Located in the village of Pura Beji Sangsit, Sawan district, Buleleng. The distance from the town of Singaraja ± 8 km to the east through a good road, then turn left, through the coastal road is also good. If we look at and examine, name or designation Pura Beji Sangsit located in the village, the, function to and serves as Swagina Temple, the which Became Sungsungan, Emponan, as well as Amongan Krama Subak, the which is the Responsible ranging from doing Yadnya called Aci Nyabran (in the daily offerings) until that is larger Yadnya, Including those responsible for maintaining the physical temple building.
Mention the name of pretending that starts with the name of the mountain, rock, Hatur, Yeh, Lake, Beji, in general, is a pretended Swagina. Subak manners associated with irrigation (pangulun subak), the heaven of Vishnu or the Goddess Sri, the Goddess Lakshmi, Goddess Dhanuh powerful god Vishnu. so did Pura Alasangker, Pula is also a Alasarum temples Pangulun Subak, heaven or Dewi Sri Vishnu, Goddess Lakshmi, Vishnu Shakti, but special and Pura Alasangker and Alasarum, is a Pura Subak Pengulunin Krama jnirlak processing of agricultural land (moor), the which is more popular in the era now called subak Abian.
Just as Pura Segara, who is also a parhyangan god Vishnu, but the special is a place of worship of Lord Vishnu for Bendega Krama, or fishermen and those who make a living at sea in general. Pura Beji environment is that once listened to a unique look in the north, east and south it is bounded by Pura Beji moor land and gardens of the population, especially those in the south of the temple. On the western side bounded by the road towards the sea.
Road to the site of the temple is a good way and can be reached by car and other motor vehicles. This temple is limited by the environment as such in the four cardinal directions, so consequently the figure of Pura Beji a beautiful panorama and was dominant in the middle of a verdant moor, and under the shade of a tree- garden plants (dry land), so as to create harmony an exciting spiritual panorama to be enjoyed. On the history, Prakempa, or the origin of Pura Beji, the which is located and serves as a temple Swagina, Banqueting Subak and Subak Abian (moor), based on the results of studies and research and inventory of the temple / historic sites in the framework of the Bali tourism rerouting, the dig / coaching Cultural Arts Classical / Traditional year 1981/1982, still has not explained properly. Similarly, based on the results of the study and research the history of temples in Bali, the which is Implemented by a team of Researchers Hindu Dharma Institute (IHD) Denpasar, also has not been established, the origin, prakempa, Pura Beji history, in Sangsit the village that, when built and who built it.
Such Difficulties can occur d ilam framework of study and research the history of temples in Bali, Because of the lack or hardly any at all historical data obtained in pretending to be the object of study and research by Various groups of researchers, in accordance with vision, mission and goals of each. In the study and research in the field pretending to be the object of study and research by some group of Researchers, it is rare found an authentic historical data, such as Lingga Prasasti, ripta prasasti and temra prasasti, authentic data or other historical relics in particular areas, as a study and analysis to determine the rich, when the temple was built. Although there may be found artepak which has a value of authentic data on the environmental history of the temple is made an object of study and research, but many researchers are still in doubt, whether artepak which can be found, it really derived from the temple site in question. Finally, in the study and research the history, origins, Pura Prakempaning Sangsit Beji village, experts use the results of interviews with Stakeholders of Pura Beji, Sangsit Village Elders, who traditionally receive information legacies origins, rituals that should be implemented in Pura Beji, from his ancestors. From the results of these interviews can be expected that the Pura Beji Sangsit built around the 15th century AD, after the Majapahit era. Based on the information that gathered, this temple has many times experienced the renovation and expansion, since long ago. Studies through ornaments, arcanam and citraleka, in the form of relief, and the area’s paintings, especially the various forms and types pepatran, Kekarangan Bentar engraved on the temple and the bun Kuri, Kambang turtles, and pecan row of buildings in the village of Pelinggih Beji Temple, the very difficult it is determined in the year when the temple was actually built the Pura Beji. This difficulty arises, when we study the physical structure of the building through the temples in the eastern Buleleng, with the concept, elements, and structure ornaments, including statues which has its own peculiarities, and even can be said to form the identity of the physical building pretending to ornament an elaborate, further highlight the areas in the form pamurtian, so it is unique. So with only a cursory look, for those who have insight and knowledge of specific and unique physical building pretended, with ornaments, statues and images Buleleng areas (especially in Singaraja city and surrounding areas) and in the East Buleleng, will soon find out, that the figure of the building as it is typical Buleleng.
Elements and structure of the mandala in the village of Pura Beji Sangsit, divided into three mandala. At the time of the Hindu society will perform the ceremony, prayers and Pemuspan to Pura Beji, from abject mandala (jaba side) into the middle mandala is going through a building or temple Apit Surang Bentar and if you enter from the middle to the main mandala mandala will go through Kuri gelung/bun or Kuri agung.
Before you put unique and distinct ornament, and may Citraleka Arcanam that adorn buildings or temples in the sub district Buleleng in general and in the temple row pecan pelinggih Beji in particular, will be presented first row elements and structure Pelingih kamiri Pelingih of abject mandala, mandala middle, until the main mandala.
Once inside of a public road to the ignominious mandala (jaba side), on the left and right in front of the wedge, there are two Pelinggih Bebaturan surang Alit, which according to the local language is called Pelinggih Panyapa, and in Ritra Prasasti (lontar) is sometimes referred Pelinggih Lawang Apit , or after the concept of teaching Arcanam, Citraleka, Dewagharha and Nyasa, for the Undagi Maranggi and Sangging Meranggi in Bali is more basic pelinggih bebaturan enclose the mace is usually replaced with dwaraphak area (entrance guard), tangible Nawasari Bhuta. The weapon is in the form of interest stilais, Nyasa, chastity, as the guardian of the entrance to heaven. Bhuta Area Nawasari also lied on both sides of the wedge Surang, as Pelinggih Penyapa, Pelinggih Bebaturan or wedge Pelinggih mace, but the location is such that the distance is governed by Undagi Maranggi building at Surang enclose it so that in addition to visually look harmonious, harmonious and balanced , but also should not forget the rules Astabhumi guidance, the provisions of the rules of the distance between one building to another which does not use a metric rule, but the size of life, drawn from Maranggi Undagi body size (such as fathoms, palm, nyari, Guli, and so on. After entering through the wedge surang, she arrived in mid-mandala (jaba center), will be found buildings that function is more secular, among others (1) hall paebatan, to process meat, side dish Upakara, (2) Perantenan holy (sacred kitchen ), specifically for the cook-eteh eteh upakara (offerings), (3) wells, (4) Parantenan (kitchen for cooking purposes more secular), (5) Central congregation Beji Krama Subak, (6) and (7) wedge gate (Panyapa), (8) two-figure area, the area in front of the bight curricular Dwarapala (temple brackets), the entrance of the mid-mandala (jaba the middle) to the main theater (viscera). Subsequent entry of a bun so kori and arrived at the main mandala (offal), on either side of the front of the main areas of this mandala, the left and right, are located (1) Pelinggih Babanturan, (2) Gedong Pesimpangan (not yet clear, Pasimpangan temple where , or the gods and goddesses who?), (3) two or Pengaruman Piasan buildings, (4) holy well, specifically to take holy water ceremony, nrtha (kekuluh), (5) hall gong, gong beating place at a ceremony at Pura Beji .
Then the parallelogram Kamiri Palinggih, in the main mandala at the far east, respectively (6) Pelinggih Bebaturan, Sthana Dewa Gede Ngurah Penyarikan. (7) Gedong Palinggih Ratu Ayu, (8) Gedong Palinggih Dewa Ayu, (9) Dewa Gede Ngurah Pasimpangan Palinggih Braban, (10) Gedong rangkalih, Sthana Dewa Ayu Kembar, (11) Gedong simpen, (12) Palinggih Dewa Ayu Manik Galih, (13) Gedong sari, (14) Gedong sari, (15) Palinggih Pasimpangan of Lord Surya, (16) Palinggih Dewa Ayu Mempeg Manik, (17) Gedong, Sthana Dewa Ayu, (18) Parhyangan Lebah. (19) Pura Palinggih Maraga and (20) Palinggih (Sthana Ida in the temple of Lord Pangastulan). If you listened to and studied, Abiseka (name) god and goddess in the parallelogram Kamiri Sthana pelinggih building at the far east is the main mandala, more use of domestic language, such as Ratu Ayu, Ayu Dewa, Dewa Gede Ngurah Braban, Dewa Ayu Kembar, Dewa Ayu Galih Manik, Manik Mempeg Dewa Ayu that requires study and a deeper analysis, in order to become more clear, Prabhawa or the Palace of the Gods, Gods and Goddess in each Palinggih Kamiri Sthana in the primary building, located on the main mandala (offal), Beji temple, Lord Vishnu or Istri sakti Parhyangan, the Dewi Sri. Studies and analyzes in the study and advanced research to get the goals that these aspects can be expected through Upakara, Puja, Mantra, Stwaiviku (Sulinggih) leader and Pemuput ceremony. Or can be examine and analyze, Samaro Mangku (jan Bangui) in the temple of Lord Ida Beji.
Parallelogram Palinggih Kamiri all buildings in the eastern part of the main temple mandala Magunung Beji is flat, so in addition to teaching in harmony with the concept of a vertical Tri Mandala, as well as the Tri Angga figure of the temple. Also because the mountain is flat, making the visualization of all parallelogram kamiri palinggih in the easternmost part of this major mandala, a very harmonious.
Harmony, beauty and the sacred Pura Beji become more whole in addition to dry land is located in an environment that is sustainable, can not be separated from the figure of tri mandala physical building, ornament, arcanam, citralekha, Nyasa, maranggi undagi work, and sangging maranggi northern Bali, the has a specific and unique characteristics (typical Balinese art and the art of northern Bali arts). For example, if you listened to the concept, elements of form and structure of the temple Pura Beji moment, a cursory look thin, even somewhat goleng (Balinese). But because the simbar, both simbar squat and hang on every roof-shaped thin / rab surang wedge, as well as the dore and ikul; teledu rab lelangen surang too thin wedge, all of them eventually become attuned, harmonious and well balanced. Similarly, its ornaments pengawak not use enclose surang pidpid punggel patra, or china and patra patra pidpid Walanda. But the agency was given a carved wedge surang papatran free, although the concept using Walanda patra. And body (obedient papalihan) full of ornaments carved, giving the impression of elaborate (detailed) and tends to luxury. Shape and texture of the body coil curricular or body ornaments of the temple entrance of the middle brackets to the main mandala mandala ornament seems like a wedge surang (temple briefly) that has been presented. Even been combined with propyl-propyl and pamurtian figure, carved in the form of tri dimensions (three dimensions), the same as the undagi maranggi Bali, sculpt various propyl sculpture in general. While the ornament in the form of various papatran as noted, used a variety of backgrounds and propyl Pamurtian figure carved brackets in the body temple (temple briefly) it. But even so, because the elements and structure of the ornament and the figure of propyl Pamurtian, Danuja, Plawaga, warriors, gods and goddesses are carved rather thin, Goleng, all became aub (Balinese), to be whole, mutually reinforcing, which in turn has its own charisma , the typical work of art and Sangging Marangging Undagi Maranggi Buleleng district or north Bali in particular, which could not be found in the region of South Bali (Bali plains) in general.