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Journal of Calligraphy

joc
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Published by Universitas Negeri Malang

ISSN : - EISSN : 27978788 DOI : 10.17977

Core Subject : Religion, Art, Social,

Religion Arts Social Sciences

Journal of Calligraphy is an open-access journal that publishes peer-reviewed articles on the world of calligraphy. The articles that can be published is about calligraphy (practice, theory, research, and development) from the global value perspective. It can discuss the history, tools/materials, technique/design/style, worldview, knowledge and civilization, digital-computerized, emerging technologies, education/teaching, conservation and restoration, visual psychology, marketing and management, global trend and future that are suitable with the worldwide value of calligraphy.

Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)

Articles 8 Documents

Search results for , issue "Vol. 1 No. 1 (2021): Journal of Calligraphy" : 8 Documents clear

Arabic calligraphy in Andalusia and Ottoman houses: a comparative analysis Ziad Baydoun; , Zumahiran Kamarudin
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

Islamic calligraphy during the Andalusian and Ottoman civilizations and after the spread of Islam greatly affected the advancement of decorative art in architecture and the built environment. During that time, Arabic calligraphy has been developed between those two eras. Although Arabic calligraphy was very famous and popular in the past, modern designers can still create a repeated copy of it. The study's objectives are to determine the differences in using Arabic calligraphy between Ġazaleh house, which is from the Ottoman period, and Patio de la Acequia, which is from the Andalusian time and to analyze the usage of Arabic calligraphy in these two houses accordingly. This research involved an analytical review of the Arabic calligraphy found in the mentioned two houses—a comparative analysis between Ġazaleh house and Patio de la Acequia. The study illustrates the application of Arabic scripts in the house's decorations on the Location, placement in the interior or exterior space, and the materials used in the application of the scripts of Arabic calligraphy used in the chosen case studies. The comparison will cover the main components principles used in the Arabic calligraphy scripts in both houses.

Relevancy of Kufic Scripts In Wayfinding And Signage of Public Buildings In The Urban Scape of Selangor Zumahiran Kamarudin; Raja Intan Suhaylah Raja Abdul Rahman
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

The development of Kufic calligraphy has some impact on the graphic art of the wayfinding design. However, information on the Kufic styles used in the wayfinding design and signage is little known, and studies about this aspect are minimal. Therefore, the objectives of this study are to identify and analyse the different styles of Kufic scripts used in the wayfinding design and signage and to categorise and characterise Kufic calligraphy's application for the wayfinding design of commercial and institutional buildings in the urban scape of Selangor. This research involved a visual analysis of the wayfinding design and signage of 10 visited buildings to get more accurate screening on the types and styles of Kufic scripts used. The analysis revealed the application of three major Kufi styles in the different location of wayfinding signage of the buildings suggesting the relevancy of angular calligraphy for wayfinding design and signage.

Islamic Aesthetic Philosophy in Arabic Calligraphy Kholili Hasib
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

This article describes the aesthetic value of Arabic calligraphy or khat. This study of khat art's aesthetic value aims to reveal the model and philosophy of Arabic calligraphy as an Islamic work of art. The analysis in this article employed descriptive methods and two approaches, notably philosophical and historical. The model and philosophy of a work of Islamic art are influenced by the aqliyyah influence of an artist, according to the analysis. Because religious values influence an artist's perspective, his artwork contains an aesthetic philosophy that is also religious. For example, since the arrival of the muballigh from Arabia, the emergence of Islamic arts in the archipelago has been inextricably linked to the process and development of Islamization activities. The propagators of Islam use art and da'wah in their work. In a nutshell, physical and metaphysical beauty are both present in Arabic calligraphy. Physical beauty is pursued in the creation of calligraphy that has smooth and pleasing forms to the eye. The art form of calligraphy contains metaphysical beauty in the form of beautiful and good messages. These messages can be in the form of instruction (ta'limiyyah) or simply facts about da'wah.

الخط العربي كأحد الفنون التشكلية وجهود الإندونيسيين في تطويرها محمد هادي مسروري
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

That the calligraphy in its visual form compounded of interlocking letters lies the artistic aesthetic dimensions, which we call the implicit meaning of the visual texts, and it is able to stimulate the spiritual taste of sophisticated beauty. This article tries to emphasize that when calligraphy has addressed its textual and spiritual dimensions with the expansion of countries following the Islamic conquests, it is as if it is addressing minds and souls at the same time, and it won a wide turnout and intense passion on the part of those concerned with artistic taste. This is what happened in the Islamic countries of Egypt, the Gulf, Iran, Turkey, Pakistan, and other countries where the artist, who has a taste for high artistic beauty, lives. In Indonesia, those concerned with Islam and calligraphy, and whatever they lack the capacity to form Arabic letters with its standard patterns, made great efforts in dealing with Arabic calligraphy so that the two directions would follow: the direction of the organized calligraphy according to the known patterns of Arabic fonts, and the direction of calligraphy, or panting art. The owners of the second trend enter the world of creativity and innovation through their plastic paintings that name their owners in a mythical world between reality and fiction. This is thanks to a lot of stakeholders, whether individuals or governments.

تطور خط النسخ من القرن الثالث حتى القرن السابع الهجري Moch Wahib Dariyadi; Nurul Murtadho
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

F rom each type of Arabic script, long independent stages were drawn from their emergence to the stages of their completion. These lines were able to gradually develop from their primitive and incomplete forms to their complete or more perfect status over many successive centuries until they reached it today. Likewise, the naskh script developed gradually, successively, as did other Arabic scripts. This paper offers to describe how the Naskh script developed from the third to the seventh century AH. The results of this research is (1) The forms of letters, the Naskh script, were in the stage of script development in the third and fourth centuries influenced by the line of inquisitor. In the fourth and sixth centuries it was affected by the Rayhani line, and in the seventh century it was affected by the third line, And (2) The naskhi script in early Islam was used among people other than official writings until the minister, Abu Ali Muhammad bin Muqla, produced a great improvement in the aforementioned calligraphy and introduced it to writing Qur’ans and writing collections, since the third century.

تنفيذ تعليم تحسين الخط العربي لطلاب قسم تعليم اللغة العربية Dwi Khoirotun Nisa’
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

This reaserch aims to describe the implementation of learning Tahsin al-Khat al-'Araby to students of the Arabic Language Education Program, Faculty of Tarbiyah and Teacher Training, KH Achmad Siddiq State Islamic University Jember. The results showed that the implementation of learning Tahsin al-Khat al-'Araby took place using the demonstration, lecture, and assignment. The goal is that students gain to write Arabic well, correctly, and beautifully, and are able to produce calligraphy works. The guidebooks used in the study are Kurrasah at-Thariqah al-I'tiyadiyyah fi Tahsin al-Kitabah by Sheikh Belaid Hamidy and Qawa'id al-Khath al-'Araby by Sheikh Hasyim Muhammad al-Baghdadi. There are two types of evaluation techniques, summative and formative. Summative evaluation is carried out at the end of each meeting. While formative evaluation is carried out at the end of the semester by making calligraphy works.

الخط العربي نشأته و تطوره في العصر العثماني بلال أحمد بيغ
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

The first calligraphy style developed during the end of the 7th century. Called Kufic, it was named for the city of Kufa in southern Iraq and was based on early 3rd- or 4th-century Arabic scripts. It was the first calligraphy used for the Quran, though it wasn't easy to use when writing long texts. It had angular letters with short vertical strokes and long horizontal strokes. Over time, many other calligraphic styles developed in the Muslim world. Some were used for specific purposes. Some were highly decorative. Others were easy to read, which made them appropriate for books and documents.The other script included Naskh or Naskhi, a script that developed in the 10th century that was easily readable with small balanced letters made from curving, fluid lines. Naskh eventually replaced Kufic as the script of choice for the Quran.

الخط العربي أ.د. حسن عبد العليم يوسف
Journal of Calligraphy Vol. 1 No. 1 (2021): Journal of Calligraphy
Publisher : Universitas Negeri Malang

Arabic calligraphy is the art and design of writing in various languages that use Arabic letters. Arabic writing is characterized by being connected, which makes it capable of acquiring different geometric shapes through extension, retrograde, rotation, angulation, interlacing, overlapping and composition. Calligraphy is associated with Arabic decoration, as it is used to decorate mosques and palaces. It is also used to sweeten manuscripts and books, especially copies of the Holy Qur’an. This field has witnessed a turnout from Muslim artists because of the Sharia's prohibition on depicting humans and animals, especially in relation to holy places and the Qur'an. This research is included in the qualitative research that uses the descriptive method. Data sources are data from books, magazines, facts and websites related to the discussion about the title. The result of this research is (1) the history of Arabic calligraphy, (2) the stages of Arabic calligraphy, (3) types of Arabic calligraphy, (4) Arabic calligraphy in Andalusia. الخط العربي هو فن وتصميم الكتابة في مختلف اللغات التي تستعمل الحروف العربية. تتميز الكتابة العربية بكونها متصلة مما يجعلها قابلة لاكتساب أشكال هندسية مختلفة من خلال المد والرجع والاستدارة والتزوية والتشابك والتداخل والتركيب. يقترن فن الخط بالزخرفة العربية حيث يستعمل لتزيين المساجد والقصور، كما أنه يستعمل في تحلية المخطوطات والكتب وخاصة نسخ القرآن الكريم. وقد شهد هذا المجال إقبالا من الفنانين المسلمين بسبب نهي الشريعة عن تصوير البشر والحيوان خاصة في ما يتصل بالأماكن المقدسة والمصاحف. يدخل هذا البحث ضمن البحث النوعي الذي يستخدم المنهج الوصفي. مصادر البيانات هي بيانات من الكتب والمجلات والوقائع والمواقع الإلكترونية ذات الصلة بالمناقشة حول العنوان. وأما النتيجة هذه البحث فهو (1) تاريخ الخط العربي ، (2) مراحل الخط العربي ، (3) أنواع الخط العربي، (4) الخط العربي في الأندلس.

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Home Page

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Editorial Team

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Reviewer

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Contact Name
Eko Pramudya Laksana

Contact Email
publisher@um.ac.id

Phone
-

Journal Mail Official
iccall.pasca@um.ac.id

Editorial Address
Semarang St., No 5, Malang, East Java, Indonesia

Location
Kota malang,

Jawa timur

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Eko Pramudya Laksana

Contact Email publisher@um.ac.id

Phone -

Journal Mail Official iccall.pasca@um.ac.id

Editorial Address Semarang St., No 5, Malang, East Java, Indonesia

Location Kota malang, Jawa timur INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Eko Pramudya Laksana

Contact Email
publisher@um.ac.id

Phone
-

Journal Mail Official
iccall.pasca@um.ac.id

Editorial Address
Semarang St., No 5, Malang, East Java, Indonesia

Location
Kota malang,

Jawa timur

INDONESIA