PUPPET STORY ANALYSIS DEWA RUCI by Slamet Priyadi

DEWA RUCI

BIMA SENA

PUPPETPPPU SUNDAY, DECEMBER 18, 2011 - DENMAS PRIYADI BLOG :  Dewa Ruci play in the puppet story is one of the stories written by Muslim poets are better known as the Wali Sanga. In the book, De Heiligen van Java, 150 pages written by Dr. D.A. Rinkes, stated that, "the play-Sunan Kalijaga fabricate new puppet play and puppet shows held by him as the mastermind in the form of wages sentence Creed."

Related to the above, Prof.. Adnan in his speech at the ceremony penyerahah houses for professors IAIN Demangan, Yogyakarta on July 14, 1962 states:

"Our society of Indonesia (Java) are still fond of puppet arts, began to ancient times until now, both in village and city. Therefore Wali Sanga noticed it for the purposes of da'wah enter Islamiyah. "

DORNA

In a religious act Dewa Ruci is told, the effort and hard work Bima or Arya Sena who want to get the holy water of life, "Perwita Tirta Sari." Various kinds of trials and challenges and temptations facing a very severe Bhima, but Bhima eventually able to handle it and Bima managed to find and get the holy water that intangible “Tirta Perwita Sari” Dewa Ruci other is not himself. The play implies Dewa Ruci tasauf philosophy of Islam is very deep because of the willingness kesatriya describes a spirituality that hard to find the best possible way in order to bring men to eternal happiness and eternal in Syurga.

Who is Dewa Ruci exactly? Dewa Ruci means a smooth and gentle god, the god of Bima or Arya Sena which is a manifestation of his own personal real.

Narrated when Bima studied the science teacher Drona on the perfection of humanity and learn about real life when he met with Dewa Ruci. He was ordered to go into his body, but Bhima said:

"Is it enough if I get into the sport you are so small?"
"Ha ha ha ... let alone for your body, world and all its contents can enter into my body!" He said Dewa Ruci with a guffaw.

RUKMUKA

Already we know that the story is a puppet of the Gods Ruci bouquet of poets of Islam propagator of Islam in Java during the reign of the Islamic empire Demak, therefore analysis of the wayang stories Dewa Ruci closely linked to Islamic teachings. The following analysis is I quote from the book "Elements of Islam In the Puppets" by Drs. H. Effendi zarkasi of Ki Siswo Harsoyo opinion in the book "How To Religion." Here is the quotation:

1. In the story God Ruci, Bima or Arya Sena studied to Guru Drona that is, those that are thought to give the right directions, knowledgeable in a spiritual high. Have high science and kerokhanianya both worldliness, pious people.

Analysis:
For people who want to explore religion (meaning unity), he must be studied to those that are considered pious (knowledgeable and good moral) ask for directions (Tariq). That is the Order requested the discourse about science. Although there is also a teacher sometimes misleading, but because the Milky argued strongly that the teacher is a figure of honest, knowledgeable, good faith and a certain character, then what the teacher has always complied with, as the cleric said, which reads thus:

"The hand (of power) God is in control mouth scholars, will not he say, except only the truth of God". (Al-Ghazali, Ihyaa 'Ulumuddin, Volume III page 26.)

RUKMAKALA

2. After meeting with the teacher Drona, Bhima expressed his desire to seek Perwita Tirta Sari, holy water for the sanctity of human life. By his teacher suggested that the Milky dismantle Reksamuka mountain.

Analysis:
People who would sit under the Order of science will not be accepted prior to first give up all worldly desires and passions of him, his heart must be cleaned first. This is indeed something very hard to go through such severity dismantle the mountain. Indeed, to get to the science of the Order had to pass through the steep,

winding, a variety of temptations and challenges that are full of difficulties. (Reksamuka = ​​rumeksa ing degrees, fort worldly life). This work was hard, because he must stay away from the mundane world into a human decoration. As the Word of God:

"It has been decorated with human preferences for desired items, namely the women and children, (jewelry) gold and silver piled, and horses (vehicles) is good, cattle, rice field, so that the jewelry in the world, but Allaah has the excellent return ". (Al-Qur'an, S. Ali Imran: 14)

3. Milky follow the directions the teacher, then went to unload the mountain Reksamuka.

Analysis:
After studying with people who have been given instructions, must be obedient and submissive to live and work with full sincerity, no matter how hard and difficult, although it must abandon worldly loves.

4. Arriving at the mountain Reksamuka Bima continues to tear apart, to destroy all the evil creatures that exist in these gununug. Battle took place anatara Bima Arya Sena with two giant creatures of the mountain dwellers Reksamuka namely, Rukmuka and Rukmakala.

Analysis:
People who are trying to purify themselves should be able to fight and defeat all kinds of worldly temptations. Rukmuka a giant picture of the senses which, if not careful always bring people to heresy. While the Giants Rukmakala is a picture of reason which is also often menyesarkan humans. He should be able to defeat the evil temptations of the passions in order to achieve happiness. God's Word says:

"As for those who fear their Lord and the greatness of people who can prevent their desires, Syorgalah place". (Al-Qur'an, S. An-Naziaat: 40-41)

5. In a battle that could destroy both Bima Sena and Rukmakala Rukmuka giants.

Analysis:
That for people who have been able to subdue and control his desires will be selamatlah him, as the Word of God:

"And God save those who are devoted to escape because they (ie, untouched by the ugliness), and they will tiddaklah grief". (Al-Qur'an, S. Azzumar: 61)

[ Reference: Elements of Islam In Puppets, Drs. H. Effendi zarkasi ]

Saturday, December 17, 2011
Slamet Priyadi at the Lido - Bogor

ANALISA CERITA WAYANG DEWA RUCI  by Slamet Priyadi

RUKMUKA, RUKMAKALA, BIMA SENA

Lakon Dewa Ruci dalam kisah pewayangan merupakan salah satu cerita karangan para pujangga Islam yang lebih dikenal dengan sebutan Wali Sanga. Dalam buku, De Heiligen van Java, halaman 150 yang ditulis oleh Dr. D.A. Rinkes, dinyatakan  bahwa, “Sunan Kalijaga mengarang lakon-lakon wayang baru, dan menyelenggarakan pertunjukan-pertunjukan wayang dengan upah baginya sebagai dalang berupa Kalimat Syahadat.”  

Berkait dengan hal tersebut di atas, Prof. Adnan dalam kata sambutannya pada acara penyerahah rumah-rumah bagi para dosen IAIN Demangan, Yogyakarta pada tanggal 14 Juli 1962 menyatakan :  

“Masyarakat kita bangsa Indonesia (Jawa) masih gemar sekali kesenian wayang, mulai zaman dahulu hingga sekarang, baik di desa maupun dikota. Oleh karena itu Wali Sanga memperhatikan hal tersebut untuk keperluan memasukkan da’wah Islamiyah.”   

Dalam lakon Dewa Ruci yang religius itu dikisahkan, upaya dan tekad keras Bima atau Arya Sena yang ingin mendapatkan air suci kehidupan, “Tirta Perwita Sari.”  Berbagai macam percobaan dan tantangan serta godaan yang sangat berat dihadapi Bima, akan tetapi Bima pada akhirnya mampu mengatasinya dan Bima berhasil menemukan dan mendapatkan  air suci Tirta Perwita Sari yang berujud Dewa Ruci yang bukan lain adalah dirinya sendiri.  Lakon Dewa Ruci mengandung makna filsafat tentang tasauf Islam yang sangat mendalam oleh karena menggambarkan seorang kesatriya dengan kemauan spiritualitas yang keras untuk mencari jalan yang sebaik-baiknya agar bisa membawa manusia kepada kebahagiaan yang kekal dan abadi di Syurga. 

Siapakah Dewa Ruci sebenarnya?  Dewa Ruci berarti Dewa yang halus dan lembut, adalah dewa dari Bima atau Arya Sena yang merupakan perwujudan dari pribadinya sendiri yang sesungguhnya.  Dikisahkan ketika Bima berguru kepada guru Dorna tentang ilmu kemanusian dan belajar tentang kesempurnaan hidup sejati ketika bertemu dengan Dewa Ruci. Ia diperintahkan agar masuk ke raganya, akan tetapi Bima berkata:

“Apakah cukup jika aku masuk ke dalam raga kamu yang begitu kecil?”

“Ha ha ha… jangankan hanya sebesar badanmu, dunia dan segala macam isinya ini dapat masuk ke dalam ragaku!” demikian jawab Dewa Ruci sambil tertawa terbahak-bahak.  

Ini sebagai gambaran atau symbol bahwa kejiwaan manusia lebih luas dari dunia seisinya.

Dalam bentuk wujudnya Dewa Ruci digambarkan bermata bulat, hidung dempak, berambut gimbal terkembang, berkuku “Panco Noko”, berkain kotak-kotak segi empat, dan bersepatu ciri seorang dewa. Bentuk tubuh dan raut muka sama persis dengan Bima hanya lebih kecil.

Sudah kita ketahui bahwa cerita wayang tentang Dewa Ruci adalah karangan pujangga Islam penyebar agama Islam di Jawa era pemerintahan kerajaan Islam Demak, oleh karena itu analisa cerita wayang Dewa Ruci berkait erat dengan ajaran Islam.  Analisa berikut adalah saya kutip dari buku “Unsur Islam Dalam Pewayangan” karangan Drs. H. Effendi Zarkasi dari pendapat Ki Siswo harsoyo dalam buku “Guna Cara Agama.”  Berikut adalah kutipannya:

1. Di dalam cerita Dewa Ruci, Bima atau Arya Sena berguru kepada Guru Dorna yaitu orang yang dianggap bisa memberi petunjuk yang  benar, berilmu tinggi secara spiritual.  Memiliki ilmu tinggi baik keduniawian maupun kerokhanianya, orang yang alim.

Analisa :

Bagi orang yang ingin mendalami agama (arti tauhid), dia harus berguru kepada  orang yang dianggap alim (berilmu dan berakhlak baik) minta petunjuk jalan (thariq).  Jelasnya meminta wejangan tentang ilmu thariqat.  Meskipun seorang guru terkadang ada juga yang menyesatkan, akan tetapi karena Bima berpendapat kuat bahwa guru adalah sosok yang jujur, berilmu, beriman dan berakhlak baik, maka apa yang dikatakan gurunya selalu dipatuhinya, sebagaimana kata ulama yang berbunyi demikian: 

“Tangan (kekuasaan) Allah itu mengendalikan mulut cendikiawan, tidak akan dia mengucap, kecuali hanya kebenaran dari Allah”.  (Al Ghazali, Ihyaa ‘Ulumuddin, Jilid III halaman 26. )

2. Setelah bertemu dengan guru Dorna, Bima mengutarakan keinginannya untuk mencari Tirta Perwita Sari, air suci untuk  kesucian hidup manusia.  Oleh gurunya Bima disarankan agar membongkar gunung Reksamuka.

Analisa :

Orang yang akan berguru ilmu thariqat tidak akan bisa diterima sebelum terlebih dahulu melepaskan segala keinginan dan nafsu keduniawian dari dirinya, hatinya harus dibersihkan terlebih dahulu. Ini memang sesuatu yang sangat berat untuk dijalani seperti beratnya membongkar gunung.  Memang untuk sampai ke ilmu thariqat itu harus melalui jalan terjal, berliku-liku, bermacam-macam godaan dan tantangan yang penuh dengan kesukaran-kesukaran.  (Reksamuka = rumeksa ing gelar, benteng hidup keduniawian).  Pekerjaan ini memang berat, sebab  dia harus  menjauhi keduniawian yang menjadi hiasan manusia.  Sebagaimana Firman Tuhan :

“Telah dihiasi manusia dengan kesukaan-kesukaan kepada barang yang diingini, yaitu wanita-wanita dan anak-anak, (perhiasan) emas dan perak yang bertumpuk-tumpuk, kuda (kendaraan) yang bagus, binatang ternak, sawah lading, yang demikian itu perhiasan di dunia, tetapi di sisi Allah ada tempat kembali yang baik”. ( Al-Qur’an, S. Ali Imran: 14 )

3. Bima mematuhi petunjuk gurunya, lalu pergi untuk membongkar gunung Reksamuka.

Analisa :  

Setelah orang yang berguru telah diberi petunjuk, harus taat dan patuh untuk menjalani dan mengerjakannya dengan penuh keikhlasan betapapun berat dan sukar, meskipun harus meninggalkan keduniaan yang dicintainya.

4. Setibanya di gunung Reksamuka Bima terus mengobrak-abrik, menghancurkan segala makhluk jahat yang ada di gununug tersebut.  Terjadilah pertempuran anatara Bima Arya Sena dengan dua makhluk raksasa penghuni gunung Reksamuka yaitu, Rukmuka dan Rukmakala.

Analisa :

Orang yang sedang berusaha mensucikan diri harus mampu memerangi dan mengalahkan segala macam godaan keduniaan.  Raksasa Rukmuka merupakan gambaran pancaindra yang apabila tidak berhati-hati selalu saja membawa manusia kepada kesesatan.  Sedangkan Raksasa Rukmakala adalah gambaran akal budi yang juga sering menyesarkan manusia.  Dia harus mampu mengalahkan godaan hawa nafsu jahat agar dapat mencapai kebahagiaan.  Firman Tuhan mengatakan : 

“Adapun orang yang takut akan kebesaran Tuhannya dan orang yang dapat mencegah hawa nafsunya, Syorgalah tempatnya”. ( Al-Qur’an, S. An-Naziaat: 40-41)

5. Dalam pertempuran itu Bima Sena dapat menumpas kedua raksasa Rukmuka dan Rukmakala.

Analisa :

Bahwa bagi orang yang telah mampu menundukkan dan mengendalikan hawa nafsunya maka akan selamatlah dia, sebagaimana Firman Tuhan :

“Dan Allah selamatkan mereka yang berbakti dengan sebab terluput mereka (yakni tidak disentuh oleh kejelekan), dan tiddaklah mereka akan duka cita”.  ( Al-Qur’an, S. Azzumar: 61 )  [Referensi : Unsur Islam Dalam Pewayangan, Drs. H. Effendi Zarkasi] 

Sabtu, 17 Desember 2011

         Slamet Priyadi di Lido – Bogor 

"SKIN PUPPET BETAWI" by Slamet Priyadi

WENDNESDAY DECEMBER 14, 2011 - Denmas Priyadi BLOG: Around the seventies when I was a teenager, I never watch puppet performances at Crocodile Hole area, East Jakarta. At that time I do not know if I watched the puppet arts are Wayang Betawi, because to my knowledge at that time the puppet is a form of public art Java, especially Central Java, where I come from. I know it is only then that I witnessed the puppet Puppet Betawi wayang after I enjoyed it until the finished leather. It turns out that I watched the puppet speak Indonesian with here and there adorned with distinctive dialect of Jakarta, full of humor and a bit humorous dialogue between the puppeteer and the nayaga. Skin Betawi puppet that I saw it played by a puppeteer who at that time his name was well known by local people named, Bonang.

From the experience mentioned above has intrigued me to learn more about the art Wayang Betawi.

Skin Betawi puppet is a puppet show that uses puppets made of buffalo skin and application of game show is still in Java. Accompanied by a set of gamelan music with martial drums became the dominant music in the accompanying motion puppet songs with a lilting Sundanese sung by the singer.

In Betawi Wayang performances with Javanese puppet shows, puppeteer using a puppet and a box of eight players who played gamelan music as accompaniment puppet show.

In the region of Lubang Buaya (Crocodile Hole), Cijantung, Pasar Rebo, and surrounding areas, r puppeteer Bonang was the only game mastermind who puppeteers other than his contemporaries, it is said he even exceeded his own teacher, Mr. Misan the first resign as a puppeteer Puppet Skin Betawi.

Puppet Skin Betawi including one form of traditional art Jakarta area that is still favored the local community. This is evident in every performance in the areas surrounding Jakarta audience participation is always there, visible from the dialogue between the puppeteer and the audience, puppeteer and one of the gamelan players. They said, replied with a dialogue "nguda taste" (talking to yourself).

Leather Puppet Betawi musical accompaniment is a set of gamelan consist Kromong 10 tones, demung 7 tones, 2 saron with 5 tones, two tap, one kempul and a gong. As the carrier is an instrument fiddle melody or it could be the singer. As for the music barreled Slendro.
Wayang stories Betawi sources vary, can of folklore such as the Jampang, from the comic strip, or from an existing puppet story and story writing. [Reference: Growth of the Performing Arts - Prof. Dr. Edi Sedyawati]

Tizar Purbaya, Dalang Sekaligus Kreator Wayang Golek Betawi Masa Kini | www.indopos.co.id | Wayang, Tizar, Golek, Betawi, Dalan

 Adegan Perkelahian, Tubuh Wayang pun Bisa Berdarah

 

Di antara beberapa dalang yang berani menabrak pakem, Tizar Purbaya adalah salah satunya. Seperti halnya dalang wayang kulit Enthus Susmono asal Tegal yang fenomenal, lelaki 61 tahun itu juga punya cara agar penonton betah menyaksikan pertunjukannya.

Gara-gara gayanya yang khas itu, dia kerap diundang manggung di luar negeri.RUMAH di Jalan Danau Indah, Sunter Selatan, Jakarta Utara, itu tak seberapa besar. Mungkin setara dengan rumah tipe 40. Ruang depan hingga tengah rumah tersebut, setiap mata memandang, dipadati ratusan wayang golek. Mulai wayang golek purwa dan menak kebumen, wayang suket, hingga wayang golek purwa dan cepak cirebon. Tizar, si pemilik rumah itu, rupanya, tidak mau menyisakan sedikit pun ruang mata nya tanpa pajangan wayang. Wayang bagi lelaki 61 tahun itu adalah jiwanya.

Dia dalang sekaligus pembuat wayang golek. Bahkan, Tizar menyebut dirinya sebagai penggagas wayang golek betawi. ”Di Betawi, ada wayang. Seperti wayang kulit, bukan wayang golek,” tutur dia. Sebagai dalang sekaligus pembuat wayang golek, Tizar termasuk kreatif. Tokoh-tokoh wayang golek betawi kreasi Tizar diberi kostum yang berbeda. Misalnya, ada yang diberi kemeja, celana panjang, kebaya, sarung, dan peci.

Tokoh-tokohnya pun sudah tidak asing bagi warga Betawi. Salah satunya adalah si Pitung. Ketika membawakan lakon pewayangan, Tizar juga kerap menampilkan tokoh yang akrab bagi pemirsa televisi. Misalnya, si Manis Jembatan Ancol, Sinchan, hingga Presiden Susilo Bambang Yudhoyono (SBY). ”Tetapi, itu dalam penampilan tertentu,” terang Tizar sambil merapikan wayang-wayangnya Selain berinovasi dengan membuat nama- nama tokoh baru yang merujuk kepada sosok populer di media massa, Tizar kerap membuat atraksi menarik ketika mendalang. Misalnya, ketika membawakan adegan perkelahian antarpendekar, kepala pendekar yang kalah dibuat hancur betulan oleh Tizar. Bahkan, dua bola mata pendekar itu sampai keluar. Terobosan tersebut membuat wayang yang dimainkan oleh Tizar seperti benar-benar hidup. Saat si tokoh terkena sabetan pedang, Tizar juga piawai membuat ”efek” sehingga cairan seperti darah keluar dari perut wayang.

”Inovasi itu penting agar penonton betah menonton wayang,” katanya. Sebagai pembuat wayang, Tizar bangga karena produknya sudah dipesan beberapa kali oleh sekolah-sekolah di Amerika Serikat (AS). Sekolah-sekolah Tiongkok bertaraf internasional di Jakarta pun kerap mengundangnya untuk tampil. Sayang, dalam daftar jadwal manggungnya, sama sekali tidak ada sekolah negeri atau swasta di Jakarta atau daerah lain yang mengundangnya.

Meski demikian, Tizar tidak mempersoalkannya. ”Jadi, saya lebih dikenal di sekolah asing daripada sekolah dalam negeri,” ujarnya sambil terkekeh. Tizar sangat menekuni dan menikmati dunia tersebut karena sangat menggandrungi wayang sejak kecil. ”Saya sering menonton pertunjukan wayang kulit betawi di pasar-pasar. Saat kecil, saya sering diajak ibu berjualan di pasar,” tutur lelaki yang lahir dan tumbuh di Banten itu.

Kegandrungan terhadap wayang tersebut dia teruskan ketika beranjak dewasa. Saat itu dia mendalami kesenian pedalangan di sekolah nonformal di Taman Ismail Marzuki (TIM). Di TIM, Tizar menimba ilmu kesenian kepada (alm) Arifin C. Noor. Di tempat itu pula, dia mendapatkan bekal kesenian yang luas. Bukan hanya pengetahuan tentang dunia pedalangan, tetapi juga ilmu teater dan seni peran.

Dia mengaku satu angkatan dengan Dedi Mizwar saat itu. Tizar juga berlatih seni peran dengan (alm) Benyamin Sueb. Akhirnya, pada 1970 Tizar memberanikan diri tampil di depan umum sebagai dalang wayang golek purwa. Dia tampil dalam pergelaran Pekan Wayang II di TIM. ”Saat itu saya belum menciptakan wayang golek betawi,” papar dia. Dengan kemampuan yang saat itu paspasan, Tizar memberanikan diri mengganti bahasa Sunda ke bahasa Indonesia ketika mendalang. ”Kebanyakan dalang menyalahkan langkah saya. Tetapi, penonton malah setuju,” ujarnya.

Dari keberanian itu, karir Tizar sebagai dalang wayang golek semakin moncer. Dia bahkan diundang untuk unjuk gigi di Jepang, India, Thailand, dan AS. ”Saya diundang langsung. Tidak melalui pemerintah,” ujar dia. Ketika tampil di luar negeri itulah, Tizar mendalang dalam bahasa Inggris. Bahkan, dia pernah menggunakan bahasa Jepang, India, dan Thailand untuk mendalang ketika manggung di negara-negara tersebut. Selain banjir order manggung, Tizar mendapat banyak order untuk menduplikat wajah tokoh-tokoh nasional dan mancanegara menjadi wayang golek.

Ketika terjadi demonstrasi besar-besaran yang menuntut reformasi pada 1998, Tizar mendapat order menduplikat wajah tokohtokoh Orde Baru dan tokoh-tokoh gerakan nasional lain. ”Tokoh-tokoh yang dipesan itu sudah saya bikin, tetapi sampai sekarang belum diambil,” terang lelaki yang pernah beradu akting dengan Benyamin dalam film berjudul Pinangan itu. Tizar juga membuat wayang golek dengan wajah mantan Presiden AS George W. Bush dan Presiden AS Barack Obama. Khusus wayang golek betawi, Tizar menyatakan diminta manggung oleh Gubernur DKI Jakarta Sutiyoso pada 10 April 2001.

Dia manggung di Galangan Kapal VOC (Vereenigde Oostindische Compagnie), Jalan Kakap Nomor 1, Penjaringan, Jakarta Utara. Dia membawakan lakon Si Jampang. Penontonnya saat itu adalah para duta besar negara sahabat, para anggota DPRD DKI Jakarta, serta masyarakat seni. Jumlahnya 200-an orang. Ketika adegan Jampang berkelahi dengan Mandor Jun, kreativitas Tizar muncul. Di tangan Tizar, wayang golek dengan tokoh si Jampang itu bisa mengeluarkan golok dan menusukkannya ke kepala Mandor Jun. Atraksi-atraksi seperti itulah yang membuat Tizar disukai penonton. Kini pertunjukan wayang golek betawi Tizar tidak hanya dinikmati di kampungkampung, tetapi sudah merambah ke gedung- gedung bertingkat.

Dia menerangkan, dalam beberapa kesempatan dirinya diundang untuk mendalang di acara perpisahan pemimpin perusahaan top lokal dan asing. Selain itu, Tizar kerap diundang untuk tampil pada upacara perkawinan. Saat tampil di acara resepsi pernikahan, dia diminta membuat replika wayang golek yang menyerupai mempelai. Biasanya, tokoh utama lakon yang dia mainkan adalah kedua mempelai.

Cerita sederhananya, mempelai laki-laki menyelamatkan mempelai perempuan dari drama penculikan. Saat ini, di tengah usia yang semakin senja, Tizar ingin terus menghidupkan wayang golek betawi. Kala kondisi kesehatannya labil pun, dia harus mempersiapkan penampilannya pada 21 Juli mendatang di Museum Wayang Kota Tua, Jakarta. ”Bapak baru terserang stroke dua kali,” ujar Rocky, salah seorang putra Tizar.

Dalam penampilan tersebut, Tizar akan membawakan lakon Si Jampang dengan episode baru, yang ceritanya dirahasiakan. Di tengah persiapan tersebut, kendala lain yang dihadapi Tizar adalah sulitnya mencari sinden baru. Tizar memaparkan, mencari sinden yang benar-benar bisa nyinden dan membawakan gambang keromong cukup sulit. Di sisa hidupnya, dia berusaha tetap mempertahankan wayang golek betawi agar tak punah. (c11/kum)

"KNOWN PAINTER S. SUDJOJONO" By Slamet Priyadi

S. Sudjojono

            MONDAY, 5 DECEMBER 2011 - Denmas Priyadi BLOG - S. SUDJONJONO born in Range, High Cliff, North Sumatra. Date and the month has not been clearly known around the year 1913. His mother named Narijem, his father named SinduDarmo who migrated to the Deli as contract workers oranng namely those imported from the land of Java to be employed in the plantation soil Deli beginning of the 20th century. Mr. Sind has a nice voice and often read and sing the song-song mocopat java, java-language fairy tale form of song or chant. His mother, Narijem also known as Shamans who can treat various diseases. Therefore, many meritorious in the local community, plus the wit and craft and dedication to the company's plantation, sir Sind by a plantation company was appointed nurse in a hospital in Tebingtinggi convicts.
           
            When he was old enough, S. Sudjojono by her parents enrolled in school HIS Boedi Oetomo at High Cliff. In these schools children were classified as S. Sudjojono intelligent. Because of this intelligence, he was much loved by both the teacher and Mr. Yudhakusuma Sudarminto. In 1926. For the sake of the progress of their children, parents approve of her son S. Sudjojono asked by Mr Yudhakusuma to Jakarta even though the child was not yet finished school, sitting in class VI.
           
            In Jakarta S. Sudjojono continue his schooling in his first at Petojo Arjuna, who is also a school where teaching Yudhakusuma pack. Mr. S. Sudjojono Yudhakusuma raised as a child. It was he who always gives encouragement, enthusiasm and motivation to Sudjojono to nurture, develop a penchant in the drawing.
          
After graduated from HIS 1928 S. Sudjojono, shall be borne by scholarship from the association Theosofi, which one is Mr. Yudhakusuma member own, continue their education to HIK Gunungsari, Lembang, Bandung. In this school, as well as the other students living in dormitories S. Sudjojono with parent number 101. The number is always he wrote in all his inventory items, glasses, plates, pillows, and others. Even in each of the works of paintings S. Sudjojono write the code SS-101.

          S. Sudjojono at this school only up to grade III. Expelled from school because of naughtiness and stubbornness that often revolted, bring friends wandering in the middle of the night, lit firecrackers to wake everyone. Mr. Yudhakusuma a great love for his adopted son was sent to Yogyakarta S. Sudjojono. There in that capacity by Mr. Sudarminto also his teacher in Student Park, High Cliff first.

         1933, by Mr. Sudarminto, S. Sudjojono included rapid course to become a teacher. After graduation, he was sent to Rogo Rogo Charm to Charm, East Java, to teach in schools in the newly opened Student Park. In this school, he taught about a year.
          
           S. Sudjojono also likes playing football and never enter Indonesia Youth Club. When he was in Yogya, he had developed a hobby of it. On the football field this Yogya S. Sudjojono met with Rush who later became well-known painter. When it Rusli school in Taman Muda Student Park.

          During one year in Charm Rogo, he returned to Jakarta in school teach Student Park on the road Kadiman, Petojo led by the father of S. Mangun Sarkoro. At that time he has developed his love of painting. S. Sudjojono love to read, especially karaya literature, philosophy, and everything to do with painting. He often get the books he was looking for it on Flea Market Monday, all of which makes it grow and expand, becoming an artist painting a calculated, namely the artist who has a mission and vision for the future. He wanted to use art as a means to achieve these goals his spiritualism more noble.

          He was not satisfied with the state of the art of painting at that time revealed that only about mere physical beauty of the natural beauty that is naturalistic. He has a different vision of the painters of his day, was already visible at the time to learn the art of painting on Mr. Pirngadi. He was told to draw the object of the situation in his school life activities. After finishing the painting is completed, Mr. Pirngadi commented, "why you draw like a school yard macul course!". Likewise, when he drew his old soccer shoes object, given the comments by Mr. Pirngadi, "really just drawn an old shoe!"
       
           Linked with it, disclose it to Mr. S. Sudjojono Yudhakusuma adoptive father, "Mr. Yudha kusuma! Why is flavor-taste my pictures really dirty? However, the pack Yudha simply replied," What do you mean by dirty? "That's the unic art weirdness because maybe that was too good dirty. The answer is heartening S. Sudjojono. With a more powerful heart he continued to paint, even though he realized that the colors and the resulting line shape is very different from the paintings of his contemporaries.

     S. Sudjojono was in the hospital undergoing treatment of pain in her lungs at P Thousand Onrust Sanatorium in 1935, he saw an ad in one newspaper that invites painters, anyone, to include the work of his paintings in a prestigious exhibition, with prizes that will be held in Kunstkring, The Netherlands. S. Sudjojono include painting entitled "The Girl And Cats" which depicts a girl playing dakon. The painting received first prize. This makes S. Sudjojono increasingly convinced of his talent as a painter.
 
          
Kunstkring is an association of Dutch painter who held a very active arts activities. The members most Dutch people, but there are also people of Indonesia, especially the academic painters. Although the work of S. Sudjojono've got a gift of this association, he has not been accepted as members.

           As a response to the rejection Kunstkring who did not accept him as a member, S. Sudjojono with Agoes Djayasoeminta who also teaches at the School of Arjuna Petojo, together with the painter contemporaries, founded the Indonesian Bar Association Expert Gam, PERSAGI. Agoes Djayasuminta its chairman, secretary S. Sudjojono. Its members are S. Toetoer, Soekirno, Soetioso, Surono, Otto Djayasuminta, Abdul Salam. They all in general is the sign painter.

          The main focus of PERSAGI is painted together. Least once a month they get together to do the painting exercise. Sometimes they go to a place to look for objects lukisan.Setahun they practice, then Agoes Djayasuminta felt it was time to hold a joint exhibition. PERSAGI the first exhibition held in bookstores G. Kolff, Ir.H.Djuanda road. In this first exhibition of the most widely exhibited paintings are the work Agoes Djayasuminta. Excellent response to the public. Press the Netherlands, Indonesia and Chinese press praised him. This causes more profound confidence to develop the art of painting as  a medium of artistic expression.

          By a director of the factory paint "Par" is also a collector of paintings S. Sudjojono, Agoes Djayasuminta and other artists a chance to see the works of European painters through Regnault Collection Exhibition which was held a few times. Collection of paintings including works of a painter who was famous among other things, Van Gogh, George Seurat, Paul Cezanne and others.

          On this occasion S. Sudjojono began writing criticism. Giving a review-reviews that praised the exhibition. He was the first Indonesian painter who writes criticism in the Indonesian language. Typical style of criticism, with the words to praise even the paintings on display.

          In every work of paintings and writings krtiknya, S. Sudjojono always put the code "SS 101" At this time also he painted in front of the Nets who is now a collection of the Palace of the Republic of Indonesia. Painting "In Front Nets", described the hard life depicted suana with a strong sense of realism. One critic said that this painting is a painting of the same position with the painting "Mother" by Affandi. Both are important milestones in the history of Indonesian art.

          In contrast to the style of the artist as Pirngadi, Abdullah Surio Subroto, Wakidi and others, paintings by S. Sudjojono and Affandi not naturalistic style. Which appear in their paintings are the real truths in life is not just about nature presented by naked eyes, soft, beautiful and naturalistic. In the paintings of S. Sudjojono and Affandi is evident is the truth that is spiritual expression that exist in the soul, emotions, sad, happy, hard etc.. ( Saturday, June 20, 2010 - Slamet Priyadi in Lido )

Lukisan karya S. Sudjojono "Hukum"

Bebas Sepenuhnya by S. Sudjojono

 

Gerilya by S. Sudjojono

“MODERN ART WITH ISLAMIC THEMES” By Prof.Dr. Edi Sedyawati

A.D. Pirous

             SUNDAY, DECEMBER 04, 2011 – DENMAS PRIYADI’S BLOG : It was the two modern artist, Sadali and A.D. Pirous, a graduate from an Indonesian Faculty of Arts in Bandung, who bigan to create modern painting with Islamic calligraphy as theme and germ idea.  There recouse to artist ideas explored from Indonesian traditional art bigan presicely after their return from their further studies abroad in western country.  It was a kind of a new awareness, or an awakening in their minds, that the many living tradition in Indonesian art do offer a challenging material to be explored for their work using the approach of contemporary art.  In terms of aesthetic ingetuity, tehnical explorative perseverance ( for colour, form, and texture), and refinerment in feeling, they excel, and thus accepted among the foremost exponent of Indonesian modern painters.  Another painter who is very productive in making painting with calligraphic theme is Amry Yahya from the Academic of Arts in Yogyakarta.  The specificity of his work is that mostly he used the batik tehnique for his painting.

Lukisan abstrak karya Achmad Sadali

Lukisan kaligrafi karya A.D. Pirous

            The Islamic theme in Indonesian modern painting, however, is not confined to the use of calligraphic style.  Spiritual concepts or associations related to Islamic teaching, and their interpretations, do find their way into Indonesian paintings such as those made by Amang Rachman from Surabaya. To sum up, Islam does fascinate and inspire Indonesian creative artist, in all forms of art in general, and visual arts in particular. ( POSTED BY SLAMET PRIYADI IN LIDO – BOGOR – WEST JAVA ).  

"SENI MODERN ISLAMI"  ( Terjemahan bebas by Slamet Priyadi )                                   

 Minggu, 4 Desember, 2011 -  Denmas Priyadi Blog : Ahmad Sadali dan A.D. Pirous adalah dua seniman modern Indonesia lulusan Fakultas Seni Indonesia di Bandung, yang memulai  karirnya dengan karya-karya seni lukis modern dengan  kaligrafi Islam sebagai tema dan ide dasarnya. Adapun ide-ide dasar dan konsep karyanya digali dari seni tradisional Indonesia setelah mereka kembali dari studi di luar negeri di negara barat. Ini adalah semacam kesadaran baru, atau kebangkitan dalam pikiran mereka, bahwa banyak sekali tradisi yang hidup dalam seni tradisi Indonesia menawarkan materi yang cukup menantang untuk dieksplorasi sebagai pekerjaan mereka dalam menggunakan pendekatan seni kontemporer. Dalam hal estetika ingetuity, ketekunan eksploratif tehnical (untuk warna, bentuk, dan tekstur), dan refinerment dalam perasaan, mereka unggul, dan dengan demikian mereka diterima sebagai seniman di antara eksponen terkemuka pelukis Indonesia modern. Pelukis lainnya yang sangat produktif dalam membuat lukisan dengan tema kaligrafi yaitu Amry Yahya dari Akademi Seni di Yogyakarta. Kekhususan dari karya-karyanya  sebagian besar menggunakan tehnik batik dalam karya.

Lukisan batik karya Amry Yahya

 

Amry Yahya

Tema-tema Islam dalam lukisan Indonesia modern, bagaimanapun, tidak terbatas pada penggunaan gaya kaligrafi. Konsep spiritual atau penafsiran yang berkaitan dengan ajaran Islam, dan interpretasi mereka, tidak menemukan jalan mereka ke dalam lukisan  Indonesia seperti yang dibuat oleh Amang Rachman dari Surabaya. Singkatnya, Islam telah mempesona dan menginspirasi seniman kreatif Indonesia, dalam segala bentuk seni pada umumnya, dan seni visual pada khususnya. (POSTED BY SLAMET PRIYADI DI LIDO - BOGOR - JAWA BARAT - INDONESIA).

TEACHING OF ISLAM IN THE STORY "ARJUNA WIWAHA" by Slamet Priyadi

Arjuna Prabu Katili

SATURDAY, 3 DECEMBER 2011 – DENMAS PRIYADI BLOG - The play story of PARTODEWA or ARJUNA WIWAHA is one of the stories "Mahabharata" section to the III, namely "Wanaparwa". Created by master Kanwa in the reign of Airlangga 914-946 Saka or 1019 to 1042 AD. This story is a symbol for a person (ARJUNA) who struggles against temptation and lust wrath (NIWATAKAWACA). If someone is able to overcome all kinds of temptations of various kinds of passions rage it will get happiness both globally and in the Hereafter (Syurga).

One a time, the Pandavas when Arjuna Satriya panengah intend to seek true happiness by doing penance ask God to all his desire to obtain happiness both in this world and the hereafter granted. However, in his attempt was blocked Arjuna with all power and trickery by King Nitakawaca a giant king of the country Himantaka. With the magic of Arjuna in the end be defeated until dead (perlaya) Nitakawaca. Be Satriya panengah Pandava Arjuna was a king in the fairy kingdom of King Katili syurga title.

Wara Sumbadra goddess wife and brother of Sri Krishna Arjuna Arjuna followed the royal Majesty Katili Angel in Syurga. In his journey to Sri Krishna and Goddess syurga Wara Sumbadra see hell with the residents who are being tortured with all the suffering that endured until the kingdom of Angel in Syurga. Arjuna empress, goddess Wara Sumbadra and her old brother Sri Krishna encountered and witnessed firsthand the King Katili, the Arjuna with all happiness life experiences.

A short story by persuasion Sri Krishna and his wife, Dewi Wara Sumbadra whom she loved it, finally King Arjuna Katili Marcapada want to go back to the (world) to re-knit the world's happiness with his wife goddess Wara Sumbadra.

Tumenggung Dipaningrat opinion of Solo, "Although the source of the story above story is taken from the Mahabharata, but the story has changed so much puppetry and tailored to the teachings of Islamization". (Islamic Elements In Puppets, p.97)

The conclusion of the story of Arjuna Wiwaha or Partodewa is to describe when someone is able to defeat and control various kinds of temptations and evil desires that exist in him it will get happiness both in this world and the hereafter. This is as contained in our holy Qur'an The letter states:

"Those who believe and do good work, they are the best of creatures. Their reply on the side of their God, heaven, heaven where statutes, the rivers flowing to him and they will abide therein. God willing they Jaunty him and also him. That is for those who submit to his Lord ". [AL-QUR'AN ALBAYYINAH LETTER: 7-8]

RAMAYANA by Nyoman S. Pendit

Harga Rp55.250,-

Penerbit
Gramedia Pustaka Utama (GPU)

ISBN/EAN
9792222871 / 9792222871

Terbit
25 Juli 2006


SINOPSIS

Epos Ramayana adalah salah satu warisan budaya Indonesia yang diadaptasi dari khazanah sastra klasik India. Epos yang sudah berabad-abad dikenal di Indonesia dalam bentuk kakawin, relief di Candi Prambanan, atau tari-tarian ini, ditulis kembali oleh Nyoman S. Pendit, penulis Mahabharata (Gramedia Pustaka Utama, 2006, cetakan keempat) dengan gaya bertutur yang memikat dan enak dibaca.

DETAIL

Judul	Ramayana
ISBN / EAN	9792222871 / 9792222871
Author	Nyoman S. Pendit
Publisher	Gramedia Pustaka Utama (GPU)
Publish	25 Juli 2006
Pages	0
Weight	199 gram
Dimension (mm)	140 x 210
Tag	Fiksi,