respect , such as Government top official functionaries, foreigners. Ulos can also be used as wall accessories.
3. 3 The Development of Ulos Batak
Weaving Ulos primarily in social and economical of Toba Batak way of life. In Batak Toba original myth, the earth is creation of a weaver, and in pre colonial worldwide,
weaving was strongly associated with fertility. The ideal bride was a weaver who could provide for the needs family. The region of Ulos Batak could be found in Silindung Valley,
south of Lake Toba, the most productive Batak Toba weaving centre also the region that produces the most modern textile variant.
3. 4 The Process of Weaving Ulos Batak in Toba Region
Batak Ulos is a traditional hand woven of Batak Toba textile or cloth with a lot of symbolic meaning in almost every aspect of Toba Batak societies especially in
ritual and ceremonial event. There is a lot of Ulos patterns and styles which have respective meaning. The traditional of Toba Batak ulos is made of a body tension or
back strap loom using hand dyed thread and natural dyes are used in combination with commercial dyes. Often villages only produce a few designs, slight variations
are seen between though some pieces have limited availability. Twinning and braiding are techniques specifically used to create ulos.
For Batak Toba traditional clothing and details of weaving are not merely technical and esthetic matters manner of weaving and the variety of ways of
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preparing the yarn, but they are also related to religious matter. This is true because each design and motif of the fabric, particularly for the Ulos Batak, have very
profound symbolic significance. Therefore, each expert weaver partonun must understand the significance of the symbol which she weaves into the cloth.
3. 4. 1 The Thread Fabrication
The process of Twine the thread already known anciently called “Mamipis” used the appliance named “sorha”. The thread “Dibebe” the function is to settled the
thread into the weaving traditional machine.
3. 4. 2 The Process of Coloration
Toba Batak weaver in South of Lake Toba Jasper and Pirngadie 1912:69 who used the dye plant Morinda citrifolia after an intensive and lengthy process, this
plant produced a sober, auburn colour. In the twentieth century the Toba Batak weavers delighted with the broad and bright synthetic colour palette made to them by
the Christian mission. It was considerably easier and faster to use then the vegetable indigo. Today the use of natural indigo is exceptional and rare in some isolated
regions, and the use of natural red and yellow dyes has been entirely phased out, as hand spinning. white color symbolize of heaven or the upper world, Mulajadi
Nabolon, the symbol of life, red symbolize the middle world, braveness and power, and black color symbolize the lower world, occult.
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3. 4. 3 Manggatip
