Functions of Gringsing Textile Within the Cultural

The Bulletin of JSSD Vol.1 No.2 pp.1-2(2000) Original Articles Received Apr 18 2018; Accepted Jul 11 2018 convey the heart, Kodansha, 2008(in Japanese) Original paper [33] Kakehashi, E., Kasamatsu K., et al., Proposal for a swallowtail butterflies color scheme collection for CMF design based on Kansei representation, 6th International FUNCTIONS OF GRINGSING TEXTILE WITHIN THE Kansei Engineering and Emotion Research Conference CULTURAL SETTINGS AND DESIGN ELEMENTS (KEER2016), 144, 2016 Succession of Gringsing Textile as a Tool of Conservation towards Local Wisdom Within the Community of Tenganan Pagringsingan, Bali, Indonesia (1)

Lira Anindita UTAMI*, Dudy WIYANCOKO**, Akira UEDA*

* Chiba University Yayoi-cho 1-33, Inage-ku, Chiba 263-8522, Japan * * Bandung Institue of Technology, Ganesha 10, Bandung City, West Java 40132, Indonesia

Abstract: Gringsing is a sacred textile of Tenganan Pagringsingan village produced especially to be used in festive rituals as ritual clothing and offering. This paper is consisted of the research data resulted from the interviews, surveys and participant-observation, and specimen analysis conducted on the design structure of Gringsing such as textile layout, motifs and patterns, and sizes. These elements have significant relevance to the cultural setting which is the functions that were emerged from the necessities created by the traditional customs and the daily life. Through researching the function, the design and the meaning of Gringsing textile related to its ritual context, it can be concluded that (1) through the ritual usage, the physical form of the textile could become exceptionally diverse. (2) The strict customs are therefore translated into the language of colors, size and pattern design. (3) Gringsing represents much of the communal identity and becomes the carrier of meaning for its local symbolism. Keywords: Sacredsacred Artefact,artefact, Textile,textile, Culture-Based-Design,culture-based-design, Semantic,semantic, Non-verbal non-verbal Communication, communication, Traditional traditional communityCommunity

1. Introduction ‘collaborative village republic’ [1] is internalized down along Located in the southeastern part of Bali, the Bali Aga village with the practice of communal rituals and daily life of Tenganan Pagringsingan is one of the oldest Balinese village cooperation following the Tri Hita Karana philosophy; the settlement whose tradition and livelihood is centered around sacred philosophy that governs the natural and the supernatural fulfilling religious ritual duties. Their unique communal art of world, by living in harmony with the Supreme Force (God), living and their village political structure defined as other human being and the surrounding nature. The woven textile of Gringsing is a textile produced solely in Tenganan Pagringsingan by the technique called double-ikat, in which patterns are being tied in both the warp and the weft threads to later be woven in a way that the intricate patterns conjoin perfectly to form a complete image. Gringsing production is strictly supervised and conducted by the female generations. Amidst the growing transition towards the more economic urbanization, the production of Gringsing has since been increased to fulfill the demand of selling the sacred textiles to Figure 1. The area of Tenganan Pagringsingan village add the economic value. The mass production, however (source: Pusaka Collection online museum) inevitable, is slowly corroding the valuable cultural properties

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Journal of the Science of Design Vol. 2 No. 2 2018 91 that are stored within Gringsing. Hence, the main objective of Hence the current exploration of the textile Gringsing is this article is to study Gringsing to clarify its cultural properties aimed to clarify and record the less explored details on how the from the perspective of the correlation of design, functions and traditional culture influence the culture of creating Gringsing meaning for the purpose of re-recognizing and re-transmitting and how the textile is treated as one tool to preserve the many the recorded knowledge back to the community. stories, myths and meanings related to the life of the community, from the perspective of design and function.

Figure 2. 19th Century Gringsing Wayang Kebo (source: LACMA, Gift of Mary F. Kefgen)

2. Previous Research 3. Research Method Many Researchers of social science have conducted The research on textile design was conducted using ethnographic studies on the community of Tenganan ethnographic methods to collect data such as interviews, field Pagringsingan and of the sacred textiles. Regarding the surveys, participant-observation, specimen analysis, as well as community, Miguel Covarrubias [2] wrote extensively on the taking questionnaires to village informants and local experts culture of Tenganan Pagringsingan as one of the surviving old [1,3,4,5,6]. The method is used primarily in research for Balinese community (Bali Aga). The village have been existed anthropological and sociological studies, hence considered since before the coming of the Majapahit refugees that made relevant for the purpose of studying the textile design because up the most of Balinese population today. To the new Balinese, of the need to understand the influential and inspirational the community of Tenganan Pagringsingan is unique because factors such as the people, their way of life and myths. The the culture and tradition are different than theirs in terms of method produces in-depth research that will assist in religious practice and traditional communal living. Angela emphasizing on how culture could be integrated in the creation Francais-Simbuerger [1] focused her study on how their belief of artefacts and product design alike [8]. In one study [9] system, which is a mixture between paganism, animism and ethnographic approach can help fostering a culture-based the Indra-sect Hindu, influences greatly on the shaping of design. In another [10], it helps on how native culture traditional customs that govern the social and political influences the development of new textile pattern design that relationships. Urs Ramseyer [3] later wrote expanded volumes reflects the great historical and cultural values. on the ritual culture, the settlement and the tradition of The current research has been conducted within the village endogamous marriage. Regarding Gringsing textile, there are establishment of Tenganan Pagringsingan, located in the only three notable researches introducing the art of Gringsing Karangasem region, eastern coastal of Bali, Indonesia. The textile, the usage in the ritual and the possibility of origin. Urs field research was conducted three times (February – March Ramseyer conducted a comprehensive study concerning the 2014, June 2015, and September 2016). The first survey ritual and its components in which Gringsing, as an important focused on introducing research activity and approach to the ritual article, is mentioned as a textile that brings divine life of the community. The second survey focused on protection [4]. Second, Yoshimoto Shinobu [5] has dedicated interviews and observation of the textile technology, design many profound studies regarding the textile art and the details and the functions conducted in the residences of the technology of South Asian textiles, including the relation to textile artisans, while the details regarding ritual and society Gringsing’s possible origin. The last one is H. Coleman [6], were acquired from the interviews with the chieftains and the who has researched how cultural and historical values of a village scholars. The third survey focused on obtaining the data tradition played a major role in creating the richness of motifs, regarding Gringsing which is kept as heirlooms and their symbols, and ceremonial uses, also indicating to the preferred pattern designs through questionnaires. In this paper, development of Gringsing design. the sources is given numeration to denote their name initials,























92 Journal of the Science of Design Vol. 2 No. 2 2018 that are stored within Gringsing. Hence, the main objective of Hence the current exploration of the textile Gringsing is gender and age [11]. wrap-around cloths, scarfs, chest cloths, or belts (Figure 4). this article is to study Gringsing to clarify its cultural properties aimed to clarify and record the less explored details on how the Rantasan presented to deities and ancestors should be in from the perspective of the correlation of design, functions and traditional culture influence the culture of creating Gringsing 4. The Belief System of Tenganan Pagringsingan tubular form, meaning the warp is intact (known as Meladung) meaning for the purpose of re-recognizing and re-transmitting and how the textile is treated as one tool to preserve the many The ancestors of Tenganan Pagringsingan people built a life and therefore should not be used as clothing for people. The the recorded knowledge back to the community. stories, myths and meanings related to the life of the enriched in ritual activities centered in the culture of prescribed form of tubular cloth for the cloth offering is community, from the perspective of design and function. worshipping, cleansing, protecting and offering as gratitude symbolizing the birth and rebirth as well as the continuation of towards the divine as well as keeping out the malice by paying generations. The cloth for costumes are all having cut warps tributes to the underworld spirits. The religious practices are (known as Megetep) and therefore should not be used as cloth being preserved and practiced as means towards gaining the offering. environmental consciousness and spiritual awakening. The The color hue of Gringsing is divided into two types. The ritual conducted in Tenganan may also never be completed three-colored Gringsing is called ‘Barak’ or red hued, to without the existence of symbols. The textile Gringsing, is denote the presence of the three colors (white, red, and black) considered as one of the sacred symbols where its usage in the on one pattern composition. The two-colored Gringsing is ritual is prescribed strictly by the tradition [7]. Gringsing called ‘Selem’ or dark hued, to denote the absence of the red th Figure 2. 19 Century Gringsing Wayang Kebo (source: LACMA, Gift of Mary F. Kefgen) textile of Tenganan Pagringsingan is particularly important for hue on the display, leaving only white and black. Gringsing it reflects the values of the people concerning their social, Selem has specific patterns of Wayang and Pat Likur Isi. The 2. Previous Research 3. Research Method spiritual and ecological relationship, as well as the ritual specifically prescribes such Barak (red) cloth and Selem Many Researchers of social science have conducted The research on textile design was conducted using determination in preserving the tradition and way of life taught (dark) cloth to complete the form of offering. ethnographic studies on the community of Tenganan ethnographic methods to collect data such as interviews, field by their ancestors. Based on its usage in a ritual, be it for the cloth offering or Pagringsingan and of the sacred textiles. Regarding the surveys, participant-observation, specimen analysis, as well as the ritual costume, Gringsing textiles are produced in general community, Miguel Covarrubias [2] wrote extensively on the taking questionnaires to village informants and local experts sizes and special sizes. The sizes are calculated from the culture of Tenganan Pagringsingan as one of the surviving old [1,3,4,5,6]. The method is used primarily in research for amount of threads used in the production. The general sizes Balinese community (Bali Aga). The village have been existed anthropological and sociological studies, hence considered consist of (1) small or Cenik (approx. 160 x 25 cm), (2) since before the coming of the Majapahit refugees that made relevant for the purpose of studying the textile design because medium or Patlikur (approx. 160 x 40cm) and (3) large or up the most of Balinese population today. To the new Balinese, of the need to understand the influential and inspirational Petang Dasa (approx. 180 x 50 cm). The special sizes, which the community of Tenganan Pagringsingan is unique because factors such as the people, their way of life and myths. The refer greatly for the usage of becoming vestments, are (4) the the culture and tradition are different than theirs in terms of method produces in-depth research that will assist in tubular belt or Sabuk Tubuhan (approx. 280 x 20 cm), (5) the religious practice and traditional communal living. Angela emphasizing on how culture could be integrated in the creation long belt or Cawet (approx. 300 x 20 cm), (6) the small scarf Francais-Simbuerger [1] focused her study on how their belief of artefacts and product design alike [8]. In one study [9] Pat Likur Isi, (7) the medium scarf Wayang Putri, (8) the large system, which is a mixture between paganism, animism and ethnographic approach can help fostering a culture-based scarf Wayang Kebo and (9) the largest scarf Lubeng Luhur. the Indra-sect Hindu, influences greatly on the shaping of design. In another [10], it helps on how native culture 5.2. Practical Usage of Gringsing Textile traditional customs that govern the social and political influences the development of new textile pattern design that Gringsing is used in rituals as ritual offering and ritual relationships. Urs Ramseyer [3] later wrote expanded volumes reflects the great historical and cultural values. costumes. Based on who perform the ritual and the objective on the ritual culture, the settlement and the tradition of The current research has been conducted within the village Figure 3. Gringsing function in spiritual, social, and ecological of the ritual, ritual activity in Tenganan Pagringsingan can be endogamous marriage. Regarding Gringsing textile, there are establishment of Tenganan Pagringsingan, located in the context (source: Author) classified into (1) individual rituals and (2) communal rituals. only three notable researches introducing the art of Gringsing Karangasem region, eastern coastal of Bali, Indonesia. The According to the village scholar (N.Sd, M/67) and the artisan textile, the usage in the ritual and the possibility of origin. Urs field research was conducted three times (February – March 5. Research Results (N.Sw, F/53), in the individual rituals there are set of rituals Ramseyer conducted a comprehensive study concerning the 2014, June 2015, and September 2016). The first survey 5.1. Physical Elements need to be performed especially for requesting the safety and ritual and its components in which Gringsing, as an important focused on introducing research activity and approach to the There are three types of physical term based on the condition the protection for the main members of the family within the ritual article, is mentioned as a textile that brings divine life of the community. The second survey focused on of the textile [7]. Firstly, the freshly woven Gringsing with the stages of life, and rituals to honor the direct familial ancestors. protection [4]. Second, Yoshimoto Shinobu [5] has dedicated interviews and observation of the textile technology, design warp still intact is called ‘Sukla’, means virgin. The term refers Communal rituals on the other hand are the rituals that involve many profound studies regarding the textile art and the details and the functions conducted in the residences of the to the textile in which its ritual function is yet to be decided. the request for the safety and the protection for the community, technology of South Asian textiles, including the relation to textile artisans, while the details regarding ritual and society Secondly, a virgin cloth that is decided as offering is called the worship of the deities and the exorcism of the underworld Gringsing’s possible origin. The last one is H. Coleman [6], were acquired from the interviews with the chieftains and the ‘Rantasan’, means cloth offering. Once a ‘Rantasan’ is spirits as well as the cleansing of the land. A considerably high who has researched how cultural and historical values of a village scholars. The third survey focused on obtaining the data decided to a specific ritual, the use of the same cloth for various quality cloth according to the artisan would be used as offering tradition played a major role in creating the richness of motifs, regarding Gringsing which is kept as heirlooms and their rituals is strictly prohibited. Lastly, a virgin cloth that is decided so the god he makes worship to, may acknowledge him [4]. A symbols, and ceremonial uses, also indicating to the preferred pattern designs through questionnaires. In this paper, as ritual costume, then the intact warp needs to be cut. The high quality cloth is considered to have clearly defined development of Gringsing design. the sources is given numeration to denote their name initials, cloth can later be made into several ritual costumes, such as patterns, vivid colors and firm weaving.













































Journal of the Science of Design Vol. 2 No. 2 2018 93 A. Gringsing Used as Ritual Cloth Offering (Rantasan) be offered to the family temple. Gringsing as cloth offering is only prescribed for at least 5 4.Later when the child reaches 3 months of age, the parents kinds of ritual. The cloth offerings are listed as follows (Table should come to perform two rituals in Pura Jero. One ritual 1): is dedicated for the child, and the other is dedicated for the 1.Cloth offering made for the wedding ceremony. The cloth parents. The Rantasan from the child consists of Gringsing offerings consist of 4 Gringsing Sanan Empeg (Table 2, 1a), cloth placed together with jewelry made out of either gold or each is placed on different offering vessel that would be silver and the ceremonial knife (known as Keris). As for the offered to honor the family clans enshrined in each of the clan Rantasan from the parents, it made into two parts. One temple. To the temple of married couple (known as Pura consists of Gringsing cloth with another supplemented cloth Jero), Gringsing cloth along with a small dagger is made. and one piece of sacred cloth to be put on the eastern altar, Suppose the family is wealthy, the couple would receive and the other one is for the western altar. textile gifts on the gift-giving ritual known as ‘Mesumbahin’ 5.Cloth offering made for hair-cutting ritual (Ngetus Jambot) consisted of Gringsing clothes of the finest quality. will be held once the toddler is ready to enter his next 2.Cloth offering made for the ritual a year after the wedding growing stage (around 3 until 5 years of age). The cloth ceremony that is held together with the 5th Month Festival. offering consists of Gringsing cloth and two other sacred The offering is called as Maturan Kampuh. textiles being stacked upon a piece of Banana leaf and some 3.Should the bride conceive the first child, a cloth offering is gilded ornament. While another piece of Gringsing will be to be inserted in the ceremonial basket (known as Wakul) and used to contain the cut hair, before later removed.

Table 1. The usage of Gringsing textile according to occasion and ritual (source: Author)























94 Journal of the Science of Design Vol. 2 No. 2 2018 B. Gringsing Used as Ritual Costume ritual uniform. As shown in Figure 4, within the afore- The ritual costume is one of the most essential parts of the mentioned ritual clothing elements, Gringsing is used as the ritual order. In its spiritual aspect, the sacred clothes used as chest cloth (anteng) and the outer garment (saput) for the ritual costume and worn by mankind functions as a tool to female; the sash (sabuk), the long tubular belt (sabuk tubuhan) bring said person into a holy state of being before meeting the and the outer garment (saput) for the male. god. Within the clothing elements, Gringsing is a special Between the married and the girls at their simplest uniform, woven textile among other textiles of Tenganan that is deemed Gringsing of small size is used for the chest cloth (anteng) to possess the highest protective quality and healing power that worn by girls, while Gringsing of larger sizes is used for the using it in some rituals is considered indispensable [4]. larger chest cloth (anteng lumbang) worn by the married The sacred clothes are also used mainly to identify the women. For the married women another style of wearing the members of diverse social groups in Tenganan Pagringsingan upper-cloth called ‘saput lumbang’ (Table 2, 1c) is mandatory, as they have distinctive uniform to attend every ritual. The where they are obliged to drape this cloth down the back and groups that are being identified by the use of Gringsing in their over the buttocks. The girl that has come of age has larger roles uniform are (1) the association of married citizen (Kerama in the activities of the festive rituals such as performing the Desa) and (2) the youth association for boys and girls (Seka sacred dances. During these festive rituals, they have to come Teruna and Seka Daha). Through these social groups, the in a complete uniform (Table 2, 2a) that will show their marital position, function and roles a person has in the complex ritual status, for in some ritual, the dance is also a media of duties or its activities such as by birth, gender, or marital status interaction between the boys and girls who wish to be married. can be clarified. The prescribed rules of the uniform are called The ritual costumes for the males are not as diverse as for the ‘Pepatuhan’ and it is as strict as it is meant to display this females, as they don’t differentiate between the married and identification for the social groups that directly involve in the the unmarried ones. preparation and participate in the ritual activity [7]. Firstly, the Depending on the ritual occasion, Gringsing textiles are used elements that construct a ritual costume for married women in such forms (Table 2): and unmarried women are inner cloth, outer hip-cloth 1.As chest cloth for the children who attend the hair-cutting (kamben), sash (sabuk), chest cloth (anteng), outer garment ritual (Ngetus Jambot). This is an important ritual that marks (saput), hairstyles (pusung), and gilded ornaments, jewelery or the change from infancy to childhood (3-5 y.o.). If it were a flowers. Secondly, for the married men and unmarried men, the girl, she would be known as Daha Miyik (child-girl). On the rules concerning how to dress are less strict than for the hair-cutting ritual, a child will be garbed in sacred clothes married women or unmarried women. Their costume elements such as Gringsing, combined with the other woven clothes. include outer hip-cloth (kamben), outer garment (saput), sash 2.In the collective ritual of the coming of age, the girls and boys (sabuk), long tubular belt, (sabuk tubuhan), and dagger (keris). (12-14 y.o) will wear the uniform composed of Gringsing Gringsing is used in these conditions to display the textiles with other woven clothes. For the girls, their family uniform: the size and the style of wearing according to the will adorn their uniform with gilded accessories and a sksjjskjsk

Figure 4. Styles of Gringsing worn as ritual costumes (source: Author)























Journal of the Science of Design Vol. 2 No. 2 2018 95 Table 2. The prescription of Gringsing textile according to the cultural settings (source: Author)



















96 Journal of the Science of Design Vol. 2 No. 2 2018 Table 2. The prescription of Gringsing textile according to the cultural settings (source: Author) headdress consisted of gilded and fresh flowers. For the expected to become a textile artisan. After a woman’s wedding, boys,their family will compliment them with a traditional she would usually be expected to begin with preparing the sword. creation of Gringsing cenik (small size) and patlikur (medium 3.The married couple and their main family are prescribed to size) for the purpose of ritual offering (rantasan). wear Gringsing cloth on their wedding ceremony. For the Small size Gringsing (cenik) with cut warp is used as chest bride and the mother the style of wearing Gringsing as the cloth or ‘anteng’ (Figure 4, 1) and is usually having more chest-cloth is different than the style worn by the single girls. feminine pattern design assigned to it such as: cemplong, And after, the bride will come down wearing Gringsing cicempaka, teteledan, tali dandan and batun tuung (Table 3). during the purification ritual and the ritual of cotton spinning Medium size Gringsing (patlikur) is used as larger chest cloth (Ngantih). called ‘anteng lumbang’ (Figure 4, 2). 4.In the grand ritual of the 5th month (Sasih Sambah), (1) Some Gringsing are made in longer length or narrow width Gringsing is worn to symbolize the cosmic unity and to accommodate the ritual clothing style. For the females, supposedly separate the ritual participants from the profane Gringsing of any Wayang patterns (Table 3) are especially surroundings during the ritual dances (Rejang and Abuang made into scarfs or ‘kalung’ which is usually used as shoulder sacred dances). The line dance called Rejang is a form of cover during ritual resting periods; and cloth decoration that sacred dance that will be attended by girls who adorn their drape over an outer garment called ‘lamak’ (Figure 4, 5) which costume with the precious Gringsing Wayang Kebo. The usually worn for ritual dances. style of wearing known as ‘Nyandang Kebo’ (Table 2, 2a) Two medium sizes Gringsing or two large sizes Gringsing uses a specific Gringsing pattern called Wayang Kebo, which (petang dasa) of the same pattern can be sewn together to make is the most intricate pattern known in Gringsing pattern ‘saput makembar’, means twin clothes (Figure 4, 6). ‘Saput’ is designs. The piece of textile is worn in such a way so that one the wrapping garment that is worn over the inner wrapping longer end of the cloth is resting over the shoulder. The dance garment for both male and female. For the male, in all ritual participants, who are usually girls, would use both red hued cloth, saput is worn at the hip-length, while for the female; it (Barak) and dark hued (Selem) Gringsing. (2) On the fighting can be worn from the chest-length when she is not wearing the ritual (Mekare-kare), men and boys would wear Gringsing chest cloth (Figure 4, 6). cloth as wrap-around cloth (saput) or to fasten the plain Special sized Gringsing is used especially for men as the wrap-around cloth with the smaller size Gringsing to evoke tubular belt or ‘sabuk tubuhan’, and the long tubular belt, or the spirit of courage as well as protection. ‘cawet’. Sabuk tubuhan is a narrow tubular cloth, when cut it 5.Men who are chosen to lead the exorcism ritual called reaches up to 3 meters in length. The tubular form is worn in Memedi-median will wear Gringsing, in which men wear the the style called ‘Metangkon’ (Figure 4, 7). The style is a form complete costume composed of Gringsing (the long tubular of fastening belt with the half of the knotted part creating a loop belt and the wrap around cloth) with other woven textile and being pulled over the head to be left dangling down the (Figure 4, 7). neck. According to the artisans, the patterns that are mostly 6.Gringsing is also used to cover the dead body of a person in applied to the sabuk tubuhan are masculine pattern such as: the funeral ritual, before the person is buried. After the burial, dinding ai/batun cagi, injekan siap, cemplong memedi, waton, the used Gringsing will be purified in a cleansing ritual so and sitan pegat (Table 3). that it can be used again, or in most cases, being sold to the 6.2. Aesthetical elements presented in Gringsing design

tourists. In a year, the spirit of the dead person will be invited layout into the realm of the living to attend a ceremony in an effigy Generally, the pattern composition of Gringsing is presented wrapped in Gringsing textile. in a fixed design layout consisting four main parts (Figure 3)[8]. These four parts are consisted of the two edges and side borders 6. Definition of visual representation: the relation (A), the sign of ritual use (B), the additional decorative pattern between functions and design elements (C) and the overall pattern design (D). 6.1. Gringsing size and its designated function Both edges and side borders of Gringsing are composed of The traditional designs of Gringsing textile are made for the the tricolored stripes (white, red, black) called Penekek (or to purpose of fitting into the function. In the case of ritual fasten). These stripes are what make the outer frame of costumes, the size varies, and additional decoration may be Gringsing textile. The side border is usually 1 cm in width, made according to the artisan. Traditionally, a woman is while the loose ends often tied in knots.









































Journal of the Science of Design Vol. 2 No. 2 2018 97 Gringsing artisans construct the overall pattern design of Gringsing by applying symmetrical directions [11][12] (glide, reflection or rotation) onto a basic motif and assembling them in symmetrical rows. These basic motifs could then be combined to create a single pattern composition. According to pattern composition that is placed in one piece of cloth, Gringsing can be classified as follow [7]: 1. Single pattern composition 2. Double pattern composition: Masemayut 3. Multiple/repeating pattern composition: Prembon Based on the decorative elements presented in the overall Figure 5. Half portion of pattern arrangement (single pattern pattern design, it can be classified into the non-specialized and design, pattern name: Batun Tuung) (source: Author) the specialized pattern design. The classification is based on Pattern arrangement is known to be the crucial part of the the display of the 4-pointed star (also known as ‘Panggal design itself that may tell the observer what values that a textile Asu’)[7] that is considered as the symbol of the community and is upholding. Each of the motifs found within one single the village. According to the artisans and the village scholars pattern design might have specific name that once might be (N.Sdr-M/67, K.S-M/49, W.S-M/47) the patterns that display used to conveying the meanings, properness, or specific a clear 4-pointed star pattern are traditionally considered to be occasion. In Gringsing design layout, the particular design the most sacred as they are also aesthetically pleasing due to component signifies the properness to be used as sacred ritual their perfect symmetrical arrangement. Therefore, the patterns article, is produced in the design field called ‘Kepala’ (or head- part) (Figure 5, A, B). To adopt a term used in Batik, this one-dimensional bar-like 1. Gigin Barong design is referred to as the ‘Tumpal’, the design that represents night and day, the mutual dualism that considered as a sacred symbol. In Gringsing, the design of head-part is specifically 2. Tambang and Wewaluhan visualizing the term ‘sacred’ and ‘protection’ as well as ‘barricade of the world’ (Figure 5, B) which is suggested by the individual motifs that are arranged in bands and composed to

‘guard’ both of the textile’s head sides. These bands are various 3. Tricolored and bicolored Telupuh in styles, giving special characteristic to the pattern as well as Figure 6. The motifs that are used in the sign of ritual use (B) signifying the eligibility to be used in religious rituals. (source: Author) The motifs that embellish the sacred band may consist of; 1.
Gigin Barong (the triangle motif resembling canine tooth, means ‘Dragon Teeth’). 2.
Tambang and Wewaluhan (bicolored cross pattern made from assembling four spear-head patterns and tricolored flower pattern) 3.
Telupuh (the especially sacred motif denoting the ritual 1. Tumbak and Tambang Barak usage, the small four-pointed star. Gringsing made without one is not eligible to be used in rituals) Some older motifs that may be made to frame or to make additional decoration (Figure 5, C) on the design composition 2. Tumbak Gunung consist of: 1.
Tumbak Barak (the motif of spear edge and leaf) 2.
Tumbak Gunung (mountain-like motif that is composed by 3. Jali-Jali little triangles) Figure 5. Additional Decorative Pattern (C) 3.
Jali-Jali (red cross motifs in a white band) (source: Author)



















98 Journal of the Science of Design Vol. 2 No. 2 2018 with clear display of the 4-pointed stars are classified into the (160 x 20 cm) is used as offering in rituals such as wedding specialized pattern designs (Pat Likur Isi, Wayang Kebo, ceremony, the hair-cutting ritual for infants, or cleansing ritual Wayang Putri, Wayang Candi, Wayang Putri Dedari, Wayang in a family. It may also be used as the wrap for any sanctified Mesila, Lubeng and Lubeng Luhur) while the ones without are items. ‘sanan empeg’ literally means ‘breaking rod’ and coins classified into the non-specialized designs. From the same a tale of fragile situation of a middle child whose elder and source, it is also pointed out that a strict attention is given to younger siblings died. From its philosophy, it can be concluded denote the feminine or the masculine patterns, associating the that such fragile situation would mostly appear during the textile further to who would wear it. The patterns that are stages of growth (from infancy to adolescence to adulthood), considered feminine or masculine in the older days might be thus the textile offering is made special during the rituals of associated to the type of ritual where Gringsing is being used, this critical moments. The Sridatu pattern in Sanan Empeg is or denoting the local philosophy that existed within the usually paired with checkered style single patterns such as; community. However, nowadays, the strict attention towards Kotak Gambir, Sitan Pegat, Dinding Ai or Batun Cagi (Table the pattern is not put into practice due to the lack of inheriting 3). the knowledge. 6.3. Color Interpretation in Gringsing Finally, the design layout called Sanan Empeg, which only The color becomes a necessity in symbolizing the spiritual be used for the ritual offering, is a special format that is made elements as its relationship to the divine. The mixture of the by putting the pattern Sridatu to divide two spaces that will be many local philosophies had made the tradition rich in filled with one single pattern design, and enclose them at both manifesting philosophical meanings through color display. edge before the sign of ritual use. The format Sanan Empeg The textile Gringsing is dyed in three colors of red, blue-black Table 3. The Patterns of Grinsing Classified Based On Their Design And Hue (source: Author)























Journal of the Science of Design Vol. 2 No. 2 2018 99 and ivory white known in the local tongue as ‘Tridatu’ or that will be composed in the next article discovers how the ‘Sridatu’. To the Indra-Hindu people of Tenganan making process of Gringsing could symbolize the expression Pagringsingan, those Geringsing textile which display the three of the spiritual journey that is clarified in the perception of colors of red, black and white are to represent the worship to built-environment, spatial arrangement and in the architecture the Three Divinity (Tri Murti); the gods Brahma, Vishnu and of dwelling. Siva while those which display the two colors of black and Finally, by clarifying these cultural properties of Gringsing, white are to signify the existing Mutual Dualism (Rwa the cultural values could be re-recognized and re-instituted in Bhineda) that make up the universe. Rwa Bhineda in other the later development of this traditional artifact. word, is the view of two opposite thing that depend on each other to exist such as day and night, up and down, male and 9. References female, etc. As believed by the people and their Balinese 1.
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Based on oral interviews with members of Kelihan Adat inspiration. The cultural knowledge that is reflected in the (Village Council), Kerama Desa, Gringsing artisans and design can inspire authentic designs for many communities village scholars. that produce artefact, boosting their local productivity as well 8.
Gurcum, B.H., & Arslan, P. (2015) The Importance as the sustainability for their identity and avoid cultural of Ethnographic Research in Textile Design. IJASOS- appropriation. International E-Journal of Advances in Social Sciences, Vol.1, Issue 3, pp.470-480, doi:10.18769/ijasos.08521 8. Conclusion 9.
Meong, J.S, Cassidy, T, Moore, E.M. (2015). Design As the effort to trigger the re-identification and the passing Reinvention for Culturally Influenced Textile Products: down of the knowledge recorded in Gringsing-making culture, Focused on Traditional Korean Bojagi Textiles. The through the course of research into the cultural settings such as Journal of Design, Creative Process and the Fashion the function, the design and the meaning of Gringsing textile Industry, Vol. 7, Issue 2: Korean Fashion, pp. 175-198. related to its ritual context, it can be concluded that (1) through 10.
Britt, H. (2012). “The Art of Textile Design Research: the ritual usage, the physical form of the textile could become Educator Approaches to Creative Practice the Art of exceptionally diverse. (2) The strict customs is therefore Research”. The Art of Research IV. Finland. translated into the language of colors, size and pattern design. 11.
Crowe, Donald W. (1988). Symmetries of Culture: Theory (3) Gringsing represents much of the communal identity and and Practice of Plane Pattern Analysis, pp. 69-70, 82-164, becomes the carrier of meaning for its local symbolism. University of Washington Press. The later part is also expressed greatly in the culture of 12.
Washburn, Dorothy K. (1986). Pattern Symmetry and production process where it employs not only hard work but Colored Repetition in Cultural Contexts, pp. 767-781, also meticulous procedures and codes of conduct. The research Rochester, USA. Pergamon Press Ltd.























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