ISI DUNYO

Dia adalah sosok yang mendapat julukan 'Pangeran Jawa'. Tidak banyak orang yang memahami kiprahnya. Orang lebih banyak mengetahui sosoknya sebagai kakak dari RA. Kartini. Dia bernama RMP Sosrokartono.

Dia juga dikenal sebagai sosok pejuang bagi bangsa Indonesia. Ia fasih dalam beberapa bahasa. Tercatat sebanyak 9 bahasa Timur dan 17 bahasa Barat dikuasainya. Ia disebut sebagai 'Pangeran Jawa' karena sosok intelektual-priyayi dari Hindia Belanda.

Sosrokartono mendapatkan gelar Doctorandus in de Oostersche Talen dalam bidang bahasa dan sastra pada tahun 1908. Hal itu merupakan ancaman bagi pemerintahan kolonial Belanda. Bahkan Mohammad Hatta pun pernah menjuluki Sosrokartono sebagai manusia jenius.

Bahkan Sosrokartono juga pernah menjadi wartawan The New York Herald Tribune. Upayanya untuk mencapai gelar banyak menemukan batu sandungan. Tetapi hal itu tidak mematikan semangatnya untuk terus berjuang demi negara dan bangsanya.

Sosrokartono pun pulang dan mengabdi pada negeri dengan menjadi pemimpin Nationale Middlebare School di Bandung. Akan tetapi, pemerintah kolonial curiga dengan ulahnya itu. Mereka melakukan represi politik terhadapnya. Hal yang membuat genius kita ini mencari jalan ekspresi lain untuk mengabdi dan tetap menjadi manusia bebas.

Sosrokartono memutuskan membuka praktik pengobatan tradisional dan menempuh laku spiritual khas Jawa. Sebuah pilihan yang ganjil, memang. Namun, seganjil apa pun, pilihan itu tak menutupi kontribusi Sosrokartono dalam usaha pembentukan negara Indonesia.

Cukup banyak tokoh kunci dalam pergerakan politik nasionalis saat itu yang berinteraksi dengan Sosrokartono. Soekarno dan Ki Hajar Dewantoro, antara lain, memberi penghormatan besar kepadanya, termasuk pada laku spiritual dalam menopang lakon politik mereka.

Laku spiritual dari Sosrokartono antara lain adalah

1. Ilmu kantong bolong
2. Ilmu Sunyi

Ilmu Kantong Bolong

Apa sih ilmu kantong bolong itu? Ilmu kantong bolong itu adalah memiliki filosofi "Nulung pepadane, ora nganggo mikir wayah, waduk, kantong. Yen ono isi lumuntur marang sesami (menolong sesama tak peduli waktu, perut, dan kantong. Bila ada isinya diperuntukkan bagi sesama manusia).

Ilmu kantong bolong merupakan laku cinta-kasih pada manusia dan Tuhan. Cinta kasih sempurna untuk menolong sesama manusia dalam mengatasi derita, rasa sakit, dan duka. Cinta-kasih adalah ekspresi pengabdian pada Tuhan.

Kalaupun kita tidak memiliki apa-apa, dan hanya punya cinta, maka cinta kasih itupun yang kita berikan pada sesama.

Ilmu Sunyi

Ilmu sunyi adalah puncak laku spiritual dengan mengosongkan diri
(pribadi) dari sifat pemujaan diri dengan mempertaruhkan diri secara lahir-batin untuk menolong sesama manusia. Sosrokartono mengungkapkan, "Saya adalah manusia. Oleh sebab itu, kemanusiaan tidaklah asing bagi saya."

Wejangan Sosrokartono

Ada beberapa wejangan penting dari Sosrokartono antara lain, 'sugih tanpa banda, digdaya tanpa aji, ngluruk tanpa bala, menang tanpa ngasorake (kata tanpa harta, sakti tanpa jimat, menyerbu tanpa pasukan, menang tanpa merendahkan).

Ada baiknya jika kita menambah referensi dengan belajar (ngelmu) pada ajaran RMP Sosrokartono sehingga kita bisa lebih dekat dengan GUSTI ALLAH.

Pembukaan pintu hati ke Alam Ghaib ini berlaku juga dalam kondisi-kondisi yang dekat Wahyu Kenabian, di mana Intuisi atau Wahyu atau Ilham terbit dalam fikiran tanpa di bawa melalui saluran-saluran indera(pancaindera) sebagaimana seseorang itu menyucikan dirinya dari pengaruh nafsu kebendaan dan menumpukan(konsentrasi) fikirannya kepada Allah. Maka semakin bertambah teranglah kesadarannya pada Intuisi atau Ilham yang seperti itu. Mereka yang tidak tahu tentang perkara ini tidak berhak menafikan hakikat tersebut.

Intuisi(Ilham) ini bukanlah terbatas bagi mereka Kenabian saja. Ibarat besi, jika selalu digosok dan digilap akan menjadi berkilat seperti cermin. Begitu juga jiwa dan fikiran yang diasuh dengan disiplin sedemikian rupa akan dapat menerima informasi dari Alam Ghaib itu. Sebab itulah Nabi Muhammad SAW. ada bersabda;

"Tiap-tiap kanak-kanak itu dilahirkan dalam keadaan Islam(fitrah), maka kemudian ibu-bapanyalah yang menjadikannya Yahudi atau Nasrani atau Majusi"

Tiap-tiap manusia dalam kesadaran batinnya yang dalam itu pernah mendengar pertanyaan;
Bukankah aku ini Tuhanmu?" dan mereka menjawab; "Ya", sebenarnya" tetapi sesetengah hati adalah ibarat cermin yang penuh debu dan berkarat sehingga tidak memberi bayangan apa-apa di dalamnya. Tetapi hati Ambiya dan Aulia meskipun mereka itu manusia biasa yang mempunyai perasaan seperti kita, mereka sangat senang dan cepat menerima semua gambaran atau Ilham Ketuhanan Yang Maha Tinggi itu.

Bukanlah karena Ilmu yang didapati dari Ilham atau Wahyu atau Intuisi itu saja yang menyebabkan Ruh manusia itu dapat menduduki martabat pertama atau paling tinggi di kalangan makhluk, tetapi juga oleh karena kekuasaannya(Ruh). Sebagaimana Malaikat-malaikat menguasai atau memerintah unsur-unsur, maka begitu jugalah Ruh itu. Ia memerintah anggota-anggota badan. Ruh-ruh yang mencapai peringkat kekuasaan yang khusus bukan saja memerintah badan mereka sendiri tetapi juga badan-badan yang lain. Jika mereka menginginkan orang sakit supaya sembuh, maka sembuhlah ia, atau orang yang sehat bisa disakitinya; atau jika mereka inginkan seseorang supaya datang kepada mereka, maka datanglah orang itu. Oleh karena kerja-kerja Ruh yang kuat ada dua macam; yaitu baik dan jahat, maka perbuatan mereka itu pun dibagikan dua macam juga yaitu Mukjizat dan yang lagi satu Sihir.

Ruh-ruh yang kuat ini berbeda dari Ruh-ruh orang biasa dalam tiga perkara:
1. Apa yang orang lain dapat lihat secara mimpi dalam tidur, mereka lihat dalam jaga.
2. Orang lain hanya dapat menguasai badan mereka sendiri saja. Mereka ini dapat menguasai badan-badan selain diri mereka juga.
3. Orang lain mendapat Ilmu dengan belajar dan mengkaji bersungguh-sungguh. Mereka ini mendapat Ilmu itu secara Ilham atau Wahyu.

Bukanlah ini saja tanda yang membedakan mereka dari orang biasa. Ada lagi yang lain. Tetapi itulah saja yang kita ketahui. Sebagaimana juga kita ketahui yaitu Allah itu saja yang mengenal DiriNya Yang Sebenar-benarNya, begitu jugalah hanya Nabi-nabi itu juga yang mengenal Hakikat Kenabian itu sebenarnya. Ini tidaklah mengherankan. Sedangkan dalam kehidupan sehari-harian ini pun kita mengalami kesulitan untuk menerangkan keindahan sesuatu Syair atau Puisi kepada orang yang tidak tahu dan tidak faham tentang Syair dan Puisi; atau keindahan warna pada orang buta.

Di samping ketidakmampuan, ada hal lain lagi yang menghalang seseorang itu mencapai Hakikat Keruhanian. Satu daripadanya ialah Ilmu yang diperolehi dari luar. Sebagai ibarat, hati itu adalah sebuah telaga, dan lima indera ialah lima batang pipa air yang sentiasa mengalirkan air ke telaga itu. Untuk mengetahui isi telaga itu sebenarnya, pipa air itu hendaklah dihentikan mengalir ke dalam telaga itu untuk sementara waktu, dan sampah-sampah yang di bawa oleh pipa air itu hendaklah dibuang dari telaga itu. Demikianlah ibaratnya.

Sekiranya kita hendak mencapai Hakikat Keruhanian yang suci itu, maka kita hendaklah sementara waktu menepikan Ilmu yang diperolehi dari proses luar (yaitu yang datang dari luar seperti belajar, membaca dan sebagainya) di mana biasanya telah menjadi beku dan keras dan bersifat Prasangka (Doqmatic Prejudice).

Di samping itu ada pula satu kesalahan yang dilakukan oleh orang-orang yang pendek IlmuNya, yaitu setelah mereka mendengar percakapan orang-orang Sufi, mereka pun merendah-rendahkan taraf ilmu. Ini adalah ibarat seorang yang bukan ahli dalam bidang Ilmu Kimia mengatakan, "Kimia itu lebih baik dari emas!", dan ia enggan menerima apabila emas diberikan kepadanya. Kimia lebih baik dari emas, tetapi ahli-ahli Kimia yang sebenar-benar pakar sangat sedikit bilangannya. Begitu jugalah ahli-ahli Sufi yang pakar sebenarnya amat sedikit bilangannya.

Orang yang hanya tahu sedikit saja berkenaan Kesufian adalah tidak lebih tinggi martabatnya dari orang-orang yang berpengetahuan. Begitu juga orang yang baru mencoba beberapa percobaan dalam bidang Kimia, janganlah hendak merendah-rendahkan orang yang kaya.
Orang-orang yang melihat berkenaan hal ini tentu akan melihat betapa kebahagian itu adalah sebenarnya berkaitan dengan Mengenal Allah Subhanahuwa Taala. Tiap-tiap anggota kita ini suka dan tertarik dengan apa yang sebenarnya ia dijadikan. Misalnya hawa nafsu suka dengan apa yang dikehendakinya; marah suka dengan membalas dendam; mata suka dengan benda yang indah; telinga suka mendengar muzik yang merdu dan sebagainya. Fungsi(tugas) Ruh manusia yang paling tinggi ialah Menyaksi atau Melihat Hakikat, dan di sanalah ia mendapat ketertarikan dan kesukaannya. Seorang itu amat gembira diberi jabatan Perdana Menteri, tetapi kegembiraan itu akan bertambah jika Raja berkawan baik dengannya dan menceritakan kepadanya rahsia-rahasia negeri.

Ahli Ilmu Falak(Astronom) dengan ilmunya dapat membuat peta-peta bintang dan perjalanan falaknya, akan merasai lebih tertarik pada ilmunya itu daripada pemain catur dengan ilmunya. Tidak ada yang lebih tinggi dari Allah Subhanahuwa Taala. Alangkah besarnya ketertarikan dan kebahagiaan yang didapati oleh seseorang itu hasil dari Makrifat Allah.

Barangsiapa yang sudah hilang kemauan untuk mencapai Ilmu yang sedemikian tinggi itu, maka orang itu adalah ibarat orang yang habis seleranya untuk memakan makanan yang baik-baik; atau pun seperti orang yang lebih suka memakan tanah daripada memakan roti. Semua selera badan kasar ini hilang apabila mati (bercerai nyawa dengan badan). Selera itu mati bersama badan kasar itu. Tetapi Ruh tidak mati dan ia tetap membawa apa juga Ilmu tentang Ketuhanan yang ada padanya, bahkan menambahkan Ilmu itu lagi.

Sebagian hal penting berkenaan Ilmu kita tentang Allah adalah timbul dari kajian dan pemikiran kita tentang badan kita sendiri, yang membukakan kepada kita kekuatan, kebijaksanaan dan Cinta Tuhan Yang Menjadikan segalanya. KekuasaanNya menunjukkan betapa setitik air djadikan kita seorang manusia yang cukup lengkap.

KebijaksanaanNya ditunjukkan dengan betapa rumit dan sulitnya anggota-anggota kita dan saling persesuaian antara bagian-bagian anggota itu antara satu dengan yang lain. CintaNya ditunjukkan dengan KurniaNya kepada kita bukan saja anggota-anggota yang paling penting untuk hidup seperti jantung, hati, otak, tetapi juga anggota-anggota yang tidak paling penting seperti tangan, kaki, lidah dan mata. Kemudian ditambah pula dengan perhiasan seperti hitam rambut, merahnya bibir, bulu mata yang melentik dan sebagainya.

Maka sewajarnyalah manusia itu diibaratkan sebagai " ALAM KECIL" dalam dirinya sendiri bentuk dan susunan badan itu hendak dikaji bukan saja oleh mereka yang hendak jadi doktor tetapi juga hendaklah dikaji oleh mereka yang ingin mencapai MakrifatuLlah, sebagaimana juga mengkaji secara mendalam tentang susunan keindahan bahasa dalam Puisi yang agung akan membukakan kepada kita kebijaksanaan pengarangnya.

Bahwa Ilmu atau Mengenal Ruh itu memainkan peranan yang lebih penting untuk membawa kepada MakrifatuLlah; lebih penting dari mengenal badan dan tugas-tugasnya. Badan ini ibarat kuda tunggangan dan Ruh itu ibarat Penunggangnya. Badan itu dijadikan untuk Ruh, dan Ruh itu untuk badan. Jika seseorang itu tidak tahu dirinya yang mana adalah yang paling dekat dengan Dia, maka apakah gunanya ia mengenal yang lain? Ibarat pengemis; yang dirinya sendiri pun payah hendak makan berkata pula ia akan memberi makan kepada penduduk sebuah kampung.

Dalam bab ini kita akan coba sedikit-sebanyak membicarakan keagungan Ruh manusia. Orang yang tidak peduli kepada jiwa atau RuhNya dan membiarkan Ruh atau jiwa itu berkarat dan gelap, maka rugilah ia di dunia dan di akhirat juga. Keagungan seseorang manusia itu sebenarnya terletak pada usaha untuk menuju Yang Kekal Abadi. Jika tidak, dalam dunia fana ini, manusia itulah yang paling lemah dari segala makhluk karena tunduk kepada kepada lapar, dahaga, panas, sejuk dan dukacita.

Puppet art form in the original Hindu culture arose before entry in Indonesia, and start growing in the era of Hindu Javanese.
The show is a puppet of the remains of the Javanese religious ceremony that is the remnants of animism and belief dynamisme. About the origins of adult puppet until this is still a problem that has not been completely terpecahkan. However, many experts began trying to track the history of puppets and the problem was very interesting as a source or object of research. According to the Book Centini, about the origins Purwa puppet puppet arts mentioned that, once initially created by the King of the Kingdom of Jayabaya Mamenang / Kediri


Sektar century to the 10 King Jayabaya trying to create a picture of the spirit leluhurnya and digoreskan Lontar on the leaves. The form of a description of the puppet is imitated relief image of the Ramayana story in the temple in Blitar upgrading. Ceritera Ramayana is very interesting because of concern including penyembah Jayabaya god Vishnu who is faithful, even by people considered to be the embodiment or bead Batara Vishnu. Figure leaders described for the first time is Batara Guru or Sang Hyang Jagadnata the manifestation of god Vishnu.

The period of the next era in Jenggala, the creation of puppet growing. Since the King Jenggala Sri Lembuami noble died, the government held by the named puteranya Raden Panji Rawisrengga and Sri Suryawisesa title. During the power-ahead Suryawisesa Sri puppet Purwa perfect shape. Wayang puppet-ciptaannya results are collected and stored in a beautiful box. The grip also created Ceritera Purwa puppet. Each ceremony is important in the palace held Pagelaran Wayang Purwa and Sri Suryawisesa own act sebagal dalangnya.

The relative Pagelaran help his family and act as penabuh gamelan. At that time Pagelaran Purwa puppet is accompanied with the gamelan slendro barrel. After Sri Suryawisesa died, replaced by the puteranya Raden Kudalaleyan the title Suryaamiluhur. During his reign he also improved the Wayang humming. Images from the puppet leaves the creation Lontar leluhurnya moved on with the paper still retains the form of the leaf Lontar. With the picture painted on the puppet of this paper, there is every important ceremony was held in the Palace environment Pagelaran puppet.

At the time of Majapahit business description puppet figure on paper to be added to the parts of the small digulung become one. Puppet-shaped coil, and will be played when the coil must dibeber. Therefore, this common type of puppet puppet called Beber. Since the creation of puppet Beber is also seen that the scope of traditional performance art is not merely an art Palace, but even extended to the environment outside the palace even though is still very limited. Since then people outside the Palace environment was also participate to enjoy the beauty. Pagelaran when performed in the palace accompanied by gamelan slendro barrel. But when Pagelaran performed outside the palace, the iringannya just a fiddle and lakonnya limited to any act Murwakala, the act specifically for the ceremony Ruwatan. During the government of King Brawijaya last chance once was a prince who has the skill to paint, the painting Prabangkara Raden. This talent puteranya used by King Brawijaya menyempurkan to exist with the cat puppet Beber. Tint's puppet is adapted to existence and dignity of the figures that, for example, the king, knight, Priest, Dewa, Punakawan and others. Thus, in the end the kingdom of Majapahit, the puppet Beber Semarak more. Since the fall of Majapahit kingdom sengkala; Geni murub siniram creature (1433 / 1511 F), the puppet and its gamelannya diboyong to Demak. This is because the Sultan of Demak Syah Alam Akbar I really like art and music and puppet show.

At that time the pursuer Islam is thought that the gamelan and wayang is forbidden because of the smell Hindu. The occurrence of differences between the views and attitudes like forbid have a very important influence on the development of the puppet art itself. To remove the impression that all smell Hindu and worship the statue impression, the idea arose to create a new puppet in the form with the new image of human existence. Thanks to the tenacity and skill of the entrant who like Islamic art puppets, especially the Guardian, successfully created a new form of Wayang Purwa buffalo skin with the material be diluted with a slightly sloping face is depicted, the size of a hand-in is longer than the size of human hands, so to dikaki . Wayang kulit kerbauini given from basic white color which is made of a mixture of glue and bone meal, while the clothes in the paint with ink.

At that time a change occurs in a large-scale include pewayangan. Besides the form of a new puppet, also changed pakelirannya techniques, namely the practice of screen / display, take the banana tree as a means to stick puppet, blencong practice as a means of light, take the box as a means to save the puppet. And also created a special tool to hit the box called mobile. However in practice Pagelaran still play standard Fiber from the Ramayana and Mahabarata, but there are start-here included elements of propaganda, although still in the form of self pasemon or in the form of symbol-symbol. The puppet that is a source Beber, Pagelaran issued from the palace and still dipagelarkan environment outside the palace.

In the era of Sultan Alam Syah Sultan Akbar III or Trenggana, the embodiment of the puppet skin color. Forms of raw materials ranging from puppet created. For example, the form of eye, introduced two kinds of liyepan or a similar picture of unhulled rice paddy or similar person who is sleepy. Telengan eyes and the puppet in the eye globe. Look more flamboyant puppet again because diprada with the golden color of paint.

At the time, she also Susuhunan Queen's Single Giri, wish to create other types of puppet that is Gedog puppet. Form the basis Gedog puppet from puppet Purwa. The difference can be seen that the figures for men wearing sketch. Principal act is four brothers country, namely Jenggala, Mamenang / Kediri, Ngurawan and Singasari. According to Dr. G.A.J. Hazeu, mentioned that the word "Gedog" means horse. Thus the understanding of the Wayang Gedog is a puppet-show Ceritera Ceritera heroism from "Kudawanengpati" or a more famous as the Panji Kudhawanengpati. The puppet on Gedog accompanied by gamelan pelog. Sunan Kudus one of the Guardians in the puppet set Gedog only dipagelarkan in the palace. Because the puppet Gedog only dipagelarkan in the palace, the Sunan Bonang puppet that was created as a spectacle of the people, namely to create puppet Damarwulan. Act as a principal is Ceritera Damarwulan a range of events on the crisis during the Majapahit kingdom Ayu Ratu Kencana Wungu, due to the rebellion, called the Regent Blambangan Minak Jinggo.

To complete the type of puppet show that already exist, Sunan Kudus Golek puppet created from wood. Story taken from pakemnya puppet Purwa and accompanied by gamelan Slendro, but only consists of the gong, kenong, percussion, kendang, kecer and fiddle. Sunan Kalijaga not also, to enliven the art of puppetry at the time by creating Topeng made of wood. Main ceriteranya taken from the grip Gedog puppet who finally called the mask Panji. Form of the eye mask is made with similar Purwa puppet. In the kingdom of Mataram by Panembahan be Senapati or Sutawijaya, held the form of improvements and Purwa puppet puppet Gedog. Wayang puppet ditatah smooth and Gedog equipped with the keris.
Besides, both puppet and puppet Purwa given Gedog shoulder and hand and given a separate stalk. During the government of Sultan Agung Anyakrawati, Wayang Beber that facilities used for the ceremony Ruwatan Purwa replaced by a puppet and was valid until now. At the time, she also created some of the giant figures who previously did not have, among other Buto Cakil. Like a giant face, usually appear in the scene Kembang War or War Bambangan.

Cakil embodiment is a blind sengkalan that read: Hand Prosecutor Satataning creature (1552 A / F 1670). In Pagelaran Purwa puppet figure is a symbol of blind Cakil savage wrath. Purwa puppet form completion by Sultan Agung to end with the making of the giant figures who called blind Hair Geni, which is sengkalan which sounds Urubing Wayang Gumulung Single: (A 1553 / 1671 M). Around 17th century, Raden cry from Surabaya to create puppet Klitik, the puppets are made from thin wood, like a puppet Purwa. Pagelarannya used in the grip of Ceritera Damarwulan, The implementation is done in the afternoon.
In the year 1731 Sultan Hamangkurat I created the other puppets in the form of the puppet Wong. Wayang wong is a puppet of a human practice with the device or clothing that is made similar to the clothing of the wayang kulit.

The practice in the grip originate from the Ramayana and Fiber Fiber Mahabarata. Differences with puppet puppet Wong Topeng are at play, the puppet from Wong active dialogue; Topeng dialog puppet while the perpetrators carried out by the manipulator.
At the time of Sri Hamangkurat IV; he can heritage Scripture Fiber and Fiber Pustakaraja Madya Witaraja from Raden Ngabehi Ranggawarsito. The contents of the book menceriterakan history Aji Pamasa or Prabu Prabu Kusumawicitra the bertahta in the country Mamenang / Kediri.
Then move in the Palace Pengging. The contents of this book inspire him to create a new puppet called Madya puppet. Of Madya Ceritera Wayang starting from Prabu Parikesit, the latest figures from the Kingdom to Mahabarata Ceritera Jenggala the dikisahkan Ceritera in Panji.
Madya puppet form, similar to the top of the puppet Purwa, are similar to the bottom of the form of puppet gedog. During the era between the Revolution physical year 1945 - 1949, attempt to carry a strong determination to maintain the independence of Indonesia pejuangan done in different ways.

One of the business is through art puppetry. Special stage for Ceritera-Ceritera struggle, the torch diciptakanlah puppet.
Wayang puppet The torch means, because the word also means that the torch as the torch is the tool used to illuminate the dark. The form of puppet torch, potongannya good clothes and clothes similar to those day-to-day.
Materials used to create a puppet spy who came from the skin have also comes from the wood flat. Have argued that while the puppet on the first torch was born in Madiun district in the created by one of the employees as well as lighting and dalangnya. There is no standard form of puppet torch, as always follow the development of the era. This is especially the way people dress has changed, especially pejabatnya.

Role in supporting Wayang EDUCATION Personality BANGSA.

The material, is a puppet of diverting entertainment that is reviewed in terms of both form and art pakelirannya. However, what is behind this tersurat are adiluhung value as implied in the fine spiritual.
The role of art in pewayangan is a dominant element. However, when examined in depth can be educative value which is very important in human life.
Elements appear in the form of education or pasemon omen. Therefore, until someone can see where the values depend on the ability of menghayati and mencerna forms of symbols or symbol in pewayangan. In story-such as whether a particular act that was taken from the Ramayana and Fiber Mahabarata actually taken lessons that can contain education. How the role of Art Wayang supporting education as a means of Personality, it will need to obtain a special review. Based on history, art puppet clearly born of the earth Indonesia. Nature of local genius of the Indonesian nation, the perfect mixing occurs foreign culture, so it does not feel as foreign.

Talking puppet arts in conjunction with the Personality of Education can not be separated from the review of puppet itself with the philosophy of life of the nation namely Indonesia Pancasila. Pancasila as the state philosophy of life and views of Indonesia, is a special characteristic that can differentiate the Indonesian nation with other nations. Pancasila is the norm that regulates behavior and perikehidupan nation. According to TAP MPR - No Rl. II / MPR/1993 on-Line Haluan The Big Country; that there ditandaskan to realize the national goals as set in the Opening of the 1945 Constitution. Ketetapan need to set the Line-Line Haluan of State that are based on aspirations for the nation and Personality penghayatan life and practice of democratic statesman - constitutional, based on Pancasila and the 1945 Constitution.

The Personality of a special feature that is consistent from the Indonesian people who can provide a special identity, so that clearly can be distinguished with other nations. Formulation of Pancasila is officially defined as a legitimate philosophical view of life and state of Indonesia since the introduction of the 1945 Constitution as the Basic Law of the Republic of Indonesia. Opening in the 1945 Constitution paragraph 4 tercanang pancasila formula that reads:

Godhead is One God, Humanity and the just polite, Persatuan Indonesia. and democracy led by wisdom, wisdom in permusyawaratan / representatives, and with the realization of social justice for all Indonesian people. Pancasila as the soul in the set of the 1945 Constitution, the problem is not new in the world pewayangan.

* Principles of the One Godhead.

In a world figure who pewayangan known as "Hyang Suksma Kawekas" Figure this is never realized in the form of a puppet, but is recognized as a Top Dewa. Figure god - a god diwujud in the form of a puppet, for example: Batara Guru, Batara Narada, Batara Vishnu, Brahma Batara, Batara Kamajaya and others in pewayangan described as a normal human being. They will also be depicted character and temperament has a lot of persamaannya with ordinary people. In Ceritera-Ceritera they also often do wrong, do not even ask for help often forced people to confront certain things. Kekawin Arjunawiwaha for example, is a clear example. At the time Nirwatakawaca giant in a rage because Suralaya mean woo Dewi Supraba rejected the gods. The gods can not afford them. To secure the Suralaya the gods ask for help bagawan Mintaraga or bagawan Ciptaning the name of Arjuna when a hermit. As recompense for successful bagawan Ciptaning kill giant Nirwatakawaca given gifts and Dewi Supraba Pusaka Pasopati. Seen here that the absolute truth that is only owned the Top Dewa Hyang Suksma Kawekas. Teachings are not much different with teaching in the moral principle of the Godhead Esa
* Humanitarian Principles.

The soul of the moral Humanity, at the bottom for a teaching mengagung-agungkan norms of truth. That truth is above everything. Despite only absolute truth is in the hands of God, but to maintain a balance between human needs of life fostered a sense of awareness of grace.
Truth has a sincere nature unifersil means apply at any time, anywhere, by anyone also. Pewayangan figures in the world that have the nature of truth and character serve many. As an example can be quoted from Fiber Ramayana. Fiber in the Ramayana known son named Raden Alengka Wibisono that have character reflects the teachings of humanity.
Fiber core story in the Ramayana ranging crisis that occurred between the garnishee Dasamuka Prabu Rama's wife. Prabu Dasamuka action is considered to be outside the bounds of humanity. Raden Wibisono aware that, Prabu Dasamuka deemed in violation of human norms. Therefore Wibisono Raden Raden participate actively assist Rama to fight his brother own. For the sake of humanity Raden Wibisono willingly sacrificing their own relatives who are considered to be the wrong difihak.
* Unity Principles

In the world leaders who choose pewayangan national spirit reflected in the high self Kumbakarna figures depicted in the form of a giant, but you have a noble soul. As the younger brother of King Dasamuka, Kumbakarna have a different nature. Kumbakarna Prabu Dasamuka action against the garnishee, Rama's wife Dewi Sinta.
Against the same attitude with the attitude Raden Wibisono, but adopted a different way. Raden Wibisono opposed to the active side Raden Rama, but Kumbakarna still berfihak Alengka for the country. Intention not defend the brother of war, but somehow Alengka is a country that must be defended even though life should be forfeit.
Hence the name Kumbakarna tercanang as a sincere nationalist. Right or wrong is Alengka country.
* Principles populist / Kedaulatan people.

In a world pewayangan known figures punakawan named Semar. Semar is punakawan of the noble knight and budinya good pekertinya. As punakawan Semar is the servant, but soulless guardian, so that by the tournament Semar respected.
Appearance in the figure Semar pewayangan very prominent. Although in daily life is not more than a servant, but at the time Semar particular often act as advisors and a savior of the tournament at risk due to both human and fellow ulah due ulah the gods. In pewayangan Semar figure often seen as a god or gods ngejawantah the berujud man. According to the Fiber Kanda explained that Semar is actually the child Syang Hyang Tunggal originally called Batara Ismaya brother's old Batara Guru.
Semar as a god berujud human mengemban duty to maintain peace in the world's people as usual. The main tournament is noble to have any confidence when all the advice Semar will get happiness. Semar has considered the present sovereignty in the middle of the tournament as the upholder of truth and justice. In other words Semar is simbul people who are the source of sovereignty for the noble or powerful.
* Social Justice Principles

Element of justice in the world is represented in pewayangan Pandawa figures. Pandawa consisting of Puntadewa, Bima, Arjuna, and Nakula sadewa together ruled the State Amarta. Kelimanya described together and happy together suffer every Pandawa leaders have a different temperament characteristics between the one with the other, but in all natural lakunya always united in the face of all challenges. Puntadewa the old king is very popular as a fair and honest; diceriterakan even bleed white. Puntadewa considered Dewa Dharma bead that has a prominent character is always to the interests of other people, feeling very social.

Permanent exhibition space in the Museum of East Java Province MPU also show Tantular Collection Wayang Puppet Collection can be seen in Room VII, namely Space Art Collection

Type of Puppet Collection on display:

1. Wayang Gedog
Collections on display:
1. Raden Panji Inukertapab
2. Raden Panji Sinompradopo
3. Bancak
4. Doyok
5. Prabu Lembu Amiluhur
6. Aryo Joyosasono
7. Aryo Joyonagoro
2. Purwo east Javanese Wayang
Collections on display:
1. Puntodewo
2. Arjuno
3. Werkudoro
4. Kresno
5. Sencaki
6. Suyudono
7. Sengkuni
8. Dursosono
9. Bolodewo
10. Karno
3. Wayang Purwo Central Java
Collections on display:
1. Puntodewo
2. Arjuno
3. Nakulo
4. Sadewo
5. Werkudoro
6. Kresno
7. Suyudono
8. Dursosono
9. Indrajid
10. Kombokarno
4. Wayang Kulit Bangkalan
Collection yanq displayed:
1. Rama
2. Sinta
3. Lesmana
4. Sugriwa
5. Anoman
6. Dasamuka
7. Trijata
8. Sarpakenaka
9. Indrajid
10. Kombokarno
5.
1. Wayang Klitik Purwo
Collections on display:
1. Narodo
2. Durno
3. Jembawan
4. Bolodewo
5. Brotoseno
6. Kombokarno
2. Wayang Klitik Damarwulan
Collections on display:
1. Minakjinggo
2. Dayun
3. Browijoyo
4. Damarwulan
5. Layang Seto
6. Layang Kumitir
7. Noyo Genggong
6.
1. Wayang Golek Purwo
Collections on display:
1. Anoman
2. Bimo
3. Bodronoyo
4. Sumantri
5. Prahasto
6. Bolodewo
2. Wayang Golek Damarwulan
Collections on display:
1. Layang Kumitir
2. Meek Logender
3. Kencono Wungu
4. Damarwulan
5. Anjasmoro
6. Puyengan
7. Meek Tuban
8. Dayun
3. Wayang Golek Menak
Collections on display:
1. Dewi Rengganis
2. Umarmoyo
3. Umarmadi
4. Governor Abdullah Akbar
5. King Lamdaur
6. Menak Jayengrono

Source: taken from the book Nawasari News, October 1994

Javanese believe that God is the center of the center of the universe and all life because it all happened before in this world that God is the first time. Center for the dimakusd here in this is that you can give life, kesimbangan, and stability, which can also give life and to the top of the world. The view that the Javanese called regular lan Gusti subject, namely the view that thought that the man is a moral obligation to reach harmony with the last strength in unity and that is the last man submit himself as a servant of God.


Most of the people included in the Java class that is not Muslim santri compound that has some concepts and ways of thinking with the Islamic view of the original natural kodrati and natural adikodrati.

Niels Mulder said that the life is a life experience of abstraksi. View of life is an experience of the mental life and can develop an attitude towards life.

The view of the Javanese living reality is that lead to the establishment of unity between the natural real numinus, community, and natural adikodrati which is considered sacred. Javanese people that their lives have been garisnya, they only run the course.

Basic or Java Javanisme trust is confidence that all things in this world that there is one on the bottom or the unity of life. Javanisme of human life always look closely in the cosmos terpaut natural highway. Thus human life is a journey filled with experiences that religious.

Natural Java formulate the thought of human life is in two cosmos (nature), namely makrokosmos and mikrokosmos. Makrokosmos in mind is the Javanese attitude towards life and views of the universe that contains the full power of da supranatural with things that are mysterious. Mikrokosmos in mind while the Javanese are the views and attitudes towards living the real world. The main goal in life is find and create a harmonious balance between life or makrokosmos and mikrokosmos.

Makrokosmos in the center of the universe is God. The universe has a hierarchy which is level with the natural life of the Javanese and the levels of the more perfect world (the world top-world-human world below). Universe consists of four main directions plus a center that is the Lord who gave bond and balance.

Attitudes and views tehadap the real world (mikrokosmos) is reflected in the life of the human environment, in order of human society, governance of human life every day and all things visible by the eye. In mengahdapi of human life is good and true in this world depends on the strength of mind and soul.

For Java, the center of the world is on the king and karaton, God is the center makrokosmos while the king is the embodiment of God in the world so that in itself there is a balance of various forces of nature. So the king is the center of the community in the world like a king mikrokosmos of God as a dwelling with karaton king. karaton is the central sacred bersemayamnya the kingdom and the king because the king is the source of cosmic forces which flow to the area and bring ketentraman, justice and prosperity

According to an English term kejawen is Javanism, Javaneseness; which is a marker for the descriptive elements of Javanese culture is regarded as the fact that Java and define as a specific category. Javanisme the religious view of life besarta people.

Javanisme the religious view of life besarta Javanese emphasize the inner ketentraman, harmony and balance, nrima attitude towards all the events that occurred while placing the individual under the community and the community under the worlds.

Niels Mulder estimate elements of this comes from the Hindu-Buddhist period in the history of Java berbaur in a fisafat, the system of special basis for the behavior of life. Javanisme system of thought is in itself complete, containing the cosmological, mythological, of the fact that conception is a mystical and so distinctive anthropologi Java, which is a system of ideas about human nature and society which in turn explain the ethics, traditions, and style of Java. In short Javanisme provide a general idea of nature as a comprehensive body of knowledge, which is used to interpret the life and sebagimana apparently. So kejawen not a religious category, but to show an ethical and lifestyle inspired by the way of thinking Javanisme.

Most of the Java community is a Java Kejawen or abangan Islam, in this case does not serve their obligations in full Islamic religion does not make for example sembayang five times, not to the mosque and there is also not fast at Ramadan. Base their view is the opinion that the order of nature and society have been determined in all seginya. They assume that the core of life itself and the status is set, fate had been determined before so they must menaggung kesulitanhidupnya with the patient. Belief-belief that they are closely associated with their belief in the adikodrati guidance and assistance from the spirit of the ancestors of God as giving rise to religious feelings and a sense of security

Kejawen can be expressed well by those who understand the secret of the Javanese culture, and that this often kejawen once represented the most by both the elite priyayi-old offspring and descendants who assert that their own awareness of the cultural phenomenon that is widespread among Java. Awareness of the culture is often a source of pride and cultural identity. Those who maintain this cultural heritage as a Java sevara depth kejawen.

Javanese religious Kejawen determined by their trust in various kinds of spirits that do not look that can be dangerous, such as accident or illness when they are made angry or adherents do not care. To protect them, people give offerings kejawen Java or caos dahar that can be trusted events deflect unwanted and maintain in a state of inner calm. Offerings that are used usually consists of rice and various other food, leaves flowers and incense.

Sample activities in the religious community, and particularly the Javanese Kejawen is fasting or Siam. People have a habit Kejawen Javanese fast on certain days such as Monday-Thursday or on the day of birth, all that is origin from tirakat. With tirakat people can become more diligent da will get a reward. Javanese kejawen be imprisoned consider a matter that is important. In the ancient literary people, and people who for centuries considered to be imprisoned as a saint because people can be imprisoned with a life of strict discipline with high and capable Manahan carnality so that objectives can be achieved is important. Activities Javanese kejawen the other is meditation or semedi. According Koentjaraningrat, meditation or semedi is usually done with tapabrata (be imprisoned) and done in places that are considered sacred in the mountains, for example, the grave, which dikeramatkan space and so forth. In general, people do meditation or approach is to unite ourselves with God.

Dynasty dynasty

Brahma * (752-775)
Vishnu * (775-782)
* Indra (782-812)
* Samaratungga (812-833)
* Pramodhawardhani (833-856), married to Rakai lure (Sanjaya Dynasty)


Sanjaya Dynasty

Sanjaya * (732-7xx)
* Rakai Panangkaran
* Rakai Panunggalan
* Rakai Warak
* Garung Rakai
* Rakai Patapan (8xx-838)
Rakai lure * (838-855), freeze dynasty dynasty
Rakai Kayuwangi * (855-885)
* Dyah Tagwas (885)
* Rakai Panumwangan Dyah Dewendra (885-887)
* Rakai Gurunwangi Dyah Badra (887)
Rakai Watuhumalang * (894-898)
* Rakai Watukura Dyah Balitung (898-910)
Skilled * (910-919)
* Tulodong (919-921)
Dyah wawa * (924-928)
Mpu * Sindok (928-929), move to the center of the kingdom of East Java (Medang)
Gusti Sanjaya *


Medang

Mpu * Sindok (929-947)
* Sri Isyanatunggawijaya (947-9xx)
* Makutawangsawardhana (9xx-985)
* Dharmawangsa Teguh (985-1006)


Kahuripan

* Airlangga (1019-1045), established the kingdom in ruins Medang
* (Airlangga Kingdom Kahuripan then split into two: Janggala and Kadiri)

Janggala

* (Not known genealogy of kings Janggala until 1116)

Kadiri

* (Not known genealogy kings Kadiri until 1116)
Kameswara * (1116-1135), Kadiri and streamlining back Panjalu
Jayabaya * (1135-1159)
* Rakai Sirikan (1159-1169)
* Sri Aryeswara (1169-1171)
* Sri Candra (1171-1182)
Kertajaya * (1182-1222)

Singhasari

* Tunggul Ametung (1222) Ken Arok killed killed.
* Ken Arok (1222-1227)
* Anusapati (1227-1248)
* Tohjaya (1248)
* Ranggawuni (Wisnuwardhana) (1248-1254)
* Kertanagara (1254-1292)


Majapahit

* Raden Wijaya (Kertarajasa Jayawardhana) (1293-1309)
* Jayanagara (1309-1328)
* Tribhuwana Wijayatunggadewi (1328-1350)
Hayam Wuruk * (Rajasanagara) (1350-1389)
* Wikramawardhana (1390-1428)
* Suhita (1429-1447)
* Dyah Kertawijaya (1447-1451)
* Rajasawardhana (1451-1453)
* Girishawardhana (1456-1466)
* Singhawikramawardhana (Suraprabhawa) (1466-1474)
* Girindrawardhana Dyah Wijayakarana (1468-1478)
* Singawardhana Dyah Wijayakusuma (according Pararaton became King of Majapahit for 4 months before the died suddenly) (- 1486)
* Girindrawardhana Dyah Ranawijaya alias Bhre Kertabumi (Brawijaya suspected as strong, according to the Book and Suma Oriental Pararaton essay Tome Pires in the year 1513) (1474-1519)


Demak

* Raden Patah (1478 - 1518)
* Pati Unus (1518 - 1521)
* Trenggono Sultan (1521 - 1546)
* Sunan Prawoto (1546 - 1561)

Sultanate Pajang

* Tingkir Jaka, titled Hadiwijoyo Sultan (1549 - 1582)
* Arya Pangiri, titled Ngawantipuro Sultan (1583 - 1586)
* Prince Benawa, titled Prabuwijoyo Sultan (1586 - 1587)

New Mataram

This list is a list of new or Mataram ruler also referred to as the Islamic Mataram, despite naming the last not quite fit. Note: some authorities under the name of this are spelled according to the spelling of the language Java.

* Ki Ageng Pamanahan, receive land perdikan Mataram from Jaka Tingkir
* Panembahan Senopati (Raden Sutawijaya) (1587 - 1601), the independent kingdom of Mataram.
* Panembahan Hanyakrawati (Raden Mas Jolang) (1601 - 1613)
* Adipati Martapura (1613 for one day)
* Sultan Agung (Raden Mas Rangsang / Prabu Hanyakrakusuma) (1613 - 1645)
* Amangkurat I (Sinuhun Tegal Arum) (1645 - 1677)


Kasunanan Kartasura

* Amangkurat II (1680 - 1702), founder Kartasura.
* Amangkurat III (1702 - 1705), VOC removed to Sri Lanka.
* Pakubuwana I (1705 - 1719), never fought two king sebelumya; also known by the name of Prince Puger.
* Amangkurat IV (1719 - 1726), the ancestor of kings Surakarta and Yogyakarta.
* Pakubuwana II (1726 - 1742), to evacuate because of Ponorogo Kartasura diserbu pemberontakl; establish Surakarta.


Kasunanan Surakarta

* Pakubuwana I / Puger Prince (1704 - 1719), ruled Kasunanan Kartasura
* Pakubuwana II (1745 - 1749), founder of Surakarta; Kartasura move to the palace in Surakarta in 1745
* Pakubuwana III (1749 - 1788), recognizes the sovereignty Hamengkubuwana I as ruler of the kingdom.
* Pakubuwana IV (1788 - 1820)
* Pakubuwana V (1820 - 1823)
* Pakubuwana VI (1823 - 1830), was appointed as a national hero of Indonesia; also known by the name of Prince Bangun Tapa.
* Pakubuwana VII (1830 - 1858)
* Pakubuwana VIII (1859 - 1861)
* Pakubuwana IX (1861 - 1893)
* Pakubuwana X (1893 - 1939)
* Pakubuwana XI (1939 - 1944)
* Pakubuwana XII (1944 - 2004)
* Two people Pakubuwana XIII (2004 - present), occurred between seizing the throne Prince Hangabehi and Prince Tejowulan.


Kasultanan Yogyakarta

* Hamengkubuwana I (1755 - 1792)
* Hamengkubuwana II (1793 - 1828)
* Hamengkubuwana III (1810 - 1814)
* Hamengkubuwana IV (1814 - 1822)
* Hamengkubuwana V (1822 - 1855)
* Hamengkubuwana VI (1855 - 1877)
* Hamengkubuwana VII (1877 - 1921)
* Hamengkubuwana VIII (1921 - 1939)
* Hamengkubuwana IX (1939 - 1988)
* Hamengkubuwana X (1988 - present)