Academic literature on the topic 'Islamic painting Indonesia'

The presence of art as an expression can be assumed as a characteristic of the soul's life which is overflowing and arid from values. That is why, the artists try to find the values of life that are full of values, by pouring their ideas and ideas in the form of works of art. The method used in this research is descriptive qualitative with literature and field studies. Two Islamic calligraphers were involved as resource persons. As a result, the current strong influence of modern art has caused Islamic calligraphy to be affected. This can be seen from the emergence of various tendencies of Muslim artists in processing Islamic calligraphy into various media. Previously, calligraphy had not been realized as a form of personal expression, but now this awareness has emerged in the form of the phenomenon of calligraphy painting. Calligraphy painting as a reflection of the modern spirit of Muslim artists has provided fresh air for the development of Islamic art and culture in Indonesia. Uniquely, in Indonesia, calligraphy painting was born in the hands of conventional painters who had not previously been in the world of Islamic calligraphy directly.

his time, pornography and erotic actions start to correlate into culture domain, where human beings become the subject as well as the object. Concept of culture claims the relationship between human interaction on society and culture as a result of them. Pornography and erotic actions are considered to be the representation of the products of human being activities in the forms of technology, pictures, idols, painting etc. All of them are then absorbed into culture. The opponents of freedom culture suggest that Indonesian people should be responsible to the development of Indonesian culture which is based on religions and eastern norms. The most dominant norms is Islamic teaching which is the religion of the majority of the citizen. Thus, Indonesia culture should be able to represent Islamic way of life which is based on al Quran and Sunnah. Pornography, which is against Islamic teaching should not be part of Indonesian culture.

The history of Islamic development in Indonesia has different characteristics compared to other Islamic regions such as Turkey, India, Egypt, Syria, and Morocco. The journey of Islam in Indonesia brings different colors and patterns that distinguish it from other Islamic regions. This happens because Islam is spreaded in the archipelago peacefully and in a gradual long time, unlike the other Islamic regions islamization which is not infrequently through the power of the armed forces. This article will explain the results of Islamic interaction with society who previously embraced Hinduism, Buddhism and animist beliefs dynamism in the form of Islamic Nusantara arts. The analytical method used in this paper is a combination of theories of acculturation and assimilation of Nusantara culture and Islamic culture. The combination of Nusantara culture and Islamic culture produces an Islamic art with the uniqueness of Nusantara without eliminating the elements of the old culture. The form of pre-Islamic Nusantara cultural heritage with the Islamic culture can be found in the architecture of mosques, Arabic Malay script, literary arts, painting and sculpture.

Cirebon glass painting is a particularly famous artwork related to Islamic art in Indonesia. Aside from its aesthetic values, Cirebon glass painting also contained the symbol and message behind its ornaments. Figurative calligraphy with Arabic script is frequently used by glass painting artisans to make Cirebon glass painting. The resulted figurative calligraphy can take form resembling those of human figure, plants, animals, wayang, and the imaginary entity or particular symbols. As it is, Cirebon is one of the busiest port city in Java island. Therefore, many cultural exchanges happened by the interaction of many nationalities visiting Cirebon which later on assimilated to the local culture. This makes Cirebon glass painting unique since it was influenced by a mixture of cultures. This research focused on the elements that are contained on the Cirebon glass painting based on the artistic, magic, and religious aspect. The result in this research has an implication to expose the symbols, message and meaning behindCirebon glass painting and its synergy with the artistic, magic, and religious aspect that makes Cirebon glass painting survived and still doing well in Cirebon society nowadays.

The purpose of this. study was to analyze iconoclasm in A.D. Pirous's calligraphy using Nurcholish Madjid's iconoclasm theory. The method used in this research is a literature review. The results and discussion of this research include the biography of A.D. Pirous, the theory of iconoclasm of Nurcholish Madjid, and the analysis of iconoclasm in A.D. Pirous's calligraphy paintings. This study concludes that A.D. Pirous is an Acehnese Muslim artist who developed calligraphy in Indonesia. By establishing his school, Pirous calligraphy created a new style in Islamic art in Indonesia. According to Nurcholish Madjid, Islam is a religion that still applies the concept of iconoclasm in its teachings, including those related to works of art such as calligraphy. The analysis of Nurcholish Madjid's iconoclasm on A.D. Pirous's calligraphy can be seen from two aspects: the release of Pirous in following the rules of calligraphy and the elimination of the sacredness his calligraphy. This research is recommended for further and in-depth research on calligraphy painting or other works of art and the use of iconoclasm theory as an analytical tool, especially Nurcholish Madjid's iconoclasm and other theological studies.

Critical discourse analysis (AWK) is one of the views on language in discourse analysis which views powers as always involved in the formation of subjects represented in language. The AWK model used in this paper is Norman Fairclough's critical discourse analysis. Critical discourse analysis which generally analyzes media texts can also be done to analyze literary works including short stories. The short story analyzed by Norman Fairclough's discourse analysis is Mbah Sidiq's short story by A. Mustofa Bisri which is presented in the book Collection of Short Calligraphy Paintings. In Norman Fairclough's discourse analysis, texts, discourse practice, and sociocultural practice are examined. Through the descriptive method, finally the three aspects of Norman Fairclough's discourse analysis can be answered. In the text section, the researcher can find three basic elements in the Norman Fairclough model, namely the elements of representation, relations and identity in Mbah Sidiq's short story. While this paper will only discuss one element, namely representation. Mbah Sidiq's short story above is an Islamic short story with a Javanese cultural background. The short story displays a portrait of the life of the Javanese and Indonesian Islamic communities. In addition, Gus Mus, through his short stories, also tries to criticize the behavior and social conditions of Javanese society and Indonesian Islamic society in general, which still cannot separate religious spiritual behavior from ancestral traditions which sometimes contradict Islamic teachings. This was done because Gus Mus in his daily life is a kiai, a preacher who cares for a boarding school, which incidentally is someone who has deeply studied and mastered the Islamic sciences.

Multiculturalism or what is often referred to as cultural diversity is one of the hegemony possessed by the Indonesian nation. However, there are still forms of movement carried out by a religious community to create diversity both in religion and in society, this has resulted in terms of intolerance developing and leading to extremism to replace the ideology of the Unitary State of the Republic of Indonesia (NKRI). KH Ahmad Mustofa Bisri's multicultural da'wah in the midst of diversity in society, where diversity can give birth to a moredat (balanced) attitude, is fair and chooses to be wise and wise towards something or what is often called moderation (middle attitude). KH Ahmad Mustofa Bisri's approach and method of preaching is a process of social interaction in order to spread Islamic teachings that are rahmatal lil alamin to be implemented in social, cultural and religious life in Indonesia. KH Ahmad Mustofa Bisri (Gus Mus) 's concept and view on multiculturalism strongly recognizes and respects the existence of various cultures and different religions. The multicultural da'wah carried out by KH Ahmad Mustofa Bisri is a mission to create peace and comfort in the midst of Indonesian people with different ethnic, racial, religious, ethnic and cultural backgrounds. Analysis The results of this study are the multicultural da'wah concept and the multicultural da'wah method carried out by KH. Ahmad Mustofa Bisri is through preaching media such as (1) The method of preaching bi al-kalam such as his writings on Facebook, Twitter, books, Springs Websites, paintings and poetry (2) Methods of da'wah bi alkalam / bi al-oral such as lectures - Gus Mus's lectures can be viewed through the YouTube channel, (3) Biological method, this can be seen from the personality of Gus Mus, who is very simple and soothing so that he can be accepted in the midst of a diverse society. The multicultural da'wah carried out by KH. Ahmad Mustofa Bisri has two models, namely (1) a cultural approach as a solution for the community to always live in harmony and side by side between religious communities. (2) A social approach as an effort to solve humanitarian problems together.

This study aims to determine the mastery of the teacher's strategy in delivering free drawing learning materials using crayons that can increase children's creativity, provide interesting learning media in learning activities so that children's creativity can increase, provide opportunities for students to express all their ideas and ideas without any restrictions. in expressing colors in pictures and the teacher can understand and adjust learning outcomes with a standard level of achievement of children according to the stages of development. Classroom Action Research is a research process carried out by researchers through reflection with the aim of improving performance so that student learning outcomes increase. The planning model used is: Planning (planning), action (acting), observation (observing) and reflection (reflecting). The subjects in this improvement research were the children of group B TK Firza, totaling 15 children consisting of 6 boys and 9 girls. The field of development in this research is creativity with the activity is free drawing using crayons. The results showed the level of success in doing free drawing using crayons to improve children's creativity showed very good development and had reached the level of development in accordance with expectations, namely 80%. Thus, through free drawing activities using crayons can increase children's creativity. Keywords: drawing activities; creativity; early childhoodReferencesAnggia, A. R., & Nopriansyah, U. (2018). Mengembangkan Kreativitas Anak Melalui Permainan Warna Dengan Media Benang pada Anak Usia 5-6 Tahun di Raudhatul Athfal Perwanida I Bandar Lampung. http://ejournal.radenintan.ac.id/ index.php/al-athfaal/article/view/3789, 1(2), 1–20. Debeturu, B., & Wijayaningsih, E. L. (2019). Meningkatkan Kreativitas Anak Usia 5-6 Tahun melalui Media Magic Puffer Ball. Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini, 3(1), 233. https://doi.org/10.31004/obsesi.v3i1.180Fathurohman, O. (2017). Hakikat Bermain Dan Permainan Anak Usia Dini Di Pendidikan Anak Usia Dini (PAUD). aṣ-ṣibyān: Jurnal Pendidikan Anak Usia Dini, 2(1), 27–36. Hidayat, F., & Imroatun, I. (2018). Keluarga Berencana Dan Pengasuhan Anak Usia Dini Di Indonesia Perspektif Psikologi. International Conference Proceeding Konsepsi dan Implementasi Pendidikan Islam Anak Usia Dini Book two, 164–171. Huliyah, M. (2016a). Hakikat Pendidikan Anak Usia Dini. aṣ-ṣibyān: Jurnal Pendidikan Anak Usia Dini, 1(1), 60–71. Huliyah, M. (2016b). Pengembangan Daya Seni Pada Anak Usia Dini. aṣ-ṣibyān: Jurnal Pendidikan Anak Usia Dini, 1(2), 149–164. Isjoni. (2014). Model Pembelajaran Anak Usia Dini. ALFABETA. Ismayani, A. (2013). Fun Math With Children. In https://books.google.co.id/ books?id=0R5. Jumilah, Efastri, S. M., & Fadillah, S. (2018). Upaya Meningkatkan Kreativitas Anak melalui Permainan Finger Painting Usia 5-6 Tahun di TK Harapan Bunda Pekanbaru. PAUD Lectura: Jurnal Pendidikan Anak Usia Dini, 2(1), 31–39. Larasati, L. D., Kurniah, N., & D., D. (2016). Peningkatan Kreativitas Dalam Kegiatan Mewarnai Dengan Menggunakan Metode Demonstrasi. Jurnal Ilmiah Potensia, 1(2), 62–66. Mulyani, N. (2019). Pengembangan Kreativitas Anak Usia Dini Melalui Bermain Gerak Dan Lagu Di TK Negeri Pembina Kabupaten Purbalingga. aṣ-ṣibyān: Jurnal Pendidikan Anak Usia Dini, 4(1), 13–24. Nuryati, N., & Yuniawati, N. (2019). Peningkatan Kreativitas Pada Anak Usia Dini Kelas SD Awal Usia 6-8 Tahun Melalui Metode Praktikum Membatik. aṣ-ṣibyān: Jurnal Pendidikan Anak Usia Dini, 4(1), 1–12. Pamadhi, H. (2012). Estetika Untuk Anak Usia Dini. Yogyakarta: Universitas Negeri Yogyakarta. Pamadhi, H., & Sukardi, E. (2013). Seni Keterampilan Anak. Jakarta: Universitas Terbuka. Prihantoro, A., & Hidayat, F. (2019). Melakukan Penelitian Tindakan Kelas. Ulumuddin : Jurnal Ilmu-ilmu Keislaman, 9(1), 49–60. Santoso, F. S. (2020). Lingkungan Keluarga Sebagai Awal Pengembangan Kewirausahaan Islam. Nuansa Akademik Jurnal Pembangunan Masyarakat, 5(1). Setiani, & Nadjih, D. (2016). Pembentukan Karakter Anak Usia Dini Melalui Pendidikan Agama Islam Di TK ABA Kalibulus Rogobangsan Bimomartani Ngemplak Sleman. Ulumuddin: Jurnal Ilmu-ilmu Keislaman, 6(2`), 125–136. Tirtayati, N. P. E., Suarni, N. K., & Magta, M. (2013). Penerapan Metode Pemberian Tugas Untuk Meningkatkan Kreativitas Anak Melalui Kegiatan Menggambar Bebas. Jurnal Pendidikan Anak Usia Dini Undiksha, 2(1). Yulida, y, & Veryawan, V. (2018). Upaya Meningkatkan Kreativitas Seni Aank Melalui Kegiatan Teknik Kolase. Atfāluna: Journal of Islamic Early Childhood Education, 1(1), 19–23.

Abstract. After five years of making various efforts, Indonesia was finally selected as the best halal tourist destination in the world last year. Halal tourism is not only about religion, but halal food tourism, sharia tourist attractions and has started to develop towards Islamic swimming pools. In practice, there are still some that do not comply with the provisions. therefore the authors will analyze in terms of the MUI DSN Fatwa No. 108 DSN / MUI / X / 2016 at one of the hot spring tourist spots with the aim of knowing the practices being carried out and analyzing the DSN MUI fatwa on the Darajat Pass Garut Hot Springs.The method used in this research is a qualitative method with a descriptive approach and the type of field research. Data collection was carried out by observation, interviews and literature study.Based on this research, it can be concluded that the facilities and services provided by the tourism sector and the location of the tourist destinations are in accordance with the MUI DSN Fatwa because the location of tourist destinations is directed at efforts to realize benefit, but restrictions between the bathing pool areas for men and women still not given a limit and not in accordance with the MUI DSN fatwa, then the provision of consumption of hot water baths in the Garut pass darajat is not in accordance with the MUI DSN fatwa because the manager does not have a halal certificate from the MUI. Then the hot springs of Darajat Pass do not have ornaments such as statues and paintings that lead to idolatry. Because the provisions in the fatwa state that sharia tourism must not provide facilities that lead to polytheism, immorality, and pornography. Abstrak. Setelah lima tahun melakukan berbagai upaya, akhirnya Indonesia terpilih menjadi destinasi wisata halal terbaik di dunia tahun lalu. Wisata halal tidak hanya tentang religi saja melainkan wisata makanan halal, tempat wisata syariah dan sudah mulai berkembang terhadap kolam renang syariah. Dalam praktiknya masih ada beberapa yang tidak sesuai dengen ketentuan. maka dari itu penulis akan menganalisis dari segi Fatwa DSN MUI No. 108 DSN/MUI/X/2016 pada salah satu tempat wisata pemandian air panas dengan tujuan mengetahui praktik yang dijalankan dan analisis fatwa DSN MUI terhadap Pemandian Air Panas Darajat Pass Garut. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan deskriptif dan jenis penelitian lapangan. Pengumpulan data dilakukan dengan observasi, wawancara dan studi pustaka.Berdasarkan penelitian ini dapat di simpulkan bahwa fasilitas dan pelayanan yang di berikan oleh pihak wisata dan letak destinasi wisata sudah sesuai dengan Fatwa DSN MUI karna letak destinasi wisata diarahkan pada ikhtiar untuk mewujudkan kemaslahatan, akan tetapi pembatasan anatar area kolam pemandian untuk laki-laki dan perempuan masih belum di beri pembatas dan belum sesuai dengan fatwa DSN MUI, kemudian dalam penyediaan konsumsi pemandian air panas darajat pass Garut belum sesuai dengan fatwa DSN MUI karna pihak pengelola belum memiliki sertifikat halal dari MUI. Kemudian pemandian air panas darajat pass tidak memiliki ornamen seperti patung dan lukisan yang mengarah kepada kemusyrikan. Sebab ketentuan dalam fatwa disebutkan bahwa wisata syariah tidak boleh menyediakan fasilitas yang mengarah kepada kemusyrikan, maksiat, dan pornografi.

ABSTRACTWriting the history of the development of modern Indonesian painting from thematic point of viewstill refers to importance events that compose the mainstream of contemporary art trends in Indonesiainfluenced by the West. While events that are no less important relating to the emergence of aesthetictendencies related to religion have been marginalized, especially in modern art with Islamic breath becomeimportant part in the history of the development of modern Indonesian painting, aesthetic approach toanalyze the visual elements present in the painting. The result of this study the development of modernIslamic art in Bandung shows that there are 4 period of development, the 70s, the 80s, the 90s, and 2000s.This division of time is based on thematic tendencies that emerge and became the main tendencies at eachtime.Keywords: Painting, modern, Islam, BandungABSTRAKPenulisan sejarah perkembangan seni lukis modern Indonesia dari sudut pandang tematik hinggasaat ini masih mengacu pada peristiwa penting yang menggubah arus utama kecenderunganseni rupa kontemporer di Indonesia yang dipengaruhi Barat. Sementara peristiwa yang tidakkalah penting berkaitan dengan munculnya kecenderungan estetik yang berkaitan denganagama menjadi terpinggirkan, khususnya dalam seni lukis modern bernafaskan Islam. Halitu yang menjadi latar belakang penelitian ini dilakukan dengan tujuan agar perkembanganseni lukis modern bernafaskan Islam menjadi bagian penting dalam sejarah perkembanganseni lukis modern Indonesia khususnya di kota Bandung. Penelitian ini menggunakan metodesejarah visual yang tentu melibatkan pendekatan estetik untuk menganalisis unsur-unsurrupa yang hadir dalam lukisan. Hasil dari penelitian ini perkembangan seni lukis modernbernafaskan Islam di kota Bandung secara tematik menunjukkan bahwa terdapat 4 periodeperkembangan, yaitu masa tahun 70-an, masa perkembangan di tahun 80-an, di tahun 90-andan tahun 2000-an. Pembagian masa ini berdasarkan kecenderungan tematik yang muncul danmenjadi kecenderungan utama pada tiap masa.Kata Kunci: Seni lukis, modern, Islam, Bandung