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Tasawuf Dalam KesusasteAn Indonesia Dan Azerbaijan: Soal-Soal Tipologi

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Tasawuf Dalam KesusasteAn Indonesia Dan Azerbaijan: Soal-Soal Tipologi Hubungan Habib Zarbaliyev doktor ilmu bahasa, profesor; Zaman Askerli doktor ilmu bahasa, profesor TASAWUF DALAM KESUSASTEAN INDONESIA DAN AZERBAIJAN: SOAL-SOAL TIPOLOGI asawuf yang tersebar di seluruh dunia Muslimin mandang Cinta sebagai dasar terciptanya seluruh alam sebagai ajaran sastra, filsafat, keagamaan-ideo- semesta hingga melahirkan syairnya yang berjudul Tlogis memiliki sifat-sifat khas yang disesuaikan “Khosrow dan Syirin”: dengan kondisi sosial-politik dan spiritual-keagamaan di setiap negeri dan setiap masyarakat Muslim, tetapi Eşqdir mehrabı uca göylərin, semua sifat sufisme ini terikat pada kesamaan tipologis Eşqsiz, ey dünya, nədir dəyərin?! tertentu. Sebagai contoh kekhususan dari kesamaan- Eşqin qulu ol ki, doğru yol budur, kesamaan tersebut adalah pertapaan, pandang bahwa Ariflər yanında, bil, eşq uludur. alam sebagai material yang fana, pembersihan jiwa, Bu dünya eşqdir, qalan fırıldaq, pembersihan dan penyempurnaan moral-rohani, ke- Eşqdən başqa şey – boş bir oyuncaq. mutlakan ditempuh demi mencapainya tingkat-tingkat Eşqsiz bu dünya soyuq məzardır, yang tertentu dalam mendekatkan diri kepada Allah. Ancaq eşq evində rahatlıq vardır. Tetapi konsepsi ajaran sufisme dan golongan-golongan Göylər yaransaydı eşqdən azad, kebathinan itu sendiri adalah pengenalan, kedekatan, Düşün, olardımı Yer üzü azad?! [Nizami 2004, 50] dan berujung pada tingkat kepasrahan diri kepada Allah. Beragam cara untuk mengenal dan mendekat Penyair Azerbaijan, Syah Ismail Khatai, memandang kepada Allah ini justru yang membedakan antara go- Cinta sebagai cara peninggian rohani. Dalam salah satu longan sufi yang satu dengan yang lain. Salah satu dari puisinya, Cinta digambarkan sebagai simbol langsung beragam cara tersebut – yang merupakan cara utama manifestasi kepada Allah. Protagonis liriknya mengang- – adalah cinta ketuhanan, cinta kepada Robb-Nya. Baik gap bahwa Cinta adalah sifat terbaik yang ada dalam dalam karya-karya Hamzah Fansuri maupun penyair- diri manusia. Insan yang tidak mengenal Cinta, tentu penyair klasik Azerbaijan, Cinta merupakan sesuatu hal tidak mengenal Allah. Cinta adalah ukuran dasar dalam yang selalu diagungkan. Bahkan Nizami Ganjawi me- kebersihan bathin, yang membawa insan terbang jauh 34 www.irs-az.com 2, MUSIM DINGIN 2014 Nizami Ganjawi lebih dekat menuju kepada Allah. Insan yang tidak mengenal rasa ini tidak mengenal Allah pula: Məhəbbət dediyin xaslar xasıdır, Məhəbbət olmayan haqqın nəsidir? Dost Xətainin bu haq nəfəsidir, Məhəbbətdən keçən haqdan da keçər [Xətai 1976]. Tetapi Cinta yang digambarkan dalam puisi para penyair Azerbaijan zaman pertengahan (Nizami, Fuzuli, Kisywari, Habibi, dll.) bertentangan dengan syair- syairnya. Protagonis lirik dalam karya-karyanya yaitu Asyik, di satu sisi adalah seorang Sufi – musafir Cinta yang mencari kebahagiaan melalui pendekatan kepa- da Allah dalam wahdatnya. Istilah habib, kekasih, ma- syuk, ia (Asyik) yang dimaksudkan adalah Allah. Alih-alih ukuran pencapaiannya adalah hal-hal yang bersifat du- niawi, ia memandang lebih kepada jalan Cinta kepada Allah sebagai jalan utama. Namun di sisi lain ia adalah pemuda tulus ikhlas yang mencari kebahagiaan di ke- hidupan nyata, dalam cinta kepada insan manusia. Ciri utama yang membedakan Asyik sebagai pro- tagonis lirik dengan watak-watak lain, khususnya de- ngan zahid, adalah pengenalan Allah dan pendekatan kepada-Nya. Bagi Asyik, cara ini dilakukan melalui pem- Yang Mengetahui, Pengetahuan dan Yang Diketahui bersihan bathin, peninggian rohani, dan pemahaman – ketiga sifat ini mencapai kesatuan (wahdat) muncul marifat, sedangkan zahid (zuhud) menitikberatkan ke- di laut: setiaan kepada Allah dalam ibadah. Oleh karena itu, mereka selalu bertentangan dan tidak mengakui satu Ma‘lum dan ‘ilm di dalam ‘alim, sama lainnya. ketiganya wahid di laut lazim. Karakter dalam karya-karya para penyair Sufi pun Lagi ia hikmat lagi ia hakim, berbeda-beda. Dalam karya-karya Hamzah Fansuri, laut lagi ia maqsum lagi ia qasim. dideskripsikan dengan rasa medalam (baca= penuh birahi). Menurut Hamzah Fansuri, lautlah tercipta mula- Seluruh alam semesta tercipta di laut. Keindahan mula: dan Keagungan berkuasa di laut, menyelami, janganlah menyengkiri, bertahanlah sewajarnya. Cintailah ombak- Bahr al’ulya yang sedia lama, ombak yang membadai, takluklah kepadanya! Kan Nabi ialah asal mula pertama. Muhammad menasihati umatnya: tunduklah kamu – Sifatnya tujuh bersama-sama, wahai abdi Allah kepada-Nya: itulah sang Wahid yang banyak nama. ‘Ilmu nin masyhur seperti guruh, Pertama-tama Hidup dan Pengetahuan, Kemauan jangan kau gentar takutkan terbunuh, dan Kekuatan, lalu Tutur, Penglihatan dan Pendengaran nafikan rupa sekalian tubuh, – tujuh sifat kekal ini semuanya muncul di laut: sebabnya dapat menjadi suluh. Hayyun dan ilmu awwalnya Zahir, Sungguhpun sekalian di sana jadi, Iradat dan Qudrat sifat Al-Qadir, pada ombak qahhar jangan kau radi. lagipun serta kalam yang Zahir, Sabda Muhammad pada sekalian kami, Sam‘ dan Basar ketujuhnya hadir. ba-ruy-i kwaja bi-kun kar-i ghulami. www.irs-az.com 35 Hubungan Imadaddin Nasimi Sesuai dengan Sufisme Sumatra, jalan menuju Al- Laut Silan wahid alkahhar, lah melalui pendekatan objek laut. Jalan ini sangat sulit, riaknya rencam ombaknya besar, penuh azab dan sengsara, bahkan menakutkan. Tetapi anginnya songsongan membelok sengkar ombak-ombak yang membadai ini, tidak harus mena- perbaiki kemudi jangan berkisar. kutkan ahli Sufi yang berikhtiar untuk mendekatkan diri kepada Allah. Untuk mencapai tujuan ini diperlukan Itulah laut yang maha indah, kesabaran, ketabahan hati, kepandaian menahan hawa ke sanalah kita semuanya berpindah, nafsu, dan keberanian. Apabila kamu takut diserang om- hasilkan bekal kayu dan juadah bak, jangan pikir untuk mendarat. Jangan sesat dalam selamatlah engkau sempurna musyahadah. perasaan khayali, jangan takut akan ombak-ombak yang membadai, berteriaklah: “Aku – Hakiki”. Demikian Ingati sungguh siang dan malam, ombak dapat menjadi laut, kata Hamzah Fansuri (Band- lautnya deras bertambah dalam, ingkan dengan kata-kata penyair Azerbaijan Imadaddin angin keras, ombaknya rencam, Nasimi [abad XIV]: Mənəm haqq [Ana-l-haqq] “Akulah ingatlah perahu jangan tenggelam. yang hakiki”): Jikalau engkau ingatlah sungguh, Di laut ‘ulya yogya berhanyut, angin yang keras menjadi teduh, dengan hidup suwari jangan berkalut. tambahan selalu tetap yang cabuh, Katakan ‘Ana’l-Haqq jangan kau takut, Selamat engkau ke pulau itu berlabuh. itulah ombak menjadi laut. Istilah untuk azab dan sengsara, untuk tidak menge- Watak laut khususnya tergambar dalam “Syair Pera- nal ketakutan, mengatasi segala halangan demi bersatu hu” Hamzah Fansuri: dengan Allah – semua motif tersebut terdapat dalam puisi Sufi Azerbaijan. Tetapi dalam tasawuf Azerbaijan Laut Silan terlalu dalam, tidak ada watak laut, sebagai gantinya terdapat ung- di sanalah perahu rusak dan karam, kapan “bahrul-asrar”. Tetapi “bahrul-asrar” (“laut rahasia”) sungguhpun banyak di sana penyelam, ini tidak sama dengan watak laut yang digambarkan larang mendapat permata nilam. dalam puisi Hamzah Fansuri. Dalam puisi Azerbaijan 36 www.irs-az.com 2, MUSIM DINGIN 2014 Mahammad Fuzuli tersebut, ungkapan “bahrul-asrar” yang dimaksudkan adalah cara-cara dan sifat-sifat yang diperlukan untuk mengenal Allah, dan usaha para ahli Sufi untuk men- capai tujuan ketuhanannya adalah dengan menguasai sifat-sifat ini. Kaum Sufi Azerbaijan menemukan jalan- jalan untuk mengenal Allah seperti mempelajari syariat, memilih tarikat, menguasai marifat dan mendekatkan diri dengan Allah. Jalan pembersihan dan penyem- purnaan para ahli Sufi pada intinya melalui meykhane, kharabat (tempat minum syurbat). Dalam masnawi “Dahname” Syah Ismail Khatai (masnawi –sejenis sajak dalam kesusasteraan Timur Tengah; bersajak berpa- sangan) menggambarkan sebuah tempat istimewa yang bernama “taman para peri”. Dalam perjalanannya menuju Allah, Asyik terpaksa melalui taman ini. Sebagaimana diketahui, dalam inti tasawuf terkan- dung ide mistik – meninggalkan dunia yang fana dan pulang ke alam baqa. Fana dan baqa dalam tasawuf di- pandang sebagai tingkatan tertinggi dalam penyempur- naan rohani. Kaum Sufi menafikan segala hal yang bersi- fat duniawi dan menahan hawa nafsu. Baqa adalah jalan terciptanya rohani yang bersih, murni, luhur, pember- sihan dari segala yang duniawi, pemusnahan nafsu, dan lebih pendekatan diri dengan Allah. Menurut ajaran Sufi, jika seseorang sudah benar-benar merindukan Tuhan, Ey könül, yarı istə, candan keç, maka kefanaannya akan tenggelam dalam kebaqaan Səri-kuyin gözət, cəhandan keç! Tuhan [Quluzadə 1965, 238]. Ide ini terdapat dalam puisi Mülki təcriddir fərağət evi, Fuzuli, antara lain dalam puisi “Keç” yang dari awal sampai Tərki-mal eylə, xanimandan keç! akhir menggambarkan pandangan mistiknya: Laməkan seyrinin əzimətin et, Bu xarab olacaq məkandan keç! Hamzah Fansuri Etibar etmə mülki dünyayə, Etibari-ülüvvi-çandan keç! Əhli dünyanın olmaz axirəti, Gəz bunu istər isən, ondan keç! Məskənin bəzmgahi-vəhdətdir, Ey Füzuli, bu xakdandan keç! [Füzuli 2005, 87] Mistisisme adalah inti utama dalam pemikiran artistik-filosofis masyarakat Muslim. Hal tersebut juga merupakan kekhasan bagi puisi para penyair di Su- matra, termasuk pula Hamzah Fansuri. Berdasarkan pe- mikiran M.F.Kopruluzade, Vladimir Braginski menjelas- kan sebab-sebabnya dengan pemahamam tradisional rakyat Melayu, khususnya dengan pandangan yang berasal dari ilmu sihir (ilmu kecenayangan). Pada pendapatnya, tujuan jalan ahli Sufi – fana – bisa juga dipahami melalui prisma keadaan cenayang, yaitu keadaan lupa. Masuk dalam keadaan lupa
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