Rumah Gadang
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Rumah gadang (bahasa Minangkabau: 'rumah besar') adalah rumah adat Minangkabau. Gaya seni bina, pembinaan, hiasan bahagian dalam dan luar, dan fungsi rumah mencerminkan kebudayaan dan nilai Minangkabau. Sebuah rumah gadang berkhidmat sebagai sebuah tempat tinggal, sebuah dewan untuk mesyuarat keluarga, dan untuk aktiviti-aktiviti upacara. Dengan masyarakat matrilinealnya Minangkabau, rumah gadang dimiliki oleh para wanita pada keluarga yang tinggal di situ - kemilikan adalah dikirimkan dari ibu ke anak perempuan.
Rumah-rumah ada struktur lengkung bumbung yang dramatis dengan multi-tired, upswept gables. Tingkap bidai telah dibinakan ke dalam dinding dengan ukiran bunga dan banyak cat. Istilah rumah gadang biasanya merujukkan pada rumah komunal yang lebh besar, tempat tinggal berpisahan yang kecil mengongsikan banyak elemen-elemen gaya seni binanya.[1]
Jadual isi kandungan |
[Sunting] Latar belakang
Sumatra adalah pulau keenam terbesar di dunia dan sejak waktu Marco Polo ia dirujukkan sebagai 'pulau emas'. Ia adalah pulau yang terkaya sumber alam di Indonesia, termasuk tehnya, ladang lada dan getah, dan minyak, biji timah dan sumber galian lainnya.[2] Terletak di khatulistiwa, Sumatra mempunyai cuaca tengkujuh dan walaupun lebih hujan turun di antara Oktober dan Mei, tiada there is no extended rainless dry season. Despite large-scale deforestation, Sumatra masih mumpunyai berjuta ekar hutan belantara yang tidak dieksploitasi yang memberikan bahan-bahan bangunan. Pokok-poko kayu keras diperlukan untuk pembinaan adalah sekarang, walaubagaimanapun, dalam bekalan yang sangat terhad.[2]
Sumatra adalah rumah kepada salah puak-puak yang terpelbagai di nusantara Asia Tenggara[2] dan perlbagaian ini telah dicerminkan dalam pelbagai jenis pada seringnya rumah adat dramatis dikenali sebagai rumah adat. Bentuk-bentuk rumah yang terumum adalah pada asalnya adalah kayu dan didirikan pada piles, dibinakan pada bahan-bahan dikumpul secara tempatan, dengan bumbung yang curam. Tambahan ke rumah gadang Minangkabau, orang Batak dari daerah Danau Toba membina jabu berbentuk perahu dengan dominating carved gables dan bumbung-bumbung yang sangat besar, dan orang Nias membinakan rumah omo sebua yang berkubu pada tiang-tiang kayu kayu besi dengan struktur bumbung bermenara.
Orang Minangkabau adalah penduduk asli pada kawasan tanah tinggi Sumatra tengah. Kebudayaan mereka adalah matrilineal, dengan harta dan tanah diwarisi dari ibu ke anak perempuan, sementara hal ehwal keagamaan dan politik adalah provinsi lelaki. Orang Minangkabau adalah penganut Islam yang kuat, tetapi juga mengikut adat mereka sendiri - yang dikenali sebagai adat perpatih. Adat perpatih Minangkabau berasal dari kepercayaan animisme dan Hindu sebelum ketibaan Islam, dan peninggalan kepercayaan animisme masih wujud walaupun di antara mereka yang mengamalkan Islam. Oleh demikian, para wanita secara kelaziman masih berhak menjadi pemilik harta; para suami hanya ditoleransi di rumah pada sesetengah waktu dan di bawah keadaan khas, dan harus pulang ke rumah adik-beradik perempuannya untuk tidur.[3] Complementing this practice is the custom of merantau whereby many of the men will travel far afield for work, returning only periodically to their village of origin. Money earned on these trips is remitted for the building of contemporary rumah adat.[3]
[Sunting] Bentuk
Sebuah rumah gadang komunal adalah sebuah rumah panjang, rectangular in plan, dengan berbagai gables dan upsweeping ridges, hujung berbentuk tanduk kerbau. Ia biasanya adalah projection tiga tier, tiap dengan berlainan tingkat. Mereka adalah lebar dan diletak pada piles kayu yang dapat mencapai setinggi 3 meter (10 kaki) dari tanah; kadangkala dengan serambi sepanjang bahagian hadapan rumah yang digunakan sebagai sebuah kawasan penerimaan dan makan, dan juga sebagai tempat tidur untuk para tetamu. Tidak seperti rumah Batak Danau Toba, di mana bumbung essentially reka ruangan tetamu, bumbung Minangkabau terletak pada dinding kovensional. Kawasan pemasakan dan simpanan seringnya berada dalam bangunan terasing.
The house is largely constructed of wood; an exception being the being the rear longitudinal wall which is a plain lattice woven in a chequered pattern from split bamboo. The roof is of a truss and cross-beam construction, and is typically covered with thatch from the fibre of the sugar palm (ijuk), the toughest thatch material available and said to last a hundred years.[4] The thatch is laid in bundles which can be easily fitted to the curved, multi-gabled roof. Contemporary homes, however, are more frequently using corrugated iron in place of thatch. Roof finials are formed from thatch bound by decorative metal bindings and drawn into points said to resemble buffalo horns - an illusion to a legend concerning a bullfight from which the 'Minangkabau' name is thought to have been derived. The roof peaks themselves are built up out of many small battens and rafters.
The women who share the house have sleeping quarters set into alcoves - traditionally odd in number - that are set in a row against the rear wall, and curtained off by the vast interior space of the main living area. Traditionally, large communal rumah gadang will be surrounded by smaller homes built for married sisters and daughters of the parent family. It is the responsibility of the women's maternal uncle to ensure that each marriageable woman in the family has a room of her own and to this end will build either a new house or more commonly additionally annexes to the original one. It is said that the number of married daughters in a home can be told by the counting its horn-like extensions; as they are not always added symmetrically, rumah gadang can sometimes look unbalanced.[5] Adolescent boys traditionally live in the village surau, a small mosque.
[Sunting] Elemen gaya seni bina

Each element of a rumah gadang has its own symbolic meaning, which is referred to in adat speech and aphorisms. The elements of a rumah gadang includes:
- gonjong, hornlike roof structure
- singkok, triangular wall under the ends of gonjong
- pereng, shelf under the singkok
- anjuang, raised floor at the end of one style of rumah gadang
- dindiang ari, the walls on the side elevations
- dindiang tapi, the walls on the front and back elevations
- papan banyak, front facade
- papan sakapiang, a shelf or middle band on the periphery of the house
- salangko, wall enclosing space under a house that has been built on stilts
Some symbolisms of the house, for example, relate to the gonjong reaching to god, and the dindiang tapi, which is traditionally made of plaited strips of bamboo, symbolizing the strength and utility of the community which is formed when individual Minangkabau become part of the larger community instead of standing alone.
The pillars of the ideal rumah gadang are arranged in five rows which run the length of the house. These rows divide the interior into four long spaces called lanjar. The lanjar at the rear of the house is divided into bedrooms (ruang). According to adat, a rumah gadang must have at least five ruang, and the ideal number is nine. The other lanjar are used as a common area, called the labuah gajah (elephant road), for living and ceremonial events.
A number of rice barns (rangkiang) ideally accompany a rumah gadang, with each having a different name and function. The rangkiang sitinjau lauik, contains rice for the family, particularly for adat ceremonies. The rangkiang sitangka lapa contains rice for donation to poor villagers and for times of famine in the village. The rangkiang sibayau-bayau contains rice for the daily needs of the family.
[Sunting] Hiasan
The Minangkabau traditionally embellish the wooden walls, pillars, and ceilings of the rumah gadang with bas-relief carved wooden motifs that reflect and symbolize their adat. The motifs consists of profuse floral designs based on a simple underlying geometric structure. The motifs are similar to those of the Minangkabau woven songket textiles, with colors thought to have been derived from Chinese brocades.[6] Traditionally, the motifs do not show animals or humans in a realistic form, although some may represent animals, human beings, or their activities or behavior. The motifs are based on the Minangkabau concept of aesthetics, which is part of their view of their world (Alam Minangkabau) in which expression is always based upon the natural environment. A well-known adat aphorism says, 'nature is our teacher'.

Ninety-four motifs have been observed on rumah gadang. Thirty-seven of them refer to flora, such as kaluak paku ('fern tendrils'), saluak laka ('interwoven rattan'), pucuak rabuang ('bamboo shoots'), areca-nut palms,[1] and lumuik hanyuik ('washed-away moss'). Twenty-eight motifs refer to fauna, such as tupai tatagun ('startled squirrel'), itiak pulang patang ('ducks going home in the afternoon) which symbolizes co-operation and homecoming wanderers,[1] and kumbang janti (golden bumblebee). The remaining twenty-nine motifs refer to humans and sometimes their activities or behavior, such as rajo tigo (three kings of the realm), kambang manih (sweet flower, used to describe an amiable girl) and jalo takambang (casting a net).
[Sunting] Variasi
The rumah gadang is built in one of two basic designs: koto piliang and bodi caniago. These forms reflect different two variations of Minangkabau social structure. The koto piliang design reflects an aristocratic and hierarchical social structure, with the house containing anjuang (raised floors) at each end to permit elevated seating of clan leaders during ceremonial events. The bodi caniago design reflects a democratic social structure, with the floors being flat and on one level.
Large communal homes are entered through a doorway in the centre of the structure which is usually surrounded by a perpendicular porch with a triangular gable and upsweeping peaked ridge end. The variation with no entry porch is named bapaserek atau surambi papek ("tanpa serambi").
The larger and more opulent houses, have higher walls and multiple roofs, often with five elements inserted into each other, and supported by large wooden columns. Variations on the number of columns are known as the gajah maharam ("elephant kneeling"), which may have forty columns resulting in a shorter and stouter form, and the rajo babandiang ('design of grandeur') with fifty pillars and a more slender form. An additional six columns are required at each end for the anjuang of the Koto Piliang variation.
A Minangkabau traditional council hall, known as a balai adat, appears similar to a rumah gadang. This type of building is used by clan leaders as a meeting place, and it is not enclosed by walls, except for the anjuang of the Koto Piliang model. The Pagaruyung Palace is built in the traditional Minangkabau rumah gadang architectural style, but one unusual aspect is that it has three levels. In West Sumatra some modern government and commercial buildings, and domestic houses (rumah gedung), have adopted elements of the rumah gadang style.
There has been a sizeable Minangkabau settlement in Negeri Sembilan (now in Malaysia) since the seventeenth century, with the chief of the Minangkabau still ruler there. The Negeri Sembilan Minangkabau, however, have adopted the Malay-style roof construction, with continuous ridge piece thatched with lengths of palm-leaf attached to battens. Although this has meant the loss of the characteristic curved roof and has blunter eaves, it is still considered dignified and beautiful.[1] More orthodox Islamic influence has also led to variations such as modifications to the interior layout, as women are more restricted to the rear of the house than in the case of the matrilineal Sumatran Minangkabau.[1]
[Sunting] Pembinanaan
The construction of a house is subject to specific regulations, laid down by the ancestors and formalised in adat, that need to be observed if the house is to become a beautiful and pleasant building. The construction and maintenance of a rumah gadang is the responsibility of ninik mamak, the elder male blood-relatives of the matrilineal descent group that owns and builds it.
[Sunting] Lihat pula
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Indonesia |
[Sunting] Rujukan
[Sunting] Rujukan umum
- Dawson, B.; Gillow, J. (1994). tajuk: The Traditional Architecture of Indonesia, penerbit: Thames and Hudson Ltd. ISBN 0-500-34132-X.
- Summerfield, Anne; John Summerfield (1999). tajuk: Walk in Splendor: Ceremonial Dress and the Minangkabau, penerbit: UCLA. ISBN 0-930741-73-0.
- Vellinga, Marcel (March 2004). "A family affair: the construction of vernacular Minangkabau houses". Indonesia and the Malay World 32 (92): 100-118. DOI:10.1080/1363981042000263480.
- Kartikawening, Dyah (2002). "Public Space Dynamic in Minangkabau Rural Area Indonesia". 2002 American Planning Association National Planning Conference Proceedings.
- Ng, Cecilia (1993). "Raising the House Post and Feeding the Husband Givers: The Spatial Categories of Social Reproduction Among the Minangkabau.". Inside Austronesian Houses: Perspectives on Domestic Designs for Living.: 121-143. ISBN 1 920942 84 X.
- Nas, Peter J.M., Martin A. van Bakel (1999). "Small town symbolism: The meaning of the built environment in Bukittinggi and Payakumbuh". Urban symbolism and rituals: pp. 173-189.
- Vellinga, Marcel (2005). tajuk: Constituting Unity And Difference: Vernacular Architecture In A Minangkabau Village, penerbit: Koninklijk Instituut Voor de Tropen. ISBN 9-067182-30-3.
[Sunting] Nota
- ↑ 1.0 1.1 1.2 1.3 1.4 Dawson, Barry; Gillow, John (1994). tajuk: The Traditional Architecture of Indonesia, muka surat: p75, London: penerbit: Thames and Hudson. ISBN 0-500-34132X.
- ↑ 2.0 2.1 2.2 Dawson, Barry; Gillow, John (1994). tajuk: The Traditional Architecture of Indonesia, muka surat: p31, London: penerbit: Thames and Hudson. ISBN 0-500-34132X.
- ↑ 3.0 3.1 Dawson, Barry; Gillow, John (1994). tajuk: The Traditional Architecture of Indonesia, muka surat: p74, London: penerbit: Thames and Hudson. ISBN 0-500-34132X.
- ↑ Dawson, Barry; Gillow, John (1994). tajuk: The Traditional Architecture of Indonesia, muka surat: p20, London: penerbit: Thames and Hudson. ISBN 0-500-34132X.
- ↑ Dawson, Barry; Gillow, John (1994). tajuk: The Traditional Architecture of Indonesia, muka surat: p76, London: penerbit: Thames and Hudson. ISBN 0-500-34132X.
- ↑ 6.0 6.1 Dawson, Barry; Gillow, John (1994). tajuk: The Traditional Architecture of Indonesia, muka surat: p60, London: penerbit: Thames and Hudson. ISBN 0-500-34132X.