DIALOG DI ANTARA TAFSIR NARATIF TERHADAP LUKAS 24:13-35 DAN PEMBACAAN LUKAS 24:13-35 MELALUI LUKISAN EMAUS - EMMANUEL GARIBAY

50170024, Tiffany Tamba (2019) DIALOG DI ANTARA TAFSIR NARATIF TERHADAP LUKAS 24:13-35 DAN PEMBACAAN LUKAS 24:13-35 MELALUI LUKISAN EMAUS - EMMANUEL GARIBAY. Thesis (S2) thesis, Universitas Kristen Duta Wacana.

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Abstract

The purpose of this research is to have a dialogue between the narrative interpretation of Luke 24: 13-35 and the reading of Luke 24: 13-35 through the painting of Emmaus - Emmanuel Garibay. This effort was to find the reading results of Emmaus text (Luke 24: 13-35) that used the “Seeing Through” method which had already been examined through narrative interpretation, based on the lens of Emmaus-Garibay's painting obtained from the theological studies of theologians in the painting. Then find the relevance of these readings for the academic environment (especially hermeneutic studies), the ecclesiology of the church and the cultural community (especially lapo tuak). The research method in this paper is a qualitative method. This research will begin with a narrative interpretation of Emmaus texts (Luke 24: 13-35) and theological studies of some theologians on Emmaus paintings, then followed by “seeing through ”reading Emmaus texts through the lens of Emmaus paintings. Based on “Seeing Through” reading on the text of Emmaus (Luke 24: 13-35) through the lens of Emmaus-Garibay's paintings, it appears that the story of Emmaus is a story with a variety of surprises that freed His followers. These surprises include liberation from the stupidity of understanding reality, the limitations of the concept of the image of Christ, inaction to accommodate experience, the imbalance between messianic expectations and authentic reality. The lens of Emmau's paintings opens to a broad view of Jesus being able to be present in His physical absence as part of His unlimited concept of images. The manifestation of Christ's presence in unexpected things includes women as joy carriers. If a woman had been imprisoned on any particular concept, now she is against it. The female Christ in this painting implies the unlimited presence of Christ. The post-Easter Christ opposes conventional religiosity and embraces humanity towards full liberation. The risen Christ can be found in unexpected, unrecognized encounters (two followers of Jesus named Cleopas and his unnamed traveling companion) that is, even in the presence of women (as in the painting). This thinking implies a celebration of hermeneutical diversity through culture. Such a view inspires a hermeneutical study that can also contribute to the ecclesiological creativity of the church in building a cultural community in society such as lapo tuak of the Batak people. “Seeing through” reading inspires innovation and creativity in elaborating the sacred texts of the Bible using hermeneutical studies that can enrich the theologian's views in the context of individual life in the midst of progress. “Seeing Through” reading evokes confidence and excitement in one's own context because it sees the other person’s context.

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