JURNAL KAJIAN BALI
Hlm.
01AAi Journal of Bali Studies p-ISSN 2088-4443 # e-ISSN 2580-0698 Volume 15.
Number 01.
April 2025 Tantric Elements in Balinese Hindu Rituals Ida Bagus Putu Suamba* Politeknik Negeri Bali.
Indonesia DOI: https://doi.
org/10.
24843/JKB.
Abstract: Ritual forms an integral part of Balinese life.
however, most Balinese do not realize that the ritual they practice is a blend of Vedic and Tantric elements expressed in local culture.
This research aims to highlight the Tantric aspects of Balinese religion, which are usually mislabeled as mere Vedic rituals.
A qualitative methodology was employed to analyze textual traditions and ritual practices.
Data was collected, categorized, and analyzed to address the main elements of TantrayAna worship and how they are present in Balinese ones.
Ubiquitous ritual elements such as maNsala, yantra, payca makAra, akara and scales based on the human body are from the Tantra This article explores these individually, along with the generic structure of Balinese Hindu rituals.
Keywords: Vedic.
Hindu ritual.
Bali Introduction alinese rituals always take into consideration factors such as time, place, substance .
, procedures, and the conduit of the priest who performs The presence of such elaborate elements, along with their preparation and systems, are actually based on philosophical principles known as tattva.
This underlying tattva principle is unknown to the commoner.
As.
Karja and Feldman .
Authe relevance of tantric concepts moving together smoothly with theo-aesthetic, aesthetic transcendence, and self-discovery.
which resonate deeply in todayAos artworksAAy This approach mirrors tantric art principles, aiming to make that is visually striking and spiritually deep guide by the divine inner creativity force, taksuAy .
4, p.
Mystical and esoteric elements are deeply embedded in these rituals, which unite people in a religious spirit due to their necessity in Balinese public life.
Although the term AotantraAo is unfamiliar to most Balinese.
Tantric elements are present in their rituals, making it difficult to categorize them as purely Tantric or Vedic.
Corresponding authorAos email: bagusputusuamba@pnb.
Submitted: 14 January 2025.
Accepted: 5 April 2025.
Published: April 2025 Copyright A 2025 by the author .
This article is published by Jurnal Kajian Bali (Journal of Bali Studie.
University of Udayana.
Bali.
Indonesia, under a Creative Commons Attribution 4.
0 International License .
ttp://creativecommons.
org/licenses/by/4.
0/).
http://ojs.
id/index.
php/kajianbali Ida Bagus Putu Suamba Pp.
423Ai442 Instead, they represent an amalgamation of Indian traditions that have arrived in Indonesia.
As a result.
BaliAos ritual tradition is heterogeneous, inclusive, and unique, guided profoundly by oaivism.
Sartini .
7, p.
states that all of these rituals carry symbolic meanings and embody local wisdom in the form of cultural values, which are adhered to and followed as guiding principles.
The influence of TantrayAna in Indonesia became widespread due to its inclusive and adaptable nature.
It incorporates existing indigenous traditions while also transcending them, elevating them to a finer or higher level of The concepts of orthodoxy and heterodoxy blend over time, influencing various traditional practices that continue to shape religious and cultural life today.
As a result, understanding TantraAior any similar term used to describe this phenomenonAibecomes challenging when removed from the cultural and philosophical contexts in which it has developed.
Tantra, in various forms, reached this archipelago through the waves of Indian influence beginning in the first millennium.
Its imprint appears across diverse traditions, pervading both Vedic and non-Vedic streams, including oaivism and VaiNavism, contributing to the formation of a new tradition expressed through local culture.
Studies specifically focusing on Tantric rituals remain limited, if not scarce.
However, interest in deeper research has gradually emerged over the past few decades.
The aim of this article is to explore elements of TantrayAna in the five kinds of ritual .
ayca mahA yajyA) that pervade the public sphere of Balinese religion, and to look at subtle ideas or principles of Tantra in them.
This analysis will not focus on one ritual, but rather generic elements of TantrayAna in them.
Literature Review Previous research in Balinese rituals did rightfully identify its Tantric foundations, however it lacked a discussion on the Tantric tradition involved.
Even though TantrayAna as a separate school is proven in archeological and epigraphic findings, most researchers merge these Tantric ideas into the larger Vedic.
Puranic or oaivite juggernauts.
Suamba .
has traced these findings to provide a better timeline of Tantra in the country.
This might be caused by the fact that the practitioners themselves are not aware that the rituals they perform have, to some extent, been influenced or shaped by Tantric thought.
Reicle .
, for example, touched on some elements of the rituals with their display of colorful pictures.
This phenomenon has been acknowledged by researchers as early as the beginning of the 19th century, and scholarly interest in this field has gradually increasedAian observation also noted by Hatley .
JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals The textual tradition appears uninterested in explicitly using Tantric terminology, despite being deeply infused with Tantric ideas.
However, references to AutantrasAy and related terms do appear, including a prose .
manuscript titled Smara Tantra and a tutur text called Smara Ryka.
In this context, the essence of these traditions holds greater significance than their outward Engaging with their deeper meaning requires effort to interpret the symbolism embedded in words and ritual offerings .
One must avoid becoming trapped in formal terminology while overlooking the subtle Tantric ideas that permeate the tradition.
Hooykaas .
and recently Stephen .
5, pp.
studied Tantric elements in the practices of oaiva priest worship in Bali known as srya-syvana.
Some Indonesian scholars have also attempted to identify such elements.
Surasmi wrote Jejak TatrayAna di Bali (Imprints of TatrayAna in Bal.
Budi Utama with Lokalisasi Tantra di Bali (Localized Tantric Practices of Bal.
, elucidated the multifaceted nature of tantra, transcending mere associations to sexual practices.
Ngurah Nala wrote Aksara Bali dalam Usada (Balinese Script in Traditional Healin.
which explores the use of akara in Balinese healing practices.
Ruta and Karja wrote Balinese Hindu Philosophy in Mandala Painting .
which discusses the artwork of I Dewa Nyoman Batuan who incorporate the dualistic philosophy of opposites .
, with a strong Tantric nuance.
Young scholars have explored forgotten treasures of Tantra, like Putu Yudiantara who published his book entitled Ilmu Tantra Bali .
and Ketut Sandika with Tantra: Ilmu Kuno Nusantara .
The existence and role of akara, sacred letters and sounds are It is likely every ritual involves akara, especially the bjAkara and praNava mantras, usually inscribed on wood, clay, structures, the ground, and even on the human body.
Suamba .
noticed some scholars who dedicated to the study akara in Balinese ritual traditions: Suamba .
Sweta .
Agastia .
6, 1997, 1998, 2003, 2004, 2012, 2.
, and Fox and Hornbacher .
who studied scripts in relation to the materials used in practice.
ReichleAos .
edited volume.
Bali: Arts.
Ritual.
Performance, explores Balinese ritual in depth.
The contributors observe and discuss Tantric elements within offerings .
, such as yantra.
The book also examines comparative aspects of Tantric traditions across India.
South Asia, and Southeast Asia.
These writings have shed light on how Tantra has not only arrived and been practiced in this archipelago but has also influenced Balinese rituals in various forms.
A more detailed study is necessary to understand how Tantra extends beyond textual traditions to shape ritual practices.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 Methods and Theory 1 Method This philosophical study employs a qualitative approach to examine Tantric elements in Balinese Hindu rituals, focusing on the philosophy of religion as expressed through ritual practices.
It analyzes relevant tutur .
itual text.
and kalpa uAstra texts alongside direct field observations to gather sufficient data for analysis.
Field research included the observation of major public rituals, such as the Karya Agung Nangun Ayu, performed on August 30, 2011, at Pura Dalem Agung Tampuagan.
Tembuku.
Bangli.
the Karya Agung Mymungkah Ngyntyg Linggih and Pydudusan Agung at Pura Puseh Katyagan.
Kamasan.
Klungkung, on March 20, 2024.
and the Tavur Payca Bali Krama as part of the Karya Mapydudusan Agung, held on February 7, 2025, at Pura Gunung Lebah Campuhan.
Ubud.
Bali.
The researcher closely observed these rituals in detail, gaining direct experiential insight into elements that may be Tantric in nature.
Data collection involved interviews with key ritual participants, including wiku yajamana, viku tapini, and sarati/tukang bantyn, who are responsible for preparing sacred offerings.
Additional interviews were conducted with priests, pymangku, scholars, and ritual practitioners involved in organizing the yajyA, regardless of its scale.
Secondary data were drawn from photographs and visual documentation of rituals, palm-leaf manuscripts .
, books, and journal articles.
These materials were systematically gathered, compiled, categorized, and interpreted to address the core research questions.
Focus group discussions were also conducted to deepen the understanding of the subject matter.
2 Theory Tantric traditions sometimes oppose the orthodoxy of Vedic traditions.
The Karma Kanda, the ritualistic path as ordained in the urauta literature of the Vedic saAhitAs, are not concerned with obtaining magical prowess.
The Tantra traditions, however, also involves rituals, but also involve dyva, substance, akara, mantra, payca makAras .
hich consists of intoxicated drink .
, meat .
AAs.
, fish .
, cereals .
udrA), and sexual intercourse .
], maNsala, yantra, nyasa, and yoga (Woodroffe, 2.
The last is absent from the formulation of the three frames .
ri kyrangk.
of Balinese religionAitattva .
hilosophy/theolog.
, ula .
, and upacAra .
Aidespite yoga being deeply embedded within all three.
The present researcher refers to this integration as tri yoga (Suamba, 2016, p.
, while Keniten, drawing from the Atharva Veda (XII, 1.
, describes them as tri puthivm dhArayanti .
1, pp.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals Owing to these facts, rituals in Balinese tradition cannot be classified as purely Vedic or Tantric, rather the combination of the two expressed in the Balinese culture.
This, is what Hatley .
remarks as.
Auparadoxically, tantric traditions are not always recognized as such, for their success was such that the boundaries between orthodoxy/orthopraxy and Tantra are blurred over time, especially in ritualAy .
a meeting of nigama and Agama traditions when we look at various thoughts that compose this tradition.
This classification has been discussed by Gupta .
9, p.
he classified it into three categories, viz.
vaidiki, tantriki, and miura, the last being a synthesized form.
This phenomenon likely occurs in the Balinese ritual tradition, where the contribution of local culture plays a significant role.
It is evident that, for a Balinese, ritual is an integral part of Balinese Hinduism.
This implies that it is not solely a path of knowledge .
yAna kand.
, ritual .
arma kand.
, or meditation/ contemplation .
pAsana kand.
as described in the Vedas, but rather a meeting point that has been encapsulated within indigenous culture.
As described by Prajnanananda .
6, p.
Aupath of action is extremely elaborate and systematic.
It involves many ritualistic practices that help a seeker to achieve inner purification.
The path of knowledge is the last part of Vedas that highlights the philosophical and intellectual understanding of life itself and the goals are to be achieved through self-inquiry and meditationAy.
Despite its vividness and grandeur.
Balinese people do not commonly realize that the rituals they practice contain elements of Tantra.
They often perceive these rituals as purely Vedic, oaiva, or oaiva-Buddhist.
However, within these practices, some local terms, such as pangiva, panyngyn, and kavisysan, are associated with Tantra, particularly with left-hand practices.
Commenting on the liberal nature of TantrayAna.
Jones and Ryan .
7, p.
Auto be sure, many AotantricAo elements infuse ordinary ritualistic, templeoriented Hinduism.
But the key to identifying tantrism are the distinctive rituals and practices that form a complex, usually taught to small groups of adepts by a special guru for a personal rite.
Ay Despite practicing ritual.
Balinese people do not feel estranged or isolated from the community for engaging in esoteric practices, especially those related to ke-adhyatmikan or kawisysan, which are not public in nature.
Public rituals, such as the five kinds of ritual .
ayca mahA yajyA) described in textual traditions .
, the manuscripts Dyva Tattva.
Tapyni YajyA.
Bhama Kutih.
Sundarigama, and Yama Purwa Tattv.
, are not associated with the negative stigma of Tantra, as may be seen in India or elsewhere.
These rituals represent the outer form of upakAra, while the core lies in its deeper structure of tattva, the metaphysics or theology, the knowledge of realities.
In other words, rituals are performed with a metaphysical basis.
they are an extension of metaphysical principles across three dimensions.
As quoted by Davis .
0, p.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 .
AuKnowledge devoid of activity is not the preeminent means of attainment, nor is activity devoid of understanding the preeminent means.
Therefore, successful attainment of liberation arises only through both of them together, just as a bird does not fly without two wings (SPbh, pp.
Ay In Balinese tradition, the concept of rvabhinyda, two different opposite principles, positions the self as the balancing force, striving toward liberation .
as the summum bonum of life.
Texts on dharma kapatian or kalypasan illuminate the release of the self from bondage.
Result and Discussion 1 Balinese Ritual The structure of the Balinese Hindu religion is known as tri kyrangka Agama or tri yoga (Suamba, 2016, p.
, the unity of knowledge, ethics and ritual, the latter being the outer layer of the tradition.
For most, yoga is understood in the form of sasangga yoga, the six-limbed practice of inward spiritually for self-transformation through performing yama and niyama, withdrawing the senses from their objects, meditation, and contemplation to reach the bliss and union with the Ultimate Self.
The researcher, however, has chosen to call it yoga since the purpose of each section is to unite self with the Supreme Self.
Thus, for commoners, ritual can be their path of self-realization.
According to Gupta .
9, p.
AuTantric sAdhana .
eligious practice.
consists of two parts: ritual worship .
jA) and meditation .
Both are of equal importance to every TantrikaAy.
In Bali, however, yoga is not emphasized.
The innermost tattva portion of the tri kyrangka Agama is the reasoning behind the uAsana/ula and upacAra.
Hence, the three are interdependent and related.
The three pillars form a whole unit as a religion for which the Indonesian word AuagamaAy is used, a term used in the country in place of dharma.
This is similar to the Sanskrit term AuAgamaAy, much like the Agama literature of the South Indian oaiva SiddhAnta tradition, containing the kriyA pAda .
itual In Bali, every ritual action can be traced back to the tattva found in the tutur literature.
The ritual corpus, known as kalpa uAstra, contain the plutuk or indik manual texts used to prepare bantyn .
and the like.
This can be equated with paddhati .
itual manua.
within the Agama uAstra of South Indian oaiva SiddhAnta.
Likewise, there is the variga for astronomy and hasta kosala kosali and hasta bhmi for architecture.
Ritual and ethics may undergo changes or adaptations in practice.
This is due to the principle of deua .
, kAla .
, and patra .
ituation/ conditio.
which regulate the application of Balinese Hinduism.
The tattva essence, however, is unchangeable (Figure .
JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals Figure 1.
The structure of Balinese religion .
Suamba, 2016, p.
The rituals of this tradition are generally classified into five kinds: deva-, pitr, manusa-, ui-, and bhta -yajyA.
Gods, ancestors, humans, sages, and nature These are rooted in Vedas.
The Vedic elements can be found in pjA pangastava, mantras chanted by the priest to worship the Vedic gods, like Agni.
VAruNa.
Indra.
Saraswat, etc.
The MahAbhArata and RAmAyaNa is also found in Bali.
Despite the large number of ritual texts known as kalpa uAstra .
uch as Dyva Tattva.
YajyA Prakuti.
Bhama Kutih.
Yama Tattva.
Sundarigama, etc.
), the Vedic griha stra or urauta stra are not to be found.
Rituals can be categorized into three types based on the scale of offerings: kanistha .
, madhya .
, and uttama .
A devotee may choose among these based on their means, time, sincerity, and the availability of materials.
However, the influence of local culture makes these rituals both unique and inclusive, while the presence of Vedic traditions remains In the historical Brahmanic religion, as upheld by mmAAsA daruana, the primary goal of performing yajyA is to attain heaven .
the Balinese tradition, however, rituals serve not only as a means to svarga but also as a path toward liberation .
, reflecting an integrated approach that harmonizes knowledge, action, and yoga.
In preparing and arranging the bantyn (Photo .
, a female ritual specialist called wiku tapini assisted by her sarati, bantyn makers, prepare the offerings as laid in the plutuk or indik texts.
These texts are the Rary Angon.
Dyva Tattva.
Dyva oAsana .
r Krama Pr.
Tapyni YajyA, etc.
She always consults with the yajamana priest, the leader of the ritual, in preparing the bantyn.
This is to match the bantyn with the mantra chanted by the priest.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 Photo 1.
Bantyn deva-dev reprensents purua and prakuti (Source: IBP.
Suamba, 2 MaNsala When performing any ritual, the first step is to establish a suitable space, known as a maNsala.
While most Balinese may not be familiar with this term, they commonly use words such as karang, palymahan, and gynah, all of which refer to a designated land area with clear boundaries .
In traditional Balinese villages, the vatys palymahan dyua .
illage boundar.
can be understood as a larger expression of the maNsala concept.
Within this space, both daily life and ritual activities take place.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals A maNsala serves as the sacred ground for ritual .
jA) and often takes a concentric form, as seen in the tavur kasanga ritual, a bhta yajyA ceremony.
Before a ritual begins, a priest performs nyukat karang or nyukat gynah, which essentially marks and sanctifies the maNsala.
The central point of the maNsala is first determined, and from there, directions are extended along the east-west and north-south axes .
, as well as the southeast-northwest and southwestnortheast axes .
This process is described in the Hasta Bhmi manuscript.
A ritual cannot take place without a clearly defined maNsala, which is ultimately a sacred space .
The boundaries of the maNsala are physically marked, often with lines drawn using white lime powder, as seen in tavur Within this enclosed space, offerings .
, which function as yantras, are arranged according to ritual manuals.
Since bantyn are considered manifestations of the divine, as mentioned in the Deva Tattva text, the maNsala itself must be free from spiritual impurity .
In Balinese texts, a padma maNsala is based on the metaphysical union of two fundamental cosmic forces: purua .
and prakuti .
aterial Their interaction is believed to be the foundation of all creations.
According to the Wuhaspati Tattva, when Parama oiwa, in the state of SadA oiva, begins His divine activity.
He does so through His inherent power, known as cadu uakti.
Lord SadA oiva expresses His power in the form of mantra, and when He manifests through these sacred sounds.
His dwelling is called padma .
A maNsala is a spatial representation of this padma, embodying divine energy.
When a deity is placed at the center of a maNsala, its spiritual radiance extends outward in all directions, symbolizing the spread of divine light and presence across the sacred space.
A maNsala is often associated with yantra.
Rao states:
AuA The maNsala is the natural extension of the central light point .
A The constituent areas of the maNsala are grouped around the central point and have thus a certain symmetry of arrangement, suggesting harmony, and balance (Rao, 1988, p.
In Balinese ritual practice, the center of a maNsala is crucial because it serves as the starting point for arranging the bantyn according to the directions of dik .
ardinal direction.
and vidik .
ntercardinal direction.
In the concept of nine protective deities .
yvata nava sangh.
, the center of the maNsala represents the cosmic realm, presided over by Lord oiva as the supreme deity.
A clear example of this maNsala structure can be seen in the Besakih temple complex on the slopes of Mount Agung.
The use of maNsala, whether in small or large spaces, is meant to establish and maintain spiritual purity .
, which is essential not only for rituals JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 but also for daily life.
One of the key rituals performed within a maNsala is macaru or tavur, a type of bhta yajyA.
In this ritual, negative forces or spirits .
from the nine directions are summoned and given offerings .
, which typically consist of animal flesh, blood, rice, specific ritual ingredients, intoxicating drinks, water, flowers, and leaves (Photo .
These offerings are believed to satisfy the bhtas, transforming their nature from chaotic and harmful to peaceful and harmonious, ensuring they do not disturb human life or the surrounding environment.
Photo 2.
Bantyn tavur used in the Karya Mypydudusan Agung.
Mypysylang.
Tawur Payca Bali Krama, lan Mypydanan of Pura Gunung Lybah.
Ubud.
Bali held 7th February 2025 (Source: IBP.
Suamba, 2.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals 3 Yantra The term AuyantraAy is typically Tantric.
It has many meanings and its physical manifestation is expressed variously in its culture where Tantrism Battacharyya .
0, p.
AuAyantra as a symbol of deity.
It is generally in the form of a diagram or geometrical pattern serving as a chart for revealing the characteristics of the deity.
Yantra is variously interpreted as instrument, the body and abode of a deity, amulet, mental faculties, pure consciousness, doctrinal intricacies, microcosm of human body and so on.
Yantra are drawn or engraved on cloths, paper, leaves, stones and metalsAy.
Another definition of Tantra is provided by Kiss, who states that AuYantras may have various applications such as being Aoimplements during a worship ritualAo or Aoduring a practitionerAos regular Tantric worship of a deity,Ao and can be used for desire-oriented rites .
Amy.
, often worn as amulets for protectionAy (Byhnemann 2003, p.
32 in Kiss, 2014, p.
A closer examination of the term AuyantraAy reveals multiple interpretations depending on the tradition prevalent in different regions, however they generally refer to a geometric pattern.
Yantras are present in Balinese Hinduism through the bantyn, also known as Auvevantynan,Ay which refers to the offerings used in various ritual practices.
For example, in the preparation of the bantyn dakiNA or dakiNA pyjati, different materials and shapes are employed, including square, triangle, and circle, often in combination, reflecting the yantric influence on the ritual structures and forms.
The bantyn itself takes the shape of a geometric yantra.
Circles .
, squares .
, and triangles .
tuk-itu.
are combined together in aesthetically pleasing ways.
Similarly, religious structures are also fashioned with the yantra pattern in mind.
We have the padmAsana shrine, a combination of a triangle .
nantAsan.
as the base, a square .
in the middle part, and a circle .
admAsan.
crowning the upper section.
Bantyn as a yantra symbolizes both the deity and the world .
, as described in the Dywa Tattva and YajyA Prakuti manuscripts, sahananing bybantyn pinaka raganta, tuwi pinaka warna rupaning ida bhaara, pinaka anda bhuwana .
very bantyn is taken as the body of the deity, as the complexion and performance of the deity, and also represents the macrocos.
For example, the bantyn deva-dev (Photo .
, usually placed in a temporary bamboo shrine .
anggar srya/ sanggar tavan.
during the dyva-yajyA ritual, manifests gods and goddesses.
Similarly, the bantyn sarad symbolizes the universe .
These bantyn are structured into three parts, known as tri angga ning yajyA:
uttama angga represents the head .
uluning yajyA), such as the bantyn placed in the sanggar tawang shrine.
madhya angga represents the body .
s angganing yajyA).
JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 like the bantyn placed in front .
and kanistha angga represents the legs .
s sukuning yajyA), as seen in the tavur or caru.
A bantyn specialist is responsible for selecting the substances, composing the bantyn, and arranging it in the proper In contrast to the Indian tradition, yantra in Balinese interpretation is understood as a three-dimensional bantyn, made from a variety of materials .
, which may also include sacred letters .
inscribed at specific points during a ritual.
These rituals follow a structure based on the formation of the three parts of the human body .
ri angg.
, the head .
, body .
, and feet .
The materials used in these rituals are categorized according to the five elemental principles, the payca mahA bhta.
Puthiv .
arth or solidit.
Cakes, flowers, cereals, leaves, wood, bamboo, incense sticks, cloth, metal, stone, coins, etc.
Apau .
: Plain water .
, liquor .
rah, tuak, brym, fermented ric.
, and other liquids.
Tyja .
: Fire-related materials.
VAyu .
, and .
Akaua .
pace/voi.
Some parts of the bantyn are accompanied with a ryrajahan, a drawing of a particular figure/image along with its respective akara and modry patterns.
Ulap-ulap, for example, is considered a ryrajahan and used in the purification ritual of a new building.
Bantyn, like yantras, are believed to create spiritual powers or siddhi.
According to Wenta .
3, p.
Aua siddha, literally Aoan accomplished one,Ao is first and foremost someone who possesses supernatural powers .
that allow him to gain control over the laws of nature.
Ay Various forms of bantyn, when made and offered properly following the correct procedures, can generate siddhi, or spiritual power.
For example, bantyn caru or tavur in bhta yajyA, when correctly prepared and offered, can produce positive power to neutralize negative influences caused by imbalances in both the microcosm and Therefore, those who prepare the bantyn should keep his/her mind, word, and action pure as any spiritual impurity .
attached to the bantyn, makes it unfit for offering.
This idea is in line with Rao .
8, p.
, who states.
AuThe protective power that is supposed to be possessed by a yantra lies in the shape of the The shape, consisting of one or more geometric forms interwoven to constitute a whole pattern, is believed to represent the spirit or spirits that one seeks to communicate with, in order to derive strength and succor.
Ay In Balinese tradition, the power of any bantyn can only be activated when the respective priest invokes the appropriate mantra.
Rao .
8, p.
further states:
Authe forms involving points, lines, triangles and squares represent energies in various modes.
The point .
is the focal aspects of energy.
AWhen the spirit is also symbolized by a seed-syllable JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals .
jAkar.
, this imperishable seed-syllable is inscribed on the point.
The point is surrounded by successive enclosure, viz.
a triangle, two triangles, intersecting, a circle, and so on.
These forms indicate outward manifestation of the spirit so as to exert its influence in the desired manner.
These lines of triangle are described as the aspects or attendants of the SpiritAy.
4 Payca MakAra One of the distinguished features of the left-hand Tantra .
AmAcAr.
is performing five actions .
ayca makAr.
as the spiritual discipline .
Adhan.
The existence and use of payca maAos in bantyn can be explained as follows:
Madya/mada .
: In the bhta yajyA ritual, intoxicating drinks like arak, tuak, and brym are used to pacify bhta kAlas .
egative spirit.
that cause imbalance in the macrocosm and microcosm or disrupt human life.
These drinks, along with plain water, are referred to as tabuh/tatabuhan and are sprinkled over the sygyh/caru/tavur.
Additionally, fermented rice .
or cassava is sometimes used as a medium in bantyns, such as bantyn catur, placed in the sanggar tavang or sanggar agung shrines during the dyva yajyA ritual.
MAAsa .
: In ritual practice, animals are used based on their habitat, which can be categorized into three groups.
The first group includes animals that live in water, such as those in both sea and freshwater environments.
The second group consists of animals that inhabit land, including both domestic pets and wild creatures found in plains and mountains.
The third group is made up of winged animals capable of flight, while those with wings but unable to fly are classified as land animals.
Various manuscripts, such as Dangdang Bungalan.
Dharma Kauripan.
Bhama Kutih.
Pyrymbon Bybantyn.
Eka Daua Rudra.
Sodosiwikarana.
Tygysing Sarwa Bantyn, and Tutur Tattwa Sang Hyang Ganitri, provide guidance on the use of these animals in rituals.
Matsya .
: The use of dry fish .
and various types of fish is common in rituals.
In making the bantyn catur for deva yajyA, nine types of fish are used: 1.
tynggiri, 2.
kakap, 3.
sudamala, 4.
gulama, 5.
, 6.
mall shrim.
, 7.
baning, and 8.
MudrA .
eeds/grains, hand gestur.
: The use of seeds in rituals varies according to the level or type of yajyA.
For a simple offering called soda, the mudrA elements include rice, beans, komak, coconut, pangi, tingkih .
, and others.
In preparing dakiNA pyjati, symbolizing the Lord and the world, a variety of grains are used, such as rice, tingkih, pangi, coconut, egg, and a Similarly, for the upakAra known as bantyn catur, various seeds are used, including jolyh, kykara, komak .
n different color.
, cylagi, waluh, inja lilit, maja kany, maja kyling, padma fruit, saga, phala, and others.
The wiku tapini understands JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 these objects and how to arrange them .
in preparing a bantyn.
In the Rary Angon manuscript, nine types of young coconut fruit .
are mentioned, which are used in the pydudusan ritual of dyva yajyA (Photo .
Maithuna .
exual intercours.
: In a bantyn, porosan silih-asih is used as a symbol of maithuna, composed of betel leaves, areca nuts, lime powder .
, and other elements.
These symbols represent the union of the male .
and female .
radhAn.
Although not literal, this is a symbolic representation, as seen in cakra pjA, and in the worship of oiva and oakti.
It should be noted that the presence of the symbols is also seen in the indigenous cultures of Indonesia.
Photo 3.
Klungah nyuh gading .
ellow young coconut frui.
used in pitu yajyA (Source: IBP Suamba, 2.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals 5 Akara The Tutur Aji Sarasvat manuscript discusses the origin of the sacred akara letters and its development into various letters both in the microcosm and macrocosm.
The use of akara is significant in rituals as well as in the human body from a mystical perspective.
Some parts of a bantyn / yantra are inscribed with these letters at specific points.
In the ritual of pitu yajyA, the use of akara can be seen in the pangavak/avak-avakan, a thin slate of wood drawn with a human body representing the dead, where sacred letters are inscribed in respective parts of the body.
The letters known as dauAkara, the ten sacred letters, are commonly used to represent different manifestations of Lord oiva.
The concept of dyvata nava sangha is symbolized with a letter at the respective position, for example, sa for the east, ba for the south, a for the north, for the central, etc.
The dauAkara consists of the payca akara and the payca brahma.
The payca akara of na-ma-ui-va-ya is common accross oaiva sects.
The forms of akara, especially the bjAkara, are used, sometimes with an unpronounced symbolized letter .
For proper pronunciation, there is a manual called krakah modry.
The form of modry is often like calligraphy.
Not only presented visually, akara is also chanted during the priestAos yoga.
Stephen .
4, pp.
worked on the topic of akara, especially dauAkara in their relation to yoga as perceived in Bali.
Her study was based on the textual traditions in Bali.
The author concludes that:
AuThe dauAkara are a phenomenon that not merely challenges but refutes such assumptions, being so deeply rooted in Balinese ritual life in practice, and in Balinese textual traditions, that is impossible for them to be recent importations.
Ironically.
Western scholars, and following them many Balinese intellectuals, have yet to realize that the dauAkara practices are indeed yoga that the old Balinese tutur texts are full of accounts of sasanga yogaAy.
What is interesting to note is that the practice of yoga in Balinese tradition involves the use of akara, in addition to various forms of ritual.
This unique approach combines ritual, yoga, knowledge, and akara, setting it apart from other practices.
However, the author views this through the lens of Tantra.
Hornbacher .
6, p.
studied the role of akara and its effectiveness when inscribed on different media within Balinese rituals (Photo .
She suggested AuDespite this marginalization, akara are widely regarded as indispensable ritual elements, a topic on which reform Hinduism has had little to say.
Thus, in speculative and ritual use, akara cannot be replaced by any other script system, because their visual shape is JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 more important than their phonetic value.
Put another way, akara might be replaced by Roman letters if their exclusive purpose were the representation of speechAy.
The shapes of sound manifestation are categorized into three types: akara vryhastra, svalalita, and modry.
Modry, with its calligraphy-like form, cannot be replaced by Roman scripts.
Its design evokes purity, sacredness, and mystic The use of modry in rituals is integral.
an akara in the form of modry cannot generate power without undergoing a purification process, which involves its use in bantyn and the chanting of mantra.
Photo 4.
Akara ang .
and akara au .
representing akara rva bhinyda scribed in payuk pengyntas and in racadana trtha pangyntas in cremation .
(Source: Lontar collection of Grya Akah Klungkun.
6 The Importance of Body Self-transformation in the journey of the soul can only occur in the human body, which must be kept healthy and fit for this purpose.
This process is not simple, as it involves a battle between righteousness .
and unrighteousness .
Stephenson .
3, p.
notes that in Kashmir Shaivism, the body and senses play crucial roles.
Unlike some Yogic traditions that disparage and discipline the body.
Kashmir Shaivism emphasizes cultivating and utilizing the JURNAL KAJIAN BALI Vol.
No.
April 2025 Pp.
423Ai442 Tantric Elements in Balinese Hindu Rituals body and senses in advanced meditation and ritual.
One should strive for the victory of dharma, as it leads to safety and eternal happiness.
Tantra sAdhana encourages seekers to look inward to discover the essence of life.
Thus, the human body and its organs must be understood and meditated upon to embody In this practice, akara is vital for the ascension of life.
A specific inner organ, along with the bjAkara of a deity, becomes the abode of the divine.
The process of expanding akara from ykAkara .
raNava omkAr.
to higher levels, including as dauAkara, and then contracting it back to ykAkara, happens within the human body.
According to the Tutur Kunti Sraya Putus manuscript, various deities with their associated akara reside in specific organs, such as uvara (San.
in the heart.
Brahma (Ban.
in the liver.
MahAdyva (Tan.
in the spleen, and so on.
These akaras also have external representations at various temples, such as uvara at Lympuyang temple in the east, and Brahma at Andakasa temple in the south, among others.
The human body is viewed as a complex laboratory for experimenting or researching to uncover the truth of reality.
This perspective holds that the entire world, both the macrocosm and microcosm, is nothing but sacred letters .
, a manifestation of divine sound .
Ada/nAda brahma.
These concepts are reflected in Balinese rituals, each with its own modes of manifestation.
Conclusion The Balinese Hindu religion is based on three interconnected principles:
tri kyrangka Agama or tri yoga, which include metaphysics .
, ethics .
, and ritual .
pacAr.
These principles aim to unite .
the self with the Supreme Self.
The rituals of Balinese Hinduism combine Vedic and non-Vedic elements, particularly Tantric traditions.
They include aspects like maNsala, yantra .
n banty.
, payca makAras, akara, mantra, and the human body, all of which form a spiritual discipline .
AdhanA) aimed at acquiring siddhi.
Rituals in Balinese Hinduism can vary in scaleAismall .
, medium .
, or large .
Aidepending on the ability and sincerity of the practitioners.
They incorporate elements of payca mahA bhta, which are reflected in local culture, giving these rituals a distinctive and strong Tantric influence.
Knowledge and ritual in Balinese tradition are inseparable, akin to a bird needing both wings to fly.
Rituals are extensions of knowledge .
yAn.
found in tutur/tattva texts.
While TantrayAna, particularly its maithuna aspect, is not openly embraced, symbolic adaptations are used.
Tantrism subtly influences rituals, despite some terminologies being unfamiliar to the general public.
JURNAL KAJIAN BALI Vol.
No.
April 2025 Ida Bagus Putu Suamba Pp.
423Ai442 Acknowledgements This is revised version of the conference paper AuElements of Tantrism in the Balinese RitualsAy presented in the Tantric Text Practices as Intersection:
Between Magical Knowledge and Self-Liberation, 28th-29th October 2022 held in CATS Heidelberg University.
Germany.
I would like to extend my gratitude to Prof Annette Hornbacher for inviting me and giving me the opportunity to present my paper on the Conference of Tantrism held on 28th-29th October 2022 in the CATS of Heidelberg University.
Germany.
The same is also to priests, viku tapini, sarati bantyn, pymangku, and scholars who have helped me providing information during collecting the data.
Without their helps this paper would not be in its present form.
Bibliography