43
IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
DOI: https://doi.
org/10.
15575/ijni.
ISSN : 2355-651X
Sundanese prose as a medium for interpretation education:
The reception of the Qur'an in short stories and essays by Abdurrahman Roni Nugraha1* Institute of Islamic Studies of the Persatuan Islam.
Bandung.
Indonesia Author Email: roninugraha@iaipibandung.
Received: September 17, 2025.
Revised: December 25, 2025.
Accepted: December 31, 2025.
Published: January 3, 2026 Abstract: This study examines Sundanese prose as a medium for QurAoanic education, focusing on the reception of the QurAoan in the carpon .
hort storie.
and essays of E.
Abdurrahman.
The findings reveal that E.
Abdurrahman integrates QurAoanic values into narrative elementsAisuch as plot, setting, dialogue, and everyday situationsAibringing the QurAoanic text closer to readersAo lived experiences.
His QurAoanic carpon and essays function not only as cultural exegesis but also as an educational medium for QurAoanic interpretation, encompassing moral, spiritual, social, and political dimensions.
These works can be positioned as a form of cultural exegesis that synthesizes religiosity, aesthetics, and local consciousness.
Thus, literature serves as a productive space for creative reception of the QurAoan, contributing to the development of a more inclusive, communicative, and contextual framework for QurAoanic learning in the Nusantara (Southeast Asia.
Keywords: cultural exegesis.
Islamic short stories.
reception theory.
Sundanese literature Introduction In the map of Indonesian cultural history.
Sundanese literature has a significant role in transmitting spiritual and moral values (Ambarwati & Badrih, 2024.
Nurjaman.
Rasidin.
Busni.
Witro, & Diana.
Sukirman & Mirnawati, 2.
Whether in the form of poetry or prose.
Sundanese literature tends to emphasize the importance of the relationship between God, humans and nature, which is based on religious values and local wisdom (Rohmana, 2021.
On the other hand.
Sundanese literature is identified as a medium for forming cultural identity that reflects the social dynamics and intellectual development of Sundanese society from time to time (Rohmana, 2021a.
Yanti, 2.
At the beginning of the 20th century, the dynamics of Sundanese literature showed rapid development with the presence of literary works that absorbed the values of the Qur'an in prose form, namely when the values of the Qur'an were interpreted imaginatively and narratively into literary works, either by using the Indonesian language or local languages (Abshor, 2019.
Astutiningsih & Pujiati, 2019.
Fathurrosyid, 2016.
Machsum, 2013.
Muttaqin, 2.
One of the important figures in the development of this genre is E.
Abdurrahman, a charismatic cleric among PERSIS activists (Nugraha.
Basrawi, & Alijaya, 2.
He consistently incorporated Quranic values into his poems and essays published in the Sundanese magazine at-Taqwa and the Sundanese language column in Risalah magazine.
Through fictional narrative.
Abdurrahman not only integrated Quranic interpretation into literature but also transformed it into a learning medium.
Interpretation, initially considered difficult and intended for intellectuals, was transformed into a narrative form more easily understood by the general public.
This can be seen, for example, in the following poem entitled Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
"Tongo":
AuSakadang tongo mani ponyo nynjo tungtung kalam lulumpatan bulak balik dina sarubak kertas.
Majarkeun tyh lumpatna leuwih tarik batan mimis, leuwih lepas batan panah.
Mani ngan sakilat ngaliwat kana jajaran.
, gerat gerit sorana matak katorykan, siga anu jurat jerit, ceurik maratan langit, cimatana mani ngabayabah ngotoran kertas nu bodas, da puguh cimata raksasa, ngadadak kertas jadi angkeub, alam sakurilingna jadi medem.
Keur uleng mikiran kaayaan sakadang kalam, sakadang tongo reuwas asa kagebah, pydah sakadang kertas bari nangkarak nyentak: AuDasar tongo taya kanyaho, pondok tynjo, deukeut deuleu, ceuk saha kalam bisa hirup, bisa gerak? Ceuk saha kalam bisa lumpat sarta rikat? Ceuk saha alam ,jadi ku manyh? Ceuk saha agama ciptaan Sakadang fikir ngahuleng.
Najan kaharti, tapi ystu susah pibasaeunnana, siga nu pireu ngimpi, hayang ngalalakonkeun impiannana.
Teu kawawa, teu kabasaan! Dongyngkenen aya, tapi kumaha pibasaeunnana, salian ti hysy tyh sieun aya anu salah dyngy, sieun salah nynjo anu nempo!AyAnjeun mah baca bay: A AIa aI Ea eI aO eEa eIA a e AEac aIA a Ao AEac aI a eECaEa aIA a AOA a AeE eIA e A(A a eC ae aO aacEa ea eE a aI o A Eac abdurrahman.
The above quote represents Abdurrahman's interpretation of the relationship between reason and revelation, presented through an imaginative dialogue between Tongo, kretas, tangan, daya, iradah, and fikir.
The dialogue between the six imaginary figures demonstrates that the Quran encourages humans to explore external reality to understand the divine reality.
Furthermore, despite its extraordinary power, reason has limitations in penetrating the deepest essence hidden behind It can only comprehend empirical reality as a sign of God's existence.
How to relate to Him, however, is a matter of faith that must be approached through revelation.
This study is crucial for understanding the role of Sundanese literature as a progressive medium for learning creative interpretation, while also critiquing the assumption that interpretation studies are solely oriented toward intellectuals.
From the perspective of developing Quranic education methods, this study provides an alternative discourse that balances the dominance of Arabic interpretation through a cultural approach tailored to the characteristics of the target audience (Robikah, 2.
Many studies have been conducted on E.
Abdurrahman's thoughts, but they have focused on the political aspects during his leadership at PERSIS .
(Bachtiar & Fauzan, 2.
, or on the idea of education, especially character education (Nugraha, 2024.
Nugraha et al.
, 2.
One study that specifically analyzes E.
Abdurrahman's thoughts in the field of interpretation is the study conducted by Nugraha & Rohmana.
As a PERSIS ideologue.
Abdurrahman tends to interpret Surah al-Hujurat within the framework of his ideological interests (Nugraha&Rohmana.
2021: .
Therefore, this study will focus on analyzing Sundanese Prose as a Medium for Interpretation Education: Reception of the Qur'an in Carpon and Essays by E.
Abdurrahman.
In addition to Federspiel's work, a study that is relevant to this research is Rohmana's study of the development of poetic translation and Sundanese interpretation in West Java (Rohmana, 2.
Rohmana also describes the interpretation of Persis activists in Sundanese in his study of the poetic translation of the Quran, "Hariring wangsiting Gusti nu Maha Suci" by Syarif Sukandi .
(Rohmana, 2.
, and Nugraha's study of "Poetic Interpretation of K.
Abdullah" .
(Nugraha, 2.
The study shows that even as PERSIS activists.
Sukandi and Abdullah maintain a literary approach in their interpretations as a strategy to bring the values of the Quran closer to local cultural wisdom.
Method This research is a literature review that in its discussion will use Wolfgang Iser's literary reception approach, to reveal the "empty space" that is not explained explicitly by E.
Abdurrahman and must be filled by the reader through imagination, interpretation and personal experience without ignoring the narrative clues contained in the literary work.
The analysis is carried out based on the ways in which the author inserts the text of the Qur'an in cartoons, fairy tales and essays, both explicitly and implicitly through the use of symbols, characters, moral conflicts and story resolutions (Fatemi & Mousavilar, 2021.
Yurdakul, 2.
The primary data sources are 16 works and essays by E.
Abdurrahman published in the magazine at-Taqwa .
and the magazine Risalah .
2- Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
To enrich the analysis, the researcher also tried to include data from several other works by E.
Abdurrahman (Santana, 2.
Data collection was conducted through documentation and interviews.
Text documentation was conducted by inventorying, observing, and studying the texts of 16 carpons and essays by E.
Abdurrahman.
Meanwhile, interviews were conducted to supplement information regarding the composition of carpons and essays.
Abdurrahman's background and social interactions.
Interviews were conducted with family, colleagues, and PERSIS activists (Hardiman, 2.
The research analysis was conducted using interactive model data analysis techniques, which consist of three data analysis components, namely: data reduction, data presentation .
and drawing conclusions(Miles.
Matthew B.
Huberman, 1.
Results And Discussion Reception of Al-Quran Literature in West Java The word "reception" comes from the Latin "recipere," meaning "to receive," "to respond," or "to " These three meanings imply an active response from the recipient toward an external In the literary world, this term has evolved into reception theory, which emphasizes the reader's active role in interpreting a text, influenced by their background, experience, and horizon of Therefore, the meaning of a text is dynamic and can change depending on the social context and who reads it(Istiqamah & AssyaAobani, 2.
In the context of Quranic interpretation, reception refers to the study of how Muslim society welcomes, understands and responds to Quranic verses, both in the form of various readings, interpreting the content of the verses and the way a society implements the values of the Quran.
Reception of Quranic verses is not limited to formal interpretation, but also includes the way society expresses God's messages through the medium of language, literature and culture.
In the development of interpretation in West Java, the reception of the Quran is predominantly through traditional literary forms such as dangding .
raditional Indonesian folklor.
, wawacan .
raditional Indonesian folklor.
, pantun .
, and pupujian .
raise poetr.
Through these channels, the Quran's moral messages are conveyed in a more poetic and locally nuanced manner, allowing the public to better absorb the artistic nuances of the Quran's teachings in language, rhythm, and style familiar to everyday life.
In the early 19th century, several Sundanese scholars, such as R.
Wiranatakusumah V .
, assisted by R.
Soeriamihardja .
ormer regent of Purwakart.
, compiled a commentary on Surah Al-Baqarah in dangding form.
He also compiled stories about the Prophet Muhammad, some of which were packaged in dangding form.
This was the first literary reception of the Quran in West Java that was published in print (Rohmana, 2013.
Saepudin.
Thib Raya.
Kusmana, & Hasan, 2.
In 1931.
KH.
Ahmad Dimyati, a cleric from the Sukamiskin Islamic boarding school, composed a poetic commentary.
Auat-tabyinul Ajla wal ahla fi tafsir surat al-Aoala.
Ay This work was printed by K.
Zarkasyi Sukamiskin.
Bandung.
This poetic commentary was printed using the Pegon script, following the rules of the purwakanti form, namely rhyming literature consisting of sentence fragments rich in rhyme and rhythm (Rohmana, 2023.
Yani & Hakam, 2.
This work cannot be categorized as a translation, but rather as a work of interpretation of the Quran because it provides an explanation of the meaning of the verses without referring to the word order in the source language.
Not long after, in 1967.
Syarif Sukandi, a PERSIS activist, composed a poetic reception of the Quran in the form of dangding, "Hariring Wangsiting Gusti nu Maha Suci.
" In his introduction.
Syarif stated that his dangding was inspired by the work of Wiranata Kusuma.
He positioned his work as an tafsiriyah translation (Sukandi, 1967, p.
In 1970.
Abdullah .
8Ae1.
, a PERSIS activist, composed three Quranic reception works in the form of praise poems: Autahlilan,Ay Aumuludan,Ay and Aual-fajr.
Ay Wal Fajri praise poems explicitly represent his reception of Surah al-Fajr .
:1Ae.
, which was published in the OctoberAe December 1970 edition of Iber Magazine.
In this work.
Abdullah interprets verses about the phenomenon of time as a metaphor for the journey of human life.
Tahlil and Muludan praise poems represent receptions of Surah Yasin and An-Najm, respectively.
These praise poems are structured according to Sundanese rules of praise, such as the number of lines, syllables, and final rhyme .
-a- Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
, demonstrating his efforts to maintain local literary traditions in conveying the message of the Quran(Nugraha, 2.
In 1977.
Ronggowalujo, the former regent of Purwakarta, composed the discourse "Hirup Sabada Maot.
" This discourse is a translation of Bey Arifin's book "Life After Death.
" It focuses on the issue of faith in the afterlife, beginning with the death procession (Ronggowalujo, 1980, pp.
13Ae.
Furthermore, in 1980.
Hidayat Suryalaga .
1Ae2.
, a Sundanese cultural figure, conducted a reception of the Qur'an in its entirety over a period of 18 years .
0Ae1.
This reception became a monumental work of poetic translation of the Qur'an into Sundanese, entitled Nur Hidayah: Saritilawah Basa Sunda 30 Juz, consisting of 6,000 verses.
In this work.
Hidayat Suryalaga structured his understanding of the essence of the Qur'an by following the rules of pupuh(Muchtar & Luthfiana, 2021.
Rohmana, 2.
Profile E.
Abdurrahman Endang Abdurrahman was born in Pasarean village.
Bojong Herang.
Cianjur, on June 12, 1912.
He was the eldest of 11 children.
His father.
Ghazali, worked as a tailor, while his mother.
Hafsah, worked as a batik craftswoman.
After being deemed competent in reading and writing the Koran, his parents sent him toAl-I'anah Cianjur Islamic Boarding School, an Islamic boarding school under the guidance of Muhammad Nuh bin Idris, a famous cleric and prolific writer, father of Abdullah bin Nuh .
(Ridwan.
Fauzan, & Fata, 2.
After graduating from al-I'anah.
Abdurrahman moved to Bandung at the request of Hassan Wiratmana to become a teacher at the Madrasah Al-I'anah Bandung .
In 1930.
Alkatiri, a prominent merchant in Bandung, asked E.
Abdurahman to teach his children (Fauzan & Fata, 2.
Besides being a businessman.
Alkatiri owns the Islamic Basic Education Council (MPDI) in Kebonjati Bandung.
The management of MPDI was entrusted to E.
Abdurrahman and O.
Qomaruddin Shaleh, a modernist Muslim activist who also managed the Al-Hikmah Madrasah in Rancabali Padalarang.
During his activities at MDPI.
Abdurrahman began to be interested in the PERSIS teachings delivered by A.
Hassan on Jalan Pangeran Sumedang Bandung.
At first.
Abdurrahman felt offended by A.
Hassan's views until finally a debate took place which A.
Hasan won.
Abdurrahman then joined the PERSIS movement and became the second teacher after A.
Hassan.
When al-Katiri learned of Abdurrahman's change of heart, he was stripped of his position as MPDI administrator and preacher at Pakauman Bandung, and expelled from his official residence.
Abdurrahman was considered a major contributor to Islamic educational institutions within the PERSIS community (Abdurrahman, n.
, p.
In 1934.
Abdurrahman became a teacher.
at the Islamic Education Institution (Pendi.
under the leadership of Natsir.
He also taught at HIS.
MULO, and Kweekschool.
He also taught and developed small Islamic boarding schools, especially after A.
Hassan moved to Bangil in 1940.
During the revolution .
, the Persis Islamic Boarding School, under the leadership of Abdurrahman, was moved to Gunung Cupu.
Ciamis.
It then moved back to Bandung in early 1949.
Since 1934.
Abdurrahman has been known as a loyal Persis activist.
His first position was Head of the Tabligh and Education Division .
, and Secretary General of Persis .
alongside Isa Anshary.
In 1962 .
he 7th Persis Congres.
Abdurrahman was elected Chairman of Persis.
Previously, in 1957.
Abdurrahman was elected a member of the Constituent Assembly of the Republic of Indonesia from the Masyumi Party.
WhenThe Constituent Assembly was dissolved by Sukarno.
Abdurrahman withdrew from the political stage (Bachtiar & Fauzan, 2.
Abdurrahman was known as a humble man.
He spent his time reading, teaching at an Islamic boarding school, and writing books and magazine articles.
His madrasa education did not prevent him from gaining broad insights.
In addition to mastering Arabic.
Sundanese, and Malay.
Abdurrahman also studied English and Dutch.
He subscribed to numerous Malay and Sundanese newspapers such as Sipatahoenan.
Kompas, and Pikiran Rakyat, as well as the English-language newspaper.
The Indonesia Observer.
He also regularly received Arabic-language magazines from Saudi Arabia and Egypt(Nugraha & Rohmana, 2.
His expertise in religious matters covers many fields, such as fiqh, ul al-fiqh, kalam, tafsr, hadith, and others.
Abdurrahman was once a lecturer at the Islamic University of Bandung (Unisb.
in 1959 and IKIP Bandung in 1967.
During his life.
Abdurrahman actively wrote in several magazines, especially magazines published by Persis such as at-Taqwa.
Risalah.
Iber and others.
Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
also wrote many Islamic books such as Sababaraha Nasyhat Tina QurAoan Surat al Hudjurot (Korps Muballigh Bandung, 1.
Dirasah Ilmu Hadith.
Comparison of Madzhab (Bandung: Sinar Baru.
Risalah Wanita (Bandung: Sinar Baru, 1.
Ahkamusy Syar'i.
Risalah Jum'at.
Istifta:
Questions and Answers on Religious Issues (Bandung.
TB.
Al-Huda, 1.
Recik-recik Dakwah (Bandung: Sinar Baru, 1.
Takbir and Eid Prayers Complete with Eid al-Fitr Sermons.
Mernahkeun Hukum dina Agama.
Syiatu AoAli.
and others.
Abdurrahman died on Thursday.
April 21, 1983, at Hasan Sadikin Hospital due to asthma.
He was buried in Karang Anyar Cemetery.
Bandung.
Narrative Elements of E.
Abdurrahman's Sundanese Prose Interpretation In terms of plot and setting.
Abdurrahman's prose works, published in at-Taqwa magazine between 1949 and 1951 and Risalah magazine between 1962 and 1965, can be categorized into two large groups.
The first group emphasizes reflective and in-depth storytelling, grounded in an understanding of Quranic verses and Hadith.
The second group tends to depict the inner tensions experienced by the characters when facing conflicts that require an understanding of the values of the Quran and Hadith.
In some of his prose.
Abdurrahman sometimes chooses a narrative technique that cites Quranic verses, positioning them as the primary reference in developing the story.
These Quranic verses serve as guides, providing direction and meaning to the overall narrative, and also inviting readers to deeply reflect on the story being told.
At the beginning of the sosonoan carpon, for example.
Abdurrahman quotes Q.
Luqman: 3334.
According to him, these two verses are a warning that all humans will always be faced with supernatural problems beyond their control, such as rain, disease, death, and the apocalypse.
This warning encourages humans to always realize that life on earth is only temporary.
To make the meaning of these two verses easier for readers to understand and feel.
Abdurrahman says:
AuPikeun nerangkeun hikmatna, perlu di dieu diterangkeun hiji carita: "Ki Syakir kasohor jalma anu haseum budi, salilana alum ystu taya kaberagan, saumur umur ngandung kabingung, nyangga kasusah, sarta sagala kasab jeung usahana, ystu taya anu kajadian nasibna ngan nete semplek, nincak somplak, dagang tinggal kesang, tani kari daki, lain gedong anu ngajegir tapi hutang anu ngajegur, sahingga akhirna mah manyhanana putus asa, sarta nyokot kaputusan ryk ngagantung manyhAy(Abdurrahman, 1950b, p.
Through such techniques, the story not only narrates the plot, but also invites readers to interpret life holistically by positioning spiritual moral values as important elements that shape and direct the journey of human life to safety in the afterlife.
In several other episodes.
Abdurrahman presents the story in its entirety, allowing the narrative flow to develop naturally.
He then concludes by quoting relevant verses from the Quran.
then explains the story's meaning based on his understanding of the verses he quotes, and also provides a deeper understanding of the relationship between the story and the Quranic verses (Abdurrahman, 1949b, pp.
1Ae.
This narrative technique not only enhances the quality of the story but also serves as a vehicle for reflection and learning for the reader.
Through narratives drawn from the essence of Quranic verses, readers are invited to develop a deeper understanding of the relationship between the verses and the realities of life, while also being encouraged to reflect on the lessons to be learned from each narrative(Yusuf, 2.
The second example can be seen in the "Huis" poster.
In the opening section.
Abdurrahman describes the feeling of looking in the mirror and discovering a single gray hair for the first time:
AuKalyryt dina eunteung, dina sela-sela sisir, bet aya nu ngagurilap bodas byda ti tatanggana, ana disidik-sidik, sihoryng yta tyh salambar buuk anu salin rupa tina hideung kana bodas, gugurilapan nyelap sorangan dina kumpulan anu masih kynyh hideung, siga ofsir Inggris diaping ku urang Gurka, siga sinar kingkilaban di tengah leuweung, mangsana poyk mongklyng anyar raat tas hujan gedy, karasa seger bari keueung.
Emh, lumayan pangyling-ngyling!Ay At the end of the story.
Abdurrahman quotes two verses from the Koran as a closing statement of his reflection on the changes in hair as reflected by the Prophet Zakaria which was immortalized in the Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
Koran in the letter Maryam: 4-5, also quoting the letter Fathir: 37 (Abdurrahman, 1949c, pp.
1Ae.
Meanwhile, from the perspective of the characters.
Abdurrahman's sixteen prose works contain several distinct characters.
In the Winangun fairy tale prose, the characters depicted are only mentioned by their position or rank, such as the king and prime minister in the prose narrative "Kabawa.
" (Abdurrahman, 1949a, pp.
1Ae.
In the prose, the new king symbolizes the new man, while the prime minister symbolizes the life experiences of his predecessors.
In the tales of "sosonoan" and "dokter," the name Syakir is mentioned, symbolizing Syakirin (Abdurrahman, 1950a, pp.
1Ae.
Meanwhile, in the carpon which is packaged in a dialogical manner, the characters that appear are non-human figures, such as the figure of a nose and a wall clock who are having a discussion in the middle of the night.
(Abdurrahman, 1964.
Likewise, in the carpon "tongo".
Abdurrahman presents the figures of tongo, kretas, hands, energy, iradah and thoughts who are discussing the essence of al-Mabda (Abdurrahman, 1964.
Table 1.
Title Her Plot and settings Category Firindu The journey of human life Support Dhikr al-mawat Nose Gratitude House Morning Dhikr and gratitude Go ahead.
Set up in front of the Baudhah dan Forward.
Setting:
a bedtime story The relationship Forward.
Setting:
between power, will the story at the and thought time someone is Country Ahsan amala Forward.
Setting:
remote island If you are Independence Spiritual Physical-spiritual Waiting for the passion Deifying lust White crow Namimah Forward.
Setting:
in the library at Forward.
Setting:
Middle Eastern Forward.
Setting:
river where bathing takes Forward.
Setting rivers and forests in a country Figure Publication Forward.
Setting:
story in the Land of Firindu Forward.
Place setting not Monologue King-patih At-taqwa Fairytale Syakir and at-taqwa his friends Forward.
Setting:
late night chat Dialogue Nose and wall clock Brochure Monologue Self-Huis At-taqwa Monologue Mosquito At-taqwa Self Dialogic Tongue.
Brochure Carpon hand, creta, power, will Fairytale The At-Taqwa are simply Monologue Self-cat At-taqwa Fairytale Fairytale Fairytale Amintohirsjaamah Wajir At-taqwa The crow, the snake and the Brochure At-taqwa Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
The closure of the ikun The Ratu is not fair.
House ruins Independence Musyarakat Doctor Proceed Fairytale Wahab-cat Brochure Heart Essay At-taqwa Democracy Essay At-taqwa At-Thur Essay At-taqwa Iltibas, choosing a Proceed How Carefree.
Tamhid Quranic Exegesis in AbdurrahmanAos Prose Ahsan Amala The Quran affirms that Allah created death and life to test the "good character" of His servants (Q.
al-Mulk: .
This verse emphasizes two main themes: the human journey and God's criteria for To explain the process of the human journey and good character.
Abdurrahman designed it in the form of a short story.
He says:
AuBarang kapal anu djedjel padet ku hamba Allah, andjog tepi ka pulo anu ditudju, paheula-heula ninggalkeun kapal, moro pulo anu geus lila dipisono, burber paburentjaj, masing-masing mawa karepna, njiar pangabetah njusul pangabutuh.
Ay The quote above shows that the characteristics of life in the womb are depicted by a ship loaded with passengers before docking at an island .
he worl.
When the ship docks at the pier, the passengers disembark in droves, scattering according to their desires and goals.
The story does not describe the life process in detail, from pregnancy, birth, childhood, adulthood, old age, and death.
Abdurrahman chooses to describe it briefly with the words "berdesakan" and "paburencay.
Implicitly, these two words were chosen as interpretations of His words: "tsuma Idza antum basyarun " (Q.
30: .
Furthermore.
Abdurrahman grouped the attitudes of the passengers while on the island into three which became an interpretation of the verses regarding human attitudes towards God.
First, the wise.
They are characterized as cautious, carefully considering the long-term impact of their words and The future becomes the controller of their lustful desires and anger.
The quality of work and sincerity are the main considerations .
: 26-28.
23: 1-9.
51: 16-.
(Abdurrahman, 1949a, pp.
1Ae.
Second, recklessness.
Humans tend to ignore rational considerations.
Good and bad are measured by quantity.
Abdurrahman equates such people with "carangka runtah" .
rash can.
Everything will be thrown in without any selection, their behavior is easily influenced by the customs of the surrounding community .
uak leok ngalun kabawa ku serah zama.
Superstition and innovation, even though they are difficult, will be carried out willingly and considered as worship (Q.
35:37 and Q.
(Abdurrahman, 1949a, pp.
1Ae.
Third, forgetting to return home.
The island, with its various pleasures, has lulled them to sleep by the reality that life on earth is limited by time.
Life is merely a game.
play is never enough, desires never end, and the ship of death will force its way home.
Breath cannot be bought or sold, nor can it be replaced, while death must happen once (Q.
7:34.
6:61.
10:49.
(Abdurrahman, 1949a, pp.
1Ae.
Human journey The "Nagara Firindu" (State of Firind.
carpon interprets humanity's journey from this world to the Worldly life is symbolized by the Firindu state, while humanity is symbolized by the king.
Once the king is deposed, he is immediately banished inhumanely.
Unable to request a temporary respite, he must be carried to the place of exile on a stretcher.
Abdurrahman relates:
AuNagara Firindu hidji nagri anu lohdjinawi, pasir wukir wibawa sagala aja, ngan handjakal anu djadi rajatna teu ari balas mestakeun radja, sabab radjana gunta-ganti sarta aneh dimana datang mangsana ngusir radja estu kedjem sarta teu rasrasan, tara mere kasempetan anu lila.
poy eta keneh kudu indit digarotong dipindahkeun ka tempat anu suni, anu djauh ti alam rameAy (Abdurrahman, 1949b, pp.
1Ae.
Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
The quote above illustrates Abdurrahman's interpretation of the characteristics of the human journey through life.
Birth, childhood, adulthood, old age, and ultimately, a new person is replaced.
When death comes, the human body is immediately ushered into the grave through a procession that contrasts with the procession of its arrival into the world.
As a new, inexperienced creature, it is welcomed with joy.
Although the language is unclear.
God's grace facilitates communication between two parties at different levels(Abdurrahman, 1949b, pp.
1Ae.
Gradually the new human develops, hearing, sight and heart are activated (Q.
67: .
, until finally he is ready to accept the taklif as a caliph which is indicated by the willingness to reflect on the history of life as material for ibroh which in the carpon is illustrated by the willingness of the new king to dig up information from the patih (Q.
47: 13.
40: 21 and .
Next.
Abdurrahman describes the characteristics of the afterlife with a magical land termed Aen.
Although it is in one space, it has contradictory characteristics, batinuhu fihi rahmat, wa dahiruhu min qibalihi al-adzab.
(Q.
57: .
The outer part of the Aen is a rock without plants, no trees can grow except thorns and poisonous trees such as the zaqum tree whose fruit is like a snake's head, all the places where one steps are full of burning embers, there is no house suitable for habitation.
All pains are united in the outer part (Q.
56: 52.
37: .
In contrast to the inner part, it is filled with pleasure, shady trees with various colored fruits, chatting with others, palace buildings with all their luxurious facilities(Abdurrahman, 1949b, pp.
1Ae.
Meanwhile, the connection between the land of Firindu and the land of Aen suggests that humans are able to "ngaduakeun huap" .
hare equally between the needs of this world and the Therefore.
Abdurrahman divided wealth into three: 1.
Pakeun.
Akueun 3.
Bawaeun djeung sampeureun.
Pakeun wealth is clothing that has been worn out and food that has been eaten until it is destroyed.
Akuan wealth is wealth to be inherited.
Meanwhile, bawaeun and sampeureun wealth, namely all wealth, energy, deeds and words used in the way of Allah and based on sincerity for Him that have been transferred to the land of Aen .
he afterlif.
while he was still alive in the land of Firindu .
he worl.
Gratitude Carpon's "sakadang Irung" describes an imaginary dialogue between an "irung" .
and a wall clock in understanding the verses of kauniyah.
This reality is then interpreted and reflected upon based on the verses of gratitude.
The composition aims to critique human attitudes toward God, which tend to be ungrateful for blessings.
The nose and the wall clock move according to the speaker's interests, describing the results of his reflections on reality and the Quran.
Abdurrahman states:
AuAna ditenget-tenget, mani siga ruruntuk manusa, urat kendor, mata paor, cetuk huis.
bodas, janggotna nyapuan dada, panonna celong, gular giler dina logak, ngan irung anu masih ajeg Leumpangna bongkok siga anu kaleuleungitan, mapay jalan, nengetA tincakeun, bisi aya poy kaliwat, aya waktu anu kalarung atawa siga anu beurat ku momotan, dongko bongkok bakating beurat ku lalakon hirup dina jero genep puluh taun.
Manyhna keur reureuh miceun kacapy anu karandapan poy yta.
KhadamA kabyh rareureuh, kabyh anggota istirahat.
Tapi sanajan leungeun ngarumbay, suku ngalonjor, istirahat rareureuh, sakadang irung mah teu bisa reureuh, kudu tetep digawy ngasupkeun bahan bakar, ngaluarkeun hawa kotor, ngahaneutan getih jeung awak, kalawan teu meunang reureuh sanajan sakerejep!Ay (Abdurrahman, 1964.
The quote above is a reflection of the sacred text and the reality of life when someone has entered the phase of old age, which in the language of the Quran is termed "syuyukho" (Q.
40: .
The phase where the body has experienced decline as a sign of having experienced countless Even though the elements of the body have decreased, the pleasure of sleep is still felt.
All the difficulties of life are forgotten so that we can enter a miniature death (Q.
39: .
During deep sleep, all parts of the body rest except the nose, which must work to supply fuel for life, expelling dirty air to keep the blood warm.
Humans need a third of a cubic meter of air with each breath, far more than food and drink.
Implicitly.
Abdurrahman invites readers to reflect on His words, "wa fi anfusikum afala tubshirun" (Q.
51: .
and "wa in ta'udu nimatallahi la tuhsuhuha.
" (Q.
16: .
Dzikir al-mawt Carpon Huis is an interpretation of the Quranic verse describing Zakaria's reflection during prayer (Q.
Maryam: 4-.
The word "sayban" refers to the change in hair color from black to white.
Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
a sign of entering old age.
On the one hand, the phenomenon of gray hair refers to physical changes as a natural law inherent in every human being.
On the other hand, the Quran uses grey hair as a warning against the threat of death.
Grey hair is a reminder for humans to always remember death.
Gray hair moves quickly to affect the black hair around it, which Abdurrahman illustrates with: the destructive movement of a drawn sword that drags a human to the edge of the grave.
Like a white flag as a symbol of defeat.
Like a piece of white dye on a loom, finally weaving itself into a white cloth to wrap the rough body which reminds that age is measured by breath on the ground.
Flashing like light accompanied by thunderous thunder that triggers fear.
moving quickly to provoke neighbors to immediately change coming without warning, suddenly changing everything.
Therefore.
Abdurrahman positioned gray hair as a messenger of the angel of God, encouraging greater devotion to God.
Its arrival should be a source of awakening and spiritual awakening.
Abdurrahman equated gray hair with a guiding teacher, the foremost awakening teacher, a brave preacher who knows no fear, and a controller of desires that tend to be uncontrollable (Q.
Symbolic Interpretation In the poem "laleur," Abdurrahman invites readers to interpret the mosquito symbolically (Q.
al-Baqarah: .
Abdurrahman contemplates the mosquito through an imaginative dialogue while trying to sleep.
He concludes that despite their small size and short lifespan, mosquitoes are never They spread rapidly: one dies, and hundreds of thousands of eggs are laid, which will become the next generation, disrupting human comfort.
The description of the characteristics of mosquitoes was then used as a symbol of "sucking" which Abdurrahman termed "Laleur dayeuh" whose behavior is much more cruel than real mosquitoes (Abdurrahman, 1951, pp.
1Ae.
The true mosquito only sucks blood, saving the victim's it attacks only until its stomach is full.
it never seeks anything other than blood.
Unlike the dayeuh, who suck the blood of their fellow human beings, sparing no one's wealth, honor, life, or They ask Allah for sustenance, but when they succeed, they use it to deify lust and passion.
The dayeuh seeks survival by destroying life.
They seek safety by harming others, profiting through deception, and wealth by being stingy and withholding zakat.
Violence becomes their self-image, yet they feel good because their identity is listed as Muslim.
They tout small acts of charity as a shield against being labeled bloodsuckers.
No.
Table 2.
Example of Winangun prose interpretation Verse Description of the interpretation 7: 34.
6: 61.
Firindu is a country of the Lohdjinawi, the sands of the mountains are full 10: 49.
62: 8
of power, only the jackals are the kings.
They do not always have a king, because the kings change and are strange.
When the time comes to expel the king, he is very stubborn and uncompromising, not giving him a long That day, he must be moved to a safe place.
1: 1
The farmer was carrying a bundle of wheat in his garden when suddenly the bundle broke, the wheat fell on the road, some of it fell on rocks, some of it fell on the ground, and the soil was full of weeds.
And those who had planted it in his garden, who had been able to cultivate it, were also crushed, and the soil was clean and tidy.
40: 67
He was bent over, his face like a human skeleton, his veins loose, his eyes sunken, his nose narrow.
his moustache was white, his beard swept his chest, his eyes were wide, his cheeks were round, only his nose was still standing.
He walked with a hunchbacked gait, as if he had been lost, walking slowly, waiting for something to happen, in case a day had passed, a time had passed or as if he were weighed down by a burden, his hunchbacked body weighed down by the work of living for sixty years.
16: 18
"Ah, that's enough! I'm sixty years old.
In a minute, you have to breathe in at least eighteen times one-third .
x 1/.
cubic meters, which is six .
cubic meters, in an hour that means three hundred and sixty .
cubic Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
S 34: 13
19: 4-.
35:37
meters of air, and in a day, a person breathes in at least twenty-four times three hundred and sixty .
So during the fasting month! Even though I'm resting from eating and drinking.
I don't really rest.
I don't really fast.
I still have to breathe air! I really want the owner to understand! What does it mean that the air that is inhaled is made of hydrogen and oxygen, which has so many benefits and Looking in the mirror, between the combs, there was one that shone white, different from its neighbors, and was scrutinized, that sliver was a mass of hair that changed from black to white, its brilliance shining on its own in the still-dark mass, like a British officer surrounded by Gurkhas, like a ray of light in the middle of the forest, when it was dark and just after a heavy rain, it felt fresh and refreshing.
Hmm, quite a reminder.
You are the guru murshid, the ultimate awakening teacher, the unsurpassed missionary, you are the messenger that everyone is waiting for, because you are the one who conquers the desires that are bound, not a few people follow you while saying: "Ah, it's time to stop now, it's too late".
Sundanese Prose and Essays as Media for Learning Interpretation Abdurrahman's Sundanese prose and essays, published in At-Taqwa and Risalah magazines, hold a strategic position in the realm of tafsir learning media.
Through these prose and essays.
Abdurrahman explains the textual meaning of the Quran in narrative form rich in imagination, symbols, metaphors, and contextual illustrations typical of Sundanese.
In this context, prose and essays serve as educational media to bridge the gap between the sacred text and the reader through a local cultural and linguistic approach that touches on the affective, cognitive, and spiritual dimensions (Achsani, 2018.
Muhsin.
Marwati.
Saleh.
Nuur, & Nuqta, 2025.
Nathaniel Hendradi, 2.
Among the pedagogical approaches used by Abdurrahman is the symbolic narrative approach as can be seen in the prose AuKabawaAy which is a reception of Q.
Al-Mulk: 2.
AuLiyabluwakum ayukum ahsan AoamalaAy.
This verse is not interpreted literally, but is presented in the form of an allegory: the boat and the island are used as symbols of human existence journey.
(Mufid, 2.
Through this symbol.
Abdurrahman categorizes humanity into three categories: the wise, the reckless, and those who forget to return home.
Each character represents the diverse responses of humans to God's teachings and serves as a reflection for readers to assess their own position (Abdurrahman, 1949a, pp.
1Ae.
In the Nagara Firindu carpon.
Abdurrahman uses an allegorical narrative to explain the human journey from this world to the afterlife.
This approach is based on the view that the Quran has levels of meaning (Rosalnia & Isnaini, 2.
The land of Firindu is depicted as a mortal world full of deceit, while the land of "Aen" symbolizes the afterlife with its two dimensions: God's wrath and mercy.
Through this allegorical narrative.
Abdurrahman deliberately inserts a pedagogical message that life must be oriented towards investing in the afterlife (Q.
al-Qashash: .
Through this work.
Abdurrahman presents an interpretation of the Quran in a dramatic and imaginative form, so that the messages of the Quran feel more alive and closer to the experiences of the Sundanese Muslim Educational values are conveyed not dogmatically but reflectively and inspiringly (Abdurrahman, 1949b, pp.
1Ae5.
Chan & Lee, 2021.
Kusmoro, 2.
This tendency to prioritize a reflective approach is also seen in the carpon Sakadang Irung, where Abdurrahman uses the human body as a medium for reflection on God's blessings.
By referring to Q.
S an-Nah: 18 and ad-Dzariat: 21.
Abdurrahman positions the nose and the wall clock as two characters engaging in an imaginary dialogue, a creative way to raise awareness of the importance of being grateful for blessings that are often forgotten, such as air and the respiratory system (Abdurrahman, 1964a, p.
Furthermore.
Abdurrahman's consistency in using human inner experience as a medium for learning Quranic interpretation is also evident in the cartoon "Huis.
" Here, gray hair is used as a symbol of the threat of sudden death as a response to Surah Maryam verses 4-5, particularly the word "sayyiban," which suggests physical changes as an indicator of old age.
Gray hair is positioned as a Nugraha / Sundanese prose as a medium for interpretation education: The reception of the Qur'an in short stories and essays by E.
Abdurrahman IJNI: International Journal of Nusantara Islam Vol.
No.
: 43-56
"guru mursyid" who guides humans to be more prepared for death.
The imaginary dialogue between the character and his gray hair is used as a medium to increase awareness of death, self-reflection, and repentance (Abdurrahman, 1949c, pp.
1Ae.
In line with the symbolic approach.
Abdurrahman also presents an interpretation nuanced social criticism through the prose "Laleur" .
, which is a reception of Q.
al-Baqarah: 26.
If in Huis the symbol is taken from physical changes, then in Laleur.
Abdurrahman presents the symbol of a small animal as a critique of the practice of human exploitation.
Flies, which in the prose are mentioned together with mosquitoes, are presented as a metaphor for groups of humans who oppress and exploit the rights of others.
The characteristics of laleur dayeuh are equated with mosquitoes in the real world:
noisy, sucking blood, and being a source of disease.
Through symbols and language that are easy to understand, the messages of Surah al-Baqarah: 26 regarding social injustice can be conveyed contextually and touch the critical awareness of its readers (Abdurrahman, 1951, pp.
1Ae.
These data confirm that E.
Abdurrahman's Sundanese prose and essays serve not only as a medium for aesthetic expression but also as a medium for learning interpretation.
The narrative, symbolic, and reflective approaches were deliberately chosen to open up opportunities for communicative interpretation, thus enabling them to serve as a medium for learning interpretation using language and experiences more relevant to the daily lives of the Sundanese people (Cahyati & Arifin, 2.
This fact further emphasizes that interpretation does not always have to be designed in a rigid academic form, but can also be designed in cultural forms such as prose and essays.
In this context.
Abdurrahman's prose and essay interpretations can be categorized as cultural-educational interpretations, namely interpretations that stem from the creative interaction between the reception of the Quran and the cultural realities of the Sundanese people.
This model not only enriches the treasury of local-Indonesian interpretations but also emphasizes that Islamic education can be delivered contextually and transformatively through the medium of literature.
Conclusion Abdurrahman's Qur'anic essays and essays in the Sundanese magazine at-Taqwa .
and Risalah .
demonstrate that E.
Abdurrahman used literature, especially Sundanese essays and essays, as a medium for creative reception of the verses of the Qur'an.
The moralspiritual values of the Qur'an are integrated into narrative elements, such as plot, setting, dialogue, and everyday life, to bridge the sacred text with the experiences of local readers.
This form of interpretation serves not only as a medium for religious interpretation but also as an educational medium that encompasses moral, spiritual, social, and political aspects.
Abdurrahman's prose and essays can be positioned as a form of cultural interpretation that integrates religiosity, literary beauty, and local awareness.
Implicitly, his works suggest that interpretation need not be confined to academic formats, but can be presented through more lively, touching, and down-to-earth literary narratives.
Through this approach.
Abdurrahman demonstrates that a creative and educational reception of Quranic verses not only enriches the Indonesian treasury of interpretation but also emphasizes that local literature serves as a medium for Islamic education.
This approach opens up space for the development of a more inclusive, communicative, and contextual model of interpretation learning.
References