Iconography and Tolerance Values in the Ornaments of Astana Mosque Jepara

Moh Rosyid, Lina Kushidayati, Sukron Ma'mun

Abstract


The manuscript aims to identify the meanings of the ornaments of Sultan Hadirin Astana Mosque in Mantingan Village, Tahunan Sub-District, Jepara Regency. The Mosque built by Ratu Kalinyamat and Sultan Hadirin in the 16th Century in Jepara was studied by iconographical theory. An observation and a literary study collected the data and descriptively described it. The research study showed that the Astana Mosque has peculiarities in the form of ornaments stuck to the Mosque's fence. The ornaments contain Hindu pre-Islamic, Chinese, and Jepara local indigenous ornaments, which have been conserved until now. The craftsmanship of the citizen of Jepara City, popularly known as a city of carving, was inspired by their ancestors. However, Muslim artists have taken a middle course by stylizing ornament forms contrary to Islamic Sharia, which do not change the substance, for example, the models of animals and humans. It showed the realization of a cultural tolerance model (craft art) necessary to be the role model of a cultured generation.

Keywords


Culture; Craft Art; Acculturation

Full Text:

PDF

References


[1] A. A. Said, Simbolisme Unsur Visual Rumah Tradisional Toraja dan Perubahan Aplikasinya pada Desain Modern. Yogyakarta: Ombak, 2004.

[2] R. M. Keesing, “Teori-Teori tentang Budaya,” Antropologi Indonesia, vol. 52, 1997.

[3] Th. van der Hoop, Indonesische Siermotieven = Ragam-ragam Perhiasan Indonesia : Indonesian Ornamental Design/A.N.J.Th. a Th. Van Der Hoop. Jakarta: Koninklijk Bataviaasch Genootschap van Kunsten en Wetenschappen, 1949.

[4] U. Kayam, Seni, Tradisi, Masyarakat. Jakarta: Sinar Harapan, 1981.

[5] Y. B. Sunarman, “Bentuk Rupa dan Makna Simbolis Ragam Hias di Pura Mangkunegaran Surakarta,” Master thesis, Universitas Sebelas Maret, Surakarta, 2010.

[6] A. Setiawan, “Ornamen Mesjid Mantingan di Jepara Jawa Tengah,” Master thesis, Institut Seni Indonesia, Surakarta, 2009.

[7] G. F. Pijper, “The Minaret in Java,” in Empat Penelitian tentang Agama Islam di Indonesia 1930-1950, G. F. Pijper, Tujimah (terj.), and S. (peny. ) Sriwibawa, Eds., Jakarta: Universitas Indonesia (UI Press), 1992.

[8] M. Al-Asad, M. Frishman, and H. Khan, The Mosque: History, Architectural Development & Regional Diversity. London: Thames and Hudson, 2007.

[9] H. S. Lee-Niinioja, Javanese Mosque Mihrabs & Syncretic Islamic Ornament. Helsinki: Novel & Noble Communications, 2018.

[10] A. Bahauddin, and T. E. Darmayanti, “The Cultural and Architectural Heritage Of The Banten Grand Mosque, Indonesia”, Islamic Heritage Architecture, pp. 29-36, Boston: WIT Press, 2017, doi: 10.2495/ha-v1-n3-307-314.

[11] Rahadhian et al., Eksistensi Candi Sebagai Karya Agung Arsitektur Indonesia di Asia Tenggara. Yogyakarta: Kanisius, 2018.

[12] P. L. Savitri, and B. Sumardiyanto, “Akulturasi Islam Dan Budaya Jawa pada Ruang Liwan Masjid Gedhe Mataram Kotagede,” Arsitektura, 2021, vol. 19, no. 1, pp. 51-62, doi: 10.20961/arst.v19i1.45153.

[13] W. Harsari, “Solo Iconic Islamic Center Dengan Pendekatan Neo Vernacular,” Undergraduate thesis, Universitas Muhammadiyah Surakarta, 2020.

[14] T. Haris, Masjid-Masjid di Dunia Melayu Nusantara. Jakarta: Bahan Pelatihan Penelitian Arkeologi Keagamaan, 2009.

[15] B. S. Budi, "Masjid Kuno Cirebon", IPLBI, 2015.

[16] W. E. Ward, “The Lotus Symbol: Its Meaning in Buddhist Art and Philosophy,” The Journal of Aesthetics and Art Criticism, vol. 11, no. 2, p. 135, Dec. 1952, doi: 10.2307/426039.

[17] E. ElNashar, Z. Zlatev, and J. Ilieva, “Textile patterns based on ancient egyptian ornaments,” Applied Researches in Technics, Technologies and Education, vol. 4, no. 2, pp. 92–104, 2016, doi: 10.15547/artte.2016.02.002.

[18] L. R. Schiffer, A. Suprapti, R. S. Rukayah, and Y. Nugraha, “PENGARUH AKULTURASI PADA MAKNA ORNAMEN BUNGA TERATAI DI MIHRAB MASJID SANG CIPTA RASA CIREBON,” Jurnal Ilmiah Desain & Konstruksi, vol. 18, no. 2, pp. 124–139, Dec. 2019, doi: 10.35760/dk.2019.v18i2.2581.

[19] I. Marwoto, Ornamen Mihrab dan Lampu Pada Beberapa Makam: Sebuah Tinjauan Simbolik. Cipanas: Pertemuan Ilmiah Arkeologi VII, 1996.

[20] A. H. Destiarmand, and I. Santosa, “Impact of Islamic Authentication towards Traditional Ornaments in Great Mosques in West Java, Indonesia,” Tawarikh, vol 5, no. 1, pp. 103-116, 2013, DOI: https://doi.org/10.2121/tawarikh.v5i1.567

[21] H. Santiko, “Seni Bangun Sakral Masa Hindu-Buddha di Indonesia Abad ke-18 s.d 15 M Analisis Arsitektur dan Makna Simbolik,” Pidato Pengukuhan Guru Besar. Universitas Indonesia, Depok, 1995.

[22] Syafii and C. R. Rohidi, Ornamen Ukir. Semarang: IKIP Semarang Press, 1987.

[23] W. Wiranto, “SINCRETIC SEMIOTIC THE ANCIENT INDONESIAN MOSQUE TOMBHOUSE Case study SENDANG DUWUR-EAST JAVA,” Journal of Architecture and Built Environment, vol. 30, no.2, pp. 141-151, 2002, doi: https://doi.org/10.9744/dimensi.30.2.141-151

[24] F. W. Dillistone, Daya Kekuatan Simbol. Yogyakarta: Kanisius, 2002.

[25] C. A. van Peursen, Strategi Kebudayaan. Yogyakarta: Kanisius, 1988.

[26] G. Ritzer and D. J. Goodman, Teori Sosiologi Modern dari Teori Klasik hingga Perkembangan Mutakhir. Yogyakarta: Kreasi Wacana, 2008.

[27] A. E. Irsyada, “KAJIAN NILAI ESTETIS DAN SIMBOLIS UKIRAN MASJID MANTINGAN JEPARA,” Jeskovsia: Jurnal Desain Komunikasi Visual Asia, vol. 3, no. 1, pp. 37-48, Oct. 2019, doi: https://doi.org/10.32815/jeskovsia.v3i1.420

[28] Gustami, Nukilan Seni Ornamen Indonesia. Yogyakarta: Sekolah Tinggi Seni Rupa Indonesia ASRI, 1980.

[29] A. Sunaryo, Ornamen Nusantara: Kajian Khusus tentang Ornamen Indonesia. Semarang: Dahara Priza, 2009.

[30] S. Supatmo and S. Syafii, “Nilai Multikultural Ornamen Tradisional Masjid-Masjid Warisan Para Wali di Pesisir Utara Jawa,” Imajinasi: Jurnal Seni, vol. 13, no. 2, pp. 1–14, 2019. DOI: https://doi.org/10.15294/imajinasi.v13i2.21918

[31] A. Kadir, Risalah dan Kumpulan Data tentang Perkembangan Seni Ukir Jepara. Jepara: Pemerintah Kabupaten Jepara, 1979.

[32] Hartojo and A. Budiman, Kompleks Makam Ratu Kalinyamat Mantingan Jepara: Segi-segi Sejarah dan Arsitektur, Jawa Tengah: Proyek Pengembangan Permuseuman Jawa Tengah, 1982.

[33] A. Sjafi’i, “Studi tentang Aspek Simbolik pada Relief Mesjid Mantingan,” Undergraduate thesis, Sekolah Tinggi Seni Rupa Indonesia ASRI, 1983.

[34] SP. Gustami, Seni Kerajinan Mebel Ukir Jepara: Kajian Estetika melalui Pendekatan Multidisiplin. Yogyakarta: Kanisius, 2000.

[35] C. Hayati, D. Yulianti, and Sugiyarto, Peranan Ratu Kalinyamat di Jepara pada Abad XVI. Jakarta: Direktorat Jenderal Kebudayaan, 2000.

[36] D. Rachdantia, “Eksplorasi Ornamen Medalion Masjid Mantingan sebagai Motif Busana Ready to Wear,” Undergraduate thesis, Institut Seni Indonesia, Yogyakarta, 2018.

[37] A. Setiawan and D. H. Yanuarsari, “Typeface ‘Mantingan Font’ Berbasis Relief Masjid Mantingan,” in Prosiding SNADES 2022 - Desain Kolaborasi Interdisipliner di Era Digital, 2022.

[38] A. Ballantyne, Ed., What is Architecture?. London & New York: Routledge, 2002.

[39] G. Broadbent, R. Bunt, and C. Jencks, Signs, symbols, and architecture, New York: John Wiley, 1980

[40] E. Panofsky, Meaning in the Visual Arts. Chicago: University of Chicago Press, 1955.

[41] S. W. Achmad, Ratu Kalinyamat: Kisah Cinta, Dendam, dan Tahta. Yogyakarta: Araska, 2019.

[42] H. Priyanto, Legenda, Mitos, dan Sejarah 35 Kota di Jawa Tengah. Semarang: Lembaga Pelestari Seni Ukir, 2015.

[43] H. Priyanto, Legenda Jepara. Jepara: Pustaka Jungpara, 2014.

[44] C. Hayati, Ratu Kalinyamat: Biografi Tokoh Wanita Abad ke-16 dari Jepara. Semarang: Jeda, 2007.

[45] I. F. Pane, H. T. Fachrudin, and P. S. Pane, “INFLUENCE OF CHINESE CULTURE ON THE DEVELOPMENT OF MOSQUES IN INDONESIA,” Jurnal Scientia, vol. 10, no. 1, pp. 109-116, 2021.

[46] W. Astutik, “Peran Masjid Mantingan sebagai Pusat Peradaban Islam di Jepara,” Undergraduate thesis, Universitas Islam Sultan Agung, Semarang, 2021.

[47] “Penelitian dan Penelusuran Sumber-Sumber terkait Sejarah Ratu Kalinyamat di Jepara,” Jepara, 2016.

[48] I. Hasim, Sultan Hadirin dan Ratu Kalinyamat. Jepara: Masjid Mantingan, 1991.

[49] H. M. Ambary, Menemukan Peradaban: Jejak Arkeologis dan Historis Islam Indonesia. Jakarta: Logos Wacana Ilmu, 1998.

[50] N. Siswayanti, “Akulturasi Budaya pada Arsitektur Masjid Sunan Giri,” Jurnal Lektur Keagamaan, vol. 14, no. 2, p. 299, Dec. 2016, doi: 10.31291/jlk.v14i2.503.

[51] A. Zainuri and A. Zarkasi, “Integrasi Islam dan Budaya Lokal dalam Seni Arsitektur Masjid Kuno di Jawa: Sebuah Tinjauan Umum,” HERITAGE: Journal of Social Studies, Vol. 2, No. 2, pp. 125-144, 2021, doi: 10.35719/hrtg.v2i2.58.

[52] H. J. de Graaf and Th. G. Pigeaut, Kerajaan-Kerajaan Islam Pertama di Jawa: Peralihan dari Majapahit ke Mataram. Jakarta: Grafiti Press, 1986.

[53] S. Toekio M, Guntur, and A. Sjafi’i, Kekriyaan Nusantara. Surakarta: Institut Seni Indonesia, 2007.

[54] M. Susanto, Membongkar Seni Rupa. Yogyakarta: Buku Baik Jendela, 2003.

[55] S. P. Sudarso, Tinjauan Seni: Sebuah Pengantar untuk Apresiasi Seni. Yogyakarta: Saku Dayar Sana, 1990.

[56] G. Suharjanto, “Bahan Bangunan dalam Peradaban Manusia: Sebuah Tinjauan dalam Sejarah Peradaban Manusia,” Humaniora, vol. 2, no. 1, p. 814, Apr. 2011, doi: 10.21512/humaniora.v2i1.3100.

[57] D. T. Winarto, “Analisa Semiotika terhadap Ornamen Mesjid Mantingan Tahunan Jepara,” Undergraduate thesis, Universitas Islam Nahdlatul Ulama, Jepara, 2018.

[58] N. J. Habraken, General Principles about the Way Built Environments Exist. Eindhoven: SAR, 1979.

[59] B. S. Budi, “A Study on the History and Development of the Javanese Mosque Part 3: Typology of the Plan and Structure of the Javanese Mosque and Its Distribution,” Journal of Asian Architecture and Building Engineering, vol. 5, no. 2, pp. 229–236, Nov. 2006, doi: 10.3130/jaabe.5.229.

[60] W. Resiyani, “Seni Kriya Batu Panil dan Medalion yang Distirilisasi di Masjid Mantingan Jepara : Tinjauan Arkeologi Kognitif,” Titian: Jurnal Ilmu Humaniora, vol. 4, no. 2, pp. 257–268, Dec. 2020, DOI: https://doi.org/10.22437/titian.v4i2.11336

[61] A. Setiawan, “TANDA VISUAL SURYA MAJAPAHIT DALAM RELIEF MASJID SEBAGAI KONSEP KOMUNIKASI VISUAL (Studi Kasus Relief Masjid Mantingan, Jepara, Jawa Tengah),” Naditira Widya, vol. 11, no. 2, p. 111, Oct. 2017, doi: 10.24832/nw.v11i2.224.

[62] A. Heuken, Masjid-Masjid Tua di Jakarta. Jakarta: Yayasan Cipta Loka Caraka, 2003.

[63] L. Hardianti, “Kajian Bentuk Makna dan Fungsi Ornamen Pura Giri Natha Makassar,” Undergraduate thesis, Universitas Muhammadiyah Makassar, Makassar, 2019.

[64] M. Muffid, Arsitektur Khas Masjid Agung Sang Cipta Rasa Cirebon. Bandung: Yayasan Pelita Parahyangan, 2019.

[65] L. Ilmi, “Makna Motif Mega Mendung dan Wadasan pada Keraton di Cirebon,” Undergraduate Thesis, Universitas Indonesia, Jakarta, 2012.

[66] A. Yahya, “Agama sebagai Sumber Inspirasi Kreativitas dan Implikasinya Hubungan Islam dan Seni,” Humaniora, vol. 12, no. 1, pp. 105–111, 2000. Doi: https://doi.org/10.22146/jh.1288

[67] R. Istanto, “ESTETIKA HINDU PADA PERWUJUDAN ORNAMEN CANDI DI JAWA,” Imaji, vol. 16, no. 2, pp. 155–161, Dec. 2018, doi: 10.21831/imaji.v16i2.22737.

[68] E. Isnafiah, “Seni Ukir pada Kekunoan Islam di Mantingan dan Pengaruhnya terhadap Seni Ukir Tradisional Jepara,” Undergraduate thesis, Universitas Gadjah Mada, Yogyakarta, 1988.

[69] P. A. Toer, Arus Balik: Sebuah Epik Maritim. Wira Karya, 1995.

[70] H. Anindyta, “Pengaruh Kebudayaan Cina terhadap Arsitektur Masjid Mantingan,” in Prosiding Seminar Heritage Cirebon 2017, Ikatan Peneliti Lingkungan Binaan Indonesia, 2017, pp. 207–212.

[71] R. Fadilla, “Arsitektur Tionghoa pada Masjid Jami Kalipasir 1671-2001 M,” Undergraduate thesis, UIN Syarif Hidayatullah, Jakarta, 2019.

[72] T. M. Liesawan and J. C. Novita, “Analisis Tata Ruang dan Makna Simbolis Ragam Hias Binatang pada Klenteng Tulus Harapan Kita (Thian Huo Kiong) Gorontalo,” Jurnal Desain Interior, vol. 6, no. 1, p. 25, Jun. 2021, doi: 10.12962/j12345678.v6i1.8997.

[73] Diantika, “Menyusuri Jejak Majapahit di Masjid Agung Demak,” Suara Merdeka Cybernews, p. 13, Jul. 23, 2012.

[74] S. Tinarbuko, “Semiotika Analisis Tanda pada Karya Desain Komunikasi Visual,” Jurnal Desain Komunikasi Visual Nirmana, vol. 5, no. 1, pp. 31–47, 2003. DOI: https://doi.org/10.9744/nirmana.5.1.

[75] B. Supriyadi, “Kajian Ornamen pada Masjid Bersejarah Kawasan Pantura Jawa Tengah,” Enclosure, vol. 7, no. 2, pp. 106–121, Jun. 2008.

[76] N. Rohmat, “Nilai Estetis dan Makna Simbolis Lampion Arak-Arakan Takbir Mursal,” Imajinasi, vol. 5, no. 2, 2009.

[77] I. Setiawan, “Ragam Hias Arsitektur Masjid Astana Sultan Hadlirin Mantingan Jepara Jawa Tengah,” Undergraduate Thesis, UIN Sunan Ampel, Surabaya, 2021.

[78] R. Maulida, “Pengaruh Eklektisisme pada Bangunan Masjid Studi Kasus Masjid Raya Baiturrahman Kota Banda Aceh,” Thesis, Universitas Sumatera Utara, Sumatera Utara, 2019.

[79] M. F. Na’am, “Pertemuan antara Hindu, Cina, dan Islam pada Ornamen Masjid dan Makam Mantingan Jepara,” Dissertation, Institut Seni Indonesia, Yogyakarta, 2016.

[80] H. Alami, “General Overview on Educational Institutions in Islamic Civilization,” Life Sci J, vol. 9, no. 4, pp. 698–702, 2012




DOI: https://doi.org/10.18860/jia.v8i2.20706

Refbacks

  • There are currently no refbacks.


Copyright (c) 2024 Journal of Islamic Architecture

Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

EDITORIAL OFFICE

Department of Architecture, Faculty of Science and Technology
Universitas Islam Negeri Maulana Malik Ibrahim Malang
Jalan Gajayana 50 Malang, Jawa Timur, Indonesia 65144
Phone (+62) 341 558933,Facsimile (+62) 341 558933
e-mail: journal.islamicarchitecture@gmail.com / jia@uin-malang.ac.id

 

 Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.