Tujuh and Sembilan Sacred Tombs Sites in Ketapang, West Kalimantan: Historical-Archaeological Studies and Receptions

This study aims to expose the history of Islam in Ketapang by referring to Tujuh and Sembilan sacred tombs and narrating the reception (in the living al-Quran) of the community on the grave and its elements (part of the Quranic text, motifs, and others).This research is field research, using a narrative-analytic model, as well as using a historical approach and the living Quran theory (on reception) . The results of this study are: 1) The history of Tujuh and Sembilan sacred tombs are the tombs of pious people who spread Islam in Ketapang around the 14th century A.D. Second, the typology of people's reception in the sentence kullu nafsin dzaiqatul maut is represented in three forms of reception, namely, hermeneutical or exegesis reception, aesthetic reception, and functional reception.


Introduction
Early Islamization in the Archipelago could not be separated from the traders and preachers who arrived on these islands. A part from having an economic motive, they also have a da'wah mission to the areas they visit, including the Archipelago. In this effort, the Quran as a source of reference for Islam was introduced by preachers to local communities. One way to introduce the Quran to the public is to write calligraphy verses of the Quran in the places where it is needed. Society's response to the Quran can be manifested in various ways. In social phenomena, the Quran is always read, written, and interpreted through time (Anne K. Rasmussen, 2001: 30, [e-ISSN: 2963 Mattson, 2013: 213 Muhammad Husein al-Dzahabi, 2005, Amin, 2020. The scholars also included elements of writing and reading in the definition of the Quran (Subhi Salih in Amin, 2020: 290). The Quran also inspires a lot of various disciplines to the art of calligraphy. The Quran had a significant influence on art. The reception is a phenomenon that is quite interesting in the effort to interact between Muslims and the holy Quran (Ahmad Baidlowi in Agam Akbar, 2018: 2).
In the development of Islam history, writing on several objects shows that Islamic art has received not only discursive influence from the Quran but also the accuracy of the values of the Quran. Traditional figures call it wisdom or wisdom. Every calligraphic art that quotes from the Quran voices the contents of revelation (Agam Akbar P, 2018: 2). Arabic inscriptions on tombstones regarding prayers, names, remembrances, creeds, verses, and sufistic sentences have been found in Indonesia.
Among them is Fatimah binti Maimun's headstone, which reads the creed ( Several reasons encourage the writing of Arabic inscriptions or verses of the Quran on historical sites. First, as a marker, it is the tomb of a Muslim (Muslim) or the tomb of a significant figure who was influential in the spread of Islam at that time.
Second, as motivation and a reminder for pilgrims, all humans will meet their end one day. Third, as a sign that Islam has spread to an area or area where the person lives (Tjandrasasmita, 2009: 250). Then, various perceptions and receptions were born from the Arabic inscriptions or the fragmentation of verses contained in these historical sites. The reception that becomes the community's belief, motivation, and enthusiasm for the tomb can contribute to the Living Quran, which has only revolved around and centered on text studies.

Journal of Islamic History and Manuscript
Volume 01, Number 02, Oktober 2022 Based on the narratives above, this research focuses on two main aspects. They first exposed the historicity of Tujuh Sacred Tombs and Sembilan Sacred Tombs located in the Ketapang district, West Kalimantan. This discovery was essential to see and reveal the Islamic track record there. Second, to describe and map the reception of elite religious figures and the local community regarding the reality of the tombs, especially regarding the Arabic inscriptions written on the graves. Therefore, the community is seen as the subject (implied reader) who reads and interprets the text on the tombstone. With the two main focuses above, the author uses a historical approach and the Quran living approach to systematize and analyze this theme.
This type of research is field research with a narrative-analytical model. The data were collected by conducting direct interviews using a purposive sampling technique.
Interview conducted toward several figures who considered as representative in providing information about the object under study (Ramdhan, 2021: 21). They were include the caretaker, a figure considered to have sufficient authority and knowledge about cemeteries and the community in Mulia Kerta Village and Negeri Baru Village, Ketapang Regency. In addition to using interview techniques, observation was also conducted. The author directly observed the location of the tombs and documented things considered important as primary and additional data. Furthermore, the author also conducted a literature study on relevant literature related to the phenomenon above.

Socio-Historical of Tujuh and Sembilan Sacred Tombs
Its archaeological remains have proven evidence of Islam's arrival in Ketapang.
The archaeological remains has proven that Islam came and developed in the 14th century by writing ancient Javanese inscriptions on one of the sacred tombstones. Iranata Dirilaga who were buried in Negeri Baru.

On four tombstones, two in Tujuh Sacred Tombs and two in Sembilan Sacred
Tomb, there is an Arabic inscription with a snippet of the verse inscribed which reads:
The same thing is also found in several old tombs in Indonesia, such as the Troloyo it refers to the efforts of Muslims to receive, respond to, utilize, or use the Qur'an (Masrurin, 2018: 101).
The verse on the tombstones of Tujuh and Sembilan Sacred Tombs appear as symbols and valuable relics of the arrival of Islam in the land of Ketapang. The existence of enthusiasm and opinions from the community shows how the verse inscription on the tombstone becomes trust and confidence in the tomb. The spirit reveals that as a religious text, the Quran has dimensions of attachment to all Muslim activity (Wilfred Cantwell Smith in Masrurin, 2018: 101). Without the reader and interpreter of the Qur'an, the text will not be able to speak about itself, so it is like a mute text (Agam Akbar P, 2018: 1). This refers to the reception that expresses the process of receiving with the eyes and ears as well as the taste of an object or the appearance of the embodiment of the reception form which is only read to get information in it. But it also presents its divine side as a reading text believed to be of worship value, whether accompanied by understanding or not (Masrurin, 2018: 102).
From the socio-historical explanation above, theoretically, it can be concluded that the belief and enthusiasm of the community is the implementation of the reception of the verses of the Quran on the tombstones of Tujuh and Sembilan Sacred Tombs, which refer to responding, utilizing (motivation), or using The Quran either as a text containing a syntactic structure or as a written manuscript and has its meaning. A reception that expresses the process of receiving with the eyes and ears, the experience and taste of an object or appearance from the embodiment of the reception form, which is only read to get information in it but also presents its divine side as a reading text that is believed to be of worship value, either accompanied by understanding or no (Khalil Al-Qattan in Masrurin, 2018: 13).

Narrative of Indonesian Interpretation in Interpreting Kullu Nafsin Zaiqatul Maut
Before

‫ِۗت‬ ‫ْف‬ ‫َذ‬ ‫ْف‬ ‫ا‬ ‫ُك‬ ‫َذ‬ ‫ِٕى‬ ‫ۤا‬ ‫َذ‬ ‫ٍس‬ ‫ْف‬ ‫َذ‬ ‫َن‬ ‫ُّل‬ ‫ُك‬
Meaning: "Every soul will surely meet death." The verse above explains that every soul will surely taste death. The word 'nafs' in this verse means 'soul'. So everyone who breathes or is alive will taste death (Hamka, 1989(Hamka, : 1030. The word ‫ٍس‬ ‫ْف‬ ‫َن‬ is generally used in the Quran to refer to humans. Because of this, many scholars limit the meaning of the nafs in this verse to only human beings, not animals or plants. Scholars emphasize that even though 'death' means absence, it does not mean there is no longer human existence and form after death or absence (Shihab, 2002: 451).
The verse above also uses the word ‫ُة‬ ‫َن‬ ‫ِٕى‬ ‫ۤا‬ ‫َن‬ for death which is translated as 'tasting or experiencing. If you taste something, then humans will know a little taste. The pain felt in death, or the pleasure, is part of the pain and pleasure that will be felt. This is shown for believers to die is a blessing because just before death, an angel shows the place of heaven (Shihab, 2002:185). This fragment of the verse explains that it is important for humans to realize and know that sooner or later all living things will surely die "because every soul will taste death" whether a believer, who does good deeds, is noble or despicable, even those who are just believers and disbelievers.
Journal of Islamic History and Manuscript Volume 01, Number 02, Oktober 2022

Society's Reception of Verses on Tujuh and Sembilan Sacred Tombs
Reception is not just a process of receiving and responding to something but a dynamic process of creating meaning between the reader's interaction with the text.
The reception process is the result of intellectual awareness. This awareness arises from contemplation, interaction and the process of translation and understanding of the reader, is restructured and concretized in the mind. The constructed assumptions form a kind of capture space (wahrnehungsraum) where the materials obtained earlier become a contour for the individual world. In other words, awareness as a framework and place of concretization forms a chain that can connect cognitive traces so that understanding and reception become possible (Jannah, 2017: 28) The pious person referred to by the speakers or informants was a scholar devoted where the reception of calligraphy was a concern and became an indication of an effort to interact and introduce Hindus as well as animism and the dynamism of the people in Kalimantan at that time, especially in Ketapang area and its surroundings (Andak; Rudi, 23 June 2021).
Third, interviews conducted with the community around the tombs and around the palace said that the sentence Kullu nafsin zaiqatul maut are interpreted more literally-textually, that is every soul will surely meet its death where this indicates that Such as the tomb of Fatimah binti Maimun, the tombs in Troloyo, and Samudera Pasai.
In fact, until now the tradition of writing Arabic texts or fragments of the Quran verses is still often found in the reality of cemeteries or gravestones (Uti Gusti Carma; Uti Syahruddin; Zakaria, 23 June 2021).

Perspective of Reception Theory
As Nur Kholis said, the reception of the text, in this case, the Quran, is a dynamic process of meaning reproduction between the listener or reader and the text (Nur Kholis in Rohman, 2017: 121). Based on this narrative, the author will map the community's interpretation of the elements in the tombs and the general interpretation the Quran. However, they lack or do not understand its contents, are often found that Muslims are more effective in interacting atomistically with the Quran in some circumstances, for example solving life problems, using suggestion tools, and also preaching that is short (Farida, 2016: 17).  Quran, hadith, or even other texts other than the Quran which are compiled and aesthetically assembled (Abdul Hakim, 2021;Rispul, 2012). In Indonesia, the development of the Quran calligraphy on tombs has been found for a long time, including, for example, those found in the Troloyo tomb complex, East Java, the Tomb of Fatimah bint Maimun Gresik, and the Tomb of Sultanate of Samudra Pasai and others (Laaily Fitriani, 2014). So, the calligraphy of the Quran is also written on Tujuh Sacred Tombs, and Sembilan Sacred Tombs, the type of sentence or piece of text written in calligraphy is sentence Lā ilāha illallāh (sentence tauhidiyyah) and pieces of verses or sentences kullu nafsin dzāiqat al-maut (every living person will surely die/death).
2) The type of Khat (writing) on the tombstones of Tujuh and Sembilan Sacred Tombs, there is the inscription Lā ilāha illallāh and a piece of verse kullu nafsin dzāiqat almaut. From the aspect of the type and aesthetics (beauty) of writing (khat), the type of khat used in sentence tauhiddiyah writing and fragments of verses of the Quran on Tujuh and Sembilan Sacred Tombs seem to use the tsulus type of khat. Khat tsulus, according to Didin Sirajuddin is a very ornamental type of khat, because there are many additional ornaments to fill in the empty spaces in the writing so that it is easier to shape according to the pattern (design). In general, there are two types or typologies of the writer's khat tsulus, namely, written with a curve model, or it can be a continuous model with a distinctive and robust integration between letters (Didin Sirojuddin, 1993). Then in its development, this tsulus khat is displayed with various models, styles, and writing purposes. For example, a sitting tasyahud style model is formed, a bird model is developed, and so on.
Likewise, in Tujuh and Sembilan Sacred Tombs, the sentence Lā ilāha illallāh is written in a round style tsulus (in a circle or space). So, the tsulus khat is formed according to the round framework provided or made, and the tsulus khat type in a circle model is generally written in the tsulus jali style. As for the pieces of verse kullu nafsin dzāiqah al-maut, the type of tsulus writing used is the continuous tsulus type, as is often found in the decoration of mosque walls (Didin Sirojuddin, 1993 report on Tujuh and Sembilan Sacred Tombs accommodates an aesthetic reception in terms of writing, namely with the type of khat tsulus, one of these many types of khat that are widely used in the writing of the Quran calligraphy art even today Khat Tsulus not only appears and is used in local and national calligraphy art events (such as MTQ in the MKQ branch), but also the world (international) calligraphy art competitions (Widarto et al., 2012, p: 131).
In addition to calligraphic writing, these tombs also show local symbols. This calligraphy is an aesthetic effort to improve the beauty of the tomb, or as an addition to beautifying the Quran khat on the tomb so that some ornaments are added. There are various types of ornaments in writing, which can be seen, for example, on the cover of the Quran, or the ornaments on Surah al-Fātiḥah and the beginning of surah al-Baqarah, usually these ornaments or motifs are made to beautify their appearance.
However, not all motifs or ornaments are only a form of beauty, but sometimes some motifs or ornaments characterize specific meanings in their use.
Including the ornaments or motifs found on Tujuh Sacred Tombs and Sembilan Sacred Tombs, namely by using tendrils or tendril ornaments, which according to Oetomo contain the meaning of eternity representing the divine nature (baqa` -eternal) and this decorative motif is widely used in works traditional arts (Oetomo, 2019: 34).
In the views and teachings of Islam, there is the concept of returning to life after death, so the use of the symbol of a knot (sulur) is also known as the term "endless knot" -it can be considered relevant and supported by the existence of verses about death which means that death is one dimension of life next and will take place after the first life process, and life in the next world (the hereafter) based on information from the Quran is abadan (eternal) (Oetomo, 2019: 34-35).
In addition to the art form of calligraphy and tendril motifs, Tujuh and Sembilan Sacred Tombs also have a lotus flower motif. According to Ashari, the symbolization of the lotus flower illustrates the meaning of purity, beauty, cleanliness, and coolness (Ashari, 2016: 444). The existence of lotus flowers as part of the ornaments or motifs on the tombs indicates a philosophical meaning: 1) that the person buried in that place is Volume 01, Number 02, Oktober 2022 a pious person or someone who is quite influential in Islam in his area. Because a pious person is a person who has cleanliness of heart, the beauty of speech, language, and behavior so that it is soothing to anyone who hears his words or looks at his character and conduct. 2) as an effort to suggest to the community that it makes them amazed and motivated by the deeds and righteousness of the buried person, and the hope is to inspire the hearts of visitors to increase their good deeds.
Third, functional reception, where the text of the Qur'an is used for specific purposes, which are divided into normative and practical purposes (Fuady, 2021: 12).
Functional receptions are related to the sociocultural phenomenon of community  There are three reality receptions for the Seven Sacred Tomb and the Nine Sacred Tomb. First, the exegesis reception in the kullu nafsin dzāiqah al-maut text is interpreted as a reminder and warning for all humans that they will die and must prepare provisions for death. Second, the Aesthetic Reception is embodied in the calligraphy symbols of the Quran by using khat tsulus as well as tendrils and lotus motifs found in the tomb. Third, the functional aspect, is the use of tombs containing piece of verse kullu nafsin dzāiqah al-mautas individual and communal motivation, so that it generates the enthusiasm of local and national communities to visit these tombs for mere Islamic pilgrimages to remember the previous da'i or pious people or with certain goals.
As a recommendation, archaeological and historical sites spread in various regions in Indonesia deserve more attention. This reality is undoubtedly an opportunity and a challenge for future researchers to develop this study further by involving various perspectives. It is hoped that the existing studies are not only theoretical