AESTHETIC ANALYSIS OF HIOU SIMAKKAT-AKKAT SUPLEMENTARY WEFT MOTIF, TRADITIONAL WOVEN CLOTH UNIQUE TO SIMALUNGUN

• Main Author: Thio Gunadi Purba, Ariokh
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/46963
• Institution: Institut Teknologi Bandung

Hiou is a traditional woven cloth, unique to Simalungun tribe in North Sumatra. There are some fabrics such as hiou, namely ulos from Toba and uis from Karo. Hiou, uis and ulos have the same meaning which is cloth. Hiou Simakkat-akkat is a typical Simalungun woven cloth used as a shawl at traditional ceremonies. The motifs on woven cloths, especially supplementary weft motifs, are a sign that the fabric is intended for certain events, not for daily use, but in this study the emphasis is on the differences and similarities with woven fabrics from other regions (Toba and Karo). The differences and similarities of the traditional kaint weaving need to be clarified because there is ambiguity, that in Simalungun itself the hiou and ulos overlap. Basically the woven fabric in the Karo, Simalungun and Toba has the same basic pattern, known as the division of three, which departs from the kinship system of the Rakut Sitelu, Tolu Sahundulan and Dalihan na Tolu. These three kinship systems divide relatives into three, the family of the wife, the family of the same clan and the family of the husband. The third division in the kinship system comes from the religious and cosmological system, called Tolu Nagori or three worlds governed by trinity of gods, in Toba culture known as Mula Jadi na Bolon, Silaon na Bolon and Pane na Bolon, these three entities actually aspects of a single High God with different tasks, so the name is different. This division is related to the form of Simalungun culture, which is an ideal form that is continuous with the physical activities and physical forms (including traditional woven cloth).The aesthetic analysis carried out refers to the primordial aesthetics (Sumardjo, 2014) and the seven elements and the three cultural forms of the Koentjaraningrat cultural theory are interpreted by the hermeneutic method so that the Simalungun culture can be described by its seven elements and then linked to the primordial aesthetic, because culture and primordial aesthetics are overlapping. The object of research (hiou) and cultural events or activities become the basis of interpretation to understand the purpose of the creator of hiou. The object of research and cultural activity of Simalungun is in the physical form of culture and the form of cultural activity, which departs from the first form in the three forms of culture, that is the religious system which is the ideal form. Then the aesthetics associated with the symbolic meaning of the Simakkat-akkat hiou can be known. The findings of this study are similarities in the composition of additional feed motifs with ulos and uis, because the culture in these tribes is the same as the farming community or pattern three, while the difference is in the forms arranged in the additional feed motif, this is due to the influence of a mixture of outside culture. So if the fabric of hiou, uis and ulos is seen in general it will look very similar but if it is seen in more detail the difference will be very noticeable.Keywords: hiou, listening, motives, aesthetics, Simalungun.