Actually I have long heard the name of this painter. I know the name Batara Lopez because he is a painter of Mandailing who won seats in the discussion of painting in Indonesia. Although I was interested to know more, but so far I have not been at all menyermati karayanya. My encounter with art that is very intense in the field of literature makes me a little late to access the paintings Batara Lopez.At least there are two things that make me want to know Batara Lopez's paintings further. First, as a fellow man the equally Mandailing had lived in Yogyakarta, I want to know how he rediscovered kemandailingannya identity in the midst of cultural life in Yogyakarta, Java is very strong.
Second, because he was the son of the king in my village and also the son of the first Governor of North Sumatra, father of the late King Master Lopez. Batara Lopez was actually not the name of artists rooted in everyday people Mandailing, that if for example we compare this with the Willem Iskander. Where is the last poem, his verse like living in the midst of Mandailing community. This paper will explore the identity of the three paintings Batara Mandailing Lopez, the painting entitled The Taing, Sipangan Children Sipangan Boru and Hutanagodang.
Memadangi painting entitled The Taing, I feel that the painting was to realize the imagination of a man Mandailing about women. This is evident from the name and the elements present in the painting. About the name of this painting, the artist gave a very appropriate name. There were several calls to the girl child in Batak culture, such as the Butet and the Taing.
Si Butet more widely used in North and Central Tapanuli area, and also in some places in South Tapanuli and Mandailing. So, although this domain is the Butet North Tapanuli, but he is also commonly used in everyday life Mandailing community. This contrasts with the Taing is only used in Mandailing. In a very smart call is chosen by the painter to become the title of his painting.
I believe-at least from what I experienced personally-that the female figures in paintings such as The Taing it exists, or at least never are, in my head all men Mandailing. The painting seems to truly represent the prototype of women Mandailing. Her hair is covered with a veil that seems made of embroidered cloth, not a big scarf. It is very important, especially when associated with modes of dress of Muslim women today.
Many Muslim women today who wear headgear in the form of a wide scarf that barely resembles the Arab women's headscarf. Mandailing women not wearing head coverings like that. Although almost all of society Mandailing are devout followers of Islam-except a few families in Pakantan who convert to Christianity since the arrival of the Dutch-, but in dressing women Mandailing has its own character.
I mean the character is a cross between the Arab culture's own local funds cultural values Mandailing. The tradition of closing the head for women was adopted from Arabic culture. But in how the head is closed is not saklak similar to how Arab women to cover his head.
If you close all the heads of Arab women, without exception, but the women Mandailing still show a white neck. Even the head cover is made of woven fabric that is rooted at the intersection of the long tradition of woven Minangkabau and Batak.
Olive skin color and clean, slightly slanting eyes, lips seem a bit small and fussy, and the cheeks and jaw a little prominent is the personification of that is very fitting for a woman Mandailing.
The second painting titled Sipangan Children Sipangan Boru. Frankly I was somewhat disappointed to learn that the title of this painting many translated into English with "Eater of Children and Women". Especially because one of these paintings would be in the title. There is a meaning that is not included in the process of translating it, as we shall see later.Sipangan children sipangan Boru is proverb that is often used by people in daily life in the land of Mandailing. Rather difficult to translate into other languages. Perhaps a review on the use of the proverb is in daily life in the land of Mandailing community will be able to explain the meaning of this proverb.
Boru sipangan sipangan proverb child is usually used to declare incompetent parent who treat their offspring, even further, the parent takes her child. In everyday life events is common in pet cats. In some occasions we can find a female pet cat ate her own child.
The parent is then often called on to say he was a "child sipangan sipangan Boru" or if lexically translated into English would be "the Eater of Son and Daughter." People who are not wise care of her children are often also referred to as Boru sipangan sipangan child.
Thus, this proverb is actually one of the darkest side in public life, in this case Mandailing. Because there is almost certainly not the parent who does not love his child. Even if he existed, probably would be very difficult for humans to understand. Once the dark side of it, so the proverb itself is very rarely used in society.
Background on child sipangan proverb sipangan Boru became an attractive introduction for us to slightly understand selfhood painter batar Lopez. We become aware that the painter was not an orderly person, in the sense not want to disturb areas that tends to be a dark side community. Instead of me-too hide the dark side of it, the painter mengreasikan even find it again and again in the form of painting.
Boru sipangan sipangan proverb child displayed in the form of a creature that resembles a cat who was preyed on creatures that seem similar but smaller in size, or to facilitate call it "child". In addition to a cat-like creature that was eating his son, which is the center of this painting, we can also see other imaginative creatures such as centipedes poisonous tangible and long creature resembled a snake with legs smooth. All ornaments are featured in this painting as if it confirms the dark side in the proverb sipangan sipangan Boru's son.
It can not be denied, this is the third painting of keseahrian simboliasasi in Mandailing. Through the symbols are displayed, the existing clothing and giving the title, author with a very smart define Mandailing in his paintings as a separate entity distinct from the Batak even though. And therefore, perhaps rather difficult for non-Mandailing to "enjoy" the third painting.
The third painting titled Hutanagodang. Hutanagodang is the name of the hometown of the painter, the lexical meaning "big village". The painter was born and raised there before eventually deciding to continue his education in Yogyakarta.The items are presented in this painting directly refer to the courtyard of a palace in the township Mandailing, in this case Hutanagodang. We can see both "bagasse Godang" (traditional house Mandailing) and "sopo Godang" complete with all the ornaments of his paintings on the triangular roof overlooking the front.
The presence of a very tall ladder in both the bagasse Godang and sopo Godang more traditional house that memperkental identity. And of course, that is not less important is the presence of the mountains in the background, which almost certainly are a few pieces of igir located on the Bukit Barisan range, where this adds to the authenticity Hutanagodang shown in this painting.
