Hamzah Fansuri, a poet and renowned Sufi of the 16th and
17th centuries, is one of the most celebrated figures in Southeast Asian
Islamic literature. Although much of his life remains shrouded in mystery,
including his exact origins, Hamzah’s profound impact on Malay literature and
Sufi thought endures. His works, blending mysticism and poetic expression,
revolutionized Acehnese culture, fostering a flourishing Sufi literary
tradition in Aceh that still resonates today.
Hamzah Fansuri is believed to have been born in Fanshur, now
identified as the ancient trading port of Barus in North Sumatra, an area
renowned for its camphor trade. This port, a hub of economic and cultural
exchange, attracted traders from India and the Middle East, who prized its
camphor. Islamic presence in Barus likely dates back to the 7th century,
introduced by Persian or Persian-speaking Indian traders, as suggested by
Persian-inscribed graves found in the area. Barus was a crossroads of faith and
culture, hosting Nestorian Christians, Vajrayana Buddhists, and eventually
Muslim communities, allowing Hamzah to grow up in a pluralistic society where
diverse beliefs coexisted.
By the time of Hamzah’s birth, the region had fallen under
the influence of the Aceh Sultanate, prompting him to move to Aceh, where he
settled in the city of Syahr Nawi, or Kota Baru. In his writings, Hamzah refers
to himself as the Son of Trade, symbolizing his identity shaped by
commerce and his cross-cultural interactions in the bustling port cities.
In Aceh, Hamzah encountered the followers of the Qadiriyah
Sufi order, who introduced him to Wahdat al-Wujud—the doctrine of unity
between humans and the Divine. This philosophy resonated deeply with him and
set him on a spiritual path. Eager to deepen his knowledge, he traveled to
Baghdad, where he studied under disciples of Sheikh Abdul Qadir Jailani, the Qadiriyah
order’s founder. His journey took him further across the Middle East, including
visits to Mecca, Medina, and Jerusalem, where he taught, absorbed local wisdom,
and observed the natural beauty around him.
Eventually, Hamzah traveled to India’s Mughal Empire, where
he studied the Seven Stages teachings, which detail the stages of human
closeness to God. Upon returning to Aceh, Hamzah shared the knowledge he had
acquired from his travels, bringing a nuanced approach to the spiritual
practices of his homeland.
In Aceh, Hamzah became an outspoken critic of certain
ascetic practices. While he valued zuhud (asceticism), he warned against
interpreting it as detachment from society and family. Some Sufis, as he
observed, isolated themselves in the forest, abandoning family responsibilities
in their quest for enlightenment. Hamzah argued that this approach was
irresponsible and used religion as a cover for neglect. In his view, a union
with God could be achieved through human interaction and responsibilities,
which brought a universal dimension to spirituality.
Hamzah Fansuri expressed his ideas and critiques in a series
of poetic and prose works, blending profound spiritual insights with the beauty
of Malay language and literature. His poetry includes works like Syair
Burung Unggas (The Poem of Birds), Syair Perahu (The Poem of the
Boat), and Syair Dagang (The Poem of the Trader), while his prose
comprises titles such as Asrar al-‘Arifin (The Secrets of the Wise), Sharab
al-‘Ashiqin (The Drink of the Lovers), and Kitab al-Muntahi (The
Book of Consecration). Literary historians recognize Hamzah’s works for their
distinctive individuality, a trait previously rare in Malay literature. His
reflective writing explored simple yet meaningful life issues, inviting readers
to consider the essence of spirituality in daily life.
Hamzah also criticized certain yoga practices popular in
Aceh during his time. According to scholar L.F. Brakel, Hamzah opposed the pranayama
breathing exercises from Hindu teachings, which focus on controlling breath and
concentrating on the head. In his manuscript Asrar al-‘Arifin, he wrote,
“do not dwell on the crown of the head or the tip of the nose or between the
eyebrows or within the heart; all of these are veils to His Essence.” He felt
that these practices reduced the concept of God to something overly simplistic,
missing the profound essence of Divine unity. His objection to yoga was
noteworthy, as it illustrates that Hindu-inspired practices were still present
in Aceh during the 16th century.
Brakel suggests that Hamzah Fansuri passed away in the early
17th century. His legacy, however, continued through his students and
descendants. His son or nephew, Abdurrauf As-Singkili, was also a noted
intellectual, though he leaned toward politics, creating the Islamic
administrative system that governed the Aceh Sultanate for centuries. Another
of Hamzah’s disciples, Syamsuddin Pasai, became a qadi (judge in Islamic
law) for the Aceh Sultanate.
Hamzah’s writings spread across the Malay archipelago after
his death, reaching regions like West and Central Java, South and Southeast
Sulawesi, and throughout the Malay world. His work remains a testament to the
richness of Malay literary and spiritual tradition, inspiring readers with its
profound reflections on the nature of God, human responsibility, and the
spiritual path.
Today, Hamzah Fansuri is celebrated as a pioneer of Sufi
literature in Southeast Asia, a thinker who bridged cultures and beliefs,
bringing universal spirituality to his readers and leaving an indelible mark on
the region’s literary heritage.
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