Wave of Sufism Sheikh Hamzah Fansuri

 

Wave of Sufism Sheikh Hamzah Fansuri

 In the Muslim archipelago's literary tradition and knowledge, the name of Shaikh Hamzah Fansuri is a guarantee of civilization. His poems become historical folds and cultural artifacts to spin the golden age of the Aceh kingdom. Hamzah Fansuri gave a road map for Nusantara poets to create, marking events. Hamzah Fansuri's poems are not just an expression of words, but also mark spiritual turmoil as a Sufi practice and its meaning.

Hamzah Fansuri was born in the land of Fansur or Barus, between the 16th and 17th centuries AD. In that year, the land of his birth entered the Kingdom of Aceh Darussalam. Ali Hasymi's account (1984) revealed that Hamzah Fansuri together with his brother, Ali Fansuri established a dayah (school) in the Singkil area, Aceh area.

In his research, Abdul Hadi WM (2012) wrote that Hamzah Fansuri was and lived in the golden age of Aceh civilization, namely when Aceh was led by Sultan Sayyid al-Mukammil and Iskandar Muda. “At that time, Aceh Darusslam became the center of writing religious books, science and literature. Malay plays an important role as the language of intellectual communication accompanying the role of Arabic," said Abdul Hadi. This is in line with Prof. A Hasymi's research, which states that Shaykh Hamzah Fansuri lived during the reign of Sultan Alauddin Riayat Syah IV, Sayyidil Mukammil (997-1011 H/ 1589-1604 AD), until the reign of Sultan Iskandar Muda Darma Wangsa Mahkota Alam ( 1016 – 1045 H/ 1607 – 1636 AD).

Shaikh Hamzah Fansuri is skilled in jurisprudence, Sufism, philosophy, logic, penmanship, history, and literature. It can be said that Shaikh Hamzah Fansuri is a scientist who has mastered a wide range of knowledge. In fact, in the field of language, he is able to speak in Urdu, Persian, Malay, and Javanese. Malaysian researcher, Prof. Dr. Naguib al-Attas in his book: "The Mysticism of Hamzah Fansuri", mentions that Hamzah Fansuri is the greatest Malay poet of the XVII century, a Sufi poet who has no comparison in that century.

Sufism Hamzah Fansuri

In writing his Sufistic poetry, Hamzah Fansuri combines metaphysics, logic and aesthetics in a balanced way. In this case, rational, intuitive and empirical knowledge become basic elements that both play an important role in the creation of poetry. The meaning contained in Hamzah Fansuri's poems, became the pulse for his Sufistic energy, became the passion of all his inner wanderings. In this case, symbols and signs become important to describe the spirit as well as the spiritual message of the poet. Hamzah Fansuri is very aware of this, as evidenced by the symbols contained in his poems.

In his poem, ikat-ikatan XIV (MS Jak. Mal. 83):

Thayr al-'uryan fowl Sulthani

His people are nur al-rahmani

Tasbih Allah subhani'

Crazy and drunk on rabbinic

The poultry needs to be weighed

The color is perfect

His house has no shutters

He sat behind the curtain

Originally named ruhi

The milat is too Sufi

Her body is too holy

The mushaf is large, the letters are Kufi

The throne of God will be the base

Habib Allah will take care of it

Bayt Allah will be his cage

Facing God politely

The book of God is on him

Unseen God will visit him

'Alam Lahut about his cage

On the da'irah Hu is his point of view

God bless him left and right

God's thoughts are like his body

Tawhid syrup for the drink

Da'im meets his Lord

The dawn is too bright

There was no evening

The road is too quiet

Goods got him too win

Science is the first science

The first madhhab

The light is an old light

Into heaven together

 

The expression thayr al-'uryan fowl Sulthani signifies the symbolism used in Hamzah Fansuri's poems. Birds flying freely in the sky, signify human independence as a person, not burdened by trivial interests. In fact, birds as manifestations of creatures who are very resigned to God, seek food in moderation and fly freely wherever they go. Meanwhile, the expression al-'uryan, the literal meaning is naked. Namely, the human soul that has nothing but attachment to God.

The use of bird imagery, in Hadi WM's notes (2013), becomes a symbol for the soul that has experienced self-purification (tazkiyatun nafs). In the words of Braginsky (1993) he was inspired by the allegory Fariduddin Atthar who wrote an important work: Manthiq at-Thair (Bird Conference). In this case, Nur Muhammad is a Sufistic concept of the nature of events, which is often transformed from a sign of glittering light and pearls to a pingai bird, which gives the impression of beauty and elegance. The Hikayat Genesis Nur Muhammad records these symbols (Edwar Djamaris, 1990).

Shaykh Hamzah Fansuri's sufistic message, revealed in 'Sidang Ahli Suluk' Part I, Verse 9.

"Eliminate your mind and sense,

Get rid of your body and life

Close your eyes

There, I saw your beauty"

Shaikh Hamzah Fansuri wrote several books about Sufism, in the form of Classic Malay poems. There are three essays that are references to Shaikh Hamzah Fansuri's Sufistic thought. First, Syarab al-'Asyiqin , a systematic and simple guide for beginners to travel towards the path of God.

Second, a book called Asrar al-Arifin . Sufism efforts for intermediate level readers, with higher knowledge. Third, the book of al-Muntahi , which gives an interpretation of the hadith "Whoever knows himself, then he will know his Lord." In his poems, Shaikh Hamzah Fansuri writes simply, easily understood, and expressively.

In Hamzah Fansuri's view, his poems become a medium for preaching as well as spreading love, spreading happiness in life. Sufi aesthetics based on love ( isyq ) and love is the central theme of Sufi literature. His book, entitled Syarab al-'Asyiqin, becomes a guide to finding silence towards God. Syarab al-'Asyiqin means 'lover's drink'. The most intoxicating drink, in the words of Hamzah Fansuri, is the wine of monotheism, sipping the pleasure of love for God.

Indonesian literature researcher, A Teew said that there are three styles of Hamzah Fansuri's poetry. First, the individuality, the poetry is not anonymous as is usually the case with old Malay literature. Shaykh Hamzah Fansuri expresses his personality as well as his work, not only in the colophon but also in the narrative of his poetry. He combines his name as an author with personality and morals in his poetry.

Second, Hamzah Fansuri created a new form of poetry to express his soul. This has an impact on the development of poetry in Indonesia in this century, with the creation of Sonnets by poets in the 1920s. Third, Hamzah Fansuri uses creative language in his poetry. He uses Arabic words that are very prominent, in his poetic imagination.

During his life, Hamzah Fansuri likes to explore and take long trips to the corners of the archipelago and the Arabian Land. Traces of his journey, among others: Pahang, Ayttuhaya, Mughal India, Makkah, Medina and Baghdad. When Hamzah Fansuri traveled to Mughal India and Farsi, he absorbed the knowledge of Wahdatul Wujud, which originated from the thought of Ibn 'Arabi who was born from the Andalusian civilization. When living in Aceh at the end of the 16th century, Hamzah Fansuri taught Wahdatul Wujud. At that time, Aceh became the center of archipelago civilization, political power, and the circle of Islamic government replacing Malacca which was attacked by the Portuguese in 1511.

However, when in Aceh, Hamzah Fansuri received harsh criticism from Nuruddin al-Raniri. In fact, some groups proposed that Hamzah Fansuri be killed and burned along with his work. From this trail, Hamzah Fansuri's poems are not seen much in the work of Nusantara as Hikayat Aceh (Ooi Keat Gin, 2004: 561-562). There are not many works that surpass and precede the poetry of Hamzah Fansuri. In the analysis of Syed Naguib al-Attas, Hamzah Fansuri's poetry is considered to originate from the Sumatran mystic of the 16th century (Siti Hawa Haji Saleh: 123, al-Attas, 1970: 322).

In the notes of Jodhi Yudono (2013), there are four versions of Hamzah Fansuri's tomb. The first version, he was buried in Oboh Village, Runding District, Subulussalam City, 14 kilometers from Subulussalam, South Aceh. The second version, his tomb is located in Ujung Pancu Village, Pekan Bada District, Aceh Besar. In the story that was passed down to his generation, Shaykh Hamzah Fansuri had lived in both areas. Meanwhile, other tombs are located in Langkawi, Malaysia and in Makkah. The different versions in mentioning the location of the tomb, show how Sheikh Hamzah Fansuri is known to a wide audience, with a deep love for his figure.

For the Islamic tradition and Sufism of the Archipelago, Hamzah Fansuri is a bridge to link Nusantara civilization with Islamic networks in Arabia and Europe. Hamzah Fansuri's poems become a sufistic expression, how his pulse and spiritual passion are integrated with allusions about the culture and politics of the archipelago. This is the long trail of Shaykh Hamzah Fansuri in the Islamic civilization of the Archipelago