Abstrak
The Minangkabau cultural history is
influenced by major cultures in generally such as Hinduism and Buddhism, Islam,
and by Western or Dutch culture (Amran, Rusli., (1981), Navis, A.A, 1984;
Nasbahry C, 1998). Thus both object culture and objectless culture are
influenced by these great cultures. The intangible cultural Heritage from
anismistic track of cultural and Hindu Buddhism that interpreted from the rules
of the building, the way and the arrangement of buildings appear from Mount
Merapi, as well as the naming of elements of the building (architecture), and
the artifactsin the past culture. According to the study of the original minang
tradition building is always stretched out toward the mountain (Syamsul Asri,
1996), four gonjong roofed as a four symbol or Minangkabau cosmology).
Likewisethe names of building elements and building frame.
The intangible cultural heritage can also
be investigated from words and languages that used for naming elements or parts
of buildings. it also from the cull of belief, fairy tales, and minangkabau
myths at the past that can be read from the arrangement of carvings on the
building of Minangkabautradition. Thus, to examine the intangible cultural
heritage aspects of traditional buildings, this study can be approached through
semiotics (science of signs) or through the study of cosmology (Bakker,
Anton.1995) on Minangkabau tradition culture. The Intangible Cultural Heritage
study consist of: (1) oral tradition and expression, including language as a
vehicle of intangible cultural heritage; (2) performing arts; (3) social
practices, rituals and festival events; (4) knowledge and practice of nature
and the universe; (5) traditional skills (Unesco, 2003). That is, "The
heritage of intangible cultural heritage ispractices, representations,
expressions, knowledge, skills - as well as the instruments, objects, artifacts
and cultural spaces linked to them.
Keywords: intangible cultural heritage, minangkabau, languange, traditional building
Research Area Building Minangkabau Tradition
Many theories explain that a primordial society building should be simple and not complex or complex (Snyder, 1984, Roxana Waterson, Holt, 1967) and so on. Based on that and the results of research can be obtained the basic form of Minangkabau tradition building. According to Darwis (1978), Usman, (1985), Couto (1998), Asri (2002) is a rectangular shape, built by the arrangement of poles. The results of several authors' research show the same tendency that the original form of the building has five spaces, four rectangles, and consists of 30 poles. This form of lay out is a thesis about minangkabau tradtion come from because both of the technology building, form, and naming have similarities prediction in every Minangkabau nagari (especially in luhak nan tigo). The difference is in the outer shell of the building (enclosure), especially the form of roof and body building.
In my research for thesis at ITB
Bandung, which was carried out in the year 1996-1999, it is a semiotic study on
Minangkabau tradition building in Sehiliran Batang Bengkaweh in Tanah Datar
regency, West Sumatrea. Because it is considered as the first "place"
of Minangkabau culture which was developedbefore spread to other regions
(Dirajo Sangguno, 1955; Amran, Rusli., 1981, Asri, Syamsul, 1996). it also
considered to be as the oldest nagari that assumption of first capibility
formation in minangkabau culture by Datuk Parpatih nan Sabatang and Datuk.
From Asri’s research, Syamsul, 1996,
it is show that Culture has to relation with tradition and custom thatdoing
repeatedly from behavior because it does not have unwritten rule. The expert of
Minang culture agree that it is come from luhak nan tigo (now Tanah Tanah
Regency, Agam and 50 Kota), others called rantau. Because the unwritten rules
are also divided according to the customs that can not be changed (the
truecustoms) andmay be changed (customs). The visual culture belongs to this category
as "the custom of mutual nagari"
For example where is the tradition and what has been changed in
another nagari in West Sumatra, how the orientation, which form of origin and
which form of influence and have been developed. This idea make an analyze
about the form of the origin of residential space or building Minangkabau
traditionto find the morphology of the building form, including the shape of
the building plan.
The building Arrangement of Minangkabau Myth and Cosmology
The interpretation of the visual culture of the Minangkabau tradition, whether in the semiotic study or in cosmology study must be in appropriate with the meaning-giver, therefore the Minangkabau cosmology study consists of three groups of interpreters (Geertz, Clifford, 1992, Bakker, Anton.1995)
For example where is the tradition and what has been changed in another nagari in West Sumatra, how the orientation, which form of origin and which form of influence and have been developed. This idea make an analyze about the form of the origin of residential space or building Minangkabau traditionto find the morphology of the building form, including the shape of the building plan.
As we known, the composition of people sitting on the inside of the building Minangkabau tradition, if there is a traditional ceremony is like the picture below. The arrangement of the sitting is always facing Mount Merapi, as a tribute to the mountain. According to ancient animistic beliefs, the mountain is the home of the ancestorswho deserve respect. (Figure 2). The arrangement of stones can be compared to the composition of the pamphlets at traditional ceremonies in the usual gadang house (Figure 3) ([1])
A classic theory that underlies the formation of a building plan such as picture (1) that is to perform a traditional ceremony is on the area / front of the building chamber called lanjar hall, labuah, bandua. From the research revealed, that at first musyawarah it was done outside the building.
Cosmology in the era of Hindu Buddhist
As is known, Hindu is a "polytheism", that the universe is dominated by the gods. Like the god Brahma, Vishnu and Ciwa. It was influence Javanese culture and also Minang Culture that called by Hasta brata.
The latest literature that can be seen from the writings of Pardi Suratno
entitled "The Leader according to Asthabrata, Wulang Reh, Tripama, Dasa
Darma Raja".[1] In the ancient Javanese cultural treasures,
there are at least four philosophical teachings of leadership. The four
teachings are; Science Hasta Brata, Wulang Reh, Tripama, and Dasa Darma Raja.
An in-depth review of the four teachings can be read, among others, in a book
written by Pardi Suratno. Of the four teachings, Hasta Brata is the most
complete (relative) and also affect Minangkabau culture of the past.According
to Suratno (2006) Hasthabrata concept appears in the story of Javanese puppet
with the play 'Iwahyu Makutharama' which tells about the giving of a Pandita
named Wiswamitra addressed to Sri Rama who will be crowned king replace his
father.
The prince always guides dhasthabrata precept to
referable fatwa that crowned the king of java. Hasthabrata consists of the word
hastha meaning Eight and brata which means Good. In some literature also
mentioned that these eight behavior of nature represent symbols of wisdom and greatness of the Creator,
namely; the nature of the Earth, the nature of the Sun, the nature of the Moon,
the nature of the Ocean, the nature of the Stars, the nature of the Wind, the
Nature of Fire, and the nature of Water.
The nature of minangkabau culture is contained from the "hastabrata" (eight traits of leadership) derived from the eight traits of nature or represented by the eight gods. Before islam enter the politeism of minang, the nature was dominated by human-like personification. So it can be concluded, this co-concept is vaguely influenced by the ancient Hindu-Javanese concept. The proof of this can be seen in the traditional (original) minangkabau speech always beginning with the following utterance: "samulo alam tabagi salapan, duo pai ka utara (China), duo pai ka salatan (Java?)", Then nature is lived four. If the minang people do not know "nan ampek" then he is not minang people, as follows: kato nan ampek, nagari nan ampek suku and so on.
Interpretation of carved arrangement
structure and meaning of reading in house carvings
Previous studies have generally
interpreted meaning or symbol carving on minangkabau tradition buildings
separately. For example carving kaluak paku given a certain meaning.
One of findings in this study is
an attempt to read the meaning in the context of the structure in house carved
signs. The existence of the sign structure is (syntactic) while the engraving
is considered as (text). The structure of this sign is visible on the wall but,
the building of Rumah Adat, in Surau-surau Tribe in the research area. After
the comparison was also found in Luhak Agam, and Luhak Limo Puluah Koto. The
pattern is as shown in Fig. 3 A) and 3 B)
Figure
6. The structure of carving and its visual pattern in Carambola. 3..A) the
first pattern, 3.6.B) the second pattern. Source Nasbahry Couto,1998
To investigate the nomenclature of Minangkabau traditions, the writer tries to compile the words (minangkabau language) that related with visual cultural elements of the Minangkabau tradition, especially from the customary speech of "building erection", from Manan's book A.R.P., ST. Mahmoed BA 1978. Minangkabau Tambo Association and Historical Evidence (monograph, unpublished). Traditional speech is usually held or presented during the building ceremony Minangkabau ancient buildings, then obtained a number of words that are suspected to be associated with elements of Minangkabau tradition building. After all the words of customary speech related to the visual culture is obtained then checked into the field in the research area with the intent of all the data in the match with the reality of the field, this is then obtained among glossary words on the outside of Minangkabau tradition building as the following (Figure 9):[1]
The Importance of Tradition Knowledge
The forms and elements of
the architect are actually filled with possibilities and choices. If there have more
choices, the visual elements are
not accidental, but something deliberate comes from human intentions about
something and meaningful. These forms are not merely a pragmatic creation, but
represent reception (acceptance) and agreement (convention). The theory
convention proposed by Hauser (1982) in his book entitled "The Sociology
of Art". While the study of the meaning of the visual and verbal elements
of the building and other comparators, which in reality is done by the
community repeatedly can be interpreted as a collective unconscious
(social-unconciousness), this can be interpreted also as Minangkabau cosmology.
The importance of tradition knowledge is as identity of nation and ethnicity. Identity will be lost and
carried away the flow of global culture by the community.
The visual elements of the building, can be
projected to the attitude of life and culture Minangkabau, such as mythology,
beliefs and so forth. For example, the tripartite concept begins with Lareh Nan
Panjang as mediator in the conflict of Bodi Caniago and Koto Piliang. This
perception can be attributed to the formation of a three-party or tripartite
order as a tango of sanctuary in the era of Islamization in Minangkabau. The
similarities in the above tradition building have long been foreign, as we see
foreigners using their language. That is intangible cultural heritage that is
connected to knowledge about tradition, especially visual culture.
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