Publication Search

This research examines Bogor Palace as an architectural text that represents a fusion of European and tropical styles through a semiotic approach. Bogor Palace is not only a symbol of Dutch colonial power but also reflects the adaptation of Indonesian culture and tropical environment. This research aims to reveal the meanings and symbols contained in the architectural elements of Bogor Palace, such as symmetrical facades, tall pillars, large windows, cross ventilation, and steep roofs. Using semiotic methods, this research analyzes how these elements function as signs that represent aesthetic, historical and ecological values. The results show that the European architectural style of Bogor Palace, reflected through classical structures such as pillars and decorative ornaments, symbolizes the status of power and the influence of colonial culture. On the other hand, tropical elements such as cross ventilation, spacious terraces, and steep roofs represent adaptation to local environmental conditions, while symbolizing harmony between humans and nature. The symbolism in this design not only serves to fulfill functional needs, but also creates a visual narrative that reflects the dialog between foreign and local cultures. The study concludes that Bogor Palace is an artifact rich in semiotic meaning, where each architectural element contains messages about history, culture and ecological adaptation. This research contributes to the study of colonial architecture, particularly in understanding how historic buildings can be interpreted as sign systems that represent cultural and environmental complexities.

The study examines the theological meaning of the symbols of water, wine, and blood in the Gospel of John and their interrelation within the perspective of Catholic theology. Grounded in John’s distinctive use of symbolism as a medium of revelation, the study treats these three symbols not as isolated narrative elements but as an integrated theological sequence. The study employs a qualitative method, utilizing a literature-based approach and biblical-theological exegesis of key texts. The findings indicate that water signifies the renewal of life originating from divine grace and is closely associated with Baptism; wine expresses joy and abundance within the new covenant, finding its resonance in the Eucharist; while blood marks the culmination of divine love manifested in Christ’s redemptive sacrifice. Together, these symbols form a progressive dynamic of revelation: from renewal, to communion, and ultimately to redemption. In the light of sacramental theology, these symbols not only reveal the identity of Jesus as the incarnate Word but also mediate a concrete experience of faith within the life of the Church. Thus, the Gospel of John demonstrates that God’s salvific work unfolds in an integral and continuous manner, remaining relevant for the contemporary practice of Christian faith.  

This study explores the semantic dimensions and symbolic meanings found in Buddhist religious texts by applying a hermeneutic analysis to the concept of dukkha in the Dhammacakkappavattana Sutta. Commonly translated as suffering, dukkha carries broader existential implications, such as dissatisfaction, impermanence, and the inherent unsatisfactory nature of existence. Employing a qualitative hermeneutic approach combined with semantic and semiotic analysis, the research identifies three interconnected layers of meaning within dukkha: the literal level, referring to physical and mental suffering; the contextual level, which reflects the human existential condition; and the spiritual level, where dukkha becomes a gateway toward liberation. The results indicate that a nuanced understanding of the semantic richness of dukkha is crucial for a deeper comprehension of the Four Noble Truths as the core framework of Buddhist doctrine. This study contributes to interdisciplinary discourse among linguistics, religious studies, and Buddhist practice, emphasizing that sacred language functions not only to convey doctrine but also to encourage inner reflection and spiritual transformation.

Among the many verses used in the Dolalak Dance, the verse "Atas Pisang" holds a unique position. This verse is often recited at the end of the performance, signifying a solemn and message-laden conclusion. This study aims to examine the symbolism and meaning within the ‘Atas Pisang’ verse in the Dolalak Dance. This research is a qualitative interpretive study employing Roland Barthes' semiotic approach regarding denotation and connotation meanings. The findings indicate that the ‘Atas Pisang’ verse in the Dolalak Dance, through its symbolism and metaphors, conveys various relevant and wise life advice. The balance between visible outcomes and underlying essence, hope and recovery from difficulties, the importance of actions in pursuing desires, appreciation of the past and experiences, and wisdom in family relationships are the main messages conveyed. The ‘Atas Pisang’ verse teaches that a balanced life, filled with hope, active pursuits, appreciation of the past, and wisdom in family relationships are keys to achieving a harmonious and meaningful life.

Can Macanan Kaddhuk is a traditional art typical of the Jember region, East Java. The creation of this art has become the sole meaning of Jember culture, which has its own story and has gained public legitimacy for this local culture. Events exist from the founder's subjective composition which continues to be passed down to legitimize society. This art also characterizes itself as an acculturation of several cultures around its region. So, it is very interesting that the presence of its founder at the beginning of the emergence of social culture made the beliefs dominant among each group. Moreover, the development of this culture has a very unique style, representing every art activist's interpretation. The expression of symbolic meaning and aesthetic value in the art of Can Macanan Kaddhuk requires encouragement in the post-modern world in terms of art, so the research uses a qualitative approach with appropriate methods. The results of this research show that it is not only focused on its function, namely as entertainment, but is intended as a medium for conveying the moral and spiritual messages contained therein.

This article explores the symbolism and theological significance of the Millennial Kingdom in the context of the Book of Revelation. With a focus on specific texts such as Revelation 20:1-10, the author analyzes how this concept became an integral part of the eschatological vision presented in Revelation. Through the overall approach of Revelation theology, this article delves into the profound meaning of the Millennial Kingdom in the eschatonic Christian understanding. Thus, this article contributes to the understanding of

This research aims to analyze the semiotic aspects in the architecture of Pagaruyung Palace, focusing on the symbolism, acculturation, and historical aesthetics contained in the building. Pagaruyung Palace, as one of the Minangkabau cultural heritages, not only serves as the residence of the king, but also as a place for the expression of cultural, social and political values of the Minangkabau people. Through a semiotic approach, this research examines the architectural elements of Pagaruyung Palace, such as the shape of the gonjong roof, the building structure, and the ornaments contained therein, which hold deep symbolic meanings. Furthermore, this research also explores the acculturation process that occurred in the architectural design, where the influence of various cultures, such as Malay, Hindu-Buddhist and Islamic, is reflected in the architectural elements. The aesthetic aspects arising from the fusion of these cultural elements are also analyzed to understand how the architecture of Pagaruyung Palace creates harmony between function and beauty. This research is expected to provide deeper insights into the relationship between architecture, culture, and history and its outcomes.

This research is motivated by the phenomenon that attracted the attention of netizens due to the raising of the Red and White Flag which was raised together with the flag of the Palestinian state which was spread through twitter social media. Many of the platform users commented that the incident was not in accordance with the laws and regulations in Indonesia.  In collecting data, this study used quantitative methods by examining the subject population of high school and university students with a survey approach. This study shows the subject's attention to the treatment of his country's identity, namely the Indonesian national flag as a student. The obligation to defend the country in the form of respect for the Indonesian national flag should be instilled in every soul of the young generation of the Indonesian nation. State defense is not only an obligation but also for the sake of maintaining the continuity of the Indonesian nation as a Pancasila human being.

This study examines the semantic dimensions in Buddhist religious texts, focusing on linguistic meaning, symbolism, and interpretation. Applying theoretical frameworks of semantics (lexical semantics, semiotics) and qualitative hermeneutical methodology, this research aims to understand how Buddhist teachings are constructed in texts and interpreted by Buddhist communities. The findings indicate that key texts such as the Sutta Pitaka and Mahāyāna Sūtras contain multiple layers of meaning that depend on cultural context, ritual practices, and teacher interpretations. This research supports the development of interdisciplinary understanding between linguistics, religious studies, and Buddhist practice. The study reveals that meaning in Buddhist texts operates on three distinct levels: literal (vācika), contextual (attha), and spiritual (paramārtha), each requiring different hermeneutical approaches. Symbols such as the lotus and the Dharma wheel function not merely as metaphorical ornaments but as carriers of profound cosmological and soteriological significance