Islamic Calligraphy On The Nangroe Aceh Darussalam Tomes
Islamic calligraphy has flourished in Nangroe Aceh Darussalam from the 13th - 18th centuries, as evidenced by the many archeological findings in this area which are full of Islamic calligraphy. This paper is the result of research on the graves of Islamic calligraphy in Nanggroe Aceh Darussalam, using archaeological and historical approaches. This research has gone through the stages of inventory, documentation, classification and interpretation as well as analyzed with the assumption that art as a cultural product has been influenced by the cultural background and social dynamics of the supporting community.
This study reveals a variety of sentences that tend to be used (such as sentences: syahadah, basmalah, verses of the Koran, and Sufi poetry), and the types of writing (khat) that appear quite varied such as; kufik, ornamental kufik, thuluth, and naskhi, and found the type of writing which shows the existence of local genius elements, namely figural writing and "eccentric" writing resulting from a unique combination of tradition with Islamic khat.
This research can see the historical relationship of Islamic calligraphy at the Nangroe Aceh Darussalam tomb with social dynamics and the struggle of religious ideas underlying it. The discussion shows that Islamic thought, for example the schools of Sufism wahdatulujud and wahdatussyuhud, with great figures such as as-Sumatrani, al-Raniri between the 16-17 century AD has become a motor and "spirit" driving the dynamics of Islamic art in Nanggroe Aceh Darussalam.
Islamic calligraphy has developed in almost all corners of the world, including Indonesia. Early history of the development of Islamic calligraphy in Indonesia can be studied based on archaeological remains found in Nangroe Aceh Darussalam, because in this area there were two major Islamic kingdoms, namely: Samudera Pasai Kingdom (13M-16M), the oldest Islamic kingdom in the Southeast Asian Archipelago: and the kingdom of Aceh Darussalam (16 M - 19 AD), the continuation of the glory and greatness of the Samudera Pasai Kingdom (Tjandrasasmita 1988: 67-83: Hasjmi 1981).
Along with the triumph of these kingdoms, it has been beneficial to the development of Islamic calligraphy in Aceh. One historical proof of this is the discovery of hundreds of Islamic tombs decorated with calligraphy scattered on various sites in a number of districts and cities in Nanggro Aceh Darussalam Province (Yatim 1988: Ibrahim 1994: 62: Herwandi, 2002, 2003) ,. These findings are proof that the Nanggro Aceh Darussalam are areas that should be taken into account as land and object of research on Islamic calligraphy because it is rich in textual sources. Even though there are among those sources feared to be damaged, some even cannot be used anymore because they have experienced wear and tear, so it is difficult to identify and be used as a source of study now and in the future.
This condition was added again after Aceh was hit by a "brother-war", and after the Nanggro Aceh Darussalam was hit by the earthquake and tsunami, it worsened the conditions which caused many sites that had been destroyed and could not be used as sources of study.
This study focused on the relationship of Islamic calligraphy with the grave sign (headstone, jirat, cupola and its parts), and with the reality of the dynamics of Acehnese society, as well as the function of calligraphy itself. This study covers four topics, namely: form, text, community, and function, which will discuss the linkages between the four aspects of the problem.
The forms of Aceh gravestone can be grouped into three main classes: flat, square, square and long round and headstone structures can be divided into: tops, heads, shoulders, body, waist, legs, stems and some of them are winged. The problems that need to be seen here are the forms and parts of the gravestone that are in great demand by the public to be decorated with calligraphy. Previous studies have shown that Islamic calligraphy in Aceh often uses the writings of Naskhi and Kufi, and texts that are often found include remembrance, basmalah, syahadah, verses of the Koran, and Sufi poetry. Then the problem arises, perhaps there is still the type of writing and other texts used, and how the relationship between the tendency of the type of writing and the text with the body structure of the gravestone and the tomb section.
In Acehnese society there are several social groups, among others: the nobility, the military, the ulamas. and ordinary people. The Acehnese nobility mainly came from the sultan and his family, the band's martyrs, the ulee balang traditional and the ulee bulang sultan, the rich. If it is associated with social groups that appear in Acehnese society, it becomes an interesting problem to see the relationship between the classification of the tomb, the shape of the gravestone, the type of writing, the text and sentences used in calligraphy with the classification of the community. How far is the classification of the tomb, the shape of the gravestone, the type of writing, and the type of sentence compared to the social classification in Aceh. From any social class, calligraphers appear. What is the relationship between calligraphers and ulamas and sultans and how they affect the development of Islamic calligraphy in Aceh. In the course of the history of the Kingdom of Samudera Pasai and the Kingdom of Aceh Darussalam there have been several changes to the sultan and mufti of the kingdom, sometimes followed by shifts and changes in Islamic teachings adopted. What is the relationship between the dynamics of society and the development of Islamic calligraphy. What is the relationship between the change of sultan and the mufti of the kingdom and the shift of Islamic teachings towards the development of Islamic calligraphy in Nanggro Aceh Darussalam.
As a work of art, Islamic calligraphy has a function in society. What are some functions that have been fulfilled by Islamic calligraphy in the Kingdom of Samudera Pasai and the Kingdom of Aceh Darussalam. What is the relationship between Aceh's social groups based on their status and role with the function of Islamic calligraphy. Does the difference in the function of Islamic calligraphy in Aceh Darussalam be different according to social class.
This study reveals a variety of sentences that tend to be used (such as sentences: syahadah, basmalah, verses of the Koran, and Sufi poetry), and the types of writing (khat) that appear quite varied such as; kufik, ornamental kufik, thuluth, and naskhi, and found the type of writing which shows the existence of local genius elements, namely figural writing and "eccentric" writing resulting from a unique combination of tradition with Islamic khat.
This research can see the historical relationship of Islamic calligraphy at the Nangroe Aceh Darussalam tomb with social dynamics and the struggle of religious ideas underlying it. The discussion shows that Islamic thought, for example the schools of Sufism wahdatulujud and wahdatussyuhud, with great figures such as as-Sumatrani, al-Raniri between the 16-17 century AD has become a motor and "spirit" driving the dynamics of Islamic art in Nanggroe Aceh Darussalam.
Islamic calligraphy has developed in almost all corners of the world, including Indonesia. Early history of the development of Islamic calligraphy in Indonesia can be studied based on archaeological remains found in Nangroe Aceh Darussalam, because in this area there were two major Islamic kingdoms, namely: Samudera Pasai Kingdom (13M-16M), the oldest Islamic kingdom in the Southeast Asian Archipelago: and the kingdom of Aceh Darussalam (16 M - 19 AD), the continuation of the glory and greatness of the Samudera Pasai Kingdom (Tjandrasasmita 1988: 67-83: Hasjmi 1981).
Along with the triumph of these kingdoms, it has been beneficial to the development of Islamic calligraphy in Aceh. One historical proof of this is the discovery of hundreds of Islamic tombs decorated with calligraphy scattered on various sites in a number of districts and cities in Nanggro Aceh Darussalam Province (Yatim 1988: Ibrahim 1994: 62: Herwandi, 2002, 2003) ,. These findings are proof that the Nanggro Aceh Darussalam are areas that should be taken into account as land and object of research on Islamic calligraphy because it is rich in textual sources. Even though there are among those sources feared to be damaged, some even cannot be used anymore because they have experienced wear and tear, so it is difficult to identify and be used as a source of study now and in the future.
This condition was added again after Aceh was hit by a "brother-war", and after the Nanggro Aceh Darussalam was hit by the earthquake and tsunami, it worsened the conditions which caused many sites that had been destroyed and could not be used as sources of study.
This study focused on the relationship of Islamic calligraphy with the grave sign (headstone, jirat, cupola and its parts), and with the reality of the dynamics of Acehnese society, as well as the function of calligraphy itself. This study covers four topics, namely: form, text, community, and function, which will discuss the linkages between the four aspects of the problem.
The forms of Aceh gravestone can be grouped into three main classes: flat, square, square and long round and headstone structures can be divided into: tops, heads, shoulders, body, waist, legs, stems and some of them are winged. The problems that need to be seen here are the forms and parts of the gravestone that are in great demand by the public to be decorated with calligraphy. Previous studies have shown that Islamic calligraphy in Aceh often uses the writings of Naskhi and Kufi, and texts that are often found include remembrance, basmalah, syahadah, verses of the Koran, and Sufi poetry. Then the problem arises, perhaps there is still the type of writing and other texts used, and how the relationship between the tendency of the type of writing and the text with the body structure of the gravestone and the tomb section.
In Acehnese society there are several social groups, among others: the nobility, the military, the ulamas. and ordinary people. The Acehnese nobility mainly came from the sultan and his family, the band's martyrs, the ulee balang traditional and the ulee bulang sultan, the rich. If it is associated with social groups that appear in Acehnese society, it becomes an interesting problem to see the relationship between the classification of the tomb, the shape of the gravestone, the type of writing, the text and sentences used in calligraphy with the classification of the community. How far is the classification of the tomb, the shape of the gravestone, the type of writing, and the type of sentence compared to the social classification in Aceh. From any social class, calligraphers appear. What is the relationship between calligraphers and ulamas and sultans and how they affect the development of Islamic calligraphy in Aceh. In the course of the history of the Kingdom of Samudera Pasai and the Kingdom of Aceh Darussalam there have been several changes to the sultan and mufti of the kingdom, sometimes followed by shifts and changes in Islamic teachings adopted. What is the relationship between the dynamics of society and the development of Islamic calligraphy. What is the relationship between the change of sultan and the mufti of the kingdom and the shift of Islamic teachings towards the development of Islamic calligraphy in Nanggro Aceh Darussalam.
As a work of art, Islamic calligraphy has a function in society. What are some functions that have been fulfilled by Islamic calligraphy in the Kingdom of Samudera Pasai and the Kingdom of Aceh Darussalam. What is the relationship between Aceh's social groups based on their status and role with the function of Islamic calligraphy. Does the difference in the function of Islamic calligraphy in Aceh Darussalam be different according to social class.
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