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Contact Name
Ali Akbar
Contact Email
aliakbar.kaligrafi@gmail.com
Phone
+622187798807
Journal Mail Official
jurnalsuhuf@gmail.com
Editorial Address
https://jurnalsuhuf.kemenag.go.id/suhuf/about/editorialTeam
Location
Kota adm. jakarta timur,
Dki jakarta
INDONESIA
SUHUF: Jurnal Pengkajian Al-Qur'an dan Budaya
ISSN : 19796544     EISSN : 25486942     DOI : https://doi.org/10.22548/shf.v12i2.481
FOCUS: SUHUF aims to increase understanding of the Quran through the publication of academic articles and research results. SCOPE: SUHUF publishes studies on the mushaf, translation, interpretation, rasm, qiraah, and other Quranic sciences, and pays special attention to the study of the Quran in the context of Indonesia and Southeast Asia.
Articles 7 Documents
Search results for , issue "Vol 5 No 2 (2012)" : 7 Documents clear
Metodologi Pengajaran Qira'at Sab‘ah Studi Observasi di Pondok Pesantren Yanbu‘ul Qur'an dan Dar Al-Qur'an Urwah, Urwah
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.37

Abstract

Islamic Boarding School (pesantren) Yanbu'ul Qur'an and the Dar Al-Qur'an of Cirebon are two boarding schools that are still continuing to teach the seven ways of reciting the Holy Qur’an (al-Qirā’āt as-Sab'). Both have similarities and differences in teaching that method. This research will explain the method and systematic teaching of the seven ways of reciting the Holy Qur’an using socio-historical analysis approach. At the Islamic boarding school of Yanbu'ul Qur'an, tahfizul Qur'an (learning the Qur’an by heart) is one of the requirements that the students of the Qira’at must have, because the  talaqqi  (the process of learning the Qur’an by heart by meeting face to face with the supervisor) is conducted by the way of the unseen (bil-gaib) and face to face. While at the Islamic boarding school of Dar Al-Qur'an of Cirebon, tahfizul Qur’an is not required because the process is conducted through the way called  talaqqi bin-na§ar  (seeing the Qur'an), and is conducted in groups.
Hukuman Mati bagi Koruptor Perspektif Ayat Al-Qur’an Khusnan, Muhammad Ulinnuha
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.38

Abstract

The death penalty for the corruptors is allegedly able to provide a deterrent effect and a sense of justice for the people. It is in essence, because the corruptors do not only spend the money of the state, but slowly but sure also in fact, “kill” the innocent people. Constitutionally, the Law/Regulation number 31 of 1999 junto the Law/Regulation number 20 of 2001 concerning the act of Corruption have included the death penalty as one of the options of the form of punishment for the corruptors. However, practically, until today, there is no even single corruptor who is sentenced to death in this country. This paper will specifically discuss the perspective and the signal of the Qur'anic verses on the death penalty for the corruptors, and how its implementation in Indonesia is.
Corak Akhbari dalam Tafsir Syi'ah Fikriyati, Ulya
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.39

Abstract

This paper is going to confirm that the pattern of the traditionist (akhbari) is not just a trend in the Shi'i thought in the 11th century, but has played a significant role as a trigger of Shiite intellectual stretching (movement). Along the way, the style of Traditionist is divided into two styles namely the Pure Traditionists style and Neo-Traditionists style. The study would also like to correct the conclusion that Al-Burhan fi Tafsir al-Qur'an is the Qur'anic exegesis that really represents the pattern of the pure traditionist thought, because not all of the narrations in the book came from the Prophet or the family of the prophet (ahli al-bait), besides, Bahrani himself does not strictly apply the basic principles of the traditionists school.
The Art of the Qur’an in Java Gallop, Annabel Teh
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.40

Abstract

A study of Qur’an manuscripts from Southeast Asia   has revealed a number of distinctive artistic schools.  The common denominator of each school is a strong sense of regional identity, with particular styles of manuscript illumination associated with Aceh, the states of Terengganu, Kelantan and Patani on the East Coast of the Malay peninsula, and the south Sulawesi diaspora communities. Large numbers of illuminated Qur’an manuscripts are also known from Java, but here we find a wide variety of decorative styles, meaning it is not possible to talk of a single ‘Javanese’ school of Qur’anic illumination.  This article lists a few distinctive features associated with Javanese illuminated Qur'an manuscripts, as a contribution towards a better understanding of the art of the Qur'an in Java.
Al-Qur’an Cetak di Indonesia Tinjauan Kronologis Pertengahan Abad ke-19 hingga Awal Abad ke-20 Hakim, Abdul
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.41

Abstract

The mid-19th century  towards  the independence day of  (1945) was  a transition era of the production of the Qur'an in Indonesia. Started from the handwriting Qur’an,  and was followed by  lithography  Qur’an,  and the overseas Qur'anic publication, then the birth of the Qur'an which was produced by domestic production. This paper attempts to explain and analyze the development of the Qur'an in the colonial period, especially in the  second half of the 19th century until the first half of the 20th century. This study explains the history of its publication, its validation by the committee, as well as  aspects of the typographical arrangement and cover as well as the pattern of the text of the Qur'an being published at that time. The study also found some new data concerning the presence of the Qurans which is not mentioned in some of the existing writings.
Sejarah Mushaf Al-Qur’an Standar Braille Penelusuran Awal Yunardi, Ecep Badri
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.42

Abstract

The birth of the Quranic Mushaf in Braille Standard requires a long process and involves many parties, especially the Qur'anic scholars and experts in related fields. This writing try to reveal the dynamics that emerge and developes relating to the guideline which becomes the standard in the writing of this Mushaf. One of the crucial issues being emerged is concerning the use of  rasm to be used as a reference, whether usmani or  imla’i. In addition, this writing also describes the birth of the Qur'an in Braille Standards chronologically from several processes of working meetings organized by the Ministry of Religious Affairs.
Ekspresi Seni dalam Islam Kajian atas Pemikiran Ismail Raji Al-Faruqi Pinem, Masmedia
SUHUF Vol 5 No 2 (2012)
Publisher : Lajnah Pentashihan Mushaf Al-Qur'an

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22548/shf.v5i2.43

Abstract

This paper tries to explain the monotheism and artistic expression in Islam which is offered by al-Faruqi. This study focuses on the monotheism as themain objectives of the Islamic worldview. Furthermore, the aesthetic and artistic expression is part of the monotheism that aims  to take societies or humankind to aware of the transcendent ideas. The idea of monotheism is an expression of the beautiful values (idea of  beauty) which is objective, transcendent, mystical, and inexpressible, and the idea of beauty (idea of beautifulness) that are subjective, expressive, and cultural understanding. The thought of al-Faruqi shows that literary arts, calligraphy, ornaments, music, and the art of space are inseparable from the monotheism as the Islamic worldview.

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