scholarly journals Abu Tammam Poetical Inspiration from his Forerunners’ Poetry: A Glance through the Aesthetic of Poetical Intertextuality in Light of his Critics’ Views

2021 ◽  
Vol 13 (2) ◽  
pp. 742-752
Author(s):  
Badie` Ahmad Hasan Alazzam
Keyword(s):  
Historical Approach ◽  
The Aesthetic

Whenever we peruse through the works of Abu Tammam, we would find him being subjected to criticism or disparagement at times or being spoken about and praised at others by a multitude of critics be they prominent or not. Abu Tammam al-Ta'i poetry receded into history, is of a contemporaneous soul; his language, ever so scintillating, dazzles the discerner with pearls that fascinate the spirit before so the thought or sight. On this premise, this study was done based on the idea of observing how Al-Ta’i was influenced by previous poets. Thus, this study aims at observing previous poets' influence over Abu Tammam, which is considered an imprinted characteristic in his poetry- according to Al-Amedi's accusation, when he considered him as following in the path of the modernists. Furthermore, this study aims to elucidate these poetical aesthetics in the meanings that were evoked by Abu Tammam from the poetry of those who came before him, as well as to discuss the views of critics who critically dealt with the poetry of Abu Tammam, especially Al-Amedi in "Al-Mwazanah", and Al-Marzabani in "Al-Muwashah". To prove the two-way poetical influence, this study adopts a methodology that relies on the historical approach. Furthermore, it capitalizes on intertextuality to reveal how Abu Tammam was influenced by previous poets, resorting to analysis as an important procedural tool to get a sense of the aesthetics of Abu Tammam's poetry and that aforementioned influence.

scholarly journals BENTUK, ORNAMEN DAN MAKNA PADA CINCIN TAPAK GAJAH TRADISIONAL KARO

2021 ◽  
Vol 3 (2) ◽  
pp. 145
Author(s):  
Elvira Yesica Ginting ◽  
Ganal Rudiyanto ◽  
Krishna Hutama
Keyword(s):  
Qualitative Research ◽  
Time Span ◽  
Historical Approach ◽  
Cultural Events ◽  
Cultural Aspects ◽  
Cultural Approach ◽  
The Aesthetic ◽  
Basic Comprehension

<pre><strong><em>Abstract</em></strong><strong><em> </em></strong></pre><p><em>Forms, ornaments, and meanings </em><em>of creation are interplayed each other as aesthetic elements. These have a load of wisdom, pieces of the civilization history, and culture of a tribe or society. And, these are very important topic to examine about problems that  traditional Karo Tapak Gajah ring face. The ring is just a mere historical artifacts now for the Karo culture actor. Even though, the development of the Karo culture has been always based on the their role. Therefore, qualitative research, historical and cultural approaches can fulfill the basic comprehension about form, ornament, and message when literacy about it is hard to find. The historical approach is to find out the diachronic and cultural events that occur in Karo culture, while the cultural approach knows the background of Karo customs. Thus, the aesthetic elements of the ring can be revealed through evidence of a certain time span and cultural aspects.</em></p><p><strong><em>Keywords</em></strong><em>: </em><em>form, ornaments, meaning, traditional Karo Tapak Gajah Ring, aesthetic elements</em></p><pre> </pre><p><strong>Abstrak </strong></p><p>Bentuk, ornamen dan makna pada sebuah karya menjadi hal yang saling terikat sebagai elemen estetik dalam sebuah karya. Mereka memiliki muatan memori kearifan, potongan sejarah peradaban dan kebudayaan suatu suku hingga masyarakat. Hal tersebut menjadi penting saat menyangkut permasalahan yang dihadapi oleh cincin Tapak Gajah tradisional Karo yang kini dianggap hanya sebagai artefak sejarah belaka bagi para pelaku budaya Karo. Padahal, sebuah perkembangan budaya tidak lepas dari peran pelaku budaya tersebut. Oleh karena itu, pemahaman mengenai muatan bentuk, ornamen dan makna didalam cincin Tapak Gajah tradisional Karo menjadi kepentingan yang mendasar ketika literasi mengenai hal tersebut sukar ditemukan. Riset kualitatif disertai dengan pendekatan historis dan kultural. Pendekatan historis untuk mengetahui diakronis dan peristiwa-peristiwa budaya yang terjadi dalam budaya Karo, sedangkan pendekatan kultural mengetahui latar belakang adat istiadat Karo. Sehingga, elemen estetik (bentuk, ornamen dan makna) cincin tersebut dapat terungkap melalui bukti rentang waktu tertentu dan aspek kultural.</p><p><strong>Kata kunci: </strong>bentuk, ornamen, makna, cincin Tapak Gajah tradisional Karo, elemen estetik</p><p> </p>

scholarly journals ANALISIS BENTUK KUBAH DAN AKULTURASI BUDAYA PADA BANGUNAN MASJID AL OSMANI MEDAN

2021 ◽  
Vol 3 (2) ◽  
pp. 121
Author(s):  
Rendy Prayogi ◽  
Ganal Rudiyanto ◽  
Achmad Syarief
Keyword(s):  
Middle Eastern ◽  
Modern Architecture ◽  
Traditional Architecture ◽  
Historical Approach ◽  
Cultural Arts ◽  
Functional Development ◽  
Eastern Cultures ◽  
The Aesthetic ◽  
Building Form ◽  
Dome Shape

<div class="WordSection1"><p><strong><em>Abstract</em></strong></p><p><em>Medan City is a combination of several ethnicities and cultures, because in Medan there are several Acehnese, Batak and Malay ethnic groups. Medan has a Malay Deli building with exotic religious and artistic nuances to visit, especially if we like typical Malay buildings such as the Al Osmani Mosque building which still elevates and preserves cultural arts even though there has been a renewal of traditional architecture into modern architecture, but the Malay building still has value. aesthetics with various types of ornament forms, colors, placement of Malay ornaments and also the acculturation of various cultures. Al Osmani Mosque was first built in 1854 with selected wood materials imported from Penang. During the VII Deli Malay Sultanate, namely Sultan Osman Perkasa Alam. Then in 1870 - 1872 the wooden mosque was built permanently by his son, Sultan Mahmud Perkasa Alam (VIII Sultan of Deli). The Al Osmani mosque building was designed by a German architect named GD Langereis with materials sent from Spain and Persia. This study uses a historical approach and aesthetic approach. The historical approach will involve a discussion of the origins of the building form of the Al Osmani Mosque and its functional development since it was founded until now. The aesthetic approach will involve a discussion of the dome shape of the Al Osmani Mosque, what cultural acculturations are there in the Medan Al Osmani Mosque building so that it can attract attention and have unique characteristics? The results showed that the Al Osmani Mosque and its interior as well as the space filling elements in it were not fully influenced by the aesthetics of the forms that came from the Deli Malay culture but were also influenced by the aesthetic forms of Chinese, European, Indian and Middle Eastern cultures.</em><em></em></p><p><strong><em>Keywords : </em></strong><em>Acculturation, Ornaments, Aesthetics, History, Al Osmani Mosque.</em></p><p><strong><em> </em></strong></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Kota Medan merupakan perpaduan dari beberapa etnis dan budaya, karena di Kota Medan di dapati beberapa etnis Aceh, etnis Batak dan etnis Melayu. Medan memiliki bangunan Melayu Deli bernuansa seni dan religi yang eksotis untuk dikunjungi khususnya jika kita menyukai bangunan-bangunan khas Melayu seperti Bangunan Masjid Al Osmani masih mengangkat dan melestarikan seni budaya meskipun terjadi pembaharuan arsitektur tradisional menjadi arsitektur modern, tetapi pada bangunan Melayu tersebut masih memiliki nilai estetis dengan berbagai jenis bentuk ornamen, warna, penempatan ornamen Melayu dan juga akulturasi dari berbagai budaya. Masjid Al Osmani pertama kali dibangun pada tahun 1854 dengan bahan kayu pilihan yang didatangkan dari Penang. Pada masa Kesultanan Melayu Deli ke-VII yaitu Sultan Osman Perkasa Alam. Kemudian pada tahun 1870 - 1872 masjid yang terbuat dari bahan kayu itu dibangun permanen oleh putranya yakni Sultan Mahmud Perkasa Alam (Sultan Deli ke-VIII). Bangunan masjid Al Osmani di desain oleh arsitek asal Jerman yang bernama GD Langereis dengan material yang dikirim dari Spanyol dan Persia. Penelitian ini menggunakan pendekatan sejarah dan pendekatan estetika. Pendekatan sejarah akan menyangkut pembahasan tentang asal-usul bentuk bangunan Masjid Al Osmani dan perkembangan fungsionalnya sejak didirikan hingga sekarang. Pendekatan estetika akan menyangkut pembahasan tentang bentuk kubah Masjid Al Osmani, akulturasi budaya apa saja yang terdapat pada bangunan Masjid Al Osmani Medan sehingga bisa menarik perhatian dan memiliki ciri khas yang unik?. Hasil penelitian memperlihatkan bahwa Masjid Al Osmani dan interiornya serta elemen pengisi ruang di dalamnya tidak sepenuhnya dipengaruhi oleh estetika bentuk yang berasal dari budaya Melayu Deli tetapi juga dipengaruhi oleh estetika bentuk dari kebudayaan China, Eropa, India dan Timur Tengah.</p></div><p><strong>Kata Kunci :</strong> Akulturasi, Ornamen, Estetika, Sejarah, Masjid Al Osmani.</p>

scholarly journals NILAI ESTETIS BATIK GARUT PEGUNUNGAN DAN PESISIR

2019 ◽  
Vol 3 (1) ◽  
pp. 75-81
Author(s):  
Ira Adriati
Keyword(s):  
The Other ◽  
Mountainous Areas ◽  
Aesthetic Value ◽  
West Java ◽  
Historical Approach ◽  
Mountainous Regions ◽  
The Aesthetic

Batik is a result of a tradition of ownership owned by various regions in Indonesia. One ofthe areas in West Java is known as Batik Priangan, including the region of Garut. Each regionin Priangan has a batik that is batik with unique motifs and coloring in each region. In this paper,it describes the aesthetic value of batik Garut in the mountainous areas with the coastal areas.This research uses historical approach, the value of tradition-oriented, and in cultural acculturation.Based on the analysis, it can be known that the waters can be different from the visualizationof batik motifs in the mountainous regions, which tend to be classic motifs, typical of the latenight and the coast of the region. The other difference appears from the ability of the craftsmen,the craftsmen in the mountainous regions show more detailed and smooth skills, while on thecoast there is no detail.

Fluency as a determinant of the aesthetic-usability effect

2014 ◽  
Author(s):  
Takahashi Tomoyo ◽  
Shinji Kitagami
Keyword(s):  
The Aesthetic

ISLAM PADA MASA KESULTANAN BANTEN

ALQALAM ◽  
2015 ◽  
Vol 32 (1) ◽  
pp. 83
Author(s):  
Maftuh Maftuh
Keyword(s):  
Social Life ◽  
Religious Orientation ◽  
Time Span ◽  
Religious Community ◽  
Historical Approach ◽  
Islamic Studies ◽  
The Social ◽  
Long Time ◽  
Islamic Militancy ◽  
Religious Understanding

For many observers, Banten is well known as an area where the population has a strict religious understanding onislamic law. Colonial officials and experts in Islamic studies such as Snouck Hurgronje and GF Pijper, testified that compared to other Muslims across Java , Muslim in Banten and Cirebon were stricter in practicing Islam . The phenomenon of the social life of the religious community in Banten is necessarily formed within a very long time span. This paper traces the root of the formation of public religious understanding ojMuslim in Banten. Using a socio-historical approach, this paper then leads to the conclusion that the sultan of Banten issued policies that had a greater emphasis to the adherence to the Shari'a rather than Sufism. Religious orientation on the fiqh-oriented can explain the Islamic militancy Banten community, as witnessed by the colonial officials, and even still can be seen up to this present moment.Key words: Jslamization, Sultanate, Banten

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