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All Journal Al-Dzikra: Jurnal Studi Ilmu al-Quran dan al-Hadits Jurnal Lektur Keagamaan Islamika Inside: Jurnal Keislaman dan Humaniora
Ulya, Nurun Najmatul
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Religion Arts Humanities Education Social Sciences

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Maghribi Mabsut Khat in Indonesia: History and Acceptance Factor Analysis Ulya, Nurun Najmatul; Amrulloh, Ahmad Yasir; Budiantoro, Feri
Islamika Inside: Jurnal Keislaman dan Humaniora Vol 9 No 2 (2023): DESEMBER
Publisher : Fakultas Ushuluddin, Adab dan Humaniora (FUAH) UIN Kiai Haji Achmad Siddiq Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35719/islamikainside.v9i2.242

Abstract

Islamic calligraphy or khat is the oldest Islamic art found in Indonesia and has experienced a long phase in its development. The peak phase is in Musabaqah Tilawatil Qur'an (MTQ) which includes a khat competition branch Musabaqah Khattil Qur'an (MKQ). MKQ has given many influences to the art of khat, one of which is to ground the seven styles of khat used practically by Indonesian khattat, namely Naskhi, Thuluth, Diwani, Diwani Jali, Farisi, Riq'ah, and Kufi. But, the development of khat in Indonesia does not stop here, 2010 there are Indonesian khattat who managed to achieve international achievements in the branch of the competition for writing khat Maghribi Mabsut, a type of khat from Morocco that has never been recorded in the Indonesian khat universe. The acceptance of this khat continues to expand, as evidenced by the emergence of khat}t}a>t who also managed to make their achievements in the international arena. This study was conducted to answer two questions (1) how is the process of introducing Indonesian khattat to the Maghribi Mabsut khat type? (2) what are the factors that encourage the acceptance of Maghribi Mabsut khat among Indonesian khattat By using field research methods and sociocultural approaches, the results of this study are (1) Maghribi Mabsut khat is known in Indonesia through Indonesian students studying in Egypt (2) there are three factors of acceptance of Maghribi Mabsut khat, namely: education factor, technology adaptation factor and the breadth of opportunity factor.
The Spread of Ottoman Khaṭṭ in Indonesia with Reference to the Sanad of Belaid Hamidi and Its Impact Ulya, Nurun Najmatul; Amrulloh, Ahmad Yasir; A’bdussamad, Nur Fathiah binte
Jurnal Lektur Keagamaan Vol 23 No 1 (2025): Jurnal Lektur Keagamaan Vol. 23 No. 1 Tahun 2025
Publisher : Center for Research and Development of Religious Literature and Heritage, Agency for Research and Development and Training, Ministry of Religious Affairs of the Republic of Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31291/jlka.v23i1.1115

Abstract

The art of Arabic calligraphy (khaṭṭ), regarded as both an aesthetic and scholarly discipline, is grounded in a tradition of scientific lineage (sanad), particularly since the Ottoman (ʿUthmānī) period. However, scholarly exploration of this lineage in the Indonesian context has been notably lacking. This study aims to investigate the dissemination of khaṭṭ sanad from the Ottoman period in Indonesia, with a specific focus on the lineage of the Moroccan calligrapher Belaid Hamidi. Employing library research methods, supported by field observations and interviews with Indonesian calligraphers trained under Hamidi, the study identifies three key findings. First, the foundational transmitters of khaṭṭ sanad during the Ottoman period are as follows: Ḥamdullāh al-Amāsī for Naskh and Thuluth scripts; Ismāʿīl Ḥaqqī Ṣāmī Afandī for Dīwānī and Dīwānī Jaly; Muḥammad Asʿad al-Yāsarī for Taʿlīq; and Mumtāz Bīk for Riqʿah. Second, Belaid Hamidi, who received training from Turkish masters, became the conduit for transmitting these calligraphic lineages to Indonesia. Third, the sanad was disseminated in Indonesia through five of Hamidi's students who studied with him in Egypt: Muhammad Nur (Ponorogo), Nur Hamidiyah (Ngawi), Alim Gema Alamsyah (Tangerang), Khoiru Rofiqi (Aceh), and Shahryanshah Sirojuddin (Kalimantan). These individuals have since extended the reach of the sanad through pesantren and university-based initiatives, contributing to the revitalization and localization of Ottoman calligraphic traditions in Indonesia.
Kajian terhadap Interpretasi Nicolai Sinai dalam An Interpretation of Sura>h al-Najm (QS.53) Ulya, Nurun Najmatul
AL-DZIKRA: JURNAL STUDI ILMU AL-QUR'AN DAN AL-HADITS Vol 14 No 2 (2020)
Publisher : Faculty of Ushuluddin and Religious Study, Universitas Islam Negeri Raden Intan Lampung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24042/al-dzikra.v14i2.6318

Abstract

AbstractThe article discusses the interpretation of Surat al-Najm Nicolai Sinai by using the literature review method. The article aims to explain the background of the interpretation, the methods used, to the form of interpretation produced by Nicolai Sinai. As a way to find out the characteristics of the interpretation of Surah al-Najm Sinai compared to the interpretations of other exegete, the article also examines the interpretations made by other exegete on Surah al-Najm, both classical and contemporary. The study concludes that the background to Nicolai Sinai's interpretation of surah al-Najm is to voice his opinion on the debates of scholars about the verse ghara>ni>q and to discuss in more detail the verses that explain the encounter of the Prophet Muhammad with Allah. The following are Sinai's conclusions about Surah al-Najm that differ from the interpretation produced by exegetes. 1) the 7th verse of Surah al-Najm clearly says that the Prophet Muhammad met with Allah; 2) verses 23 and 26 to 32 are parenthetical paragraphs for the structure and content are not following the unity of the verse; 3) Satan verses or ghara>ni>q verses are not part of revelation. The Sinai's study was published in the Journal of Qur'anic Studies in 2011 with the title An Interpretation of Surah al-Najm (QS.53). AbstrakTulisan ini membahas interpretasi surat al-Najm Nicolai Sinai dengan menggunakan metode kajian pustaka. Tujuan kajian ini adalah hendak memaparkan latar belakang interpretasi, metode yang digunakan, hingga bentuk interpretasi yang dihasilkan oleh Nicolai Sinai. Tulisan ini juga mengkaji penafsiran yang dilakukan oleh mufassir lain terhadap surat al-Najm, baik klasik maupun kontemporer untuk mengetahui ciri khas interpretasi surat al-Najm Sinai dengan para mufassir lain. Kajian ini mendapatkan kesimpulan bahwa latar belakang interpretasi Nicolai Sinai terhadap surat al-Najm adalah untuk menyuarakan pendapatnya terhadap perdebatan para sarjanawan tentang ayat ghara>ni>q dan untuk membahas lebih detail ayat yang menjelaskan tentang berjumpanya Nabi Muhammad dengan Tuhan. Kesimpulan Sinai terhadap surat al-Najm yang berbeda dari penafsiran yang selama ini dilakukan oleh mufassir adalah: 1) ayat ke-7 surat al-Najm jelas mengatakan bahwa Nabi Muhammad bertemu dengan Tuhan, Sang Penutur Wahyu; 2) Ayat k3 23 dan 26 hingga 32 merupakan ayat sisipan karena secara struktur dan konten tidak sesuai dengan kesatuan surat; 3) Ayat setan atau ayat ghara>ni>q bukan bagian dari wahyu. Kajian Sinai ini dimuat dalam Journal of Qur’anic Studies pada tahun 2011 dengan judul An Interpretation ofSura>h al-Najm (QS.53).Kata Kunci: Interpretasi, Surat al-Najm, Nicolai Sinai
Co-Authors Amrulloh, Ahmad Yasir A’bdussamad, Nur Fathiah binte Budiantoro, Feri