IBN ARABI'S CREATIVE IMAGINATION IN ODHY POETRY OF SUFISM FIGURES IN HIS ANTHOLOGY RAHASIA SANG GURU SUFI

This research aims to analyze the Sufism figure in Odhy poetry anthology Rahasia Sang Guru Sufi through Ibn Arabi's creative imagination. The Sufism figure has an important role in the Sufism discourse, and creative imagination is related to literary discourse. Ibn Arabi's creative imagination combined indicated Ibn Arabi himself and his imagination. Ibn Arabi's thought is compatible with the literature and applied as a theoretical approach to mystical literature, namely the work of Odhy, the Sufism figure poetry. Those terms denote part and relate to Sufism studies, especially a murshid (guru) to guide the spiritual guidance through stations until the peak. Those path finders indicate the creative imagination that Odhy used in his poetry collection; at the same time, the literature has related to that imagination. This research reveals the mutual connection between literature and Islamic Mysticism based on imagination. This figure is a person who wrote down his role in the discourse and history of Sufism. The data on Sufism figures are collected through the descriptive method from the primary source of those anthologies. Besides, the historical approach explains his poetries in those anthologies. This research found the Sufism figures as a thought in Islamic Mysticism in history through Ibn Arabi's creative imagination and an image resource in literature.


A. Introduction
The penetration of Islam into Nusantara has a long story. 1   (Christianity, Neoplatonism, Gnosticism, and Buddhism). 6The ascetics (zuhd) became the trigger of later Sufism development, simultaneously rejecting part of the opinions those Sufism endorsed by tenets beyond Islam.Sufism is purely from Islamic studies and thoughts.
However, the literature has previously developed rather than Sufism, namely Arabic literature, mainly conventional Arabic poetry.That literature denotes the tradition of Arab society before the period of Prophet Muhammad (peace upon him).Al-Shi'r is old traditional literature used by tribes of Arabs for their interests, such as al-Ghazal (erotic defamation).
Besides al- Ghazal, Those odes above denote conventional Arabic poetry, often mentioned qaṣīdah related to Sufism.Especially al-Ghazal ode of conventional Arabic poetry (qaṣīdah) is connected to that relation.Appreciation of Sufism poetry aesthetic needs to previously recognize the role of Arabic poetry pre-Islamic established the Islamic tradition.8Historically, connection and influence usually happened to further development.
That development has spread over seven seas and influenced several territories beyond its historical habitat, including the state of Indonesia.Sufism's influence showed its role toward the whole aspects of life, for example, thought, human behaviours, and social institutions.Since information is too easily accessible to be influenced and needs to focus on other insights, like Sufism, this influence may also be shown in the literature.Especially poetry that he collected in that anthology.This anthology was his previous work after he died in 2005 in New Delhi, India, following a religious ceremony.But, more significantly, this anthology was a Sufistic poetry collection since his short story, Indahnya Persatuan, a sign of his literary work, has metamorphosized into a Sufistic treatise.Moreover, some published research related to Sufistic in several scientific journals is based on different analyses.
In this chance, his poetry anthology, Rahasia Sang Guru Sufi, was analyzed through Ibn Arabi's imagination, especially Sufism figure poetry.Those research denote step sustainable from steps previously, like spiritual hermeneutic and Sufism symbolic approach.
Odhy used Sufism figures and elaborated in his anthology, like al-Ḥallāj and Annemarie Imagination mentioned khayālī in Arabic is synonymous with an image (mithāl), the state between the world unseen and the visible world. 11The imagination is indicated to barzakh par excellence in that it is "neither this nor that or "both this and that or the realm of "He/not He".12There is a point to developing the power of thought in the imagination.Henri Corbin said that Ibn Arabi's creative imagination denotes theophany, the God manifestation, but those manifested are different from God.Therefore, there is a separate entity, the creator (Khāliq) on one side and the created (makhlūq) on the other side.
Annemarie Schimmel said, too, that the manifested (makhlūq) denotes an image of God's manifestation (Khāliq).Therefore, there is no anthropomorphic (mutajassim) but unity in imagination .
Ibn Arabi's imagination is metaphysic enough related to Suhrawardi's oriental theosophy.This concept of imagination is to differentiate between the human and Devine mechanisms of creativity.It plays an essential role and is seen as the creative source of manifestation.An active imagination is an organ of several God manifestations or theophany, including the organ of creating.The entity of God becomes the creator due to the prerogative want to know Himself and the other entity to know Him, so the imagination differs from fantasy anymore.The entity of our imagination is God's imagination and comes from His imagination Almighty.
God denotes a prime source of imagination that can be made analogy through Ibn Arabi's thought about al-wuṣūl, if God vanished from your view, God manifested into your view and witnessed His view for you, but you could not witness your view for Him. 13 So the mysticism process is based on the Reality of Godness.So God does have the power absolutely, including the power of imagination as the creative imagination for Ibn Arabi.
In addition, the imagination of God's existence strengthened another cosmological Ibn Arabi's thought.The world expresses God's idea of Himself, or as Ibn Arabi puts it, "we are attributes by which we describe God.Our existence is merely an objectification of His existence.God is necessary to us so that we may exist, while we are required to Him so that He may be manifested to Himself. 14Like mysticism utterance in Ḥadi>th Quds, kuntu kanzan makhfiyyan lam 'u'rif fa'aḥbabtu 'an 'u'rifa fakhalaqtu al-khalqa wa ta'arraftu 'alayhim fa'arafūnī.In English, I (God) was a hidden treasure and was not known.However, I loved to be known, so I created the people, I introduced them, and they recognized Me.God had merely sourced before everything existed, including human beings, to recognize Him .
It introduced and recognized a process through imagination suitable to Henri Corbin's opinion when Ibn Arabi's thought was analyzed.But, of course, creative imagination is mainly sourced from God Almighty to manifest the cosmos, namely macro and microcosmos.
But microcosmos as a human being could produce the imagination to manifest another production through those cosmos that manifested God Almighty.

Based on Ibn Arabi's creative imagination to analyze Odhy poetry, especially figure
Sufism's poetry in his anthology Rahasia Sang Guru Sufi.That anthology consisted of thematical poetries, one of them was the poetry of figure Sufism.So then, Ibn Arabi's creative imagination of God and his poetry focused on figures that Odhy used to build the imagination in his literary work.
The qualitative theory depends on the research object, namely the poetry anthology.
The methods used are a collection of data from that anthology, especially related to the poetry of Sufism figures selected from hole titles.Those poetries will be analyzed under Ibn Arabi's creative imagination.The creative imagination denotes an aspect in either literature or Mysticism on the other.

B. Discussion
Odhy wrote poetries about Sufism figures in the anthology Rahasia Sang Guru Sufi.Of course, based on that poetry above, summon or adhan as Bilāl ibn Rabāḥ 's imagination through well-known history, the first Muezzin.Likely, Odhy gives those imaginations that Bilāl ibn Rabāḥ calls again to prayer for going to the mosque, especially in Ṣubḥ time.Adhan is an essential part of Islamic treatise for God worship.So those imaginations of Bilāl ibn Rabāḥ return alive to make everyone aware of his life or Bilāl ibn Rabāḥ, a person who summons to prayer for going to the mosque in Indonesia.

Several of those figures became creative imaginations
Bilāl ibn Rabāḥ is imagined and related to obligatory Islamic worship, especially the daily five prayers.Those prayers are set up in the mosque or the home with his summon.
Therefore, for every summon for calling prayers, the adult Muslim has to set those prayers up in Ṣubḥ, Dhuhr, `Aṣr, Maghreb, and Eshā' times.For Muslims, those prayers denote the obligatory God worship and the pillar of religion.So every Muslim sets those prayers up like upholding those pillars; otherwise, up-down those too.So prayers are the most important for every Muslim.
Bilāl ibn Rabāḥ is too important in Islam as a muezzin for carrying out those obligations, a figure who is part of God's worship, especially the prayers.Sufistic prayers are the ascension of Muslims as a medium for God's meeting indirectly. 21In contrast, Prophet Muh{ammad (peace upon him) meets God directly when ascending but does not look at Him directly.So for Odhy, the imagination of Bilāl ibn Rabāḥ is a figure that gets the role of building the medium toward the divinity sphere.
His poetry above talks about especially S}ubh} prayer through Bilāl ibn Rabāḥ's summons for life beginning in the morning.There are Bilāl ibn Rabāḥ's summoning, Ṣubḥ prayer, and the morning day; those third denote the beginning.Bilāl ibn Rabāḥ is earlier Muezzin for prayer calling in Islamic history, prayer is first counted on Judgement Day, and the morning day begins life.
The firstly of all denotes the Sharia viewing in Sufistic discourse.Odhy seems to want to previously learn and understand Sharia knowledge before entering the Sufistic sphere.The Sharia is important to be understood well when entering the Sufistic sphere.Odhy uses Bilāl ibn Rabāḥ as creative imagination to build those thoughts through his poetry that Sharia before Sufistis sphere with the concrete thing, summon, Ṣubḥ prayer, and morning day that is the first of all.Sharia is the first step toward the Sufistic sphere as a further step.Aḥmad al-Ghazālī's opinion related to a mystic passes through three different plains, the heart (qalb), the spirit (rūḥ), and the subtle or secret (sir). 28According to the poetry above related to the first plain, the heart (qalb), its text kita cermin-cermin, we are mirrors.The mirror symbolizes reflecting God's knowledge through the light as imagery.A clean mirror can reflect those light, but a dirty mirror can not.

C. Conclusion
The Sufi figures in Odhy's anthology represent the medium of imagination in the realm of God Almighty.These Sufi personalities view God's actuality as a picture formed from their experiences or ideas rather than as a concrete reality.Ibn Arabi's imaginative creativity serves as a guide to help with elaborating Sufi figures.Through imagination, the experiences or thoughts of the Sufi figures manifest or go in the direction of God's Reality.
God's Reality is witnessed in the Sufism figures, but it is not His being.
Most scholars agreed that Islam came to this region and was conducted peacefully by Sufis.They facilitated Islamization by creating spaces accepting local beliefs and customs. 2 They assimilated and complemented each other and became so-called "citizens of the world". 3It was precisely the Sufi scholars who influenced the rapid growth of Islam in Indonesia. 4The Islamic treatise quickly developed and spread throughout the Nusantara due to the Sufis' genuine openmindedness towards the Nusantaras' locals.The Islamic center related to that development appeared in several regions with each figure, including West Kalimantan, especially as the center of Islamic Mysticism or Sufism.West Kalimantan denotes the territory of Sufism development through the place of birth of Sufism figure who became shaykh al-mashāyikh of the Indonesian archipelago (Nusantara) in Islamic thought, especially Sufism (Islamic Mysticism).This Shaykh Ahmad Khatib Sambas was born in Kampung Dagang Sambas, one of the regencies in West Kalimantan. 5The important figure of Ṭarīqat al-Qādiriyyah wa al-Naqshabandiyah (TQN) is always mentioned in the chain of this ṭarīqa.Shaykh Ahmad Khatib Sambas's historical figure became the starting point of Islamic Mysticism's contribution to West Kalimantan.His thought gave the inspiration to develop further through Islamic Mysticism with multiperspective, including literary perspective.The literature and Islamic mysticism essay influence each other and even relate mutually.The literature needs a background as a knowledge source, and Islamic Mysticism denotes those background.The Sufism discourse of West Kalimantan has influenced widespread in Indonesia, perhaps the world, but also narrowly spread in literature.Influence in literature discourse denotes the natural process of building a literature work, such as famously literature quote, something is not being cultured's empties.A work must relate to previous literature, particularly knowledge or local tradition.Relation literature-Sufism perhaps refers to literature and particularly knowledge on one side, and literature-ecology relates to literature and local tradition on the other.Sufism literature has developed since the second century A.H. or eighth century A.D. with the asceticism movement.At the beginning of Sufism, several companions of Prophet Muhammad (peace be upon him) preferred to live ascetically, exiled from ordinary life in society, and stay veranda of the Prophet's home.R. A. Nicholson's opinion provided a summary of the historical development of Sufism from early ascetics to later mystics.It noted its purported external influences 4 As mentioned above, West Kalimantan was included in those Sufism influences through The Figure Ahmad Khatib Sambas in ṭarīqa's treatise.Those effects further the modern period in literature's treatise.But, on the other hand, Sufism too quickly influences the literature because of both of the same paradigms, namely behind the being and second semiotic order.Therefore, Sufistic literature develops with other aspects and relates to historical elements.In the modern period, the literature's treatise on Sufism continued by Akhmad Aran and Odhy, including Abdul Halim Ramli in West Kalimantan.Both Odhy and Akhmad Aran tend to the literature's treatise, but Abdul Halim Ramli tends to essay treatise, his essay Mat Belatong.Nevertheless, both had poetries with the dimension of Islamic mystical or Sufism and continued the Sufism tradition in West Kalimantan through the literature. 9Both contributions showed the development locality of West Kalimantan literature and riched those Sufistic treasures through the literature.Kepada Siapa, Tiga Jalan, Makna Kata-Mu Tuhan, and Sanggupkah are Akhmad Aran's poetries. 10But unfortunately, Aran reluctantly published his poetry again related to people who misunderstood his Sufistic poetries.But, Aran denotes part of Sufistic discourse in West Kalimantan.Odhy is the nickname of Muhammad Zuhdi Saad in the discourse of West Kalimantan's literature.He joined part of the literature club, Kompak, with his friends like Zailani Abdullah, Mizar Bazavio, and Yudhiswara.Odhy and his friends have passed away but have contributed to the West Kalimantan's literature.Especially, Odhy is more concerned because he has ever become the literature editor in the local Newspaper, Akcaya, now Pontianak Post.He selected the sent literature scripts for Newspaper publishing.Odhy wrote the short stories and published them in several national magazines, like Majalah Anita.He also noted the poetries and had an anthology of poetries, Rahasia Sang Guru Sufi, that Penerbit Bukulaela Yogyakarta published in 2006.Besides his work of literature, he wrote literature of essays for newspaper publications.So he almost had the role of literature in developing West Kalimantan's literature short story writer, poet, essayist, and part of the literary community.
figures, for example, their experiences, is probably based on those poetries.1.Jalāl al-Dīn al-RūmīDi lautan Dzikir Jalāl al-Dīn al-Rūmī, Bilāl ibn Rabāḥ, Annamarie Schimmel, al-Ḥallāj and Aḥmad al-Ghazālī denote the Sufism figures in Odhy's poetry through imagination under Ibnu Arabi's creative imagination.Odhys is a West Kalimantan writer with a capacity and capability in Islamic Mysticism thought as a point of view for building literary work.Islamic mysticism literature develops as a historical part of West Kalimantan literature development from other factors, like a social critic or ecocritic.
9 Khairul Fuad, "Meretas Sastra Sufistik Kalimantan Barat Pramodern Dan Modern," Analisa: Jurnal Pengkajian Masalah Sosial Keagamaan 19,no.1 (June 2012): 55-67.10Fuad,62 and 64.FIGURES IN HIS ANTHOLOGY RAHASIA SANG GURU SUFI of guides or guru in Bahasa.In Sufism discourse, a figure or guru has a central role, especially in guiding someone toward God's path.There was a relationship between a figure or a guru like a murshid and someone as a murīd.Because of murshid's spiritual attainments, murīd has the possibility of becoming a travelers (sālikūn).Besides the Sufism path (sulūk) through Odhy poetry, we need a guide to show that path suitable with Sufism tenets.Odhy imagined the Sufism figure in his anthology poetry as guidance to guide toward sulūk for the travelers (sālikūn).This poetry anthology shows the stations for reaching the spirituality peak, one of the stations, namely the role of guide or guru that imagine Sufism figures, produced Odhy into that anthology.The Sufism figure was essential to analysis because of a part of Sufism discourses, like the history of Sufism or Sufism thought.From ancient times to the present day, Sufi figures have significantly impacted the development of Sufi discourses.The anthology of poetry Rahasia Sang Guru Sufi explored the Sufism figures.Odhy chose several Sufism figures for completing his anthology on Sufism.Attractive, This matter can be observed through his books and lectures in the lecture hall very cool inside to explain Islam.Schimmel spawned positive works on Islam as a professor, orientalist, and Islamologists.These works restore a positive image of Islam and defend Islam in the West.She was a professor at Harvard University, United States ofAmerica, from 1967America, from  -  1992. 25   .25Interestingly,OdhywrotethosepoemsdedicatedtoAnnemarie Schimmel, a Sufi researcher, besides Sufi as Sufism figures.He studies the Sufism treatise until he must study its research result through her.His Sufism poetry is a long process written, including Sufism figures dedicated to learning their thought on Sufism.To manage the words of poetry related to someone for reserving, need knowledge or that background.Annemarie Schimmel becomes the imagination for his poetry building, and ifSchimmel is mentioned, it relates to her name and the Sufistic sphere, especially in research.Schimmel tends to Sufistic research much more, not to Sufictic behaviour.Her studies under the Sufistic discourse spread in several international journals, including her books highly reputated, for example, The Mystical Dimension of Islam.There is interestingly mentioned Odhy use of her character for dedicating and imaging Sufism figure in his poetry.Schimmel is a Sufism figure comparative imagined in Odhy poetry above.Likely, Schimmel's well-known Sufi research with her related studies is used to compare with little pool (kolam kecil) diction.As if we compare a little pool for Odhy and a big pool for Schimmel, there is a far difference between national, local, and worldwide.Both reputations are different globally and locally scopes.On the one side, Odhy does not only use Schimmel as well as Sufism profile imagination in capacity with her several studies and books but also in capability with her Sufistic knowledge.Through her knowledge capability, Odhy can extend the Sufistic knowledge until he understands those and writes poetry under that knowledge.In West Kalimantan, Odhy is well-known as a poet under the Sufistic command in his poetry and the use of imagination needs knowledge internalization.Therefore, Schimmel's Sufism capacity and capability are efforts to strengthen the vision of Odhy's poems.On the other side, Odhy imaginatively acknowledges Schimmel as a spiritual guide instructing the right way.However, he still feels the lack of knowledge of Sufism with imaging, saat datang gerimis sajakku berkabut, when drizzle downing my poetry being foggy.His poetry is like a little pool that can not reflect due to haze.So then, that dedicated poetry denotes his acknowledgment and gratitude to Schimmel due to his extensive knowledge of Sufism discourse.Al-Ḥallāj is Abū al-Mughīth al-Ḥusayn ibn Manṣūr al-Ḥallāj al-Bayḍawī al-Wāsiṭī.In 858 AD, he was born in the Persian region of Khuzistan, Shushtar.Al-Ḥallāj moved to Wāsiṭ at a young age, a significant hub for trade, Arab culture, and textiles in Iraq.His father had converted to Islam and may have made a living by carding wool for the family.As a result, his father was known as "al-Ḥallāj " (cotton carder), and he continued to use this name. 26ith al-Ḥallāj's testament when he died.His daughter herself appeared after al-Ḥallāj was executed and reprimanded in front of those crops because of his controversial statement, then threw away his ashes to Tigris, which was suitable with his testament.Although imagination production, Odhy is based on the historical side.
Al-Ḥallāj, the name is warranted in Islamic thought, especially Sufi thought, wellknown as a Sufi martyr.Al-Ḥallāj's Sufi thought caused controversy in Sufi thought, namely disagreement from anti-Sufi circles with Sharia outlooking.Al-Ḥallāj is the essential Sufism figure in philosophical treatizes relating to the oneness of finding.Even those figures are connected to Loius Massignon, a French researcher who pays special attention to al-Ḥallāj 's thoughts.work, Sawāniḥ, has to learn his history.The dedication of Aḥmad al-Ghazālī shows Odhys's respect for him for strengthening Islamic mysticism discourse.There is one respect to a Sufism figure, Odhys respect to another Sufism figure, for example, al-Ḥallāj and Annemarie FIGURES IN HIS ANTHOLOGY RAHASIA SANG GURU SUFI Vol.23.No. 2, August 2023 |377 Schimmel.For Odhy, those Sufism figures denote a master (guru) who represented his anthology Rahasia Sang Guru Sufi.
The heart is like the mirror, whether clean or dirty; if clean can reflect, but dirty can not reflect the light from outside.Imām al-Ghazālī, the Ḥujjat al-Islām, explains the relating heart and mirror in his masterpiece Iḥyā' 'Ulūm al-Dīn.Especially chapter 'ajā'ib al-qalb in the first of his fourth books about muhlikāt (destructive).Odhy likens humans to the mirror, but especially the part of humans is a heart like the mirrors.For Odhys, Aḥmad al-Ghazālī's thoughts were used to build his poetry, especially sequence for reaching Islamic mysticism stations (maḥal al-ṣūfiyyah).After the heart reflects the light (nūr Allāh), it can influence towards spirit based on everything being better life.So, Odhys reveals in poetry, //Di bening jiwamu// //O, kekasih ingin ketemu//.The clear nature can quickly receive God's light; even beloved God unifies His lover's imagery.