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Berkala Arkeologi SANGKHAKALA
Published by Balai Arkeologi Sumatera Utara
ISSN : 14103974     EISSN : 25808907     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
"SANGKHAKALA" refers to the shell horns that blown regularly to convey certain messages. In accordance with the meaning, this journal expected to become an instrument in the dissemination of archaeological information to the public which is published on an ongoing basis. Berkala Arkeologi Sangkhakala is a peer-reviewed journal published biannual by the Balai Arkeologi Sumatera Utara in May and November. The first edition was published in 1997 and began to be published online in an e-journal form using the Open Journal System tool in 2015. Berkala Arkeologi Sangkhakala aims to publish research papers, reviews and studies covering the disciplines of archeology, anthropology, history, ethnography, and culture in general.
Arjuna Subject : Seni dan Humaniora - Arkeologi
Articles 235 Documents
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IDENTIFIKASI BUDAYA PRASEJARAH DARI ARTEFAK DI SITUS BUKIT KERANG KAWAL DARAT Ketut Wiradnyana
Berkala Arkeologi Sangkhakala Vol 20 No 2 (2017)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/bas.v20i2.282

Abstract

The limitedness of artifacts at Kawal Darat I shell-midden site, which only yield short axes, spatula, and pottery fragments with relatively young radio-carbon dates, has obstructed the effort to identify its culture. This is due to assumptions that have always related shell-midden sites to the activities of the bearers of the Hoabinhian culture. In this case, the culture was also characterized by the technology of pebble that were flaked on all sides, known as sumatraliths. The existence of shell-midden, which is assumed to be a part of the Hoabinhian culture with Basconian-typed artifacts, has caused a problem in identifying the site. Using inductive line of thought on the existence of material cultures found at archaeological sites bearing Sonviian, Hoabinhian, and Bacsonian artifacts in Southeast Asia and compare them with the data on the material cultures from Kawal Darat I shell-midden site, it can be interpreted that there had been a transformation of lithic tool technology, which initially originated from a type of technology called Sonviian, to Basconian. Bearing in mind that Hoabinhian has the most complete data among the three types of technology, it seems like the artifacts found at the Kawal Darat I shellmidden site were originated from the Hoabinhian Techno-Complex.Keterbatasan artefak di situs Bukit Kerang Kawal Darat I, yang hanya menghasilkan kapak pendek, spatula dan fragmen gerabah dengan hasil analisa karbon yang relatif muda, menyulitkan upaya mengidentifikasi budayanya. Hal tersebut disebabkan adanya asumsi yang selalu mengaitkan situs bukit kerang dengan sisa aktivitas pendukung budaya Hoabinh. Budaya dimaksud juga dicirikan dengan teknologi artefaktual berbahan kerakal yang dipangkas di seluruh sisi-sisinya yang dikenal dengan sebutan sumatralith. Keberadan bukit kerang yang diasumsikan sebagai bagian dari budaya Hoabinh dengan artefak temuan yang berciri Bacsonian tersebut menjadikan permasalahan dalam mengidentifikasi situs dimaksud. Dengan alur pemikiran induktif atas keberadaan budaya materi yang ditemukan di situs-situs arkeologi yang teknologinya berciri Sonviian, Hoabinhian dan Bacsonian di Asia Tengara, untuk dibandingkan dengan data budaya materi dari situs Bukit Kerang Kawal Darat I. Maka dapat diinterpretasikan bahwa telah terjadi perubahan teknologi alat litik, yang awalnya bersumber dari teknologi yang disebut Sonviian hingga Bacsonian. Mengingat Hoabinhian memiliki data yang paling lengkap dari ketiga ciri teknologi tersebut, maka artefak yang ditemukan di situs Bukit Kerang Kawal Darat I merupakan hasil dari Tekno Kompleks Hoabinh.
Deureuham dan Aktivitas Perdagangan Maritim di Samudera Pasai Stanov Purnawibowo
Berkala Arkeologi Sangkhakala Vol 12 No 24 (2009)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/bas.v12i24.220

Abstract

AbstractDeureuham of Samudera Pasai Kingdom is one of the fact of the past in line with commercial activity, especially in commercial maritime around the eastern coast of Northern Sumatera. As one of the official exchange rate at that time, deureuham of pasai inspired coinage in the Islam Kingdom in Malay Peninsula.
“Kotak Emas”, Pahatan Relung Pada Dinding Tebing Lae Tungtung Batu di Dairi, Sumatera Utara Dyah Hidayati
Berkala Arkeologi Sangkhakala Vol 15 No 2 (2012)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3315.112 KB) | DOI: 10.24832/bas.v15i2.122

Abstract

AbstractNiches at the walls of edge of Lae (river) Tungtung Batu have been known by the local people as “the golden box”. The naming, without sufficient scientific proofs, refers to its profane function as storage of valuable items. The question is: is the object of a profane or sacred function? A theory proposes that a megalithic structure that was built for the worship of ancestors, either as a tomb or supplementary worship, supported by a comparative study of similar findings in different areas with the same cultural background, results in different interpretations of the functions of the niches that were previously connoted to a storage for valuable things now are of a burial reason. Similar objects found in Samosir, Deli Serdang, Karo and Tana Toraja are currently interpreted as sarcophagus. The niches in Tuntung Batu share similar characteristics of sarcophagus with those in other areas in North Sumatra and Indonesia. It is contextually supported with the presence of other objects in Tuntung Batu such as pertulanen and mejan that are related with burial and stones of tunggul nikuta candi and perisang manuk and the statue of pangulubalang that is of a mystical purpose to give the people protection.AbstrakPahatan relung-relung pada dinding tebing batu Lae (sungai) Tungtung Batu oleh masyarakat setempat dikenal dengan sebutan “kotak emas”. Penamaan ini merujuk kepada fungsi profannya sebagai tempat penyimpanan benda-benda berharga, namun tanpa ditunjang oleh bukti-bukti ilmiah yang cukup memadai. Masalah yang dikemukakan adalah : apakah objek tersebut memang memiliki fungsi profan seperti tersebut di atas ataukah berfungsi sakral ? Mengacu pada teori bahwa suatu bangunan megalitik didirikan terkait dengan pemujaan terhadap leluhur, baik sebagai kuburan ataupun sebagai pelengkap pemujaan, serta didukung dengan studi komparatif dengan temuan sejenis di beberapa daerah lainnya dengan latar budaya yang sama, menghasilkan interpretasi yang berbeda tentang fungsi relung-relung tersebut yang sebelumnya dikaitkan dengan tempat penyimpanan benda berharga menjadi lebih mengarah kepada fungsi penguburan. Objek sejenis yang antara lain ditemukan di Samosir, Deli Serdang, Karo dan Tana Toraja saat ini diinterpretasikan sebagai jenis kubur pahat batu. Karakteristik relung-relung di Tungtung Batu sangat sesuai dengan karakteristik jenis kubur pahat batu baik yang terdapat di Sumatera Utara aupun di daerah lainnya di Indonesia. Secara kontekstual hal itu diperkuat dengan keberadaan objek-objek lainnya di Tungtung Batu yaitu pertulanen dan mejan yang terkait dengan penguburan serta batu tunggul nikuta candi, batu perisang manuk serta patung pangulubalang yang lebih bersifat mistis terkait dengan perlindungan kepada masyarakat.
Revitalisasi Profesi Partonun Melalui Interaksi Langsung dengan Pembeli Kain Ulos di Pematang Siantar (Studi Etnoarkeologi Pendekatan Simbiosis) Defri Elias Simatupang
Berkala Arkeologi Sangkhakala Vol 14 No 27 (2011)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1090.52 KB) | DOI: 10.24832/bas.v14i27.156

Abstract

AbstractUlos is a traditional cloth that being worth now. There are three elements which related of ulos, there are weaver, distributor, and buyer. Trough the interaction happened, its time to learn about their symbiosis and offer better solution to reincrease ulos and partonun worth.
Visualisasi Dimensi Kewaktuan dalam Gambaran Relief Cerita, (Studi Kasus Relief Cerita Krêsna di Candi Prambanan) Andri Restiyadi
Berkala Arkeologi Sangkhakala Vol 12 No 24 (2009)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/bas.v12i24.211

Abstract

AbstractStory’s relief is a combination of narrative and visual art which function as a communication media for people in the past. It moreover consists of social culture information, story’s relief has also left tracks of the methode of an artist for framing the story in visual form. One thing that insteresting in this regard is time dimension visualization. Time dimension is extremely difficult visualized in the form of images without any information in the form of the verbal. Yet, the artist of the past were able to overcome these problems by way of a typical visualization without including any verbal information.
Simbol Pertanian dalam Budaya Masyarakat Karo Nenggih Susilowati
Berkala Arkeologi Sangkhakala Vol 16 No 1 (2013)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5626.364 KB) | DOI: 10.24832/bas.v16i1.113

Abstract

AbstractThe Tanah Karo's natural lanscape has been known such a fertile area with a climate that is perfect for agricultural activities. The ancient Karo people used to live the old way known as the megalith culture or tradition that is always related to ancestral and animism beliefs. When Islam and Christianity started to influx and flourish, the old beiefs gradually vanished. The material culture heritage, however, shows varous influences from the past. The old well-rooted concept and element that used to live in the society has left such a strong legacy to some aspects of the culture material and tradition in the present day, especially the buiding or the symbolic ornament and the traditional building element. The agricultural life in the past can be traced back through the symbols available, which then will become proposed questions in search for answers. This paper appliesmexplorative-descriptive method with inductive reasoning. The ornaments, building materials and elements available are proofs of agricultural activities in the forms of farming. The fertile soil and conducive climate provide a perfect back up to the farming. The traditional buildings for the ancestors' skulls at Tanah Karo settlements are the perfect examples of the ancient megalith.AbstrakAlam lingkungan Tanah Karo sejak dahulu memang merupakan area yang subur dengan iklim yang menunjang kegiatan pertanian. Masyarakat Karo dahulu masih menganut kepercayaan lama yang dikenal di Nusantara sebagai budaya atau tradisi megalitik yang sering dikaitkan dengan kepercayaan yang berkaitan dengan leluhur dan animisme. Seiring dengan masuknya agama Islam dan Kristen, kepercayaan ini berangsur hilang. Namun melalui budaya material yang ditinggalkan masih menunjukkan adanya pengaruh kepercayaan lama. Konsep maupun unsur budaya yang pernah ada dan mengakar pada masyarakatnya, menyebabkan sebagian bentuk budaya material maupun tradisinya masih menampakkan hubungan dengan budaya masa lalunya. Terutama berkaitan dengan bangunan atau simbol-simbol yang tercermin dalam ornamen dan elemen bangunan adatnya. Bagaimana kondisi pertanian masa lalu dilacak melalui simbol-simbol yang ada menjadi permasalahan yang ingin diungkapkan kejelasannya. Penulisan menggunakan metode eksploratif-deskriptif menggunakan alur penalaran induktif. Melalui berbagai ornamen, bahan bangunan serta elemen bangunannya menjadi petunjuk adanya kegiatan pertanian berupa persawahan dan perladangan. Hal ini didukung oleh tanah yang subur serta iklim yang menunjang kegiatan itu. Perkampungan di Tanah Karo juga masih menggambarkan adanya tradisi megalitik di masa lalu, dengan keberadaan bangunan adat sebagai tempat menyimpan tengkorak dan tulang belulang leluhur /geriten.
Sumberdaya Lahan Basah di Situs-Situs Masa Hindu-Buddha di Daerah Aliran Sungai Batang Ggadis dan Batang Angkola Ery Soedewo
Berkala Arkeologi Sangkhakala Vol 11 No 22 (2008)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/bas.v11i22.243

Abstract

AbstractWetland exploitation along Batang Gadis and Batang Angkola River had triggered the rise of Hindu-Buddhism influence in those area. Temples ruin in Mandailing are facts of sophisticated its civilisation
Makna Motif Hias Sirih Gadang Pada Ukiran Bangunan Tradisional Minangkabau Eny Christyawaty
Berkala Arkeologi Sangkhakala Vol 14 No 2 (2011)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5524.54 KB) | DOI: 10.24832/bas.v14i2.147

Abstract

AbstractThis essay is aimed at discovering the meaning of decoration motif of betel on minangkabau traditional bulding carving and the importance of piper betle in Minangkabu customs. The research result show that such motif was inspired by vegetations on the surrounding environments. Furthermore, the motif predated pre-historic era, which is proven by the similiarity of the shape of piper betle motif on menhir which is megalith heritage in Limapuluh regency. Not only does this motif have aesthetical values but also a representation of joy, friendship and unity. Furthermore, such motif also suggests that piper betle was a sacred and highly significant piece of cultural items. Present use of piper betle in every Minangkabau social traditional activity proves further of such significance.AbstrakTulisan ini bertujuan untuk mengetahui makna motif hias sirih gadang pada bangunan tradisional Minangkabau dan arti penting sirih (piper betle) dalam adat budaya Minangkabau. Hasil kajian menunjukkan bahwa motif sirih gadang pada ukiran bangunan tradisional diinspirasi dari tumbuhan yang ada di alam sekitar. Selain itu, motif ini sebenarnya berakar dari masa prasejarah. Hal ini dibuktikan dengan adanya kemiripan bentuk motif sirih pada ukiran dengan motif hias pada menhir yang merupakan tinggalan budaya megalitik di Kabupaten Limapuluh Kota. Motif ini bukan hanya mempunyai nilai estetis, tapi juga menyimbolkan kegembiraan, persahabatan, dan persatuan. Munculnya motif hias sirih gadang pada ukiran tradisional Minangkabau menunjukkan bahwa sirih merupakan benda budaya yang sangat penting dan bahkan sakral. Hal ini dikuatkan dengan adanya penggunaan sirih (piper betle) dalam setiap kegiatan adat masyarakat Minangkabau hingga masa sekarang.
Fotografi Mikro untuk Arkeologi (Metode Alternatif Perekaman Data Visual) Taufiqurrahman Setiawan
Berkala Arkeologi Sangkhakala Vol 13 No 26 (2010)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1014.75 KB) | DOI: 10.24832/bas.v13i26.179

Abstract

AbstractVisual data recording is one activity that must be performed on archaeological research as a supporting data description of data obtained. However, not all data can be easily documented. Sometimes, the data obtained are in a small size and must be documented with a micro camera which is not owned by any research institution. Therefore, an alternative method is needed to accommodate the limitation that is owned by the research institution.
Temuan Gerabah di Pura Wasan, Blahbatuh, Gianyar (Suatu Pendekatan Etnoarkeologis) I Wayan Badra
Berkala Arkeologi Sangkhakala Vol 20 No 1 (2017)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2141.894 KB) | DOI: 10.24832/bas.v20i1.67

Abstract

AbstractWasan is the name of a subak (Balinese traditional irrigation system) that is located eastern of Banjar Blahtanah and around Banjar Canggi (banjar = community unit). Wasan yielded a number of archaeological finds such as candi (temple), pond, building structure, figurine, animal statues, lingga, yoni, and potsherds. The purpose of this research is to find out the shapes and functions of the potsherds which found at the temple. Data were collected by means of survey and excavation, then have been analyze for morphologically, technologically, and contextually. Results of this research include three penyembeans, three coblongs, and a jar. Derived from their shapes, the three types of pottery have different functions. Penyembean was functioned as a container to ignite fire before the commencing of a yadnya ceremony at Pura Wasan. Coblong was used to place holy water or (tirtha), while the jar, due to its larger size, besides being functioned to store tirtha, could also be used as a container for toyeanyar during religious ceremonies. AbstrakWasan merupakan nama sebuah subak yang terletak di sebelah timur Banjar Blahtanah dan di sekitar Banjar Canggi. Wasan mengandung beberapa tinggalan arkeologis di antaranya candi, kolam, struktur bangunan, arca perwujudan, arca binatang, lingga yoni, dan sejumlah fragmen gerabah. Adapun tujuan penelitian ini adalah untuk mengetahui bentuk dan fungsi temuan gerabah yang terdapat di pura tersebut. Data penelitian ini dikumpulkan melalui survei dan ekskavasi, kemudian dianalisis secara morfologi, teknologi, dan kontekstual. Hasil penelitian ini berupa tiga buah penyembean, tiga buah coblong, dan sebuah periuk. Berdasarkan ketiga bentuk gerabah ini mempunyai tiga fungsi yang berbeda-beda. Penyembean dapat difungsikan sebagai wadah tempat menyalakan api ketika upacara yadnya di Pura Wasan dimulai. Coblong dapat difungsikan sebagai wadah tempat air suci atau tirtha, sedangkan periuk yang bentuknya lebih besar, selain difungsikan sebagai tempat tirtha dapat juga dipakai sebagai wadah tempat toye anyar dalam pelaksanaan upacara agama.

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