KORELASI ANTARA MOTIF HIAS SONGKET DAN UKIRAN KAYU DI PROPINSI SUMATERA BARAT (STUDI KASUS DAERAH PANDAI SIKEK, SILUNGKANG DAN KUBANG)

• Main Author: Minarsih
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/2936
• Institution: Institut Teknologi Bandung

<b>ABSTRACT: </br></b> <br /> <p align=\"justify\">Carving and weaving are two products designed traditionally by west Sumatran artists and craftsmen. There is no written evidence how these weaving activities begin. Several result of researches caused problem about relationship between carving motives and weaving patterns and factors caused the relations and difference. Thus part of weaving motive affects the carving and vise versa. The relationship mentioned above might be caused of the songket weaving is done at ground floor of rumah gadang. So the condition influences the workers to get inspiration through carving motives. The purpose of this research is to know how far the relation developed between weaving and carving motive of Rumah Gadang in West Sumatra. The system of the research is qualitative-quantitative descriptive which describes the phenomena of those crafts. Minangkabau tribes involved the incoming other cultures history that affect the tribes and creation of the Minangkabau artists. To create Rumah Gadang and weaving, especially for the motive based on the mixing of the Moslem and Minangkabau aesthetic which supported by some aspects such as teaching and the way of life \"alam takambang jadi guru\', the way of esthetical thinking formulated in \"tip tungku sajarangan\", tribe principal \"adat basandi syarak, syarak basandi Kitabullah\", take nature as resources of ideas to create the work of art. Building structure is almost similar to clothes structure, can be seen at the pattern making structure; diagonal, vertical and horizontal. The repeated pattern caused by the way of geometric thinking which create object field measurement. Two possibility functions of motive is to decorate/beautify in order to make it aesthetic and to express meaning and symbol (as social expression).<p align=\"justify\"> Based on weaving and carving motive description; there are 42-65% motive have the same meaning found at Pandai Sikat. Small number pattern of carving appears in new weaving design. The same motive found in weaving design at Kubang (33%) and Silungkang (25%). Based on description above, conclusion of several item can be made, that; weaving and carving are two types of craft products, the specific crafts of West Sumatra which have very different characteristic compared to the same crafts from central of Java, that can be seen through technique and material aspects. The quality of both products; carving and weaving mentioned above can be seen through material/technique and aesthetic expression. Relationship between both motive of the product clarified from function, naming, structure, position, repeating, and also from the color arrangement from several patterns. Decrease of the technique weaving has been doing by several craftsmen through songket patterns. This is caused by increasing market demand and quick services of artist weaving chased on working time. Lain padang, kin belalang lain lubuk, lain ikannyo. The meaning of proverb is; different country has different custom, create different concept and appearance on each country. <br /> Another reason why the motive is not similar because orientation of carving creation based on the market demands, beside that is affected by creativity of artist itself. It seems that carving artist coming from around the volcano (where they\'re previous generation of Minangkabau coming Ampat Angkat Canduang, Pandai Sikek and Pariangan. Each region carving has its own characteristic. Although Minang society are Moslem, but some of them are using the hidden beliefs where they believe on the power of magic and myths. The essential color of Minang are sirab (brownish red), kuniang (chrome yellow) and bit= (black) which give varieties meaning, dark green is another color beside the others.<p align=\"justify\"> Domination color in facade carving and weaving is sirab, and kuniang kunyik (chrome yellow), then hijau tuo (dark green) and black. The recent quality of carving and weaving look different from the old types. More based on the customer orders and the less arcade meaning. The dynamic of carving pattern, various meaning of pattern, choosing dark color; means that Minangkabau society is brave, love luxury and joy. The tend is caused by two different things (dichotomy). The pattern of the carving and weaving is not just metaphor, it has meaning that reflect the culture of Minangkabau. The purpose of comparative approach between carving and weaving motive is to express system analyst to carving and weaving of Minangkabau, to appreciate the similarity and difference; because these two art and crafts are being corrupted in the erosion culture process. Working habit is on the market orientation, but not caused severe decreased of quality of the products, decreasing of quality make the traditional culture fade away. One of the effort can be done is never forget and realize to maintain traditional culture. Specific color and characteristic of carving and weaving at each region should be preserved. All party are not so easy to receive outside influences which is later on should decrease the concept of understanding traditional art of Minangkabau generally and other regions. The result of this research is donation about similarity and difference inventory of the motive on site of the source of carving and weaving which is still productive. There might be some relation between motive of both products exist in other craft design in West Sumatra. Hopefully there would be more research in the future. Several districts such as Koto Gadang, Balai Cacang, Sungayang and Pitalah have no longer create those of weaving and curving production. In contrast, those product are made increasingly in Pandai Sikek, Kubang and Silungkang. This phenomenon need further research. <br />