina Selatan dengan perbedaan yang signifikan dan mendasar.
The study focuses Boen Tek Bio Chinese Temple on its architectural orientation. The methods used description of the building, starts from the front courtyard, main hall, and the supportive structure on the rear and aft sides and its account in maintaning several festivities and social affairs on Chinese society in Tangerang.
The results of the descriptive phase proceeds to analythic phase consists of general and specific analysis which includes basic Chinese Architectural Designs and the usage of feng shui methods. The overall results of this study remarks Boen Tek Bio Chinese Temple to maintain its architectural styles to the original Southern Style with significant differences.
"
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2011
S1544
UI - Skripsi Open  Universitas Indonesia Library
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Citra Hariyanti
"Jurnal ini membahas tentang mitos-mitos di Kelenteng Boen Tek Bio yang dipercaya oleh masyarakat Cina Benteng dan masyarakat Tangerang yang tinggal di sekitarnya.

This journal discusses myths in Boen Tek Bio temple, which is believed by Cina Benteng society and people in Tangerang who live around the temple.
"
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2014
MK-Pdf
UI - Makalah dan Kertas Kerja  Universitas Indonesia Library
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Muhammad Ikhsan Tanggok
"ln this thesis I discuss about the ancestor worship in in the Chinese-Hakka family and community in Singkawang-West Kalimantan (Borneo). The central concem of this study is the description and analysis of ancestor worship in rituals of death within family as conducted at the home, at place managed by Chinese burial association, and burial place, before and after burial.
The main issue raised in this thesis is the function of ancestor worship for Hakka family and community of Singkawang, which based on Mauss (1992) and Suparlan (l978)?s exchange theory is to tighten the kinship relations between family members who are alive or living in this world-the ?real world? and their ancestors in the atier-life world or the ?unreal world?.
The reason for the Hakka people of Singkawang to worship their ancestors. besides showing their filial piety (xiao) to ancestor. is also to ask for protection and assistance from them. In the time of needs or problems, members of a Hakka family or community will ask their ancestor spirits to help and protect him or her, and in return they will reciprocate the ancestors? help by providing food and beverages, as well as by paying respect to them, and all of these are conducted through rituals at the burial place or temples. This form or exchange is always maintained because it benefited both sides.
Death and death rituals in Hakka family are the most important part ol ancestor worship among the Chinese-Hakka in Singkawang. There would be no ancestor worship without death and death rituals. According to Hakka people?s beliefs, the well-being of their ancestors in the after-life will determine their well- being or the well-being of related family in this life.
In Chinese culture, as stated by Mencius, the most revered Confucian philosopher after Confucius himself, ?the greatest of all sins is to have no sons to carry on the ancestral line and continue the ancestors? worship? (see McCreey in Scupin, 2000: 286). Therefore, ?sons? is the operative world for Chinese in general. Traditional Chinese society is a patrilineal society in which Family surname and the right to a share of the family property descends from father to son. Daughters, once they married, their duty is to serve their parents-in-law, to worship their husband?s ancestors, and above all, to provide sons to continue their husband?s family line. Thus, usually daughters are not expected to share the burden of ancestor?s worship within their original family. In this thesis, I show that in Hakka family and community in Singkawang, in contrast to the abovementioned Chinese tradition, daughters who have married, together with their husbands, could come and share the burden of ancestor worship duty in the daughters? original family, as long as they do not take the place of sons as the leader of the family. Hakka family and community in Singkawang too see ancestor worship as means to gather members of related family, from both patrilineal and matrilineal sides, at one place and at a particular time, not only to conduct rituals and to worship their ancestors, but also to talk about family economy as well as other metters among family members.
The ancestor worship of Haldta family and community in Singkawang does not only benefit members of related family, but, as a matter of fact, also provides some advantages for members of other ethnic groups, such as the Madurese and the Dayaks, particularly those who live near the Chinese burial place. During Ching Ming Jie or Chinese Toms Festival and Zhong Yuan Jie or Hungry Ghost Festival, these people-the Madurese and the Dayaks--could ask to help Hakka families to clean or cut grass on their ancestors? graves in return for a little money."
Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2005
D825
UI - Disertasi Membership  Universitas Indonesia Library
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Risa Purnama
"Penelitian ini membahas mengenai pengaruh wirid Rifa’iyah dalam Seni Debus Surosowan. Debus merupakan kesenian khas daerah Banten yang menarik untuk dianalisis karena pada awalnya debus dijadikan sebagai wadah penyebaran agama Islam namun pada akhirnya debus dijadikan sebagai kesenian budaya masyarakat Banten. Berbicara mengenai debus, maka tak bisa dilepaskan kaitannya dengan Tarekat Rifa’iyah. Oleh karena itu, Permasalahan yang diangkat dalam penelitian ini diantaranya yaitu, ciri khas apa saja yang terdapat dalam Seni Debus Surosowan? serta bagaimana pengaruh Wirid Rifa’iyah dalam Seni Debus Surosowan? penelitian ini bertujuan untuk menjelaskan ciri khas Seni Debus Surosowan serta pengaruh Wirid Rifa’iyah dalam Seni Debus Surosowan. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis dengan teknik pengumpulan data berupa studi kepustakaan, observasi, wawancara dan dokumentasi. Penelitian ini menggunakan teori religiusitas yang terdiri dari dimensi ideologis/keyakinan, praktik agama, pengalaman, pengetahuan, pengamalan dengan menggunakan pendekatan antropologi agama. Hasil penelitian memperlihatkan bahwa adanya ciri khas yang membedakan antara debus Surosowan dengan debus lainnya yaitu almadad, terbang gede dan beluk. Penelitian ini juga menemukan fakta bahwa adanya pengaruh wirid Rifa’iyah dalam seni debus Surosowan yang terlihat dalam syarat-syarat untuk menjadi pemain debus dan proses ritual permainan debus.

This study discusses the influence of the wirid Rifa'iyah in the Art of Debus Surosowan. Debus is a typical art of the Banten region, the interesting thing about the art of Debus has been used as a forum for spread of Islam. Until now, Debus has been used as a cultural art for the people of Banten. Talking about debus, it cannot be separated from the connection with the Tarekat Rifa'iyah. Therefore, The problem raised in this study include, what are the characteristics contained in the art of Debus Surosowan? and how the influence of wirid Rifa’iyah in the art of Debus Surosowan? this study aims to explain the characteristics of Debus Surosowan’s and the influence of wirid Rifa'iyah in the art of Debus Surosowan. The method used in this research is descriptive analysis with data collection techniques in the form of literature study, observation, interviews and documentation. This study uses the theory of religiosity which consists of dimensions ideological/religion, religious practice, experience, knowledge, practice by an anthropological religion approach. The results show that there are characteristics that distinguish Surosowan debus from other debus, these characteristics can be seen from the tools owned by this place, namely almadad, terbang gede and beluk. This study also found the fact that there was an influence of the wirid Rifa'iyah in the Surosowan Debus art which was seen in the requirements to become a debus player and the playing debus ritual process."
Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2021
TA-pdf
UI - Tugas Akhir  Universitas Indonesia Library
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Yusuf Setiawan
"Kelenteng Boen Hay Bio merupakan salah satu tempat peribadatan tertua dari tiga kelenteng di kawasan Tangerang. Dua diantaranya telah ditetapkan sebagai bangunan cagar budaya. Belum ditetapkannya kelenteng ini sebagai cagar budaya menjadi dasar dilakukannya penelitian ini dengan tujuan mengidentifikasi nilai penting pada bangunan beserta peringkatnya. Penelitian ini menggunakan teknik penelitian kualitatif melalui studi pustaka, observasi lapangan, dan wawancara yang akan digunakan dalam menentukan nilai penting dan peringkat kelenteng. Hasil identifikasi nilai ini mengindikasikan bahwa kelenteng Boen Hay Bio memenuhi syarat untuk ditetapkan sebagai cagar budaya karena memiliki salah satu atau gabungan dari nilai sejarah, ilmu pengetahuan, kebudayaan, dan agama. Penelitian ini berkontribusi dalam penentuan kebijakan pelestarian kelenteng sebagai upaya pelestarian cagar budaya.

Boen Hay Bio Temple is one of the oldest places of worship of the three temples in the Tangerang area. Two of them have been designated as cultural heritage buildings. This temple has not been designated as a cultural heritage which is the basis for conducting this research with the aim of identifying the important values of buildings and their level of significant. This study uses qualitative research techniques through literature study, field observations, and interviews which will be used in determining the importance and ranking of temples. The results of this value identification indicate that the Boen Hay Bio temple meets the requirements to be designated as a cultural heritage because it has one or a combination of historical, scientific, cultural and religious values. This research contributes to the determination of temple preservation policies as an effort to preserve cultural heritage.
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Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia, 2023
LP-pdf
UI - Laporan Penelitian  Universitas Indonesia Library
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