UDC. 72.031 (910 Sumut).

TRADITIONAL BUILDINGS OF INDONESIA

TOB.A

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Ministry of Public Works and Electric Power.

Dir!ctorate General of Housing.Building.Pianning and Urban Development
B U I L D I N G R C: S E A R C H I N S T I T U T E.

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United Nations ·- Regional Housing Centre - Ecafe

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Jatan Tamansari 124 P.O.Box 15 Bandung·lndonesia
 UDC. 72.031 (910 Sumut).

TRADITIONAL BUILDINGS OF INDONESIA

Volume I

BATAK TOBA

p kerjaan Um um
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Published by :

Ministry of Public Works and Electric Power.

Directorate General of Housing,Building,Pianning and Urban Development
B U I L D I N G R C: S E A R C H I N S T I T U T E.
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CONTENTS PAGE

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5- 10
1. A general description of the lake Toba region.
2. The extent of the recent survey (June 1972).
3. Description of a typical village
4. The different building types and recent planning developments
5. Construction materials
6. Decoration of buildings
7. Similarities with other styles in the area
8. Modern buildings using the Toba Batak style
9. Preservation of the tradition.
Photographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 - 18
Drawings resulting from recent survey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 - 30
Map of the Toba Batak area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26- 27
Appendix- "Het Toba Bataksche Huis", by D. W. N. de Boer................. 31 -41
1. Introduction
2. Building materials and considerations during collection
3. Varieties of timber used in building
4. The house; a general description
5. The posts
6. The floor
7. The lower part of the external walls
8. The pandingdingan
9. The parhongkom
10. The front
11. The bonggar-bonggar
12. The side walls
13. The back of the house
14. The roof
15. The secondary roof frame
16. The roofing
17. The decoration
18. The singas
19. Other ornaments
20. Figures of the wood carvings
21. Colours
22. Interior
23. The deterioration
24. The sopos
25. The charnel houses
26. The house hold goods.
Appendix drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42- 52
 4

PREFACE.
This publication is the result of a field survey undertaken during June 1972 by G. T. Sargeant
and R. Saleh under the direction of A. Hariman for the Regional Housing Centre Bandung.
The photographs, where not otherwise indicated, were taken by G. T. Sargeant and the drawings
prepared by G. T. Sargeant and R. Saleh.
The Dutch publication '·Het Toba Bataksche Huis" by D. W. N. De Boer, which is reproduced
here as an appendix, was translated from the Dutch by J. C. Kriest a9d Tjandra P. Mualim.

Bandung, May 197 3.

All rights reserPed. No part of this publication may be reproduced, stored in a retrieval system
or transmitted in any form or by any means, electronic. mechanical, photocopying, recording,
or otherwise. without the prior permission of the UN. Regional Housing Centre, Bandung,
Indonesia.
 5

I. A general description of the lake Toba region.

Lake Toba is located in the province of North Sumatra, the distance between Medan and
the tourist town of Prapat being a hundred seventysix kilometres. The lake is both large in
area and very deep, its rough dimensions being eighty kilometres by twenty five kilometres.
the long axis running north-west to south-east. The island of Samosir occupies a large pro-
portion of the area; it is about forty kilometres long and fifteen to twenty kilometres wide.
Travelling from Medan to the northerr end of the lake involves a journey of about one
hundred kilometres, first across hot flat plantation country then very steeply up to a pass
at 1400 metres, where the sulphur from volcanoes hangs in the air. It is then a short distance
to Kabanjahe, the principal town of the Karo · area, situated in the middle of the Karo
plateau at a height of 1200 metres above sea level. The plateau is dominated by volcanoes,
the highest being Sinabung at 2451 metres.
Although the lake cannot be seen from the plateau its presence is felt in the mist laden
winds which blow up from the surface of the water 300 metres below. The level of the lake's
surface is 900 metres above sea level and, on the western side. the plateau stands at 1700
metres. At the northern end there is virtually no flat land at the lake's edge and the treeless
slopes plunge into the water.
The southern end of the lake provides quite a contrast and, although it is possible to
travel from Karo along the lake, or by boat, the quickest approach from Mcdan is via Perna·
tang Sian tar and Prapat, to Balige, a distance of 236 kilometres. The area around Balige is
a very large, rich plain at about the same level as the lake, where rice is grown in wet paddy.
Because of the wealth of this area it forms the nucleus of the T oba Batak territory.
The island of Samosir slopes gently up from its w,·, .. :.n shore to a ridge 1600 metres above
sea level on its eastern side which then falls steeply into the lake making the scenery at Prapat
very spectacular. Here the lake isquite narrow and the hills on each side very steep.
Considering the climate, the unlimited fresh water, the fishing. the rich soil and the
scenery it is very easy to see why this area was settled in early times. However. the geograph·
ical characteristics divided the Batak people into separate groups. The Toba Batak of the rich
southern end of the lake became the strongest and the most numerous and their area wvcrs
the island of Samosir and the edge of the lake from Prapat to Balige and inland quite a way.
On the eastern side of the lake, mountains separate the T.Jba Batak area from that of Sima·
lungun and there arc also hills between Simalungun and Karo ·at the northern end. On the
western side are the Pak Pak.
The Bat<~ks in history hl!ve been very warlike people and many ship battles have taken
place on the lake along with raids and wars on land. Many old buildings have been lost in
recent history due to fires lit during raids. However the different regions have maintained
until the present time their own specific cultural heritage and architectur~l style. e~pccially
the areas of Karo, Simalungun, and Toba.
The predominant religion in the area now is Christian but to experience the spectacular
storms on lake Toba is to understand the still strongly animist feeling of the people.

2. The extent of the recent survey (June 1972 ).

The object was to find the best examples of the typical building types and make measured
drawings of them. The first day included a visit to Tomok on Samosir (by boat). from
Prapat, followed by an inspection of villages near the road joining Prapat and Balige. These vil-
lages included. Jangga Batu Pane. Lumban Garaga, Porsea and Sigumpar. A photographic
record was made on this day and a house chosen in Sigumpar and a sopo in Lumban Garaga
to be measured the next day.

3. Description of a typical village.

Despite the general disappearance of the village fortifications of the past. it is still common
even for small villages to be surrounded by a bamboo thicket. The species of bamboo. is a very
tall-growing one and often it is difficult to see the houses from outside the village. This applies
particularly to the flat plain surrounding Balige. In the hilly area it is quite easy to set' the
villages. On Samosir tall trees are grown instead of bamboo.
 6

Once inside the village enclosure there is a feeling of seclusion and order. The buildings
are constructed in two rows, houses on one side rice stores on the other, facing one another
across an open space which is kept plant free and clean and where all the daily activities are
carried out. This space feels secure and protected due to the fact the gable ends of all the
buildings project over it to keep off the rain. The animals (except for pigs and chickens) are
stabled underneath the buildings which stand high off the ground on posts. The buildings
themselves contain no straight lines. the ends of all structural members curving upwards. The
roof is the largest single clement and the ridge is a steeply curved saddle.
The impressillll is of two rows of square barges with roofs built over them. The areas behind
the builclings arc not as well ordered as the central space. Vegetables are grown there and rubbish
disposed of. Not much attention is given to the backs of the building11 either. The construction
is basic and undcrdcnHated, no maintenance is done and often ramshackle extensions are built
onto the hacks of houses.
The orientation of the buildings varies. Around Balige, the long axis of the ridge runs north--
south, in the hills it often runs at right angles to the slope of the ground and on Samosir,
cast west.

Lumban Garaga near Balige.

This village is a good example of the type mentioned above. A dense bamboo thicket encloses
eight buildings (two rows of four facing each other). Originally there were four houses each
with a rice barn opposite: however two of the latter, on each end. have been converted into
houses. Tv.·o of the original houses seem to be very old with beautiful bas relief carving painted
hhKk. red and white.

Porsea near Balige.

The main highway cuts off the western end of this village which originally must have been quite
large. Now there are only four houses and three rice barns converted into dwellings. There are
also gaps between some of the buildings which indicate that some have been demolished, and
one modern timber house has been built.

Sigumpar near Balige.

At this village were three privately owned and unoccupied buildings consisting of two houses
and a converted rice barn. All of them had been quite recently built (one inscribed "0 Joshua
Nadeak Slamat Pake" with the. date 1960) but in a manner faithful to the traditional style, an
indication that the skill has not yet died out. The above three villages are all similar in plan style
arid orientation and on the plain around Balige arc numerous other examples worthy of study.

Jangga Batu Pane near Prapat in the hills.

This village is in a much poort:r situation than the three already mentioned. It is quite close
to the road and no thicket closes it off. The old village is situated on the lower side while a new
part with opposite orientation has been built close to the road. The old part must originally
have consisted of four houses and four rice barns facing each other: however one house and one
rice barn have been replaced by sm<dl modern timber structures and the two rice barns at
each t:nd are now houses. The orientation of the ridge of the buildings is perpendicular to the
ground slope while the other part of the village is opposite. This section of the village consi~ted
of four houses and only one rice barn converted into a dwelling. A coffin shaped like a boadvas
resting in the one remaining rice barn. The timber of all buildings is unpainted and the carving
only in confined areas.

Tomok on Samosir.
There are quite a few groups of houses at Tomok each consisting of about eight buildings. Again
the rice barns have been changed into houses and some of the houses have a different entrance.
Instead of a stair to a trap door in the floor of the house, a small semi-circular balcony is built in
the front, with a side stair and a door way constructed in the middle of the facade. Otherwise
 7

the villages look similar to those mentioned already except for different decoration, east-west
building orientation and the big trees.
On the i~land of Samosir are to be seen large carved stone coffins containing the remains of
important people. Also graves are decorated with small scale replicas· of "Rumah Adat" (Tradi-
tional Houses) called Joros. Funerary structures are mentioned in the appendix.
4. The different building types and recent planning developments.
Basically there are only two building types, the house (rumah) and the rice store (sopo).
The latter however is a multipurpose building where during the day meetings may be held or
women weave cloth and during the night the young men may sleep.
The- sopo consists of three levels. The animals are stabled at ground level behind a post and
rail construction. The first flo~; is 1.60 metres above the ground and is surrounded by an edge
beam 40 centimetres high. This is where the the daily activities take place and the young men
and male visitors sleep at night. The second floor and roof structure are supported, usually by
six stout posts. At the top of the posts are large flat discs to protect the stored rice from mice.
This floor is also surrounded by an edge beam of about 30 c~ntimetres in height but the side
sections support the lower part of the gable roof and the front and back sections support the
gable infill panels. Access to this second floor, which is 1.80 metres above the first is through
a trap door.
These structures are often converted into houses as the population gets bigger and people
have no time to build the elaborate traditional house. ln fact so many have been converted that
the impression is of two house types: however an interior inspection discovers the stout columns
and the flat discs which are only necessary in a wpo and in addition the facade contains a
duplication of the lower level at the second floor complete with the lions heads that decorate
the ends of large beams. The conversion is very simple. a plank wall being erected between the
lower and upper levels. A door is cut in the centre of the facade and an external stair attached.
The rumah is immediately distinguishable by the stair and trap door entrance being under-
neath the structure (except for the type on Samosir already mentioned). Again the main floor
is about 1.60 metres above the ground and in the space created underneath the animals are kept.
behind a railing fence constructed between the posts.
A detailed description of the construction of a Toba house is given in "Hct Toba Bataksche
Huis" by D. W. N. De Boer;Encyclopedische Bureau {1920) and a translation is given as an
appendix to this report.
The interior of the house is undivided with balconies about 1.60 metres above the main
floor at the back and the front of the house. The front gable infill panel is constructed in
the middle of the front balcony so that half is inside and half outside. The latter houses the
orchestra for open-air festivals while· .the interior section is the music gallery for dancing
parties inside. The rear balcony is used as a store above the fireplace as the smoke preserves
perishable goods.
In recent times people have been building partitions in their houses. Firstly the. two spaces
each side of the entrance trap door and underneath the balcony (traditionally being stores)
arc walled off. The stair now havirig two side walls, can have a normal vertical door. Also
the inside of the rafters is now often covered with timber paneling. A less agreeable develop-
ment is the use of zinc and iron to cover the beautifully curving roof.
The most disappointing feature of a Toba Batak house is that all the attention is given to
the front. The back is usually in a very bad state and messy kitchen structures are often joined
onto the elegantly unified shape of the house.

5. Construction materials.
Again detailed information is given in D. W. N. De Boer's short book, a translation of which is
~venin the append~.
For stru.:tural members dense hard woods are used and these are tested by being struck
and listening to the sound produced. The higher the note the denser is the material. These
dense timbers are also very durable especially when plac~d above the ground on river stones
and ijuk. protected from the rain by wide roof overhangs and preserved by the smoke of fires
inside the house. It is possible to sec large structural members up to one hundred years old.
 8

For the roof however it is necessary to find flexible young saplings that bend easily into
the dramatically curved shape. The technique of covering the roof with sugar palm fibre (ijuk)
is very elaborate and it is a pity to see zinc and iron taking its place.
The bulk of the construction is cantilevered off the posts but even so the edge beams at floor
level are of hard wood and very large. In new houses however inferior wood has been used for
these members as well as for the carved facade panels so insects and termites are rapidly eating
them away. Good timber is becoming more and more difficult to get and transport over large
distances makes it expensive.

6. Decoration of buildings.
This varies a great deal as it is very .susceptible to modern influences. Originally the inspiration
for design came from plant and animal life and these intertwining spiral patterns, lions heads
and lizards arc still very popular. The spiral patterns must be very ancient because they can
also seen on the buildings of isolated peoples in Kalimantan and Sulawesi.
The ideas of portraiture and photography were brought to Sumatra by the Dutch and in the
more accessible villages paintings of important people and incidents involving humans can be
seen on the buildings. Originally the patterns were carved into the panels before the paint
was applied but now the desigl)s are usually executed without carving and in some poor areas
decoration is dying out altogether.
At least three regional differences in decoration of buildings can be seen in the Toba Batak
area. Firstly on the plain around Balige, profuse decoration of the facades of buildings is still
carried out, with bas relief carving, then painting in red, black and white. The carving ends
abruptly on the side walls and only painting continues to the back, the rear facade having
neither painting nor carving. Secondly, on the island of Samosir, can be seen intricate fret work
carving in the gable ends of buildings and although there is very little overall carving and paint-
ing of facade panels, they have intricately carved and painted borders. The colours used are
similar to those of the Balige region but the large area of unpainted timber changes the effect.
Thirdly. in the hills round Prapat there seems to be very little painting of buildings and the
carving is confined to small areas of the facade panels,

7. Similarities with other styles in the area.

Although the buildings of the Karo and Simalungun Bataks are generally more austere and
monumental thar, those of the Toba Batak the system of construction is very similar. In almost
all cases the posts go up through the living space to support the roof, and the large edge beams
to the living area (which give much of the character to the exterior of the buildings) are sup-
ported on cantilevers from the posts. Thus the body of the house seems to fioat, which adds
to the boat like appearance. 1l1is system of cantilever edge beams and curtain walls filling in
the space between these beams and the roof is probably very ancient as it can be seen in the
Toraja areas of Sulawesi and some parts of West Irian.

8. Modern buildings using the Toba Batak style.

The Danau Toba Hotel in Medan has an entrance constructed in the Toba Batak style which
is fixed rather uneasily to a multi-storey concrete structure. It is a rather difficult style to
adapt to large buildings and probably the only successful example is the enormous market
in Balige built by the Dutch. Here they use only the characteristic roof siructure, much enlarged
to cover a big area and joined in series. The repetition of roof forms is quite interesting and
the traditional carving and painting of the area decorates the gables. The museum in Balige
is a greatly enlarged Toba Batak house which consequently looks rather unreal, having lost all the
grace of the relatively small original.
There are many other examples of the modern use of the style which are generally unsuc-
cessful because emphasis is laid on the superficial aspects of design such as decoration, and not
enough consideration is given to the question of scale.
 9

9. Preservation of the tradition.

The biggest destroyer of traditional building is the loss of discipline in the use of material
when faced by the multitude of modern building materials, many of which are easier to use
and cheaper. Thus iron and zinc have replaced ijuk, nails have replaced wedges and sawn tim-
ber has replaced adzed wood. Also the gradual change of life style in modern times means that
the people want "modern" houses to live in.
However the house of the Toba Batak is still eminently suited to the rural environment,
unlike the multi-family dwellings of the Karo Batak, and with a little encouragement the tradi-
tional building will live on. The encouragements could include financial help to preserve and
maintain existing buildings which are good examples of the style; subsidy of the supply of
traditional building materials to bring their price below modern materials; and financial assist-
ance to builder-craftsmen, who are skilled in the traditional methods of construction.

Photographs.
I. House, Sigumpar, near Balige.
Although this house is only about fifteen years old, it is an excellent example of the
traditional style. Because it is unoccupied, it has suffered few of the usual additions and
extensions, such as the animal enclosure underneath or ramshackle kitchen behind.The
cooking area is still the heart in the main part of the house. The only modern feature is
the enclosure of the space on each side of the stair, and the use of a vertical door instead
of a trap door. This house was the prototype fc the drawings included in this publica-
tion.
2. House (converted rice granary), Sigumpar, near Balige.
The painted boards are the original structure .of the sopo, and the unpainted boards
are the additions which converted it into a house. The rafters have been covered with a
timber ceiling, a modern detail that can now be seen in many of the more expensive
houses.
3. House, Sigumpar, near Balige.
Detail of the left -side front of the house.
4. House, Sigumpar, near Balige.
Detail of the right -side front of the house.
5. House, Sigumpar, near Balige.
Detail, taken looking down from the external musicians' gallery.
6. House, Sigumpar, near Balige.
Interior view to the front of the house, showing the enclosed rooms on either side of
the stair and the upright entrance door in the middle.
7. House, Sigumpar, near Balige.
Interior view to the rear of the house, with the hearth which is used for cooking at the
right or the picture.
8. House under construction, Hutaraja, near Baligc.
This house was abandoned during construction, and although too many posts have been
used to support the main body of the house, the photo gives a good idea of the stages
in the construction.
Photo: J. A. HONING.
9. Row of houses, Lumban Garaga, Balige region.
These are three of the four houses in this kampung, two of which seem very old, and
two of which arc comparatively new, having no decoration and roofs clad in corrugated
iron.
10. House, Lumban Garaga, Balige region.
This is the house in the foreground of photo 9. The carving and the painting of the
front panels is very fine.
 10

II. House, Lumban Garaga, Balige region.

Detail of the house in photo I 0, showing decoration of the front panels, and the lion
heads which terminate the side beams.
12. House, Lumban Garaga, Balige region.
Detail of the side of the house in photo I O,showing how the carved decoration ceases
after the first post back.
13. House, Porsea, near Balige.
Detail of the side of the house, showing the modern trend in decoration.
14. Sopo (rice granary), Lumban Garaga, Balige region.
This is one of the two remaining sapo in this kampung, the other two of the original four
having been converted into dwellings. Very few existing sapo are decorated, as the best
ones have all been converted into dwellings. This sopo was the prototype for the drawings
included in the publication.
15. Sopo, Batak Toba.
An old photograph. from the time when a decorated sopo could still be found.
Photo: J. L. SNOEP.
I (l. Sopo, Lumban Garaga. Balige region.
Detail of sopo superstructure.
17. Row of houses. Porsea, ncar Balige.
(Also see cover).
I X. Two sopo. Lumban Garaga. Baligc region.
14. House, Porsca. ncar Baligc.
Side clevat ion showing kitchen extension at the rear of the dwelling.
20. Htluse. Jangga Batu Pane, ncar Prapat.
21. House. Jangga Batu Pane. near Prapat.
Close up. showing lack of decoration .
..,.1 lluusc, near Tomok on the island of Samosir.
This house has the usual concealed entrance.
23. House, ncar Tomok on the island of Samosir.
This house has a front balcony and entrance over the balcony. Also note the variation
in the style of decoration.
24. View of :1 kampung, island of Samosir.
A large stone coffin stands in the centre of the open space.
Photo: J. A. HONING.
25. Kampung Julu.
Note sirap roofing to the building
Photo: W. K. H. IJPES.
26. Ncar lake Toba.
A hut for net fishing.
Photo: N. V. S.M. NEDERLAND.

Drawings.
I. I louse : front and side elevations.
I louse : cross section and longitudinal section.
3. House : plans at four different levels.
4. House : cross section detail of front of house.
5. House : cross section detail of side of house.
6. Sopo (lumbung padi or rice granary): front and side elevations.
7. Sopo : cross section and longitudinal section.
8. Sopo : plans at four different levels.
9. Sopo : cross section detail of front of sapo.
10. Sopo : cross section of side of sapo.
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 31

APPENDIX.
The following is a translation of the relevant sections of a Dutch publication:
"Het Toba-Bataksche Huis", door D. W. N. de Boer,
Mededeelingen van het Bureau voor de Bestuurszaken der Buitengcwesten,
Bewerkt door het Encyclopaedisch Bureau; Atlevering XXIII.
Batavia Weltevreden, G. Kolff & Co. 1920.

1. Introduction.
Before the Dutch assumed control in North Sumatra the Batak people were continually involved
in civil wars and they had to be prepared night and day against attack. However on the
common market day, plus the nights before and after, it was generally forbidden to attack
in the developed areas. Even during the Dutch times plundering was very common and you can
read the old lawsuits to see just how quarrellsome and power hungry the Batak people were.
Consequently, Batak villages, where possible, have been built in unapproachable places
such as hill tops, steep river banks or small hills surrounded by swamp. When a suitable site
had been found for a village it was indicated by a sangul-sangul, which is a stick decorated with
leaves placed. in the middle of the space. Then, while prayers (tongo-tongo) were recited,
a temporary shed was built. This shed (bale-bale) consisted usually of a bamboo frame, and a
roof of durame (rice cores) or ri (alang-alang) and was finished in two or three days.
After this the ramparts (parik) were built as quickly as possible. These ramparts could be
up to 2 to 3 metres high and I .5 metres broad and "·ere constructed of heavy rocks ( tano bange)
or clay (tano liat). Then a dense bamboo hedge would be grown on the wall, at the same time
hiding the buildings of the village and strengthening the ramparts with its root structure. Outside
the rampart was constructed an additional trench which in swampy land was filled with water.
Sometimes double ramparts can be found, especially in rocky countrv.
On addition to these earth works many trenches and tunnels (bakara) were constructed
to enable safe communication between friends and relatives. The corners of the ramparts were
defended from square towers called hubu-hubu and a fine example o-f these can be seen at
Reaniate on the island of Samosir, not far from the lake.
Two entrances (harbangan) were permitted in the ramparts, one in each of the long"Sides,
which in time of siege were barricaded, while in peace time were simply closed with a paling
to prevent the pigs escaping.
The main village square (halaman) was oriented east west with the buildings set perpendi-
cular to it, the houses (bagas or rumah) on one side and the rice barns (sapo) on the other. The
front of the houses thus faced south, as a protection from the strong sun, and the rice barns
faced north.
In some cases however the houses were oriented towards the place of sacrifice (somboan)
on the sacred mountain. The latter case is seen in Uluan where the houses frequently face
the holy mountain of Simanukmanuk. Also the word of the priest ( datuk) was very significant
concerning orientation especially where lightning (pane) is concerned. The datuk has to decide
on the direction of the current, ruling pane in which direction a house could not be faced.
The backs of the houses and rice barns were usually very close to the ramparts to give as
much space in the centre of the village as possible for important festivals. If there was room
between the buildings and ramparts, and the soil was good, it would be used for cultivation of
maize, ubi (sweet potatoes), pan dan (palm), jeruk (oranges), sirih (betel), indigo, etc.
Not far from the village were located the garbage pits (paripian) which consisted of holes
with low clay walls covered by a tap laid on bamboo. Also, not far from the rampa~ts are located
the graves and bone (charnel) houses.

2. Building materials and considerations during collection.

Rules concerning tree felling (subang) :
I) Before felling a tree the spirit of the wood must be appeased with offerings of sago cakes.
2) The felled part of the tree must not drop at a greater distance from the stump than one
"depa" (distance between hands of outstretched arms).
3) The falling tree may not hit the stump during the fall.
 32

4) The falling tree may not produce a creaking sound when rubbing against other trees during
the fall.
5) If an unprepared tree is hit by a falling tree it cannot be used.

3. Varieties of the timber used in building.

I)" For posts - simartolu. perapak, antahasi, meranti, piagin, sampinur, antarma-
ngan, hau dolok, antuang.
2) For laths (tulu-tulu) hoting, ~rapak.
_))For walls bintatar. meranti.
4) For the "dorpi" and "sitindangi''
modang. piangin.
5) For the "bungkulan" (ridgebeam) and especially
the "bintangur" a long slender stem.
6) For the wood surrounding the fire area (tataring)
-- saruRg marneak, because of its fire resistance.

4. The house: A general description.

The house of the Toba Batak (see fig. I & II) is rectangular and set above the ground on timber
poles. It is twice as deep as broad with a gable roof of ijuk, supported on a ridge beam the
length of the house and the side walls.
The rectangle is I 0 metres long and 5 metres wide and the ridge beam at the front is 8.5
metres above the ground. The floor is usually 1.75 metres above the ground and constructed
between the posts. The space under the house may be used to stall cattle and if so, a rib fence
is constructed between the posts.
The entrance to the house is through a trap door in the centre of the floor just behind the
front wall.
The houses are all built to the one style: however the house of an important person is dis-
tinguishable by the detailing. Only the latter may be decorated with wood carving above the
middle of the "halangan gordang" and the "tomb oman adop-adop" called "munung", as well
as have the "santung" which joins the upper "munung" with the ridge beam. Also several cross
boards join the "santung" with the "sitindangi".
The diagramatic cross section of a house looks like an equilateral triangle sitting on a trape-
zium. the latter having its short side close to the ground. The outwards sloping side walls
consist of two thick cross boards reaching from front to back and forming an angle with the
interior floor of 120° (see fig. VI). The diagramatic longitudinal section also shows the living
section as a trapezium lying on its shortest side with the front and back walls sloping outwards
(see fig. VII).
The living area has the shape of a bowl shaped like a cut foursided pyramid set on its head.
Sometimes there are deviations to this when the cross boards of the front (parhongkom) are
set in a vertical position.
The roof seen in elevation shows the ridge beam bent downwards to form a saddle while the
front and back walls slope at different angles (see fig. VII). The front slopes out further than
the back to give protection to the space in front of the house (halaman rumah), where the rice
block (lesung) is placed, the women weave, the fishermen repair nets, the workmen relax, the
children play, the pigs, dogs and chickens are fed and visitors received, in short the place where
they stay for the greater part of the day.
The front wall and roof have also been sloped like this to protect the wood carving against
sun and rain as well as to protect the balcony (bonggar) where coffins are sometimes placed,
or music played or where visitors sleep.

5. The posts (tiang).

Before the erection of the posts the sound of each is examined by striking and the one with
the clearest note will be put up in the right back corner of the house "(A) (see fig. 1). The
second best will be post 0, then post G and the dullest in the position H. This is also similar to
the relative importance of the rooms of the house. After having positioned the four corner posts
 33

in this way, the remaining posts on the right and then the left side must be erected, being lined
up from a position in front of the house. The owner of the house sleeps in the right hand cor-
ner of the house (Jabu Bona) near the fire, hence the importance of this position and the whole
right side.
When all the posts of the right and left sides are positioned (6 to 8 in each row and each
I depa apart) they are joined in the longitudinal direction by 2 or 4 beams (tus-tus) which pass
through holes prepared in the posts and are wedged in place. Next four lines of posts are erected
in the cross direction, firstly the two at the back, then the two at the front. These are then joined
to each other and the side posts by the above method of beams (tus-tus) and wedges. Thus the
six post lines are joined with beams and wedges. The tops of the posts are carved to form a pin
over which the "tohang" is fitted, being similarly carved with. fitting holes. The "tohangs"
again join the four rows of posts in the cross direction. The structure is thus stable and now
the two platforms at each end of the house are constructed, first with the beams (ungal-ungal)
{see fig. IX) which also fit over the pins on top of the posts then the floor (pangumbari). On
these platforms during festivals or illness, food is left for the gods {begu-begu).
Following this step the two longitudinal beams {buaton or sumba) are fitted over the pins
on the posts in the long direction on each side of the house. These are usually circular in cross
section and finish off the base structure of the house.
The short inner posts (tinungko) are just to support the floor and are also joined to the tall
posts by beams and wedges. These only exist in a rich man's house, where dancing, which is a
challenge to the house construction,often takes place.
In the cross section of a house there are usually 4 posts but sometimes 6 and in the longitu-
dinal section there are usually 7 posts (including corners) but sometimes 6 or 8. The short
posts ( tinungko) are usually 1.34 metres high and the tall posts 3.70 metres. The usual diameter
of the posts is 26 centimetres. The length of the "tohang" i~ usually 5.10 metres with a width
of 25 centimetres. The "buaton" is usually 10 metres long with- a diameter of 10 centimetres
(sometimes the buaton is rectangular in section, 25 x I 0 centimetres, and is only rounded at
the ends where it extends beyond the house).
The longitudinal beams below the floor level are called "tus-tus unjur" and the ones in the
cross direction "tus-tus barat". The longitudinal beams are usually 10 metres long with a cross
section of IS centimetres by 3 centimetres. The ones in the cross direction are usually 5 metres
long with the same cross section as above. Normally the cross beams are 'located under the
longitudinal ones but in the southern area a regulation exists requiring that the tus-tus unjur
must always be underneath.
After the basic structure has been built each post is lifted and a river stone {batu pu) placed
underneath so the structure should not be too rigid, thus wedges are usually knocked into
place after the structure has been lifted onto the stones. These wedges are called "hansing-
hansing" and are made of hardwood called "pango (a ran)" or "hating balanga".

6. The floor.
The plank floor is laid on round wooden beams {pator) laid at close spacing, at a height of 1.70
metres from the ground. The pator rest on the tus-tus and the planks run in the longitudinal
direction. The required stiffness is obtained by pinching. This construction is satisfactory for
ordinary living and where dancing takes place there is the extra substructure already men-
tioned.

7. The lower part of the external walls.

This is a box formed with four large planks joined together by pin and hole connections and
marks the edge of the living area. This base ( ture-ture) is supported by the projections of the
tus-tus and is of a common shape and construction. The upper wall rests on this and fills in
the space up to the roof (see later).

8. The "pandingdingan".
These are the heavy side boards running from front to back of the base mentioned above and
are usually ten metres long, forty centimetres thick.
 34

9. The "parhongkom".
Thcs<? arc the less heavy front and back boards of the base mentioned .above. They are usually
tl\'c ml'trcs long and arc connected to the "pandingdingan" by means of pins which fit through
holes in the latter. An extra pin on the outside keeps the construction together and sometimes
a "pig hook" is used. To ensure. better stability the front parhongkom is frequently connected
to the "ture-ture" which rests on the ends of the "tus-tus unjur" which extend beyond the
posts.

10. The front.

The fr,mt of the house consists of three parts placed one after the other. The construction of
the front. as well as the necessary two rows of posts is related to the layout of the house,
(fig. Ill).
The first part.
This conceals the staircase. which separates the two front rooms Uambur), and forms the walls
of the latter. It l·onsists of four planks (fig. 32). These are from bottom to top:
I) The "ture-ture". which is 5.63 metres long and 22 centimetres deep and 3 centimetres
wide. At the top is a border and groove to take the next plank.
2) The "parhongkom". which is 5.63 metres long at the bottom and 5.67 metres at the top.
The depth is JH centimetres and width 4.5 centimetres.
3) The "dorpi". which is 5.6 7 metres long at the bottom and 5.71 metres at the top. The
depth is 51 centimetres and width 4.5 centimetres.
4) The "tL,mhoman adop-adop'', which is 5.71 metres long, 38 centimetres deep and 4.5
centimetres wide. This piece is always det:orated with a t:arved head in the top centre
called "mundung" and also with carving at the top ends t:alled "janggar-janggar".
The second part.
This part closes the balcony built above the stair and the two stores Uambur). It consists of two
planks similar to the ones mentioned above, the lower one being called "songsongrak" and the
upper "halangan gordang". They arc placed parallel and extend one and a half planks widths,
above the first front part. Resting on the ends of the "halangan gordang" are two vertical beams
which meet .tt the apex of the roof to form a triangle. This is called the "sitindangi" and serves
to support the projecting roof structure.
The "sitindangi" is joined by a pin and hole construction and gains support from the longi-
tudinal beams (buaton) which pass through the second front part between the "songsongrak"
and the "halangan gordang".
A decorated plank 2.5 metres long often hangs from the apex. The "songsongrak" is 5.42
metres long at the bottom and 5.32 at the top, 38 centimetres deep and 4- 5 centimetres wide
The "halangan gordang" (gordang means drums and halangan --support, thus this is the support
for the drums during festivals) is 5.42 metres long at the bottom ·and 5.32 metres at the top,
47 centimetres deep and 4.5 centimetres wide. The sitindangis are 4.75 metres long, 31 centi-
metres wide and 3.5 centimetres thick.
The gap between the first and second front parts is closed with two planks called "songkor-
songkor ni hating" meaning balcony for the cat because the cats often sleep there.
The third part.
This is situated further back and is in a vertical position protecting the interior of the house
from the sun.
The shape is triangular and it is constructed of unpainted planks ( dorpi) laid horizontally
with a frame at the three sides (sitindangi). From the top to the centre of the base is a verti-
cal pos!J (panghampit ni dorpi) to add support to the planks. This middle post is often decorated
with the head of an animal.
l'o enable ventilation and some light to enter the house the planks are not fixed tightly
together. There is also an access hatch from the outside balcony to the inside balcony, usually
on the lower left side.
 35

11. The "bonggar-bonggar".

This is the inside front balcony which serves as a ceiling for the stair and the two side rooms
Gambu-jambu). It is constructed on beams over the two front post rows. This used to be the
place where a coffin would be kept for a period of time, but now it is used as a store for \things
that are not used every day, and the gamelan is kept there during the rainy season.
12. The side walls.
These consist of vertical planks (dorpi) resting on the above mentioned "pandingdingan" and
connected with a sleeve and border. At the top the planks are fixed to a longitudinal beam (tom-
boman na godang) which is in turn connected to the "buaton" by ropes made of straw. It is
difficult to set the side walls in the right position and this part of the building process is
accompanied by many superstitions. Magic helps. to line everything up properly. In the side
walls there are often hatches which serve as windows (pandiluan).

13. The back of the house (see fig. VII).

This consists of three parts having a different position related to the vertical.
The first part.
This is the lower·outward inclined part closing the living room and it is constructed in an iden-
tical manner to the front of the house.
1) The parhongkom.
2) The dorpi, which is frequently constructed of two planks with a hatch (pandiluan ni pudi2)
in the middle.
3) The tomboman pudi-pudi (pudi-pudi =back).
The second part.
This is the middle inside inclining part (songsongrak) consisting of 4 planks laid on edge, and
connected on the inside with pins.
The third part.
This again is identical to its counterpart in the front of the house and is a triangle set in the
vertical position starting at the top of the posts. It is also supported by the main longitudinal
beams (buaton). For convenience the various parts of the walls have been described separately
and erection does not follow this order. The builder must construct the protecting roof as soon
as the supporting structure is ready. Therefore he only constructs those parts of the walls neces-
sary to ·support the roof and t'hose difficult to place after the roof is finished.
Therefore only the following parts of the walls are constructed directly after the erection
of the posts.
I) The pandingdingan and parhongkom.
2) The tomboman adop-adop and pudi-pudi.
3) The halangan gordang.
4) The sitindangi.
5) The tomboman na godang.
Thus the first stage of the building process is finished and a feast is given to the workers.
The second st~ge is the placing of the roof (paraithon).

14. The roof.

This consists of two parts, as it is a gable or saddle roof. The length at the base is usually I 0
metres while at the top, measured straight is IS metres, and measured along the curved ridge
16 metres.
The minimum width of the roof is 5 metres in the middle and the maximum is 8 metres at
the front. The height of the roof at the front is 8.5 metres and at the back 7.5 metres. The
roofing material is ijuk and it is usually IS centimetres thick. The frame of the roof is made
of rafters and a secondary light frame, both simply constructed but of flexible material,
namely the veins of the stem of the aren tree. The rafters (urur-urur) are erected in pairs at
intervals of 50 centimetres and are 5-8 metres long depending on the position. The average
angle is 60°.
 36

To determine the distances between the urur-urur, two and sometimes three longitudinal
rafters or purlins (pamoltok) are erected on their inner side. They are fiXed with aren ropes
and the upper pair are connected by horizontal poles (pong pang). The pamoltok is not always
one piece of timber, but many joined together, because of the length of the roof. The urur-urur
are placed with their base against the inner side of the "tomboman na godang" which is
connected by nooses of rotan or aren rope to the "buaton". -
The tidg~ beam (bungkulon) is however of one piece and has a heavier section. It rests on
the crossed rafters (urur-urilr) as well as on the triangular panels at the front and back of the
house which are provided with n~t~hes at their apexes. There are also strong vertical posts
in the middle of the front and back triangles (called respectively "ninggor" and "tali unggur-
unggur") which give added support to the ridge beam and rest with a pin in the middle of a.
cross beam. They are often circular in cross-section and must be in an accurately vertical posi-
tion, which is achieved by observing the shadows in the middle of the day.

15. The secondary roofframe.

This consists of panels of thin battens fixed on top of the rafters. This lighter and more compact
frame,-provides a flat base for the ijuk roofing and prevents its collapse in heavy rains. It is con-
structed in sections and tied to the rafters and the diagonal bracing rafters.
The ijuk roofing_censists. of three parts:
l) The ..sangge-sangge" layer. This extends from the eaves to 1.5 metres up the roof. It is
supported -on short battens (sendal) which form an extension to the rafters. These battens
serve· to give the roof an up turn at the eaves and support the roof beyond the "buaton".
2) The "bangkar" layer. This consists of a combination of ijuk from the sugar palm and -the
tough coating to the ijuk and forms the lower layer to the roof.
3) The ''pansur" layer. This is the top layer and consists of the finest ijuk from the top ot the
sugar palm.

16. The roofing.

The ijuk ro~fing is connected to the inside of the rafters and battens by two longitudinal
arid cross b_attens. Over the ridge is an extra ijuk layer connected by rotan rope sewn in a
l~ngi!_~dinal direction and fastened on the inside. This ridge layer (bubung) is covered with
bangkar for durability.
The whole roof frame is braced and connected to the house finally by four round diagonal
rafters ..called "tali pangurat". Eacl} side of the roof ha~ two such braces running from the middle
of the "buaton" to the top ends of ·the ridge beam. · -
At the.back and front of the house the ijuk is bordered by barge boards (sitindangi) fastened
witti rope.They are sometimes connected by cross beams for stiffness and decoratiGn.

i1 ._ Top decoration.
··J'he oapex of the barge boards is often filled in and decorated with figures (ramei-ramei,
arap-a;ap or jengkar-jengkar). The whole thing is surmounted by a buffalo or lion head and the
motto of the h0Use (ulu ni rumah).

18. ·The singas.

The short parts of the pandingdingans, that protrude in front of the house, are covered with
head masks, usually animal heads (singa = lion). The masks are hung on the shortcut ends of
the pandingdingans that have the form of the tail of a bird. Occasionally, however, one may
se·e human heads. These lions invariably look very savage, with big bulging eyes and threatening
horns, since the lion is supposed to make the house look alive ("asa mangolu idaon").

19. Other ornaments.

Besides the already-mentioned lions, buffalo-heads, decorated sides and decorating·plates and
figures, there are also the female breasts (susu) that are put on the parhongkom in front of the
house on the left and right sides just above the two middle - lines, with four on each side,
 37

in two rows of two.

The breast_s are put on the real dwelling houses since in these live women as well as the men.
Only men stay in the sopos. An explanation of what "rumah" actually means is rumah =
"inganan ni jolma" i.e. the house is a place for the children of men, whereas a sopo is actually
designated for "inganan ni barang".
This explanation seems to be the most plausible and is supported by the fact that at places
where there are no sopos (like on the island of Samosir, where a shortage of rice is ever-present,
and where sopos are therefore unnecessary), the houses have no breasts on Hie parhongkom.
However, it is also a fact that on many of the sopos that are not yet converted into dwelling-
houses one can find the breasts.
A third explanation for the breast is that they are meant to invite fertility. A child is the
greatest gift to a Batak that the gods can give.
The figure of a lizard (boraspati), still found in more inland places, is usually placed in the
middle and sometimes on each side between the breast and the Uon. This is the case in dwelling-
houses; on sopos it is always placed in the middle, and on the door of the second floor, the
rice storage.
According to van Vuuren in the first part of "N. I. Heemschut en Openlucht Me sea", on the
dwelling-h9use, the lizard ought to be carved on the horizontal frontbeam; just at the place
where the "stairs lead into the dwelling, in order to remind those entering that it is the dwelling
place of the family, and in the intimacy of the hearth, only the truth should be spoken".
On a sopo, the lizard ("boraspati ni tano") has the function of a "Schutzgeist" ("Raja ni
tano") which is meant to invoke the fertility of the soil; which means abundant harvests.
This is the reason why the figure of a lizard is primarily found on the door of the rice storage
·place.
The houses of kings and the rich are ornamented with finer carvings. It is the front facades
that receive most attention, the side parts are less finished, and the back side has no decoration
at all.

20. The figures of the wood-carvings.

The principal figure is the spiral, taken from the "siandor ni !aut" i.e. the weeds found in the
lakes; a second figure is the circle (haloho). However, although there are many interpretations,
the grouping of them is almost the same.
One can therefore find that the front part of the lowest board (parhongk:om) is not always
decorated with carvings (ginorga) of the linefigures or any of their variations, but instead
decorated with caricatures taken from the human or animal world. They are usually incidents
from daily life: swimming, fishing, a party, a fight, a dancing party, etc. The drawings are
generally done clumsily so that they tend to puzzle the foreigners. In the middle band of the
parhongkoin, the susu is carved in line with the just-mentioned decorations, and also the lizards.
(the latter found particularly in uluan).
To frame these figures a balanced spiral figure is carved on the upper and lower bands of the
parhongkom. If the parhongkom is supported by a "ture-ture", then the above mentioned
figures are made more conspicious by giving the ture-ture its own interpretation of the spi-
ral figure.
The tomboman adop-adop (see above) l:las a figure of wide intertwining spirals; this is pos-
sible as the figure is allowed to fill the whole width (height) of the board. This is contrary to
the spiral figures on the parhongkom which, as has been mentioned earlier, only cover the
upper and lower bands, which makes .the spirals long. This makes the two panels very conspi-
cuous-at least if there is no dorpi.
If there is a "dorpi", which occurs quite often, the middle board is then placed slightly.
behind the parhongkom and the tomboman adop-adop, and decorated specially .in bas-relief.
Whereas the other boards depict an uninterrupted series of figures, the "dorpi" is divided into
several sections (sande-sande), each separated from tne other by frames, which have their own
patterns or animal heads. Each section contains its own patterns. In the event of· only two
figures (motifs) being chosen, they are alternated.
The boards of the second frontpart usually have the same figures as depicted on those of
the very front facade, and in the same order. This makes the lowest board of the second front-
 38

part {the songsongrak) with its parhongkom figure, stand out clearly from the uppermost board
of the front facade, the tomboman adop-adop. The second board of the second frontpart
(halangan gordang) has the same pattern as that on the tomboman, but because of the different
pattern .of the songsongrak, it is still distinguishable from the tomboman. In addition, the
several boards are distinguished from each other by small frames. The third front part is usually
left in the natural wood. If it is decorated, it has a motif of its own.
Of the side walls, it is generally only the pandingdingans {the lowest board) and very rarely
the dorpi, that gets any decoration. The decoration consists of paintings only, and never wood-
carvings which would be too costly. The dorpi sideboards are usually painted with upward
curls and spirals, take·n from the motifs on the pandingdingan. There are always two figures
(motifs) at the fourth and second posts on the pandingdingan. These figures correspond with
those of the parhongkom. Further on towards the back post is a continuous figure of inter-
twining spirals.
In between the first mentioned motif, the alternating section motifs of the dorpi on the
first frontpart are sometimes put above the first second posts.

21. Colours.
The colours mostly used are red and black; the red colour serves as background, and the black
is used for the motifs (figures). White is often added as a kind of bycolour. The red colour
is made from "batu hula", a sort of clay, washed with water, and ground into powder, then
mixed with chalk and resin from the nangka or banana ( as the glue ). The black
colour comes from finely ground charcoal of the "hau andulpak", mixed with resin from the
nangka or banana. Chalk is used to make the white colour.

22. Interior.
Unlike its outside appearance, the interior of a Batak house is very disordered and unkempt.
At the stairs {balatuk) and the trapdoor (hunsi-hunsi) the visitor is already aware of the mess
Suc.h an indifference differs greatly from the impression created by the artistic woodcarving
and paintings on the outside. The stairs and trapdoors, even in new houses, are stained with
marks of dirty hands, or betel-juice, and such like. In general, only a limited amount of light
enters the living area through gaps in the panelling.
Also a Batak house is usually filled with smoke while two holes situated around one metre
from the trapdoor function as a we.
The space inside the house is ·not divided into rooms, although more than one family live
in it. The house is however divided into four and sometimes six 1sections (see fig. III) at both
sides of the stair (not including the "jambur" or stores).
A neutral space is left in the middle called the "telaga", and this functions as a central
or common "area", used during discussions. The right corner at the back, the "jabu-bona"
is where the master of the house and his wife and children live. As has been mentioned earlier,
the "jabu-bona" is the most sacred place of the house. "Porjabu-bona" means master of the
house. .
The left hand back corner, called "jabu soding" is given to the married daughter, as long
as she has no house of her own. Sometimes guests are also put there. The left corner in front,
the so-called "ja~u suhat" is for the eldest son; the right corner in front, "tampar-piring"
is specially designed for visitors.
If the family is big (with widowed sisters of the master), then a space is taken from each
of the four corners, and in the middle of the house two new sections are formed; the so-called
"jabu tonga-tonga ni jabu bona". The jambur serve as storage places for all kinds of things
(tools as well as clothes).
Each family has its own cooking place, a shallow, square wooden box covered with lime
(tataring). Above this cooking place one usually finds a rack (salean), held in place by means of
rottan, which serves as the storage for firewood. Above this salean is another rack (buah para),
on which pots and plates are stored.
Above the jarnbur, on the same level as the "bonggar-bonggar" (see above) a kind of loft is
constr~cted (para-para jolo); it serves as a storage place for mats, rice, etc. but it principally is
 39

used as the musicians' gallery during indoor parties.

Another storage place is the "songkar" or "para-para pudi", a loft above the "jabu bona" and
"jabu soding", placed on the two rows of back posts, in exactly the same manner as the "para-
para" in front. At both sides of the living room, along its length, a long board (pangombari)
is placed on the posts. On this board books are placed. A round piece of wood (pardoal-pardo-
alan). runs in the middle along the whole· length of the house from the front loft to the back
loft. Below the "pangombari" hangs another round piece of wood (sangkotan) on which
clothes and mats are hung.
Furthermore,. there are several wooden boxes (hombuny or sondi) to store jewe's and
festival dresses. A practical place to store left-overs (fish or meat) is the "geang-geang", a crate
made of rottan, hung at such a height, by a rope, that neither cats nor dogs nor children can
reach it.

23. The deterioration.

The incentive to decorate facades is disappearing. The contemporary Batak has neither time
nor wish to do it: and it is also too costly for him. At least, nowadays there are only a few hous-
es built with hand carved facades.
The old form however, is preserved: for example the upside down square pyramid as the
bulk and a saddle roof. The ornaments are also still preserved; the two lion heads (singa) on
the left and right: the female breasts (susu) in the middle, and the lizard (boraspati) . mostly
found in uluan- placed between the lions and the female bre~sts. .
Buildings near the markets and along the big roads are neglected and no more houses are
being built according to the Batak style. Only simple Malayan houses are built, usually covered
with zinc roofs and one or two with ijuk.
One can also find a mixture of styles: houses built in the local style, having a gracefully bent
roof covered with ijuk: but the simple combination of colours (red, white, and black) is
destroyed by the addition of yellow and green. On the parhongkom there are no longer typical
Batak figures, but instead western figures and portraits of people in western clothes. Usually
the person in the portrait is the owner of the house.
The houses of less wealthy persons are similar in style and layout with differences in the
use of building material: bamboo mat walls (tolong), rice palm (durame) or grass (ri) roofing.
Occasionally, a frontpart will end directly {n a shutter, or in a sliding door in front of the
lower central part. The houses of the very poor are no more than spaces bordered by lime walls
and grass roofs, built on the ground.

24. The sopo.

The structure of a sopo (storage for rice) resembles that of a house, with the following differ-
ences:
· ·I) there are two floors;
2) there is only one row of front posts, no trapdoor, and the entrance tp both floors is by
ladders placed outside (balatuk tunggal): ·
3) the lower level is encircled by the parhongkom and pandingdingan, whereas the space bet-
ween the floors and the roof is left open. This open lower level of the sopo serves
as a conference and justice-hall, where foreigners are received, and the musicians stand, etc.
4) The space under the roof is enclosed by a second floor, placed on the posts, and having a
triangular front and back facade. The front facade of this space consists of two triangular
frontparts and supporting these is a duplication of the parhongkom and pandingdingan of
the lower level. The lower parts of the sopo usually have the same form as a house. Some-
times, however, tney are painted just like the tomboman adop-adop, with animal figures
and a scalloped, ornamented edge. On the upper parhongkom, also ornamented with lion
heads, rest the triangular frame and roof supporting structure, just like the second and
third frontparts of a house, combined. The upper space, entrance to which is through a
trapdoor in the floor (hosa-hosa), is used to store rice as well as to house visitors.
 40

5) In order to discourage mice all the posts of a sopo are provided with round discs (galapang)
. at the top. The carvings and paintings on the frqnt and side edges are similar to those of
a house.
6) Up to the sumba (buaton), the sopo is higher than the house. However, the distance between
the sumba and bungkulan is shorter in sopos thim in houses.
7) The sopo's posts are also heavier than those of a h_ouse since they have to carry the load of
the rice stored upstairs.
Because the sopo is contructed similarly to a house they are often changed from a storage
place into a dwelling. This is done by blocking off the open space between first and second
floor with either a wall made of boards or a wall made of beaten bamboo.

25. The charnel house.

The earthen grave, usually planted with hariara or jabi-jabi trees, is for the poor their eternal
resting place, but for the rich a mere transitory one. About nine years after death, the bones
of the deceased are excavated and stored in a charnel house by his relatives, if they can afford
the expenditure of a bone party (pesta paturunhon, holi-holi). This custom has been practised
for half a century. Before that the bones used to be stored in a chest and placed inside the house
on the songkor. ·
The coffin also used to be placed on the songkor (the coffin being made of a hollowed out
"aren" trunk or of two cases that fit together). This homage to the bones. of the deceased is
done not so much out of "piety" but for the sake of one's self- protection. As an animist, the
Batak ought to keep peace with the souls of the deceased (begu) and so a big party accompanies
the moving of the bones from the simple grave to the charnel house. Formerly the charnel
houses were built from stone or wood; but for the last few years they have been made from
cement or chalk and are therefore now called "simin" from the word cemeut.
The structure of a charnel house has thus become prosaic, losing affinities with a dwel-
ling house. No longer are there the curved ridge-lines, the trapezium-shape, or the ulu ni rumah
singa. It is now an utterly ugly, stiff and non-descript thing, decorated, at the advice of the
missionary,. with a cross.
The "joro" is the miniature house to be seen on the grave. It is made of wood and covered by
"ijuk"; it has beautiful wood carving and the decoration is executed in the same way as on
houses, making the joro closely resemble a real house. The miniature house is built by the
widow of the deceased husband, particularly if she is left without male children (punu) and she
has no brother-in-law who could then inherit her, or if she is too old to beget any more children.
In such a case she is allowed to spent her inheritance on building a good "joro". The rest of the
inheritance should be given to the heirs of the deceased 'husband, into whose hands she also
comes. It should be remembered that a wife is bought by the husband and therefore becomes
one of his possesions.
A "joro" is also built for the soul of an only child who dies at a time when its mother and
father are already too old to have any more children. Another kind of joro is the one through
which the temporary earthen grave of a "raja" or his beloved relatives is honoured by his sub-
ordinates.

26. The household goods.

The household goods of a Batak consist of: .
I) "hudon" i.e. a cooking pot, made where lime is found in abundance.
2) Various wooden plates: a. "sapa", b. "tatuan", c. "garpa", d. "jurung", of the plates mention-
ed a ..is often used as a rice plate, and c. as a cassava plate.
3) The "sigurup", a wooden pot, to store the sweet spicy food that is taken with them when
they travel
4) The "tatahu" a bamboo mug.
5) The "romboan", a finger bowl, made of wood or bamboo.
6) The "hansung" or "mual", a bamboo case ( + 1 fathom long) in which drinking water is taken
from the water source (moral) and stored.
 41

7) The "sangkalan", a wooden chopping board.

8) The "golok", a chopping-knife, which a Batak always carries with him as he ~onstantly
needs it in the forest and fields.
Special attention ~hould be given to the many old porcelain plates found in the Batak areas.
These plates are only used on special occasions (parties).
9) The "andalu", a rice-masher, usually stored between the "tus-tus" and the floor;

Sketches reproduced from "Het Toba-Bataksche Huis":

I. Front elevation and plan of a house
II. Longitudinal section of a house
Ill. Layout of the areas within a house
IV. Section through the front of a house
V. Roof structure of a house
VI. Roof structure and cross section of a house
VII. Longitudinal section and rear elevation of a house
VIII. Details of the front elevation of a house
IX. Detail of the basic structure of a house
X. Detail of the basic structure of a house
XI. Plan of a kampung with ramparts.

The photographs to be found in this publication were taken in the following kampungs: Napitu-
pulu, Siahaan, Janji Maiogu, Parparean, Baruara, Halado, LumbanJulu, Sebela Hotang, Sankar-
ni-Huta, Hapotan, Simbolon and Limbong. Only a few of these kampungs can b'e found on a
present-day map of the area, and it is possible that some of them no longer exist. They are con-
sequently not reproduced.
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PEMBAGIAN RUANGAN SEBUAH RUMAH.

 IV

pandiluan

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halangangordang 0,4 7
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 VI

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b. POTONGAN RUMAH.
 VII

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DETAIL DINDING ATAP BELAKANG (AMPIK).

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 VIII

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a. DETAIL DINDING ATAP MUKA (AMPIK).

halangan gordang 47 eM

b. SUDUT BAG IAN DINDING ATAP (AMPIK) MUKA KEDUA.

 IX

pangumbari

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palang melebar 15x3 eM

(tus2 barat)

palang memanjang 15x3 eM

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HUBUNGAN PADA SALAH SATU TIANG UTAMA.

 X

ba1o k memanjang
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balok melebar (tohang) 25x10 ellll

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palang melebar 15x3 eM
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HUBUNGAN PADA TIANG-TIANG.

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