The Changing Motive and Function of Tapis Inuh in Lampung

Tapis Inuh came from Batubrak Paksi Pak Sekalabrak Lampung Barat which is a cultural work of Sai Batin (Coastal) community. For motif embroidery tapis Inuh is the ship of life, marine animals (ancient squid), and samang handak (Hanoman in Hinduism). In the aspect of the function of tapis changed from holy objects that related to tradition and society of Lampung turned into a profane object that works for market commodities. The purpose of this study is to examine the shifting shapes, motifs, and functions contained in the woven fabric of tapis Inuh in the Coastal Coast of Lampung. This research uses qualitative approach. Data collecting techniques consist of, observation, interviews, and document studies. Data analysis techniques performed with data presentation, data reduction, and reduction of conclusions. Data analysis begins with research; which is specifically supported by theoretical studies. The results show that, there are keep develop the tapis Inuh from traditional to modern, as a form of softener, but can’t change the meaning contained from the tapis Inuh. Because the making of Inuh is taking long enough time and people in this day more like easy way of life and practical. Keywords—change, shape, motive, function, Inuh. I. PRELIMINARY Tapis is the one of the nation's cultural heritage that has been widely known in Indonesia, however, it can’t be denied that the existence and the level of appreciation of the results of this great culture is less desirable by teenager and the community. The visual and functional changes prove the development of Indonesian culture. In this regard, an overview of the ornamental motif objects and functions of the Inuh tapis will be associated with the development of collective traditions that offend Cultural Anthropology. Anthropology is the study of humanity [1, 2], has a very wide field of study, based on it, this work focuses on ethnology [3], the branch of cultural anthropology [4, 5] which seeks to study the dynamics of culture, including the patterns of behavior and thinking of the people [6]. Menapis is part of the cultural tradition passed down from generation to generation. As a wear object, woven fabric does not escape serve as a medium in applying symbols or symbols that are initially sacred, as a form of symbolic activity of traditional societies in an attempt to get closer to the Creator. Focusing on the object of study in the form Inuh of the coast Lampung that have changing and developments in form, motive, and function. This study analyzes how the shape changes, motive and functions of the traditional Inuh in traditional coastal community of Lampung in modern times today is a development of Ethnology through the object: Inuh tapis categorized as a kind of traditional woven fabric that undergoes renewal to reintroduce as a conservation effort so as not to extinct. These influence of the development of decoration on the tapis Inuh influenced by other cultures. These cultures include Dongson culture from mainland Asia, HinduBuddhism, Islam, and Europe. Acculturation takes place between the ornamental elements of foreign culture and the old ornamental elements through a long process. The foreign elements that come do not eliminate the old elements, but increasingly enrich the style, variety, and style that already exist. These cultures are integrated and integrated into an intact concept that can’t be separated and give birth to a unique and unique new style [7]. In the beginning, the tapis was just a plain cloth woven sarong cloth forming the fields of color, without the embroidery of gold thread or silver thread. The application of gold thread or silver thread, to beautify tapis cloth, along with increasing economy of Lampung society around 17th century. At that time trading and selling of spices from the Lampung community plantations, especially pepper, experienced a peak. Impact, Lampung society's economy increased, so it is able to import various products from other countries, including gold thread. The traditional weaving in art development is closely related to the history of the Indonesian maritime world [8, 9]. Developed since the era of the Hindu kingdom of Indonesia and achieve its glory at the time of the growth and development of the Islamic kingdoms of the year 1500-1700. Southeast Asia is an important destination for Arab, Indian, Portuguese, Chinese, Spanish and Dutch traders [10]. The development of Southeast Asia as one of the international trade centers at that time also had a great influence on the weaving world in Lampung. Likewise, with the development of Indonesian weaving art. Moreover, after the development of trade routes in the Strait of Malacca and the Sunda Strait, the development of traditional weaving arts in Indonesia is getting richer as a result of these 2nd International Conference on Art and Arts Education (ICAAE 2018) Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). Advances in Social Science, Education and Humanities Research, volume 327