Aesthetic of contemporary Indonesian Arabic calligraphy painting in the works of Abdul Djalil Pirous, Didin Sirojudin, and Imam Pramono

Abstract

The art of calligraphy has an important value in Islamic history. This can be seen in the literature that discusses the history of Islam. The art of beautiful writing or calligraphy has been taught since the time of the prophet Muhammad SAW. The art of calligraphy also has an important role in the history of the spread of Islam in Indonesia. Along with the times, the art of Arabic calligraphy which was originally very formal gradually followed the rhythm of the times. Contemporary art has had a major influence on the development of calligraphy painting in Indonesia. This can be seen in the various styles and expressions of the artists in visually realizing the works of calligraphy painting. This writing takes samples of artwork from the Contemporary Islamic Art Exhibition of Islam and Identity in Bazaar Art I 2009 and Inside Islam in Bazaar Art II Jakarta 2010, the Sign and After the exhibition at Lawangwangi Bandung 2010, and the Indonesian Contemporary Islamic Art Exhibition Bayang Jakarta in 2011. The works that are used as research samples are described using the Art Criticism method so that a description and interpretation of the meaning of the work is obtained. The Islamic values contained in the works are interpreted using the concept of Islamic Aesthetics and then an overview of the visualization of works, concepts, and aesthetic values is obtained in the sample works. In general, contemporary Indonesian Arabic calligraphy paintings have shown expansion in concept and visual diversity. Aesthetic values can be seen apart from the work but also in the concept of the work. The uniqueness is seen in the courage to display calligraphy accompanied by the object figures in it. This shows that contemporary calligraphy painting conveys novelty beyond the conventions of art that enriches previous visual forms.