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This study addresses the limited integration of environmental education, Islamic values, and creative learning practices in existing pedagogical models. It proposes an eco-friendly Islamic calligraphy approach as an innovative medium for recycling-based learning that promotes both ecological awareness and spiritual development. The study adopts a Participatory Action Research (PAR) design involving 22 students from diverse educational levels at Sanggar Bimbingan Bintang Sembilan. Data were collected through structured observations, semi-structured interviews, and documentation, and analyzed using an iterative qualitative framework to identify changes in students’ cognitive, affective, and behavioral domains. The findings indicate that students initially exhibited low environmental awareness, minimal engagement, and limited ability to utilize recyclable materials creatively. Following the intervention, there was a substantial increase in active participation, creative output, and conceptual understanding of environmental sustainability. Students also demonstrated observable behavioral shifts, particularly in waste reuse practices and environmental responsibility. In addition, the incorporation of Islamic values reinforced ethical awareness and strengthened students’ sense of stewardship toward the environment. This study contributes to the advancement of interdisciplinary learning by offering a contextual and practice-oriented model that integrates environmental education, religious values, and art-based pedagogy. The proposed approach not only enhances student engagement but also fosters holistic learning outcomes, making it a viable alternative to conventional instructional methods in sustainability education.

Islamic calligraphy is a form of art that plays a central role in the development of Islamic culture and art. Highlighting the beauty of Arabic script, calligraphy serves not only as an aesthetic expression but also as a spiritual medium to reflect religious values. This article discusses how calligraphy influences the development of Islamic art through its integration with geometric designs, technical innovations, and applications across various media such as architecture, ceramics, textiles, metalwork, and glass. The dissemination of calligraphy to various regions, including Europe, Asia, and Africa, demonstrates its universal appeal. Moreover, the influence of calligraphy is evident in modern and contemporary art, ensuring its relevance in the era of globalization. With strong traditional roots and adaptability, Islamic calligraphy continues to symbolize harmony, beauty, and spirituality, inspiring the global art world

Indonesia is known for its rich ethnic and cultural diversity, one of which is the Minangkabau ethnic group, renowned for its strong ancestral traditions. This research aims to visualize the philosophy of "Alam Takambang Jadi Guru" upheld by the Minangkabau community through Islamic calligraphy painting. The method used is a descriptive approach with the exploration of calligraphy art elements inspired by the works of national calligraphy artists such as H. Purwanto Zain. The findings of the study show that this philosophy serves not only as a life guide but also as an inspiration in calligraphy art that combines traditional and religious values. The implications of this work are a form of spiritual devotion and an effort to preserve the Minangkabau culture, rich in noble values. In conclusion, the resulting calligraphy art is able to inspire the next generation to continue appreciating nature as a teacher and to understand the greatness of Allah SWT in every aspect of life.

This work visualizes the verses of the Koran in Surah Al-Kahf which contain the meaning of the story of Ashhabul Kahf in the form of Islamic calligraphy painting and applies painting techniques and sharpens the imagination. The purpose of this work is to preach directly to oneself, appreciators and the general public. The method of creating this work follows five stages, namely: preparation, where the author makes observations and exploration to gain inspiration. Then, at the elaboration stage, relevant references are searched and collected. The third stage, synthesis, involves applying the ideas and main ideas that have been generated. Next, at the concept realization stage, the final work is created based on the previously designed concept. Finally, at the completion stage, the work is exhibited and a report is created that covers the entire process from start to finish. In creating the work, the author uses the Krita application as a technique in creating digital painting works. Each work displays a guitar object consisting of ten works with the title,; "Ashabul Khafi", "Trying to Leave His People", "Greatness of Allah", "Waking Up a Long Sleep", "Promise of Allah", "Number of Ashhabul Kahfi", "Rasulullah SAW", "God willing", "300 + 9", "Say it."