Luwiyanto, M. Mukhtasar Syamsuddin, Lasiyo

Metaphysics of Wayang Tauhid Play 'Wedhare Sadat Tembayat' Presented by Ki Sunardi Wirocarito

Introduction

Metaphysics of wayang tauhid play 'wedhare sadat tembayat' presented by ki sunardi wirocarito. Explore the metaphysics of Wayang Tauhid play 'Wedhare Sadat Tembayat' by Ki Sunardi Wirocarito. This study reveals its existential orientation, teaching spiritual oneness with Allah and transcending worldly limits.

Abstract

Wayang has a closeness to the behavior and mindset of Javanese people. It is believed that there is a broad and deep philosophical thought system. The wayang performance, character, or nature of the wayang figures conveys the intellectual values ​​of life. Each character comes from a reflection or representation of humans' attitude, character, and nature. Wayang Tauhid, the play Wedhare Sadat Tembayat, which is full of the delivery of philosophical values, is the object of this research. Based on the material object's characteristics, the study focuses on the metaphysical approach. How can humans reveal reality's most profound meaning through metaphysical studies and explanations. The purpose of this study and explanation is to open the way for humans to gain knowledge of the actual reality, namely the existence of Allah. This study is included in qualitative research in the realm of library research. Because the material object is philosophy, this study uses the hermeneutic philosophical method. The hermeneutic philosophical method provides a comprehensive and in-depth approach to studying philosophy. From a metaphysical perspective, the study's results indicate that the WST play has an existential orientation, suggesting that humans have material, emotional, and spiritual limitations. The WST play teaches humans to live based on the oneness of Allah, the True Being. Everything in the world is an event, as a being that does not exist, is only created by Allah, the True Being. This reminds humans that life in the world is only temporary and has limits, so life should not chase worldly things too much, but carry out human obligations to get closer to Allah through faithful prayer. This statement shows that the metaphysics of the WST play is monistic and spiritual.

Review

The study proposes an intriguing and culturally resonant exploration into the "Metaphysics of Wayang Tauhid Play 'Wedhare Sadat Tembayat' Presented by Ki Sunardi Wirocarito." By focusing on Wayang's deep philosophical roots within Javanese culture, the research aims to uncover profound intellectual and spiritual values embedded in the art form. The abstract clearly establishes its scope, positioning the Wayang Tauhid play as a material object for a metaphysical study intended to guide humans towards an understanding of ultimate reality and the existence of Allah. This ambitious objective, coupled with a qualitative, library-based approach employing a hermeneutic philosophical method, sets the stage for a potentially rich investigation into the interplay of performance, spirituality, and epistemology. A significant strength of this research lies in its specific focus on a particular Wayang Tauhid play, "Wedhare Sadat Tembayat," indicating a deep dive into primary textual and performative material. The abstract effectively conveys the central findings: the play's existential orientation, highlighting human limitations (material, emotional, spiritual), and its profound teaching that life should be based on the oneness of Allah, the True Being. The assertion that everything worldly is temporary and merely created by Allah—leading to the admonition against chasing worldly things and the call for faithful prayer—represents a clear, actionable set of spiritual insights derived from the Wayang. The conclusion that the metaphysics of the WST play are explicitly "monistic and spiritual" provides a concise and impactful summary of its philosophical underpinning, offering a valuable contribution to the understanding of Javanese spiritual philosophy. While the abstract presents compelling results, the full paper would benefit from a more detailed articulation of the analytical journey from the play's content to these metaphysical conclusions. Specifically, further elaboration on *how* the hermeneutic philosophical method is applied to analyze the Wayang narrative, characters, or performance elements to deduce concepts like "existential orientation" or "monistic and spiritual" metaphysics would strengthen the methodology section. Clarifying the precise mechanisms through which the play "teaches" these spiritual lessons, beyond simply stating the outcome, would enhance the reader's understanding of the research's rigor. Overall, the abstract promises a valuable contribution to the intersection of Javanese culture, philosophy, and Islamic spirituality, provided the methodology is robustly demonstrated to support the profound findings presented.

Full Text

Comments

You need to be logged in to post a comment.