3. 4. 3 Manggatip
Graphic sequence created while the thread decomposed named “humpalan”.
3. 4. 4 Mangunggas
Mangunggas is the brightening thread. Generally the bleak thread steamed then smear the hot porridge into the thread, after the thread smeared the thread
polished by the palm fiber. And the function is to make the thread colour brighter 3. 4. 5
Mangani
Mangani process is the composed thread process the function is to ease the weaver weaving Ulos by scroll the thread and the thread put on a piece of wood the
lower wood put on it functioned to determine the the desire measure of Ulos.
3. 4. 6 Martonun
The process of weaving Ulos, by using some of weaving equipment: pipisan, sorha, anian, erdeng-erdeng or hulhulan, iran, pangunggasan, pamapan, pagabe,
pamunggung, hatulungan, baliga, balobas, turak, hasoli, parsosaan, songka, lili, paniratan, tipak, etc
3. 4. 7 Manirat
The final process is “manirat” it is for the weaving process of Ulos already, Manirat function is binding the edge of Ulos and motif is shape of Gorga similar with
Gorga the carving in Ruma Batak.
Universitas Sumatera Utara
3. 5 Kinds of Ulos Batak for Toba Batak 3. 5. 1
Ulos Ragidup
Ulos Ragidup is one of the ceremonial textile in the toba batak region, a particular type of textile, known as an ulos Ragidup, was traditionally given to the
mother of the bridgeroom from the father of the bride at his daughter ‘s wedding. This ceremonial exchange was meant to ensure the fertility of the couple and solidity
the union of the two families. Occasionally, ulos Ragidup were also used during funerary ceremonies to cover the exhumed bones of the dead or the exterior coffin.
The Ulos Ragidup is traditionally used at wedding, the father of the bride presents this cloth to the mother of the bridegroom. This symbolic act unites the two families
and ensure the fertility of the couple. It is then passed down from one generation to the next as an heirloom, along with jewelry and other household objects.
This ulos Ragidup consits of a wide central panel flanked by narrower strips on either side. The central panel is divided into three horizontal sections. With the
two large end panels woven in white, an a middle panel adorned with fine white and dark blue stripes. By connecting the warp of the end panels to the warp of the central
panel adorned, the woman who created the textile was able to physically weave the three panels together as one, as opened to sewing together three separate pieces. The
ingenious weaving technique is unique to the Batak, and occurs nowhere else in Indonesia.
Universitas Sumatera Utara
3. 5. 2 Ulos Sitoluntuho
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