2 PHILOSOPHICAL, ETHICAL, AND AESTHETIC: Values in Shadow Puppet Theatre () Performance

Soetarno Dwijonagoro

Abstrak Pertunjukan wayang sering dipandang sebagai bahasa simbol kehidupan yang lebih spiritual dar- ipada yang tampak di alam. Konsepsi implisit dalam pawayangan meliputi sikap atau pandangan tentang esensi kehidupan, asal dan tujuan hidup, hubungan antara manusia dengan Tuhan, hubun- gan antara satu orang dan yang lain, dan hubungan antara manusia dan alam . Sebuah studi tentang nilai-nilai filosofis yang terkandung dalam pagelaran wayang dapat dilakukan dengan menggunakan berbagai aspek yang berbeda yaitu: Aspek Metafisik, aspek etis, aspek epistemologis, dan misti- sisme. Aspek metafisik mengambil sebagai titik awal keberadaan manusia dan alam sebagai entitas nyata yang dapat ditangkap oleh panca indera. Aspek etika mencoba untuk memahami mengapa kita ha- rus mengikuti prinsip-prinsip moral tertentu, atau bagaimana kita harus mengambil sikap yang ber- tanggung jawab terhadap berbagai prinsip-prinsip moral. Aspek epistemologis, menghadapi banyak pengetahuan yang perlu diuji, dengan harapan bahwa jika kita menemukan kebenaran dari suatu pengetahuan yang akan meningkatkan derajat kepastian dan akhirnya tingkat keyakinan kebenaran. Total pemahaman Spiritual Mistisisme adalah suatu kedekatan dan penuh emosi dalam keberadaan realitas mutlak yang penuh rahasia. Sehingga pertunjukan wayang kulit adalah suatu pertunjukan yang lebih dari sekedar sebuah pertunjukan, melainkan memberi makna bagi kehidupan masyarakat

Kata Kunci : metafisik, etis, epistemologis, spiritual mistisisme.

Background tions. Furthermore, a wayang kulit performance is more than just a show; it gives meaning to The Indonesian community, and espe- people’s lives. cially those communities to which the shadow puppet (wayang) belongs, know and Hence, at every performance of wayang understand shadow puppet theatre. To some kulit, people usually discuss the meaning of the wayang proponents and cultural observers, to story and the events contained within the story. understand wayang means to know their own The guidance or advice contained in the story lives. The stories presented in wayang perfor- can lead to a deeper understanding so that the mances are a reflection of their own lives. It is contents of the story can easily be detached not uncommon for them to identify with par- from the form of a wayang performance and ticular wayang figures and to use the characters become a topic for discussion or research. In of these figures as an example for their own ac- other words, wayang figures and the events por-

11 trayed in a wayang performance can be under- and the wayang is the symbol of God. Second, stood symbolically. the visual signs, that is the kinds of signs and Wayang performances are often viewed symbols that are not associated with mystical or as the language of symbols of a life that is more supernatural and metaphysical beliefs. spiritual than physical in nature. Therefore, The wayang community is inspired by to proponents of wayang or members of the the story presented in a wayang performance, wayang community, a wayang performance con- and analogizes it with human character and be- tains conceptions that are used as a guideline for haviour as we strive to reach our material and the attitudes and actions of a particular com- spiritual goals. The understanding of this anal- munity. The conceptions implicit in a wayang ogy is not simply by thought or reason but by performance include attitudes or views about using all the creativity, feelings, and desires (cip- the essence of life, the origin and purpose of ta-rasa-karsa) of a person, depending on his or life, the relationship between man and God, the her level of maturity (Ciptoprawiro, 1986:31). relationship between one man and another, and The and total comprehen- the relationship between man and nature. sion needed by man to attain true unity (ngudi For this reason, a wayang performance kasampurnaan) is not explained directly through is a source of values if it conveys an artistic or words but rather is embodied in analogies aesthetical content or message. The values con- through the works of literature that are usually tained in a wayang kulit performance are the es- used as the source of wayang kulit stories. One sential values of human life, in the hope that of the most popular wayang stories is the story these values can be absorbed and put into prac- of Bimasuci or Dewaruci. This story was writ- tice by the audience in their own lives, as mem- ten by a literary scholar from the pal- bers of the community and citizens of the state. ace by the name of Yasadipura I, and it tells the A study about the philosophical val- story of Bima’s search for the water of life (tirta ues contained in a wayang performance can be pawitra) under the guidance of Durna. Bima is carried out using various different approaches, ordered to travel to Candramuka mountain but such as: by using a language of symbolism, by when he arrives there, he encounters two ogres, using an analytic-holistic method, by investigat- Rukmuka and Rukmakala. A battle ensues and ing all the ways leading to kasunyatan (), Bima fails to find what he is looking for. He re- namely , , , and . turns to Durna who orders him to go to the middle of the South Sea. In addition, a study about philosophy can be carried out using a psycho-analytical ap- After entering the sea, Bima is attacked proach, or by carrying out a morphological anal- by a huge dragon. He final meets Dewaruci, the ysis, based on shape or form, according to literal highest god of all. In this place, Bima has a num- imagery, so that it can be associated with a broad ber of different and sees pancama- range of uses in a variety of cultural fields. The ya (five shadows), caturwarna (four colours), study of other symbolic meanings is carried hastawara (eight colours), and pramana, or an out according to the archetype which originates ivory doll. This story describes the process of from the subconscious. The analysis of signs in awakening of the five senses by controlling the a wayang kulit performance can be divided into desires of the flesh to achieve self awareness, two parts: first, the non-visual signs, that is the and finally to attain divine enlightenment. For signs contained in symbolism, one of which is this reason, the story of Bimasuci can be said an allegory or aphorism. to be a philosophical mystical contemplation and the essence of Javanese , which For example, the wayang screen symbolizes the is portrayed through this story as an explana- world, the lamp is a symbol of the light of life,

12 Jurnal Budaya , Vol.1 No.1, (Juni 2014): 11- 30 tion of mystical wisdom, to achieve the ultimate The understanding of this analogy is goal of manunggaling kawula Gusti (the unity not carried out simply through logical thought of man and God). or reasoning but rather with the entire cipta-ra- The story of Bimasuci by Yasadipura sa-karsa of a person, depending on the level of I is used as the source for a wayang kulit sto- maturity (Ciptoprawiro, 1986: 31). ry, and among puppeteers (dalang) it is known Therefore, the study of Serat Bimasuci as the story of Dewaruci or Sena Meguru, or in a wayang performance, which is known as the Bimasuci. Dalang in Surakarta, however, differ- story of Dewaruci, is an analogy which is highly entiate between the story of Dewaruci and the popular and has penetrated the inner hearts and story of Bimasuci. In their opinion, the story minds of those who are active in the wayang of Dewaruci tells of Bima studying with Dan- community. ghyang Durna and searching for the water of What makes this story so interesting is life as a means of striving to attain a perfect life, that it tells about the search for truth or . and ultimately meeting with Dewaruci. This story is in truth only a tool for portraying When they meet, Bima is given advice man’s struggle to attain a perfect life, both phys- about the origin and purpose of human life, ically and spiritually, and describing the journey known as sangkan paraning dumadi. The story of a man who discovers his own character from of Bimasuci, meanwhile, tells the story of Bima within. When Bima enters Dewaruci’s womb, he after he has studied with Durna and managed witnesses all kinds of events and he becomes to gain about the perfection of life, aware of the true essence of man and his rela- and wishes to put his knowledge into practice tionship with nature, with God, and with other while living in the hermitage of Ngargakelasa human . Bima’s endeavour to discover the and adopting the title Begawan Bimasuci. perfection of life contains several philosophical The philosophy of the Indonesian ar- aspects, including metaphysical/ontological as- chipelago is one of the traditional pects, anthropological aspects, epistemological that has grown and developed in . aspects, and ethical/aesthetical aspects. Many of the experiences and the total compre- hension needed to attain a perfect life cannot be expressed through words. This fact has been Metaphysical Aspects recognized throughout history by the mystics The words metaphysical and ontolog- of numerous nations, and this is the reason for ical are sometimes treated as having the same the use of symbolism (Ciptoprawiro, 1986: 30). meaning and sometimes not. Etymologically, the word comes from the Greek If western contemplation uses a rational term ta meta ta physika, which means “after or analysis, Javanese contemplation is carried out beyond physical reality”, while the word ontolo- through meditation in the silence of creation, gy comes from the term to on bei on. On is the feeling, and desire (cipta-rasa-karsa). Indonesian neuter form of oon, with the genitive form on- or Javanese philosophy has been manifested in tos, which means “a as being” (Sutrisno., the art of wayang. Although the stories origi- dkk, 2009:102). nate from , there are basic differences in form. In India, it is believed that the wayang Christian Wolff divides metaphysics stories really happened, whether in , leg- into two branches, namely general metaphysics, end, or history. In Indonesia, however, the Ma- which he calls , and special metaphys- habharata and stories are an analogy ics, which includes metaphysical , of human character and behaviour in striving to metaphysical , and metaphysical attain both material and spiritual purpose in life. . General metaphysics (ontology) at-

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 13 tempts to answer problems and provide a gen- ner being appears insignificant in comparison to eral picture about structures that exist or the one’s physical being. Bima comes to realize that true reality of all reality. Metaphysical cosmolo- essentially, his deepest is of a divine gy answers questions about the universe, unlike nature. When inside Dewaruci’s womb, Bima is empirical cosmology, which is based more on in truth inside his own being. physics and astronomy. In the beginning, Bima sees the ocean as In essence, metaphysical anthropology a vast expanse of water with no shore in sight. answers questions about the reality of human He has no sense of orientation, and is lost in life, while metaphysical theology answers ques- the desolate ocean where there is no sun, sur- tions related to the concept and understanding rounded only by emptiness. This emptiness of man in his connection with that which is symbolizes the divine being, and Bima comes transcendent (Sutrisno., dkk, 2009:103-104). to realize that he comes from God. Dewaruci A study of metaphysical aspects in this shows Bima a single flame with eight colours: context takes as a starting point the existence pink, purple, green, grey, blue, yellowish red, or- of man and nature as a real entity that can be ange, and greenish white, and explains that the captured by the five senses. The aim is to dis- single flame is the flame of the spirit. cover the origin and destination of all creation, The ray of light with eight colours is or to use the Javanese term sangkan paran (Cip- the light of blood, like a flower and its scent, toprawiro, 1986:22). its shape and colour, its form and flame urub( ). Sangkan paraning dumadi means the be- Flame stands for life (urip), colour (warna) stands ginning and end of the universe. Man’s search for screen (warana), which is really water (banyu). end with wikan (knowing) and weruh (un- If we turn the words around, they become banyu derstanding), or by understanding sangkan paran. urip or water of life. The eight colours are really Man’s effort to return to his origin, or to God, is a reflection of eight characteristics that can be through both physical and spiritual means. found in the universe and be perceived by the five senses. These eight characteristics that exist The story of Bimasuci describes Bima’s in the universe are known as ‘asthabrata’, which search for the water of life, which really means means eight main precepts: sun, moon, stars, that he has the desire to become reunited with earth, water, sea, wind, and fire. These eight that from which he came, to discover the se- precepts represent the human characteristics cret of “existence,” and to overcome that which of strength, beauty, stability, patience, purity, binds him to the world. In order to attain per- aptitude, prudence, and tranquillity (Adhikara, fection of life, Bima must find the holy water by 1984:40). travelling to the source of the water of life. In this event, Bima has in fact already reached the So the eight colours, or asthabrata, rep- depths of reality by entering into the realm of resent the characteristics of God the Almighty his inner being. that are contained in the world he created. Bima then sees an ivory doll or a golden doll, He discovers that the water of life can- and Dewaruci explains that it is made from a not be found in the physical world but inside substance used in three places (Triloka): a low his own being. In a wayang kulit performance, place, a middle place, and a high place (Janaloka, this scene portrays a small version of Bima Indraloka, and Guruloka). Janaloka is the home (Bima Kecil or Bima Katik), who is referred to of the evil spirits, Indraloka is the home of the as Dewaruci. That Dewaruci resembles Bima knights and kings, and Guruloka is the home is not strange, since Dewaruci is in fact Bima’s of the holy ascetics. The little ivory doll is given own inner self. The small figure of Bima sym- the name pramana, and the body of pramana bolizes the fact that in the beginning, one’s in-

14 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 ensures that the life of the human body is pre- tation and not be led astray. He gladly follows served. Durna’s orders and travels to Candramuka to As long as the heart continues to beat, find the water of life. After digging andun- and as long as pramana is in the body, then a covering many rocks and stones, two terrifying person remains alive. Pramana does not feel ogres, Rukmuka and Rukmakala, appear and the happiness or sadness felt by human beings. attack Bima. A fight ensues and the two ogres Within a man’s inner being, the essence of di- turn out to be reincarnations of Betara Bayu vine characteristics unite to form a human pow- and Betara Indra. er known as his inner spirit or soul. The battle between Bima and the two This soul gives life to the spirit, through ogres is the symbol of a person who is starting the bearer of life (pramana). It is the soul that to meditate, making mental preparations for a supports all the divine characteristics and gives spiritual journey. Durna orders Bima to contin- life to all God’s creations, remaining faithfully ue his search for the holy water in the forest of united and inseparable from man. The soul is Tibrasara in a cave in the hillside of Candramu- the essence of the human spirit, and an expres- ka, at the foot of Gadamadana mountain. sion of the divine spirit in its entirety. Bima’s The name Tibrasara comes from the journey into his own inner self means that he word tibra, which means sad or troubled, and has attained divine reality. the word sara, which means arrow. Hence, Ti- brasara can be taken to mean an arrow leading to sadness. Ethical Aspects The name Candramuka comes from the is a branch of philosophy or crit- word candra, which means moon or aphorism, ical and fundamental ideas or thoughts about and muka, which means face or front. Hence, moral principles and views. Ethics and mor- Candramuka means faced with an aphorism. al principles are not on the same level. Moral The name Gadamadana comes from the principles teach us how to live, while ethics tries word gada, which means a bludgeon or weapon to understand why we should follow particular used to destroy something, and madana, which moral principles, or how we should adopt a re- means love or obsession for something. sponsible attitude towards various moral princi- ples (Suseno, 1987:14). The names of the two ogres, Rukmu- ka and Rukmakala, come from the word rukma, Based on this understanding of moral which means gold, and is a symbol of wealth. principles and ethics, there are numerous mor- Muka means to face something and kala means al principles or lessons contained in various as- to ensnare. Hence, Rukmuka and Rukmakala pects of wayang performances, such as janturan mean: greed which can ensnare when faced with (narration), pocapan (speech), ginem (dialogue), wealth. In Adhikara’s words, the battle between suluk (mood songs), and tembang (sung poetry). Bima and the two ogres can be described as fol- In the story of Bimasuci, there is a moral les- lows: son contained in the scene where Durna orders Bima to search for the water of life on Candra- ”Oh Bima, what you face (muka) in this for- muka mountain. est is an aphorism (candra), of greed (raksa- sa), and obsession (madana) for wealth (ruk- This incident describes the attitude of a ma), faced (muka) by a person who finally student who must trust his teacher, even though aims (sara) and is ensnared (kala) by sadness the teacher’s request is not easy to carry out. (tibra). Therefore, he is destroyed by the Bima remains faithful to his teacher, Durna, in weapon of greed (raksasa) inside himself the real world so that he is able to avoid temp-

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 15 (Adhikara, 1984: 17-18).” Only white represents human behaviour During his journey into his inner self, which leads to purity, well-being, and true hap- Bima must pass through numerous obstacles, piness. If white can counterbalance the other cleanse himself through concentration, and free three colours, namely black, red, and yellow, himself of evil desires and improper thoughts, then the four colours will disappear and hu- until he reaches his goal, to attain total compre- man behaviour will be coloured by eight colours hension of his own true teacher. When Bima which represent the combination of all man’s enters into the womb of Dewaruci, he sees four behaviour. (Adhikara, 1984:40). colours: black, yellow, red, and white. Dewaruci Hence, it can be said that the four co- explains that black encourages damaging deeds, lours represent human desires, and in the story anger, and greed. of Bimasuci, Bima has managed to control his It begins with the taste of earth, its place desires. The clothes worn by Bima are known as is on the forehead, and it becomes refined like kampuh poleng bang bintulu and also represent a black heaven. If a person becomes trapped the four desires symbolized by the colours red, there, his views will be turned around and he yellow, black, and white. will become a kind of slithering creature. The In Javanese culture, kampuh poleng colour red encourages desire. It begins with the bang bintulu, or the cloth worn by Bima, sym- taste of animals, its place is in the gall bladder, bolizes the gathering of sedherek gangsal ma- and it becomes refined like a red heaven. If a nunggal bayu, which means five brothers with person is trapped there, his views will be turned equal strength and the same values, the five around and he will become a kind of crawling brothers representing the ”character” of every creature. person. The colour yellow encourages aspira- Four of them symbolize the characters tions and calm. It begins with the taste of the known as: lauwamah (black), greed; amarah (red), wind and the sky, its place is in the lymph, and it quick-temperedness; supiah (yellow), kindness becomes refined like a yellow heaven. If a per- and politeness; and mutmainah (white), purity and son is trapped there, his views will be turned honesty. The fifth is mayang, which shows the around and he will become an animal that can right direction to travel. In the philosophy of Ja- fly. The colour white encourages a tendency to vanese mysticism, these five brothers are known forget or carry out misdeeds, and the desire to as sadherek sekawan gangsal pancer, each of be better than others. It begins with the taste of which is assigned a colour: black, red, yellow, water, its place is in the heart, and it becomes re- white, and green (Sastroamijoyo, 1966:53). fined like a white heaven. If a person is trapped The four desires are always present in- there, his views will be turned around and he side people, and good desires always come face will become a fish T( rimurti, 1979:15). to face with bad desires. In order to reach the According to Adhikara, the colours red, right or proper goal, the bad desires (lauwamah, yellow, and black are the colours of human char- amarah, and supiah) must be controlled and acteristics rooted in the world, in which man has overcome by the pure desire, that it mutmainah. not yet learned to use his five senses properly Man’s spiritual journey to reach total to perceive that which God has created. Black unity or integration is founded on the princi- stands for stupidity, darkness, anger, and tends ple of the combination of two aspects, that is to perform bad deeds. Red stands for actions led physical and spiritual aspects, which must work by desire and a lack of wisdom. Yellow stands together in harmony to achieve good behaviour. for human actions which lead to destruction This can only happen if a person can live in and obstruct the preservation of happiness. death and die in life. ”Live in death” means that

16 Jurnal Budaya Nusantara, Vol.1 No.1,(Juni 2014): 11-30 while a person is alive, he must repress or kill all man’s spirit is supported by his soul. A perfect desires of the flesh, while to ”die in life” means human being is one who is aware of his origins, that although a person has killed all desires of who knows himself, and who makes God real the flesh, he must continue to live in the world. within himself. The characteristics of God that Bima has found what he has been looking for are found in His creations can only be attained and has gained perfect spiritual enlightenment by a man who has reached a state of perfection. so that his heart is pure and bright, as though he has received divine revelation from God. Bima has become totally one with God (manunggal), Epistemological Aspects dead in life, and alive in death (mati sakjroning According to Randall and Buchler in urip lan urip sakjroning mati). Sutrisno, is the branch of phi- This sense of unity that Bima has losophy which focuses on the main problem of achieved is a mystical experience, not an expe- the meaning and purpose of human experienc- rience based on observation through the five es that are more than just knowledge (Sutrisno, senses but rather an awakening of his sensibili- 2009:49). ty. The story of Bimasuci is anthropocentric in Meanwhile, Titus, also in Sutrisno, nature, that is man is the object and centre of states that epistemology is the branch of phi- attention. Man is a creature with both body and losophy concerned with the sources, nature, and spirit. To have a spirit means to have a soul, and validity of knowledge. Veuger defines episte- man’s soul is a creature that can think (homo mology as a study of philosophy which consid- sapiens), meaning he possesses an awareness ers, explains, and justifies knowledge in general. to reason, feel, create, and desire. Man always Halmyn, on the other hand, states that episte- questions, always searches, and always wishes mology is the branch of philosophy concerned to know himself, and at some point in time he with the truth and range of basic knowledge wishes to be joined to his Maker. (SUTRISNO, 2009:49) Spiritual awareness is a reality that is re- Based on the thoughts and ideas of vealed in speculation of the macrocosm (jagad these , truth is the goal of every- gedhe) and microcosm (jagad cilik).in Javanese thing we know. The value of truth depends on mysticism, the macrocosm means the real world, the accuracy of our perception of an object so while the microcosm means the human body. that vitality and truth are not measured by ob- If a person can find inner balance by jective norms. In wayang stories, we encounter a controlling physical aspects, he will become a lot of knowledge whose truth needs to be test- knight who is also a spiritual teacher (ksatria ed, in the hope that if we find the truth of this pinandhita), and by obtaining a deep under- knowledge, it will increase the degree of cer- standing of his own spirit, he will become one tainty and ultimately the level of conviction. with God. God here is understood as a tran- For example, knowledge may be passed scendent and imminent being. An entity whose on through the senses, through the mind, form cannot be described, without colour, with- through intuition, or through divine revelation. out shape, without offspring, neither male nor In Indonesian philosophy there is also a similar female, and intangible. It can be said that God way for acquiring knowledge, through the stag- is an unknown being (datan kena kinaya ngapa), es of creating, feeling, desiring (cipta-rasa-kar- God is an empty space (awang-uwung). The sa), with the following levels: awareness of the soul is the essence of a living substance and can senses or ego consciousness; silent awareness, be interpreted as the essence of God’s own na- united in creation, feeling, and desire; personal ture that is supported by the human spirit, while awareness or self consciousness; and awareness

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 17 of the divine (Ciptoprawiro, 1986:24). termination supported by eminent conduct to In the story of Bimasuci, Bima succeeds achieve a state of unity with the Maker. in finding the holy water of life. This event de- This principle is a moral obligation and scribes the process of gaining knowledge by the main goal of practising Javanese mysticism using human abilities in the form of creation or . In Javanese spiritualism, in order feeling and desire, through different levels of to obtain a mystic experience, a person must first awareness: awareness of the senses, silent aware- pass through a number of stages, namely saren- ness, personal awareness, and divine awareness. gat (the prescriptions of Islamic law), tarekat Bima has heard and understood all of Dewaru- (the path for mystics to follow), hakikat (truth ci’s advice, he knows about the origins of his or reality), and makrifat (the highest knowledge existence, and is aware of the union between in which a person can see God). During Bima’s man and God. By united with God, journey to reach a union with God, he must Bima gains knowledge from Dewaruci (The also pass through the same stages as in Javanese Real Teacher), unconditional knowledge about mysticism. the origin of human life. When Bima meets his True Teacher, he The preparations and mental training witnesses various events, and here he sees the that Bima has undergone are with the aim of essence of man in his relationship with God. showing his “feelings,” so that reality is captured He sees five shadows, a picture of the universe by his feelings and disclosed within his spirit. as it is perceived by the five senses and record- In these feelings, his ego has become one with ed in a person’s inner mind as a life experience. God. In this condition, there has occurred a These five shadows symbolize the five senses. union between God and all that has been creat- Next, Bima sees four colours: red, yellow, black, ed by man and God. At this stage in the story, and white, which symbolize human desires. In Bima is described as entering into the body of the next instance, he sees eight colours, which Dewaruci (to become one). Then, Bima is given are a reflection of the eight characters found in advice by Dewaruci. He is told about the knowl- the universe. edge of letting go, that is letting go of the body These eight colours represent the mi- and soul. There is also an explanation about the crocosm and macrocosm, and in Javanese cul- guidelines by which a person should live if he or ture are known as hastha brata. Bima’s journey she wants to learn better behaviour and become to reach these eight colours in the story of united with God, namely to die in life and to live Bimasuci constitutes a cosmic understanding. in death. If a person can control or kill all his Bima and Dewaruci symbolize the “ego” and desires, he will become one with God (manung- the essential power of the divine being, while galing kawula Gusti) in a mystical union. In this the eight colours symbolize the power of the story, Bima has reached a level of makrifat (the universe which is the numinous essence of the highest knowledge in which he can see God), human ego. The hastha brata contained in the and has achieved perfection of life and gained story of Bimasuci, and also in the story Wahyu the knowledge about the origin and purpose of Makutharama essentially present a lesson in life (sangkan paraning dumadi). leadership for both those in power and society After returning to the world, Bima re- in general. alizes that he is still on earth where man lives, During the New Order government, but he has discovered himself, has learned about hastha brata was a doctrine used in the man- perfection, and will carry out his obligations in agement of government institutions and also the world, that is to guard and keep safe the a directive for motivating the community. The world. Bima’s actions are based on a strong de- doctrine hastha brata is explained in more detail

18 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 below: all that it touches. A leader must have the 1. Hambeging Surya (the character of the courage to enforce and truth without sun). The sun gives out heat and light and is discrimination, and solve all problems that the source of life that enables all living crea- occur. tures to live and grow. A leader must have 8. Hambeging Bantala (the character of the the ability to stimulate the growth and de- earth). The earth is strong and generous. velopment of his people, continually giving This means that a leader must be humble, life and courage to them all. be able to put himself in another’s place, 2. Hambeging Candra (the character of the be honest, expect no reward for his actions, moon). The moon provides light in the and give rewards to others who do good. darkness of the night. This means that a Wayang kulit performances often con- leader must be able to give comfort and pro- tain local wisdom about lessons of leadership, vide spirit and hope for his people in times taken from various literary sources such as: Wu- of joy and sorrow, and provide light in the langreh, Wedatama, Tripama, and so on. One darkness. of the lessons about leadership is contained in 3. Hambeging Kartika (the character of the the work Serat Wulangreh by Paku Buwana IV stars). The stars radiate beautiful bright and reads as follows: light, and from their place in the sky can act 1. “Aja nedya katempelan,ing wewatek kang as a compass. A leader must set an example tan pantes ing budi. Watek rusuh nora urus, for his people by doing good, so that he be- tunggal lawan manungsa, dipun sami karya comes a point of orientation and a guide for labuhan kanga patut, darapon dadi tinuta them all to follow. ing wuri-wuri”. 4. Hambeging Hima (the character of the 2. “Aja lonyo lemer genjah, angrong pasanakan clouds). Thick cloud produces rain. This nyumur gumuling, ambuntut arit puniku, means that a leader must have authority and watekan tan raharja, pan wong lonyo nora his actions must provide prosperity for his kena dipun etut, monyar-manyir tan ante- people. pan dene lemeran puniki”. 5. Hambeging Samirana (the character of the 3. “Para penginan tegesnya, genjah iku cece- wind). Wind can travel anywhere without gan barang kardi, angrong pasanakan liripin, distinguishing between one place and an- remen salah miruda, mring rabine sadulur other, filling empty spaces. This means that miwah ing batur, miwah sanak myang pas- a leader should be close to his people and anakan, sok senenga den ramuhi”. his policies should be favourable for all his 4. “Nyumur gumuling tegesnya, ambelawah people so that his leadership can be appreci- datan duwe wewadi nora kena rubung-ru- ated by all levels of society. bung, wewadine kang wutah, buntut arit 6. Hambeging Samodra (the character of wa- punika precekanipun abener ing pangrepe ter or the sea). The sea is a vast expanse of nanging garathel ing wuri”. water with unimaginable power. A leader The lesson about leadership contained must have a strong vision, be honest, be in the words of Pangkur essentially states that able to accept criticism, be fair, and be able there are six things a leader must avoid: aja lonyo, to offer solutions to difficulties encountered aja lemeran, aja genjah, aja angrong pasanakan, aja by his people. nyumur gumuling and ambuntut arit. Aja lonyo means 7. Hambeging Dahana (the character of fire). that a leader should not be hesitant when mak- Fire has the power to burn and destroy ing a decision; aja lemeran means that a leader

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 19 should not easily succumb to all his desires as it Serat Narapati Tama, written by Paku Alam will lead to extravagance; aja genjah means that I, which states that a good leader is one who a leader must work hard and be responsible for has the following qualities: wikan-wasitha, wicak- all his actions; aja angrong pasanakan means that sanengnaya, mengku ning uga ngayomi, wening nguri a leader must not disturb another man’s wife or budaya, wenang ngluberi, and waskitha prana. have an extra-marital affair; aja nyumur gumuling This means that a good leader is one means that a leader must be able to keep a se- who has the following qualities: (1) wikan, or the cret; and ambuntut arit means that a leader must skill to master government concepts and doc- have noble qualities. trines about politics and security; (2) wicaksaneng- Another example of local wisdom that naya, which means the ability to develop and ap- is also often presented in wayang kulit per- ply his sense of authority to all corners of the formances in scenes containing a priest and a world; (3) mengku ning uga ngayomi, which means knight is known as Panca Pratama (the five best the ability to master all the ins and outs of his qualities that a leader should have): mulat, amila- duties as a leader while at the same time protect- la, amiluta, miladarma and parimarma. Panca Prat- ing his people; (4) wening nguri budaya, wenang nglu- ama is taken from the literary work Serat Wi- beri, which means the ability to support and de- taradya which was written by Ranggawarsita, velop his culture and to delegate his power and a literary scholar who resided in the Surakarta share his wealth, and also the ability to choose palace from the reign of Paku Buwana VII to and decide what is important, while maintaining Paku Buwana IX. peace and spiritual stability and trying to make The meaning of Panca Pratama is: (1) the world a more beautiful place (berbudi bawa mulat (to be cautious or careful), which means leksana, anbeg darma, memayu hayuning bawana). In that a leader must understand the capabilities of addition a leader must also be able to protect his subjects and be cautious of both those who and shelter his people and to increase their dig- are good and those who are evil; (2) amilala (to nity and standard of living (ngrungkebi kumrem- look after or to pamper), which means that a byahing ngagesang); and (5) waskitha prana, which leader must be able to give appreciation to those means the ability to look far into the future and who do good deeds or those with accomplish- to have knowledge and wisdom. ments; (3) amiluta (to persuade or coax), which In the Gara-gara scene of a wayang means that a leader must be able to approach performance, which presents the characters of his subjects with words of comfort, and pro- Semar, Gareng, Petruk, and Bagong, there are voke a sense of respect and love for their leader also often lessons about leadership which are and their country; (4) miladarma (to wish for wis- presented in a comic fashion or through sung dom), which means that a leader must be able to poetry (tembang macapat). For example, Petruk give enlightenment and teach his people how to may sing tembang Sinom from Serat Wedhata- attain spiritual fulfilment, and also honour his ma by Sri Mangkunegara IV (1853-1881), which people; (5) parimarma (to have pity or compas- reads as follows: sion), which means that a leader must have a “ Bonggan kang tan mrelokena, strong sense of humanity and the ability to for- give. mungguh ugering ngaurip, Another lesson about leadership which uripe lan tri prakara, is often presented in certain scenes of a wayang wirya, arta, tri winasis, kulit performance is about the concept of Olah kalamun kongsi sepi, Praja (public management) and Tata Praja (pub- lic administration), as quoted from the work saka wilangan tetelu,

20 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 telas-telasing janma, always give priority to humanitarianism and a aji godhong jati aking, sense of family. Wayang scenes which present holy men such as Abiyasa who is confronted by temah papa papariman ngulandara ”. Abimanyu also contain advice in the form of (If a person does not pay attention to the euphemisms, such as: leladi sasaming dumadi, me- basic needs of life, mayu hayuning sesami, leladi sesamining umat, mama- yu hayuning jagad, ngawula dhateng kawulaning Gusti, that is three basic needs, work (status), mamayu hayuning urip, which means that a leader money, and intelligence, must have a noble character and always carry if a person does not have these three out his duties as a public servant, by serving his things, people and not by being served, always try to he will lose his status as a human being, make the world more beautiful, and always re- main reverent in his actions. a dried teak leaf will have more worth than such a person). Other lessons about leadership that are contained or implied in wayang performances One of the characters who often pres- include lessons on moral behaviour, which state ents local wisdom in a wayang kulit performance that a leader must be loving and caring, have a is Semar. For example, he may say that a leader deep sense of humanitarianism, be just, be able must stand in front to give an example and give to accept constructive criticism, and always be motivation, and stand behind to give moral sup- able to adapt to different situations and condi- port and material support (ing ngarsa sung tuladha, tions (asih mring sesami, adil paramarta, sabar, mo- ing madya mangun karsa, tut wuri handayani). This momg, momor , momot). lesson comes from the cultural expert, R.M.Sas- The following expression has become rakartana, and one of Indonesia’s educational leaders, Ki Hajar Dewantara. the basic principle for leadership in the head- quarters of the Indonesian National Army : Another lesson is Tri Dharma: melu han- “Taqwa, ing ngarsa sung tuladha, ing madya mangun darbeni, melu hangrungkebi, mulat sarira angrasa wani karsa, tut wuri handayani, waspada purba wisesa, am- (to own, to preserve, and to always carry out beg para marta, prasaja, satya, gemi nastiti, blaka,dan self-correction through introspection), which is legawa”, which means “Be reverent, give an ex- a value of nationalism that a leader must pos- ample from the front, give encouragement from sess. The Tri Dharma doctrine, which is a form the middle, and protect from behind, always act of advice, motivation, and also a message, is carefully, be wise, honest, loyal, not extravagant, taken from a work by Mangkunegara I or RM. down to earth, and kind-hearted. Said who ruled in the Mangkuegaran Palace from 1757-1795 AD. The leadership values that are contained in hastha brata and panca pratama, and written Other Javanese expressions conveyed in ancient literary works, are still relevant to- in the world of wayang performances include: day. If we compare the local wisdom of Indo- nglurug tanpa bala, menang tanpa ngasorake, digdaya nesia with western management systems, they tanpa aji, sugih tanpa bandha ; nglurug tanpa bala, are essentially the same in that they promote tanpa gaman, ambedhah tanpa perang, tanpa ped- truth and wisdom. In the west, truth is sought hang, menang tanpa mejahi, tanpa nyakiti, menang through and reason, while in the east, or in tanpa ngrusak ayu, tan ngrusak adil, yen unggul su- Indonesia, it is sought through contemplation jud bekti marang sesami. Broadly speaking, these or meditation. expressions mean that a leader must be skilled at diplomacy, able to conquer his political en- Therefore, a wayang performance emies in such a way that they are unaware, and should not only be viewed by its visual aspects

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 21 but also by the religious and cultural aspects con- Arabic word which means inside, essence, inter- tained therein, which can be used to solve many nal, in the heart, hidden, and mysterious. The of life’s problems. Advances in technology and practice of kebatinan is an attempt to commu- information have influenced people’s lives and nicate with the origins of reality, and as a branch dragged them in the direction of , of knowledge, kebatinan studies the place of , , and meaninglessness. human beings in the world and in the cosmos, For this reason, it is hoped that art or wayang based on the of a true union between all performances can help to balance people’s lives that exists (Mulder, 1983:22). A person who against economic advances, which in turn will practices kebatinan must follow a lonely and improve the quality of people’s lives. It is hoped dangerous path which will lead him or her to that by understanding and appreciating the val- the discovery and comprehension of the high- ues contained in wayang performances, people est form of reality. According to Djojodiguno, will develop attitudes of respect, tolerance, har- kebatinan can be divided into four categories, as mony, peace, and courtesy in a multicultural so- follows: ciety. 1. Those who place importance on ethics and , and in their day to day ; Mysticism in the Story 2. Lives always avoid bad or evil words and Bimasuci deeds, have complete trust in God, accept- ing and acquiescing to all that He has given them and putting it to the best possible use; Mysticism 3. Those who place importance on metaphysi- The term mysticism comes from the cal aspects, based on philosophical thoughts Greek word “muo” which means to cover the and beliefs about the universe and them- face or shut the mouth, to conceal. Hence, mys- selves; tical means something that is hidden or con- tains a secret (Surahardjo, 1983:1). The word 4. Those who place importance on occultism mystical has been around since pre-Christian or use special powers either on themselves times, such as in the mystery of religion where or on their surroundings, such as to cure dis- mysticism was a secret ritual. Since the birth of ease, to predict the future, and to help oth- Christ, the term mystic has been used to inter- ers. On the contrary, people who use these pret allegorical meanings in deep, abstract, com- special powers to do evil, such as by medi- plex and theologically problematic Christian tating, casting magic spells, making people teachings through mystical interpretations. sick or by mediumship, are also included in this category; In subsequent developments, the term mystical more often refers to spiritual reality, 5. Those who place importance on creating a that is total spiritual comprehension which is union with their place of origin, or who at- intimate and full of emotion in the existence of tempt to be reunited with God. These peo- absolute reality which is full of secrets (mysti- ple are called mystics (unio mystica = mysti- cal union). In the west, during the era that came cal union). When hearing that someone has next, the term mystical took on a number of died, a Moslem will say “Inna Lilahi wa inna different connotations, depending on who was Illaihi roji’un” (from God we come and to responsible for defining the term S( urahardjo, Him we return). Mystics or followers of Su- 1983: 1-2). fism try to unite with their God while they are still alive so that they have prior expe- Javanese mysticism is generally know as rience before they die (Trimurti, 1979:12). kebatinan. The word kebatinan comes from an

22 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 Kebatinan may also be defined as a spir- behind the worldly and seeks that which is itual path, which in its development has come to more spiritual or mystical. The essence of include two types, outlined as follows: the behaviour in the first stage must be bet- 1. Human behaviour which aims to discov- ter understood and improved. Noble and sa- er the origin of life, perfection, truth, or cred efforts are made and the basic spiritual God. This behaviour is universal and has and physical preparations are carried out in developed in all , and is known as anticipation of meeting God. mysticism and the esoteric path. Hinduism 3. Hakekat: has yoga, has samad (blessings This is the stage for facing the truth, the bestowed by magical powers), has stage for developing to the full one’s aware- meditation, Judaism has kabbalah, Christi- ness of the essence of prayer and of how anity has mysticism, Islam has mysticism or to serve God, gaining a deep understanding , and Indonesia has a special form of that the only way for anything to exist is to mysticism known as suluk. become a servant of God, to become a part 2. Human behaviour which attempts to make of all that depends on the whole cosmos. a connection with spirits or supernatural Regular prayers begin to lose importance beings, which is usually known as super- because the entire life and actions of a per- or spiritualism. This also often son are a single continuous prayer devoted includes kanuragan, the development of to God. Differences between one religion supernatural powers which are potentially and another are no longer significant and found inside every person. These powers behaviour becomes instantaneous. are now also referred to as paranormal pow- 4. Makrifat: ers (Abdullah 1988:72). This is the final and highest stage in which The goal of Javanese mysticism is to man becomes one with God (jumbuhing achieve unity between man and God. Through kawula lan gusti). In this stage, a person’s this true unity, man gains knowledge (kawruh) spirit becomes integrated with the spirit of of his origins (sangkan) and the goals (paran) of the universe and all of a persons actions are all that has been created (dumadi). devoted to God. A person’s life is one con- This mystical journey passes through tinuous prayer, whether he is working, med- four stages, beginning from the outside and itating, sleeping, or eating. At this stage, a travelling inward, as follows: person will shine, like the light of the full 1. Sarengat: moon lighting up the earth, and through his presence, others will gain inspiration to This is the lowest stage of mysticism, re- become God’s representatives in this world specting and living according to one’s reli- (Mulder, 1983 : 25). gion; controlling one’s desires, learning how to treat others and how to treat all that can In Wirit Hidayat Jati, which teach- be found in this world; carrying out one’s es knowledge of makrifat (the highest level of obligations seriously, respecting and hon- knowledge in which a person can see and be- ouring one’s parents, teachers, and the king, come one with God) for a perfect life, it states in the awareness that by honouring them we that Islamic teachings have four levels: syariat, are honouring God. tariqat, haqiqat, and makrifat, to distinguish the level of a person’s spiritual and physical devout- 2. Tarekat : ness. A person’s devoutness, or spiritual journey, This is the stage in which a person leaves which in the history of the Islamic culture is known as Tasawuf or Sufism, is known in Indo-

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 23 nesia as Ilmu Suluk. 4. Meditation to free oneself of all worldly de- The four levels stated above are under- sires (Mangkunegara VII, 1957:13-18). stood and experienced through physical devo- The first stage can be carried out tion (lakuning badan), devotion of the heart or through contemplation and meditation to mind (lakuning ati), spiritual devotion (lakuning achieve worldly or magical goals that can even nyawa), and devotion of the senses (lakuning lead to the destruction of others, with the aim rasa), through four stages or levels: main-meneng, of seeking profit or reward. This kind of mysti- tahid ening, makrifat-awas, and Islamic awareness. cism is generally regarded as a sin as it disturbs The ultimate goal of devotion is to reach the structure of the cosmos. It is often referred God, or to understand the beginning and end of to as black magic and is likely to lead to bad life (waskita ing sampurnaning sangkan paran). The consequences for the person responsible. journey towards God is undertaken by applying The second kind of meditation is to the knowledge of makrifat, by understanding achieve positive goals, despite being encouraged the essence of the divine being, learning how by a desire for profit or reward. There are dif- to reach the final destination through moral be- ferent opinions about whether or not this type haviour and meditation (Ciptoprawiro, 1986: of meditation should be allowed. In the past, 73-74). this kind of white magic was used by kings and In the Moslem religion, tasawuf is the political leaders for the purpose of making the study of matters pertaining to the divinity and world better, in which case it is still permitted. its connection with a human desire that is en- The third and fourth kinds of meditation are couraged by a love of God and always strives used for the right kinds of spiritual or mystical to become closer to Him by searching for a di- purposes and are related to the stages of hakekat rect connection and following a holy path. This and makrifat consecutively. That is, meditation knowledge is known as Ilmu at-tasawuf. Human encouraged by a desire to “hear the aura of life is compared to a journey, and the search the divine being” or a “quiet voice” that aims for God is described as a person on a journey to gain a divine revelation from the highest be- (known as salik). The goal of salik is to gain per- ing and requires continual self-cleansing of the fect knowledge so that man’s soul can be reunit- mind and the body through moral conduct and ed with its origins in God. This journey must attitudes. The successful practice of this kind of pass through four stages of life: syariat, tariqat, meditation is considered beneficial for society haqiqat and ma`rifat (1971 : 9). and has the power to destroy evil powers and egoism while at the same time spreading justice According to Mangkunagara VII in his and prosperity (Mulder, 1983: 25-26). book entitled On the Wayang kulit (purwa) and its Symbolic and Mystical Elements, translated Kebatinan is essentially a “school” for individuals to learn how to undertake a mystical by Claire Holt, the role of the mystical pro- cesses can be described as four kinds of medita- journey. In all its different variations, kebatinan tion, as follows: is a spiritual human culture which helps to calm the spirit and senses. In order to achieve this 1. Meditation to reach temporary goals of a sense of calm, a person must surrender him or destructive nature through black magic or herself. In the instance of surrender, a person’s witchcraft; inner self will intuitively experience the pres- 2. Meditation to gain great power or strength ence of God. This mystical union is essentially in order to achieve positive goals; free to flow in any direction, and it is initiated by “another party”. What a person is seeking 3. Meditation to discover the secret of Exis- depends on his preparations and process of tence;

24 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 self-cleansing. rect connection and following a holy path. The practice of kebatinan is the mani- Kebatinan is essentially a human culture festation of the views of Javanese mysticism which helps to calm the spirit and senses and in which the structural coordination of events can be achieved through a mystical method, that or truth becomes the “cause” of those events. is by surrendering oneself, and in the instance Man must play the role of a specified creature of surrender, a person’s inner self will intuitively but in a deeper analysis, he must be present as experience the presence of God. the holder of the key to his own freedom. The practice of mysticism uses a style of reasoning which emphasizes the use of “feeling” to dis- The Story of Bimasuci as cover direct knowledge, in which events and an Expression of Javanese experiences are explained through principles of Mysticism harmony and coordination in the unity of life. During the 18th and 19th centuries, This unity is described as a hierarchy of literary scholars in the Surakarta palace wrote all physical and spiritual aspects, in which the many literary works which contain, either im- physical aspects are connected with material ob- plicit or stated directly, teachings about Javanese jects, while spiritual aspects are connected with mysticism, one of which is the work of Javanese intuition and calm. The aim of kebatinan is to sung poetry by Yasadipura I entitled Bimasuci. develop these spiritual aspects (Mulder, 1983: 38). The story of Bimasuci describes the journey of man to discover his own self at the Based on the above explanation, we can beginning of his mystical journey. This mysti- conclude that mysticism is the teaching of hid- cal journey is the personal endeavour of Bima den secrets that are present in all religions and (who represents man) to uncover the secret of involves a spiritual journey to discover God the “Existence” and to discover the true essence of Almighty. In other words, it is knowledge which life. teaches a person how to become united with God. Javanese mysticism is also called kebati- Before discussing the expression of nan. mysticism in the story of Bimasuci, first I will quote a number of opinions about the values The practice of Javanese kebatinan is contained in this work and also the goal of the also called kebatinan. The practice of Javanese writer (Yasadipura I) in writing the work Serat kebatinan is a personal effort to attain unity with Bimasuci. The goal of the writer was to share God. In order to gain a complete understanding his knowledge about philosophy and religion, as of mysticism and achieve a union with God, a is reflected in the first verse of his work, as fol- person must pass through four stages: sarengat, lows: tarekat, hakikat and makrifat. “Nihan ndoning ulun manurat Sri Tasawuf or sufism is a term which in Indonesian mysticism is known as suluk. In Mring mamrih mamardawa order to distinguish between levels of physi- Tyas wigena panjutane cal and spiritual devoutness in the Islamic reli- Juwet silarjeng tuwuh gion, there are also four levels, known as syariat, tariqat, haqiqat and makrifat. In Islam, tasawuf Wahananing kahanan jati is the study of matters pertaining to the divinity Sujana para marta, witaning tumuwuh and its connection with a human desire that is encouraged by a love of God and always strives Minangun ingkang sasmita ginupita ing kawi reh to become closer to Him by searching for a di- Bimasuci

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 25 Winangun lawan jarwa” Based on the opinions of Mangkuneg- My aim is to emulate the noble men ara, Purbatjaraka, Zoetmulder, and Soebar- who usually give beneficial advice, encouraged di, the story of Bimasuci or Dewaruci symbol- by a great desire to give information about the izes man’s union with God through the water journey towards a perfect life which leads to the of life. The journey to find the water of life is conclusion of true life, where such informa- through moral conduct, isolating oneself from tion is possessed by literary scholars with high the world, and meditation. In the meditative aspirations. The purpose of this life journey is state, man gains profound knowledge and un- to leave behind the ordinary life. I present my derstanding which enables him to become one information in the form of a story filled with with God. symbolism (an omen), in a Javanese poem by This true unity is expressed in several of the name of Bimasuci (Abdullah, 1971: 9). the verses of Bimasuci. The essence of Javanese The essence of this story as presented mysticism is found in some of the words of the in a wayang scene is the mystical journey of a sung poetry, as follows: man who wishes to be guided to reach a true “Sirna patang prakara na malih, urip siji wewo- understanding of the meaning of life’s origins, lu kang warna, sang Wrekudara ature; punapa and must meditate in order to do so. Meditation namanipun urup 5iji wolu kang warni, pundi in- (semedi) in institutional language is known as pa- gkang sanyata, rupa kang satuhu, wonten kadi trap. In the story of Bimasuci, this noble goal is retna, wonten kadi maya maya angeboti wonten portrayed by the character of Bima in his search abramarkata. Marbudyengrat Dewaruci angling, for the water of life (Mangkunegara VII, 1933 `iya iki kajatening tunggal, saliring tegese ‘iya na : 89-95). ing sireku, towin iya isining bumi, ginambar ang- ganira lawan jagad agung, jagad cilik tan prabe- According to Poerbatjaraka, the story of Dewaruci is still believed to contain a les- da, purna ana lor kidul kulon puniki wetan ing son about the knowledge of perfection or lib- dhuwur ngandap. Miwah abang ireng kuning eration, and consider it to be a putih, iya panguripe ing bawana jagad cilik jagad book about the knowledge of perfection. This gedhe; pan padha isinipun tinimbangaken ing sira iki, yen ilang warnaning kang jagad kabeh iku clearly means mysticism (Poerbatjaraka, 1940 : saliring reka tan ana, kinimpulaken aneng rupa 3-6). Soebardi in his book entitled The Book of Cabolek states that the mystical content in the kang sawiji tan kakung tan wanadya. Kadya story of Dewaruci has a higher and more ethi- tawon gumana puniki kang asawang putran-pu- cal meaning and has the effect of improving the tran denta, lan payo dulunen kowe. Wrekudara spiritual lives of Javanese people. The character andulu ingkang kadya peputran gadhing, caya of Bima portrays a mystic with a high level of muncar kumilat, tumeja nggengguwung, punapa skill. After meditating and living as an ascetic, inggih punapa, warnaning Dzat kang pinrih di- he finally reaches the ultimate goal of man, the pun ulati kang sajatining rupa. “water of life” (Soebardi, 1975 : 45-50). Anuri aris Dewaruci iku dudu ingkang sira sedya kang mumpuni ambek kabeh, tan kena p. Zoetmulder, in the magazine Djawa, states that in his search for the water of life, the sira dulu tanpa rupa datanpa kalimeku kang popular figure of Werkudara (another name ginambar, wus kaasta sanalika aywa lali, ulun for Bima) gains guidance and true knowledge, tuhu ambekna. which is not rooted in the lives of the Javanese Warni tan gatra tan satmata, iya tanpa dunung people. Indeed, spiritual life is the foundation mung durnunung mring kang awas, mung sasmi- which forms the essence of Javanese culture ta aneng ing jagad ngebeki, dinumuk datan ana. (Abdullah, 1986:11). Dene iku kang sira tingali kang asawang pepu-

26 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 tran, mutyara, ingkang kumilat cahyane, angka- like a pearl doll, glowing and burning ra-angkara murub, pan pramana arane ‘nenggih, bright, is called Pramana. The life of Pra- uripe ‘kang sarira Pramana puniku, tunggal ane mana becomes one within but feels no joy `ng ing sarira, nagging datan milu sungkawa pri- or sorrow, its place is in the body. hatin, enggone’ane ‘ng raga It neither eats nor drinks, feels no cause for Datan milu mangan turu nenggih, iya nora milu trouble if it loses its place and man meets lara lapa, ye`n iku pisah enggone; raga kari nga- his end. How weak is your body. That is lumpruk, yekti lungkrah badan sirerki, ya iku The Almighty God, who can feel, who is dening suksma, iya iku sinungsih anandhang kept alive by the soul, who gives life, and urip, ingaken rahsaning Dzat”. who is known as the mysterious being. Translation: These few verses from Serat Dewaru- The four colours disappear and another ci explain Dewaruci’s advice to Werkudara and light appears with eight colours. Werkuda- are the essence of Javanese mysticism as con- ra asks about the meaning of the light with tained in the story of Bimasuci. Dewaruci’s ad- eight colours, what is real, what really ex- vice about the four colours, black, red, yellow, ists like a radiant jewel, some shine dimly and white, is that they represent human charac- and others burn brightly. teristics. Pramana is the one who keeps life in balance, the soul. The text also explains about Dewaruci says that in essence, all that ex- God’s immanence in the large world (the uni- ists in the world is as one, all the colours verse and macrocosm) and the small world (the are inside yourself, all the earth is drawn microcosm), between which there is no differ- on you, and there is no between ence. the macrocosm and the microcosm, the beginning and the end, north and south, Man, the universe, and God are a single west and east, or top and bottom. entity in which all communicate with each other. The union between man and the universe rep- The colours red, black, yellow, and white resents the unity of the macrocosm (the physical represent life in the world, the microcosm world) and the microcosm (the spiritual world). and macrocosm and all that they hold are Man is always in communication with God. The contained and depicted inside Bima. If unity of the measureless universe is achieved the world disappears, its contents no lon- by the interconnection of all the units within. ger exist, they are all gathered together in a The unity experienced by Bima can be achieved single form, neither male nor female, like a because of his moral conduct to cleanse both tiny bee, like an ivory doll, radiating light, body and soul until he gradually reaches a level shining brightly, giving off the colour of of spiritual awareness and feels himself to be the Entity whose true form is unknown. inside a place without limits and attains a sense Dewaruci answers lovingly that this is not of sublime unity. Bima’s unity with Dewaruci what Bima is seeking, that the one who can be referred to as curiga manjing warangka, has power over all cannot be seen, is with- warangka manjing curiga, which means that the out colour and without form, cannot be keris is one with its sheath and the keris’s sheath touched. That which the eyes can see has is one with the keris itself. The keris represents no place and is only found in those who the nature of God and the sheath represents have gained a true understanding, it is only man. Manjing means united. Hence, the mean- an omen which fills the world but cannot ing of the above expression is that the nature of be touched. God is united with man and man is united with God. What you see, that which appears to shine

Soetarno Dwijonagoro, Philosophical, Ethical, and Aesthetic... 27 The knowledge Bima gains that enables has been stated that in order to undergo a mys- him to become one with God is a mystical ex- tical experience, a person must pass through perience, not an experience from his five senses the stages of sarengat, tarekat, hakekat, and but from his sensory perception. The next part makrifat. Bima’s mystical journey to reach a of the text compares the teachings of Javanese union with God also passes through a number mysticism with the teachings of the mysticism of stages similar to those in Javanese kebatinan contained in the story of Bimasuci. The story (sarengat, tarekat, hakekat and makrifat). In saren- of Bimasuci is anthropocentric. Man becomes gat, a person learns how to control his desires, the object and centre of attention. Man is a how to treat his fellow human beings, and how creature with both body and spirit. His spirit is to treat all that exists in this world. In this stage, his soul, and a creature with a soul is one who Bima has the determination and courage to can think (Homo sapiens), so a human being confront death and is willing to follow whatev- has the ability to reason, feel, create, and desire. er his teacher orders him to do with the same Man always asks questions, always searches for sense of determination, due to his faithfulness. answers and is constantly searching for himself Bima’s mental preparations include controlling until he reaches a point where he wishes to be- his greed and other desires of the flesh. This is come one with his Maker. depicted through Bima’s battle against the two Spiritual awareness is the reality that is ogres, Rukmuka and Rukmakala. revealed in speculation of the macrocosm (jagad In the tarekat stage, if a person has al- gedhe) and microcosm (jagad cilik). In Javanese ready learned how to lead a clean life, he is now mysticism, the macrocosm symbolizes the phys- required to think about the “path” he should ical world while the microcosm symbolizes the take to lead him towards his ultimate goal. He human body. If man can find a spiritual bal- must develop his experiences in the spiritu- ance by controlling his physical desires, he will al world until he meets and becomes one with become a person of noble qualities and at the God. In this stage, Bima is described as entering same time a spiritual teacher (ksatria pinandita). into the middle of the ocean and coming face By entering into the depths of his own soul he to face with a dragon which attacks him but is will become one with God. then killed by Bima. In his exhausted state, al- In this instance God is understood to lows himself to be carried along by the waves be a transcendent and immanent being, an un- until he falls unconscious. This symbolizes that known entity, without colour, without form, Bima has broken free from all worldly ties. without offspring, neither male nor female, and In the hakekat stage, Bima meets intangible. God is datan kena kinaya napa (an un- Dewaruci who appears in the form of a small known being), an empty space. The soul is the child (lare bajang or Bima Katik) who is none essence of a living substance, and can be inter- other than Bima himself in his deepest exis- preted as the essence of God’s own nature that tence which is of a divine nature. Here, Bima is supported by the human spirit, and vice versa, meets his true teacher and then witnesses sever- man’s spirit is supported by his soul. al events. He sees the essence of man in his rela- A perfect human being is one who is tionship with other human beings, with nature, aware of his origins, who knows himself, and and with God as follows: who makes God real within himself. The char- 1. Pancamaya (five shadows), a picture of the acteristics of God that are found in His cre- universe as it is perceived by the five senses ations can only be attained by a man who has and recorded in a person’s inner mind as a reached perfection. life experience. These five shadows symbol- In Javanese mysticism or kebatinan, it ize the five senses.

28 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30 2. Catur warna (four colours), black, red, yellow, Bima then returns to the universe and and white, which colour human behaviour realizes that he must continue to live on earth These four colours symbolize human de- with other human beings. He knows his own sires. self and has attained perfect knowledge, and will 3. Hastawarna (eight colours), a reflection of carry out his good work on earth by protecting the eight characters found in the universe and keeping safe the world. Bima’s determina- that can be perceived by the senses and tion is supported by his perfect moral conduct stored as five shadows in the human mind so that he is able to discover the meaning of the and heart. Hence, there is no difference be- hidden entity. He becomes one with God. This tween the universe and the small world, or final principle is a moral obligation and the main the five shadows that are kept in man’s heart goal in the practice of kebatinan. and mind. The eight colours symbolize the unity of the macrocosm and microcosm. Bibliography

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30 Jurnal Budaya Nusantara, Vol.1 No.1, (Juni 2014): 11-30