Wednesday, January 30, 2008

Batara Semar


MAYA adalah sebuah cahaya hitam. Cahaya hitam tersebut untuk menyamarkan segala sesuatu.
Yang ada itu sesungguhnya tidak ada.
Yang sesungguhnya ada, ternyata bukan.
Yang bukan dikira iya.
Yang ”wanter” (bersemangat) hatinya, hilang ”kewanterane: (semangatnya), sebab takut kalau keliru.


Maya atau Ismaya, cahaya hitam, juga disebut SEMAR artinya tersamar, atau tidak jelas.

Di dalam cerita pewayangan, Semar adalah putra Sang Hyang Wisesa, ia diberi anugerah mustika manik astagina, yang mempunyai 8 daya, yaitu: (1) tidak pernah lapar, (2) tidak pernah mengantuk, (3) tidak pernah jatuh cinta, (4) tidak pernah bersedih, (5) tidak pernah merasa capek, (6) tidak pernah menderita sakit, (7) tidak pernah kepanasan, dan (8) tidak pernah kedinginan.

Kedelapan daya tersebut diikat pada rambut yang ada di ubun-ubun atau kuncung. Semar atau Ismaya, diberi beberapa gelar yaitu; Batara Semar, Batara Ismaya, Batara Iswara, Batara Samara, Sanghyang Jagad Wungku, Sanghyang Jatiwasesa, Sanghyang Suryakanta. Ia diperintahkan untuk menguasai alam Sunyaruri, atau alam kosong, tidak diperkenankan menguasi manusia di alam dunia.

Di alam Sunyaruri, Batara Semar dijodohkan dengan Dewi Sanggani putri dari Sanghyang Hening. Dari hasil perkawinan mereka, lahirlah sepuluh anak, yaitu: Batara Wungkuam atau Sanghyang Bongkokan, Batara Siwah, Batara Wrahaspati, Batara Yamadipati, Batara Surya, Batara Candra, Batara Kwera, Batara Tamburu, Batara Kamajaya dan Dewi Sarmanasiti. Anak sulung yang bernama Batara Wungkuam atau Sanghyang Bongkokan mempunyai anak cebol, ipel-ipel dan berkulit hitam. Anak tersebut diberi nama Semarasanta dan diperintahkan turun di dunia, tinggal di padepokan Pujangkara. Semarasanta ditugaskan mengabdi kepada Resi Kanumanasa di Pertapaan Saptaarga.

Dikisahkan Munculnya Semarasanta di Pertapaan Saptaarga, diawali ketika Semarasanta dikejar oleh dua harimau, ia lari sampai ke Saptaarga dan ditolong oleh Resi Kanumanasa. Ke dua Harimau tersebut diruwat oleh Sang Resi dan ke duanya berubah menjadi bidadari yang cantik jelita. Yang tua bernama Dewi Kanestren dan yang muda bernama Dewi Retnawati. Dewi Kanestren diperistri oleh Semarasanta dan Dewi Retnawati menjadi istri Resi Kanumanasa. Mulai saat itu Semarasanta mengabdi di Saptaarga dan diberi sebutan Janggan Semarsanta.

Sebagai Pamong atau abdi, Janggan Semarasanta sangat setia kepada Bendara (tuan)nya. Ia selalu menganjurkan untuk menjalani laku prihatin dengan berpantang, berdoa, mengurangi tidur dan bertapa, agar mencapai kemuliaan. Banyak saran dan petuah hidup yang mengarah pada keutamaan dibisikan oleh tokoh ini. Sehingga hanya para Resi, Pendeta atau pun Ksatria yang kuat menjalani laku prihatin, mempunyai semangat pantang menyerah, rendah hati dan berperilaku mulia, yang kuat di emong oleh Janggan Semarasanta. Dapat dikatakan bahwa Janggan Semarasanta merupakan rahmat yang tersembunyi. Siapa pun juga yang diikutinya, hidupnya akan mencapai puncak kesuksesan yang membawa kebahagiaqan abadi lahir batin. Dalam catatan kisah pewayangan, ada tujuh orang yang kuat di emong oleh Janggan Semarasanta, yaitu; Resi Manumanasa sampai enam keturunannya, Sakri, Sekutrem, Palasara, Abiyasa, Pandudewanata dan sampai Arjuna.

Jika sedang marah kepada para Dewa, Janggan Semarasanta katitisan oleh eyangnya yaitu Batara Semar. Jika dilihat secara fisik, Semarasanta adalah seorang manusia cebol jelek dan hitam, namun sesungguhnya yang ada dibalik itu ia adalah pribadi dewa yang bernama Batara Semar atau Batara Ismaya.

Karena Batara Semar tidak diperbolehkan menguasai langsung alam dunia, maka ia memakai wadag Janggan Semarasanta sebagai media manitis (tinggal dan menyatu), sehingga akhirnya nama Semarasanta jarang disebut, ia lebih dikenal dengan nama Semar.

Seperti telah ditulis di atas, Semar atau Ismaya adalah penggambaran sesuatau yang tidak jelas tersamar.Yang ada itu adalah Semarasanta, tetapi sesungguhnya Semarasanta tidak ada. Yang sesungguhnya ada adalah Batara Semar, namun ia bukan Batara Semar, ia adalah manusia berbadan cebol,berkulit hitam yang bernama Semarasanta.
Memang benar, ia adalah Semarasanta, tetapi yang diperbuat bukan semata-mata perbuatan Semarasanta.

Jika sangat yakin bahwa ia Semarasanta, tiba-tiba berubah keyakinan bahwa ia adalah Batara Semar, dan akhirnya tidak yakin, karena takut keliru. Itulah sesuatu yang belum jelas, masih diSAMARkan, yang digambarkan pada seorang tokoh Semar.

SEMAR adalah sebuah misteri, rahasia Sang Pencipta. Rahasia tersebut akan disembunyikan kepada orang-orang yang egois, tamak, iri dengki, congkak dan tinggi hati, namun dibuka bagi orang-orang yang sabar, tulus, luhur budi dan rendah hati. Dan orang yang di anugerahi Sang Rahasia, atau SEMAR, hidupnya akan berhasil ke puncak kebahagiaan dan kemuliaan nan abadi. *** (herjaka-TEMBI)

The Dewaruci Mythology: A Wayang Story



The Dewaruci story is drawn from the Indian Mahabharata epics, even though it is entirety Javanese in concept, and is traditionally told in the wayang kulit or shadow puppet theaters. This wayang story is used by all mystical sects in Java to serve as an allegory for potential spiritual transformation in their lives, but it also touches the deepest levels of reality in Javanese day-to-day life and cultural worldview.

The Dewaruci epic influences all classes of Javanese society to some extent, where, as praxis its adherents make the true meaning of the Dewaruci real, which is expressed through their culturally determined worldview, thereby establishing the true spirit of Javanese life. It is because of that, without understanding the Dewaruci story itself, the observer may fail to see the whole point of the Javanese culture and their worldview. Because of the important influences that the Dewaruci story has on the worldview of Javanese society and culture, it requires further analysis of its esoteric messages before relating its connection to the praxis of everyday life in Java.

In its esoteric mystical sense, the story of Dewaruci symbolizes the union of man with god; the spirit of man, represented by the Dewaruci, leads the self and soul of the adherent toward harmony, thus providing spiritual awakening and fulfillment of life in the mystical union with God. For the non-mystics, who recognize that the ultimate goal of union with the divine is for the very few, it represents the satisfaction obtainable by ordering the inner and outer aspects of their lives. The account of Dewaruci revolves around its main character that is named Bima; he is one of five Pandawa brothers whom, accompanied by Krishna, are destined to join battle against their one hundred Kurawa cousins in order to reclaim the lost kingdom of Ngastina, which the Kurawa wrongfully usurped from them.

The story begins with Suyudana, the king of the Kurawa, who plots the death of his enemy Bima. Suyudana enlists Durna, a trusted spiritual guide to both the Pandawa and Kurawa, to send Bima on a difficult journey that will certainly kill him. Durna tells him to search for the water of eternal life in which he must bath, as it will protect him from his enemy Suyudana. Durna instructs Bima that the water of life can be found in the Candramuka Cave at the top of a mountain; however, Durna knows there are two powerful giants that live on the mountain who are sure to kill Bima when he comes to disturb them.

Ignoring the entreaties of his concerned brothers, he sets off to the mountain and inadvertently awakens the two giants from their meditations as he is searching the mountain for the water of life and must fight them. He realizes during the ensuing struggle that he must strike the giant’s heads together in order to kill them. In killing the giants Bima frees the gods Indra and Bayu from Batara Guru’s (a manifestation of Shiva) curse as incarnations of giants and they in turn gratefully inform him that there is no sacred water on the mountain.

Bima then suspiciously returns to Durna who explains that he was only testing his protégé’s resolve before sending him on his real journey to find the water of eternal life. Durna now tells him the water of eternal life is to be found at the bottom of the sea, hoping that sea monsters will surely kill Bima as he searches the depths of the oceans. His brothers again warn him that he should not go, but he ignores their pleadings, he enters the sea and begins his search for the magic water.

...read more? ... here!

Friday, January 11, 2008

About Jogjakarta


Yogyakarta is an old city that keeps a lot of hidden charm in it. The city come into existence in 1755 when the Yogyakarta Sultanate established (exactly the city of Yogyakarta build on 7th on October 1756). Indeed, the sultanate and the first King Sultan Hamengku Buwana 1 has settled the forthcoming future of the city. As the old city, many heritage can be found in the city and its surrounding. Not only historical heritage from the 17th century, but also from hundreds century before. During 16 th century the city become the center of Islamic Mataram Kingdom while hundreds centuries before in 8 th century, Yogyakarta become the center of culture that intensively influenced by Hindu and Budha. This is shown in many temples inside the siva plateau (the area within prambanan temple, Ratu book temple, Kalasan temple and surroundings.
During the independence fighting war, Yogyakarta take the important role in the Indonesian struggle against the colonial. Many national figure borned in the city, and took they part in the national journey such as Ki Hajar Dewantara, KH Ahmad Dahlan, Sri Sultan Hamengku Buwana IX, and much more Indonesia’s heroes. Many heroic events happened in the city, which one is Total offensive on march 1st, 1949. Yogyakarta is also known as an educational city where young people from all over Indonesia come to continue their study here.
Yogyakarta is also a city that tighly holds the Javanese traditional values and culture which indeed has become the main assets in developing the city especially in tourism industry. Presently, Yogyakarta is getting ready to maintain itself as the main destination in Indonesia. (jogjatogo.com)

Ronggeng Dukuh Paruk (Ahmad Tohari) - Lintang Kemukus Dini Hari (Ahmad Tohari) - Jentera Bianglala (Ahmad Tohari) - Kubah (Ahmad Tohari) - Di Kaki Bukit Cibalak (Ahmad Tohari) - Bekisar Merah (Ahmad Tohari) - Siti Nurbaya (Marah Rusli) - Di Bawah Lindungan Kabah (Hamka) - Azab dan Sengsara (Merari Siregar) - Harimau-Harimau (Mochtar Lubis) - Supernova (akar - Dee) - Supernova (petir - Dee) - - Sengsara Membawa Nikmat (Tulis Sutan Sati) - Mantra Penjinak Ular (Kuntowijoyo) - Mangir (Pramoedya Ananta Toer) - Arok-Dedes (Pramoedya Ananta Toer) - Perburuan (Pramoedya Ananta Toer) - Kasih Tak Terlerai (Suman Hs) - Gadis Pantai (Pramoedya Ananta Toer) - Atheis (Achdiat Kartamiharja)


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