Abstract
In the Javanese culture, the wild Boar is a symbol of greed or avarice. In this article, boar as a symbol is seen as a language for expressing moral consciousness. Moral consciousness of the dangers of avarice has been started since the beginning of the Christian era and passed on to us through present time in the form of the Doctrine of the seven principal or deadly Sins. So here is presented the evolution of this consciousness perceiving greed as a moral problem, especially in the Biblical and Patristic tradition. Given that the use of wild Boar as a symbol of greed is associated with sociological background, the article shows also the reception of avarice as one of the seven deadly sins in the sociological science. These two different perspectives of how one speaks about avarice as a moral problem are useful to develop a more comprehensive understandings on avarice and a contextual language, expressing it as a moral issue that should never be overlooked in Indonesia.
Highlights
the wild Boar is a symbol of greed or avarice
as a symbol is seen as a language for expressing moral consciousness
Moral consciousness of the dangers of avarice has been started since the beginning of the Christian era
Summary
Di seputar Reformasi Indonesia, perupa Djoko Pekik menghasilkan tiga buah karya lukis yang menampilkan obyek visual utama binatang celeng. Namun akhirnya si celeng rakus tertangkap sehingga semua orang bergembira (Indonesia 1998, Berburu Celeng, 1998). Para pengamat seni menangkap fase-fase runtuhnya Orde Baru, sekaligus menafsirkan celeng sebagai simbolisasinya.[1] Namun bagi Sindhunata, si ce leng rakus tidak hanya menyimbolkan penguasa yang serakah dan kroni-kroninya, melainkan semua orang yang dirasuki oleh nafsu keserakahan. Keserakahan Celeng, Ketamakan dalam Kesadaran Moral (Dionius Bismoko Mahamboro) terbuktilah kini “ramalan” Pekik: lima belas tahun sudah euforia akan berakhirnya Orde Baru berlalu, namun justru korupsi makin marak dan kehidupan bernegara semakin rusak.[3] Interpretasi terhadap realitas yang disimbolkan oleh celeng mengalami pergeseran. Saat Djoko Pekik mengangkat celeng seba gai simbol ketamakan, dan ketika Sindhu nata memaknai “roh celeng yang saat ini bergentayangan” sebagai bahaya serius yang mengancam hidup bersama masyarakat Indonesia saat ini, terbuka ruang untuk membicarakan ketamakan yang dipandang sebagai kekuatan impersonal yang merusak tata kehidupan bersama manusia. Ketamakan ini bahkan termasuk salah satu dari ketujuh dosa pokok.[4]
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