Johana R Tangirerung

MEMAKNAI UKIRAN TORAJA MENGGUNAKAN MODEL TERJEMAHAMAN STEVEN B BEVANS

Introduction

Memaknai ukiran toraja menggunakan model terjemahaman steven b bevans. Temukan makna teologis ukiran Toraja pada tongkonan & erong menggunakan model terjemahan Steven B Bevans. Penelitian ini mengungkap nilai-nilai teologis dalam simbol budaya Toraja.

Abstract

Toraja dikenal kaya akan simbol, hal ini pun tertuang lewat ukiran yang dapat kita temui pada rumah tongkonan, erong, dan Lumbung. Ukiran yang ada itu sudah tentu memiliki arti dan makna. Persoalan yang mengemuka ialah apakah dalam ukiran tersebut juga mengandung arti dan makna teologis? Hal ini yang menjadi dasar penulis untuk membahas lebih jauh tentang hal tersebut. Tujuan penelitian ini adalah hendak menjelaskan model terjemahan dan contohnya dimana mengungkap makna teologis yang terdapat di dalam simbol ukiran Toraja dan diharapkan penelitian ini akan bermanfaat bagi pengembangan teologi kontekstual. Penelitian ini menggunakan metode teologi kontekstual Steven B Bevans, Model Terjemahan. Adapun hasil yang diperoleh dari penelitian ini ialah mendeskripsikan makna ukiran yaitu pa’bare allo, pa’manuk londong, Pa’ulu gayang, pa’kapu’ baka, dan pa’tedong, Ukiran Toraja memiliki nilai yang selaras dan bahkan sama dengan nilai-nilai teologis. Hasilnya, melalui model terjemahan, ditemukan makna teologis.

Review

This paper, "MEMAKNAI UKIRAN TORAJA MENGGUNAKAN MODEL TERJEMAHAMAN STEVEN B BEVANS," addresses a compelling and culturally significant topic: the theological interpretations embedded within Toraja carvings. By focusing on the rich symbolism found on tongkonan houses, erong, and lumbung, the research delves into the spiritual dimensions of these intricate artistic expressions. The explicit aim to uncover theological meaning using Steven B. Bevans' Translation Model positions this study as a valuable contribution to contextual theology and the broader field of cultural hermeneutics, promising to bridge cultural heritage with profound spiritual understanding. The methodology, employing Steven B. Bevans' Contextual Theology and his Translation Model, appears highly appropriate for interpreting cultural artifacts within a theological framework. The abstract effectively outlines the research's intent to describe this model and demonstrate its application in uncovering theological significance. The study specifically identifies several key Toraja carvings—pa’bare allo, pa’manuk londong, Pa’ulu gayang, pa’kapu’ baka, and pa’tedong—and asserts that their meanings are not only harmonious with but often identical to core theological values. This outcome suggests a successful application of the chosen model in linking indigenous cultural expressions with Christian theological discourse, providing concrete examples of how traditional art can convey deep spiritual meaning. Overall, this research makes a significant contribution to understanding the inherent theological depth within Toraja iconography, thereby underscoring its relevance for the development of contextual theology. The explicit identification of specific carvings and their theological resonance is a notable achievement, offering tangible insights into a rich cultural heritage. While the abstract provides a strong overview, the full manuscript would undoubtedly benefit from a more detailed exposition of *how* Bevans' Translation Model concretely facilitates the translation of these cultural symbols into theological statements, perhaps with a deeper discussion of the interpretive process. Nevertheless, this study clearly enriches the discourse on the intricate relationship between culture and theology, offering a valuable framework for interpreting indigenous symbols within a meaningful theological context.

Full Text

Comments

You need to be logged in to post a comment.