Qurthuba: The Journal of History and Islamic Civilization
Social Humaniora Qurthuba: The Journal of History and Islamic Civilization adalah jurnal yang memuat tema-tema Sejarah Islam dan peradaban Islam, diterbitkan oleh Program Studi Sejarah Peradaban Islam (SPI), Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya. Terbit secara berkala dua kali dalam satu tahun pada bulan September dan Maret
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<![CDATA[KESENIAN ISLAM JEMBLUNG DI KABUPATEN KEDIRI ]]>
<![CDATA[Anwar Dwi Saputra]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Program Studi Sejarah Peradaban Islam Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.141-164
<![CDATA[Abstract: This article examines the Jemblung Islamic art which is popular in Kediri. The focus of the research discussed in this thesis are (1) How did the Jemblung art appear in Kediri (2) What are the elements contained in the Jemblung Islamic Art in Kediri Regency (3) What are the the values contained in Jemblung Islamic Art in Kediri Regency. This study uses cultural methods, namely first data collection, interviews, observation, documentation, data processing, data analysis and the last is interpretation. An anthropological approach is used to explain how to know Jemblung art in Kediri. The theory used by ethnomusicological theory is to analyze the richness of music itself and its function and meaning for society. The researcher concludes that Jemblung is a jarwo dosok which means jenjem-jenjem ewong gemblung (the serene feeling felt by crazy people). This understanding is thought to originate from the tradition of performing Jemblung which places performers of this art like crazy people. Other sources say that the term Jemblung comes from the word gemblung which means crazy. Jemblung in Kediri originates from the myth of Sunan Ngudung who once meditated and had a dream of meditating while accompanied by a tambourine and jidor that read "blung" which became the forerunner of the Jemblung art. Keywords: Islamic art, Jemblung, Kediri]]>
<![CDATA[Kesenian Jaranan dan Bantengan di Pemukiman Muslim Kabupaten Kediri ]]>
<![CDATA[Nilla Alysia Anjayani]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Program Studi Sejarah Peradaban Islam Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.165-189
<![CDATA[Abstract: This article discusses the traditional Jaranan and Bantengan arts in the Muslim community of Kediri. This research focuses on: 1) What is the background of the emergence of Jaranan and Bantengan in the area 2) What is the series of activities for Jaranan and Bantengan 3) What are the views of the scholars towards Jaranan and Bantengan. This arts research uses qualitative research methods as well as cognitive anthropological theory to understand the problems involved in the research. The data analysis technique used in the Jaranan and Bantengan arts research is a descriptive data analysis technique, where data is presented based on what is obtained from informants and written sources as is. The results of this study are that the relationship between humans and culture that exists in the Jaranan and Bantengan arts can be seen in the Jaranan and Bantengan art activities in the Muslim residential environment in Kuwik village. Not only that. However, Muslim leaders in the village of Kuwik also have different views on the art of jaranan and banteng. From the Muhammadiyah leadership, they consider this to be bid'ah, including shirk, while Nahdlatul Ulama figures believe that the arts are permissible as a form of tolerance, because whatever what is done while not causing harm in Islam is permissible. Keywords: art, culture, jaranan, bantengan]]>
<![CDATA[MAKANAN TUMPENG DALAM TRADISI BANCAKAN ]]>
<![CDATA[M. Zein Ed-Dally]]>;
<![CDATA[Nur Faizah]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Program Studi Sejarah Peradaban Islam Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.190-209
<![CDATA[Abstract: The lack of culinary treasures in our historical literature is the background of this research. Therefore, this study aims to find out the history and philosophy of Tumpeng in the tradition of pre-Islamic Javanese society and to understand the development of Tumpeng in the bancakan tradition of Javanese society after the arrival of Islamic influence. This study uses historical (historical) research methods which include heuristic methods, source verification, text interpretation, and historiography, as well as using a gastronomic approach. Apart from that, this study also uses the theory of symbolic culture based on Clifford Geertz's version as a tool for historical analysis. The results of this study found several historical facts, namely: 1) Tumpeng is a food that has existed since the Javanese people still embraced the Kapitayan belief, which is served and offered as a means to worship "God" which they believe is something that cannot be explained and cannot be reached by the five senses, or better known as Sang Hyang Tunggal. 2) After the Hindu-Buddhist influence entered and took root firmly in the beliefs of the Javanese people, the shape of Tumpeng began to change into a cone (mountain). 3) After the spread of Islam carried out by Walisongo through a process of assimilation and syncretization of culture which was previously thick with the teachings of Kapitayan and Hindu-Buddhist beliefs into a culture that has internalized Islamic values, Tumpeng automatically also experiences a shift in values. Keywords: Tumpeng, Bancakan, Java, Islam]]>
<![CDATA[PERKEMBANGAN HUKUM DAN PENGADILAN PADA ERA ABBASIYAH ]]>
<![CDATA[Miftakhus Sifa' Bahrul Ulumiyah]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Program Studi Sejarah Peradaban Islam Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.210-220
<![CDATA[Abstract: This article aims to explore legal justice in the classical Islamic era, specifically in the Abbasid era. This era became an icon of the golden age of Islam—which, of course, law and courts also developed rapidly. However, this era is also a sign that it is in this era that Islamic law is experiencing frigidity. This study uses the historical method with a socio-historical and phenomenological approach. The results of this study note that there were two periods of legal development in the Abbasid era, namely the first Abbasid period and the second Abbasid period. In the first period, law underwent differentiation and the formation of structured legal institutions such as the diwan al-qadhi qudhoh and several judicial bodies. The second period of legal development was more systematic, complete and autonomous, such as the existence of sect autonomy in each region, the formation of new laws, and the order of the judicial system which was so professional and conducive. This research is concluded into three phenomena; Abbasid law, especially in the second period, experienced rapid progress which was conducive to the modern era, the emergence of various schools of thought, government intervention and law enforcement marked by the phenomenon of mihnah, and left traces of the legal frigidity of the later era. Keyword: law, legal justice, Abbasid, development]]>
<![CDATA[SEJARAH PERKEMBANGAN PEREMPUAN INTELEKTUAL DI IAIN SUNAN AMPEL SURABAYA 1971-2014 ]]>
<![CDATA[Rega Iqbal Ghany]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Program Studi Sejarah Peradaban Islam Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.230-253
<![CDATA[Abstract: This article examines women's intellectuals, especially among female students at IAIN Sunan Ampel Surabaya. Researchers provide limitations on three things, namely: (1). What is the Profile of IAIN Sunan Ampel Surabaya (2). How are the dynamics of the role and position of intellectual women in the internal campus of IAIN Sunan Ampel (3). What are the Roles of Intellectual Women at IAIN Sunan Ampel in Society. This article was prepared using historical research methods, namely: heuristics, verification, interpretation and historiography. The approach used is a historical approach from a diachronic perspective. In addition, the authors also use a descriptive qualitative approach. While the theory used is the theory of Continuity and Change (the theory of continuity and change) and the theory of Role (role theory). From the results of the research conducted, it can be concluded that: (1). IAIN Sunan Ampel was officially established in 1965 with the Decree of the Minister of Religion Number 20/1965 based in Surabaya. In the period between 1966-1970, IAIN Sunan Ampel had 18 (eighteen) faculties spread across 3 (three) provinces. (2). Women in the internal institutions of IAIN Sunan Ampel from their female students show a development of awareness of the importance of education. (3). Not only on the internal campus but also plays a lot of roles on the external campus in various fields. Keywords: history, woman, intellectual, IAIN]]>
<![CDATA[PERUBAHAN POLA SENI TRADISIONAL TAYUBAN DI MADIUN ]]>
<![CDATA[Ilmiyatus Syahro]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Program Studi Sejarah Peradaban Islam Fakultas Adab dan Humaniora UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.254-275
<![CDATA[Abstract: The research objective of this article is to find out changes in the pattern of Taruban art in Madiun. This research focuses on 1. What is the History of the Community's Tayuban Tradition in East Java. 2. How is the Implementation of the Community Tayuban Tradition Event in Purwosari Village. 3. What is the Meaning of Philosophy and the Influence of the Tayuban tradition. The approach and theoretical framework used in this study is the historical and cultural anthropological approach, for the theory using Clifford Geertz on interpretive culture. While the research method used is the method of cultural anthropology with field observations and interviews conducted directly, researchers also participate in the implementation of these traditions. From the results of this study it can be concluded that the existence of the Tayub tradition has been known since the Hindu and Buddhist eras, seen from the reliefs found in the temples in Central Java. In Serat Centhini, the art of Tayub emerged in the 19th century. The procedure for carrying out the Tayuban tradition in Purwosari village is still the same as before, but for now, yasin and tahlil readings are being held. While significant changes have occurred in its noble values which have shifted from time to time, namely from Hindu noble values to Islam. Keywords: change, art, traditional, Madiun]]>
<![CDATA[Kesenian Islam Jemblung di Kabupaten Kediri ]]>
<![CDATA[Anwar Dwi Saputra]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Department of History and Islamic Civilization, Faculty of Adab and Humaniora, UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.141-164
<![CDATA[Abstract: This article examines the Jemblung Islamic art which is popular in Kediri. The focus of the research discussed in this thesis are (1) How did the Jemblung art appear in Kediri (2) What are the elements contained in the Jemblung Islamic Art in Kediri Regency (3) What are the the values contained in Jemblung Islamic Art in Kediri Regency. This study uses cultural methods, namely first data collection, interviews, observation, documentation, data processing, data analysis and the last is interpretation. An anthropological approach is used to explain how to know Jemblung art in Kediri. The theory used by ethnomusicological theory is to analyze the richness of music itself and its function and meaning for society. The researcher concludes that Jemblung is a jarwo dosok which means jenjem-jenjem ewong gemblung (the serene feeling felt by crazy people). This understanding is thought to originate from the tradition of performing Jemblung which places performers of this art like crazy people. Other sources say that the term Jemblung comes from the word gemblung which means crazy. Jemblung in Kediri originates from the myth of Sunan Ngudung who once meditated and had a dream of meditating while accompanied by a tambourine and jidor that read "blung" which became the forerunner of the Jemblung art. Keywords: Islamic art, Jemblung, Kediri]]>
<![CDATA[Kesenian Jaranan dan Bantengan di Pemukiman Muslim Kabupaten Kediri ]]>
<![CDATA[Nilla Alysia Anjayani]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Department of History and Islamic Civilization, Faculty of Adab and Humaniora, UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.165-189
<![CDATA[Abstract: This article discusses the traditional Jaranan and Bantengan arts in the Muslim community of Kediri. This research focuses on: 1) What is the background of the emergence of Jaranan and Bantengan in the area 2) What is the series of activities for Jaranan and Bantengan 3) What are the views of the scholars towards Jaranan and Bantengan. This arts research uses qualitative research methods as well as cognitive anthropological theory to understand the problems involved in the research. The data analysis technique used in the Jaranan and Bantengan arts research is a descriptive data analysis technique, where data is presented based on what is obtained from informants and written sources as is. The results of this study are that the relationship between humans and culture that exists in the Jaranan and Bantengan arts can be seen in the Jaranan and Bantengan art activities in the Muslim residential environment in Kuwik village. Not only that. However, Muslim leaders in the village of Kuwik also have different views on the art of jaranan and banteng. From the Muhammadiyah leadership, they consider this to be bid'ah, including shirk, while Nahdlatul Ulama figures believe that the arts are permissible as a form of tolerance, because whatever what is done while not causing harm in Islam is permissible. Keywords: art, culture, jaranan, bantengan]]>
<![CDATA[Makanan Tumpeng dalam Tradisi Bancakan ]]>
<![CDATA[M. Zein Ed-Dally]]>;
<![CDATA[Nur Faizah]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Department of History and Islamic Civilization, Faculty of Adab and Humaniora, UIN Sunan Ampel Surabaya ]]>
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DOI: 10.15642/qurthuba.2020.3.2.190-209
<![CDATA[Abstract: The lack of culinary treasures in our historical literature is the background of this research. Therefore, this study aims to find out the history and philosophy of Tumpeng in the tradition of pre-Islamic Javanese society and to understand the development of Tumpeng in the bancakan tradition of Javanese society after the arrival of Islamic influence. This study uses historical (historical) research methods which include heuristic methods, source verification, text interpretation, and historiography, as well as using a gastronomic approach. Apart from that, this study also uses the theory of symbolic culture based on Clifford Geertz's version as a tool for historical analysis. The results of this study found several historical facts, namely: 1) Tumpeng is a food that has existed since the Javanese people still embraced the Kapitayan belief, which is served and offered as a means to worship "God" which they believe is something that cannot be explained and cannot be reached by the five senses, or better known as Sang Hyang Tunggal. 2) After the Hindu-Buddhist influence entered and took root firmly in the beliefs of the Javanese people, the shape of Tumpeng began to change into a cone (mountain). 3) After the spread of Islam carried out by Walisongo through a process of assimilation and syncretization of culture which was previously thick with the teachings of Kapitayan and Hindu-Buddhist beliefs into a culture that has internalized Islamic values, Tumpeng automatically also experiences a shift in values. Keywords: Tumpeng, Bancakan, Java, Islam]]>
<![CDATA[Perkembangan Hukum dan Pengadilan pada Era Abbasiyah ]]>
<![CDATA[Miftakhus Sifa' Bahrul Ulumiyah]]>
<![CDATA[ Qurthuba: The Journal of History and Islamic Civilization Vol. 3 No. 2 (2020): March ]]>
Publisher : <![CDATA[Department of History and Islamic Civilization, Faculty of Adab and Humaniora, UIN Sunan Ampel Surabaya ]]>
Show Abstract
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DOI: 10.15642/qurthuba.2020.3.2.210-220
<![CDATA[Abstract: This article aims to explore legal justice in the classical Islamic era, specifically in the Abbasid era. This era became an icon of the golden age of Islam—which, of course, law and courts also developed rapidly. However, this era is also a sign that it is in this era that Islamic law is experiencing frigidity. This study uses the historical method with a socio-historical and phenomenological approach. The results of this study note that there were two periods of legal development in the Abbasid era, namely the first Abbasid period and the second Abbasid period. In the first period, law underwent differentiation and the formation of structured legal institutions such as the diwan al-qadhi qudhoh and several judicial bodies. The second period of legal development was more systematic, complete and autonomous, such as the existence of sect autonomy in each region, the formation of new laws, and the order of the judicial system which was so professional and conducive. This research is concluded into three phenomena; Abbasid law, especially in the second period, experienced rapid progress which was conducive to the modern era, the emergence of various schools of thought, government intervention and law enforcement marked by the phenomenon of mihnah, and left traces of the legal frigidity of the later era. Keyword: law, legal justice, Abbasid, development]]>
