SUHUF: Jurnal Pengkajian Al-Qur'an dan Budaya
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
288 Documents
<![CDATA[Pembinaan dan Pengawasan Pencetakan Al-Qur'an di Indonesia ]]>
<![CDATA[Dwi Martiningsih]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.579
<![CDATA[This article explains the problems of guidance and supervision to the publication of the Indonesian mushaf which is conducted by the Board of Correction of the Mushaf (Lajnah Pentashihan Mushaf Al-Qur'an - LPMQ) as the technical implementing unit in the Ministry of Religious Affairs of the Republic of Indonesia. The LPMQis responsive to the development of technology. One of the proofs is to conduct the system of mushaf correction (tashih) via online. The publishers, printers, distributors and users of the Qur’an become the partners of the LPMQ in performing its various duties and functions. The mushaf is the sacred thing which in its production needs high accuracy. However, the fact is that the mistakes in the process of printings often occurred for many reasons. On the other hand, the government policy concerning the action to such mistakes is considered to be lack of firm, so that it does not have a deterrent effect. Thus, the policy makers need to implement a more intensive system to monitor the publishers and the printers of the mushaf in Indonesia. The guidance andsupervision is supposed not only focusing on the product of the mushaf but also on the process of management of the publishers wholly]]>
<![CDATA[Transformasi Panduan Tajwid pada Mushaf Al-Qur’an ]]>
<![CDATA[Jonni Syatri]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.582
<![CDATA[This article is studying the phenomenon of changes in the way of presenting the guideline of tajwid (the rule of Qur’anic reading) in the Qur’an in Indonesia. The scope of the study is the guideline of tajwid contained in the mushaf which had been published since 1984 to 2020. The determination of the Indonesian Standard Qur’an was done in 1984, and then since that time, the Indonesian Standard Qur’an became the reference in the publication, printing and correction of the mushaf in Indonesia. The guideline of tajwid which becomes the focus of this study is in the form of text narration of the summary of tajwid being attached in the first section or in the end section of the mushaf, and the sign system presented directly in the Qur’anic text in the form of colored block, that of number and that of name of the rules of tajwid. This article is the library research presented by using analysis-descriptive approach. The result of the study shows that there is the transformation of the use of letters from the Arabic-Malay to the Latin letters. In addition to that, the form of presentation is also changed from the narrative pattern of the text in the form of the attachment in the mushaf to the system of sign presented in the text of the Qur’an.]]>
<![CDATA[Dinamika Kaligrafi Mushaf Standar Indonesia ]]>
<![CDATA[Ali Akbar]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.586
<![CDATA[Since the determination of the Indonesian Standard Mushaf in 1984, the Usmani Indonesian Standard Mushaf which was written by the calligrapher Muhammad Syadzeli has been rewritten twice, that was in 2001 by Ustadz Baiquni Yasin and 2019 by Ustadz Isep Misbah. Meanwhile, The Bahriyyah Indonesian Standard Mushaf was written by calligrapher Abdul Razak Muhili, in 1988. In its development, entering the year of 2000s, in line with the development of printing technology, Indonesian Standard Mushaf was printed with modified calligraphy by Usman Taha, a calligrapher of the Syria,. In the recent development, the modified calligraphy of the Medinan Mushaf has been used widely by the publishers of the mushaf in Indonesia, which left far behind the calligraphy written by the local writers. This writing will look at the dynamics of the use or the choice of calligraphy in the Indonesian Standard Mushaf, starting from the historical background of the development of the mushaf in Souteast Asia. The length of the circulation of the printed mushaf of Bombay in Indonesia with the character of the thick calligraphy has brought the impact on the choice of calligraphy of the Indonesian Standard Mushaf, although it was displaced by the style of the Madinah Mushaf calligrapy which is the thin one since the 2000s.]]>
<![CDATA[Tajwid Warna dalam Mushaf Al-Qur'an Standar Indonesia ]]>
<![CDATA[Harits Fadlly]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.587
<![CDATA[After the stipulation of the Indonesian Standard Mushaf in 1984, the publication of the Mushaf in Indonesia began to appear to develop. One proof of this development is the emergence of the color tajweed mushaf. In general, this paper discusses the use of the color tajweed system in the Mushaf, either before or after the publication of the Color System Tajweed Guidelines in 2011. This paper uses a qualitative method with a sociological-historical approach to examine historical aspects, genealogy, and the function of color tajweed. Data collection was carried out by means of inventory, documentation, literature study, and in-depth interviews with publishers and users of the color tajweed mushaf. Color tajweed mushaf appeared in Indonesia in 2005. In the beginning, publishers printed the Mushaf with different tajweed colors from one publisher to another, causing confusion in the community. After the publication of the Color System Tajweed Guidelines, the publication of the color tajweed mushaf was more regular. In terms of sales from 2005 to 2020, there is a significant increase. One of the contributing factors is the increasing segment of middle Muslim society in Indonesia. Keywords: Color Tajweed, Indonesian Standard Mushaf, Tajweed Guidelines.]]>
<![CDATA[Mushaf Al-Qur'an Braille Pasca-Standardisasi ]]>
<![CDATA[Ahmad Jaeni]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.588
<![CDATA[This writing studies the history of the development of the Braille Mushaf of Indonesia after being standardized and confirmed as the Braille Standard Mushaf through the decree of the Minister of Religious Affairs No. 25, 1984. This important phase becomes the starting point for all those who concerned to make the Braille Standard Mushaf as the only guideline in the publication, correction and use. It is through the historical approach by exploring the information from the sources and existing documents that the study arrives at the conclusion that the dynamics occurred after the determination of the Braille Standard Mushaf is reflected in some phases. The early phase is a transitional phase which described the existence of the Braille Standard Mushaf which had not become fully reference yet at the level of the users. The next phase is the phase of the strengthening which is marked by the birth of the revised edition of the Braille Standard Mushaf and has been used more widely. The phase of the nest strengthening is marked by the revised edition of the Braille Standard Mushaf as the new agreement. Of all those dynamics, the role of the government thus becomes the key.]]>
<![CDATA[Pentashihan dan Para Pentashih Mushaf Al-Qur'an di Indonesia, 1957-2020 ]]>
<![CDATA[Zaenal Arifin Madzkur]]>;
<![CDATA[Mustopa Mustopa]]>;
<![CDATA[Irwan Irwan]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.589
<![CDATA[This writing explains the correction and the correctors of the mushaf in Indonesia since before the establishment of the Board of Mushaf Correction (Lajnah Pentashihan Mushaf Al-Qur'an ) in 1957 to 2020. The mushaf that will be printed should be corrected first to avoid the mistakes and to keep its authenticity. By using historical approach, it is known that the pattern of correction is getting more and more developed by the way of studying literatures related to the writing of the mushaf to that of comparing the mushaf that will be printed with the manuscript of the Indonesian Standard Qur’an. The pattern of the appointment of the corrector of the mushaf is also a dynamic one. Starting from the individual appointment, organization of society, to the official appointment by the state through the Board of Correction of the Mushaf in 2007. The Board of Correction of the Mushaf (Lajnah Pentashihan Mushaf Al-Qur'an ) is a working task force under the Board of Research and Development and the Education and Training of the Ministry of Religious Affairs. The Mushafs being produced are also various, starting from the mushaf that only put the Qur’anic text, mushaf with translation, mushaf with the tajwid (the rules of reading the Qur’an), mushaf with word per word translation to the mushaf with some additional texts which all are adding the development of the Qur’anic publication in Indonesia.]]>
<![CDATA[Potret Mushaf Kontemporer di Indonesia ]]>
<![CDATA[Imam Arif Purnawan]]>
<![CDATA[ SUHUF Vol 13 No 2 (2020) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v13i2.590
<![CDATA[The Indonesian Standard Mushaf is the reference mushaf for all the publisher in Indonesia. Since determination of the Indonesian Standard Mushaf in 1984, model and presentation of the mushaf in Indonesia experienced the transformation from time to time. There are many variants of the model of the cover design presented from year to year by giving arise to new innovation. The publisher of the Qur’an keep on innovating the modification of the cover and the model of presentation of the mushaf by adjusting the trend that people like. This writing tries to explain the extent to which these changes occur and what factor influence in the presentation model of the mushaf. The result of the study shows that the changes occurred significantly in the early year of 2000s. The changes can be observed in the model of the calligraphic writing, cover design and the supplement of the text content. Some driving factors of the changes is the development of technology and the trend of reading the holy Qur’an which was increased in the middle level of muslim society. On the other hand, in the case of model presentation design of the mushaf, local culture turns out to have a strong and significant impact.]]>
<![CDATA[PARADIGMA SUNNI TAFSIR KH. AHMAD BASYIR (1930-2017) DALAM PERSPEKTIF TEKSTUALITAS GRACIA ]]>
<![CDATA[Mahmudi Mahmudi]]>;
<![CDATA[Moh. Wardi]]>
<![CDATA[ SUHUF Vol 14 No 2 (2021) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v14i2.612
<![CDATA[This article analyzes the local interpretation of the Qur’an of Madura which was written by KH Ahmad Basyir (1930-2017) who was considered a figure and scholar of his time. Ahmad Basyir is a highly respected figure, especially in Sumenep, even in Madura. The method in this article is a literature study with the focus on his Kitab atTafsir volume I. The author argues that the interpretation he wrote is an interpretation of the Sunni paradigm that puts the servant’s ethics first in his relationship with God. In the process of analysis, the author uses the perspective of Gracia’s textuality and tries to seek its relevance to the reality of Indonesia today. The author assumes that Ahmad Basyir’s interpretation style offers a relevant understanding of Islam in the midst of the spread of religious radicalism.]]>
<![CDATA[EKSISTENSI DAN FIGURITAS PEREMPUAN ]]>
<![CDATA[Bannan Naelin Najihah]]>;
<![CDATA[Naih Nurjanah]]>
<![CDATA[ SUHUF Vol 14 No 2 (2021) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v14i2.664
<![CDATA[This paper studies the method of interpretation of Muhyiddin Ahmad Mustafa Darwisy (1908-1982) concerning the verses of the existence and figure of women in the Qur’an in Surah Ali ‘Imran/3: 195 and al-Ahzab/33: 35. This study uses a descriptive qualitative method with a library research approach. The data analysis technique used content analysis of the text. The results of the study found that Darwisy’s interpretation covers three things, namely the source of interpretation, the method of interpretation, and the style of interpretation. Darwisy uses aspect of rationality as a source of interpretation, his method of interpretation is general in style (ijmaly), and his interpretation is linguistic in its pattern. The analysis also finds Darwisy’s role in the equal rights to adhere religion and to get education for women by using a language and literary approaches. The right to adhere religion in Darwisy thought coversguidance and rewards.]]>
<![CDATA[SEJARAH DAN KARAKTERISTIK AL-QUR’AN DAN TERJEMAHNYA KEMENTERIAN AGAMA RI ]]>
<![CDATA[Hamam Faizin]]>
<![CDATA[ SUHUF Vol 14 No 2 (2021) ]]>
Publisher : <![CDATA[Lajnah Pentashihan Mushaf Al-Qur'an ]]>
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DOI: 10.22548/shf.v14i2.669
<![CDATA[This article describes the history of the Al-Qur’an dan Terjemahnya (the Qur’an and its translation) of the Ministry of Religious Affairs since its first edition (1965) to the last edition (2019). The Al-Qur’an dan Terjemahnya have been revised for four times, namely in 1971, 1990, 2002 and 2019. The improvements were made at different times and by different teams, resulting in different characteristics in each edition. The Jamunu Edition (1965) was still seems very letterlijk (literal). Vernacular languages, especially that of Malay, are still widely used. The Saudi Arabia edition (1990) showed a luxurious packaging, yellow thin paper and a good cover. There are no substantial revisions. The 2002 edition underwent substantial changes in its translation, language style, reduction of footnotes, omission of introduction and paragraph subtitles. The 2019 edition also underwent changes in its substance of translation, language style, format, and systematic arrangement.]]>
