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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 47 Documents

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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.

نموذج المواد التعليمية للخط العربي في المدرسة الإبتدائية بمؤسسة معهد النور الكشاف الإسلامي بيكاسي Siti Jubaidah; Maulidiana Nur Alfi Syahrin
Journal of Calligraphy Vol. 2 No. 2 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

This study aims to design a model of Arabic Calligraphy in Islamic College Foundation Elementary School El-Nur El-Kasysyaf based on a student needs analysis. This development and research uses the R&D method of R&D in the manner of Dick and Carrie model with ADDIE code. And the data collection techniques used through participatory observation, structured interview, unstructured interview and questionnaires. Arabic calligraphy material model consists of 3 themes in it, Single Letter Writing Rules, Rules for Writing Connecting Letters, Change the order of single letters to words and Otherwise. This material model also include learning books and videos as complementary material and explanation related to other write activities needed to increase innovation in increasing students interest in understanding Arabic calligraphy. The first reviewer's response for the Arabic calligraphy material model got a score of 85%, from the second reviewer got a score of 94% with the "Very Feasible" score category. The response from students reached a score of 88% in the "Very Feasible" category.

الخط العربي – نشأته وخصائصه وكيفية تطوره أمين عليوة; خديجة بن قويدر
Journal of Calligraphy Vol. 2 No. 2 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

Arabic calligraphy is one of the arts full of beauty, and it is one of the civilizational manifestations that Muslims have concerned with since the beginning of Islam, especially because it is closely related to the Holy Qur’an, and it was written down in order to preserve it for future generations after the spread of melody among the parish, and Arabic calligraphy has witnessed a great development throughout history. Especially in the early days of Islam and beyond, where they were interested in writing letters and the means that preserved the Holy Qur’an, and it coincided with the great renaissance witnessed by the Islamic nation in various aspects of life, and the latter received a distinct interest in being. And that was during the era of Caliph Othman bin Affan, may God be pleased with him. This leads us to ask a set of questions, what is Arabic calligraphy? How has it evolved through the ages and who are the most famous and skilled calligraphers? What are the types of Arabic calligraphy? What are its characteristics and advantages? We try to answer the previous problems, showing the aesthetics of Arabic calligraphy and its decorations, which enchanted the eyes.

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.

من مـــمـــيّزات الخــــط الـعــربـي في قراءة المصحف: تــــدويـــن وتـــــــطـــويـر وتــــــطـبـيـق كريم عبد الله مؤمن
Journal of Calligraphy Vol. 2 No. 2 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

The calligraphy regards as one of the civilization and culture of the mankind. It influence, plays the roles in correspondence or conversation in a written form. Thus, from a certain period of time to another or from one generation to another. Aside from the renounce it has gained through the the Glorious Quran that is revealed through it. And this is the goal that this paper pursed through the letters that are among the knowledge that Allah taught Adam (A.S). Upon all this, point has negated the unanimous rumor usually said that the ancient Arabs knows nothing about the Arabic syntax , nor rafu’or nasbu and hamzah. At this junction, Ibn Faris said there is no claim that the ancient Arabs had known better in the handwriting and the calligraphy than any other people rather there is no difference between this generation with that of the ancient Arabs .To buttress it, It is believed that none of us knows better about calligraphy, handwriting and reading than one other. And Allah says: “He taught him eloquent speech”. Indeed, how such fluency could be attained, without having knowledge about the Alphabets. While not that, He who taught Adam the whole names is the one who taught him the Arabic alphabets of al-allif, al-baa, a-ljiim, al-ddal. However, it is evident that: the calligraphy is better than the statement ones. This is because the statement teaches the present era only, while the handwriting format mostly teaches the present era and the forthcoming ones. On this note, Azzarnujiy said: Whatever memorized is usually quickly forgotten, compare to that of the written document. Hence, this research seeks to shed lights on the Arabic calligraphy, its meaning, establishment and development. More so, the Glorious Quran calligraphy, its compilation, development and calligraphy review aspect of it.

تعليم فن الخط في منظمة جمعية الخطاط بمعهد منبع العلوم بتا-بتا الإسلامي باميكاسان مادورا Ali Makki; Ahmad Fauzun Karim; Utari Dwi Mayasari
Journal of Calligraphy Vol. 2 No. 2 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

Sheikh Shams Al-Din Al-Afkani held that the calligraphy was a single letter in its place and how it was formulated in a written composition or written in a written form. Of the importance of calligraphy: Calligraphy is not limited to the skill of drawing and writing alone, but it is related to spiritual insight. Calligraphy pleads to protect the heart, speech, ideas, and behavior of society. In learning precious social values of following, imitation, competence, obedience, orderliness, benefit, and appreciating the production of others. Despite the great importance of calligraphy, unfortunately, its study and education is neglected and most people do not care about it. As well as the widespread research does not deal with much research and depth. This research presents to the readers to reveal the process of teaching calligraphy in the Calligrapher Association at the Institute of the Source of Sciences Pta-Pta Bamikasan Madura as a contribution to increasing the wealth of scientific research on the art of teaching calligraphy and its advantages and shortcomings. The researcher used for this research the approach of scientific research is qualitative research with the type of case study. The three methods of data collection are interview, observation and documentation. This scientific research has reached the conclusions that teaching the art of calligraphy in it takes place in three stages: pre-education, implementation of education, and evaluation of education. As for the advantages, most of them are dispensed for a long time and it is cheaper for the others. The shortcomings, including the lack of puberty to the maximum and perfection.

نموذج خط القرآن على أساس التعلم التعاوني على تطوير LPTQ فى سومطرا الغربية Moh In’ami; Edi Setiawan; Etika Vestia; Ahmad Falah
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

This study aimed: a realistic description of learning the khat Qur'an conducted by LPTQ in each development activity; develop the design of an educational model based on collaborative learning based on the khat Qur'an on the development of LPTQ; and test the validity, process and effectiveness of developing an educational model based on collaborative learning based on the khat Qur'an on LPTQ.The methodology used in this study is the R&D method developed by Thiagarajan, which includes four steps better known as D4, namely definition, design, development and publishing. Typical trials were conducted on LPTQ training and training activities. The results of the study found an actual model for learning the traditional khat Qur'an organized by LPTQ. The form contains: 1) delivery of objectives and motives, 2) physical and important explanations, 3) participants create work independently, 4) guidance at work, 5) presentation of work, 6) evaluation and correction. Find a model to learn the khat Qur'an based on collaborative learning. Learning activities are supported by a standard educational guide to the khat Qur'an.

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Eko Pramudya Laksana

Contact Email
publisher@um.ac.id

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iccall.pasca@um.ac.id

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

Location
Kota malang,

Jawa timur

INDONESIA

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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

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