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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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تعليم الخط العربي في المراحل المختلفة على ضوء نظرية الفضيلة عند Muhammad Nur
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

The teaching of calligraphy to pupils at various educational levels requires a continuous process supported by teachers who master the field, as well as the preparation of supporting facilities. However, this process only touched on the material aspect, although pupils have a spiritual aspect that also needs attention. This research attempts to present a plausible view of the Miskawaih's theory of virtue through the virtue of wisdom, chastity, courage and justice and to propose it to complete the teaching of calligraphy until it reaches its goal.

جهود الشيخ الحاج محمد الأمين الكانمي البرنوي في تطوير الخط العربي في السودان الغربي الدكتور زكريا محمد عبدالله
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

This modest brief research is about: The efforts of Sheikh Al-Hajj Muhammad Al-Amin Al-Kanimi Al-Barnawi in developing Arabic calligraphy in Western Sudan. The researcher chose this topic for many purposes, including: (1) The desire to raise the status of the Arabic language. (2) To highlight the effective attempt that Sheikh Muhammad Al-Amin Al-Kanimi was able to make in the field of Arabic calligraphy. (3) The researcher's longing to study Nigeria's Arabic productions. (4) Encouragement to try to trace the traces of that sheikh. As for the purposes of the research, there are: (1) Expanding the knowledge and intellectual level in the field of Nigerian Arabic calligraphy. (2) Shedding light on Sheikh Muhammad Al-Amin Al-Kanmi’s interest in the Arabic language in Nigeria in particular, and in West Africa in general. Then the research will follow the descriptive approach so as to follow the efforts of Al-Kanmi and express it in a quantitative and qualitative manner, to clarify the characteristics features, and to analyze the data and reach conclusions. The research obtained the following results: (1) Sheikh Muhammad Al-Amin Al-Kanmi was born in the year: one thousand seven hundred and seventy six (1776 AD), and he grew up in a house of knowledge, under the care of his father. Al-Kanimi learned the knowledge of Qur’an from his father (Muhammad Lenga), and the principles of Arabic and Islamic education, then continued to travel to different cities, including: Jerusalem, Mecca, Medina, Fez, Egypt, Tripoli, Qairawan, Tlemcen, and others. He learned the Islamic knowledge and language from its distinguished scholars so that he could navigate many types of knowledge and arts. (2) Al-Hajj Muhammad Al-Amin Al-Kanmi is one of the prominent figures of Arabic calligraphy who made a great contribution to the revitalization and development of Arabic calligraphy in the country of Nigeria, where he was able to impose many poems for various puposes, as well as editing vauablelettershe sent to the leader of Sokoto jihad (Sheikh Othman bin Muhammad Fodio), and the correspondences that he was able to carry out between him and the neighboring countries, and those between him and the King of England.

تنوع استخدام الحروف الهجائية كنظام كتابي جديد في كتابة الخط العربي الملايوي /الخظ العربي الجاوي Muthmainnah Choliq; Nur Hanifatus Sholeha; Fathimah Kamilatun Nisa
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

The progress of the civilization is considered to be the growth of their language, both between the mktaz and the written. The use of the Arabic alphabet has become in many Islamic civilizations, where it develops and diversifies its method in order to understand the Islamic religion. Such a civilization is the development of a new written system in the life of the Malay people, called the Malay Arabic script, which is a means of transmitting Islamic knowledge and knowledge by scholars to the Muslim community in the Indonesian archipelago. There are four letters added to the Arabic letters in the Jawi letters; The letter jim with an additional two-dot variation applies like the letter “c” in Indonesian, the letter “ain” with an additional three-dot difference above the letter and marked as “ng”, the letter fa with the additional two-dot variation reading “pa”, then the letter kaf with the addition of a dot The one on top reads “ga”, the letter nun with the addition of two dots reads “nya”, and finally the letter wawu with the addition of one dot at the top reading “Va”. What is the Arabic-Malay symbol? And how its develop? Is part of discussion in this article.

الخطّ العربي وتجليّاته في الحضارة الإسلامية – المساجد أنموذجا شروق دحماني; الدكتورة: بختة تاحي
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

Arabic calligraphy is the supreme and sophisticated pillar that distinguishes Islamic arts, as we note that not an Islamic artwork is devoid of mosques, palaces, buildings, and walls, except that we found in it authentic Islamic inscriptions represented in the ancient Arabic calligraphy, which is wonderful in its decoration and refined in its expressions, and is distinguished in its drawings. The embroidered craftsmanship and mastery astonish the beholder. Where the interest in the latter has become a treasure and a beacon for calligraphers, their love for it tends to be associated with the tolerant and pure Islamic religion in its teachings, which led them to interact with various civilizations and to spread and display its distinctive images and forms, as well as to the diversity and different methods of Arabic calligraphy and the multiplicity of its models and its promotion to the highest ranks among the arts. From here we pose the forms: What is meant by the Arabic calligraphy? What are the main types of Arabic fonts? What are its manifestations and developments?

التحليل التقابلي بين نصّ العربي الجاوي (كتاب فاتي منية المصلي) ونصّ العربي البيغون (كتاب مفتاح الجنة) Ilham Fatkhu Romadhon; Sadiyatul Munawaroh
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

النص العربي. أما النص العربي “البيغون” هو لغة الجاوي (والسونداني) بالنص العربي. تصف هذه الدراسة الاختلافات في كتابة حروف العلة (الواو، الياء، الألف) بين النصّ العربي الجاوي (الملايو) و النصّ العربي “البيغون” (الجاوي) في كتاب التراث الإسلامي. أما منهج البحث في هذه الدراسة فهو وصفي نوعي مقارن. البيانات الأساسية في هذه الدراسة هي كتاب مفتاح الجنة (كياهي الحاج محمد يحيى) كالنص العربي البيغون (الجاوي) ، وكتاب فاتي منية المصلي (نيء عبد الله الجمبوي) كالنص العربي الجاوي (الملايو). تقنية جمع البيانات في هذا البحث هي التوثيق. كانت أداة البحث في هذه الدراسة هي طريقة كتابة حروف العلة (الواو، الياء، الألف) في اللغتين وهي العربية الجاوية والعربية البيغونية Arabic text Jawi is Malay in Arabic script. Meanwhile, Pegon Arabic text is Javanese (and Sundanese) in Arabic script. This study describes the differences in the writing of the letter iilah between the Jawi Arabic script (Malay) and the Pegon Arabic script (Javanese) in the Turost book. The research method in this research is comparative qualitative descriptive. Primary data in this study is the Book of Miftaahu Al-Jannah by KH Muhammad Yahya as Arabic text pegon (Javanese), while the Book of Faati Munyatu Al-Mushalli by H. Nik Abdullah Al-Jambui as Arabic text Jawi (Malay). The data collection technique in this research is documentation. The research instrument in this study was the procedure for writing illat letters in Arabic Jawi and Arabic Pegon Keyword : Contrastive Analysis, Kitab Turats, Arabic Jawi (Malay), Arabic Pegon (Java)

DYNAMICS OF THE ART OF CONTEMPORARY ISLAMIC CALLIGRAPHY ARCHIPELAGO: Comparative Analysis of Malaysian and Indonesian Works Makmur Harun; Dian Cita Sari; Nur Faaizah Binti Md Adam; Sulaiman Dorloh; Mohd Kasturi Nor Abd Aziz
Journal of Calligraphy Vol. 2 No. 1 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

The dynamics of contemporary Islamic calligraphy in the archipelago have experienced rapid development after the emergence of institutions and foundations that developed the art, in addition to being often competed at many levels. This is supported by the existence of foundations and institutions, such as the Restu Foundation in Malaysia and the Al-Quran Calligraphy Institute (LEMKA) in Indonesia. In addition, various computer applications and increasingly sophisticated digital systems complement the completeness and beauty of contemporary Islamic calligraphy works of art. The objective of this study is basically to compare the contemporary Islamic calligraphy works produced in the archipelago. Among the aspects that are focused on are the applications and works of contemporary calligraphy that are developing in Malaysia and Indonesia through educational institutions and also their calligraphers. In addition, it describes the types and forms of his works in the two places of study, in addition to the influence, aesthetic value and the use of painting materials through the artist. Focus is also given to the forms and mediums used in producing calligraphy works of art. Furthermore, this study is also expected to find study findings such as a complete discussion of the similarities and differences of contemporary calligraphy art that exists in Malaysia and Indonesia, in addition to a discussion of the subtlety of artistic taste and sharpness of thinking, the artists and their calligraphers. Furthermore, the understanding of the Islamic community in the archipelago gives high respect to this artistic heritage as the best Islamic art for its people. It is also hoped that through this comparative study will manifest Islamic civilization that has been raised through the art of Islamic calligraphy based on the Qur'an and al-Sunnah in Southeast Asia.

Empowering Virtual Calligraphy Expo as a Solution during a Pandemic Dian Cita Sari; Makmur Harun; Mohd Kasturi Nor Bin Abd Aziz
Journal of Calligraphy Vol. 2 No. 2 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

This study aims to study how calligraphers respond to the pandemic. This issue is considered important, because all activities involving large numbers of people are postponed. Exhibitions have a broad role for artists and calligraphers. In order to be widely used, the treasures of exhibition innovations need to be made public. Publication of exhibition innovations is one of the efforts to reach a wider community. One of the outreach efforts that can be done during the current pandemic is a calligraphy virtual exhibition. Some things that need to be analyzed are the process of calligraphy virtual exhibition activities; content coverage; and the factors that influence visits to the Exhibition's official website. Through a case study approach, this study attempts to describe some of the things analyzed. The results of the research show that the calligraphy virtual exhibition process can be carried out systematically and sustainably and is even more acceptable in accordance with the will of the times; content coverage is quite diverse; and the factors that influence visits to the Archive's official website can be identified.

تعليم الخط العربي في معهد المصدوقية الإسلامي: مشكلاته وحلوله Ahmad Kamil Fadoli; Ahmad Yasir Amrulloh
Journal of Calligraphy Vol. 2 No. 2 (2022): Journal of Calligraphy
Publisher : Universitas Negeri Malang

Teaching calligraphy is one of the most important things, but it is not without problems during education, and so is the case of teaching calligraphy at the Islamic Institute of Validity. The research aims to describe the process of teaching calligraphy at the Islamic Institute of Validity In terms of its problems and solutions. The descriptive qualitative approach was used. Data collection by observation, interview, and documentation. And their analysis by the three method of Mills and Huberman is data reduction, presentation and inference. And its sources from the teacher of improving Arabic calligraphy and his students. The results indicated that learning the calligraphy takes place in the way of the extensive vocabulary and structures in the Naskhi script and its models from the Qur’anic verses and the honorable hadiths. His problems depend on the internal and external problem, which is that the teacher was not accurate in correction, did not teach the students to generate letters and their analogies, did not order the students to write the job at the beginning of the study, and the students’ lack of desire to teach calligraphy. As for its solutions, the teacher corrects the students accurately by applying a number of calligraphy theories, teaches them to generate letters and their analogies, instructs them to write calligraphy before teaching, and defends them about the importance of teaching Arabic calligraphy.

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.

بدائع فنّ الخطّ العربي الأصيل – أنواعه ومراحل تطوّره – نماذج مصوّرة الدكتورة: بختة تاحي; الدكتور: مزايني محمّد; الدكتور: زكريا جرفي
Journal of Calligraphy Vol. 3 No. 1 (2023): Journal of Calligraphy
Publisher : Universitas Negeri Malang

It is not possible to deny the position that Arabic calligraphy occupies in the Arab world as a whole, and in the Islamic world in particular, because of its nobility and originality, similar to other international fonts, as it was considered a distinctive and beautifully formed art. Where it is not hidden from anyone the position that Arabic calligraphy was and still occupies, that calligraphy that is refined in its details, ancient in its history and beautiful in its formation and drawing, and it cannot be doubted that it is an original art with a distinctive and creative character, as Islamic decoration enjoyed this type, especially in buildings, mosques and palaces. Since its ancient era, through engineering and creativity in inscriptions, drawings, and shapes, from this point of view, what is meant by calligraphy? And who are the most famous calligraphers who were known to master it? What are its types and stages of development? And how was this manifested through the pictures and inscriptions at the time? لا يمكن نكران المكانة التي يحتلّها الخطّ العربي في العالم العربي كافّة والإسلامي خاصّة لما له من عراقة وأصالة على غرار الخطوط العالمية الأخرى، فقد اعتبر كفنّ مميّز جميل التشكيل. حيث لا يخفى على أحد المكانة التي كان ولا زال يحتلّها الخطّ العربي، ذلك الخطّ الراقي في تفاصيله والعريق في تاريخه والجميل في تشكيله ورسمه، ولا يمكن التشكيك في كونه فنّا أصيلا ذو طابع مميّز ومبدع، فقد حظيت الزخرفة الإسلامية بهذا النّوع خاصّة في العمارات والمساجد والقصور، منذ عهدها القديم، من خلال الهندسة والإبداع في النقوش والرسومات، والأشكال، من هذا المنطلق ما لمقصود بفنّ الخطّ؟ ومن هم أشهر الخطّاطين الذين عرفوا بالتفنّن فيه؟ وما هي أنواعه ومراحل تطوّره؟ وكيف تجلّى ذلك من خلال الصور والنقوش آنذاك؟.

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Eko Pramudya Laksana

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publisher@um.ac.id

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

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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