View of Clothing Motifs Identification of the Guardian Statues in the Padang Lawas Temple Compounds

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KEMENTERIAN PENDIDIKAN, KEBUDAYAAN, RISET, DAN

TEKNOLOGI Balai Arkeologi Maluku

Kapata Arkeologi, 17(2) 2021, 111—120 p-ISSN: 1858-4101, e-ISSN: 2503-0876

KAPATA ARKEOLOGI

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CIENTIFIC

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OURNAL OF

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RCHAEOLOGY AND

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ULTURAL

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TUDIES

Accredited by the Indonesian Ministry of Research, Technology, and Higher Education (RISTEKBRIN)

https://kapata-arkeologi.kemdikbud.go.id/

: 10.24832/kapata.v17i2.111-120

C LOTHING M OTIFS I DENTIFICATION OF THE G UARDIAN S TATUES IN THE P ADANG L AWAS T EMPLE C OMPOUNDS

Nainunis Aulia Izza *, Nurul Afni Sya’adah, Melvidiani

Universitas Jambi

Jl. Jambi-Muara Bulian KM. 15, Mendalo Indah, Muaro Jambi 36361, Indonesia

*[email protected]

Received: 14/06/2021; revisions: 21/08/2021 — 22/11/2021; accepted: 07/12/2021

Abstract

Both intact and fragmentary, guardian statues are part of the many relics from the classical period in Padang Lawas. The guardian statues in this area are depicted wearing various types of clothing with diverse motifs. This research aims to identify variations in the clothing motifs of guardian statues from the Padang Lawas Temple Compounds. The research method applied is a qualitative method combined with a comparative study of similar sculpture clothing and local textile motifs of Sumatra Utara. The location of research data collection is the origin of the discovery of guardian statues scattered at the Bahal Site, Sitopayan Temple, and Sipamutung Temple. The research results showed that the clothing motifs of the guardian statues from Padang Lawas were more diverse than similar statues from other regions in Sumatra and Java. The clothing of the guardian statues is grouped into three motifs:

motifs A and B from the Bahal Site and the Sitopayan Temple, and motifs C are shown on the clothing of guardian statues from the Sipamutung Temple. Based on the comparative analysis, there are similarities in the clothing of the guardian statues from Padang Lawas with textile motifs from India and Java and the basic motifs of ulos from Sumatra Utara, especially the Angkola-Mandailing Batak.

Keywords: guardian statue; clothing motifs; temple; Padang Lawas; textile; ulos

I

NTRODUCTION

Clothing is one form of culture that has been continuously produced and reproduced since humankind began to use it in Prehistoric times. At first, clothing was a means to protect the body from animal disturbances and extreme temperature changes. In its development, clothing can signify gender, social status, economic status, ethnicity, or even national identity (W. R.

Wahyudi, 1995). Traditional clothing is usually only worn on important occasions such as weddings, deaths, worship or rituals, and other cultural-themed events. In Indonesia, which has a multicultural population, each ethnic group has its traditional or ethnic clothing.

Traditional clothing displayed today is based on the typical attire of the past—for example, the use of batik- patterned fabric and woven fabric that spread in various regions in Indonesia. One of the common traditions is wearing a piece of cloth or jarik as a cover for the lower body and the use of lurik as a cover for the upper body and as a tool for carrying goods (sling) for the Javanese people (Dwikurniarini, Murdyastomo, & Ririn, 2013;

Hall, 1996). The clothes of ancient sculpture and relief

figures on various remains of the classical period in Java often feature the use of clothing with patterned fabric.

Patterned fabrics in the Classical Period were not only applied to clothing but were also engraved on the walls of the temple like other temple ornaments (Sardjono, 2017: 288).

According to Sandra Sardjono (2017), the diversity of textiles in the Indonesian Archipelago cannot be separated from the influence of India and China as two great civilizations that spread their influence throughout the world. Apart from Indonesia, the tradition of making woven fabric can also be found in Southeast Asia, such as Thailand and Cambodia. Research on the use of woven fabric and various types of songket weaving motifs known in the Classical Period was carried out by Purwanti & Siregar (2016). The result shows that the weaving motifs in Southern Sumatra have existed since prehistoric times. Its use continued to the Classical and the Sultanate period. The use of songket motifs in the Classical Period in Southern Sumatra is evidenced by the presence of ancient sculptures in Bumiayu depicted with clothing with various motifs. The use of songket motifs

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in the Classical Period in Southern Sumatra is evidenced by ancient sculptures in Bumiayu that are depicted with clothing with various motifs. The use of songket continued during the sultanate period. Songket is the clothing of the kings and nobles in the Palembang Sultanate. Apart from Southern Sumatra, the use of patterned clothing on ancient sculptures can also be found in Jambi. The Prajnaparamita statue from Gumpung Temple depicts a woman wearing a patterned cloth identified as batik (Reichle, 2007; Utomo, 2016;

Zilberg, 2012). There is a strong indication that the batik motifs in Jambi are evidence of Javanese influence in Jambi during the Hindu-Buddhist period (Kerlogue, 2005). Javanese influence on the Sumatran Classical Period can also be found in the Makara inscription from Candi Kedaton, which is engraved in the Kadhiri quadratic script (Sedyawati et al., 2014). The statue of Avalokitesvara from Rantaukapas Tuo (Utomo, 2016) is also depicted in unique clothing with a tiger skin pattern and equipped with a tiger head carving.

Apart from Bumiayu and Jambi, ancient sculptures with patterned clothing can also be found in the Padang Lawas Temple Compounds. According to the chronology, most of Padang Lawas' archaeological relics come from the Panai Kingdom period, from the 11th to 14th centuries A.D. A small number of archaeological relics date back to the centuries before and after the Panai

Kingdom period (Mulia, 1980; Perret, 2014). The ancient sculpture in Padang Lawas consists of Hindu- Buddhist gods, guardian statues, and mythological creature figures (Perret, 2014). Uniquely, there are prominent differences in the cloth motifs worn by the guardian statues, like giant shape statues usually placed on the right and left of the temple entrance gate. The initial discussion about the clothing motif of the guardian statues in the Bahal Temple site has already been discussed. Setianingsih (2001) mentions the motive used as ceplokan. The guardian statue is not the primary statue in a temple. In Hindu and Buddhist iconography, the guardian figure does not belong to the type of god but is a mythological creature with a lower position than the gods (Bhattacharyya, 1958; Dowson, 1879: 453). The diversity of the guardian statues' clothing motifs raises questions about the background of the different guardian statues' clothing motifs in Padang Lawas. Furthermore, the diversity of the guardian statues' clothing motifs raises questions about the correlation and continuity of these motifs with motifs from other regions. The motifs studied are similar and from the same area in the post- Classical period.

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ETHODS

This study aimed to analyze the clothing motifs on guardian statues from Padang Lawas. The data sources

Figure 1. Research sites (Source: ArcGIS Database, 2019)

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in this study are the guardian statues from Padang Lawas area, both those still in situ and those secured in a werkeet (a place to store relics fragments) in the Padang Lawas Temple Compounds and at the museum. The data in this study are various clothing motifs of guardian statues from Padang Lawas obtained from in-depth observations.

This research is included in qualitative research. To answer the research question, apply a comparative study of clothing on the guardian statues or fragments of the Classical Period statues from Java and Sumatra. In addition, this study also discusses related textile motifs.

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ESULT AND

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ISCUSSION

Variations of Clothing Motifs on Guardian Statues from Padang Lawas Temple Compounds

Guardian Statues of the Padang Lawas Temple Compounds

Padang Lawas archaeological sites are located in the districts of Padang Lawas and Padang Lawas Utara. In this area, various archaeological remains of the Classical Period (the period of Hindu-Buddhist influence 5th to 15th centuries) are scattered around the Barumun and Pane rivers. Most of the population living around the Padang Lawas Temple Compounds is the Angkola-

Figure 2. Padang Lawas Temple Compounds: 1 & 2 Sitopayan Temple ruins; 3 Bahal Temple I; 4 Bahal Temple II;

5 Bahal Temple III; 6 Sipamutung Temple (Source:Documentation by Izza, 2020)

)

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Mandailing ethnic (Nasoichah, Susilowati, Oetomo, Setiawan, & Soedewo, 2017). The ancient sculptures found in Padang Lawas are scattered in various locations.

Based on the material, statues are made of different types of stone and metal. The guardian statues at archaeological sites in Padang Lawas are entirely made of stone and are male, characterized by depictions of a stocky posture and flat chest. A relatively complete description of the archaeology in the Padang Lawas Temple Compounds was first initiated by Schnitger (1937: 102).

Based on body poses, there are two types of guardian statues: statues with standing and sitting poses. The guardian statues in a standing position come from the Bahal and Sitopayan sites. These statues are depicted wearing a kind of kupluk crown. This crown is connected with skull-shaped earrings and hangs down to the shoulders. In general, the guardian statue's face is oval with bulging eyes, a broad and flat nose (pug), long curly hair, plump cheeks, a fanged mouth, protruding chin, and a short neck. The ornaments on the statue are necklaces, shoulder straps, and wrist bracelets. The ornaments are each in the form of a snake. The upper body of the statue has no clothes and only caste ropes that hang diagonally.

The position of the statue's hand is depicted in two variations of the position (see Figures 3 and 4). First, the right hand carries the weapon, and the left hand is bent into a fist. The bottom clothing of the statue depicted wearing a belt at the waist for hanging the cloth with a dangle knot in the middle.

1 Kala head is an ornament resembling a facial figure which is usually depicted with bulging eyes and fangs.

The guardian statue depicted in a sitting position is found inside the Sipamutung temple. Two fragments are still relatively intact. One fragment depicts the headless statue's upper body, while the other depicts the statue's lower body in a sitting position (see Figures 5 and 6). The two fragments of this statue are depicted topless, but the upper body is equipped with a necklace and shoulder straps. On the shoulder strap, there is a kala head¹ decoration (Izza, Sya’adah, & Melvidiani, 2020: 147).

The lower part of the statue's body is equipped with patterned clothing. The wrists and feet are depicted wearing bracelets. The statue sits with the right leg folded forward as a support for the right hand carrying the gada² while the left leg is folded back with the right hand placed on the right thigh. This description shows all the fragments of the guardian statues equipped with patterned clothing. In the next section, we describe the variation of motifs on the clothing of the guardian statues from the Padang Lawas Temple Compounds. This description includes both intact statues and fragments depicting guardian statues. The guardian statues described are from Bahal Temple I, II, III, Sipamutung Temple, and Sitopayan Temple.

Motifs on the Clothing of the Guardian Statues from Bahal Site

The guardian statues at the Bahal Site are all depicted in a standing pose, and the right and left hands are around the stomach. There are two motifs on the clothes of the guardian statues from Bahal Temple 1, all of which are depicted as the lower part of the statue's body covering the waist to the feet (see Figure 6). The first statue's clothing motif with large circle forms that almost

2 Gada (mace) is an object usually in the form of a club as a weapon.

Figure 4. Guardian statue from the Bahal Site (Source: Documentation by Izza, 2020)

Figure 3. Guardian statue from the Bahal Site (Source:Documentation by Sya'adah, 2017)

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intersect. Inside, the circle is equipped with a small circle resembling a flower pattern. The flower pattern is equipped with a line that crosses the border of the large circle. Inside the circle is a flower pattern. The circular pattern is arranged horizontally on the cloth's entire surface, and two jagged horizontal lines limit each line (referred to as the clothing motif of the Padang Lawas guardian statue A). Besides the first motif, a second clothing motif was found as a combination of a rhombus and a triangle (See Figure 8). A kind of rope (carved with two horizontal and two diagonal lines) divides the motif's areas. Every rhombus has a flower pattern, whether a horizontal line cuts it or not. In the flower pattern's middle is a circle shape (referred to as the dress motif of the Padang Lawas guardian statue B).

Clothing Motifs on Guardian Statues from Sipamutung Temple

The guardian statue of Sipamutung Temple is depicted in a different style from similar statues from other relics in the Padang Lawas area. The upper part of the body of the guardian statue is depicted without clothing and only equipped with ornaments (see Figure 5). The statue's clothing is attached to the waist (see Figures 6 and 9). The clothing motif of the guardian

statue of the Sipamutung Temple consists of two vertical and horizontal lines that form a row and column string.

The row border is formed horizontally along the clothing and follows the curves of the statue's body (see Figure 9). The column border is depicted vertically following the curve of the statue's body. On the inside each column is a flower-like motif with the center filled with a curve.

This curved shape resembles an inverted question mark.

Around the curve mark, there are carved petals that seem to hang. Furthermore, this motif is referred to as the clothing motif of the Padang Lawas guardian statue C.

Clothing Motifs on the Guardian Statues from Sitopayan Temple

Although the current state of the Sitopayan Temple leaves only the foundation and some loose relics, some carvings on the relics are still visible. One of them is the Figure 5. The Guardian Statue from the Bahal Site

(Source: Documentation by Izza, 2020)

Figure 6. Lower body fragments (Source: Documentation by Sya'adah, 2020)

Figure 7. Clothing motifs A of the Padang Lawas guardian statue from the Bahal Site (Source: Documentation by Izza, 2020)

Figure 8. Clothing motifs B of the Padang Lawas guardian statue from the Bahal Site (Source: Documentation by Izza, 2020)

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clothing on the guardian statue fragment. There are two clothing motifs on the guardian statues at Candi Sitopayan. These motifs are similar to the Padang Lawas guardian statues A and B from the Bahal Site (see Figures 10 and 11).

Table 1. The distribution of the clothing motifs on the guardian statues in Padang Lawas

Motif Location

A Bahal Site and Sitopayan Site B Bahal Site and Sitopayan Site

C Sipamutung

The description shows the presence of three types of clothing motifs carved on the guardian statues from the Bahal, Sipamutung, and Sitopayan sites (see Table 1).

There is uniformity in the motifs of the guardian statues from the Bahal and Sitopayan sites, while the clothes for the guardian statues from Sipamutung show different motifs. Although there are differences, the combination of ornaments on the statue's clothing depicts similar elements. These elements include lines and flowers. Line motifs are represented in multiple and various positions, precisely horizontal, vertical, and diagonal. Various lines are stuffed with serration, particularly the clothing motif of the Padang Lawas guardian statue A. The other line motifs are without stuffing, like the clothing motifs in other temples. The entire clothing of the guardian statue is also equipped with flower elements. The flower pattern is described as filling most of the carving surface, so it seems to be the main characteristic of the guardian statue's clothing on various relics in Padang Lawas. This similar motif indicates a variety of styles that represent a more general feature, that is, the typical clothing motif of the guardian statues from Padang Lawas. Uniquely, there is a connection between motifs A and B, which are always found in one temple, while motif C has only been found in Sipamutung Temple.

The Distinctiveness of the Clothing Motifs on Guardian Statues from Padang Lawas Temple Compounds

In the previous sub-chapter, a description of the clothing motifs of the guardian statues from Padang Lawas has been described. To reveal the distinctiveness of the clothing motifs on the Padang Lawas guardian statues required a comparative study of the clothing motifs of guardian statues from the same historical period elsewhere. Comparisons are also applied to cloth motifs that indicate continuity of textiles in Sumatra Utara, particularly today. The guardian statues in a sacred building or temple can be single, in pairs, or in several amounts (D. Y. Wahyudi & Jati, 2018). The condition of the guardian statues in Padang Lawas is mainly fragmented, so it is difficult to identify the exact Figure 9. Clothing motif C of the Padang Lawas

guardian statue from Sipamutung Temple (Source: Documentation by Izza, 2020)

Figure 10. Clothing motifs A of the Padang Lawas guardian statue from Sitopayan Temple (Source: Documentation by Izza, 2020) Figure 11. Clothing motifs B of the Padang Lawas

guardian statue from the Bahal Site (Source: Documentation by Izza, 2020)

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number of guardian statues in a site area. In addition, the guardian statues have only been found at a few sites in Padang Lawas that have been mentioned.

During the same historical period, various relics in archaeological sites, both in Sumatra and Java, have guardian statues or Dwarapala. Dwarapala statues made of stone from Sumatra were also found in the Muarajambi Temple. The Dwarapala statue of Muarajambi comes from Gedong II Temple. This guardian statue is depicted wearing only a piece of clothing that covers the lower body (Sedyawati et al., 2014). The statue's clothing is patternless (plain) and is equipped with pleats at the bottom of the stomach (see Figure 12). On Java Island, various guardian statues are also found, commonly called Dwarapala. The Dwarapala statues from the Kadhiri, Singhasari and Majapahit times

are from the same historical period as the guardian statues from Padang Lawas. Like a guard, dwarapala statues from the Kadhiri, Singhasari, and Majapahit times are usually placed on the right and left sides of the entrance to the sacred building. Among these guardian statues, some are identified as having patterned clothing.

Guardian statues with patterned clothing were found at the Totok Kerot, Singhasari, and Panataran Temples sites (See Figures 13, 14, 15). The clothing of the statue depicted has the same motif as the ceplokan motif, which is identical to the flower element (D. Y. Wahyudi & Jati, 2018).

The ceplokan motif is one of the ancient motifs commonly carved on statues and reliefs from the Ancient Mataram period to the Majapahit period (see Figure 16) (Bennet, 2019; Reichle, 2007). Besides the ceplokan motif, there is Sumatran Sembagi or Sebage motif, considered to have existed since the Srivijaya era in the 7th century. This motif generally consists of geometric elements of rhombus and flowers. It did not only develop in Sumatra, that is, Lampung, Palembang, and Jambi but Figure 12. Guardian statue from Gedong Temple II

(Source: Documentation by Sya’adah, 2017)

Figure 13. Totok Kerot statue (Source: Documentation by Izza, 2015)

Figure 14. Dwarapala statue of Singhasari (Source: Documentation by Izza, 2015)

Figure 15. Dwarapala statue at Panataran Temple (Source: Documentation by Sya’adah, 2018)

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also in Java, and there was a combination of Arabic and Chinese elements (Paraswati, 2014). In particular, the motifs on the guardian statues are generally smooth or have faded out, so they are challenging to observe. The faded or worn statues' condition is because the guardian statues are usually in the open place. This condition differs from the statues of gods or goddesses, usually in the chambers, niches, or cupolas of sacred buildings. If traced in a broader scope, the ceplokan motif is not only found in Java but also Indian textiles (Barnes, 2004).

Compared to the guardian statues from Java, the clothing motifs of the guardian statues from Padang Lawas have different carving styles and motifs. The clothing motif on the guardian statue from Padang Lawas is carved thick and deep so that it more clearly shows the motif even though it has been fragmented. Based on the elements in the motif, there are similarities in the objects depicted, that is, flower patterns with various variations.

Another distinctive element in the clothing of the guardian statues from Padang Lawas is the firm lines depicted in various positions. The clothing motifs of all the guardian statues from Padang Lawas are equipped with double lines depicted vertically, horizontally, and diagonally (see Figures 7, 8, 9, 10, and 11).

Sumatra Utara has a tradition of making handwoven textile products, namely ulos. Ulos fabric in the tradition of the Batak people is not only worn to warm the body, but each motif has a special meaning. The ulos motif symbolizes part of the life cycle of the Batak people from when they were in the womb, after birth, adulthood, and death. Particular motifs on ulos fabric symbolize pleasure and sadness (Dakung, 1982: 127; Lestari, 2010:

34). In terms of motifs, each region in Sumatra Utara has its unique ulos motif. The ulos motif consists of line elements, geometric patterns, and living things such as animals and plants (Erlyana, 2016; Juliana, 2015). The most common motif is a rhombus pattern formed from intersecting lines. One example is ulos sadum which still exists today (see Figure 17).

Based on the description above, there are no clothing motifs of the guardian statues from Padang Lawas, which are the same as the ceplokan, sembagi, and ulos motifs.

However, there are similarities in the elements of the motifs with textiles from India, Java, Arabia, China, and ulos. Based on the motif variations, the guardian statues from various locations on the island of Java have similar motif variations. In contrast, the clothing of guardian statues from Padang Lawas has more varied motifs. The element always there is the element of flowers in various forms; this resembles textiles from Java and India, often equipped with floral elements. The similarity of Padang Lawas textile motifs to India and Java is understandable.

Following the research carried out in Padang Lawas, the makara symbol also have similarities with the makara in Java, especially in Eastern Java (Klokke, 2014: 138).

Another distinctive element of the clothing motif on the guardian statues from Padang Lawas is the line and the rhombus motif. Strong indications of line and rhombus motifs have been inscribed on the clothing of the Batak people in general and the Angkola-Mandailing people since the Classical Period to the line motifs on modern ulos. Presumably, the presence of lines and rhombuses in the clothing motif of the Padang Lawas guardian statues is a distinctive element in Sumatra Utara's textiles, especially the Angkola-Mandailing Tribe. Following the background of the community around the Padang Lawas Temple Compounds today, the Angkola-Mandailing Tribe, it is most likely that the ancestors of the local population carved the motifs on the clothing of the guardian statues at Padang Lawas Temple Compounds.

Regarding the variations of the existing motifs (see Table 1), there are indications that the guardian statues with two different clothing motifs are a package or a pair of guardian statues in the Bahal and Sitopayan Sites.

Motif A and motif B show the opposite characteristics, and motif A is dominant with a circle while motif B is dominant with a rhombus shape. Meanwhile, according to existing fragments, the guardian statue of Sipamutung indicates that there is more than one statue. The Figure 16. Ceplokan motif on back side (Kala head side)

Ganesha Boro

(Source: Documentation by Izza, 2020)

Figure 17. Ulos sadum motif from Angkola-Mandailing (Source: Documentation by Dakung, 1982)

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relatively intact fragments leave only one guardian statue with a different clothing motif from other guardian statues. Motif C's dominant element other than flowers is a square motif. Associated with the function of the sculptures, differences in clothing motifs, differences in a pose, and positions of weapons raise the suspicion of the different roles of the three types of guardian statues.

The correlation of different fashion motifs with the role of the wearer can be analogous to the differences in the motifs of Abdi dalem (courtiers) jarik according to the tasks and activities attended (Sarwono, 2005).

Unfortunately, the condition of the statues that have been destroyed and the lack of support from written sources make it difficult to discuss the differences in the role of the guardian statues.

C

ONCLUSION

The identification results show three variations of the guardian statue's clothing motif from the Padang Lawas Temple Compounds. These motifs are closely related to the textile motifs of India, Java, and Batak. The indication shows the correlation and continuity of textile motifs that have existed since the Classical Period until now (even though there are indications since Prehistoric times). The guardian statues from Padang Lawas have a more diverse variety of clothing motifs when compared to similar guardian statues from Java and Sumatra. This shows that the ancestors could develop textile motifs depicted in the clothing of the guardian statues from Padang Lawas and were also enriched with foreign textile motifs, especially from India and China. If possible, it is necessary to conduct a more in-depth study of the background of the different motifs of guardian statues from Padang Lawas. Furthermore, the clothing motif of the guardian statues from Padang Lawas needs to be studied further.

A

CKNOWLEDGEMENT

The authors thank all those who have participated in the research at Padang Lawas in 2020. Thank you to Mr.

Julpan Harahap, his family, and other Site Keepers who have taken the time to help the author visit each site in Padang Lawas and Padang Lawas Utara. The authors also thank all the researchers at the Balai Arkeologi Sumatra Utara for their generosity. They have helped and made it easier for the authors to access the data needed for writing this article.

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