Calligrapher's Aesthetic Reception of the Hadith of the Prophet Muhammad SAW: Hilyah Syarifah Calligraphy Study

Abstract

The aim of this research is to analyze the characteristic forms of writing by Jember calligraphers in hadith calligraphy Hilyah Syarifaha and analyzing the Jember Calligrapher's aesthetic reception of the hadith of the Prophet Muhammad SAW in hadith calligraphy Hilyah Syarifah. To identify these problems, researchers using a qualitative approach with a phenomenological approach. The data collection techniques use observation, interviews and documentation, data analysis techniques use descriptive analysis, data accuracy uses source triangulation techniques. The findings of this research show that: 1) The form of written characters (khat) Jember Calligraphers in Hilyah Syarifah Calligraphy adapting or following Uslub (style) and Qawaid which he followed and had variations of writing (khat) which is typical according to the version, but still refers tokurrosah-kurrosah previous. Calligrapher's writing variations depend on Dhauq (taste), because Dhauq from one person to another it is different. 2) Hilyah Syarifah is a response to the prohibition on drawing, painting the face of the Prophet Muhammad SAW and proof of the calligrapher's love for the calligraphy version of the Prophet Muhammad SAW. In Hilyah Syarifah the hadith of the Prophet SAW is written on the theme of the attributes of the Prophet Muhammad SAW. In expressing love and longing for Prophet Muhammmad SAW is not always done through Hilyah Syarifah but following the guidelines of Sheikh Hafidz Uthman Türkiye to get aesthetic value. Hilyah Syarifah as a form of scientific legality. Because of a diploma or Hilyah Syarifah is like a quality certificate that shows the quality of goods that have met predetermined standards, so that someone is a calligrapher who has completed the Hilyah Syarifah or certificate then they are worthy and have the right to disseminate their knowledge.