Islamica: Jurnal Studi Keislaman.
Vol.
No.
1 (September 2.
, 76-95 ISSN: 2356-2218 [Onlin.
1978-3183 [Printe.
| DOI: 10.
15642/islamica.
Corresponding author: Mohammad Irfan Farraz Haecal, email: farrazhaecal@gmail.
Article history: Received: April 20, 2025 | Revised: August 15, 2025 | Available online: September 30, 2025 How to cite this article: Izzan.
Ahmad.
Mohammad Irfan Farraz Haecal, and Nadya Fitri.
AuMinangkabau Cultural Imprints in HamkaAos Tafsr al-Azhar: Contextualizing the QurAoan through Critical Discourse Analysis.
Ay Islamica: Jurnal Studi Keislaman 20, no.
: 76-95.
DOI: 10.
15642/islamica.
Abstract: This study explores how Minangkabau literary and cultural elements shaped Haji Abdul Malik Karim AmrullahAos Tafsr al-Azhar, particularly in the interpretation of al-Baqarah.
Employing qualitative content analysis combined with Norman FaircloughAos critical discourse framework, the research examines the interplay between text production, reception, and socio-cultural context in HamkaAos exegetical method.
The findings reveal that literary deviceAisuch as pantun, proverbs, metaphors, and maximsAiserve as key interpretive tools, enriching the textAos aesthetic and cultural resonance.
Equally significant are the Minangkabau influences, including local language, social traditions, and political references, which root QurAoanic interpretation in lived experience.
This synthesis demonstrates HamkaAos capacity to integrate Islamic revelation with the cultural-linguistic heritage of the Malay-Indonesian world.
The study argues that Tafsr al-Azhar transcends local boundaries, positioning itself within the global discourse of modern QurAoanic exegesis.
HamkaAos approach bridges classical interpretive traditions and contemporary cultural realities, highlighting the importance of contextual hermeneutics in making the QurAoan accessible across diverse communities.
Ultimately, the study offers a model for culturally grounded tafsr and provides a foundation for comparative analysis with other modern commentators.
Keywords: Literature.
Culture.
Minangkabau.
Tafsr al-Azhar.
Copyright: A 2025.
The Author.
Islamica: Jurnal Studi Keislaman is licensed under a Creative Commons Attribution- NonCommercial 4.
0 International License Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar Introduction Tafsr (QurAoanic exegesi.
refers to the systematic explanation and interpretation of QurAoanic verses.
It involves analyzing words, phrases, and sentences in the context of classical Arabic, as well as examining the historical and cultural circumstances surrounding 1 Through tafsr, scholars seek to uncover the layers of meaning within the QurAoan and to clarify its guidance for human life.
Although each mufassir .
approaches the text from a distinct intellectual and methodological standpoint, all share a common aim:
to make the QurAoan comprehensible and applicable to the realities of everyday experience.
Throughout Islamic history, tafsr has developed in response to the passage of time and the diversity of contexts in which the QurAoan has been interpreted.
From the earliest generations of Muslims to the modern era, exegetes have operated within changing linguistic, intellectual, and socio-cultural environments.
3 These contextual differences have shaped not only the interpretive outcomes but also the methodological orientations of tafsr works.
As a result, the tradition of QurAoanic interpretation exhibits a wide variety of styles, reflecting the particular historical and personal circumstances of each mufassir.
In addition to temporal and situational factors, the development of tafsr has been profoundly influenced by the growth of auxiliary sciences such as linguistics, semantics, hermeneutics, sociology, and anthropology.
5 These disciplines provide interpretive tools that help exegetes engage with the QurAoan in ways that are responsive to the intellectual and social challenges of their times.
ConseAhmad Izzan and Mohammad Irfan Farraz Haecal.
AuLocal Wisdom in Malay Natural Interpretation AoTurjuman Al-MustafidAo: Analysis of Surah Al-Baqarah with a Historical Approach,Ay Al-Bayan 22, no.
: 216-38.
2 Otong Sulaeman.
AuEstetika Resepsi Dan Intertekstualitas: Perspektif Ilmu Sastra Terhadap Tafsir al-QurAoan,Ay Tanzil: Jurnal Studi Al-QurAoan 1, no.
: 13.
3 Muhammad Ainun Najib.
AuEpistimologi Tasawuf Modern Hamka,Ay Jurnal Dinamika Penelitian: Media Komunikasi Sosial Keagamaan 18, no.
: 303-24.
4 Ahmad Zainal Abidin.
Thariqul Aziz, and Dewi Charisun Chayati.
AuBeberapa Isu Teologi dan Syariah dalam Prespektif Islam dan Agama Samawi Lainnya: Studi Kasus Pemikiran M.
Quraish Shihab,Ay Jurnal of Quran and Hadits Studies 9, no.
: 55-83.
5 Saiful Amin Ghofur.
Mozaik Mufasir Al-QurAoan.
Dari Klasik Hingga Kontemporer (Yogyakarta: Kaukaba, 2.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri quently, new interpretive approaches continually emerge, each shaped by the local cultural contexts in which exegetical works are Such contextual influencesAioften described as external factorsAirefer to the elements outside the QurAoanic text that affect the interpreterAos understanding.
They include the mufassirAos socio-cultural background, political environment, intellectual orientation, and disciplinary expertise.
A scholarAos worldview, educational formation, and historical consciousness inevitably leave their imprint on how QurAoanic meanings are articulated and represented.
Within the Malay-Indonesian world (Nusantar.
, a rich corpus of tafsr literature has developed, reflecting this dynamic interplay between revelation and local culture.
7 These works employ diverse languages, including Arabic.
Malay.
Javanese, and Sundanese, demonstrating the adaptability of QurAoanic interpretation across linguistic boundaries.
According to the archives of the National Library of Indonesia, hundreds of classical Arabic manuscripts have been preservedAiamong them twenty-one tafsr manuscripts characterized by an adab ijtimAAo .
iterary-socia.
One of the most prominent is Tafsr al-Azhar by Haji Abdul Malik Karim Amrullah, widely known as Hamka, whose work exemplifies the synthesis of Islamic scholarship and local cultural expression.
Hamka was one of IndonesiaAos most prominent Muslim scholars, writers, and public intellectuals.
His intellectual contributions span theology, literature, and social thought, making him a central figure in the development of modern Islamic scholarship in Indonesia.
Among his many works.
Tafsr al-Azhar stands out for its clarity, accessibility, and cultural depth.
The textAos use of simple yet elegant language, vivid illustrations, and regional expressions makes it 6 Mohammad Irfan Farraz Haecal.
AuDakwah Rahmat li al-Alamin as Solutive DaAowah: A Study of Tafsir Science with the Approach of Sharah Hadith,Ay ArRaniry: International Journal of Islamic Studies 9, no.
: 102-19.
https://w.
com/nasional/20181103182540-32-343764/ustazabdul-somad-bahas.
7 Mohammad Irfan Farraz Haecal.
Hidayatul Fikra, and Wahyudin Darmalaksana.
AuAnalisis Fenomena Childfree di Masyarakat: Studi Takhrij dan Syarah Hadis dengan Pendekatan Hukum Islam,Ay The 2nd Conference on Ushuluddin Studies 8 .
, 8 Lukmanul Hakim.
Lisna Sandora, and Yulniza.
AuDari Minangkabau untuk Dunia Islam: Melacak Pemikiran Hamka Sebagai Sejarawan Islam,Ay Majalah Ilmiah Tabuah: TaAolimat.
Budaya.
Agama dan Humaniora 24, no.
: 25-38.
| Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar both intellectually engaging and aesthetically pleasing.
HamkaAos integration of literary elements .
and regional perspectives offers a distinctive approach to QurAoanic interpretationAione that resonates deeply with local readers while remaining faithful to Islamic To contextualize Tafsr al-Azhar, a brief review of relevant literature highlights the significant role of culture in shaping QurAoanic Ahmad Izzan and Mohammad Irfan Farraz Haecal demonstrate that a mufassirAos social, geographical, and political environment informs the production of tafsr, as illustrated in Turjuman al-Mustafid, a foundational sixteenth-century work.
10 Similarly.
Khairul Huda notes that IslamAos arrival in the Malay world interacted with rich local traditions, shaping the distinctive character of Malay Islam in regions such as Sumatra.
11 Building on these insights.
HamkaAos Tafsr al-Azhar exemplifies a culturally grounded approach, combining his expertise in QurAoanic sciences with deep knowledge of Minangkabau literature and culture, resulting in a unique exegetical style that integrates religious interpretation with literary and regional sensibilities and preserves the Malay-Indonesian intellectual While previous research emphasizes the influence of historical, social, and geographical contexts on tafsr, a gap remains in examining how local literary traditions function as integral components of the exegetical process.
Unlike Izzan and Haecal, who focus primarily on historical-cultural settings, or Huda, who examines Malay Islam broadly, these studies do not directly address the role of Minangkabau literature in shaping interpretive strategies.
This research addresses that gap by critically analyzing the intersection between literary expression and QurAoanic interpretation in HamkaAos This study will investigate the uniqueness of Minangkabau lit9 Mohammad Irfan Farraz Haecal.
AuThe Meaning of Al-Hikmah in the Tafsir of Surah Luqman Verse 12: A Comparative Analysis Study of Tafsir Nusantara by Bisri Mustafa and Quraish Shihab,Ay Fokus: Jurnal Kajian Keislaman dan Kemasyarakatan 8, no.
: 27-38.
10 Ahmad Izzan and Mohammad Irfan Farraz Haecal.
AuLocal Wisdom in Malay Natural Interpretation Turjuman al-Mustafid: Analysis of Surah Al-Baqarah with a Historical Approach,Ay Al-Bayan: Journal of QurAoan and Hadith Studies .
: 216238.
11 Khairul Huda.
AuIslam Melayu dalam Pusaran Sejarah: Sebuah Transformasi Kebudayaan Melayu Nusantara,Ay Toleransi: Media Komunikasi Umat Beragama 8, no.
: 78-96.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri erary and cultural elements in Tafsr al-Azhar.
This focus emphasizes both the literary dimension and the socio-cultural embeddedness of HamkaAos exegetical practice.
The research employs a qualitative design, utilizing content analysis complemented by Norman FaircloughAos critical discourse analysis framework.
12 Data sources include primary and secondary The primary source is HamkaAos Tafsr al-Azhar, while secondary sources consist of journal articles, books, and relevant documents that support the analysis.
Data collection follows a library research model, and content analysis procedures involve systematic data reduction, organization, and synthesis to draw meaningful conclusions.
Applying FaircloughAos framework, the study engages with three interrelated dimensions.
At the textual level, the analysis examines HamkaAos linguistic strategies, rhetorical devices, and literary expressions in interpreting Srah al-Baqarah.
At the discursive practice level, it explores the interaction between HamkaAos interpretations and existing tafsr traditions, highlighting the incorporation of Minangkabau literary heritage.
At the socio-cultural practice level, the research situates Tafsr al-Azhar within the broader Malay and Minangkabau contexts, demonstrating how social, historical, and cultural dynamics both shape and are reinforced by HamkaAos interpretive choices.
This three-dimensional approach ensures that FaircloughAos critical discourse analysis is applied systematically, providing both theoretical grounding and empirical insight.
Hamka and Tafsr al-Azhar Hamka was born on February 16, 1908, in Sungai Batang, a nagari located on the shores of Lake Maninjau in the Tanjung Raya sub-district.
Agam Regency.
West Sumatra.
Indonesia.
14 He was the Darmalaksana.
AuMetode Penelitian Kualitatif Studi Pustaka dan Studi LapanganAy (Pre-print Digital library UIN Sunan Gunung Djati Bandung, 2.
13 Ahmad Rijali.
Analisis Data Kualitatif (Banjarmasin: UIN Antasari Banjarmasin, 2.
, 81-95.
14 Y.
Syafrina.
AuFase Dalam Gerakan Pembaharuan Islam di Minangkabau: Dari Reformis ke Modernis,Ay Jurnal Tamaddun: Jurnal Sejarah dan Kebudayaan Islam, 9, no.
| Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar first child of H.
Abdul Karim Amrullah and Syafiyah.
15 The name AuHamkaAy is derived from his full name.
Haji Abdul Malik Karim Amrullah, while AuBuyaAy is a traditional Minangkabau honorific, originating from the Arabic abi or abuya, meaning Aumy fatherAy or a title for a highly respected person.
16 HamkaAos birth brought great joy to his family.
his father reportedly said: AuDalam kurun waktu 10 tahun Hamka akan dibawa ke Mekah untuk belajar, dan suatu hari ia akan menjadi seperti saya.
Akan menjadi seorang yang saleh, seperti kakek dan nenek nya pada masa laluAy (Within ten years.
Hamka will be taken to Mecca to study, and one day he will be like me.
He will be a pious man, like his grandparents in the pas.
HamkaAos intellectual contributions as a scholar, writer, and social activist earned him wide recognition.
He received honorary doctorates from Al-Azhar University.
Cairo, and the National University of Malaysia, and a professorship from Moestopo University.
Jakarta.
In honor of his achievements.
Muhammadiyah Prof.
Dr.
Hamka University in Jakarta bears his name.
Hamka is also listed among Indonesian National Heroes.
He passed away on Friday.
July 24, 1981 .
Ramadan 1402 H) at the age of 73.
Throughout his intellectual journey.
Hamka produced numerous works spanning literature, religion, and social commentary.
His notable publications include Under the Protection of the Kaaba .
The Sinking of the Van Der Wijck Ship .
Religion and Women .
, and Tafsr al-Azhar, among many others (Masyarakat, 1.
15 Rahmi Nur Fitri.
AuHamka Sebagai Sejarawan: Kajian Metodologi Sejarah Ter- hadap Karya Hamka,Ay Fuadina.
Jurnal Kajian Keagamaan dan Kemasyarakatan 4, no.
16 Yosi Trisa.
Agus Suprijono, and M Jacky.
AuKearifan Lokal Budaya Minang AoDi Mana Bumi Dipijak.
Di Situ Langit DijunjungAo dalam Konteks Pedagogi: Kasus Perantau Minang di Kota Surabaya,Ay Jurnal of Education Technologi and Innovation (JETI) 1, no.
, 62-85.
St.
Aisyah Abbas and Nur Rahma Asnawi.
AuSejarah Perkembangan Pendidikan Islam di Sumatera (Suatu Kajian terhadap Tokoh dan Lembagany.
,Ay Ash-Shahabah: Jurnal Pendidikan dan Studi Islam 6, no.
17 A.
Husaini and B.
Setiawan.
Pemikiran dan Perjuangan M.
Natsir dan Hamka dalam Pendidikan (Jakarta: Gema Insani, 2.
18 Haidar Musyafa.
Jalan Cinta Buya: Buku Kedua dari Dwilogi HAMKA (Jakarta:
Mizan, 2.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri These works reflect his extensive knowledge and multifaceted expertise.
HamkaAos motivation for writing Tafsr al-Azhar was both intellectual and social.
First, he observed a rising enthusiasm among young Muslims in Indonesia, particularly in Malay-speaking regions, to understand the QurAoan.
Many, however, lacked proficiency in Arabic, limiting access to classical exegetical works.
Hamka considered this an urgent challenge: while the youthAos religious zeal was strong, their direction was unclear.
As he expressed in the introduction to his tafsr.
Aurumah telah kelihatan, jalan ke sana tidak tahuAy .
he house has been seen, but the way there is unknow.
His goal was to make QurAoanic knowledge accessible in a language and style familiar to Indonesian readers.
The second reason was related to the needs of preachers .
AA.
and religious educators.
Hamka noticed that many preachers faced difficulties in delivering sermons effectively because of their limited mastery of Arabic and formal religious sciences.
This linguistic and intellectual barrier often resulted in restricted or awkward communication during daAowah.
Recognizing that IndonesiaAos increasingly educated society required articulate and informed preachers.
Hamka wrote Tafsr al-Azhar as a practical resource to aid them in explaining the QurAoan clearly and contextually to the public.
Taken together, these motivations reflect HamkaAos broader vision of a dynamic and contextualized Islamic scholarship.
Tafsr alAzhar responds to the evolving intellectual and spiritual needs of Indonesian Muslims by offering a model of interpretation rooted in cultural familiarity and social relevance.
Through this work.
Hamka sought to bridge the gap between classical Arabic exegesis and the lived realities of the Malay-Indonesian world, ensuring that the QurAoan remains a guiding text for a rapidly developing and diversifying Muslim community.
Asif Trisnani.
Muhammad Thoriqul Islam, and Elit Ave Hidayatullah.
AuHamkaAos Philosophy of ikmah in Tafsr Al-Azhar: Addressing the Crisis of Adab in Muslim Societies,Ay Islamica: Jurnal Studi Keislaman 19, no.
2 (March 8, 2.
: 296-320.
20 Abdul Malik Karim Amrullah.
Tafsr al-Azhar (Jakarta: Pustaka Panjimas, 1.
, 21 Ibid.
22 Mohammad Irfan Farraz Haecal and Dadan Rusmana.
AuHistorical Conception According to the Natural Malay Tafsir of Turjuman Al-Mustafad: A Tafsir Study | Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar Considering these motivations and the growing complexity of societal religious needs.
Tafsr al-Azhar serves as a key reference for guiding readers in addressing contemporary issues within a developing community.
Hamka presents the material using an interpretive style carefully adapted to the intellectual and cultural context of the Malay-Indonesian community, ensuring that QurAoanic teachings are accessible and relevant.
Tafsr al-Azhar combines tafsr bi al-maAothr .
ransmitted interpretatio.
and tafsr bi al-raAoy .
ational interpretatio.
, integrating multiple approaches including linguistic analysis, historical context, sociocultural interactions, geographical considerations, and local community narratives to support its exegetical objectives.
Hamka employs the tahll .
method, maintaining the sequence of surahs and verses as arranged in the QurAoan, from al-FAti.
ah to al-NAs.
Although Tafsr al-Azhar emphasizes a socio-cultural .
dab ijtimAA.
style, it does not exclude discussions on fiqh.
Sufism, science, philosophy, or other disciplines.
Legal and doctrinal discussions are primarily oriented toward clarifying the meaning of the verses in order to achieve the main objective: conveying practical and beneficial QurAoanic guidance for daily life.
Literature and Culture in Tafsr al-Azhar The Pantun Observing the literary elements in Tafsr al-Azhar clearly demonstrates HamkaAos proficiency in literature, which significantly influences his exegetical work.
Hamka draws on his literary expertise to enrich his tafsr, embedding purpose, meaning, and values within the language, proverbs, and literary forms he employs.
Among these literary tools, the use of pantun is particularly notable.
With his literary background.
Hamka frequently interprets the QurAoan through pantun, a traditional Minangkabau form of poetry.
Pantun consists of four lines following an a-b-a-b rhyme scheme, with each line containing four to eight syllables.
the first and third lines are interconnected, as are the second and fourth.
Traditionally, of The Nusantara,Ay Al-Risalah: Jurnal Ilmu Syariah Dan Hukum 22, no.
23 Anas Mujahiddin and MutiAoah Mardhiyyah.
AuAnalisis Karakter Muslih dalam alQurAoan,Ay Al Muhafidz: Jurnal Ilmu Al-QurAoan dan Tafsir 3, no.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri pantun is used to convey messages, stories, or expressions of emotion.
Within Minangkabau culture, pantun is prevalent not only in poetry but also in kaba, pasambahan, traditional speeches, and dendang, reflecting the communityAos rich artistic heritage.
Hamka incorporates this rhyming tradition into his interpretation, as seen in verses such as al-Baqarah .
: 29, 176, and 265.
In Minangkabau culture, pantun is widely practiced and highly Beyond its presence in poetry, pantun also features prominently in kaba, pasambahan, traditional speeches, and dendang, reflecting the communityAos rich artistic heritage.
Hamka carried forward this rhyming tradition in his Tafsr al-Azhar, employing pantun when interpreting several QurAoanic verses.
Notably, in Surah alBaqarah, he uses rhymes to elucidate verses such as al-Baqarah .
29, 176, and 265, demonstrating how Minangkabau literary forms inform his exegetical style.
However.
HamkaAos use of pantun is not merely a stylistic embellishment.
it serves as an exegetical strategy that bridges scriptural meaning with cultural familiarity.
By employing pantun.
Hamka contextualizes QurAoanic teachings within a form deeply rooted in Minangkabau tradition, thereby enhancing both accessibility and resonance for his readers.
This approach carries theological significance, demonstrating that divine messages can be conveyed through local cultural idioms without diminishing their universality.
Moreover.
HamkaAos incorporation of pantun in verses such as al-Baqarah .
: 29, 176, and 265 illustrates how he embeds ethical and spiritual lessons into a form traditionally associated with moral instruction, reinforcing the QurAoanAos guidance through culturally grounded literary devices.
The Petatah According to traditional experts, proverbs .
serve as the legal and ethical foundation for Minangkabau customs, guiding all actions across various aspects of community life, including economic, socio-cultural, political, and defense matters.
Understanding a proverb requires the ability to interpret its implied meaning.
Simi24 Juni Ahyar.
Apa Itu Sastra Jenis Jenis Karya Sastra dan Bagaimanakah Cara Menulis dan Mengapresiasi Sastra (Yogyakarta: CV Budi Utama, 2.
25 Amrullah.
Tafsr al-Azhar, 151.
| Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar larly, in his Tafsr al-Azhar.
Hamka employs proverbs to interpret QurAoanic verses, as seen in al-Baqarah .
: 24, 25, and 141, integrating local wisdom into his exegetical approach.
Parables A parable is a type of figurative language that explains a concept by comparing it to something else, making the idea easier to understand.
Parables are commonly used in stories, narratives, or inspirational accounts to convey moral lessons and clarify situations or Similarly, in his Tafsr al-Azhar.
Hamka employs parables to facilitate readersAo understanding of QurAoanic verses.
For instance, he uses this literary device in al-Baqarah .
: 171 and al-Baqarah .
216, integrating narrative elements to enhance comprehension and convey ethical and spiritual lessons.
The Pameo A pameo .
r thimbl.
is a type of literary expression that conveys meaning through ridicule, satire, or cautionary advice.
Common examples in the community include sayings such as Aushame to ask the wrong questionAy or Aulive reluctantly, die unwillingly.
Ay In his Tafsr al-Azhar.
Hamka employs pameo as a literary device to interpret QurAoanic verses, notably in al-Baqarah .
: 96 and 205, using culturally familiar expressions to convey ethical and spiritual lessons.
These literary aspects reflect the broader cultural context, as they draw on the customs, social habits, history, and values of the community, integrating surface-level cultural knowledge with deeper exegetical insights.
The Budaya Alam Minangkabau The influence of the Minangkabau language is evident in Tafsr al-Azhar.
Although Hamka wrote the tafsr in Indonesian, his daily use of Minangkabau, his upbringing, and his experiences in the Minangkabau region shaped his linguistic choices.
As a result, elements of Minangkabau language appear throughout the commentary, reflecting his cultural and regional background.
This influence is particularly noticeable in al-Baqarah, for example in al-Baqarah .
: 36 and 178-179.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri Culture refers to a set of values, norms, beliefs, traditions, and practices shared by a group of people.
It encompasses everything a society learns, transmits, and lives by across generations.
Culture is therefore essential in shaping individual and collective identity, influencing how people think, behave, and interact.
26 In the context of Minangkabau society, cultural aspects include the values, norms, beliefs, traditions, and practices specific to the Minangkabau people.
Hamka incorporates these cultural elements into his Tafsr al-Azhar, as seen in his interpretations of al-Baqarah .
: 65 and 219, demonstrating how local culture informs his exegetical approach.
Politics The political context in Tafsr al-Azhar is reflected in HamkaAos discussion of QurAoanic verses in light of IndonesiaAos post-independence revolutionary era, addressing issues of power and the use of proverbs that convey teachings, advice, satire, and the spirit of striving for ideals.
This perspective is informed by HamkaAos own historical and political experiences while writing the tafsr, as well as by the influence of Islam on his ideological framework.
The post-independence period, particularly under the leadership of Soekarno and later Soeharto during the era of Guided Democracy, shaped HamkaAos enthusiasm and commitment to an Islamic Indonesia and an Islam adapted to Indonesian society.
This political dimension is notably reflected in his interpretation of al-Baqarah .
: 251.
Minangkabau Literary-Cultural Context in Tafsr al-Baqarah HamkaAos interpretation of al-Baqarah demonstrates a sophisticated integration of literary, cultural, and political dimensions, reflecting both the universality of the QurAoan and its relevance to local By employing literary forms such as pantun, proverbs, parables, aphorisms, and cultural idioms.
Hamka conveys profound insights while grounding them in Minangkabau cultural heritage and the socio-political realities of Indonesia.
His method illustrates how QurAoanic exegesis can simultaneously address universal theological 26 Sutan Takdir Alisjahbana.
Perjuangan Budaya dan Pengalaman Pribadi Selama di Balai Pustaka (Jakarta: Balai Pustaka, 1.
| Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar principles and local experiential contexts, making the text accessible and meaningful to his audience.
In comparison to earlier Malay tafsr works, such as Tafsr Tarjuman al-Mustafid by AoAbd al-Rauf al-Singkili, which reflected local culture in a more classical and impersonal style.
HamkaAos approach is notably distinctive.
28 He infuses local idioms not merely as cultural ornaments but as hermeneutical tools that facilitate comprehension and ethical reflection.
Furthermore, his approach diverges from modern reformist commentators like Muhammad Abduh, whose rationalist Tafsr al-Manar shaped Egyptian discourse through universal reasoning.
Hamka, instead, roots his exegesis in vernacular literature, ensuring its accessibility to lay Muslim readers in Indonesia and bridging the gap between scholarly knowledge and everyday understanding.
The use of pantun exemplifies HamkaAos strategy of contextualizing QurAoanic teachings through familiar literary forms.
29 In alBaqarah .
: 29, a pantun about the futility of measuring the sea with a short line underscores the limitations of human knowledge and the supremacy of divine wisdom.
Similarly, in verse 176, a pantun comparing copper and gold illustrates the futility of human disputes over divine revelation, emphasizing that the QurAoanAos truth remains unchallenged by human quarrels.
In verse 265, a pantun about barren soil conveys that sincere charity nurtures the spiritual life of believers, whereas neglecting faith results in spiritual barrenness, irrespective of outward appearances.
Through these literary devices.
Hamka embeds ethical and spiritual lessons within culturally resonant forms, demonstrating a critical, contextually grounded approach to QurAoanic interpretation.
HamkaAos creative strategy resembles the way Javanese Muslim scholars employed local metaphors in Serat Centhini, yet his work remains distinct in framing pantun not as folklore but as a theological 27 Syafruddin Faizin and Sri Chalida.
AuRepresentasi Local Wisdom dalam Tafsir al-Azhar,Ay Rausyan Fikr: Jurnal Ilmu Studi Ushuluddin dan Filsafat 18, no.
28 Ida Novita dan HalimatussaAodiyah.
AuKearifan Lokal dalam Tafsir Tarjuman AlMustafid Karya Abdul Rauf al-Singkili,Ay Al Burhan: Jurnal Kajian Ilmu dan Pengembangan Budaya Al-Qur'an 1, no.
Suarni.
AuKarakteristik Tafsir Tarjuman Al-Mustafid,Ay Substantia: Jurnal Ilmu-Ilmu Ushuluddin 17, no.
: 159-166.
29 Husnul Hidayati.
AuMetodologi Tafsir Kontekstual Al-Azhar Karya Buya Hamka,Ay el-Umdah 1, no.
: 1-15.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri This approach demonstrates HamkaAos innovative ability to merge faith with familiar literary aesthetics while maintaining doctrinal depth, allowing QurAoanic teachings to resonate within the cultural imagination of Minangkabau and broader Indonesian society.
Proverbs constitute another significant literary device in HamkaAos exegetical method.
In al-Baqarah .
: 24, the proverb about porridge and water illustrates the impossibility of rivaling the QurAoan in either linguistic form or meaning, encouraging humility and sincere submission.
In al-Baqarah .
: 25, a proverb highlighting the inevitability of flaws contrasts earthly spouses, who possess both strengths and weaknesses, with heavenly companions, who are pure and faultless.
Similarly, in al-Baqarah .
: 141.
Hamka interprets a proverb about youth to critique those who boast of ancestral glory without personal achievement, warning against stagnation in communities that cling solely to the past.
Unlike South Asian tafsr works, which often use proverbs to underscore juridical lessons.
Hamka employs them at a cultural-symbolic level, embedding moral critique within familiar idioms and fostering a socially conscious Muslim identity in Indonesia.
Parables in HamkaAos tafsr further connect QurAoanic teachings with broader human experiences.
In al-Baqarah .
: 171, he interprets the comparison of disbelievers to those who call upon beings that cannot hear as a critique of blind imitation in religion, condemning unreflective adherence to authority as a sign of intellectual In al-Baqarah .
: 216.
Hamka compares war to the consumption of bitter medicine, acknowledging its unpleasantness yet emphasizing that it may be necessary to preserve justice and communal well-being.
These interpretations illustrate HamkaAos view that such obligations are not merely legal commands but also strategic instruments for cultural survival and ethical governance.
HamkaAos contextualization parallels modernist exegesis in Southeast Asia but differs in consistently embedding analogies drawn from everyday Minangkabau experience rather than relying solely on abstract reasoning.
30 This approach grounds his theological reflections in the lived realities and struggles of his community, 30 Anwar Mujahidin.
Muhammad Shohibul Itmam, and Ahmad Choirul Rofiq.
AuThe Dynamic of Contextualization in Indonesian QurAoanic Tafsirs: A Comparative Study of Tafsir Al-Azhar and Tafsir Al-MishbAh on The Story of The Prophet Moses,Ay Jurnal Studi Ilmu-ilmu Al-QurAoan dan Hadis 25, no.
: 225-250.
| Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar making the QurAoanic message immediately relevant and culturally Aphorisms in HamkaAos exegesis reveal both spiritual insights and subtle social critiques.
In al-Baqarah .
: 96, he presents life as merely a postponement of defeat, emphasizing that worldly attachment and fear of death undermine the true meaning of existence, and that a long life devoid of good deeds adds neither value nor virtue but merely increases sin.
In al-Baqarah .
: 205.
Hamka examines the word tawallA, which can signify both turning away and assuming authority, using it to critique political leadership in his own Though he refrains from naming individuals, his commentary clearly alludes to the failures of IndonesiaAos rulers during the Old Order, highlighting poverty, hunger, and broken infrastructure as consequences of misgovernance while criticizing leaders who glorify themselves at the expense of the people.
This subtle political undertone distinguishes Hamka from earlier Nusantara tafsr, which generally avoided direct critiques of rulers.
By employing aphorisms, he masks critique in culturally familiar and resonant terms, enabling his commentary to be both bold and socially acceptable within his socio-political milieu.
Cultural aspects of HamkaAos tafsr are equally significant, particularly his use of the Minangkabau language.
In al-Baqarah .
: 36, he interprets langkanas, meaning deceiver or inciter, as a reference to Satan, reflecting how his Minangkabau heritage informs his exegetical style.
In al-Baqarah .
: 178 and 179, he employs expressions such as cakak berbelah and merasailah to emphasize social realities of conflict and suffering.
These terms resonate with Minangkabau experiences of division and oppression, which Hamka links to colonial domination, drawing on his personal experiences of imprisonment and acute awareness of societal imbalances between oppressors and the oppressed.
Unlike other tafsr works in the Malay tradition, which often relied heavily on formal Arabic expressions.
Hamka deliberately incorporates Minangkabau vocabulary to make his exegesis more accessible and emotionally resonant for local readers.
This conscious cultural-linguistic choice is not mere ornamentation.
it functions as a hermeneutical strategy that situates QurAoanic teachings within the lived experiences of his community, demonstrating the relevance of revelation to specific socio-cultural contexts.
Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri HamkaAos use of local cultural references extends beyond language to literary analogies that carry moral and ethical weight.
For instance, in al-Baqarah .
: 65, he employs the image of an old monkey, once capable of harvesting coconuts but later reduced to plucking its own hair, to critique stubbornness and moral decline.
Similarly, in al-Baqarah .
: 219, he exposes colonial tactics, such as promoting alcohol and gambling, which undermined the moral and spiritual integrity of Muslim communities.
By embedding these critiques within familiar cultural imagery.
Hamka connects QurAoanic guidance to both local tradition and broader societal concerns, creating a tafsr that functions simultaneously as religious commentary and social critique.
Political reflection is another significant dimension of HamkaAos tafsr.
In his interpretation of al-Baqarah .
: 251, he invokes a local saying that even a worm resists when trampled, emphasizing that passivity in the face of oppression leads to destruction, whereas resilience ensures survival.
This metaphor is informed by his own political experiences, including his exile to Sukabumi in 1941, and illustrates how his commentary bridges ethical principles, spiritual insight, and socio-political awareness.
Through such aphoristic strategies.
Hamka is able to critique authority indirectly, balancing bold political commentary with cultural acceptability.
When compared with Sayyid Qu.
bAos F Zi{ lal al-QurAoAn.
HamkaAos tafsr appears less ideologically confrontational yet remains critically Unlike Qu.
bAos revolutionary rhetoric.
HamkaAos commentary employs vernacular idioms and culturally grounded metaphors to make profound ethical and political observations.
This approach underscores the adaptability of QurAoanic exegesis, showing that it can communicate critique and guidance effectively within culturally specific frameworks without compromising theological depth.
Overall.
HamkaAos interpretation of al-Baqarah exemplifies a sophisticated integration of theology, literature, culture, and politics.
By weaving together pantun, proverbs, parables, aphorisms, and vernacular expressions, he renders QurAoanic teachings intelligible and meaningful within the cultural and historical realities of Minangkabau society.
31 His tafsr reflects the interplay between divine guidance and human experience, highlighting how local context 31 Avif Alfiyah.
AuMetode Penafsiran Buya Hamka dalam Tafsir Al-Azhar,Ay Jurnal Ilmiah Ilmu Ushuluddin 15, no.
: 30-52.
| Islamica: Jurnal Studi Keislaman Minangkabau Cultural Imprints in HamkaAos Tafsir al-Azhar can illuminate universal truths without diminishing their significance.
In conclusion, positioning HamkaAos tafsr within the continuum of both classical Nusantara works and modernist exegesis underscores its distinctive character: a synthesis of vernacular literary culture with universal QurAoanic principles.
This makes Tafsr al-Azhar a critical reference for comparative exegesis, illustrating how culturally grounded interpretations can enrich the understanding of revelation while addressing the ethical, social, and political concerns of specific Conclusion This study found that the literary and cultural dimensions of Minangkabau profoundly influenced the composition of Tafsr alAzhar by Haji Abdul Malik Karim Amrullah.
The findings confirm that cultural influences are expressed through both literary elements and broader socio-cultural frameworks, which are intricately woven into the tafsrAos structure.
The research employed a critical discourse analysis framework to trace specific contexts, including the production and consumption of the text, as well as the socio-cultural factors shaping the discourse.
In line with the research questions, the following points were identified.
First, the analysis reveals the foundational role of literary and cultural influences in the creation of Tafsr al-Azhar.
Literary elements such as pantun, proverbs, parables, and aphorisms are systematically employed, while cultural influences are evident in the use of Minangkabau language, reflections on local social practices, and political commentary embedded in the interpretation of Surah alBaqarah.
Together, these aspects illustrate that HamkaAos exegetical approach cannot be disentangled from the interplay between literature and culture, demonstrating how local idioms and narrative forms enrich the conveyance of QurAoanic meanings.
Second, the study shows that hamkaAos work could not remain unaffected by his Minangkabau heritage.
Hamka interpreted the QurAoan with a distinctive linguistic and literary style, embedding his cultural background into the tafsr.
This produced a unique exegetical voice, positioning Tafsr al-Azhar not only as a work of religious scholarship but also as a product of Nusantara intellectual tradition.
The strong literary and cultural nuances contribute to its identity as Volume 20.
Number 1.
September 2025 | Ahmad Izzan.
Mohammad Irfan Farraz Haecal and Nadya Fitri a Nusantara tafsr, underscoring the importance of preserving it as part of the regionAos intellectual and cultural heritage.
The author emphasizes the need for further exploration of the intersections between culture and language in QurAoanic interpretation.
Future research is recommended in the fields of Literature and Culture.
QurAoanic Studies and Exegesis, and the History of Islamic Civilization in the Nusantara, in order to expand understanding of how local cultural contexts continue to shape religious scholarship.
Acknowledgments We sincerely thank Assoc.
Prof.
Dr.
Ahmad Izzan.
Ag.
, for his generous support through funding, research opportunities, and access to essential data, as well as his invaluable guidance in tafsr, particularly regarding critical discourse theory, conceptual frameworks, and exegetical analysis.
We also extend our appreciation to Mohammad Irfan Farraz Haecal.
Ag.
Sc.
, whose expertise on Minangkabau aristocratic traditions, the historical trajectories of the Malay world, and the intellectual networks of sixteenth-century scholars has greatly enriched the cultural and historical depth of this study, ensuring its rigor and contextual grounding.
Bibliography