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All Journal Jurnal Kajian Seni Jurnal Lektur Keagamaan Afshaha: Jurnal Bahasa dan Sastra Arab
Amrulloh, Ahmad Yasir
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Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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ANALISA PRINSIP PROXIMITY DAN SIMILARITY PADA KHAT DIWANI JALY KARYA HAMID AYTAC Amrulloh, Ahmad Yasir; Ato’illah, Ato’illah
Jurnal Kajian Seni Vol 10, No 2 (2024): Jurnal Kajian Seni Vol 10 No 2 April 2024
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.85520

Abstract

The elements of proximity and similarity was basic principles in typographic design. So far, these elements have only been used on objects such as logos, animations, monuments, and graphic designs. Meanwhile, the study of artwork in the form of Arabic calligraphy is still very minimal, even though it also has these elements. This study aim to identify these elements in a piece of Yusuf surah: 101 written by Turkish calligrapher, Hamid Aytac in the Diwani Jaly khat type written in 1348 AH. This work has become a reference for calligraphy students today. This research uses a descriptive qualitative method, data sources are documents of calligraphy works written, then analyzed using gestalt theory in the form of proximity and similarity elements. The results showed that Hamid's work contains elements of proximity and similarity. The element of proximity is found in the writing of letters in the work that are close together in a balanced manner. The similarity element is found in the hollow of the letter ba' from the sentence rabbi which has a similar shape to the letter kaf from the sentence al-mulk, the letter tsa from the sentence al-ahadits, the letter ta' from the sentence al-samawat and the letter nun from the sentence anta. Then, the concavity of the letter ya' of the sentence ataitani has similarities with the letter ya' of the sentence allamtani. The nun of the sentence min is similar to the lam of the sentence ta'wil. While at the end of the verse, the similarity element is found in the letters wawu, ya’ and nun in the sentence tawaffani musliman wa alhiqni bi al-shalihin. This finding shows that Hamid's work has aesthetic value based on the typographic perspective in the form of the principles of proximity close edge and shape similarity.
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.
Ma’na al-Hub Fi Kitaab al-Hub fi al-Qur’an al-Karim bi Qalam M. Said Ramadhan al-Buthi Istinadan Ila al-Mandzur al-Siimiiya’iy li Roman Jakobson Amrulloh, Ahmad Yasir; Arifandi, Fathoni
Afshaha: Jurnal Bahasa dan Sastra Arab Vol 1, No 2 (2022): Afshaha:Jurnal Bahasa dan Sastra Arab
Publisher : Faculty of Humanities UIN Maulana Malik Ibrahim Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/afshaha.v1i2.17606

Abstract

Every human being planted by God since birth has a sense of  love in his heart. With this feeling, man will be overwhelmed with peace and tranquility. When he knows love, he will choose who should put love first, the father and the father, the acquaintance, or the opposite sex. Or even he chose himself for him to love her. Even in  this field,  man may sometimes forget to declare his love  for the one who instilled love in his heart. It’s Allah the Almighty  who instilled love and the Messenger (peace and blessings of Allaah be upon him) was the first to feel  this love and this love for man to love Allah. This paper will describe the meaning of love in the book of love in the  Holy Quran by Saeed Ramadan Alp and Fold. This paper is a qualitative and descriptive research. Preliminary data are derived from the book  "Love" in the Qur'an. The results of this study showed that the meaning of   Love in the Qur'an is honor and the glory God gave to the Son of Adam.  God's honor for people shaped  who  is love after following  the Prophet Muhammad as the recipient of the tablet. This love leads to  human beings  working  by submitting to the law   of God Almighty. Based on the point of view of Roman Jacobson's theory of semiotics, this paper produces six important elements: Thesender is Allah the Almighty, the recipient  The recipient is the Prophet Muhammad (peace and blessings of Allaah be upon him), the message  and symbols are the  verses that are revealed according to reality, and the context is the state or that surrounds the revelation of the verse, while the connection is when God spoke and his angels Gabriel transmitted  it to the Prophet Muhammad. كل إنسان زرعه الله منذ ولادته لديه شعور بالحب في قلبه. وبهذا الشعور، سيغمر الإنسان السلام والهدوء. عندما يعرف الحب، سيختار من يجب أن يضع الحب أولا، الوالد، أو معرفة، أو الجنس الآخر. أو حتى أنه اختار نفسه له ليحبها. حتى في هذا المجال قد ينسى الإنسان أحيانا أن يعلن حبه للذي أغرس الحب في قلبه. هو الله سبحانه وتعالى  الذي أغرس الحب والرسول صلى الله عليه وسلم  أول من أحس هذا الحب وبهذا الحب على الإنسان أن يحب الله . ستصف هذه الورقة معنى الحب في كتاب الحب في القرآن الكريم بقلم سعيد رمضان البوطي. هذه الورقة هي بحث نوعي وصفي. البيانات الأولية مستمدة من كتاب "الحب" في القرآن. أظهرت نتائج هذه الدراسة أن معنى الحب في القرآن هو التكريم والمجد أعطاهما الله لابن آدم. وشكل تكريم الله للناس من هو المحبة بعد الاتباع بالنبي محمد كمستلم للوحي. هذه المحبة تأدي إلى البشر العملين بالخضوع لشريعة الله عز وجل. استنادا إلى وجهة نظرية رومان جاكوبسون في السيميائية، تنتج هذه الورقة ستة عناصر مهمة، وهي: المرسل هو الله سبحانه وتعالى، المستلم والمتلقي هو النبي محمد صلى الله عليه وسلم، والرسالة والرموز هما الآيات المنزلة حسب الواقع، والسياق هو الحالة أو التي تحيط بنزول الآية، في حين أن الاتصال هو عندما كلم الله وينقله ملائكته جبريل إلى النبي محمد.
Co-Authors Arifandi, Fathoni Ato'illah, Ato'illah Ato’illah, Ato’illah A’bdussamad, Nur Fathiah binte Hasbullah, Abdur Rouf Sarifudin sarifudin, Sarifudin Ulya, Nurun Najmatul