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The Tomb of Teungku Di Anjong: From History, Art Artifacts and Revitalization Motive for the Development of Aceh Creative Batik Design Herwandi, Herwandi; Ibrahim, Husaini; Yusdi, Muhammad
Paramita: Historical Studies Journal Vol 29, No 2 (2019): PARAMITA
Publisher : History Department, Semarang State University and Historian Society of Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/paramita.v29i2.18888

Teungku Di Anjong is a great Ã¢â‚¬ËœpriesÃ¢â‚¬â„¢ who lived during his reign of Sultan Alaudin Mahmud Shah in the kingdom of Aceh Darussalam (1760 - 1781 AD). He is buried in Gampong Peulanggahan, Kutaraja Sub-district, Banda Aceh City. His tomb is in an old mosque complex, which the people named by the Teungku Di Anjong Mosque. The tomb of Teungku Di Anjong along with his wife's grave named Syarifah, which is in a construct (cungkub), has a jirat and two beautifully decorated tombstones. The decorations are generally in harmony with Islamic art, filled with Arabic flower and calligraphic ornaments. Teungku Di Anjong Tomb is an art artifact, an art product of the creative industry in the 18th century ago in Aceh, which is a continuation of the tradition of decorating the tomb from earlier times. This article will discuss the history of Teungku Di Anjong, in dynamics and its role in the development of history in the kingdom of Aceh Darussalam. Then, it will see the artifacts of the tomb of Tengku Di Anjong, which is associated with the revitalization of the ornament on the tomb, which can produce a new patented "motif" design that is registered to IPR (Intellectual Property Rights). The design of the new motif can be part of the enhancement of creativity for the development of batik motifs in Aceh Darussalam. Batik produced can have the character of Aceh and Islamic character.Ã‚Â Teungku Di Anjong adalah tokoh besar yang hidup pada masa pemerintahan Sultan Alaudin Mahmud Shah di kerajaan Aceh Darussalam (1760 - 1781 M). Ia dimakamkan di Gampong Peulanggahan, Kecamatan Kutaraja, Kota Banda Aceh. Makamnya berada di kompleks masjid tua, yang oleh orang-orang dinamai Masjid Teungku Di Anjong. Makam Teungku Di Anjong bersama dengan kuburan istrinya bernama Syarifah, memiliki jirat dan dua batu nisan yang didekorasi dengan indah. Dekorasi umumnya selaras dengan seni Islam, diisi dengan bunga Arab dan ornamen kaligrafi. Makam Teungku Di Anjong adalah artefak seni, produk seni dari industri kreatif pada abad ke-18 yang lalu di Aceh. Seni tersebut merupakan kelanjutan dari tradisi mendekorasi makam dari zaman sebelumnya. Artikel ini membahas sejarah Teungku Di Anjong, dalam dinamika dan perannya dalam pengembangan sejarah di kerajaan Aceh Darussalam. Kemudian, melihat artefak dari makam Tengku Di Anjong, yang terkait dengan revitalisasi ornamen di makam, yang dapat menghasilkan desain "motif" baru yang dipatenkan yang terdaftar pada HKI (Hak Kekayaan Intelektual). Desain motif baru dapat menjadi bagian dari peningkatan kreativitas untuk pengembangan motif batik di Aceh Darussalam. Batik yang dihasilkan dapat memiliki karakter Aceh dan karakter Islam.Ã‚Â

Batik Incung Industry in Kerinci 1995-2017 Pitri, Nandia; Herwandi, Herwandi; Lindayanti, Lindayanti
Paramita: Historical Studies Journal Vol 31, No 1 (2021): Maritime and Socio-Economic History of Indonesia
Publisher : History Department, Semarang State University and Historian Society of Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/paramita.v31i1.18887

Abstract: Kerinci has batik called incung developed from the beauty of incung letters (ancient Kerinci's letters). This letter was used to be used by Kerinci's ancestors to write literary works, incantation, and customary law. The medium used to write the incung letters was wood bark, bamboo, coconut leaf, and the buffalo horn. However, this research tries to discuss the development of the batik industry in Kerinci: History Perspective. The method applied in this research is one of historical research to collect, select, and test the sources of history critically so that it results in the fact of history in line with what happened in the field. The results showed that the industry's oh Incung batik started in 1995 due to the Administration of Kerinci Regency's policy as to hold a training. Meanwhile, an independent training was held byÃ‚Â Jaya and Iryani in Jambi, speaking of which working for three years at Batik Mas in the City of Jambi. After 3 years, they went home to develop batik with particular Kerinci. The early stage of incung batik development was not eye-catching for the local people. They still focus on agricultural matters, though, following the issuance of a leaflet of the Mayor of Sungaipenuh ordering to develop the specific motif of Kerinci, triggering the public enthusiasm in developing batik. The incung batik marketing does not only cover the area of Kerinci Regency and City of Sungaipenuh, but also it has already reached the City of Jambi, West Sumatra, Jakarta, Bandung, and Solo.Ã‚Â Abstrak: Kerinci memiliki batik yang disebut incung yang dikembangkan dari keindahan huruf incung (huruf Kerinci kuno). Huruf ini dulunya digunakan nenek moyang Kerinci untuk menulis karya sastra, mantera, dan hukum adat. Media yang digunakan untuk menulis huruf incung adalah kulit kayu, bambu, daun kelapa, dan tanduk kerbau. Oleh karena itu, penelitian ini mencoba membahas perkembangan industri batik di Kerinci dalam Perspektif Sejarah. Metode yang digunakan dalam penelitian ini adalah salah satu metode penelitian sejarah untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah, sehingga menghasilkan fakta sejarah yang sesuai dengan apa yang terjadi di lapangan. Hasil penelitian menunjukkan bahwa industri batik oh incung dimulai pada tahun 1995 karena adanya kebijakan Pemerintah Kabupaten Kerinci untuk mengadakan pelatihan. Sedangkan pelatihan mandiri diadakan oleh Jaya dan Iryani di Jambi yangÃ‚Â bekerja selama tiga tahun di Batik Mas di Kota Jambi. Setelah 3 tahun, mereka pulang untuk mengembangkan batik khas Kerinci. Perkembangan awal pembatikan incung ternyata tidak begitu menarik perhatian warga sekitar. Meski begitu, mereka tetap fokus pada pertanian, menyusul keluarnya edaran dari Walikota Sungaipenuh yang memerintahkan untuk mengembangkan motif khas Kerinci sehingga memicu antusias masyarakat untuk mengembangkan batik. Pemasaran batik incung tidak hanya mencakup wilayah Kabupaten Kerinci dan Kota Sungaipenuh, tetapi juga sudah menjangkau Kota Jambi, Sumatera Barat, Jakarta, Bandung, dan Solo.Ã‚Â

Seni dan Simbolisme Budaya Masyarakat Kerinci dalam Batik Incung: Perspektif Sejarah Nandia Pitri; Herwandi Herwandi; Lindayanti Lindayanti
Galanggang Sejarah Vol 2 No 1 (2020): GALANGGANG SEJARAH: Publishing January 2020
Publisher : PAMA Aksara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.3833131

This study revealed the phenomenon of incung batik as an art and cultural symbolism of the Kerinci community. The symbol on batik illustrates a community identity that is a non-verbal communication tool carried out by humans. The method used in this research is the method of historical research using the cultural approach and incung batik as its medium. The results showed that Kerinci was an area that was unique in developing batik motifs using the incung script (ancient Kerinci script). This is a cultural symbol for the people of Kerinci because they are able to develop ancient scripts by making it a batik motif. The art for the Kerinci community in batik is because the community can make batik with the development of incung batik and in the Kerinci community there is also a tradition of using batik cloth at weddings. Thus, batik usage in the Kerinci community has been going on since the past.

Eksistensi Ahmadiyah di Kota Padang Pasca Peraturan Gubernur Tahun 2011 Resti Febi Ramadani; Herwandi Herwandi; Lindayanti Lindayanti
NUSANTARA : Jurnal Ilmu Pengetahuan Sosial Vol 6, No 3 (2019): NUSANTARA : Jurnal Ilmu Pengetahuan Sosial
Publisher : Universitas Muhammadiyah Tapanuli Selatan

This study seeks to find out how the existence of an organization, that is prohibited by the Indonesian government itself. This research uses historical research methods, including, heurustics, this activity collects the source of the object concerned such as books, archives, and megazine. Then source criticism, wich is sorting out the sources that have been collected, then interpretations, and historiography. Drawing conclusions using a descriptive-analytical approach. This study found that Ahmadiyya in West Sumatera, which in 2005 and 2011 the government had banned this organization, through governors regulations and as well as getting resistance from the community, howefer it seems that the Ahmadiyya still exists until now, even having a good relationship with the non-Ahmadiyya community.Keywords: Existence, Ahmadiyya, Padang

PEREMPUAN PELESTARI BATIK TANAH LIEK (STUDI KASUS KABUPATEN DHARMASRAYA) Ella Hutriana Putri; Herwandi Herwandi
NUSANTARA : Jurnal Ilmu Pengetahuan Sosial Vol 7, No 1 (2020): NUSANTARA : Jurnal Ilmu Pengetahuan Sosial
Publisher : Universitas Muhammadiyah Tapanuli Selatan

Batik tanah liek merupakan batik khas yang berasal dari Sumatera Barat. Proses pengerjaan batik tanah liek hampir sama dengan batik pada umumnya namun ada beberapa perbedaan dalam proses pengerjaan dan motif yang digunakan. Dalam proses pengerjaan batik tanah liek proses pencelupan kain ke tanah liat dilakukan untuk mendapatkan warna alami tanah liat. Proses perendaman kedalam tanah liat dilakukan lebih kurang selama seminggu. Untuk mendapatkan hasil yang memuaskan. Semua kegiatan tersebut tidak terlepas dari pekerjaan yang membutuhkan kesabaran dan ketelitian. Sumber daya manusia yang dipakai pada umumnya adalah perempuan yang bekerja paruh waktu untuk mengisi kekosongan waktu setelah mengurus rumah tangganya. Penelitian ini menggunakan metode penelitian kualitatif untuk memahami fenomena sosial yang terjadi di masyarakat dengan cara terjun langsung ke lokasi penelitian. Daerah yang diambil dalam penelitian ini adalah di Kabupaten Dharmasraya. Artikel ini bertujuan untuk menjelaskan pekerja perempuan sebagai perajin dan pengusaha batik yang berkecimpung dengan dunia batik tanah liek sejak 1995.Kata Kunci :Perempuan, batik tanah liek, perajin, pengusaha

DINAMIKA TAREKAT SYATHARIYAH DI MINANGKABAU TAHUN 1960-2021 Sirajul Uhad; Herwandi Herwandi; Mhd Nur
NUSANTARA : Jurnal Ilmu Pengetahuan Sosial Vol 9, No 8 (2022): NUSANTARA : Jurnal Ilmu Pengetahuan Sosial
Publisher : Universitas Muhammadiyah Tapanuli Selatan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31604/jips.v9i8.2022.2903-2913

This journal examines the dynamics of the Syathariyah congregation in Minangkabau in 1960-2021. The aspects studied here are emphasized on religious understanding and practice, as well as the network of syathariya scholars in Minangkabau. In the development of the Syathariyah order in Minangkabau, there are differences in understanding, namely Wahdatul Wujud and Wahdatus Syuhud. Relying on historical methods (heuristics, criticism, interpretation, historiography), this study shows that, first, the teachings and religious practices of the Syathariyah congregation in Minangkabau underwent changes and additions, such as the practice of burha prayer. Second, there was an uprooting of the understanding of embodiment in Minangkabau, the understanding that developed was the Wahdatus Syuhud notion not Wahdatul Wujud. Third, the influence of a murshid is very strong in the community. In the relation of power, it can be seen that the dominance of the lord or murshid is more prominent, because in the field a murshid is a place for asking questions for the community. This thesis refutes the works which state that the teachings of the Syathariyah tarekat that developed in Minangkabau are Wahdatul Wujud teachings, whose ideas hinder progress, and are not dynamic. In this study, it is shown that Syathariyah's teachings are not extreme, which equates khaliq with makhluq. This research is in line with the opinion of Azyumardi Azra and Fazlur Rahman who stated that the tarekat showed their dynamism and were able to survive the demands of a very complex era.

Ideology and Political Orientation of Intellectuals from Koto Gadang 1930-1950: A Prosopography Nazra Cahyani Endah Regita; Herwandi Herwandi; Nopriyasman Nopriyasman
IHiS (Indonesian Historical Studies) Vol 6, No 2 (2022)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v6i2.15899

Koto Gadang is a traditional village in Minangkabau, which has produced many Indonesian political figures in the period before and during the early days of Indonesian independence. Koto Gadang scholar is an intellectual figure in Indonesian politics in various schools of thought. This study analyses the thoughts of the intellectuals from Koto Gadang; Yahya Datuk Kayo, Agus Salim, Rohana Kudus, Chalid Salim, and Sutan Syahrir; in Indonesian politics 1930-1950. The study shows that the variety of researchers' viewpoints is impacted by family, social, and instructive natural elements, inside and outside Koto Gadang. Yahya Datuk Kayo in the Koto Gadang environment built his region from various aspects, one of which was marked by the construction of Studiefonds [intellectualship foundations]. Rohana Kudus advances the ladies of Koto Gadang through the woman' abilities school, called Keradjinan Amai Setia. Agus Salim's considerations on Islam and his patriotism about the goals of an autonomous Indonesia. Chalid Salim's writings criticizing the colonial government led to him being arrested and imprisoned, in his actions to defend the workers. Sutan Syahrir grew up outside Koto Gadang, his nationalism was under the influence of socialism through the popular revolution he carried out.

Bridging the Worlds: Metaphor in Interdisciplinary Contexts Ike Revita; Ferdinal Ferdinal; Oktavianus Oktavianus; Gusti Asnan; Herwandi Herwandi
JURNAL ARBITRER Vol. 11 No. 2 (2024)
Publisher : Masyarakat Linguistik Indonesia Universitas Andalas

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25077/ar.11.2.208-227.2024

This conceptual article explores the role of metaphor in navigating and bridging the diverse realms from an interdisciplinary context. Metaphor, as both a linguistic device and a cognitive mechanism, is a powerful tool for transcending disciplinary boundaries, facilitating the exchange of ideas, and fostering innovation in language. This article built the concepts underlying mechanisms through which metaphor enables the synthesis of knowledge from Linguistics, Literature, History, Archeology, and Culture. Furthermore, the article examines the implications of metaphor use in interdisciplinary contexts, including its potential to enhance collaboration, creativity, and problem-solving. This article contributes to a deeper understanding of knowledge integration and synthesis dynamics in today’s increasingly interconnected academic investigations. In linguistics, metaphor is a powerful tool for understanding abstract notions through verbal expression. Metaphor in literature enhances narrative and symbolism by adding layers of meaning and emotion to writings. In history, metaphor is a tool through which people perceive events and narratives, affecting historical discourse and collective memory. In archaeology, metaphor assists the interpretation of material culture and reconstructs the former cultures and their symbolic systems. Metaphors are essential in cultural communication because they shape cultural narratives, identity formation, and social understanding.

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