SCULPTURESPLAN
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The sculptures of
Tirtagangga represent the following Balinese Hinduism concepts:
This concept divides the
cosmos into Bhur, Bwah and Swah. Swah is the upper world
of Gods, Bwah is the middle world of men and Bhur is the lower world
of demons. Similarly, sculptures of the divine world, such as the many Hindu
Gods (each represents an aspect of the only God Sang Hyang Widhi Wasa)
will be placed in the higher northern part of the gardens. The middle part will
be mainly occupied by sculptures of men and other objects of daily life.
Sculptures of demons, leyaks and other lower world creatures will
decorate the lower southern part of the gardens.
The transition
between these worlds is expressed by the 8 sculptures at the meditation centre
in the north-west corner of the garden.
Arising from the water of
the middle-east pond, the struggle of men between Gods and demons is symbolised
by 20 sculptures of Mahabharata figures.
The tension between Gods
and demons, between good and bad, is also represented by the sculptures of Barong
and Rangda at each end of the middle footpath.
Along the whole footpath
around the gardens sculptures will be placed to emphasise the differences between
these worlds. Lamps may be combined with these sculptures to light the path
according to the lighting plan.
Eight sculptures around
the fountain tower in the middle of the gardens represent Nawa Sanga or Sanga
Mandala concept of cosmological orientation, a manifestation of the never
ending quest for order and harmony. Nawa Sanga delineates eight cardinal
directions around the centre point ofSiwa, often represented as a
phallus like the fountain tower it self. As shown below, the directions are
dominated by mountain-sea axis and sunrise-sunset axis, symbolised by specific
colours and deities according to Balinese mythology.
|
Direction |
Colour |
Deity |
|
Centre (puseh) |
Multi colour |
Siwa |
|
North (kaja) |
Black |
Wisnu |
|
Northeast (kaja-kangin) |
Blue |
Sambu |
|
East (kangin) |
White |
Iswara |
|
Southeast (kelod-kangin) |
Violet |
Mahasora |
|
South (kelod) |
Red |
Brahma |
|
South west (kelod-kauh) |
Orange |
Rudra |
|
West (kauh) |
Yellow |
Mahadewa |
|
Northwest (kaja-kauh) |
Green |
Sangkara |
The physical
transformation of Nawa Sanga as one of the principles of Balinese
architectural design can be best exemplified in the spatial arrangement of a typical
Balinese housing compound. The traditional house is divided into nine areas,
whereby the Sanggah Kemulan or Pamerajan as the most sacred is
located in north(kaja)-mountain direction, aling-aling or the
entrance gate, as a dirtiest and the most public, is located in south(kelod)
-sea direction; and bale-bale or the working and sleeping places occupy
the centre area surrounding Natah or Natar.
In Bali, the most sacred
area is always placed in the direction of the holy mountain (mount Agung)
in the north, while the most public located seaward at the south. Such being
the case, there are many variations due to different geographical conditions,
particularly concerning the location of mount Agung as a point of
reference. Towns and villages in southern part of the island will have the
reverse orientation as compared to those in the northern part of Bali.
Furthermore, mount Agung is not the sole point of reference in creating Nawa
Sanga ideal orientation. In some mountainous villages for example, the
directions are not oriented towards mount Agung but the nearest mountain
which is clearly visible.
Below are the names of the
Pandawa and Kurawa figures, which arise from the water of the
middle-east pond to symbolise the struggle of men between Gods and demons.
|
Kunti |
Gatot-kaca |
Krisna |
Abi-manyu |
Srikandi |
|
X |
X |
X |
X |
X |
|
Nakula |
Bima |
Yudistira |
Arjuna |
Sudewa |
|
X |
X |
X |
X |
X |
|
|
|
[] |
|
|
|
X |
X |
X |
X |
X |
|
Citrayuda |
Dursasana |
Duryudana |
Citrawangsa |
Citragada |
|
X |
X |
X |
X |
X |
|
Bisma |
Karna |
Sangkuni |
Dorna |
Widura |
A path way between the
statues allows visitors to walk on the water, crossing the middle-east pond
while observing the Pandawa and Kurawa figures.
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Below are examples of
the 8 sculptures around the meditation centre which symbolise the transition
of men between God and evil. |
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