Analysis of Da'wah Strategies through Arabic Calligraphy Art at Lemka Institute Sukabumi تحليل استراتيجيات الدعوة من خلال فن الخط العربي في معهد Lemka بسوكابومي

##plugins.themes.bootstrap3.article.sidebar##

PDF
Published: 28-06-2026
Keywords:
Istiratijiyyah al-Da’wah, al-Khat al-’Arabi, Ma’had Lemka bi Sukabumi

##plugins.themes.bootstrap3.article.main##

Ghina Akhiru Syawaliyah
Institut Muslim Cendekia
Fahmi Ridha
Institut Muslim Cendekia
Sa'diyah Ratna Sari Sagala
Institut Muslim Cendekia

Abstract

Arabic calligraphy is not merely an aesthetic visual work but a religious communication instrument with great potential for conveying Islamic messages in a contemporary manner. This study aims to analyze the da'wah strategies implemented by the Lemka Institute of Quranic Calligraphy in Sukabumi through the development of Khat. The research scope focuses on the internalizatio n of tawhid values to the public through the beauty of writing. The method used is descriptive qualitative, with data collection techniques including field observation, in-depth interviews with leadership and instructors, and work documentation. Results indicate that Lemka applies integrated da'wah strategies across three main dimensions: the educational dimension through a structured curriculum, the competitive dimension through active participation in the Musabaqah Tilawatil Qur'an (MTQ), and the syiar dimension through art exhibitions and public work production. This study concludes that utilizing calligraphy as a da'wah medium at Lemka is effective in bridging divine messages with modern aesthetic values. This strategy successfully shifts public perceptions of Islamic art while expanding the reach of da'wah through an inclusive and artistic cultural approach.

##plugins.themes.bootstrap3.article.details##

Issue

Vol. 8 No. 1 (2026): Proceeding of International Conference on Islamic Studies

Section

Islamic Communication and Broadcasting
Creative Commons License

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

You are free to:

  1. Share — copy and redistribute the material in any medium or format for any purpose, even commercially.
  2. Adapt — remix, transform, and build upon the material for any purpose, even commercially.
  3. The licensor cannot revoke these freedoms as long as you follow the license terms.

Under the following terms:

  1. Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
  2. ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.
  3. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.

Notices:

You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation .

No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.

References

Annisa, Annisa. 2023. “Pengaruh Ilmu Kaligrafi Arab Dalam Akulturasi Budaya Nusantara.” Shaf: Jurnal Sejarah, Pemikiran, Dan Tasawuf 1 (1): 47–57.

Anshory, Abdul Muntaqim Al, and Rohmatulloh Salis. 2024. “Pelatihan Seni Kaligrafi Sebagai Sarana Pengenalan Budaya Islam Bagi Generasi Muda.” JPPM (Jurnal Pengabdian Dan Pemberdayaan Masyarakat) 8 (1): 53.

Ariesta Nadya Alfadhela, Halimatussadiyah, Kusnadi, Pathur Rahman, and Risan Rusli. 2025. “Estetika Dalam Tafsir: Seni Sebagai Medium Pemikiran Al-Qur’an Di Era Kontemporer.” Jejak Digital: Jurnal Ilmiah Multidisiplin 1 (4): 1104–11. https://doi.org/10.63822/r5tn7780.

Falah, Asep Miftahul, Agus Cahyana, and Deni Yana. 2016. “Fungsi Kaligrafi Arab Pada Masjid-Masjid Di Kota Bandung.” ATRAT: Jurnal Seni Rupa 4 (3): 289–90.

Fitri, M Q, and S Mawaddah. 2025. “Sejarah Kebudayaan Arab Melayu Di Aceh: Jalur Perdagangan Dan Dakwah.” Indonesian Journal of Multidisciplinary … 3 (3): 275–79..

Hadi, H. Sofyan. 2019. “Model Manajemen Strategi Dakwah Di Era Kontemporer.” Jurnal Al-Hikmah 17 (2): 69–78. https://doi.org/10.35719/alhikmah.v17i1.8.

Hasibuan, Yusuf Firdaus. 2009. “Pengaruh Pendidikan Dan Latihan Kaligrafi Lembaga Kaligrafi Al-Quran (LEMKA) Terhadap Kemampuan Menulis Ayat-Ayat Al-Quran,” 157.

Hermanita. 2024. “Dakwah Di Era Globalisasi.” Jurnal.Stitmuabdya.Ac.Id 14 (2). https://jurnal.stitmuabdya.ac.id/index.php/anatesa/article/view/19.

Huda, Saiful. 2008. “Kepemimpinan D Sirojuddin AR Pada Lembaga Kaligrafi Al-Qur’an (LEMKA) Dalam Upaya Pengembangan Kaligrafi Di Indonesia,” 85.

Jumiati, Marini. 2025. “Konstruksi Sosial Remaja Melalui Pelatihan Seni Kaligrafi Di Hasyimil Lil Aulad Desa Pendalaman Kecamatan Barambai Barito Kuala.” Sustainability (Switzerland) 11 (1): 1–14.

Khairiah, Ummi. 2021. “Model Pembelajaran Kaligrafi Dalam Upaya Meningkatkan Kemampuan Menulis Kaligrafi Al-Quran Di Pesantren Lemka Sukabumi,” 167–86.

Ridha, Fahmi. 2025. “STUDI KASUS TERHADAP EFEKTIFITAS DAKWAH YAYASAN MIMBAR ATTAUHID DI MASA PANDEMI COVID 19” 6 (0): 1–20.

Saluja Zamharira, Rupa, Liana Pertiwi, and Jimi Setiawati. 2025. “Kaligrafi Sebagai Media Ekspresi Spiritual Tinjauan Ilmu Tasawuf.” Shaf: Jurnal Sejarah, Pemikiran Dan Tasawuf 2 (2): 102–13. https://doi.org/10.59548/js.v2i2.343.

Sari, Ratna, and Siti Mufarokah. 2025. “The Effectiveness of Using Language Games in Teaching Vocabulary Derived from the Qur ’ an to Fourth Grade Students at Ar-Raayah Islamic Elementary School فصلا ةبلطل يمركلا نآرقلا نم ةدافتسلما تادرفلما ميلعت في ةيوغللا باعللأا مادختسا ةيلاعف ةيملاسلإا ةيئ” 7 (1).

Wahyudin, Muhamad. 2024. “Nilai-Nilai Filosofis Dan Akhlaq Dalam Pembelajaran Kaligrafi Di Pondok Pesantren Lembaga Kaligrafi Al-Quran Sukabumi.” Yogyakarta