The Kyai profile

 The Kyai profile

 

KH.M Fuad Riyadi

Fuad KH.M Riyadi Born in Yogyakarta, Oct 8 1970.Pendiri & nanny Traditional ponpes Roudlotul Fatiha, Plered, Bantul, Yogyakarta. His father, Haji Ahmad Abdul Bakdi bloody Kyai Abdurrouf Wonokoromo (Sunan Ampel descendant of Sunan Bonang lines). His mother, Siti Muyassarotul Maqosid are descendants of Kyai Nuriman Mlangi (forerunner of the village students Mlangi) of track father (Kyai Sangidu Wonokromo / Mlangi) and maternal lines descendant of Kyai Cholil Wonokromo, ke'kyaian'nya degree obtained thanks to a number of scholars studied: KH. Abdul Basith KH. Abdul Mu'thi, KH. Muhammad Busyro, KH. Muhammad Katib Masyhudi, KH Muhammad Abdul Muchith, Abuya Dimyati Banten, Habib Anis Al Ethiopia, and Tuan Guru Ghani Ahmad Zaini Martapura.
Writing in the media since grade 2 junior. Been a journalist remains Yogya Daily Post (1995). His writing short stories, poetry, literary essays cultural, religious-educational articles, book reviews, reviews of music-movies-telvisi-technology, scattered in various print media. An exhibition of art either singly or together. Solo exhibitions include: Aura Dhikr, herald Budaya Yogyakarta (2009), Aura White Dhikr, Jogja National Museum (2010), Locospiritual, Jogja Gallery (2011), Alif-Risala Rajah Sosrokartono, Bandung Railway Museum (2011) Book of Laylat

PAINTING LADUNI

 PAINTING LADUNI

 -KH.Muhammad Fuad Riyadi

 

amid paddy
Besieged pegununungan foggy
There liver celebrate
Segue to spill into the Dome of the Pitcher, soluble
Among the lines and curves, and color
Which is not really a color curved lines
But the mirage, the real as
As if the virtual, as if heaven hell
Because of that he paints is not painted
Tersebab that he is not a line line
Because he is not a curved arch
And color - the color that she scratched, born of thought
Birth of perpetual fasting
Transformed into a painting as
Processed as liver
Though the celebrated heart
Color due to the presence of sunlight
So who brings light
Light above under light
Besides light where - where light
Painting - painting he just prayer
Are pleased to show themselves
Because in each head people come and people go
Paintings of paintings he was a kind of love letter from the sky
And this is not what any sipelukis
In addition to the liver
Conscience always celebrate
Shalallaah alaa Muhammad

 Painting The Kyai

Abstract transcendentalism

 

 Prostration Universe, 190x60 cm, acrilik on Canvas Price: $ 26,550

 

 

 Poetry prostration, acrilik on canvas, 70x190,  Price: $ 27,550

 

 

Name Painting
1000000000 BC
150cm x 200cm
Price: $ 24,550

Name Painting
Werkudoro
90cm x 145cm Acrylic on Canvas
Price: $ 18,550

Name Painting
LEAVES THE SKY
33cm x 41cm Acrylic on paper
Price: $ 6,550

Name Painting
BERGENDONG2
33cm x 41cm Acrylic on Paper
Price: $ 6,550

Name Painting
prostration METEOR
Size: 190 cm x 60 cm
Price: $ 29,550

 

 

 already sold

Name Painting
MAULANA MOSQUITO
90cm x 145cm Acrylic on Canvas
Price: $ 16,550 

Name Painting
prostration PEACOCK
Size: 190 cm x 60 cm
Price: $ 27,550 

Name Painting
Arjuna
33cm x 41cm Acrylic on paper
Price: $ 7,550 

Name Painting
RUH IN NATURE azali
145cm x 80cm
Acrylic on Canvas
Price: $ 23,550 

Name Painting
LIVING TOGETHER
85cm x 145cm
Acrylic on Canvas
Price: $ 17,550

Name Painting
Solawat grass 
90cm x 145cm
Acrylic on Canvas
Price: $ 15,550

Name Painting
KEPANG FAIRY
145cm x 90cm
Acrylic on Canvas
Price: $ 16,550

 Name Painting

MUSHROOMS 

90cm x 160cm
Oil on Canvas

Price: $ 17,550

The way you order a painting transcendentalism

Submit images of paintings that you want the message to us, via MMS to +6281233459649 or
Email: Sodagarjogja11@gmail.com
Or you come directly to our cottage
Boarding Traditional
Roudlotul Fatihah
Pleret - Bantul - Yogyakarta - Indonesia



and after that send also your full address along with a phone number that we can contact,
After that we will wait for payment transactions.
Payment of the purchase method of painting is very easy you just send the payment to us through our account number, the price of the painting above Following
6161-01-01-1757-53-3 Sahirudin BRI Blitar Branch Selorejo Indonesia.
Once we receive your payment and send also resit proof of payment from the bank, we will send the painting immediately to your address, no later than two weeks delivery paintings.
That is all and thank you


الطريق كنت من أجل الفلسفة المتعالية اللوحة

إرسال الصور من اللوحات التي تريدها رسالة لنا، عبر MMS إلى +6281233459649 أو
البريد الإلكتروني: Sodagarjogja11@gmail.com
أو كنت تأتي مباشرة إلى أعمالنا المنزلية
الصعود التقليدية
Roudlotul الفاتحة
Pleret - بانتول - يوجياكارتا - اندونيسيا



وبعد ذلك ترسل أيضا عنوانك الكامل مع رقم هاتف نتمكن من الاتصال،
بعد ذلك سوف ننتظر لمعاملات الدفع.
دفع طريقة الشراء من اللوحة من السهل جدا انك ترسل الدفع لنا من خلال رقم الحساب لدينا، وسعر اللوحة فوق يلي
6161-01-01-1757-53-3 Sahirudin BRI بليتار فرع Selorejo اندونيسيا.
عندما نتلقى الدفع الخاص بك وإرسال أيضا رست إثبات الدفع من البنك، وسوف نرسل اللوحة مباشرة إلى عنوانك، في موعد لا يتجاوز وحتين تسليم أسابيع.

During Photo Painting Exhibition The Kyai

 During Photo Painting Exhibition The Kyai

Photos Swaktu Painting Exhibition The Kyai
Peret - Bantul - Yogyakarta - Indonesia

 

Concept Painting Laduni The Kyai

Concept Painting Laduni The Kyai

The Kyai’s Artworks

Kyai Fuad’s painting concept is simple. He wants everyone to go to heaven.The implement of conception,he has to make paintings with purpose of arousing spiritual awarenes in other people and giving them spiritual benefits.

Slamic art always concerns about the strong  relation ship between aesthetics and spiritualism.The artist created the compotition of dost, lines, colors, and in the same time they did spiritual practices in so many forms.

Technical exploitatiom, aesthetical exploitation, material exploitation, tool exploitation, that all is already done.But it will never birth any art no except for painting art which is very ‘bang’ arousing.Here the relevance of the soul of artist ( Include the ‘soul of painter’ ) are witnessed, artworks ( painting ) or, sarcasticly only the artist whit a great soul who could create the great atrwork.

                Abstract style is a bridge for connecting the rational and irrational world.It is very suitable to contain the ideal conception of art it self.Art is not science that emphasizes on rationale and is not a religion thats is full of dogma beyond any rationla.But art can be used by both of them.

ARABIC

تصوير العالم

مفهوم تصوير العالم محمد فواد رياضي بسيط. يريد أن يدخل الناس الجنة كلهم. فتحقيقه يجب عليه أن يصور لمنح الوعي والمنافع الروحانية.

لا يزال الفن الإسلامي يتكلم عن العلاقة القوية بين الجمال والروحانية. أبدع المصورون الفنون البصرية بين النقط والخطوط والألوان  والتراكيب وفي نفس الوقت قاموا بالعملية الروحانية في كل شكل.

استخدام التكنيك واستخدام الجمال واستخدام المواد واستخدام الآلات قد انتهى، على الرغم من ذلك  لن يلد العمل الفني إلا أن يكون العمل الفني التصويري قد هز القلب فهناك انسجام الروح الفناني (وأيضا روح المصورون) مشهود. أو بعبارة أخرى لا يلد العمل الفني الكبير إلا الفنان الكبير. 

إن التجريدي جسر لوصل العالم المعقول والعالم غير المعقول. كانت هذه الفكرة لائقة لوعاء التصور المثالي عن الفن بنفسه . ليس الفن بالعالم العلم المعقول وأيضا ليس بالدين المملوء بالعقيدة التي لا يصل هناك العقل. رغم ذلك ينفع لهما.


CHINA

kyai Fuad 的繪畫慨念很簡單,他意願所有的人都能上天堂,實踐的方法就是要朝向一個目的而且意識到精神 利益.

伊斯籣的精神藝術性常常提到有關於美學與靈性的強烈關連,藝術家的每一點,每一線,顏色和質地等不管以任何形式都可一次表達出精神的做法或想法.

 利用或開採 各种晴物質 ,技術相輔均不能造就一幅另人振撼,感動的藝術品,所以就需要有 "靈魂人物"來見證,表達出藝術境界,只有有偉大靈魂的藝術家才能畫出偉大的作品.

抽象是一般建議作為世界上理性與非理性的橋樑,這種想法也適合容納了理想的受孕.藝術不是單一科學世界裡的理性,也不是宗教教條没法比的比例,而是這兩者的亙相亙補,亙相結會

 

 

Painting Testimonials Laduni The Kyai

Minutes of Rajah Sosrokartono

Prophetic Painting KH. M. Fuad Riyadi in the postmodern era

 We are facing a painting clerics. Not a painting depicting of a clerics and life. However, face painting made a Kyai about what he thinks and does. Haphazard just try to feel the difference, imperceptibly. But behind it all is contained meaning that not only focused on the issue of the word "painting" and "clerics".
The word "painting" and "clerics" to be the main axis in this paper. Two words is certainly not functioning as the subject or predicate. Combined these words were not said compound that produces a new interpretation. Looks ordinary, but studies in, the problem is complicated, complex discussion. Here, these two words will come together constantly. Although these two words if the split does not have problems, because they are a different world.
Both of these words in this article continues intertwined and serves to connect the two worlds that have often been debated: the world of art (which is now mediated by painting, the true secular) and religious world (which is now faced by a clerics, actually are sacred). Although beyond the understanding, there realias "sacred painting" or as "secular clerics". We will be in the shuttle that word later. Interestingly, when faced with "painting clerics" I'm sure most of you thought would always be associated with a dogma: Islam.

A convergence of Art and Religion

Let difficult indeed
remember you full throughout

Anwar, "Prayer", 1943

The idea and the idea of convergence of art and religion (Islam) has produced a long history. As a small example, the arrival of Islam in Java brings a major influence in the development of art and vice versa. This marked the beginning of the arrival of the trustees to the archipelago, which then uses the arts as a medium of propaganda. The propagator of Islam's role now has a real function to make Islam not only as a religion, but also provide a very important legacy, namely as part of the cultural system. Clifford Geertz, one among many researchers veteran of culture and religion in Indonesia write all these ideas in his books.
Such expressions heritage can be traced through various community activities that is still ongoing. One example that is still associated with the arrival of the missionaries is custom made pilgrimages undertaken by the community in the archipelago. The activities of the pilgrimage led to cultural materials became so respected and appreciated, even like merchandise. In some contexts, the practice of pilgrimage gives an interesting way, in the religious sphere has at least two levels: individual (as a religious visit no less significance to the prayer in congregation) and collective (as a religious homage to the memory of the history or the forerunner of a community or society, for example, the rise of Islam in the archipelago). [1]
The interior of the tomb of Kyai Ageng Moh. Kasan Besari, Tegalsari, Roxburgh and former wooden pole Demak Mosque. Photo: Mikke Susanto.
In the realm of archaeological, custom made pilgrimage pilgrim become aware of and appreciate these treasures. Call it the tomb of one of the guardians, of the layout and location, as well as of the tombstone or gravestone gives a sign of status and social status. [2] While in the context of art, the pilgrims obtain evocative aesthetic repertoire, enjoy the detail engineering efforts of the carvers ornate headstone; wood carver drum throne sermons and body; ceramics on the wall

 tombs and mosques; the muralist ornaments and Arabic calligraphy on the walls of the mosque; to such ideas and efforts of the Sunan make wooden poles supporting a very brilliant Demak Mosque.
Unfortunately, in a further development, the material which was originally used as a medium for the spread of monotheism partially changed function. If prior art is used as a medium of propaganda, heritage artifacts is now overused and secular, such as its medium temporal needs: from research documentation, or simply as a "stage or outdoor photo studio" exciting, to seek pesugihan, facilitate searching position, mate, or perhaps revenge, and others.
These are some examples of religious engagement face and art presented in the form of cultural heritage in the form of a pilgrimage. Of course there are many other examples. At least the root problem in the relationship between art and religion in fact has long been a fascinating study. Referring to the opinion of Bambang Sugiharto about the history of the relationship of art and religion, associated with some things. If in the premodern era of religion is the dominant paradigm of life, in the modern situation of religion is infantile tendencies (infantile), pathological, and totalitarian which must be removed (Freud, Marx, Nietzsche, Feuerbach, Comte, Hegel, and so forth), being in a situation postmodern religion is an old song that must be interpreted or even redesigned. [3]
If it should be reinterpreted, and as if the desired image or at least the discourse of Islamic art that we face today?

Snapshot Definition and History of Islamic Art

How I should get back into loneliness
because only in solitude
I can miss you and have

Sindhunata, "Face Princess of China", Water Words 2003

Let's come a moment across the room at the same time in the past to understand at a glance that developed in Islamic art. Islamic art to this day is often defined by a variety of approaches and perspectives, so that gave rise to endless debate. One of the dominant of which is articulated understanding of Islamic art as an art that developed in a particular space and time.
Some experts claim that Islamic art starting from the era of the birth of Islam in the days of the Prophet Muhammad. and ended the era of the Ottoman Empire in Turkey or Qajars in Persia in the early 20th century. After that, most of the scholars of Islamic art began to abandon the term "Islamic Art" (Islamic Art) in their studies and then replace it with the call as "Muslim Art" (Muslim Art) alone. [4]
Of course, the definition above is just one opinion among scholars promoted by Islamic art which was once the attitude of "orientalist" it. Attitude is believed only by giving the benchmark duration of the real space and time are not able to see the influence and another dimension in the practice of Islamic art further.
On the other hand, various "conversation" history states that because of the spread of Islam do not blue-presume has exceeded his native country, the influence of religion is of course also bring Islam to the grating into another culture. Tenets were echoed by the Prophet offers a spiritual vision that ultimately transcend the ethnic and social boundaries. Hence the birth of Islamic art "new" that distinguishes itself with Islamic art "original" of the Arabs. Islamic Art "new" this is considered to be an adaptation or often called Islamic art singkretis. [5]
According to James Bennett, one of the most powerful among the things that affect the spread and the linkage between Islam and local culture is a Sufi mysticism. The Sufis have aesthetic closer to spirituality, especially peaked in the 13th century. Theories of art or aesthetics expressed by Imam Al-Ghazali, Ibn Arabi, Suhrawardi, Ahnaz al-Ghazali, Ruzbihan, Al-Baqli, Jalaluddin Rumi, and others greatly affects the lives of Satra, music, and visual arts of Islam. Sufi mysticism itself first appeared in Persian and scattered diffusion of aulia and scholars, following the fall of Baghdad in the hands of the Mongols in 1258 attacker accelerate the deployment of this religious movement in the peninsula of land and sea trade lanes. [6]
According to Bennett, Sufi teachers and their students pass on cultural practices and religious Islam in Southeast Asia in the early days of the empire until the 17th century. They practice for studying the teachings of the Prophet Muhammad and called Sufi doctrine of "universal tolerance" or sulh-i-kull creates a willingness to negotiate differences in the new cultural environment. They entered new areas and mingle with native religious traditions are rarely visited easily by scholars of the more orthodox. The Sufi adherents are often associated with unity traders or artisans in accordance with the congregation that they follow. They undergo an ecumenical attitude (unity) and support the development of fine arts and performing arts.
Walisongo legendary living in the 16th century still remembered today as the masters of poetry, unfurl a dagger, perform music, and puppet theater that stages Gedog certia or stories Flag (by Sunan Giri) is one important example of the simplicity of their combining art, Islam, and traditions. The existence of the Sultanate of Aceh who performed brilliantly as a great empire of its time also echoes the results of a very interesting culture. The expertise of the stonecutter in Aceh in engrave gravestone written letters flexible that for centuries exported to Malaysia and to other areas that make the term rock Aceh until today is still used to mark the Muslim tomb.
Similarly, the existence of batik in the Sultanate of Yogyakarta and Surakarta, which is part of the aesthetic-introspective nature as opposed to the style of fabric that is both cosmopolitan and secular growing on the north coast of Java or influence from outside the palace, such as the Netherlands and Japan. There are many more examples of linkage style used by Islamic tradition in a variety of repertoire, from poetry, kris, Panji, stone until the textile, metal crafts, garden sari, betel boxes, lotar leaf manuscripts, paintings, glass, ceramics, and so on. At least Islam, citing the opinion of Malaysia Sulaiman Esa painter (b. 1941) is more than just a religion, he is al-din, a complete path and thus thoroughly covers the spiritual life, social, political, intellectual, economic and human culture.
Referring to various repertoire above, is not wrong if in discussing Islamic art we could not resist the influence that exists outside of Islam originated. Barbara Brend defines Islamic art as "art produced from the teachings of Islam or the culture of its adherents. Islamic art does not have to always show the content (teaching) religion, thus the artists and the people involved in it does not always come from the group good understanding of their religion, including the curators. "[7]
Commensurate with it, according to Jonathan Bloom and Sheila Blair who articulate Islamic art not only as a form of art created for practices with Islamic background, but also art created by and for the people who live-certainly more important-in area Muslims. This understanding is very different than the Christian and Buddhist art: Islamic art refers to all the arts of Islamic culture and not only related to the Islamic religion, including variations that are born by the influence of Islam. [8] According to Bloom and Blair, referring to the period of Islamic art the start of the 7th century in the Arab (Islamic birth) until 15 centuries later that covers the area between the Atlantic Ocean and the Indian Ocean in Asia and Africa, in various forms.
Islamic art is always talking about the strong relationship between aesthetics and spirituality. The artists created a line at a time of spiritual practice in any form. Nothing wrong if the complexity of Islam as a belief in one hand, as well as a social system that has a certain bow lines have to make sure that in every place where Islam rests, where Islam has inspired an amazing diversity of artistic expression. Java - specifically in Yogyakarta them-is an important entity in the discussion of art and religion of Islam in the world.

 Cleric / Kyai Painting & His image is the Typical

Twilight glow red
until well into the room
sabers for taking the sleep
Of the mosque came zikirmu
then the war began

Zawawi Imron, "Suggestions", Sailing in the prestige Badik 2007.

If uncover issues and Islamic art, always we are bound by the assumption that there is a painter (professional) who painted the taste / aesthetics of Islam in his paintings. Very rare cases of a different and distinctive. Moreover, if the aim is looking for a new image of Islam in the contemporary art. One of the unique and distinctive image when connecting the issue of art and religion is to take the case may be unusual, the scholars paint. What happened and how to assess it?
Since the beginning, the case raises the issue of clerical painting that appeals to me. When compared with ordinary painter, this issue will not be less emotional. There are some initial questions that could be discussed. First, do we need to review the case of a painting scholars aspect or the end result of the process of creative work? Second, how to review the issue of the thinking behind the work profession as a scholar when he spilled thinking through painting? Third, if he truly (will be) a painter? Fourth, what are the style and content of the painting: about Islam or general? Fifth, to what he paints, yet if he wants to perform religious symbols, does not have many ways a much more effective and efficient that has been done by their predecessors? Sixth, for what and who these paintings? And most importantly, the seventh, is it true that the painting is "work" as a work of art?
Let us begin to explore some of the above questions, the side reveals the etymology and meaning of scholars or clerics beforehand.
Ulama or religious scholars is a typical term in the Islamic world, especially in Indonesia. According to its origin, as defined by Zamakhsyari Dhofier, the words "clerics" in the Java language is used for three different types of inter-titles. First, as an honorary title for the goods (and animals) are considered sacred and holy, for example Kyai Garuda Kencana gold is used to train the existing designation in Kraton or albino buffalo named Kyai Slamet in Kraton Surakarta. The title of this kind is often accused of being "secular clerics". Second, as a title of honor for older people in general, such as Kyai Haji Ahmad Dahlan or the other. Third, as the title given by the people to an Islam which has become a leader or a boarding school. [9]
In the case of a more contextual, the word "clerics" has now even been used for a music group name in Yogyakarta: Kyai Kanjeng, leadership Emha Ainun Najib. At least in this paper there is the sense of religious scholars (Ajengan, master teacher, tengku) [10] which leads to the question of the relationship of religion and religious learning cottage (pesantren). As written below.

A Kyai (key-eye) is an expert in Islam. The word is of Javanese origin, and is sometimes spelled scholars. Traditionally, students of Islam in Indonesia would study in a boarding school known as a boarding school. The leader of the school was called clerics, as a form of respect. The traditional word for a teacher in Islam is a cleric, the which is an Arabic word. There are many ustads in Indonesia WHO teach the religion, but most of them do not have a boarding school. [11]

Once again, "clerics" in this study associated with religious experts who have full authority to boarding. In particular, the authority is not based on formal legality boarding school, but rather possessed charisma. The charisma emerged from clerics consistency in carrying out his knowledge in everyday life, sincerity, and dedication in developing education and religion. Kyai will seek to advance their knowledge, then tried to teach it to the public. This is seen and viewed by the public as an example. In the end, many members of the public with great eagerness to learn the Koran or life experience on clerics.
The thing that distinguishes the quality of clerics course background knowledge and competence. By looking at the background and competence, we will be able to distinguish the type of boarding the lead anyway.
The title of "clerics" itself is not given when he was born (although there is also the term "young clerics" or calling him "son clerics"), but more widely shared by the public or obtained from recognition among clerics, or even perhaps of clerics large-clerics previously been taught, or at the time he has led the boarding school or play more than ordinary people.
Of course the clerics have strong ability in some respects. Some of them also have a religious or spiritual ability that is not easy to beat. Among the many capabilities of the community known as charisma or intercession. The clerics who have high spiritual abilities, intercession and charisma is often equated with the existence of saints, prophets, or at least closer to the ability of the apostle. So called "clerics" too close to someone who has the ability beyond the average ratio, as well as the existence of a saint or even a witch. [12]
While KH. Muhammad Fuad Riyadi has quite an interesting opinion about the "clerics". He stated that the term "clerics" is the heir hereafter scholars struggle prophet. Not clerics Javanese style that every dead man was named Kyai or any magical item called clerics. Kyai or hereafter scholars very obsessive about the success of the hereafter, indifferent to worldly, including when the clerics who have karomah and great competence is dead, so he was still providing a high spiritual experience for pelayatnya. [13]
Then, what about the ability of a clerics outside issues of theology in dalaminya? Is the ability to sing, music, poetry, painting, sculpture, puppetry, writing short stories, arithmetic, or cooking can be equated with other spiritual abilities, like a clerics who lived in Java always Friday prayers in Mecca, not penetrating bullets and gunpowder, capable of disappearing , healing the sick, walking briskly, or rotate the mosque (if necessary)?
Is not the ability to disappear and heal also require "training" as well as painting and singing? Thus, whether if a clerics who in a short time become good at painting considered to have mystical dimension or is committing a special spiritual? Even if one when the painting was seen by the majority of buyers are considered as extraordinary items that should be discussed outside the aesthetic problem?

 Kyai Fuad and his works

The paintings he was a kind of love letter
From the sky, and the painter is not anyone

Abdul Wachid BS., "Painting Laduni" 2010

Kyai Haji Muhammad Fuad Riyadi or Kyai Fuad is a subject on this matter. Kyai Fuad, who was born in Bantul, on October 8, 1970 is now actively leading the boarding school "Roudlotul Fatiha". Boarding Limasan Teak "Roudlotul Fatihah (Park Builders Soul)" was established in Wonokromo-Imogiri Bantul, in 2000. A few months after the massive earthquake that occurred on May 27, 2006 Yogyakarta pesantren relocated. "Roudlotul Fatihah" then rebuilt on a plot of 4000 square meters on the western slopes of Mount Sentono, Rasta Village, District Pleret Bantul. They chose this land as the land is believed to be blessed, because it is often visited by a number of clerics. Previous Kyai Fuad gain ground in Kulon Progo choice, but because of the proximity of Wonokromo-Imogiri (original residence and the place where the boarding school founded ancestors and still consider much near the residence of his students), then Kyai Fuad establish itself has a current location.
Until now, the atmosphere is still quiet boarding school, away from the asphalt road, and gave the silence that support a conducive atmosphere. In this boarding establishment Kyai Fuad assisted by some people. Activities are now quite a lot. While santrinya currently estimated to have amounted to hundreds of people. Boarding at the school is also not require the complicated bureaucracy (even without having to leave the ID card), live sedentary or without a stay permit and is free of charge. Another attraction, nameplate used for boarding marker was sponsored by the renowned mobile phone operator and no Arabic at all on the board. Pesantren is awarded a 500 number from the operator. Because the mobile phone number Kyai Fuad and his wife were special, "beautiful numbers and pairs" of the network.
Kyai Fuad itself formally been experiencing difficult times, both when building a personal rationale, founded the boarding school, until the period of employment as well as most people that ever became a newspaper reporter in Yogyakarta and teachers SMAN 2 Banguntapan, Bantul. Now, with the conditions established, at least able to buy high quality paint material, since 2009 painting and solo exhibitions.
Until the time of this writing, Kyai Fuad often claimed not a professional painter. He also recently active 3 year paint job. For him painting is not just a case of committing a creative on a piece of canvas or sell the work to the benefit of a variety of things, but more than that. Painting is part of the greatness of Islam to which it aspires. Painting is a media fellow human friendship. By painting he felt close to one particular community to get as many friends as possible. By painting it feels familiar personalities and experiences that are new and different from the previous. Nevertheless linkage art world did not begin with the painting, but entered the literary world first. Therefore, in the discussion of religious boarding schools often mingle with the discussion of art, whether painting, music, sports, and literature, as pesantren be meeting for the activists in the world of art and literature of Yogyakarta. [14]
His ability to paint starting from the fun drawing since childhood. At the time of study in SMP Baturetno, Banguntapan, Bantul he scribbled and written many books on the subject notes, by making a tree or simply the natural scenery. However, the circumstances surrounding his life at that time was not conducive to continue painting.
More young Fuad doing self learning to know the experience of life. On the other hand, since the students he has the will and not yet aware of the capabilities themselves in religious matters. Frankly the father of 3 children admitted to me once an atheist and do not easily believe in destiny. "Because at that time so I think is not cool clerics, Mas!" He said. He never felt so hated by the existence of clerics, to the extent that he could not understand so many people who kiss the hands of time to meet clerics.
Obliviousness to his destiny as clerics apparently just physical appearance. Although he constantly so (hate on religious scholars), he apparently did not avoid his destiny forever. Husband of Suparmiyati and Dara Aryani said that although when students really indifferent, never at a time when it knows that there is a dead clerics (ie Kyai Ma'mun, a member of Muhammadiyah religious scholars) he could not ignore. Three days in a row he could only cry in the room. "There is something that is sorely missing, irrational, and tightness in my mind at the time," he said.
But when he met and studied in a wide khos scholars KH. Abuya Dimyati (Bantam) and Kyai Hamam Ja'far (Pesantren Pabelan Muntilan, Central Java) he experienced a revolution of thought. From Dimyati he deepened mysticism and asceticism scholars of the Salaf, being Kyai Hamam open heart how interesting it becomes clerics. He saw the figure 2 of the teacher as the idealization of his life as a human. Dimyati and Hamam respect for being able to do things that really want to do without ever felt scared and shy to anyone, except to God.
Dimyati and Hamam are respected able to mobilize young Fuad desire to return to nature that has been outlined to him. Although he was conscious and know, that parents and grandmother (Nyai Sangidu) is often said to others that Fuad who will be clerics and continue the tradition of boarding schools that have been initiated by the ancestors. Plus, after the receipt of the designation clerics said Dimyati that it will be a small Fuad clerics. Fuad thought, this is destiny, a provision can not be denied and resisted.
As related in depth on intellectual thought-creative process, Fuad has been actively doing creative work diligently produce literary works and articles since 1990. He studied at the legendary satrawan Yogyakarta, Ragin Suwarnopragolapati. To date, he still wrote a number of books, including Risang Pawestri (1990), I Am (1991), Notes Red Land (1992), Clump of Bamboo (1994), Look-Look and So (1997), carriages (1998) Dew Tajalli (2000), Kampung Pupils (2001), How Idiot so Kyai (2005), Islam is Easy (2005), and Tongue Kyai Village (2010).
Early activity started painting when he was familiar with the writer Joni Ariadinata. This friendship has long existed. Young Fuad also often make discussions of art and literature when he was attending college in Yogyakarta Teachers' Training College (now UNY). Art thinking swiped struggle with fellow writers and evocative of its spiritual thought young Fuad preaching to complete the task as a whole. Thus he considered that the painting is something quite efficiently and effectively to support and roll idealism about various things, including as clerics and as a leader and manager of the boarding school.
The concept is simple painting, he wants everyone to go to heaven. Implementation is he must paint in order to give awareness and spiritual benefits. He considers that for many or most of the painting (the work of others) was born with the intention that is materialistic. Such intention is often confront attitudes and lives of the artists, especially when the purpose of painting is commercialization.
Nothing wrong if the fundamental thinking as an artist who is a true human being "holy" (of material), long eroded and undermined by those goals. Many artists now turned into a "handyman". Moreover there is also a double standard that is done. Not infrequently there is an artist who does not recognize his work ever made because it was marketed in the lower classes, in order to meet the tastes and needs of everyday life. There dishonesty that crept between idealism and realialitas everyday.
Therefore, the paintings produced Fuad Kyai to reconsider that goal. With the ability ascetic and religious knowledge possessed, Kyai Fuad doing creative work that his paintings do not contain elements of harm and do not want to be associated with worldly (aesthetics and materialism) alone. Up at the level of material to work, Kyai Fuad do not want to be questioned. For that he has the ingredients and materials of high quality work.
Often said, "I never care about visual issues as the main things my paintings, because I do not believe in the material world looks. I paint, mix colors, and menorehkannya as an effort to make people see that this painting, not the other objects. That's it! "Even once at a time he painted accompanied by fellow painters like Conan Mudhakir, Rusnoto Susanto, and others. At the time Conan proposes added elements of other colors, as well as proposing ideas Rusnoto techniques, Kyai Fuad easily implement the proposal. It was, without a load.
Fuad admitted that he did it because he did not give priority to the final destination as any visual form, but rather to dwell on the essence of what he painted. [15] Therefore, a lot of the arts as a student of art or artists who watch his work considers painting Fuad was more than just a game techniques and materials [16] and monotonous.
The paintings were originally done by taking such a special time during the late afternoon when after Friday prayers after the Assembly's Birthday or any Simtud Duror [17] in his school. Time of this kind was taken because he felt his heart clear and sacred to "confront" canvas. Now getting a little free, can any time.
In addition, when the first painting he had not allow others to see it painted. "Yes, I am ashamed to be seen, because I paint sometimes crying, tears volatile, and very personal thing as dhikr. Personally worth it when I read the book Dalail Al Khoirat (sholawat set of readings by Imam Jazuli) which sometimes do not need to be seen, in the room, alone just to read a book, "he said. But after a few months later he did not forbid anyone to see it painted. "I was able to control intuition and conditions, so no need to bother now," he said.
Pesantren seems to be the most ideal studio for him. He considers that the spiritual aura into the atmosphere in the school and the surrounding soil is much better than other places. Ever he painted at home his second wife, approximately 3 kilometers from the school, but the results do not provide strong restrain the Kyai Fuad. "All of this is caused by the radiation energy that never left the clerics who had once stopped by and stopped here, or also because the scent sholawat and prayer are often spoken here are very influential," he said. (ILLUSTRATION: Hall boarding school)
Interestingly, the work that has been put into place after a very respectable, in the pavilion boarding schools where the Koran and pray together daily (but since August 1, 2011, a move to the mosque to pray boarding). At first glance the paintings seem to be worshiped. Kyai Fuad believes that the aura or spirit or energy through the Koran, dhikr, and pray will affect the pigment and particles in his paintings. [18] At first he establishes that the paintings will need time for 40 days. Now, did not last long, at least less than that.
If you look at the results of his paintings for 3 years from the perspective of visual style, it looks similar. In plain paintings Abstract Fuad dwell on style, [19] but with a special note. Abstract Abstract diusungnya is not the true meaning is carried in the development of European art.
He stated that that was not painted objects, or symbols, but rather a notation atmosphere and attempts to draw aura dhikr in-materialization into paintings. More or less a kind of visualization of energy that is constantly never destroyed, as energy destiny itself: can be transformed without disappearing. So that brings me more suitable for painting Fuad painting style is abstract transcendentalism.
KH.M. Fuad Riyadi, Satan Ora Ora Hooked demit nDulit, 145 x 90 cm, oil on canvas, 2010 (left) and KH. M. Fuad Riyadi, 100000000000 BC, 160 x 360 cm, acrylic, oil on canvas, 2010 (right)

Transcendentalism has the meaning concerning things which are spiritual, supernatural, and is often understood as an abstraction for adherents of materialism. Nothing wrong if I proposed the idea of transcendentalism as the main ideas and ideals Kyai Fuad in painting. While the Abstract is a physical style or pattern that is visible to the eye said. Abstract as a form of arrangement of lines, colors, dots, texture, and composition is a method or way of expressing that is structured as a medium for narrative / thinking.
Abstract The term is derived from the fruit of my Transcendental Kuntowijoyo thoughts on literature that developed in an era 80- Jakarta: Transcendental Literature.

I think we need also a transcendental literature, therefore looked actuality is not printed by our spirit, but packaged by the manufacturer, bureaucracy, social class, and power, then we do not find our face authentic. We are tied to the purely empirical concrete and can be captured by our senses. Our testimony to the actuality and literature is an outward testimony very limited. So first we have to free ourselves from our sensory apparatus. [20]

Kyai Fuad believes that abstract visual style is the most suitable for him. Not only rely on the holy verses prohibiting the display of living beings in the painting, but also there are other things. He felt that the visual style of the abstract is the most effective way to carry a wide range of phenomena and ideas as well as the quality of the momentum he faced when he painted.
Abstract is a bridge to the world suggests rational and irrational. This kind of thinking is very suitable to accommodate the ideal conception of art itself. Art is not a rational world of science, but also not the world full of religious dogma immeasurably by the ratio. But art can be utilized by both. Arts implied if it is associated to the person and works of Kyai Fuad more of a conception of human work that communicates the inner experiences; The inner experience presented in a beautiful or interesting to stimulate the emergence of inner experience also on other human beings are living them.
Fuad Kyai inspiration on the spiritual dimension in the paintings realized not just want to make paintings as soul records (compare with art as "soul looks" of Sudjojono). Soul and mind Kyai Fuad I consider to be wanting an emerging form of spiritual awareness and to provide a new status of painting as a medium of faith (implementation Pillars of Faith in Islam) to the painter and the later collecting. Therefore, the painting does not give priority to Kyai Fuad form, and not also give priority to the surface. Fuad Kyai paintings entirely contained within and between energy dialogue conducted in depth, sometimes symbolic, and poetic.
The umbrella transcendental dimension through transcendentalism Abstract style of this kind is much concerned with meaning. So if no selfish meaning, the painting will be caught up in the game and imaginary compositions. The painting will be a devotee of the form and forget the moral and spiritual message that the duty of the artist to deliver it to the middle of a world increasingly materialistic and poor meaning. Therefore, paint for Kyai Fuad is not a game. Painting and paint work is the world faces the reality that every day. This idea rests on the Quran and the Hadith of the Prophet which reveal that the life of the world is but a moment. Faith and trust in the End Times is primary. This awareness want mated by Fuad as a clerics.
Transcendental dimension cultivated by Kyai Fuad in the form of painting is not a physical work that contributed to his childhood hobby. Instead he is facilitating her to become a famous painter, not at all. As he was already well-established religious scholars, both in the economic, social, existence in the field of science and religion. In this context, painting or painting, is much more important as a struggle conception of thinking about the meaning of life in the world, rather than be defined as an object. At first glance the paintings do seem hard to digest for apresiannya, whereas the existence sublime, sublime existence.
Transcendental dimension is expressed Kyai Fuad will receive an endless challenge. In the midst of the world of materialism that is very prominent as it is today, will be the more people who get caught up in the issue. Yet it is precisely here that the role of clerics painters and painting clerics enforced, namely as a form of projection fixers, healing mental problems, as well as the catharsis of an event.
Transcendental dimensions contained in the paintings Kyai Fuad should be interpreted as a patch of space that was never completed. Abstract paintings transcendentalism although physically he made only "patch", but in store consciousness endless. By using pengibaratan, paintings Kyai Fuad as a result of the visit space and return with knowledge and insight about the universe. Endless, although the painter fence off "patch" paper and call it the title row.
While the existence of the title to the paintings of Kyai Fuad serves to sharpen the ideas sublime obtained during the process of creative work in progress. The title of his work is a sign that he has entered a psychological mental space. Title not stop as an abstract painter moods. In short, the titles of these works are commensurate with experience ecstasy diejawantah in a letter and word.
As an homage to the work of Abstract transcendentalism, of association with kesufian dimension is also very close. Just as stated by Abdul Hadi. which states that many authors do not pretend to be Sufis, they further explore the aesthetic possibilities of the views experts. In Islamic civilization, one branch of science that has a close relationship with art is Sufism. Similarly, the experts delivered many Sufi works of art. [21]
Interestingly, Kyai Fuad's not a painter sich.Tidak wrong when we have to assume that the Kyai Fuad painting is the result of a form of creative behavior Sufi mysticism and behavior based on the attitudes of the transcendental. Fuad paintings are the result of a sacred experience [22] which is not easily understood by the layman, but feels mujaradnya. This is the essential difference clerics painting with regular professional painter.

 Painting Alif & Rajah Sosrokartono

God created two types Qalam:
Which one, of plants - riveting soul
of shoots memutik khat enchanting art
More from animal hair, light sparkle like jewels
and memancur of source water of life
which brush to paint

Qadi Ahmat

Broadly speaking, the relationship between art and religion in Indonesia never substantively contradictory, not complementary. Relationships tend to be incidental. [23] One of the important to be discussed here as an example of the connection between art and religion in Indonesia, which also incidentally is a work entitled Rajah Sosrokartono (2011).
KH. M. Fuad Riyadi, Rajah Sossrokartono, acrylic on canvas, 90x145 cm, 2011
He picked up this work as a prime example is not a coincidence. This work is deliberately used here to indicate a close struggle with self thought Kyai Fuad as a human among other works that have been produced. This work is the idea and style clearly indicates examples of Abstract transcendentalism which I think is the most complete study of all the works Kyai Fuad ever made to date.
In Rajah Sosrokartono we will meet with the transcendental realities that are creative achievement Kyai Fuad, also private notes about the problems of society and the state, as well sniff traces of historical importance in the mind of the artist. In general, the Rajah Sosrokartono is not just painting composed of a desire as a member of the community (read: social criticism), but also backed by the mystical dimension, and also a fusion of so many religious knowledge and experience of life itself.
Visually works Rajah Sosrokartono deceptively simple. In it only consists of elements of the letter Alif dominate large white canvas, uneven streaks black with a slight bluish as a background element, and small scratches red irregular inscribed on certain sides in the area of the canvas. Do not forget one other element is the presence of black Indonesian language text nodes with real texture. The article is quite long, almost fills the entire canvas. It reads as follows.

Ilham paint Rajah Sosrokartono triggered by admiration Gus Dur to figure RM. Sosrokartono, elder brother of RA. Kartini. The longer the inspiration was more buoyant, while the more pressing soul: a kind of a very heavy noble task. Finally, on 18 April 2011 (Monday Legi 14 Jumada Beginning 1944/14 Jumadil Ula 1432 H) bakdal dhuhur very sultry and hot out of control, there was this mystical dhikr creative process. 1 hour, and then a second straight heavy rain, no less noble and pure (clean wind bit of lightning and thunder) for about an hour anyway! Nature became cool and serene. Wet earth and peace. I came to know, not just anyone can collect this painting. Hi, not the Greatest Human Maulud also occur on Monday, about 14 centuries ago? Wallohua'lam. Rajah is meant is: Alif, Alip, Alib, ... (Alif word or Alip or Alib scattered evenly in the bottom half of the canvas: 71 says the right and 75 left Alif said the great white, pen.)

From my reading of this text there are expressions and expectations of Kyai Fuad outstanding against this painting. This work is intended implicitly on three things: a marker of mind and a big inspiration on the situation and socio-political conditions, the transcendental dimension which arise when the creative process of this painting was made, and the fruit of the history of the Prophet's warning that occurred much earlier. Because that's the first time I visited boarding Roudlotul Fatiha, Kyai Fuad implies this work and said that the Rajah Sosrokartono is the best according to date, "Although visually by others may not be interesting!" He added.
Rajah Sosrokartono is a form of "pilgrimage" of thought. Not only as a form of homage to Sosrokartono, but also a form of desire toward adventures above and get access divine sanctity. Proven emergence of the text in the picture.

... A second later heavy rain, no less glorious and sacred.

In addition to painting Sosrokartono is also dedicated to the figure of the Prophet Muhammad, who was born on Monday to write as follows.

Hi, not the Greatest Human Maulud also occur on Monday, about 14 centuries ago?

"Pilgrimage" Kyai Fuad made clear not be backed because of the small and powerless over the situation that occurred today. "Pilgrimage" in the figure Sosrokartono and Muhammad had replaced the original abstract mind, now manifested in a letter, names, and images. This painting into the world of things at the same intersection.
Just as revealed by Chambert-Loir & Guillot who said that the pilgrimage tomb is a special interfaith meeting point. Almost everywhere in the Islamic world there are the tombs of special people. In short, from the tomb as if the trustee has replaced the role of the gods, a concept idea of divinity in the premodern period. Although the statement replaces the guardian deity is not entirely correct, this implies a form of human distinctiveness, at least in the eyes of human distinctiveness another man. Nothing wrong if later pilgrimage culture plays an important role in the spread of Islam. [24] Kyai Fuad inadvertently take advantage of the tradition of "pilgrimage" in the process of creative work.
Humans named Sosrokartono indeed "special people". Specificity is not because he waliullah as the Sunan propagator of Islam or similar sheikh in the Arab world. Not because he is an elite country that has the power to regulate the people. Not because he holds a hero, like his brother Kartini. Nor because it has a boarding school with a number of students. Sosrokartono only Java man who is able to bring him into the realm of Love, but able to be useful for other human beings, so he deserves to be remembered as someone special.
Sosrokartono lived between 1877-1952 was the son of the Regent of Jepara, RM Duke Ario Sosroningrat, which is capable of becoming an important scholar in Europe. Sosrokartono archipelago was the first person who studied formally in Europe, where previously only a messenger of Java, slaves, artists (named Raden Saleh) are up in Europe. Once in a polytechnic school in Delft, he continued in the Department of East Asian Languages at the University of Leiden, the Netherlands, graduated 1909. The extensive interaction causes him recognized as the "colony" capable and recognized competence in the Netherlands, including foreign language mastered 20s west and East. He became the first Indonesian in scientific open appearance as happened when Sosrokartono talk on August 29, 1899 in front of the "Congress of Linguistics and Literature Dutch XXV". His speech got a very festive. The speech was published in Neerlandia, October 1899. [25]
Call it easily, Sosrokartono is a nationalist who is able to be a figure of a typical Java. Thus, when in Europe he dubbed "Prince of Java". She has worked as a journalist at the time of World War I, had also asked to work as a translator at the United Nations. During the 26 years he wandered in Europe. Due to various inner conflicts over Europe causing it back to Java. In Bandung he did social work as a healer for those who are physically ill and non-physical to build the house called "Dar-Oes-Salam". In addition, he also teaches at the Bandung branch Tamansiswa together: Bung Karno, Mr. Sunaryo, Dr. Samsi, and Usman Sastroamijoyo.
The reproduction Alif mounted in Home Broker Surabaya, once installed in the space between the middle and rear Home-Salam Dar-Oes Bandung. Photo source: Dr. Abdullah Ciptoprawiro, 1996
Sosrokartono obviously not a doctor. He is better known as a psychic, enterprising bertirakat, like helping people, humble, and do not want to enjoy the luxury, even he often just eat a banana and two chillies in a day. So diligent and ikhlasnya embed role Love-His love he felt to be a "foreman" on the orders of Allah (therefore he calls himself Foreman Klungsu). So straight thinking and his life making others remember him constantly, until he himself was not married (and therefore Sosrokartono calls itself Joko Pring). "Kulo dermi ngelampahi kemawon, whereby the goods ingkang madosi sae, Sedaya kula sumanggakaken dhateng Gusti (I just live alone, just look for the good, all I leave it to God)," he said.
In life, Sosrokartono very uphold the principles of good life-style Java and Islam. That's why so many Sosrokartono provide important lessons for other human beings. Among those lessons was when he wrote and put the letter Alif as part of living his life. In a private letter he writes, "... ping kalihipun need tripe lan ngatur kangge board put up Alif. (Masang alif punika kedah mawi lampah means. Boten kenging why lajeng dipun canthelaken kemawon, lajeng dipun tilar Kados mepe rasukan) (... both necessary requirements and special place to put-put Alif Alif need special facilities. There could be hung for granted, such as drying clothes). "[26]
Alif letter posted by Sosrokartono there some fruit. The first form of white thread embroidery on cloth light blue, artificial Sosrokartono assisted by colleagues Soepardi ever mounted above the front porch and a large door in the middle of the Dar-us-Salam. Second, drawn by the Sosrokartono using Chinese ink on white paper which is then placed in the middle of the wall of the back porch. Third, never too Sosrokartono make Alif tattoo on a white card with a red pencil and then scratched with a cutter and used alone to be soaked in water for a while. At other times had also Amen Singgih, Foundation board Sosrokartono see the letter Alif from Sycamore Sosrokartono stick on the table, and the stick inserted in his cap itself. [27] There is also a photo documentation that describes the letter Alif written by Sosrokartono directly on the board in home-Salam Dar-Oes which reads as follows.
ا
Aum Shantih - (Salam Calm)
Panta Rei, Kai Ouden Menei -
(Into the Great Ocean, All Changed)
Kala Aion - (Time is Eternal)

He made the letter Alif by Sosrokartono explain a forecast. In this regard it should be understood that Sosrokartono wrote the letter Alif in a variety of devices and media is a sacred manifestation that want the benefits spread to others.
In a statement from Sumidi Adisasmito (witness who never met directly with Sosrokartono) later quoted by Abdullah Ciptoprawiro [28] wrote the background and put Alif Sosrokartono make at home. Sosrokartono said that he has no mysticism, not having japamantra (incantation) which turgid arguments complicated or complicated-beautiful-beautiful prayer. I just hold firm behavior acts, deeds "caturmukti".
"Caturmukti" expressed by Sosrokartono is a blend of four physiology of the human soul: thoughts, feelings, words, and deeds. This unity formed kasunyatan or reality or truth. Whoever did kasunyatan behavior, both outwardly and inwardly he will get kasunyatan anyway. Kasunyatan is described by him with the letter Alif, a letter Hijaiyah form perpendicular line, without modification. Kasunyatan or fact is not the monopoly of anyone, can be achieved by everyone as long as it meets the requirements, which succeeded in uniting the 4 function. That is the letter Alif diejawantah as unity or upright between thoughts, feelings, words, and deeds, through habit "Caturmukti".
Abdullah Ciptoprawiro himself argues that the emergence of Alif in mind Sosrokartono implies two things: the first letter comes from the Quran, as the first letter that describes the unity between creature and creator; second, if the fiber Literature Gendhing Alif describe the Essence and form Hyang Widhi (God), whereas Sosrokartono Alif is a parable or a "representative" of the Lord in carrying out its mission to serve the God. [29]
It is not possible letter Alif is described by a beam of said Sosrokartono mystical consciousness. Alif represent the path of Islam to God or a map of the journey to the Divine, aka image of the path, which is often represented with four developmental stages of Sufism: sharia, Tariqa, haqiqa, and makrifa. Everything is a path to God that emanated from the Koran and the hadith of the Prophet Muhammad. Shariat is the physical implementation, Tariqa is the way or method, haqiqa is the essence of devotion and supreme knowledge of God's servants with no distance "[30]. Melting. Converge. Single.
Alif mediates a memory of everything, as revealed by Sahl at-Tustari poet who said that the first letter is the letter Alif and noble, namely God, which connects (allafa) all beings, but remain separate from everything. Many also assume that Alif as the first creation that creates other letters.
In the perspective of Javanese culture, [31] an expression of Alif also interesting listening. Various books of literary composition kings, masters, and writers of the past also implies many assumptions about the existence of the Most Single perceived in the letter Alif. For example in the song Asmaradana (which is one of 5 songs in fiber composition Gending Literature Sultan Agung) showed that Alif is "Sejatining literature" (true beauty) which indicates the Absolute Dat while still in the quiet of nature. "Dat absolute dipun Arani, maksih wang-Uwung kewala, iku jatining ananes literature saestu accused, dupi alif wus kanyatan."
In Fiber Wirid Hidayat Teak, R. Ng. Ronggowarsito (1802-1875) also mentions Alif. Consider just the phrase, "iku nalika ing amung amustiya peputoning rich embroidery kang halcyon ngibarating the script Alif ajabar jer apes, unine A, I, U, tegese: I Iki Urip, sprinkle anyipta brangta Dat ing that wrote the curry kabeh kaengetan Semarang (at that time pusatkanlah all roundness determination to prosper, as prefigured in the letter Alif, with signs of algebra, jer, pes, which reads A, I, U means: I it Urip (live) and then thrilled for Dat, so there is no thought of abandoned). Alif symbolizes the conclusion that human life should be directed to God, through the attitude to life itself.
More or less this is the history of ideas Rajah Sosrokartono Fuad dipameran Kyai works first in Solo Exhibition "Loco-spiritual" in Jogja Gallery July 22 to 29, 2011 last. The idea of the issue of history as a form of "pilgrimage" mind this kind may not only be limited to documenting Sosrokartono thought alone. Behind the historical goal was still a strong correlation in the aspects or other ideas, especially those related to social issues that exist around the life of Kyai Fuad.
Kyai Fuad according to one of his students, H. Suwantara [32] is an idealistic figure, firmly but gently, and without a doubt say no to anyone. He was never afraid to express things that are perceived disharmony, even in the presence of people who have power. Additionally, Kyai Fuad has high sensibility there is the issue of the public. So when painting any assumptions about any problems that occur surrounding influences.
Even in every discussion that we do, Kyai Fuad often reveal kegalauannya against Indonesian national problems. "Sometimes, when my pilgrimage to the tomb of Maulana Maghreb Parang that emerge dominant in my mind is Indonesia, Indonesia! Prayer for Indonesia. Rarely and often forgot that I was also entrusted with prayer by friends, relatives, or students, "she smiled. Therefore paintings directly or indirectly, is the fruit of thought to the crisis this nation, including the work of Sosrokartono Rajah.
He once said to me that the Rajah Sosrokartono has tremendous energy and to be sold at very high prices. "Who will collect will be the President of Indonesia in the future," he said. The issue of energy, price, and anyone who has, for a second I was up the issue, and it may be misinterpreted by the reader. But far more important in this connection is the question of expectations expressed in these paintings. At least from this work revealed the expression of someone who is able to become the leader of this country. The leader who will come is "The Alif". Symbolically "The Alif" is a firm, upright, which has a relationship with the Most Up in depth, and who understands how to unite the various problems (the concept of unification) between nature and humans.
Assumptions about the oneness, the concept of unification - as did Sosrokartono - apparently has been done in earnest by Kyai Fuad in running life. As a person who was born in Javanese culture and Islamic nature he struggled for various fact that clot, until it became a typical existent. May I also do not mistaken that personal Kyai Fuad keep a strong mystical side. Commensurate with the concept of mysticism mysticism initiated by Niels Mulder. [33] Mysticism mystical view of human existence in a cosmological context, making life itself as a religious experience. In this view, it is not possible to separate the sacred from the profane, the sacred from the secular, both of which have contributed to the unity of existence.
Definition of psychotherapy suggests that humans possess and unseen in the potential, and the two will continue to be in touch. Mulder also wrote that the duty of every human being to establish harmony between the outer and inner aspects of life, in the sense that the mind must always guide was born. If it were so life will be harmonized and aligned with the principles of the final singularity. [34]
So no doubt when the encounter "two worlds" when Kyai Fuad painting Rajah Sosrokartono be real. Political issues, social issues, the aura of dhikr, rain and wind, canvas and splashes of color blends into a "hint". Mirib poems listed pad this subchapter, a guidance issued by "budding plants" and "animal hair dyed water of life" real bears two Qalam once ie an art handwriting and dazzling paintings. No half-hearted, this painting has become a tattoo bearing: twist (illustration, signs) that might occur. Of course it becomes a very valuable painting.

 Rajah: Art "Sacred" in the postmodern Life

The purpose of Sayyidina Ali penmanship
Not only confirms the letters and dots
More in-depth, the aim is purity and virtue

Qadi Ahmad

Could a painting became sacred objects, experiencing penjimatan? For intellectuals and radical Islam, it is considered taboo, not scientific, it is impossible to talk about, as well as unlawful because shirk. [35] Mengeramatkan anything for some people is idolatry, without seeing what's behind the orientation of the object. But for others, this sort of thing normal and real.
Let us examine briefly the testimony below, might be an interesting lesson.
According to H. Suwantara [36] there are a number of testimonials reality beyond reason about the usefulness painting Kyai Fuad. One of them is the self-Pak Karyan. These events occurred in June 2011. Mr. Karyan is diner owner who lived in the area Duri Tambora Jakarta. Eating stalls are in demand. Lots of people who eat there. Once Mr. Karyan tell the Mahdi (co-Pak Wan or H. Suwantara who knew Mr. Karyan) that is very ill. Stomach Pak works like trampled. Mr. Karyan itself has been checked by the doctor. Unfortunately, the doctor did not declare the existence of anything suspicious that makes sick.
Since the Mahdi and Mr. Wan concluded that the probability of Mr. Karyan save "something" and become victims of it. Such right, Mr. Karyan admitted having casualties in the form of a dagger (stored therein jin Buto Ijo) for penglaris stall. For that Mr. Karyan must maintain the dagger by giving offerings of flowers Kanthil, cigarettes, coffee, and some other any given time. If no, definitely "go ballistic". This incident was sick as is already often experienced by Mr. Karyan. He did not think that such effects.
Painting KH. M. Fuad Riyadi, Gunung Mas (2011) have not been on display yan (right) and a dagger that is a legacy of Mr. Karyan (left)
After the Mahdi told in Mr. Karyan that there is a way to release it all without feeling sick or maintain or provide offerings, namely by installing paintings Kyai Fuad. Mr. Karyan was refused because he did not want to constantly have problems with it. Then Mr. Wan was also ordered to dispose of the savings kris (dagger eventually sent to Yogya, are kept by Mr. Wan). Then Mr. Karyan buy paper painting titled Gunung Mas (2011) measuring 50x40cm, for Rp. 5 million (though according to Mr. Wan should Rp. 15 million). At that time Mr. Karyan never see the first manifestation of the painting. After paying the dowry, the painting was sent by Mr. Wan of Yogyakarta. [37]
The day after Mr. Karyan was installed cured, once he has become a collector of paintings owned by Kyai Fuad.
After that there was no fear or pain, either in self-Pak Karyan and his wife. Apparently after investigated, Mr. Karyan does have a special agreement with the genie savings, including not to be "touched" her. Until now, they are still "keep" [38] painting with Kyai Fuad place it in a stall. This story was eventually spread throughout the village and surrounding areas. Finally, some people also use the "efficacy" Kyai painting Fuad for various purposes and antidote evil aura.
This story is only one picture painting a spiritual function. There are a few more that reflects the attitudes that show the spiritual level more specific. Fuad Kyai painting not only as an antidote to the problems of life (which is considered by some people too humble charisma clerics), but some other story also gives another perspective that illustrates the owners feel closer to Allah and the Messenger after collecting works of Kyai Fuad. There is a feeling when looking at the painting suddenly involuntarily say things sacred. There is also a feeling that the painting Kyai Fuad give virtual sensation that was as far back as the mind.
Here realias postmodern, where the rationality of irrationality met with the surrounding. Postmodern world gave her the opportunity former entities - in modern times peaked - marginalized. Trend postmodern life has replaced the atmosphere is too rational, as well as the reliance on intuition and religious dogma alone. Postmodern has broke the silence relationship between the two, the secular and the sacred, the profane and the sacred, the high and the low, the elite and populist.
Art as part of life has become an important bridge for the change in trend and human life, including in this postmodern era. As was stated by I. Bambang Sugiarto.
                       
In the current situation of postmodern art can contribute to celebrate and heighten awareness of the deepest dimension behind the ups and downs of human, touching communicate inner dilemmas and utopia hidden in the depths of the human mind, overcoming the limits and counterproductive bulkhead between religions. With it all, the art of the most 'sekular'pun will be able to show a flash-flash of transcendence dimension, and therefore the' religious', or more precisely, 'spiritual'. Instead formally religious art was, when not responsive to the fundamental problems of human world, will be barren and not how meaningful. At best only as a decoration or mere entertainment. [39]

Usefulness painting for someone, either as decorative objects or entertainment that is very unpopular, expensive investment, as well as things that "merit" has become commonplace. The function of art is indiscriminate. Rajah Sosrokartono Kyai works Fuad, rosary saints, the ring of Solomon, embroidery or scratches Alif Sosrokartono work, Kyai dagger belonging Kanjeng Sengkelat Sunan Kalijaga, [40] the tomb of the Prophet Muhammad, the mosque of Demak, until the Grand Mosque with its Kaaba in a formal perspective is the object art. All that is physically a "painting" and "sculpture" man-made efficient for the life of a Muslim.
Will the objects of this kind become more or reduced in value, preserved or destroyed, just because he was different functions? I wrote not. All depend on the pattern of view of the object in the form of "painting" or "sculpture" and the extent to which the owner / collector (or the artist himself) appreciate. The existence of this sort of thing is not likely explained aesthetic rankings, because it can not be explained scientifically. That's needed spiritual perspective that is more than just an aesthetic as well as the ratio of the discussion in view of "painting" or "sculpture" of the sort.
Incantations, amulets and divination was mentioned in the Qur'an, Hadith, and the works of Islamic theologians including Ibn Khaldun and Imam al-Ghazali. The use of witchcraft, amulets, and magic is almost a part of the universal elements of folk Islam. But there are differences of opinion on the legality, morality, and the end result of a practice of magic. The practice of magic in the theories of Islam is based on the classification scheme 4: caused by natural, supernatural forces, human and divine action, shirk and application. [41]
For some experts, magic and sanctity is part of the problem or the reason was unable to reach a ratio. Its existence is recognized from time to time. Prophet Muhammad. himself never used the spell used to negate the effect of the bad, evil magick, and snake bites and scorpion. Quran itself implies protection against interference of other creatures, though not explain the method, as shown in Surat Al Falaq (113: verses 2-5) and Surat An-Nas (114: paragraph 2-6).
Contemporary Javanese view of the supernatural and piety also pinned appropriate time. Linkage shirk issues in Indonesia (which is considered by Muslims come from the Hindu-Buddhist culture in ancient Java), sanctity with today's thinking more a legacy that is not fully cracked. In some cases two different religious unity is often called syncretism, though not easy to simplify matters. Among traditional Javanese ritual interdependence between students and the Javanese community is a way to refine this debate, although the Muslim-Java is never free from religious disputes. [42]
For me it is precisely this opportunity for the nation's capital dam to introduce ourselves as an entity of interest. Painting Rajah Sosrokartono into an individual-local expression that allows present in the middle of the development of contemporary art in Yogyakarta globalized. Rajah Sosrokartono as the work of Islamic syncretism-Java is a complete work to be discussed further. Rajah Sosrokartono like "the world between" presenting and testing the balance of the cosmos, that is no longer chaos.
Very difficult to answer and end the debate between sanctity art functionality, aesthetics and rasionaliras. However Rajah Sosrokartono already gave the answer that is clear, complete, and poetic. Needless to dijelas-explain, feel alone. For those who only understood in the context of aesthetic understand that perspective. If you are able to enter the mystical dimension, then the door is wide open. This is painting services in the context of the function, although later also led to criticism that the objects in the form of paintings titled Rajah Sosrokartono only as archaeological objects, magical, aka not a work of art.
Works of art can not be separated from who made it. Kyai Fuad are formed by two worlds: the academic and boarding. Both world intensively cultivated. Making it the world's second-rooted shuttle figure. He was boarding a quasi intellectual, academic or quasi students. So if Taufik Abdullah [43] in his article mentions that there is a cultural ideology championed by "Western intellectuals" and "intellectual mosque" in the past, now it is clear that Kyai Fuad is a part of both. This is one (among many) face art (man) we in this postmodern era.
If you enter this kind of criticism must all die on the intention. Again fix your intention before seeing and buying art. Beyond that, I want to propose an intention to approach the Rajah Sosrokartono as a "Sketch Love", "Love Letter", "Text Virtue" Kyai Fuad to God. This intention may be cool heart amid the roar and debate about magic, aesthetics, psychotherapy, or a matter of Islamic ideology. +++

 Alter-ego: Art Non-Representative style Kyai Fuad

By Mikke Susanto *




Islamic art is always talking about the strong relationship between aesthetics and spirituality. The perupanya create a composite point, line, color, and texture while also maintaining a spiritual practice in any form. Nothing wrong if the complexity of Islam as a belief in one hand, as well as a social system that has a certain direction has ensured that in every place where Islam rests, where Islam has inspired an amazing diversity of artistic expression. Java - specifically in Yogyakarta them-is an important entity in the discussion of art and religion of Islam in the world.
Kyai Haji Muhammad Fuad Riyadi or Kyai Fuad is existent from the entity. He deliberately opened the curtains aesthetic conscience to do the record for the last 3 years. The result is a work of art that does not merely serve to sense the invisible, but also touched the minds of silent space that has undergone a spiritual struggle. It is evident that the existence of such a track record is not merely to live a creative ritual outwardly, but also facilitate the repertoire of human amaliahnya as God's creation. Track record listed in the canvases are often considered by most apresian as "Love Letter", "Text to Lover". For me, the more fundamental is that his paintings are like treats gratitude to and feeling intimate with God and the Prophet.
In a casual conversation he admitted that the painting is not just a case of creative offense on a plot of canvas or sell the work to the benefit of a variety of things, but more than that. Painting is part of the greatness of Islam to which it aspires. Painting is a media fellow human friendship. By painting he felt close to one particular community to get as many friends as possible. By painting it feels familiar personalities and experiences that are new and different from the previous.
Spiritual experience, asceticism, and the relationship between the fellow who developed a feeling of love until the time of departure is the basis of the struggle in the painting. Working themes derived from the idea that every human being has the right to be a human being closer to the Creator, which is God. Nothing wrong if the outwardly manifests in his paintings is the struggle of nodes, allied lines, ciprat and melt water, and the files are made intentionally color or natural.
In perspetif art, paintings of this kind are often referred to as non-representational painting.
The term comes from the word "representational" with the present basic word meaning "present, real, no" which stems from the Latin word "repraesentatio (n)" or "repraesentare" which means "bring before, exhibit". In a general sense representation or description or representation is a portrait of someone or something that is usually made or natural look. Medium according to Raymond Williams, Keywords, A Vocabulary of Culture and Society, this is a typical term that is often used in describing some of the characters and situations. Since the 19th century the term "representational" has been used to identify the elements of Realism and Naturalism art wing. Then many interpreted the visual embodiment of something, in other words it must be a particularly accurate reproduction (of nature).
While the non-representational painting is opposed to representational painting. Non-representasinal painting in the general context of the creations containing an array of lines, shapes and colors are totally free from the illusion of forms in nature, but more generally, is an art in which the natural forms that are no longer serves as an object or theme to be sung, but rather as a motive alone. In addition, non-representational painting makes the imagination and natural thought the subject (the artist) become the main reference, even though the audience has the same right to articulate the text scattered in it.
Non-representational painting does not aim like a representational painting that has a variety of functions: such as drawing plans, documentation or have an element of "readability" strong. Non-representational painting has the main function as an individual space to give birth to the repertoire that is the alter-ego or "I was the second". Alter-ego is dedicated to be a bunch of text that looks real. He is present as an intimate partner of someone who outwardly manifested. However, although as the "second", he became an important part to show that who you really are "first".
For example, when looking at a portrait of Abdullah Basoeki work clearly is representational art. There appears a plot overview face with eyes, nose, ears, and various trinkets characters that may often be regarded as a manifestation of the invisible man. Now if you see a painting which he entitled Kyai Fuad Spirit trail, trail Revelation, Longing, and many others which only consists glob of color, selarik line, and a beam of quasi texture is a form of self alternation of the Kyai. He was painting himself and authenticity of something by taking the extract.
This kind of way does give opportunities compared with the way things should be passed representational painting. In this way, Kyai Fuad will be in the range of the desired situation. Just look at the work 100000000000 BC (read: Hundred Billion BC), or sketch titled Universe. The work is visually very simple, made only with splashes of color on the color of the underlying field first. Paintings and sketches are able to beautifully illustrate the situation in the past only with a piece of canvas in the second among the billions of time is assumed.
100000000000 SM (left) and the Universe (right)
Seen visually indicated there is a vast space that could not be described in which a human being, because humans are too small compared to the space of God's creation. That is Kyai Fuad does not require a long time to compose the vast space in canvas and paper. God might be like us when holding a piece of sketch of the Universe, the universe was limited in his hand. It may also be smaller. Glimpses into the human selfhood as small as well as the creator of the work is not disclosed by Kyai Fuad representative, but rather to provide objects and the atmosphere in the canvas. It was only with a splash of color.
The nature of the non-representational painting can also overcome the space-time that is not covered by the ratio. Various works are expressions of feeling desperate need of the properties and capabilities of non-representational painting. The works are titled Blanket of Love, Wings of Courage, Planet Love, Taqwa, Sperm Rindu, Milestone Victory, and a few others which implies a sense that the situation is believed to be not only as a portrait painter, but also an expression of the apresiannya. Kyai Fuad no longer requires a subject that is present in full in sight like most painters who require a model or photograph as a model. Kyai Fuad just enough to sail beyond its space-time and it wants to paint all of it.
Non-representational painting is not only able to inscribe the contents of feelings, but also articulate a mystical dimension, non-physical, and abstract figures that have been often debated existence, so it can be manifested by naked eye. Paintings, titled Spirit; Atlas Asmara; Milky Seed; Firmness wird are some examples that come with the beautiful. Painting of the spirit, romance, Milky figures, the nature of a firm which has been only able to be spoken in the lips, now comes though in a way that not everyone is able menyuratkan. Moments and mystical dimensions, the non-physical nature of this kind mampertautkan our minds together.
Spirit (left) and Angel trail (right)

Many people who say Alterego weakness or non-representational painting is no agreement, thus giving birth to the debate about the "truth". "Is it true face of God? Had it really all it is the spirit sightings and trail angels? "Questions and doubts of this kind is always going to appear. Well, his name is also a statement and expression of the individual, his intention of course comes from subjectivity.
Do not forget precisely subjectivity in a non-representational art is primary, as opposed to representational art that must be agreed jointly between individuals. At least subjectivity has donated a series of individual creativity on matters relating to certain studies, including the spiritual arena. Here Alterego Kyai visually Fuad rooted from his experiences over the years. His works are the expression of experience as a clerics. He was photographing himself.
Subjectivity in a non-representational art is not as real as real-donating discourse about "truth and sincerity" in appearance, form, or visualization as in representational art. In paintings such Kyai Fuad, form, and visualization of all things is just the media to overcome gaps and tensions debate about the mystical, non-physical, and were not screened for this. So that the function of painting is not only to facilitate the issue of form, physical or veil, but also navigate the non-physical dimension. Whether he was drawing angels as in the work of drawing a trail angel or spirit in the middle of the trail work of the Spirit? Not. He is not being mematut angel that is in front of the camera and painted. Traces of angels and spirits is alternation or media replacement of human memory that there is the existence of angels and spirits in pikira Kyai Fuad.
Dozens of smaller celestial body as a work titled 100000000000 BC or as a footprint that is manifest in the work of Angel trail is a proposal given by Kyai Fuad about the world that is being experienced. The advantages of these works lies precisely in the "who painted it?" Or "the extent to which the artist's experience and navigate the mystical dimension of something that is painted". Proximity painters - in this case the empirical experience of sailing on the discourse of history and mystique - with its object certainly add value, either value or the value of the study said. Such values will bring up the meaning of "truth" to be achieved, as well as the "truth" in painting representational agreed. The closeness between the painter and painted what is what gave birth to the other shades, including the aura and non-physical effects for the audience.
Agreement on the "truth" as the work of Kyai Fuad can only be obtained and recognized when the collector may have "something else". Whether it's a situation that was facilitated by physical or physically. Maybe give effect to the collector of paintings Kyai mental Fuad. From the various testimonies of the collector can be impregnated Fuad Kyai work that they have a situation that is not measured by the ratio and the media outward. There are collectors who feel healed after buying his work. There is a feeling when looking at the painting suddenly involuntarily say things sacred. There is also a feeling that the painting Kyai Fuad give virtual sensation that was as far back as the mind.
So far Kyai Fuad painting not only serves to himself as the embodiment of the spirit Alterego to achieve individual freedom. More than that is that the non-representational painting Kyai Fuad had burned and dismantle the concept art that abstract painting is not just a mere decorative motifs and patterns. So it is true that the art work of Kyai Fuad support the concept of Islamic art which is always link between aesthetic and spiritual. It is not possible these paintings is a mark made by a man named Fuad as a clerics, not an sich Fuad as a painter. Maybe this is the "truth" or "agreement" in view of the new non-representational painting style Kyai Fuad. +++

The author is a lecturer of ISI.