インドネシア スンバ島東部の物質文化にみられる舟のモチーフとその周辺
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概要
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Among the series of cultural migration theories noted by R. HEINE-GELDERN, the one called Rectangular Adze Culture which attracted his attention toward research on the cultural formation of Indonesia had much influence on the various studies of material culture in Southeast Asia that followed it, and has brought some suggestion to a historical reconstrucion of ethno-culture. The large expanse of eastern Indonesia is the district in which a lot of native culture and art styles still remain and in which there can be found many data of boat motifs that can be recognized as surviving evidence. B. A. G. VROKLAGE has indicated a relationship between megalithic culture and boat motifs in this district. But it is simply an outline. The aim of this paper is to use the material culture of eastern Sumba for investigating the existence of a concept related to boat motifs, which is to be considered as a background for the production of various positions in the symbolic orders. The following points are to be examined in this paper. a. The pattern of capital village. b. The pattern of traditional house. c. Megalithic monument. d. Njara mwatu (boat-shaped wooden sledge). e. Traditional textile. First of all, we have to understand the past studies on the symbolic order in these objects. TER HAAR Says, "modern ethnology has revealed ancient native conceptions of the firm and ordered unity of the community, which is sometimes thought as being of human form with dual, quadruple or other divisions, each with functionaries in their proper places. Such concepts are of the greatest significance in arriving at an understanding of the earlier organization of Indonesian communities as they were related to the cosmic and mundane worlds and "the sacred community possessions are eloquent proofs of the genuine reality of community solidarity, as are the communal boats of the Kei and Aru Islanders." Furthermore, KOENTJARANINGRAT'S report says, "Village style of Mangarai district in Flores Island consists of 3 parts・・・・・・front part, center part, back part." Generally, the capital villages of these districts are on a small hill, and have a protective function. Moreover, there is also notable data obtained by RODER'S investigation at Soja village in the southeast part of Ambon Island about the megalithic monument "Rock Boat" situated in the central part of a carnival square. He points out that the seat each member of the village takes on the monument (front, center, back) at a ritual time corresponds to his social status order. From these data the existence of some common patterns can be recognized throughout these village communities in eastern Indonesia. There is a common belief that the whole village community should be laid out in imitation of a coordinated individual form (human form or boat form, etc.), and that the people should develop the combination of three divisions which constitute the inner part of the community. In eastern Sumba, the symbolic order mentioned above is obviously manifested in all of their cultural patterns. Many facts that seem to prove this also can be found in their material culture. The following statement is an explanation of the material culture of eastern Sumba : a. Pattern of capital village (paraingu bakulu) . Generally, the capital village forms a unity consisting of a square and two rows of houses which are situated on both sides of the square. The village has an oval shape. The inner structure is classified into three parts : tundu-kambata, kani-padua and kiku-kemudi, with each name equivalent to a boat・・・・・・the bow, the center, the stern.
- 日本文化人類学会の論文
- 1980-12-30