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Batu Na Pir Sitinjak: Warisan Visual Batak Toba-Sebuah Tinjauan Hermeneutika.

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Bibliographic Details
Title: Batu Na Pir Sitinjak: Warisan Visual Batak Toba-Sebuah Tinjauan Hermeneutika.
Authors: Sihombing, Marfenas Marolop1 marfenasmsihombing@gmail.com, Nasution, Ikhwanuddin1, Priyatno, Agus1
Source: Journal of Comprehensive Science (JCS). Jul2025, Vol. 4 Issue 7, p2208-2221. 14p.
Subject Terms: *ART theory, *GROUP identity, *VALUES (Ethics), *CULTURAL property, *SOCIAL skills
Abstract (English): This study examines Batu na Pir Sitinjak as a traditional Batak Toba art work that is rich in aesthetic, symbolic, and spiritual values. Batu na Pir not only functions as an ancestral tomb, but also as a visual representation of the Batak people's outlook on life, beliefs, and social structure. Using a traditional art theory approach, the elements of form, texture, and gorga ornaments are analyzed in relation to cosmological values that reflect the relationship between humans, ancestors, and the universe. Clifford Geertz's symbolism theory is used to interpret visual symbols that depict the structure of the upper, middle, and lower worlds. Meanwhile, Hans-Georg Gadamer's hermeneutic approach allows the reading of Batu na Pir as a living "visual text" that is open to dialogue across time and culture. The results of the study show that Batu na Pir Sitinjak is a cultural artifact that integrates aesthetic, ritual, and social functions, as well as being a medium of cultural communication that conveys the collective identity and noble values of the Batak Toba people. The preservation of these artifacts is important as an effort to maintain the sustainability of meaningful and dynamic visual cultural heritage. [ABSTRACT FROM AUTHOR]
Abstract (Indonesian): Penelitian ini mengkaji Batu na Pir Sitinjak sebagai karya seni rupa tradisional Batak Toba yang kaya akan nilai estetika, simbolik, dan spiritual. Batu na Pir tidak hanya berfungsi sebagai makam leluhur, tetapi juga sebagai representasi visual dari pandangan hidup, kepercayaan, dan struktur sosial masyarakat Batak. Dengan pendekatan teori seni rupa tradisional, unsur bentuk, tekstur, dan ornamen gorga dianalisis dalam kaitannya dengan nilai-nilai kosmologis yang mencerminkan hubungan antara manusia, leluhur, dan alam semesta. Teori simbolisme Clifford Geertz digunakan untuk menafsirkan simbol-simbol visual yang menggambarkan struktur dunia atas, tengah, dan bawah. Sementara itu, pendekatan hermeneutik Hans-Georg Gadamer memungkinkan pembacaan Batu na Pir sebagai “teks visual” yang hidup dan terbuka terhadap dialog lintas waktu dan budaya. Hasil kajian menunjukkan bahwa Batu na Pir Sitinjak merupakan artefak budaya yang mengintegrasikan fungsi estetis, ritual, dan sosial, serta menjadi media komunikasi budaya yang menyampaikan identitas kolektif dan nilai-nilai luhur masyarakat Batak Toba. Pelestarian artefak ini penting sebagai upaya menjaga keberlanjutan warisan budaya visual yang bermakna dan dinamis. [ABSTRACT FROM AUTHOR]
Database: Academic Search Index
Description
Abstract:This study examines Batu na Pir Sitinjak as a traditional Batak Toba art work that is rich in aesthetic, symbolic, and spiritual values. Batu na Pir not only functions as an ancestral tomb, but also as a visual representation of the Batak people's outlook on life, beliefs, and social structure. Using a traditional art theory approach, the elements of form, texture, and gorga ornaments are analyzed in relation to cosmological values that reflect the relationship between humans, ancestors, and the universe. Clifford Geertz's symbolism theory is used to interpret visual symbols that depict the structure of the upper, middle, and lower worlds. Meanwhile, Hans-Georg Gadamer's hermeneutic approach allows the reading of Batu na Pir as a living "visual text" that is open to dialogue across time and culture. The results of the study show that Batu na Pir Sitinjak is a cultural artifact that integrates aesthetic, ritual, and social functions, as well as being a medium of cultural communication that conveys the collective identity and noble values of the Batak Toba people. The preservation of these artifacts is important as an effort to maintain the sustainability of meaningful and dynamic visual cultural heritage. [ABSTRACT FROM AUTHOR]
ISSN:29624738
DOI:10.59188/jcs.v4i7.3425