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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): DECEMBER
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

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.

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

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

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

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.

TIPOGRAFI KHAT DIWANI MUHAMMAD IZZAT, MUSTHAFA GHAZLAN BIK DAN HASYIM MUHAMMAD BAGHDADI Sarifudin, Sarifudin; Amrulloh, Ahmad Yasir; Atho'illah, Atho'illah
Hijai - Journal on Arabic Language and Literature Vol 4 No 2 (2021): Hijai - Journal on Arabic Language and Literature
Publisher : Bahasa dan Sastra Arab, Fakultas Adab dan Humaniora, UIN Sunan Gunung Djati

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/hijai.v4i2.13518

Penelitian ini bertujuan untuk membandingkan persamaan dan perbedaan Â tipografi dari segi komponen huruf pada Khat Diwani Ustmani, Mishri dan Baghdadi. Penelitian ini menggunakan pendekatan kualitatif. Jenis penelitian ini merupakan penelitian kualitatif dengan jenis penelitian kepustakaan (library research). Sedangkan pendekatan yang digunakan adalah pendekaan tipografi pada komponen huruf. Teknik pengumpula data menggunakan studi pustaka. Selain itu, untuk analisis penulis menggunakan deskriptif komparatif. Data dalam penelitian ini adalah tulisan khat diwani karya Muhammad Izzat, Musthafa Bik Ghazlan dan Muhammad Hasyim. Data yang diperoleh diklasifikasikan, dianalisis dan dibandingkan dengan metode deskriptif komparatif, kemudian hasil analisis tersebut disajikan. Hasil penelitian ini menunjukkan bahwa huruf yang telah dianalisis yaitu huruf alif tertutup, kaf, lam, ba, sin, shad, fa, qaf, nun dan ya memiliki kesamaan unsur tipografi dari segi komponen huruf yaitu diantaranya apex, hairline, bowl, counter, tail dan eye. Sedangkan perbedaannya terletak pada tinggi apex, tebal hairlain, tebal bowl, bentuk area counter, arah tail, dan bentuk eye.

Aesthetic Reception of the Qur'an on the Ayaatcontest Account on Instagram (Karl Mannheim's Sociology of Knowledge Perspective) Ulya, Nurun Najmatul; Amrulloh, Ahmad Yasir; Hakimi bin Shufiady, Ahmad Danish
Islamika Inside: Jurnal Keislaman dan Humaniora Vol 11 No 2 (2025): DECEMBER
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.v11i2.296

The development of social media also develops new actors and practices in socio-cultural phenomena, including the reception of the Qur’an. This study aims to dig deeper into the aesthetic reception of the Ayaatcontest Instagram account through the perspective of Karl Mannheim's Sociology of Knowledge, who formulates three meanings of human behavior, namely objective, expressive and documentary meanings. By using the netnographic research method, this study draws the conclusion that the meaning of the reception of the Qur’an in the Ayaatcontest account is formed by the organizers and participants. The objective meaning of the organizers is that the social space of the UAE country which is in the Middle East has a passion for preserving the art of Islamic calligraphy or khat, the expressive meaning in the form of selected verses of the Qur'an are verses related to tauhid and social verses, as well as prizes worth 12,000 UAE dirhams, and the documentary meaning as an ongoing effort to maintain the Arabian Peninsula as a 'home' for khat art. While the objective meaning of the participant’s is the process of learning khat which has been carried out for a long time so that they are used to participating in khat competitions. The expressive meaning is the various styles of khat used, starting from Naskhi, Ta'liq, Tsuluts, Diwani, Kufi, and so on, and the meaning of the participant's documentary is the preservation of khat art, as well as existence and self-branding in the world of khat writing, both in social media and in the social sphere of society.

Analisa Metodologi Tafsir Al-Quran Berbasis Ormas di Indonesia Perspektif Metodologi Islah Gusmian Ulya, Nurun Najmatul; Amrulloh, Ahmad Yasir
Jurnal test Vol 2 No 1 (2023): March
Publisher : Lembaga Penelitian dan Pengabdian Kepada Masyarakat

This article examines Indonesian commentary books compiled by Indonesian Community Organizations (ORMAS) or their representatives, namely Tafsir Al-Wa'ie Selected Verses by Hizbut Tahrir Indonesia and Tafsir At-Tanwir by Majlis Tarjih and Tajdid PP Muhammadiyah. The type of research method is library research, because the source of the analysis is based on library data, namely the work of interpretation by the two ORMAS and the formulation of the methodology developed by Islah Gusmian, "New Directions of Study Methodology on Al-Qur'an Interpretation." In particular, the 11 variables Gusmian analyzed to dissect Indonesian commentary works. Namely: (1) the systematic presentation of the interpretation (2) the form of presentation of the interpretation (3) the style of language in which the interpretation is written (4) the form of writing the interpretation (5) the nature of the commentator (6) the scholarship of the interpreter (7) the origins of the commentary literature (8) the sources reference sources (9) Interpretation method (10) nuances of interpretation (11) interpretation approach. After conducting a study of the two interpretations, it was concluded that the methodology used by these two ORMAS interpretation books has similarities and differences. The similarities can be seen in the systematic presentation of interpretations, forms of presentation, forms of writing, style of language, origins of literature, sources of reference, nuances of interpretation and approach. Meanwhile, the other three variables, namely the nature of the interpreter, the knowledge of the interpreter, and the method of interpretation show different results. For this reason, similar research can be developed to dissect the works of Archipelago interpretations in Indonesia, so that the methodology used will add variants to the treasures of Nusantara interpretation studies.

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