Publication Search

This study aims to analyze the religious and spiritual symbols represented in the film Titip Surat untuk Tuhan through Roland Barthes’ semiotic approach, focusing on the three levels of meaning: denotation, connotation, and myth. The research employs a qualitative descriptive method using semiotic analysis based on document studies of selected scenes, dialogues, and visual elements portraying religious values, prayer, sacrifice, patience, hope, gratitude, and trust in God. The findings reveal that symbols such as the mosque, mukena, sarong, prayer mat, the Qur’an, prayer activities, the post office as a medium for sending letters to God, and the calligraphy of “Allah” and “Prophet Muhammad” on the walls function not only as literal signs but also convey profound religious and spiritual connotations. These symbols further develop into myths that reinforce religious norms and cultural beliefs accepted as natural within society. The film successfully constructs a subtle yet powerful representation of faith by portraying a Muslim family that upholds devotion, moral values, patience, compassion, and an enduring relationship with God. Overall, the film demonstrates how religious symbols effectively communicate spiritual messages while strengthening viewers’ understanding of Islamic values through visual and narrative storytelling.

This study is motivated by the rapid proliferation of hadith dissemination in the digital era, which has Living hadith in a socio-cultural context is a contemporary approach in hadith studies that emphasizes how the traditions of Prophet Muhammad SAW are practiced, internalized, and brought to life within society. This study does not only focus on textual aspects such as sanad (chain of transmission) and matn (text), but also on its practical manifestations in the form of traditions, rituals, and local culture. This paper aims to analyze the epistemology of living hadith, examine the theoretical frameworks utilized, and observe its relevance in modern society, particularly within Muslim communities. The research method employed is qualitative with a descriptive-analytical approach based on a literature review. The findings indicate that living hadith serves as a bridge between normative texts and dynamic empirical reality. In practice, living hadith manifests in oral traditions such as lectures and religious advice, written traditions like hadith calligraphy, and practical traditions like tahlilan and grave visitation (ziarah kubur). Thus, living hadith allows Islamic teachings to remain contextual, adaptive, and relevant in facing modern socio-cultural transformations.

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 architecture in the archipelago cannot be understood as simply a transfer of physical forms from the Middle East to Southeast Asia. It is the result of a deep cultural dialogue between universal Islamic principles and local wisdom that has been formed since pre-Islamic times. When Islam spread in the archipelago, it did not exist as a force that negates Hindu, Buddhist, and vernacular traditions, but rather proceeded through visual and structural synthesis that gave birth to a distinctive and hybrid Islamic architectural identity. One of the most iconic manifestations of this process is the use of overlapping roofs in historic mosques such as the Great Mosque of Demak and the Great Mosque of Banten. Different from typical Persian or Mediterranean stone domes, this multi-storey wooden structure is inspired by the concept of Meru in Hindu-Javanese architecture. The choice is not only symbolic, but also a functional adaptation to the tropical climate, as it allows for efficient rainwater disposal as well as optimal natural ventilation. Spatially, the placement of mosques follows the concept of Catur Gatra Tunggal, which is the integration of mosques with squares, government centers, and markets. This pattern reflects the integration between the spiritual, political, and economic life of the community. In the interior, the use of Saka Guru shows the appointment of local construction techniques as the main element of worship buildings. Aspects of syncretism are also seen in ornamentation, where pre-Islamic figurative motifs are transformed into flora and calligraphy patterns that are in harmony with the principles of Islamic aniconism. Thus, the archipelago's Islamic architecture represents Islam as an inclusive and contextual force that is able to process local traditions into a sustainable new identity.

This study explores the use of art and cultural practices as a means to instill Islamic values in the learning process of Islamic Religious Education. The background of this research arises from the challenges faced by Islamic education in the era of globalization, particularly the declining interest of students in Islamic-oriented activities and the strong influence of popular culture. Using a descriptive qualitative approach by reviewing relevant literature, the study finds that various forms of Islamic art such as nasheed, hadrah, calligraphy, and Islamic-themed drama can help students understand and appreciate religious values in a more engaging and meaningful way. These artistic activities serve as a bridge between Islamic teachings and everyday life, allowing values such as good character, piety, and love for the Qur’an to be internalized more effectively. However, the implementation still encounters several obstacles, including limited teacher competence and insufficient curriculum support. The study concludes that strengthening collaboration with the community, utilizing digital technology, and developing extracurricular programs are important steps to reinforce the application of Islamic values through art and cultural approaches within educational settings.

This study formulates integrative strategies to revitalize the Darussalam Prayer Hall in Jorong Situjuah Gadang, Nagari Situjuah Gadang. A qualitative-descriptive case study was conducted using semi-structured interviews, participatory observation, and visual documentation, with data analyzed through reduction, thematic presentation, and triangulation. Results show a 25% increase in congregational attendance after improvements to physical facilities, particularly lighting and seating, accompanied by creative programs such as calligraphy, hadroh, and thematic studies. The use of local social media (WhatsApp and Instagram) enhanced digital engagement by 200%, while youth involvement grew significantly. Collaboration between takmir, community leaders, and digital volunteers was identified as a critical success factor. The study concludes that combining physical improvements, innovative programs, and digital communication creates a synergistic effect in revitalizing prayer hall activities. Recommendations include establishing an annual Islamic cultural festival, developing a digital scheduling platform, and strengthening takmir management training to ensure sustainability.

This study refers to the philosophical values of calligraphy octagonal ornaments at the Muhammad Cheng Hoo Mosque in Pandaan District, Pasuruan Regency. The objectives of this study are: 1. To find out the meaning of calligraphy octagonal ornaments in the Muhammad Cheng Hoo Mosque 2. To find out the philosophical value contained in the calligraphy octagonal ornaments at the Muhammad Cheng Hoo Mosque. The method used in this study is a qualitative method. The data collection techniques used are observation, interview, and documentation methods. The results of this study show that the meaning of calligraphy octagonal ornaments has a meaning that can be associated with one pillar of Islam. Because it shows unity and balance in carrying out religious commands and as the meaning of the five levels, in Islamic teachings are shahada, prayer, fasting, zakat and hajj as well as the meaning of blessings and abundance of sustenance. The philosophical value of octagonal ornaments has the meaning of balance, harmony and protection as well as the philosophical value of red and yellow colors in calligraphy octagonal ornaments, red is interpreted as joy, strength, and courage while yellow is interpreted as blessings and abundance of sustenance.

The mosque facade is an important element in architectural art that influences visitors' perceptions and experiences. This study focuses on the An-Nur Mosque in Magelang, Central Java, which showcases the integration of traditional Javanese and Islamic architectural elements. The research method used is library research, collecting data from various literature sources, including books, journals, and relevant articles. The results show that the mosque's facade design combines the traditional Javanese joglo roof with domes and minarets, as well as elaborate carvings, creating a unique aesthetic. The use of local materials such as teak wood and andesite stone emphasizes local wisdom, while geometric ornaments and Arabic calligraphy enrich the spiritual meaning. Therefore, the An-Nur Mosque not only serves as a place of worship but also as a symbol of cultural and religious identity for the local community, creating harmony between local culture and Islamic values.

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

Calligraphy plays a very important role in the development of Islamic civilization. In the current era of globalization, young people are exposed to a variety of knowledge, cultures, perspectives, and ethics that influence changes within them. This training was conducted with the aim of introducing the art of calligraphy to the students (santri), which they can develop as part of their future careers. The training activities were carried out by members of the field experience practice team, who are students of the Islamic College (Sekolah Tinggi Agama Islam) Jam'iyah Mahmudiyah Tanjung Pura. The activity included planning, implementation, and evaluation. The methods used in this training were lectures, demonstrations, and hands-on practice. The results of this community service activity showed that: (1) The planning stage included initial observation, needs analysis, participant recruitment, and scheduling; (2) The training consisted of a one-time session using lectures, demonstrations, and writing practice; and (3) Evaluation was conducted during the training process, at the end of each session, and at the conclusion of the overall training. The dotted sponge calligraphy training left a unique impression and challenge for the students, fostering enthusiasm. It also brought about positive outcomes, such as helping students to develop calmness and concentration.

This research aims to revive Islamic values through the Awesome Muharram Fest activity at the Al-Quran Education Park (TPQ) Al Ittihad, Kertomulyo Village. Awesome Muharram Fest is an educational and recreative program designed to welcome the Islamic new year, as well as a means of learning and strengthening Islamic religious values for children. This activity involved various competitions, namely, there was a calligraphy coloring competition, a daily prayer memorization competition, an adhan competition, a short letters memorization competition, and a gharib competition, with the aim of deepening the understanding of TPQ Al-Ittihad students. In its implementation, ustadz and ustadzah also participated in supporting and assisting the committee in preparing for the competition. The Muharram Fest held by the KKN team went well and smoothly. It is hoped that this competition can be a means of learning and self-development for TPQ Al-Ittihad students of Kertomulyo Village and encourage their enthusiasm for learning and confidence. For the KKN Team, it is hoped that they can take lessons and experiences from various shortcomings that exist during the process of organizing the Awesome Muharram Fest by the KKN Posko 95 group.

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.

In the complex era of globalization, the development of children's creativity and confidence is an important aspect in addition to intellectual intelligence. This research aims to activate the effectiveness of the Islamic New Year Celebration activities held at the Al Hidayah Mosque, Bukit Pereviewuan 1 Village, Hamlet 5 in July 2024 in increasing the creativity and confidence of TPQ children. Involving around 60 participants, the activities included calligraphy competitions, adhan, Muslim fashion shows, and memorization of short letters. The research methods used are socialization, observation, and implementation of activities. The results of the study show that this activity significantly increases children's creativity through various competitions that allow innovative and innovative expression. In addition, this activity also succeeded in increasing the confidence of the participants, which can be seen from their bolder and enthusiastic attitude in participating. This activity contributes to the development of children's learning abilities and character, strengthening their foundation as individuals with integrity and competitiveness. Activities like this are expected to be carried out continuously to support the holistic development of children in a positive environment and full of religious values.

Discussing calligraphy as an Islamic artwork is very interesting because it displays the beauty and meaning of each stroke of the letters, especially in the Qur'an. Calligraphy is a visual and correspondence skill. It also helps to learn and understand the Arabic language. Arabic is essential to the teaching of Islam as it serves as a way to convey strictly and paves the way for Islamic history and scholarly works. The subjective differentiation strategy was used in this study to examine the relationship between the excellence of students in Arabic language education at Imam Bonjol State Islamic University Padang West Sumatra and their ability to compose Arabic and calligraphy as an improvement in learning, which allows them to concentrate on culture and expression related to Arabic. The consequences of this study indicate that interest in calligraphy as a whole has an impact on students' Arabic composing ability and aptitude. Students who have both interests and abilities will generally get greater help from others, but students who are basically interested need greater help. This study shows how important calligraphy is to further develop Arabic composing ability and demonstrates the work of the contrasting supporting elements of interest and ability.

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."    

Writing calligraphy with Islamic culture cannot be eliminated because every civilization will leave behind something that can be learned from and developed, so that calligraphy becomes an art that has a long history for Islamic civilization and culture.calligraphy as an Islamic art is the most important aspect of Islamic science, the Arabic Al-Qur’an is an obligation to study Arabic grammar. One of the skills in Arabic Grammar according ti the rules, both in terms of length, short in the from of latters to be stylish and beautiful. The method used in this research is literature study, which is a method used in research aimed attt collecting data by talking data from library studies and including relevant research in journals as research material The word calligraphy comes from the Latin kalios (calios) which means beautiful graf (grafh) which means drawing and writing in English. Calligraphy is known as calligraphy which means the art of beautiful writing. Calligraphy writing with Islamic culture cannot be eliminated because every civilization will leave something behind. Lessons can be learned and developed, so that calligraphy becomes an art that has a long history of Islamic civilization and culture.

Writing Skills is one of the four maharah studied in Arabic. Writing Skills  is a way of expressing language and feelings through writing. In Writing Skills there are three elements that are trained intensively, namely, imla', khat (calligraphy) and insha'. The success of an Arabic written work can be seen from the effectiveness of the Writing Skills studied. The aim of this research is to determine the extent of the effectiveness of Writing Skills on the writing results of Arabic language education students at the North Sumatra State Islamic University Medan. This research uses qualitative methods with data collection methods using interviews and library literature. The results of this research found that the Writing Skills studied by Semester V Arabic Language Education students at the North Sumatra State Islamic University, Medan, was quite effective. Where students already understand the rules of writing Arabic properly and correctly and are able to write an essay in Arabic writing.

Islamic calligraphy is one of the cultural treasures of the Indonesian archipelago which must be preserved. Learning Islamic calligraphy increases the imagination, creativity and intellectual development of students. Of course, there are not many state school students who are talented in the art of calligraphy compared to private Islamic schools. But this does not mean that they do not have creativity in Islamic calligraphy. This community service activity aims to overcome this. Islamic calligraphy training activities use the Participatory Action Research (PAR) approach where the cycle includes KUPAR (to Know, to Understand, to Plan, to Action and to Reflection). This service activity was carried out for students at Wiradesa Public Middle School 2, Pekalongan Regency, for 2 weeks. The result of this community service activity in the form of training in the art of Islamic calligraphy is that Wiradesa 2 Public Middle School students are very enthusiastic in learning to write Islamic calligraphy. This is evidenced by the results of Islamic calligraphy that has been made by students of Wiradesa 2 Public Middle School, their writing is increasingly developing and according to the rules of Islamic calligraphy. With this training, students become confident to develop their creativity and express their imagination in the form of works in the form of Islamic calligraphy.