Perarakan Hari Raya Haji dan kurban sultan AcehThe sultan's Idul Adha procession and sacrifice in Aceh
Uraian perarakan Hari Raya Haji adalah bagian paling panjang dan paling megah dalam Adat Majelis Raja-raja. Teks ini melukiskan jalan dari Kota Daruddunia ke Masjid Baiturrahman yang dipagari payung bertingkat, barisan gajah berbaju besi dan ribuan prajurit, salat Id bersama Syekh Syamsuddin, serta penyembelihan kurban yang dimulai oleh sultan dan diselesaikan oleh ulama.
The account of the Idul Adha procession is the longest and most magnificent section of the Adat Majelis Raja-raja. It depicts the road from Kota Daruddunia to the Baiturrahman mosque lined with tiered umbrellas, ranks of armoured elephants and thousands of soldiers, the festival prayer with Syekh Syamsuddin, and a sacrifice begun by the sultan and completed by an ulama.
Pada sepuluh Zulhijah waktu subuh, Penghulu Payung Amat Diraja menata payung di kiri kanan jalan menurut urutan yang ketat. Dari pintu cermin Jumat hingga Balai Pedang dipasang payung keemasan berkemuncak emas, dari Balai Raksa hingga Balai Genderang payung berkemuncak suasa, dari Balai Genderang hingga penghadapan biram payung pelangi berkemuncak perak, dan dari sana hingga pintu Masjid Baiturrahman payung putih berkemuncak air emas. Di kiri kanan pintu cermin Jumat dan pintu astaka berdiri payung ubur-ubur tujuh lapis, di pintu Balai Pedang lima lapis, di Balai Genderang tiga lapis dan di Balai Bentara Biang dua lapis. Jalan menuju masjid dengan demikian menjadi peta hierarki ruang kerajaan.
Perarakan disusun dalam saf-saf. Sekitar dua puluh saf rakyat berjalan di depan, diikuti bentara pembawa salih dengan kain songket, baju beledu dan keris bersalut emas. Pada saf kedua puluh, Kadi Malikul Adil menunggang gajah bernama Gangsar, diiringi para fakih, syarif, pendita, imam, khatib, hafiz dan qari yang bertakbir dengan suara nyaring. Teks menyatakan bahwa sultan tidak lagi mendengar gegap gempita bunyi-bunyian karena larut dalam takbir dan zikir sambil membaca tasbih manikam, dan keadaannya dilukiskan dengan kosakata tasawuf: 'asyik, zauqi dan wijdani kepada Allah. Kemegahan duniawi dan pengalaman batin disandingkan dalam satu adegan.
Bagian militer perarakan dilukiskan dengan angka-angka besar yang lebih bersifat ideal daripada statistik. Pada satu saf berjalan tiga puluh gajah berbaju besi bertatah emas dan perak, masing-masing dinaiki dua keujruen tandil berzirah dengan busur, panah, lembing dan perisai, dan dikawal dua ratus tandil, dua ribu laskar berpedang terhunus, dua ribu pengawinan pembawa tanja, dua ribu mitar pembawa bedil istanggar dan seribu pendekar, semuanya berpakaian "seperti sikap pahlawan Rum". Barisan belakang dibuka oleh seribu sidang jenggi berpedang Habsyi dengan cokmar besi, disusul laskar selaksa demi selaksa. Puluhan gajah betina istana disebut dengan nama-nama seperti Ratna Mandi, Biram Manikam, Dendang Usul dan Bunga Melur. Sultan Muda, putra Juhan Alam, mengawal ayahnya di atas gajah Naga Berkas. Penyebutan pahlawan Rum dan pedang Habsyi memperlihatkan jaringan Samudera Hindia dan Turki Utsmani dalam imajinasi militer istana.
Penulis teks membandingkan keberangkatan sultan dengan Raja Iskandar Zulkarnain yang keluar dari negeri Rum menaklukkan dunia dari timur ke barat, dan dengan Nabi Sulaiman yang dinaungi burung-burung ketika berangkat. Teks juga mencatat bahwa para pedagang asing yang berniaga di negeri itu tercengang menyaksikan perhiasan takhta sultan, bahkan disebutkan bahwa sejumlah perempuan hamil yang menonton melahirkan di jalan dan banyak orang tersesat karena keramaian. Perarakan ini dengan sengaja dipertontonkan kepada dunia pelabuhan sebagai bukti kebesaran Aceh.
Di masjid, Syekh Syamsuddin, berjubah biram rambuti tiga lapis dan berserban cara Arab, menyambut sultan di raja paksi dan salat tahiyyat al-masjid bersama sultan dan Raja Udahna Lela. Salat Id dilaksanakan dengan sembilan takbir pada rakaat pertama dan tujuh pada rakaat kedua, berbeda dari tujuh dan lima pada Hari Raya Puasa dalam teks yang sama, lalu diikuti dua khutbah dan doa bagi sultan. Tokoh Syekh Syamsuddin lazim diidentifikasi dengan Syamsuddin as-Sumatrani, mufti dan Syaikh al-Islam pada masa Iskandar Muda.
Penyembelihan kurban adalah puncak upacara. Hewan kurban diikat oleh Amir Diwangsa, diusung para Penghulu Blang ke bawah kemah, lalu dimandikan dengan air mawar oleh penghulu kerukun, syahbandar dan nazir, giginya diberi baja, kepalanya diminyaki wewangian bercampur jebat, kesturi dan ambar, disisir dengan sisir emas, matanya dicelak, dicerminkan dengan cermin hablur, dan ditutup kain putih. Tun Abdul Majid, penghulu gundangan, menatang talam emas berisi pisau-pisau berhulu manikam. Sultan memilih sebilah, Megat Aceh menahan perisai emas agar pakaian sultan tidak terpercik darah, para fakih bertakbir dan gong, genderang, nafiri serta serunai dibunyikan. Sultan menggoreskan pisau hingga darah tercucur sedikit, lalu Syekh Syamsuddin mengambil alih pisau itu tanpa mengangkatnya dari leher hewan dan menyelesaikan sembelihan. Kurban selebihnya disembelih para fakih dengan Kadi Malikul Adil sebagai wakil sultan.
Adegan ini merupakan sumber penting bagi sejarah kebudayaan material Aceh, dari tekstil, senjata, perhiasan suasa dan permata hingga musik upacara. Secara simbolik, pembagian peran antara sultan yang memulai dan ulama yang menyempurnakan sembelihan memperlihatkan bagaimana otoritas politik dan otoritas keagamaan saling membutuhkan dalam konsep raja sebagai khalifah Allah di Aceh.
At dawn on the tenth of Zulhijah, the Penghulu Payung Amat Diraja arranged umbrellas along both sides of the road in strict order. From the pintu cermin Jumat to the Balai Pedang stood gilded umbrellas with gold finials, from the Balai Raksa to the Balai Genderang umbrellas with suasa finials, from the Balai Genderang to the penghadapan biram rainbow umbrellas with silver finials, and from there to the door of the Baiturrahman mosque white umbrellas with gilded finials. Seven-tiered ubur-ubur umbrellas flanked the pintu cermin Jumat and the door of the astaka, five-tiered ones the door of the Balai Pedang, three-tiered ones the Balai Genderang and two-tiered ones the Balai Bentara Biang. The road to the mosque thus became a map of the kingdom's spatial hierarchy.
The procession was organised in ranks (saf). Some twenty ranks of common people walked in front, followed by the bentara bearing the salih, dressed in songket cloth, a velvet jacket and a gold-sheathed kris. In the twentieth rank the Kadi Malikul Adil rode an elephant named Gangsar, accompanied by jurists, syarif, scholars, imams, khatib, hafiz and reciters chanting takbir in loud voices. The text says that the sultan no longer heard the din of the music because he was absorbed in the takbir and dhikr while telling a rosary of gems, and describes his state in Sufi vocabulary: enraptured ('asyik), tasting (zauqi) and ecstatic (wijdani) before God. Worldly splendour and inner experience are set side by side in a single scene.
The military part of the procession is described with large figures that are ideal rather than statistical. In one rank marched thirty elephants in iron armour inlaid with gold and silver, each ridden by two mail-clad keujruen tandil with bows, arrows, lances and shields, and escorted by two hundred tandil, two thousand laskar with drawn swords, two thousand pengawinan bearing tanja, two thousand mitar carrying istanggar muskets and a thousand pendekar, all dressed "in the manner of the warriors of Rum". The rearguard was led by a thousand jenggi with Abyssinian swords and iron maces, followed by laskar in ranks of ten thousand. Dozens of palace she-elephants are named, among them Ratna Mandi, Biram Manikam, Dendang Usul and Bunga Melur. The Sultan Muda, son of Juhan Alam, escorted his father on the elephant Naga Berkas. The references to the warriors of Rum and Abyssinian swords reveal the Indian Ocean and Ottoman networks in the court's military imagination.
The author compares the sultan's departure with that of Raja Iskandar Zulkarnain setting out from the land of Rum to conquer the world from east to west, and with the Prophet Sulaiman shaded by birds as he travelled. The text also notes that foreign merchants trading in the land were astonished at the splendour of the sultan's regalia, and even reports that some pregnant women who came to watch gave birth on the road and that many people lost their way in the crowds. The procession was deliberately displayed to the world of the port as proof of Aceh's greatness.
At the mosque Syekh Syamsuddin, wearing a triple-layered robe and a turban tied in the Arab manner, received the sultan at the raja paksi and prayed the greeting prayer with the sultan and Raja Udahna Lela. The festival prayer was performed with nine takbir in the first rak'ah and seven in the second, unlike the seven and five recorded for Hari Raya Puasa in the same text, followed by two sermons and a prayer for the sultan. Syekh Syamsuddin is usually identified with Syamsuddin al-Sumatrani, mufti and Syaikh al-Islam under Iskandar Muda.
The sacrifice was the climax of the ceremony. The animals were tied by Amir Diwangsa, carried by the Penghulu Blang under a pavilion, then bathed in rosewater by the penghulu kerukun, the syahbandar and the nazir; their teeth were blackened, their heads anointed with perfumes mixed with civet, musk and ambergris, combed with a gold comb, their eyes lined with kohl, a crystal mirror held before them, and they were covered with white cloth. Tun Abdul Majid, head of the gundangan, bore a gold tray of knives with jewelled hilts. The sultan chose one, Megat Aceh held up a gold shield so that the royal garments would not be spattered, the jurists chanted takbir and gongs, drums, trumpets and shawms sounded. The sultan drew the blade until a little blood flowed, whereupon Syekh Syamsuddin took over the knife without lifting it from the animal's neck and completed the slaughter. The remaining animals were sacrificed by the jurists, with the Kadi Malikul Adil acting for the sultan.
The scene is an important source for the material culture of Aceh, from textiles, weapons, suasa jewellery and gems to ceremonial music. Symbolically, the division of roles between the sultan who begins and the ulama who completes the sacrifice shows how political and religious authority depended on each other in the Acehnese conception of the king as God's vicegerent.
Gagasan kunciKey ideas
Payung sebagai peta hierarkiUmbrellas as a map of hierarchy
Jenis, bahan kemuncak dan jumlah lapis payung menandai tingkat ruang dari istana ke masjid.The type, finial material and number of tiers marked the grade of space from palace to mosque.
Kurban dua tanganA sacrifice by two hands
Sultan memulai sembelihan, ulama menyelesaikannya tanpa memutus gerak pisau.The sultan begins the slaughter and the ulama completes it without breaking the knife's motion.
Imajinasi Rum dan HabsyiImages of Rum and Abyssinia
Busana pahlawan Rum dan pedang Habsyi menautkan pasukan Aceh dengan dunia Utsmani dan Samudera Hindia.Warriors dressed as men of Rum and Abyssinian swords link Aceh's army to the Ottoman and Indian Ocean worlds.
Tontonan bagi pedagangA spectacle for merchants
Kemegahan perarakan ditujukan pula kepada pedagang asing di Bandar Aceh.The splendour of the procession was also aimed at foreign merchants in Bandar Aceh.
Posisi dalam kerangkaPlace in the framework
Tokoh, lembaga, dan konsep yang paling dekat dengan entri ini, beserta sifat hubungannya.The figures, institutions and concepts closest to this entry, and how they relate to it.
Pertanyaan reflektifReflective question
Apakah perbedaan jumlah takbir antara salat Idul Fitri dan Idul Adha dalam teks mencerminkan praktik mazhab tertentu di istana Aceh atau sekadar variasi penyalinan?Does the difference in the number of takbir between the Idul Fitri and Idul Adha prayers in the text reflect a particular legal practice at the Acehnese court or merely copying variation?
Kutip entri ini:Cite this entry: “Perarakan Hari Raya Haji dan kurban sultan Aceh”, Acehnologi — Gerbang Studi AcehAceh Studies Gateway, https://acehnologi.com/entri/perarakan-hari-raya-haji-dan-kurban-sultan-aceh/