3. 5. 2 Ulos Sitoluntuho
An old, fine condition, indigo dyed ikat ceremonial cloth from the Lake Toba, the ritually important ulos Sitoluntuho, or Suri-suri. Deeply saturated colors with very
little fading. Some historical mending, very well done. States that these sorts of idigo dyed cloths are part of a nucleus of the Batak textile tradition, with more than one
hundred other design types within that tradition that are only additions to the elegant blue core.
Ulos sitoluntuho can be worn by poor people at wedding as an ulos ni tondi, or soul cloth, worn by an individual at religious ritual ceremonies. An ulos ni tondi is
very personalized and such a cloth may accompany a person throughout her or his life, believed to empower the owner even to the extent of curing illness and healing
injuries.
3. 5. 3 Ulos Ragi Hotang
Ulos Ragi Hotang one of the most important types of textile Ulos made by the Toba Batak people of North Sumatra, this ulos ragihotang shows the tri-
partitioned Batak textile structuretwo deep wine-red panel frame a dark central panel of dash ikat, with end panels of supplementary weft motifs spanning the whole width.
The extraordinarily fine ikat design visible in the close up represents rattan by stippled or dash cream or indigo ikat between deep red pinstripes, interspaced by a
cream pinstripe, on black ground. It is rippling movement and texture show the
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consummate Toba Batak mastery of simple stripes, the motifs are difficult to execute and showcase the skill of the weaver.
Particularly significant for the Ragi hotang’s use as a ceremonial wedding shawl is the subtle difference between the main supplementary motifs in the weft
bands at each end for the lozenges motif boru-boru at the top in the images represent the female principle and the double stars baoa at the bottom symbolize the
male. Ulos Ragi Hotang execute in white with glimmering touches of red, yellow,
and green, these motifs present a beautiful variation as they shift from the black to the deep red ground. Special finishing touches that distinguish the textile’s quality are the
fine lines of supplementary wrap-faced float weaving that mark off the center panel from the red side panels Toba Batak textile uniquely combine supplementary warp
and weft weave, and the wide band of red, black, white are twining in crisp hook and key motifs at each end. The long fringes are finely twisted. A rich, magnificient of
Ulos Batak refined the execution and sophiscated dignity of Batak weaving. The Ulos Ragi Hotang is close cousin to the Ulos Pinussaan, both of which
have an ancient precedence among Toba Batak textiles, and show similar small geometric motifs in the end panels, as well as a symbolic distinction between male
and female main motifs at either end. Indispensable in certain rites, both Pinussaan and Ragi Hotang are still woven, but only southeast of Lake Toba. The ritual
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significance of textiles in traditional Toba Batak society is manifested in the role of Ragi Hotang as ceremonial wedding mantle, where as a symbol of rattan, it binds the
couple together with toughness and longevity. At the moment when the marriage is made, an act called mangulosi is
performed by the happy life and many children. They then pull the ends together create a full circle as a symbol of unity that binds them together as tightly as rattan.
The band of twining at the ends called Sirat Godang is wider than that on any other Toba Batak textile.
3. 5. 4 Ulos Mangiring
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