Symbol Of Religion Research Articles

MAKNA SIMBOLIS ORNAMEN PINTU BLEDEG MASJID AGUNG DEMAK

The current study aims to describe the symbolical meaning in the ornaments of “Bledeg” Doorof Demak Great Mosque viewed from three aspects, namely contour, content, and context. Theresults of the study demonstrate that analysed from the aspect of contour, ornaments of“Bledeg” Door consist of several parts, namely the crown, dragon head, and vase. There areseveral motifs originating from Majapahit, namely the “tumpal” motif and the use of SuryaMajapahit symbol stylized as dragon's eyes. The colors used are red, green, and white. Interms of content, the tumpal motif is a symbol of relationship of human beings with God, thecrown motif is a symbol of virtue, the dragon head motif is a symbol of strength in spreadinggoodness, the vase motif is a symbol of religion, and the floral plant motif is a symbol offertility, while the red, blue, and white colors symbolize safety. Viewed from the context, themyth of Ki Ageng Selo when catching lightning comes to light which is visualized into asymbolic ornament. The ornaments of “Bledeg” Door of Demak Great Mosque symbolizes therelationship between human beings and God signifying their privilege to spread God'steachings.

Religious Construction in Decision ­Making of Indonesian Customers for Financial Transactions on Syariah Banks

This study aims to explain how Islamic concepts, symbols and values have implications for people. Especially when they must make decisions to make financial transactions in Islamic banking. Likewise, the religious trend accompanied by the spirit of city has resulted in the enthusiasm of the community to transact with institutions labelled religion in practice. Data collection used in this study was carried out by observation and distributing questionnaires to respondents (customers). Documentation studies are also conducted to find literature related to this study. There are three findings described in this study. First, the conception and symbol of religion is an essential element in the existence of Islamic banking in Indonesia. Second, the understanding of the religious community has been constructed in the decision to make economic transactions in Islamic banks. Third, the religious trend accompanied by religious zeal makes sharia banks in Indonesia have bright prospects to attract the interest of the public to transact. The enermous potential of Islamic banks in Indonesia will experience an increase if the religious values and symbols are implemented correctly and adequately. Religious construction of economic behaviour has resulted in a shift in the pattern of community transactions in the name of religion. This shift certainly provides not only positive expectations in the religious society, but also provides broad opportunities for the banking business world.

Commodification Of Religion’s Value On Instagram Content-Study Case: Safi Indonesia

As plenty of ‘religious values products’ have been sells and have a good market penetration, the writers consider to elaborate on how a brand bringing up the religious values to make their product accepted by market. Indonesia itself, have Islam religion as the majority. Therefore, the Islamic values tend to be accepted by market in Indonesia. This writing aimed to give an explanation and sample of how a brand tried to construct the market’s mind using Mosco’s theory about Economy Political and Communication through commodification, Spatialize and Structuration; featuring Semiotics analysis by Peirce’s, with Qualitative method by observing Safi Indonesia’s Instagram content. The writers use constructivism paradigm to observe how the brand build their market’s point of view towards a product with religious values. From the observation, the writers found that the symbol of religion have been used by the brand to construct market point of view, and accept the brand aiming a conversion to more sales

Hijab Culture Phenomenon: Between Religion, Trend and Identity

Hijab (headscarf) as a symbol of religion became phenomenal in the era of development of science and technology nowadays, impacting on the epistemology and axiology of hijab among Muslim women. The style of hijab used by Muslim women both artists and the general public today not only plays with hijab creations, but also clothing that is increasingly diverse, modern and fashionable. Referring the opinion of Nasaruddin Umar, the phenomenon of hijab in Indonesia is currently due to "hybridity locational "namely the dialectical result between traditional and global Western-style culture. The question that arises is whether the hijab worn by Muslim women is a symbol of godliness or simplt to follows a trend as stated above? Based on these problems, this study aims to answer these questions: 1) Why does the phenomenon of hijab arise among female students of Sunan Kalijaga State Islamic University Yogyakarta ?. 2) What is the function of the hijab, is it a godly identity or is it just a trend? This research study is qualitative, which research procedures employed descriptive data. The respondents of this study were students of Sunan Kalijaga State Islamic University Yogyakarta. Data collection techniques in this study are interview, observation and documentation techniques. While the data analysis technique uses descriptive analysis. The results of the study show that the causes of the phenomenon of hijab are the development of science and technology today and the increasing understanding of Muslim women about the function of using hijab in Islamic shari'a. While the function of the hijab is theological, psychological, political and fashionable.

Translation, compromise, forgiveness. Exploring the role of original goodness in an ethics of capability

While Ricoeur’s argumentation is philosophical, the symbols of religion nevertheless form an integral part of what his work investigated, and represent a meeting point between conviction and critique. Recent work has considered how the symbol of an originally good creation can shed light on Ricoeur’s philosophy. This paper builds from that proposal by considering the significance of the original goodness of creation for Ricoeur’s ethics of capability: in translation; through disagreements and compromise across economies of worth; and in the exchanges of memory transcended by forgiveness. These models operate within an ethics of recognition, where the original goodness of creation can be detected in human plurality in itself, as a presupposed horizon to enable constructive disagreement, and in an orientation to the good as a possibility of human freedom.

LANDSCAPE ELEMENTS SYMBOLISM IN MUSEUM PURNA BHAKTI PERTIWI, JAKARTA

Purna Bhakti Pertiwi Museum is a museum that was established as a manifestation of the gratitude of Soeharto and his family to God Almighty, as well as appreciation for the support given by the Indonesian people and abroad. The form of gratitude is depicted through the concept of symbolism applied to the museum area, one of which is through landscape elements. Symbolism is a concept of human thought that is realized through symbols. Collecting data in this study using the interview method and identifying the symbolism contained in the elements of the museum landscape using Symbolism in Javanese culture which is classified into Symbolism in Religion, Symbolism in Culture, and Symbolism in Science. Based on this research, it was revealed that the landscape element was used as a way for him to be grateful for the blessings and safety bestowed by the Creator, an effort to respect and preserve the culture of his ancestors as a Javanese person, and as a medium of education for the Indonesian people.

ISLAM SEBAGAI SISTEM BUDAYA, REALITAS DAN KEBERAGAMAN PERSPEKTIF BASSAM TIBI

In essence, religion has a function that is closely related to people's life. It is undeniable that the combination of religion and culture forms a binding bond. In culture, it contains ideas in humans so that they form symbols in religion. This raises a social reality in the aspect of plurality in religious communities. This research examines how to understand Islam as a cultural system so that it raises social facts in the lives of various people who believe in Bassam Tibi's perspective of religion. Bassam Tibi offers a pattern of plurality in understanding the religion of culture in the form of symbolic understanding of social facts, Islam as a cultural system is able to respect religions other than Islam. This research study is in the form of research that comes from a variety of literature that discusses Islam as a cultural system, social reality, and plurality. The findings show that the politicization of religion is a social fact that produces religious fundamentalism. Fundamentalism often creates clashes in Islam and problems in political ideology in the world.

NATIONAL SYMBOLS AS THE ELEMENT OF IDENTITY IN ARCHITECTURE OF DIPLOMATIC LEGATIONS

The article determines the peculiarities of introducing national symbols into the architecture of modern diplomatic legations with the aim of reflecting identity and uniqueness of different states of the world. In the context of globalization, multiculturalism, development of supranational institutions, and terrorist threats, the problem related to the means of expressing national identity in the architecture of diplomatic legations, which are the representation platform for each state worldwide, has appeared. The interpretation conciseness and artistic rethinking of national symbols is the major tool applied by architects and building constructors of diplomatic legations of the XXI century. From this perspective, it is particularly important to understand that, on the one hand, the mentioned architectural objects should be treated as symbols of state and nation, but on the other hand, should go in line with local traditions of building construction and architecture, cooperation with local culture, and surrounding environment of host country.
 For the sake of self-identification, each state worldwide uses national symbols that become an integral part of their international image brand. During the course of research, the following types of national state symbols have been distinguished:
 
 
 
 
 The main:
 
 
 Secondary:
 
 
 
 
 - flag;
 - coat of arms.
 
 
 
 - fauna and flora;
 - peculiarities of natural resources;
 - national identity and social order;
 - architectural style, fine arts, ornamentation;
 - symbols of religion and state regalia;
 - ideology and policy of the state.
 
 
 
 
 Official symbols (state symbols) are determined and enshrined at the constitutional and legal level. They are being created during the process of state establishment. Informal symbols are not always enshrined in law and are not mandatory to be used. However, namely these symbols are the full-fledged reflection of uniqueness of nature, culture, religion, history, traditions, politics, and ideology of nation and state.
 Embassy is the diplomatic legation of the highest rank by means of which any state conducts its official activity abroad. The analysis of architectural composition, dimensional and spatial structure, artistic and aesthetic decisions of exterior and interior elements of embassy buildings has enabled the possibility of demonstrating different methods and approaches to solving the problems of using and providing artistic interpretation of national symbols as the element of state identity representation.

The Cultural Symbol of Akkorongtigi in the Wedding Tradition of Makassar Society

This research was intended to examine the caltural symbol of Akkorongtigi in Makassar wedding tradition. Moreover, the approach used was a semiotic approach. The data of this research were the documentation of bridal Akkorongtigi activities and verbal utterances which were transcribed into the text. Besides, data collection used were documentation, in-depth interviews, and observations (field recording, recording, and photo shooting). The data analysis stages were carried out through three stages, namely (1) reduction, (2) presentation, and (3) conclusion drawing. Furthermore, the results showed that there were four cultural symbols in Akkorongtigi, namely the symbol of hope, the symbol of religion, the symbol of glory, and the symbol of togetherness. In addition, the representation of the implementation of the Akkorongtigi tradition was supported by two things, they were verbal and nonverbal aspects.Keywords:Symbols, culture, Akkorongtigi, tradition, Makassar

STUDI TENTANG MAKNA MOTIF (BENTUK, WARNA, DAN PENEMPATAN) PADA TABUIK DI KOTA PARIAMAN

This study aims to: 1) Describe the meaning of the Tabuik Pariaman motif shape 2) Describe the meaning of the colors in the Tabuik Pariaman motif 3) Describe the meaning of the placement of the motifs in Tabuik Pariaman.This type of research is qualitative using a descriptive approach. The author conducted this research in Pariaman, West Sumatra. Data collection procedures are carried out by 1) observation or going to the field, 2) interviews, and documentation in the form of recordings and photos 3). Data processing, 4) data analysis, 5) conclusion of the results. The conclusions of the study are: 1) The meaning of the shape of the motif in Tabuik Pariaman has a meaning as a rule in the life order of the Minangkabau community that upholds customs and religion. 2) The meaning of color in Tabuik has the meaning of decorations that beautify Tabuik in order to attract the appeal of the community and tourists. 3) Meaning The placement of motifs in Tabuik is a symbol of religion, customs, and life.Kata Kunci: Makna Motif, Bentuk, Warna, Penempatan, Tabuik Pariaman.

SIMBOL AGAMA HINDU SEBAGAI PRODUK TATO DI KUTA

Tourists are interested in creative industry products with Balinese style and culture. The symbol of religion is a business opportunity developed by Bali's creative industries. Commodification of the sacred symbol of Hinduism in the form of tattoos occurs because of the tourist demand for tattoos in the form of Hindu religious symbols. This research was conducted in Kuta. Determination of informants using basic informant techniques and key informants. Data was collected through interviews conducted with Jero Bendesa Adat Kuta as the base informant and tattoo artist as the key informant. The data analysis technique used is descriptive qualitative. The results of this study indicate that the commodity of Hindu holy symbols in the form of tattoos as creative industrial products in Kuta occurs because of the demand for tourists and because there are no rules regarding the use of Hindu symbols in the form of tattoos. Commodification occurs in the value of the sacred symbols of Hindu religion which are sacred to commercial value. Commodification occurs in the function of the sacred symbol of Hinduism which functions as a sacred object into an object that functions as an art. This commodification does not change the original form of the sacred symbol of Hinduism, only a few variations are added such as flowers, lines, circles and so on.

Worldly Portent of Face Uncovering and Women’s Dilapidation: A Comparative Study in Context with Quranic Injunctions

Assyrian Text is witnessed that women used veil for face covering with an additional piece of cloth about 13 centuries before the Christ. Then history of mankind displays veil in Egyptian society that was transparent and normally white in color. We found a handful evidences in Greek literature regarding veiling of face. History travels to Anglo-Saxon age and witnessed that women used veil to cover their hair of head. The head covering shows a biological reasoning also. Roman culture was the culture of fantasy, the veils were full of colorful, and multi designed veil arranged by flowers and different beautiful substantial. In Roman, veil developed from only head covering to shoulder covering and then from head to back covering. British regime also enrich the history of veil. There was beautiful designed, decorated with net clothes and covered with beautiful embroidery. The veil was empowered by elite community in England. Later it was popularized as a fashion in colonial communities. Through this thorough historic discussion, it is approved that veil used by women has a long history as the human history. In religious context, Hinduism is understood as the oldest religion on globe, it is found that in Harappan times about 2500 BC, Aryan women used to wear full body covering single cloth from head covering to foot, which was preached in Hindu religious book Vedas also, later the single cloth was known as Sari. And after the introduction of Christianity, Veil was introduced as a compulsory symbol of religion. Veil of whole body with strict rules can be seen in the form of Christian nun. Later, Islam explained veil of women in public as an obligatory sign. Islam is the youngest religion on earth, it was published rapidly and the implication of its rules are practiced prominently. After a thorough historic and religious discussion, it if proved in this article that veil was a compulsory part of human society and religions before Islam had also preached for veiling.

Fish Imagery in Iranian artwork

Iranian art is one of the richest artistic heritages in the world comprising different fields such as architecture, paintings, weaving, pottery, calligraphy, metalworking, petrography, etc. This art had inseparable link with nature; especially with plants and animals in different eras; and it has been interwoven with poetry and literature so that its glory, beauty and expression have increased over time. In this study, based on available resources and collections in the museums of the world, fish imagery depicted in ancient Iranian art has been studied and its importance is dis-cussed from different perspectives. Results showed that the use of plant and animal imagery, especially fish, in the ancient works such as stone, clay, bronze and fabric (textile) has a long history of several thousand years and the fish has been used as a symbol of religion, culture, social relationships and economy. On the other hand, fish imagery presents the past fish fauna, and along with the archaeological remains, provides information about the fish biodiversity, which is usually consist with the recent ichthyodiversity.

Making sense of the postsecular: theological explorations of a critical concept

Current debates on ‘the postsecular’ focus on the alleged new visibility of religion in the public sphere. They overcome earlier neglect or indifference toward religion by acknowledging its importance and cast doubt on traditional binaries between ‘secular’ and ‘religious’. How should systematic theology take up the challenge of these debates? Is ‘the postsecular’ a chance to reconsider religion beyond modernist critiques or should one be critical of too easy celebrations of ‘the return of religion’? As an introduction to a special issue on this theme, this article argues that theology should take it as a chance for new dialogues with unexpected allies, opponents, and critics. This calls for an attitude of openness and a willingness to think anew, without losing one’s roots in a specific orientation. Theology’s contribution can be (1) rethinking core notions from the theory of religions, (2) asking for the specific perspective that religion may introduce and (3) the constructive reinterpretation of – partly forgotten – symbols of religions. After discussing the state of the art in debates on ‘the postsecular’ in the first article, the other contributions of this special issue take up these theological tasks in dialogue with thinkers like Richard Kearney, Jean-Luc Nancy, and Paul Ricoeur.

Nationalism in Europe & America: Politics, Cultures, and Identities Since 1775 by Lloyd S. Kramer (review)

Nationalism in Europe & America: Politics, Cultures, and Identities Since 1775. By Lloyd S. Kramer. (Chapel Hill: University of North Carolina, 2011 . Pp. 272. Cloth, $65.00.)Reviewed by Johann NeemIn Nationalism in Europe The first claim is intended to challenge those who believe that nationalism's roots lie in mists of time. Kramer is not claiming that shared cultural identity is modern. What was new was idea that this shared collective identity must be linked to political self-government. As Kramer writes, nationalists believe that state power should represent collective will of a particular population or 'citizenry' (29).This ideal emerged, Kramer argues, in wake of American and French revolutions, and spread across Europe with French Army. As divine-right monarchy came under challenge, theorists from John Locke forward posited idea that legitimate government must derive from consent of governed. Rights and collective self-government became linked in theory and in popular ideas. This meant that early history of nationalism, especially in American Revolution, was liberal and revolutionary rather than conservative and reactionary (34).Nationalism was successful, however, because gives people deep emotional attachments to large human communities and provides powerful stories to explain meaning of public and personal lives (7). Like Robert Wiebe in Who We Are: A History of Popular Nationalism (Princeton, NJ, 2006), Kramer recognizes that nationalism gives people a sense of belonging in a complex world, and thus is housed in real human needs and hopes. Thus, Kramer concludes, despite nationalism's roots in political revolutions, it is fundamentally cultural.Kramer's book is oriented around proving that nationalism's causes are not political nor economic - as many other scholars argue - but cultural. Nations emerge textually through land, language, 8c writing (57). Ordinary people come to attach special meaning to particular bounded plots of land through textual representations that endow land with meaning. As Benedict Anderson recognized in Imagined Communities: Reflections on Origin and Spread of Nationalism (New York, 1993), spread of print culture meant that people could identify with one another across space. Kramer, building on this insight, argues that it was through circulation of texts that nationalism achieved cultural coherence.In one of most interesting chapters in book, Kramer explores how nations co-opted language and symbolism of religion in order to endow themselves with the transcendent meanings that can transform a national into a sacred cause (81). …

From the Guest Thematic Editor: True Interdisciplinarity

From the Guest Thematic Editor: True Interdisciplinarity Peter Casarella (bio) It has been a pleasure to serve as guest thematic editor of Diálogo 16. The timing was just right. Latino Studies and Latino/a Theology have not always walked on the same path. This collaboration brings together two dynamic centers of scholarly productivity at DePaul: the Center for Latino Research, and the Center for World Catholicism and Intercultural Theology, both in the College of Liberal Arts & Social Sciences. Both entities are committed to interdisciplinary research that fosters greater solidarity and understanding between North America and Latin America as well as to the themes of immigration and transnationalism. But the truly novel part of the collaboration was to engage Latino/a reality in the U.S. from dual perspectives. I sincerely hope the exchange, in these Diálogo pages, can contribute to broader methodological discussions of how these two disciplines complement each other. This issue brings together a fascinating collection of insights into Latino/a aesthetics and the history of the Mexican presence in Chicago. We invited contributions that explore the current state of Latino/a Catholicism in the U.S., and current and historical struggles to achieve transformations in Latino/a Catholicism. I myself was particularly interested in ways in which Latino/a Catholicism integrates a vision of beauty and justice and thus articulates a new and compelling view of nature, culture, art, and social change. We offer a glimpse of the history and contemporary lived experience of Latino/a Religious Communities in Chicago by focusing on the diary of a Mexican woman from the time of early migration, and an article that studies The Resurrection Project in the Pilsen neighborhood of Chicago. The collaboration was fruitful beyond my expectations. It is easy to talk about broad and noble ideals like “interdisciplinarity,” but we actually produced an interdisciplinary issue. Now that is exciting! We chose the theme of: “Cosmic Liturgy: Latino/a Catholicism Today.” The term “cosmic liturgy” comes from a distant but interesting source. A highly regarded Swiss Catholic theologian, Hans Urs von Balthasar, first used it in 1941 to summarize the achievement of a groundbreaking thinker from the seventh century (Maximus the Confessor) whose synthetic understanding of life and liturgy brought together a vast expanse of the wisdom of Asia and the Christian East into a single vision.1 Under the same thematic title, a second issue of Diálogo 16 will describe the work of Alejandro García-Rivera, a Cuban American theologian (and former nuclear physicist) who died on December 13, 2010 and was indebted in some ways to von Balthasar and especially to his search for a new vision of cosmic synthesis in the world today. In context of this journal, however, the meaning of cosmic liturgy has a very broad, multivalent meaning. For Latinas and Latinos the study of faith and culture always lies at the crossroads. Alex García-Rivera talked about the Latino/a theology as a fusion of the indigenous cosmovision with the Christian view of the world as the garden of God. Alex highlighted the woundedness of the artist that comes from standing in solidarity with the marginalized. All of the symbols in religion and rituals of daily life reflect these multiple sources of identity and meaning as well as the struggle to articulate their integration in a novel way. Volume 16, Number 2 will focus on the theological aesthetics of Latino/a Catholicism. This thematic focus grows out of a conference held in the Fall of 2011 at DePaul University entitled, “Cosmic Liturgy: The Vision of Alejandro García-Rivera.” We gathered then to celebrate Alex’s legacy and mourn his passing. Alex died young, and his departure was both sad and sudden. The collection of short essays in that issue, revised from presentations given at that conference, will be a fitting memorial to the still undiscovered legacy of this remarkable man, and will be joined by complementary articles from scholars in Latin American and Latino Studies. These two issues are just the beginning; evidence of diálogo in process of discovering a new path, un camino. In his last publication before he died, Alex García...

Pierce and Cassirer, ‘Life’ and ‘Spirit’

This research explores the contribution of Ernst Cassirer to the relationship between communication and religion. Religion, one of Cassirer's fundamental symbolic forms, is read through the phenomenological categories in Charles Sanders Peirce's semiotics. Communicology is briefly described as the science of embodied discourse. The semiotic logic (phenomenology) beneath Cassirer's dialectical thinking is revealed. Peirce's progressive, reflexive logic of Firstness, Secondness and Thirdness proves insightful as a way of comprehending the breadth and depth of Cassirer's symbol of religion in relation to ‘life’ and ‘spirit,’ ‘basis phenomena,’ and myth and religion. We conclude that in religio it is not the symbol that is sacred. Rather, communication is held sacred.

The balance in the museum

The balance is the oldest real measuring instrument. It is still a widely used instrument in science, industry, commerce and in the household. It has found significance as a symbol in religion, justice, commerce and as an esoteric object. As a balance is always an interesting object it is exhibited in many museums and there exist a lot specialised scales-and-weight museums. We attempt to give a survey of these.

Listening as a Symbol of Religion: A Chaplain's Response

Chaplains offer a different perspective for this discussion as they are at once religious professionals, but often working in secular settings. As religious professionals they are seen as persons who represent a particular religion and yet must be available to persons of all faiths. In this context, chaplains do understand and define religion because in the course of their work they also understand that some people do not believe in religion. A chaplain's ministry is to both believer and nonbeliever. Chaplains may have greater difficulty incorporating spirituality into their work if they are from a religious tradition that does not generally include this concept in their work. Chaplains are practitioners who work directly with the dual role of religious professional working with the tools of religion and yet often operating in secular settings.

Symbolism in Religion: Ricoeurian Hermeneutics and Filipino Philosophy of Religion

n the study of the Filipino thoughts on religion, there are two important features of religion to consider in order to formulate a method that is suitable for the study of Filipino philosophy of religion. First, man experiences an encounter with the sacred, and this is called a religious experience. And this causes him to believe or to assent, and specifically, this is called faith. And second, symbols are used in expressing religious experience. Man has various experiences. Parents experience joy as they hold in their arms their newborn baby. One experiences grief when a beloved has died. A man experiences the feeling of being in love with a beautiful girl. And he also experiences the feeling of being hurt when the girl turns down his love for her. Among these varied human experiences are the experiences of being mystified by the beauty of creation, of being grateful for surviving a dreadful disease like cancer, and of being at a loss in comprehending the love of God. These experiences signify the religious encounter, which is an encounter with the Divine. Secondly, the religious experience is expressed through rituals, myths, traditions and other symbolisms. Thus, religion employs a great number of symbols in conveying the religious experience. Considering this remark, it is no wonder that Filipinos have numerous religious symbols. This is due to the integratedness of religion in the everyday life of a Filipino.1 One can readily observe these various Filipino religious traditions. Among these are the veneration of saints, the use of religious articles, and the various prayer devotions. In order to understand Filipino thoughts about religion, there is a need to understand the religious symbols that surround Filipino religiosity. Considering these important factors, the use of a hermeneutical method is necessary in the study of Filipino philosophy of religion. There is a need for hermeneutics in order to interpret and understand the dynamics of Filipino religiosity and to discover the various symbolisms in relation with Filipino religiosity. Thus, it is significant to take into account that the hermeneutical method must be able to consider the religious experiences of the