Is the provincial capital of Palembang in South Sumatra, Indonesia. In this area there is a craft of weaving called "Weaving / siwet Songket Palembang". Songket is a woven fabric made with a technique to add as a garnish to the weft yarn inserting silver, gold or colored thread over the warp threads. The word "songket" itself comes from the word "skewer" and "fork" that diakronimkan be "sukit", later changed to "sungki" and eventually became "songket".
Perhaps, woven from Palembang has existed since the time of the Kingdom of Srivijaya. Manufacturing technology is not actually originate in the area, but from China, India and Arab. The existence of trade between nations is the kingdom of Srivijaya led to acculturation, namely mutual absorbing elements from another culture. And, one of the cultural elements of foreign nations that have been absorbed by the Palembang is a woven fabric manufacturing technology which is still practiced by most people.
In ancient times (the kingdom of Sriwijaya) Palembang songket fabric not
only traded in the surrounding area (on the island of Sumatra only),
but also to other countries, such as China, Siam, India and Arab.
However, when the Dutch and Japanese, weaving songket suffered a
setback. In fact, when the physical Revolution (1945 - 1950) in
Palembang songket weaving craft was stopped due to lack of raw
materials. However, at the beginning of the 1960s Palembang songket made
progress since the government provides and bring in raw materials and
assist marketing.
Work in Palembang woven fabric is usually done by "moonlighting" by
teenage girls who married before and mothers who are elderly while
waiting to perform the ritual prayers. In general, the manufacture of
songket done by women.
2. Equipment and Materials
Palembang songket weaving equipment can basically be categorized into two, namely the principal and auxiliary equipment. Both are made of wood and bamboo. Tools are a set of basic loom itself, which by their so-called "dayan". A set of tools measuring 2 x 1.5 meter consists of rolls / boom (a device used to weave the thread base), penyincing (a tool used to stretch and get yarn woven), beliro (a tool used to make songket motifs), cahcah (a tool used to insert another thread to thread base), and gun1 (a tool to remove the thread). Meanwhile, additional equipment to adjust the position while being woven yarn is peleting, gala, belero range, and binoculars palette. Additional equipment is placed to the right of the weavers, to be easily reached by hand.
The basic ingredients are woven songket weaving yarn called the warp or weft. The warp threads are made of cotton, bark, banana fiber, pineapple fiber, and palm leaves. Meanwhile, jewelry consists of silk yarn and thread emas2. Silk comes from Taiwan and China, while the golden thread from India, Japan, Thailand, Germany and France. In addition to yarn, there are goods to be imported from Germany and the UK are dye yarn.
How to make the warp threads is done by using weights that are played with the fingers. Ballast is shaped like a top and is made of wood or terracotta. Another way that many found in the western part of Indonesia (Sumatra, Java, Bali and Lombok) is to use antih (device consisting of a wheel width that can be played following the clamps to rotate the wheel). Meanwhile, in order to obtain tertentu3 color, it will be colored threads soaked in soap for at least 14 minutes. The point is that the thread has lost its oil substances. After that, just dyed with the desired color, then dried. Furthermore, once dried, the yarn dikelos (rolled). After that, penganian, which set the number of threads that will be woven according to the type and songket or form to be created. However, today only some people do. Others simply buy yarn colors have been produced by a factory in Indonesia or imported from India, China, Japan or Thailand.
3. Weaving Songket Making Techniques
Palembang songket weaving is basically done in two stages: stage basic fabric weave fabric construction with flat or plain weave and stage decoration part is an additional part of the weft yarn. America and the European Community called how to weave such as "inlay weaving system".
a. Stage Fabric Weaving Basics
In this phase is to generate a flat woven and plain. To that end, the first step is a thread that has been dikani, one end is stretched on the table. Meanwhile, the other end is inserted into the hole suri (comb). Filling yarn is arranged in such a way that about 25 suri holes, each hole can contain 4 strands of yarn. It is intended to make the suburban fabric. Meanwhile, the other holes, each hole is filled with 2 strands of yarn.
Once the yarn is inserted into the animation and arranged in such a way (on average), then the thread then rolled with a wooden boom. The work is called menyajin or mensayin thread. After that, the installation of two gun or thread lifter place close to the comb. In accordance with what was done, the work is referred to as "gun mounting penyenyit". Furthermore, the seating position, weavers began to move dayan by stepping on one pedal to separate threads such that the threads are rolled can be inserted easily, either from left to right (past the entire field dayan) or from right to left (alternately ). Thread the transverse position when sealed with air-suri dayan will form the base fabric.
b. Making Stage Variety Decorative
After basic cloth materialized, then the next stage (the second stage) is manufacturing decorative. In this stage the basic fabric is plain it is decorated with gold or silk yarn with supplementary weft technique or suplementary weft. The trick is rather complicated because to put it into the base fabric must go through careful calculation. In this part of the fabric flowers that gun fitted with gold or silk thread can be incorporated, thus forming a motive. That said, this work takes a long time because the gold or silk thread should be counted one by one from the right side of the fabric to the left side by a certain count, according to the motif instances to be created. Next, thread the sealed one after the other, thus forming the desired decoration.
Old and whether the creation of a songket weaving, in addition to depending on the type of fabric that is created and its size, smoothness and complexity songketnya motif. The more subtle and intricate motifs songketnya, the longer the process. Manufacture of gloves and or fabric, for example, can take approximately two to six months. In fact, often more than six months for each day an average craftsman can only complete fabric along 5-10 centimeters.
4. Variety of Ornamental Weaving Motif Songket Palembang
Natural wealth Palembang greatly influenced the decorative style with amazing patterns. Once the decoration was created from a simple tool, but the weave is a very high art value. So, songket is not just fabric, but has become a form of art that removed from the creativity, taste and intention weaver. Motives range of Palembang songket are generally composed of three parts, namely: vegetation patterns (especially the stylized shapes of flowers), geometric patterns and motifs mixture of herbs and geometric.
The motives of the ancients until now passed from generation to generation, so that the pattern does not change, because of the way memola motif itself is only done by certain people, and not every weaver can create their own motives. People who live weaving implement predetermined pattern. So, handicraft weaving is a work that is collective. For the record, the weavers in Palembang entirely done by women, both young and old. Weaving expertise is generally inherited from generation to generation.
Some names decorative or Palembang songket motifs include: piham Lepus, Lepus plain, straight puler Lepus, Lepus puler waves, star Lepus, Lepus dragon besaung, Lepus Bunge falls, chain Lepus, Lepus limp cage, drops meder, cino Bunge, Bunge jasmine, Bunge intense, pacik Bunge, Bunge tribal green, studded Bunge, Bunge rose, melon seeds, jando ornate, pyramid chain, basic limai, shoots shoots, tigo country and heart of gold.
In addition to functioning as something woven beautify (songket), decoration also has meaning. One example is a form of decoration that tekenal the "dragon besaung" (dragon fight). In this case, the dragon is considered as an animal that symbolizes prosperity and glory. People who wear songket motifs Nago besaung surely hoped to secure prosperity and glory in his life. This motif is taken from one of the elements of Chinese culture dragons are considered as a mythological animal that can bring prosperity and kajayaan. For the record, in the ancient kingdom of Srivijaya much visited by strangers from China, India and others to trade. Another example is the motif shoots bamboo shoots and flowers (cloves, cape, jasmine, and rose). Bamboo shoots are considered as small plants since the material can be used for vegetables. When it has grown up and become a bamboo still remains useful, ie as a building material and so on. People taking this motif would have been expected to be useful also for people (like bamboo which is very useful for humans). Meanwhile, flowers symbolize purity, elegance, and kindness sustenance.
4. Cultural Values
Weaving Songket Palembang, if examined carefully, in it contains values that in turn can be used as a reference in everyday life for the supporters. These values include: sanctity, beauty (art), diligence, thoroughness, and patience.
Sacred values reflected in their use generally only wear them to events or activities that are related to the ceremony, such as marriage, the ceremony to pick up guests and others. Values reflected the beauty of the decoration motifs are made in such a way that radiates beauty. Meanwhile, the value of persistence, thoroughness, and patience is reflected from the manufacturing process that requires patience, precision, and patience. Without these values are not likely to materialize a songket weaving beautiful and full of meaning.
0 komentar:
Posting Komentar