Paku Alam VII

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Paku Alam VII

Paku Alam VII likes pagelaran wayang purwa. Wayang provides a number of alternatives regarding the characters that can be role models in life. The good figures are personified such as in Rama and the wicked ones are in personified in, for example, Rahwana in the story of Ramayana, or the Pandawa knights as the manifestation of good characters and the Kurawas as the personification of bad characters in the story of Mahabharata (Sucipto, 1972). In the performance of wayang, the good figures always occupy the position on the right of dalang. In wayang the figures assumed to be good are not always perfect in their goodness, and otherwise, the wicked ones are not always bad in their wickedness. It is in this context that an individual can choose which is good and which is bad.

Several ethical dilemmas encountered, someone has to make decision whether he/she has to prioritize his/her self-interests or the public or national interests beyond his/her own interests. These dilemmas are, for example, displayed in the story of Ramayana. In this story Kumbakarna, as narrated in Serat Tripama pupuh Dhandhanggula in padas (rhymes) 3 and 4 and Gunawan Wibisana face the problem of choosing which is the best they have to do. Both have to choose whether they must take Rahwanas part, who is in a fatally wrong position for his seizing Ramas wife, but at the same time their own brother and king, or Ramas part who demands his right to his wife. In deciding this heavy problem, there are two different perspectives resulting from their own considerations. Kumbakarna prefers to defend his country and fights against the Ramas troops to his death, while Wibisana prefers to join Rama to destroy the evil, even if he has to fight against his own brother and country.

The rationale behind this Wibisanas decision is that he doesn’t fight against his brother or country, but he is facing against the evil of his brother and country. Wayang presents many examples of how to live a good family life. And else, it also provides teachings of how husbands take right, duty and moral responsibility for their wives, wives for their husbands, parents for their children, and of how children are to dedicate to their parents, inter-child relationship, and inter-family relationship. It also teaches how to maintain the familys respect and harmony and to highly respect the family ethics norms. Wayang guides those who will establish their families so that they can base their familys life on the basis of good and proper attitude.

A mere love will result in fatality. It is narrated in the characters Narasoma and Setyawati. Narasoma is ashamed of having a giant father-in-law Begawan Bagaspati. Because he loves his daughter very much, Begawan Bagaspati is willing to be killed by his prospective son-in-law as tumbal (sacrifice) for their household life. Such a love will at last require the responsibility up to the death. Gamelan is one of the traditional musical instruments of Indonesia. It is one of the most complete and highly developed orchestras in Indonesia. Gamelan is also called gansa (krama) or pradonggo (kawi). Most of the instruments are made of bronze, an alloy of 10 parts copper (tembaga) and 3 parts tin (rejasa). The gamelan orchestra participates in a wide variety of activities in Java, some of which could be classified as artistic, while others more properly belong to ritual.

Aside from being played as an independent orchestra (klenengan or uyon-uyon), it is also used: to accompany dances, to accompany drama such as sendratari, wayang wong and kethoprak, to accompany shadow puppet or wayang kulit performance (also wayang golek), for ceremonies (wedding ceremony), and recently, in Central Java, as church musical instruments to replace the organ. There are several gamelan ensembles in Indonesia, among them are:

1. Gamelan Jawa (Java) : from Central/ East Java
2. Gamelan Sunda : from West Java
3. Gamelan Dhegung : from West Java
4. Gamelan Bali : from Bali
5. Gamelan Kodhok Ngorek : special small ensemble for ceremony
6. Gamelan Monggang : special small ensemble for ceremony
7. Gamelan Carabalen : special small ensemble for ceremony
8. Gamelan Sekati : special ensemble played once a year during Maulud/sekaten celebration (the birthday of the prophet Moham¬mad SAW)
9. Gamelan Sengganen : gamelan with thick glass keys
10. Gamelan Jemblung : bamboo instruments from Bagelen
11. Gamelan Bumbung : bamboo idiochord instruments from Kediri

A large gamelan set consists of around 70 to 75 instruments. The usual instrumental classification (idiophones, chordophones, aero¬phones, membranophones) is set aside in favor of an arrangement based on function. The grouping of the principal instruments according to their function are: Balungan (main melody playing instruments), Interpunctuating instruments, Syncopating/ paraphrasing instruments, Ornamenting instruments, Conducting/agogic instruments. Suluks are such writings in later Javanese literature as treat in metre of religious subjects, sometimes in the form of a dialogue between a husband and his wife; they are one of the chief sources for our knoledge of Javanese religion. The objec of the present inquiry is to find out to what extent pantheistic or monistic ideas underlie suluk literature and in what form they appear. As a preliminary the notions of pantheism and monism as we understand them in these pages should be clearly defined. A comparison with their counterpart, theism, and espe¬cially with the doctrine of St. Thomas, has resulted in our viewing as pantheistic all such notions of God and the world as deny the essential difference between divine and non-divine being taking no account of the analogia entis.

This brings the difference between pantheism and monism down to a mere difference of degree, in as much as the idea of God is brought into greater prominence in pantheism (Zoetmulder, 1991). As a nearer approach to our subject the next two chapters furnish a brief exposition of pantheism as it appears in Islamism and Hinduism. For the former we have selected three repre¬sentative writers, who each have been charged with pantheism: al-Gazali, al-Hallaj and Ibn al-Arabi. The first however in his ontology appears to admit a pure analogy of being. The second to account for his mystic experiences adopts the doctrine of the sath, the interchange of parts, in which God enters into such intimate union with man, that He speaks with mans tongue, yet without his transcendency being in any way impaired or man being made into God.

It is only Ibn al-Arabi who teaches a doctrine showing great affinity to Neoplatonism, which must undoubtedly be taken to be pantheistic. In Hinduism monism asserts itself much more strongly from the very beginning. It is found in the characteristic tenets of the Upanisads; in the Bhagavadgita efforts are made to combine it with the worship of a personal God and the fundamental ideas of the Sankhya. But it is given free scope among the great Vedanta philosophers, who work it out into an elaborate system; most of all Sankara in his Mayavada, in which everything outside God is declared to be illusory; and Ramanuja in his Visistadvaita, who sees the world and the souls as an attribute, a mode of God. At the end it is pointed out how magical beliefs may be a fertile feeding-ground for pantheism, both because the magical power may become an all-pervading force and because there is a similarity of outlook on the supernatural in both cases, which is not, as it is in theism, a sense of complete dependence (Zoetmulder, 1991). After this introduction we enter upon the inquiry itself by citing some passages which are on the border-line of orthodoxy. In the Book of Bonang the transcendency of God is preserved intact; and where it seems to be suggested that man is a mere nothing, such words should rather be taken as a description of the mystic extasy in which all consciousness of self is lost. In one passage, moreover, we are reminded of the sath of al-Hallaj.

An ontology, quite independent of any mystic experience, is to be found in Cod. 1796; there is a striking resemblance to al-Gazali, who considers the created world as non-existent when contem-plated in itself, and as real ink so far as it points way to God. Quite a different state of things is revealed in the fragments cited in the fifth chapter. There a detailed analysis is given of the doctrine of emanation, which bears a strong resemblance to Ibn al-Arabi and his school. Emanation moves in seven stages (martabat). The first is the ahadiyya, the stage of non-differentia¬tion. Individuation begins in the wahda, but the difference between the knowing and the known does not yet obtain. Not until the third stage, the wahidiyya, do distinct notions arise. These three stages may be considered to form the sphere of the divine as contrasted with the sphere of the created, which in its turn contains four stages: alam arwah. alam mital, alam agsam and insan kamil. The unity of these two spheres is discussed at length; the latter is only a manifestation, a shadowing-forth (miyangga = mayangga) of the former. The representation of all the visible world as a false, an illusory being (wugud wahmi) would seem to betray Indian influence. This abstract doctrine finds its application in the practice of mysticism. The ecstatic ascent to the Godhead (tarakki) travels the way by which one has descended (tanazzul). But it should be noted thal the unity of God and man thus arising, or rather thus realized, is not represented as perfect.

There is a hesitancy, terms are used such as one and not one (runggal tan runggal), a two-in-oneness (loro ning atunggal). This wavering may be many kinds ofly accounted for it may be a consequence of the doctrine of emanation, which after all still admits some sort of difference between the emanating principle and its emanated effect; it may be the expression of the mystic experience, in which the sense of oneness during the ecstasy is superseded by the creature-sense after it; or again it may be the formula for an imperfect intermediate state in the ascent of the mystic towards the Godhead or for a doctrine which is meant for the less advanced; or at the end it may be: an attempt to be vague and indistinct of set purpose to increase the mystery (Zoetmulder, 1991).

It is not always that the doctrine of emanation follows the lines traced by the seven martabats; it is often greatly simplified. Thus the relation between God and the world is sometimes viewed as the relation between essence (dat) and attribute. There is aggrement here, as we have pointed out, with Ramanuja. At other times a trichotomy is applied, by which a link is introduced between the sphere of the absolute and that ot the relative, which link or spirit of relation (ruh idafi) may in its turn be connected with God through a primary emanation (dewana nukat). One theory recalls notions which are to be found in Tantrism. It is that which makes the undifferenctiated being of God the source from which the invisible world issues as a male principle and the visible world as a female principle.

We have seen in the preceding chapters how the world, especially man, is represented as emanating from God in such a way that they remain one with him, forming part of him. This aspect may be characterized as: man in God. There now follow a number of passages, in which stress is laid on the in-dwelling of God in man. A parallel line of thought is we believe to be found in the Hindu doctrine of litman, even more than in the teaching of Mohammedan mysticism regarding the sirr. This divine element in man is designated by many kinds of terms: sometimes it is called rasa, in which the meanings of Sanskrit rasa and secret, mystery are run together; sometimes it is urip (life) or suksma (the immaterial, the soul). Especially the last-mentioned word is of frequent occun ence, since Hyang Suksma is an ordinary name for God. Sometimes there is intro¬duced a special bearer of this divine life, called pramana, who has the independent government of the body as the wayang player has of his puppets.

If, therefore, man wants to find God, he need not go far, he need only look into himself, and in him who zealously strives to be perfect, the immaterial being commu¬nicates its qualities to the body (angraga sul sma). Radical monism, at the end, is to be found in the fragments cited in the ninth chapter. The conscious subject is identified with God and the world, with all that exists; even to the extent of the assertion that there exists no God, but only the subject speaking or spoken to. This entails a repudiation of all the precepts of religion, a deliberate coming forward as an unbeliever, because then only one avows oneself a true follower of Islam. This teaching consistently carried into daily conduct leads to license in the domain of morals, the description of which recalls that of some Hindu sects (Pasupatas, Kapalikas etc.). The sketch of the many kinds of forms of pantheism and monism in suluk literature is thus concluded. The tenth and eleventh chap¬ters are concerned to show the reader in what way these doctrines are brought home and visualized by means of compari-sons and allegories, among which those derived from wayang play and masks easily rank first.

The twelfth and last chapter sets out the teaching of the wali’s, legendary propagators of Islamism. Of special importance is the monism of Siti Jenar, whose history shows points of resemblance with that of al-Hallaj. According to Bratadiningrat (1990), genealogy of Paku Alam VII : name timur : B.R.M. Surarjo. 

Pangeran : K.P.H. Surarjaningrat. 

Wiosandalem : 

Saptu Kliwon 28 Suro Ehe 1812; Mangsa kanem Wuku Wuye Windu Kuntara, utawi 9 Desember 1882. 

Jumeneng Adipati : 

Senen Pon 1 Dulkangidah Ehe 1836 Mangsa Kanem Wuku Pahang Windu Adi utawi 17 Desember 1906. 

Surud dalem : 

Selasa Paing malem Rebo Pon, 5 Besar Alip 1867 Mangsa Kawolu Watugunung Windu Kasarekaken Astana Girigodo. 

Prameswari : 

G.R.A. Adip Paku Alam. G.R.Aj. Retnopuasa, putri dalem Sampeyan dalem Hingkang Minulya saha Wicaksana P.B. X. Putra-putri sadaya:

1. K.G.P.A.H. Paku Alam VIII, G.R.M. Sularso
2. K.P.H. Nototaruno, B.R.M. Sutikno, mios from Ampil.
3. B.R.Ay. Cokronegoro, B.R.Aj. Sulastri.
4. B.R.Ay. Kartaningprang, B.R.Aj. Kusabandinah
5. B.R.Ay. Jayaningprang, B.R.Aj. Kuspinah
6. B.R.Ay. Jurumartani, B.R.Aj. Kusdarinah
7. R.Ay. Kartonegoro, B.R.Aj. Kusbinah

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