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All Journal Tesa Arsitektur Jurnal Tataloka Jurnal Tugas Akhir Mahasiswa Lanting Info-Teknik Journal of Islamic Architecture Batoboh : Jurnal Pengabdian Pada Masyarakat Jurnal ABDINUS : Jurnal Pengabdian Nusantara Jurnal Teknika : Jurnal Teoritis dan Terapan Bidang Keteknikan Jurnal EduHealth Jurnal Pengabdian Ilung (Inovasi Lahan Basah Unggul) Jurnal Arsitektur Applied Engineering and Technology Jurnal Kebijakan Pembangunan
Naimatul Aufa
Prodi Arsitektur Fakultas Teknik Universitas Lambung Mangkurat
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Journal : Journal of Islamic Architecture

 1 
TIPOLOGI RUANG DAN WUJUD ARSITEKTUR MASJID TRADISIONAL KALIMANTAN SELATAN Aufa, Naimatul
Journal of Islamic Architecture Vol 1, No 2 (2010): Journal of Islamic Architecture
Publisher : Department of Architecture, Faculty of Science and Technology, UIN Maliki Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1217.994 KB) | DOI: 10.18860/jia.v1i2.1722

Abstract

These days, many researches on traditional architecture of South Kalimantan focus merely on traditional settlements and houses. Particularly, the research on places of worship has been conducted in small numbers, and it is sometimes never publicized, especially in scientific magazine or journal. Meanwhile, the construction of some new mosques in South Kalimantan has no longer concerned the local architecture. This research alone aims to attain architecture’s entity as the place of worship for the people of South Kalimantan, especially for Banjarese Tribe as the majority in South Kalimantan. Traditional Banjarese Tribe is known as an islamic tribe. They used to be called Dayak Tribe since they had faith in traditional religions such as animism and dynamism. As Muslim people, they perform their prayers in a place of worship called mesigid (mosque). The research applies the method of case study. Based on the result of field and literature study, the architecture entity of Banjarese’s place of worship has some specific features that are different from other mosques in other regions. From the analyses, it can be concluded that the traditional mosques of South Kalimantan have three kinds of room, which are palataran, praying area, and mihrab (a chamber indicating the direction of Mecca). Palataran is the porch or the terrace surrounding the mosque, while the praying area and mihrab are rectangular. Traditional mosques in South Kalimantan have their own entity which is formed by the plan of praying area and mihrab, as well as their three layered-roof. The roof in these mosques has a sharp angle (60o) and an acute angle (20o). Furthermore, the overall entity of the mosque symbolizes hayat tree (Dayak Tribe), and the ornaments (pataka/patala) found on the roof top is a symbol of hornbill. Both symbols are the symbols of identity and mythology of Dayak Tribe.
Calligraphy Ornaments as Islamic Identity in the Bubungan Tinggi and the Gajah Baliku House, Teluk Selong, South Borneo, Indonesia Heldiansyah, J.C.; Aufa, Naimatul; Wastuty, Prima Widia; Saud, Mohammad Ibnu
Journal of Islamic Architecture Vol 8, No 3 (2025): Journal of Islamic Architecture
Publisher : Department of Architecture, Faculty of Science and Technology, UIN Maliki Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/jia.v8i3.26272

Abstract

Islamic values are applied in architecture by avoiding motifs of living creatures, yet use floral motifs and Arabic calligraphy instead. Each ornament has a specific shape and meaning. While floral ornaments in traditional Banjar architecture are well-researched, studies on Arabic calligraphy are limited due to their complexity. This research aims to reveal the forms and meanings of Arabic calligraphy in traditional Banjar architecture, especially in the Bubungan Tinggi and Gajah Baliku houses. This understanding can help preserve and pass on the art of Arabic calligraphy and its values to future generations. The research employs an interpretive qualitative analysis method. Each letter, word, sentence, and geometric pattern that makes up calligraphy is identified to understand the form of calligraphy. Visual reconstruction was performed by simplifying the calligraphy to obtain certain sentences to match with their equivalents in the Quran and Hadith. The research found that the forms of Arabic calligraphy used included Quranic verses, monotheistic statements, prayers, names of the Prophet's companions, and protective prayers. The meanings conveyed statements of Allah's oneness, belief in Prophet Muhammad, and requests for protection from Allah. All Arabic calligraphy is placed on the tawing halat, indicating the homeowner's identity and social status, thus showcasing the Islamic identity of the architecture.
Co-Authors Adi Rahmanto Apriani, Helma Arifudin, Ahmad Aulia Syafitri Bani Noor Muchamad Bani Noor Muchamad Cahyadi, Muhammad Rizqon Candra Kusuma Negara Dila Nadya Andini Egahny, Elena Stefani Ermilia Puteri Farah Azkia Andini Florensita Puspita Sari Gunadi Kasnowihardjo Hadaya, Ni’mah Halisah, Siti Noor Hartati, Maulida Hartono, Rudi Heldian, JC Heldiansyah, J C Heldiansyah, J. C. Husada, Muhammad Adjie Rahaja Ihsanul Hakim Ikhtiari, Anang Ridha Ira Mentayani Irma Fawzia Irwan Yudha Hadinata, Irwan Yudha J.C. Heldiansyah Khoirun Nisa M. Tajaruddin M. Yusuf Tahmidillah Marina Elsyera Ika Putri Medina, Ninda Mohammad Ibnu Saud Muhammad Ibnu Saud Muhammad Sahdianor Rahman Muhammad Tharziansyah, Muhammad Mustika, Wulan Nadiyah, Adinda Nurfansyah Nurfansyah Pakhri Anhar, Pakhri Prima Widia Wastuty Putri, Marina Elsyera Ika Qartinalia Nuryanti Razak, Mochammad Rahmandi Ripai, Achmat Risqullah Athaya Asri, Muhammad Fayad Riza Azmi Rizaldi Rizwandi, Muhammad Rudi Hartono Santoso, Izal Puji Sarbini, Gusti Novi Sari, Florensita Melly Muspita Sa’ud, Mohammad Ibnu Selvianti, Khalida Simanto, Fransiskus Kelvin Simanto, Patrisius Steven Solehin, Muhammad Mukhlis Sophianur, Dhimas Syafitri, Aulia Tajaruddin, Muhammad Yanuar, Andri Yulyanti, Yulyanti Yunita Yunita