International Journal of Business and Social Science Vol. 2 No. 11 [Special Issue - June 2011] 101 A Bird’s Eye View on the Islamic Literature Discourse in Indonesia Assoc. Prof Dr. Rahmah Ahmad H. Osman Department of Arabic Language and Literature Kulliyyah of Islamic Revealed Knowledge and Human Sciences International Islamic University Malaysia (IIUM) E-mail: rahmahao@yahoo.com, Phone: +60193356453. Mohd Shahrizal Nasir Department of Arabic Language, Faculty of Languages and Communication, Universiti Sultan Zainal Abidin (UniSZA) E-mail: shahrizal_nasir@yahoo.com.my, Phone: +60127069242 Abstract This study takes a quick look at the Islamic literature discourse in Indonesia. This study seems essential considering the fact that the names of many Indonesian writers, especially Hamka, have been mentioned on several occasions in the discussions on Islamic literature in Malaysia. The arguments presented in this study have been carefully chosen from previous studies, carried out by E.U. Kratz (1986, 1997), Ungku Maimunah Mohd. Tahir (1990), Peter Riddell (2001) and articles published in the Indonesian journals, Horison and Panji Masyarakat. A point to be noted from the beginning however, is that we do not propose a detailed study of the Islamic literature discourse in Indonesia but merely to look at it as a whole. This is because the Indonesian Islamic literature discourse deserves an extensive study of its own. However, for the purpose of general comparison, some points in the Indonesian discourse, which stand out even at a cursory glance, are taken up for discussion. Key words: Islamic literature, Indonesia, aesthetics, dakwah, Muslim writer Introduction In Indonesia, Islamic literature has been an issue discussed and formulated as early as the 1930s, when religion played a part in the conceptual discussion of modern Indonesian literature (Kratz, 1986: 144; 1997:1). The above is best exemplified by the arguments presented by Hamka in the 1930s and 1940s and Muhammad Dimyati (1943). Hamka in 1938 had already argued about several guidelines for an Islamic literature. He prescribed clear and simple basic characteristics for Islamic literature. In concert with other modernist writers of his age, he strongly opposed and criticised what he regarded as a tendency towards syncretistic practice. In this he sought to draw a clear demarcation between orthodox Sufi belief and non-orthodox teaching, in an effort to shore up Sufi approaches at a time that the mystical quest was being increasingly marginalized (Riddell, 2001: 219). Islamic Literature in the Eyes of Indonesian Writers According to Kratz, “true literature of a religious nature has always been a natural and integral part of modern Indonesian literature, albeit rarely noticed. There were always artists who made their own personal religious beliefs, inner struggles, doubts and convictions, the focus of their literary work” (Kratz, 1997: 1). Kratz adds that the discussions in Indonesia have always concentrated on “what is good literature?” instead of the religious aspect of writers, whether Islamic or not. It is a matter of how you decide to express your faith through the arts and what are your main criteria, the intensity of religious faith, the way it is expressed implicitly or the quality of literary writing. The above evokes a view held strongly by Hamka, who believed that if the literature is good, the faith is therefore evident (In a discussion with him in 1999). Just by observing the above point, one can already sense the contrast to the discussions in Malaysia where the focus has generally been the religious aspect of writers and writings whether Islamic or not. However, it is worth noting, that very few Indonesian Muslims with a good command of Arabic have been men of letters or are interested in belles lettres. Among the Indonesian authors who had an involvement in and a commitment to literature from the Middle East and in particular from Egypt, were Ali Audah, Hamka, Muhammad Fudoli, and K.H. Mustofa Bisri (Kratz, 1997: 1). Aesthetics in Islam On the importance of truth in aesthetics, according to Baharum Rangkuti (1951) the discussion on literature should centre on blending the idea of Nan indah, the beautiful, Nan baik, the good, and Nan benar, the true (Baharum, 1951: 91), i.e. the aesthetic character of literature, its function in society and its realism in dealing with all aspects of life and society.