Transformation Aesthetic Structure Pucuk Rebung Pattern from Siak Sri Indrapura Weaving 1900 and 1940

Abstract

The culture of praying has developed in Nusantara since the entrance of Champa into Nusantara. Austronesian culture is the result of the inter-national mixture and is a long historical journey. It has been suggested by historians that lame is one of the tribal names found in the Minangkabau community. (Dahlan, 2015). The cultural development of the region of western Sumatra brought the cultural journey to Siak Sri Indrapura through the leadership of King Kecik. The result of the melting of culture is one of them is the creation of art, that is, the textile. It is now one of the artifacts preserved by the Indonesian government as an intangible cultural heritage. The textile has its own philosophy of both the craftsmen and the users of the textile. The philosophy of the textile lies in its motif, so this study focuses on the motif of the splash as a representation of the motive of the lining. The textiles used as research objects are the Siak textiles found in the digital museums found in 1900 and 1940. The selection of such objects is the evolution of the motif of the scratch that does not bypass the value of the aesthetic authenticity of its basic form. The research aims at (1) finding the aesthetic value of the basic shape of the motif of the crevice. (2) Understanding the transformation of the textile over 40 years later, knowing the change and validity of the value of a motif. Research methods that use qualitative methods. Research data is obtained through observations, interviews, and documentation. Data analysis techniques used are data collection, data reduction, data presentation and conclusion. The results of the research showed that: Pucuk rebung is a motive that became characteristic of the crowd, proven from various textiles that come from the area of Sumatera using the motif of pucuk rebung with the context of the existence of the society in the region. The values of the scapegoat as a symbol of strength, prosperity, and misery remain to this day. The aesthetically embroidered structure has an equal-legged triangle base that still lasts for 40 years later, counting from 1900 to 1940. The changes that occur in the textile are in the material, the layout of the textile, and the distance between the motifs. Related to the function of textile in the 1900s and later 1940s still have something in common, that is, as a valuable textile and have artistic and aesthetic value. The color used by the king is adapted to the hierarchy. The change that occurs in the function of the weave is as a cenderamata given to the nobles of Beladan, so that the weapon is no longer a weave only used by a king, this is what marks the beginning of the change in the Weave of Siak

Keywords: Artefact, Tenun, Siak, Pucuk rebung, Aesthetic

DOI: 10.7176/ADS/110-07

Publication date: June 30^th 2024