Tesis ini mengkaji kaligrafi dalam mushaf kuno Nusantara berdasarkan sebelas naskah Al-Qur'an koleksi Perpustakaan Nasional RI, yaitu A.47, A.49, A.50, A.51, A.52, A.53, A.54, W.728, A.221, A.694, dan 13r.204. Kaligrafi dalam mushaf terdiri atas empat bagian: (1) kaligrafi teks Al-Qur'an, (2) kaligrafi nama-nama surah (`unworn), (3) kaligrafi teks pias (pinggir halaman), berupa tulisan juz', hizb, nisf hizb, rubu', sumun, gira'at sab `ah, atau catatan-catatan lain yang biasanya ditulis di bagian pinggir naskah, dan (4) kaligrafi teks-teks sebelum dan sesudah teks mushaf, terutama berupa doa dan kolofon. Kaligrafi pada masing-masing bagian tersebut memiliki ciri khas penulisan tersendiri, dan gaya yang dipakai berbeda-beda. Para penyalin mushaf Nusantara mengembangkan kreativitasnya sesuai dengan fungsi masing-masing bagian tersebut. Gaya-gaya kaligrafi yang digunakan adalah Naskhi, "kaligrafi floral", Sulus, dan Farisi, suatu gaya yang sering dipakai masyarakat Nusantara dalam menulis Jawi. Sesuatu yang unik dalam kaligrafi mushaf Nusantara adalah gejala "kaligrafi floral". Kaligrafi floral adalah suatu komposisi kaligrafi yang hurufnya distilisasi menyerupai bentuk floral, sesuai dengan motif iluminasi yang mengitarinya. Di samping untuk kepala surah, kaligrafi tersebut juga digunakan untuk tanda-tanda pembacaan Al-Qur'an, seperti juz', ruku `, ni;sf, rubu', dan sumun, yang biasanya ditampilkan di tengah medalion. Karakter kaligrafi tersebut dibuat dan dikembangkan oleh para iluminator mushaf, yang dikerjakan bersamaan dengan pembuatan iluminasinya. Selain kaligrafi floral, ada pula kecenderungan penggayaan lain, seperti tampak dalam mushaf dari Aceh, dengan ekspresi huruf yang bersifat bebas. Pengembang corak ini pun adalah para iluminator mushaf. Dengan keunikannya sendiri, meskipun masih belum dapat dikatakan sampai ke tingkat seni tulis yang tinggi, kekayaan bentuk kaligrafi Nusantara merupakan bagian yang penting dari khazanah kaligrafi dunia Islam.
This thesis investigates calligraphy found in Nusantara manuscripts on the basis of eleven Al Qur'an texts from the collection of the National Library of Indonesia, including A.47, A.49, A.50, A.51, A.52, A.53, A.54, W.728, A.221, A.694, and Br.204. The calligraphy in the Al-Qur'an consists of four parts: (1) calligraphy of the text of the Al-Qur'an, (2) calligraphy stating the names of the surah ('unwan), (3) calligraphy in the margins (along the edge of the page), forming the juz' text, hizh, nisf hizb, rubu sumun, gira'at sab 'ah, or other notes usually written on the edge of a manuscript, and (4) the calligraphy inscribed before or after the main text, especially being prayers and the colophon. Each of these types of calligraphy has their own unique characteristics and varies in style. Nusantara copyists developed a creative tradition of calligraphy in accordance with each of these sections in a manuscript. The styles of wript that they used were Naskhi, `floral calligraphy', Sulus, and Farisi, a particular style popularly used for writing Jawi. One unique form of Nusantara manuscript calligraphy is the style described as `floral calligraphy.' Floral calligraphy is calligraphic composition where the letters are stylised to create floral forms in harmony with the illuminated decoration that surrounds it. This form of calligraphy is used for the headings of surah, as well as the Al-Qur'an recitation indicators such as juz', ruku', nisf, rubu', and sumun, which usually appears in the medallion. This style of calligraphy was developed by copyists working together with the illumination artists. Apart from floral calligraphy, there was also several other characteristic tendencies, such as found in the manuscript from Aceh, where the letters are inscribed in a free manner. This feature was developed by manuscript illuminators too. These unique qualities, although not sufficient to be described as achieving the highest artistic levels, form a rich tradition of Nusantara calligraphy that is an important part of the treasures of calligraphy from the world of Islam. |
