Kajian Ikonografi Ornamen pada Interior Masjid Cheng Hoo Surabaya

Tasha Victoria Tanaja, Lintu Tulistyantoro

Abstract


Cheng Hoo Mosque Surabaya is a Chinese architecture that is identical with the octagonal roof arrangement that is, Pat Kua strengthen the character of Chinese architecture. This is the main attraction of Cheng Hoo Mosque Surabaya, especially the interior ornaments used in the mosque to be studied by descriptive qualitative method described by Panofsky iconography theory. This theory has three stages: pre-iconography, iconographic analysis, and iconographic interpretation.

The pre-iconography stage describes the interior ornaments used in the mosque through field data and interview results. An analysis iconography explains the meaning contained in the interior ornaments used from the literature data. The iconographic interpretation discusses the interrelation of the building with the political, social and cultural conditions in Indonesia. The results show the uniqueness of architecture and interior ornate Islamic Islam of China, and has a philosophical meaning.

Keywords


Iconography, Interior, Cheng Hoo Mosque, Ornament

Full Text:

PDF

References


Afif, Afthonul, Identitas Tionghoa Muslim Indonesia: Pergulatan Mencari Jati Diri, Jakarta: Kepik, (2012) 100.

Afrilliani, Elysa. Analisis Semiotik Budaya Terhadap Bangunan Masjid Jami’ Tan Kok Liong di Bogor, Medan, Jurnal Program Studi Sastra Cina Fakultas Ilmu Budaya Universitas Sumatera Utara, (2015) 132.144.153.

Al Qurtuby, Sumanto. Arus Cina-Islam-Jawa: Bongkar Sejarah atas Peranan Tionghoa dalam Penyebaran Agama Islam di Nusantara Abad xv & xvi, Yogyakarta: Inspeal Ahimsakarya Press, (2003) 81-84.

Budiman, Amen. Masyarakat Islam di Indonesia, Semarang: Tanjung Sari, (1979) 46.

Dorno, Jeksi. Bentuk dan Makna Simbolik Ornamen Ukir Pada Interior Masjid Gedhe Yogyakarta, Jurnal Pendidikan Seni Kerajinan, (2014) 14.

Eko Prawoto, Amran. Makna Simbolik Ragam Hias pada Arsitektur Rumah Melayu, (1998) 46.

Hamid, Syamsul Rijal. Buku Pintar Agama Islam, Jakarta: Penebar Salam, (1999) 37-39.

Hudayah, Nur, Retno Winarni. Pengaruh Kebijakan Pemerintah Indonesia Terhadap Kehidupan Etnis Tionghoa di Bidang Politik, Sosial Budaya, dan Ekonomi di Kabupaten Jember Dari Zaman Orde Lama Sampai Zaman Reformasi Pada Tahun 1998-2012, Jember: Publikasi Budaya Program Studi Ilmu Sejarah, Fakultas Sastra, Universitas Jember. Vol. 2, (2014, Juli) 28-29.

Kusuma, Eddie, S. Satya Dharma, Etnis Tionghoa Dalam Politik Indonesia: Sebelum dan Sesudah Reformasi 1998, Jakarta: Surat Kebangsaan Tionghoa Indonesia (SAKTI) dan Asosiasi Wartawan Muslim (AWAM), (2006) 47.

Nurawi, H. Abd. Sekilas Tentang Masjid Muhammad Cheng Hoo Surabaya, Yayasan Haji Muhammad Cheng Hoo Pemilik Anggota PITI Se-Jawa Timur, (2014) 3-5.

Panofsky, Erwin. Meaning in The Visual Art. Chicago: University of Chicago Press, (1955) 40-41.

Rahman, Abdur. Fannu Tashmī m “Zukhrufatu Al-Masā jidi wa Mulḥaqatihā”: Al-Judrā nu wa Al-Usqū fu. Al-Abwā bu wa An-Nawā fiżu. AlManā biru wa Al-Ma-ā żinu. Kairo: Dā ruṭ Ṭalā’i’, (2010) 15.

Sunaryo, Drs. Aryo, Ornamen Nusantara: Kajian Khusus Tentang Ornamen Indonesia, Semarang: Dahara Prize, (2009) 23.

Suryadinata, Leo. Negara dan etnis Tionghoa: Kasus Indonesia, Jakarta: Pustaka LP3ES Indonesia, (2002) 86.

Too, Lillian. Essenstial Fengshui : A Step-By-Step Guide to Enhancing Your Relationships, Health And Prosperity. London: Rider, (1998) 51.

Wen, Zhu. Chinese Motifs of Good Fortune. New York: Better Link Press, (2011) 101-103.

Williams, C.A.S. Chinese Symbolism and Art Motifs, Singapore: Tuttle Publishing, (2006) 160.

Wilson, Eva. Islamic Designs for Artists and Craftpeople. New York: Dover Publications, (1988) 11.


Refbacks

  • There are currently no refbacks.