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Thematische Bibliographien / Malay Calligraphy / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Malay Calligraphy“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Karim, Abdul Razak Abdul, and Reniwati Reniwati. "Illumination and Calligraphy in Malay Letters." JURNAL ARBITRER 4, no. 2 (2017): 76. http://dx.doi.org/10.25077/ar.4.2.76-85.2017.

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Malay manuscripts contain all kinds of knowledge. The manuscripts not only tell stories, they also depict various knowledge within the minds of past generations. In this paper discuss elements of illumination and the use of calligraphy in Malay letters on past Malay letters. The research is limited on Malay letters in social letters in the period 1521-1899. Malay society in the olden days practiced very fine arts as shown in the Malay letters through illumination and through the use of various types and designs of calligraphy. They used the world of nature to express their feelings. This paper

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Muhammad, Siti Aisyah, and Normaisarah Mohd Rosdi. "Ingenuity Incision in Traditional Malay Wood Carving Calligraphy Motif." BIO Web of Conferences 73 (2023): 05018. http://dx.doi.org/10.1051/bioconf/20237305018.

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Malay woodcarvings are an ornament that symbolizes the identity and creativity of the Malay community at the house or palace. The difference will be in the design complexity and the number of ornaments used to decorate the palaces. Motif is considered one of the primary elements behind the creation of woodcarving and is included visually in various arts and crafts categories. Thus, the purpose of this study was to present an analytical study to investigate the visual forms of calligraphy motifs on the ornamentation wood carving at Istana Tengku Long, Terengganu. The study utilized the qualitat

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Karim, Abdul Razak. "The Use Of Seal In Early Malay Official Letters : A Personal Identity And Ethnic Culture." JURNAL ARBITRER 5, no. 1 (2018): 1. http://dx.doi.org/10.25077/ar.5.1.1-7.2018.

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This brief article discuss on how the seals that were used on the official Malay letters incorporated and displayed the identity of the senders, whether they are individual dignitaries or governments. The early Malay seals are among the symbol and identity of the sender. In the traditional Malay society the seal was not something that anyone can own and use indiscriminately. The seals were used as personal symbols by the individual rulers and dignitaries and subsequently became something that was passed on as part of their inheritance. For an individual sultan or dignitary, the seal represente

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Abu Bakar, Azreena, Kamarul Afizi Kosman, and Nor Zalina Harun. "Pemilihan Jenis-Jenis Motif Ukiran Pada Rumah Warisan Selepas Kedatangan Islam ke Tanah Melayu." Jurnal Kejuruteraan si5, no. 1 (2022): 135–41. http://dx.doi.org/10.17576/jkukm-2022-si5(1)-14.

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Malay heritage carvings were heavily influenced by Hindu-Buddhist culture before the dissemination of Islam. This is evidenced by the paintings of mythical animals and floral motifs found on archaeological objects in Lembah Bujang. The arrival of Islam in Malaya in the 14th century finally brought great changes in the world of carving, including in Terengganu and Kelantan. This study aimed to identify the initial motifs used after the dissemination of Islam in Malaya. The states of Kelantan and Terengganu were chosen because most of the old houses and skilled woodcarvers were born there and ar

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Mohd Zaine, Muhammad Zulkarnaen, and Arbai’yah Ab. Aziz. "Wood Carving Motifs in Masjid Lama Tanjung Beringin, Seri Menanti, Negeri Sembilan." International Journal of Art and Design 8, no. 2 (2024): 106–19. http://dx.doi.org/10.24191/ijad.v8i2.2819.

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The sustainability of Malay wood carving motifs in the present era is at stake. The lack of effort to identify and document the motifs led to the weak preservation of this national heritage. This indirectly poses a threat to the Malay identity that has existed since a long time ago. Thus, this research aims to provide additional documentation on Malay wood carving motifs through the observation in Masjid Lama Tanjung Beringin, Seri Menanti, Negeri Sembilan. This mosque was chosen because there is minimal research on wood carving motifs in the southwest coast states of Malaysia. The study's obj

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Khairull, Mohd. "LEVEL OF PERCEIVED BEHAVIOURAL CONTROL AND ITS IMPACT ON JAWI ACCEPTANCE AMONG INDIANS COMMUNITY IN MALAYSIA." Qawwam : The Leader's Writing 3, no. 2 (2022): 94–98. http://dx.doi.org/10.32939/qawwam.v2i2.113.

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The issue of introducing the teaching of Jawi script or khat calligraphy in schools has become a serious issue, as it is facing intense opposition by the non-Malay-Muslims. The issue of introducing a six-page lesson on khat calligraphy in the Year 4 Bahasa Malaysia textbook for vernacular schools also has bring about some hot reactions by political leaders, educationists, and community groups. This is due to the misconception towards the word Jawi itself as most who are against it thought that it is an Islamic teaching when it is actually just a form of Arabic writing system. Therefore, this s

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Haji Harun, Makmur, Mohd Kasturi Nor Abd Aziz, Edzham Armin Abd Rahim, A. Shuhairimi, and Yasmin Ahmad. "Jawi Writing in Malay Archipelago Manuscript: A General Overview." MATEC Web of Conferences 150 (2018): 05054. http://dx.doi.org/10.1051/matecconf/201815005054.

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Jawi writing is the main form of writing in various manuscripts recovered around the Archipelago, especially during the early arrival of Islam. These manuscripts are found to record history, art, culture, language, social, as well as ancient knowledge. The usage of Jawi writings had covered a number of calligraphy which are high in value with deep philosophical meaning, are full with creative notion as well as countless of patterns that went along with the call to Islam around the Archipelago in a relatively short period of time. The development of Jawi writing had been immortalized in various

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Wiku Atmojo, Bambang Sakti, Saefuddin Saefuddin, and Agus Yulianto. "Pemakaian Bahasa pada Inskripsi Makam Raja-Raja di Kalimantan Bagian Timur." PANALUNGTIK 5, no. 2 (2022): 83–103. http://dx.doi.org/10.55981/panalungtik.2022.83.

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The tombs of the kings in the eastern part of Kalimantan are spread over six districts in three provinces. The figures buried were the king, son of the king, queen, prime minister and other members of the royal family. This study aims to determine the letters and language used to write inscriptions on these tombs. The data collection method used is an exploratory survey, documented using photographs, drawings and maps or plans. The results showed that most of the graves were inscribed, some using Arabic letters, some using Bugis letters and some using Latin letters. The languages spoken incl

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Alifia Zahra Shafira, Fatimatuzzahra Nasution, Yenny Haidar Naburju, Rizqa Karima, and Isfira Ainy. "Analisis Semiotika Roland Barthes pada Arsitektur Masjid Agung Sultan Thaf Sinar Basarsyah di Lubuk Pakam." Jurnal Kajian dan Penelitian Umum 2, no. 6 (2024): 87–97. https://doi.org/10.47861/jkpu-nalanda.v2i6.1403.

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This research examines the meaning of architecture and ornaments in the Sultan Thaf Sinar Basarsyah Grand Mosque in Lubuk Pakam, Deli Serdang using Roland Barthes' semiotic approach. Using a qualitative research method, this study analyzes the denotation, connotation, and mythical meanings of various architectural elements of the mosque such as building form, interior space, color, and ornaments such as windows, mihrab, doors, calligraphy, and drum. The results show that the design of this mosque combines elements of local culture from three tribes (Karo, Simalungun, and Malay) with typical Mi

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Fadhil, Muhammad Naufal, Aji Sofiana Putri, Nisa Putri Rachmadani, and Zuhrahmi DE. "KONSEP SUSUNAN RUANG DAN RAGAM VITRIN PADA PAMERAN TEMPORER NASKAH FILOLOGIKA." DESKOVI : Art and Design Journal 7, no. 1 (2024): 14–25. http://dx.doi.org/10.51804/deskovi.v7i1.14846.

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Museum Aceh pada Bulan Agustus hingga September 2023 mengadakan sebuah pameran temporer yang bertajuk “Rahasia Peradaban dalam Aksara”. Pameran ini mengangkat koleksi filologika (naskah kuno) sebagai objek pamer. Naskah-naskah tersebut terdiri dari ayat suci Al-Qur’an, kitab ajaran Islam, sejarah dan mantra-mantra masa lalu yang sebagian besar ditulis dalam kaligrafi Arab berbahasa Melayu. Dengan menggunakan pendekatan deskriptif kualitatif, penelitian ini mengkaji susunan ruang dalam perspektif arsitektur dan desain interior, pada pameran koleksi filologikan yang memuat konten sakral. Selain

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Woon, Zhe An. "An Exploration of 20th Century Malaya Oracle Bone Script Calligraphy Focusing on Calligraphers Coming to the South." ERUDITE: Journal Of Chinese Studies And Education 2, no. 1 (2021): 73–100. http://dx.doi.org/10.37134/erudite.vol2.1.5.2021.

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In the first half of the twentieth century, China set off a wave of literati emigrating to Malaya. This group of literati included many outstanding calligraphers who have known as “calligraphers coming to the south”. They were the founder and pioneer of Malayan calligraphy. Oracle bone inscription calligraphy also opened up a new field of practice outside of China with the arrival of calligraphers coming to the south. Time flies, and since the division of Singapore and Malaysia, the practice of the oracle bone inscription calligraphy of the calligraphers coming to the south has gradually been

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Abdurrahman, Kasim. "Inskripsi Keagamaan pada Masjid Azizi Tanjungpura, Langkat, Sumatera Utara." Jurnal Lektur Keagamaan 16, no. 1 (2018): 75–100. http://dx.doi.org/10.31291/jlka.v16i1.494.

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Indonesia is a nation of a diverse civilization. The legacy of Indonesian civilization is significantly influenced by the way of life and religious teachings spread over large and wider regions ranging from Sumatra in the west and Papua in the east. History of Islam in Indonesia culturally has already inherited a number of various historical relics. One of them is the house of worship. This research article discusses one of the historic houses of worship,viz. the Azizi Mosque in Tanjung Pura, Langkat, North Sumatera. With the use of an archaelogical method, by means of techniques of observatio

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Abdurrahman, Kasim. "Inskripsi Keagamaan pada Masjid Azizi Tanjungpura, Langkat, Sumatera Utara." Jurnal Lektur Keagamaan 16, no. 1 (2018): 75–100. http://dx.doi.org/10.31291/jlk.v16i1.494.

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Indonesia is a nation of a diverse civilization. The legacy of Indonesian civilization is significantly influenced by the way of life and religious teachings spread over large and wider regions ranging from Sumatra in the west and Papua in the east. History of Islam in Indonesia culturally has already inherited a number of various historical relics. One of them is the house of worship. This research article discusses one of the historic houses of worship,viz. the Azizi Mosque in Tanjung Pura, Langkat, North Sumatera. With the use of an archaelogical method, by means of techniques of observatio

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Fina, Lien Iffah Naf’atu. "Southeast Asian Islamic Art and Architecture: Re-Examining The Claim of the Unity and Universality of Islamic Art." Sunan Kalijaga: International Journal of Islamic Civilization 1, no. 2 (2018): 171. http://dx.doi.org/10.14421/skijic.v1i2.1364.

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This paper re-examines the claim of unity and universality of Islamic art, whose discussion usually disregards Islamic art and architecture in the Southeast Asian context. The question raised is where Islamic art in the Malay world should be put before the claim of the unity and universality of Islamic art and whether this claim is, thus, still valid. To meet this objective, the two heritages of Javanese Islamic art, Demak and Cirebon mosques and wayang, are presented and analyzed before such universal claim and pre-Islamic Javanese art. These Javanese expressions have unique features compared

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., Pujiyanto, Robby Hidajat, Andy Pramono, and Sarjono . "Ideology Behind Malay Gravestone Artifacts." KnE Social Sciences, September 2, 2020. http://dx.doi.org/10.18502/kss.v4i12.7640.

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This research considers gravestone artifacts in the environment of Malay cultural communities. The use of gravestones as cemetery markers is proof that the user communities have been subject to acculturation. The use of gravestones by Malays is a legacy of Middle East culture. Gravestones are often used in a certain way to indicate the religion of the deceased. Moslems’ gravestones are usually inscribed with Arabic calligraphy. Malay gravestone artifacts are decorated with flora carvings, geometric ornaments, and Arabic calligraphy. Most of them are now stored at National Museum of North Sumat

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Mokhtar, Mumtaz, Wan Samiati Andriana Wan Mohamad Daud, Nik Syahida Sabri, and Nor Azlin Hamidon. "Relational Aesthetics Through Islamic Calligraphy Workshop." Idealogy Journal 8, no. 2 (2023). http://dx.doi.org/10.24191/idealogy.v8i2.480.

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Malay calligraphy is known as Jawi and is a form of writing that is less popular compared to other modern writings such as those already listed in the font selection on students' computers. Therefore, Jawi workshop was held at the Fine Arts Studies, College of Creative Arts, MARA University of Technology for 77 students of the 3rd semester who enrolled Form and Soul course. The first objective is to introduce and further strengthen the writing skills of traditional Malay writing with the theme of 'knowledge'. Secondly, the whole activity of the workshop is to establish relational aesthetic for

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ACHMAD YAFIK MURSYID and AIZAN BINTI ALI@ MAT ZIN, PHD. "THE HISTORICAL BEDROCK OF HOLY QUR’AN’S MANUSCRIPT IN MALAYSIA: A STUDY ON ITS STYLE OF CALLIGRAPHY AND ILLUMINATION." Hamdard Islamicus 47, no. 3 (2024). http://dx.doi.org/10.57144/hi.v47i3.965.

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The focus of this article is to examine the historical foundation of the Holy Qur’an’s manuscript in Malaysia, with specific attention to its calligraphic style and illumination. Islamic calligraphy and manuscript traditions hold significant importance within the Malaysian Muslim heritage. These traditions have been inherited and evolved over generations, with the earliest examples of Arabic calligraphy being found in the Holy Qur'an, commonly inscribed in a script known as Kufic. The historical roots of Islam are deeply intertwined with the Holy Qur'an's manuscript, making it a primary source

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Rashidi, Nur Aisyah Safwa, Noor Hayati Ismail, and Nurul Syala Abdul Latip. "Religious Impact On Wood-Carving In Malay Traditional Houses: A Typological Study." Ulum Islamiyyah 34, no. 2 (2022). https://doi.org/10.33102/uij.vol34no2.482.

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Wood carving is a common trait seen in a Malay traditional house. Different types of wood carvings can be found in a Malay house based on the owners' status, wealth, culture, and religion. After Islam was introduced to Malaysia and became the main principle and guide for the people, they began to adopt Islamic values in their daily lives, including the illustration of the wood carvings. These beautiful wood-carving motifs were designed as a symbol of obedience toward a higher power. Unfortunately, over time wood carving has been neglected and is no longer a popular trend, leading to abandonmen

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"Malay Heritage Houses Design via the Principle of “Form Follows Function” by Louis Sullivan." International Journal of Recent Technology and Engineering 8, no. 2S11 (2019): 582–88. http://dx.doi.org/10.35940/ijrte.b1090.0982s1119.

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The uniqueness of the Malay heritage house architecture lies in the diversity of carving forms of various motifs. The motif was chosen based on the image of the environment at the time. This paper discusses the selection of carving motifs in Malay houses based on the principle of form follows function introduced by a Western architect Louis Sullivan in the late 19th century. The meaning of form follows function in this study refers to the selection of the shape of a carving motif adjusted according to the function of the space in the Malay heritage house. A preliminary study was conducted on 1

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Muhammad, Siti Aisyah, and Normaisarah Mohd Rosdi. "Application of Motifs Woodcarving in Preserving Its Authenticity in Istana Balai Besar, Kota Bharu Kelantan." International Journal of Integrated Engineering 15, no. 6 (2023). http://dx.doi.org/10.30880/ijie.2023.15.06.027.

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A palace is the legitimate house of a noble monarchy or excessive dignitary. The palaces of the Malay Kings are derived from the architecture of the Malay houses but in a larger scale.However, since it was a government palace, its structure had to be changed to accommodate its dual functional structure. In addition to accommodating the king, the palace also functions as a hub for administrative work.Therefore, traditional Malay royal palaces were decorated with carved decorative elements depicting intricate carvings in specific patterns, shapes, sizes and arrangements. Various sculptural eleme

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Muhammad Saleh, Ahmad Fuadi, Zakaria,. "Peninggalan Kesultanan Langkat Dalam Perkembangan Pendidikan Islam Di Tanjung Pura." Center of Knowledge : Jurnal Pendidikan Dan Pengabdian Masyarakat, January 26, 2023, 113–22. http://dx.doi.org/10.51178/cok.v3i1.1123.

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Sultan Tengku Abdul Aziz Jalil Rahmadsyah Al-Hajj carries a modern education which is full of logic and rationality and then juxtaposes it with a strong ethical and aesthetic based tradition. Sui-generis of modern and traditional education which places the value of modernity on the one hand and traditionality on the other, will synergize with each other to become alternative knowledge that is rich in perspective but is timeless from the spirituality that is its root. Azizi Mosque which is a historic building inherited from the Sultanate of Langkat, North Sumatra. The mosque which was founded b

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"The Champa Pillar (1035 CE) and Its Possible Connection with the Turkic Dynasties." Islamiyyat 43, no. 2 (2021): 93–104. http://dx.doi.org/10.17576/islamiyyat-2021-4302-08.

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ABSTRACTPhysical objects in the forms of pillar and tombstone of Muslims migrants who came to Southeast Asia are of tremendous significance as they are the earliest seeing evidence which indicates Muslim presence in the region. However, the artistic dimensions of these objects are less studied compared to the inscription and material. Therefore, this study intends to investigate the connection between the earliest Islamic evidence found in the Southeast Asia region, the Champa Pillar (1035 CE) and its artistic influence. The art historical method was used in this study to analyse the developme

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Kamaruddin, Zumahiran. "Wood Carving In Selected Kelantan And Terengganu Timber House." Journal of Architecture, Planning and Construction Management 2, no. 1 (2020). https://doi.org/10.31436/japcm.v2i1.487.

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This study aimed to determine the significance and meanings of the carved components and their placements within the timber houses of Kelantan and Terengganu during the periods of 1800s to 1930s. An analytical review on 25 sets of measured drawings of 14 Kelantan houses and 11 Terengganu houses including a total of 148 carved components was conducted by visual descriptive and interpretative analyses. The analytical review of the drawings which were obtained from the Centre for the Study of Built Environment in the Malay World at the Department of Architecture in Universiti Teknologi Malaysia w

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YK, Lo. "Fanyin." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573212.

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The Fan yin 反淫 ("Against Excesses") belongs to a collection of Han-dynasty bamboo-slip manuscripts donated by an anonymous alumnus to Peking University in 2009 (Beijing daxue chutu wenxian yanjiusuo 2011: 49); its provenance is unknown. Experts at the university dated it to the period between the reigns of Emperor Wu 武 (r. 141-87 BCE) and Emperor Xuan 宣 (r. 74-49/48 BCE) [Beijing daxue chutu wenxian yanjiusuo 2011: 50]. The editors of the Fan yin think it was composed in the early Western Han period (which began in 206 BCE) based on its literary diction and calligraphic style. The Fan yin cont

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