Containing the Divine: North Sumatra, Indonesia
Containing the Divine: North Sumatra, Indonesia is on view in the Great Hall Balcony from May 25, 2022 – September 29, 2023
Among the Toba Batak peoples of Indonesia, ritual specialists known as datu used vessels to mediate between the human and supernatural world, interceding with ancestors and spirits. The most sacred vessels held powerful organic mixtures that were ritually applied to other objects—powder horns, the carved finials of swords, architectural elements—to animate them and enhance their effectiveness. The Batak obtained materials and adapted designs from an extensive network of maritime trade that has defined the islands of Southeast Asia for over 3,500 years. Vases from China, Vietnam, Thailand, and Japan were transported hundreds of miles inland from ports and incorporated into ceremonial containers. Embellished with complex iconography and foliate, or leaflike, patterns, the vessels shown here offered protection, guarding the community and warding off malevolent influences.
Map of Sumatra with the location of the Toba Batak Region
Harnessing Ritual Power
Perminangken (containers for magical substances)
Originally from China, Vietnam, and Thailand, these ceramic jars were highly prized by the Toba Batak for their rarity, beauty, and durability. The containers were used both as currency and as prestigious family heirlooms passed down through generations. Ritual specialists (datu) adapted the imported ceramics for local use by incorporating wooden stoppers to safeguard the powerful substances (pukpuk) contained in the vessels. These stoppers are elaborately carved and depict male figures riding the mythical singa, a protective creature with the features of a water buffalo, horse, and serpent.
Perminangken (container for magical substances). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Wood, trade ceramics; H. 13 1/2 × W. 5 7/8 × D. 7 1/2 in. (34.3 × 14.9 × 19.1 cm). Gift of Fred and Rita Richman, 1988 (1988.124.2a, b). Prov. Louis T. Wells, Boston, 1972–76; James Willis, San Francisco, 1976; Fred and Rita Richman, New York, 1976–88
Perminangken (container for magical substances). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Wood, trade ceramics; H. 12 1/4 × W. 6 1/4 × D. 6 1/4 in. (31.1 × 15.9 × 15.9 cm). Gift of Fred and Rita Richman, 1988 (1988.143.37). Prov. Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Perminangken (container for magical substances). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Wood, trade ceramics; H. 10 1/4 × Diam. 5 1/2 in. (26 × 14 cm). Gift of Fred and Rita Richman, 1988 (1988.143.38a, b). Prov. Ben Tursch, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Perminangken (container for magical substances). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Wood, trade ceramics; H. 7 1/2 in. (19.1 cm). Gift of Fred and Rita Richman, 1988 (1988.143.39a, b). Prov. Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Perminangken (container for magical substances). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Wood, trade ceramics; H. 6 5/8 × Diam. 2 1/2 in. (16.8 × 6.4 cm). Gift of Fred and Rita Richman, 1988 (1988.143.40). Prov. Jim Willis, San Francisco, until 1977; Fred and Rita Richman, New York, 1977–87
Perminangken (container for magical substances). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Wood, trade ceramics; H. 4 1/2 in. (11.4 cm). Gift of Fred and Rita Richman, 1988 (1988.143.41). Prov. Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Parpanggalahan (powder horn)
In response to European muskets that were circulating in the region as early as the sixteenth century, high-ranking Batak men carried personal supplies of gunpowder around their necks in elaborately carved powder horns. Local gunpowder was manufactured from sulphur and charcoal combined with herbs and shredded leaves. The plants were purposefully harvested during earthquakes and thunderstorms to impart the gunpowder with the powerful, destructive forces associated with these natural phenomena. Ornate designs cover the surface of this example, creating a central face flanked by horns and other projections. This fantastical creature, the singa, served as a supernatural protector.
Parpanggalahan (powder horn). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Water buffalo horn, wood, metal; H. 2 7/8 × W. 1 1/4 × L. 7 in. (7.3 × 3.2 × 17.8 cm). Gift of Fred and Rita Richman, 1988 (1988.143.139). Prov.: Fred and Rita Richman, New York, until 1988
Naga morsarang (medicine horn)
This vessel is made of the hollow horn of a water buffalo. The horn’s pointed end features a seated figure leaning back, his hands clasped together as if to steady himself on his steed. The vessel’s opening is fitted with an elaborate wooden stopper depicting the mythical singa, shown here with its jaws flared. Four crouching figures on its back may represent the succession of datu, or ritual masters, who preceded the owner of the container. Delicate, leaflike designs cover the horn and are repeated on the singa’s forehead, signaling the power of the vessel and the efficacy of its precious contents.
Naga morsarang (medicine horn). Toba Batak artist; Sumatra, Indonesia, 19th–early 20th century. Water buffalo horn, wood; H. 13 1/2 × W. 3 × D. 22 in. (34.3 × 7.6 × 55.9 cm). Gift of Fred and Rita Richman, 1987 (1987.453.1). Prov.: Jim Willis, San Francisco, until 1977; Fred and Rita Richman, New York, 1977–87
Hasapi (lute)
Hasapi (lute). Toba Batak artist(s); Sumatra, Indonesia, late 19th–early 20th century. Wood, buffalo horn, silver alloy, copper/zinc alloy, iron alloy, gold alloy; H. 30 3/8 × W. 3 1/2 × D. 4 1/2 in. (77.2 × 8.9 × 11.4 cm). Bequest of John B. Elliott, 1997 (1999.47.44). Prov.: John B. Elliott, Princeton, NJ, until 1997; John B. Elliott Estate, until 1999
Music is a key element of Batak life, and in the past, most music was considered sacred. Lutes like this one were played during a ritual to win a woman’s affections. Now missing its strings, this elegantly carved lute features a seated figure clasping his knees, similar to figures carved into the stoppers of ritual and medicinal containers. Artisans embellished the instrument with prestigious materials that enhanced the object’s efficacy. The figure’s ornate headcloth is cast from silver secured with a gold band, and two carefully shaped sections of valuable buffalo horn are expertly integrated into the lute’s base, almost indistinguishable from the dark wood. A powerful heirloom imbued with magical powers, the lute connected a community to spirits and ancestors.
Si gale-gale (puppets)
Si gale-gale (puppet head). Toba Batak artist(s); Sumatra, Indonesia, 19th–20th century. Wood, copper alloy, lead alloy, water buffalo horn, paint; H. (without pull rope) 13 1/4 in. × W. 6 in. × D. 6 1/2 in. (33.7 × 15.2 × 16.5 cm). Gift of Fred and Rita Richman, 1987 (1987.453.6). Prov.: Jim Willis, San Francisco, until 1977; Fred and Rita Richman, New York, 1977–87
Among the most complex puppets in the world, si gale-gale are equipped with movable heads and intricate jointed limbs. At Batak funerals, si gale-gale served as surrogate sons for individuals without male children. These stand-ins would perform crucial mortuary rites that ensured the deceased’s safe passage to the afterlife. Made of wood, the puppets are controlled by an elaborate system of internal strings and levers that allow them to move in a lifelike manner. Some si gale-gale even had moistened balls of moss placed behind their eyes, allowing the puppets to produce and shed tears for their dead “fathers.”
Activating Agency
Ritual practitioners (datu) used limes in a number of ceremonial contexts. The juice was extracted with lime squeezers and its sharp acidity was thought to activate and improve the effectiveness of herbal preparations (pukpuk) kept in ceramic vessels. Stirred into water, lime juice was also used to ritually cleanse horses before their consecration to the principal Batak deities. The figures’ serene expressions and the distinctive treatment of their hands are typical of decorative lime squeezers and indicate the solemnity of the datu’s rites.
Lime squeezer. Toba Batak artist; Sumatra, Indonesia, late 19th–early 20th century. Wood; H. 6 3/4 in. (17.1 cm). Gift of Fred and Rita Richman, 1988 (1988.143.113). Prov.: Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Figure from a lime squeezer. Toba Batak artist; Sumatra, Indonesia, late 19th–early 20th century. Wood; H. 5 3/4 in. (14.6 cm). Gift of Fred and Rita Richman, 1988 (1988.143.161) Prov.: Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Rank and Status
Toba Batak men could indicate their esteemed lineage and social status through the ownership of ceremonial swords. Each sword has a single-edged metal blade and a handle of buffalo horn, finely carved in the shape of a kneeling figure. The figure tilts gently forward, conforming to the horn’s natural curve. Its hands are clasped and its eyes are focused, as if concentrating on a task. The smooth front surface contrasts with ornate, low-relief designs that decorate the figure’s back and elaborate headgear. A cavity carved into the figure’s headdress could be packed with pukpuk (a ritual mixture of organic materials) to further enhance the sword’s power. The variety of metal alloys used to forge the swords and in the blades’ intricate decorative elements underscores the blacksmiths’ skill.
Piso sanalenggam (sword). Toba Batak artists; Sumatra, Indonesia, late 19th–early 20th century. Water buffalo horn, copper/zinc alloy, lead; L. 21 in. (53.3 cm). Gift of Fred and Rita Richman, 1988 (1988.143.23). Prov.: Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Piso sanalenggam (sword). Toba Batak artists; Sumatra, Indonesia, late 19th–early 20th century. Water buffalo horn, copper/zinc alloy, iron alloy; H. 3 × W. 1 1/4 × L. 21 3/4 in. (7.6 × 3.2 × 55.2 cm). Gift of Fred and Rita Richman, 1988 (1988.143.24). Prov.: Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Sword handle. Toba Batak artist; Sumatra, Indonesia, late 19th–early 20th century. Water buffalo horn; H. 6 3/4 × W. 1 7/16 × D. 2 3/4 in. (17.1 × 3.7 × 7 cm). Gift of Fred and Rita Richman, 1988 (1988.143.112). Prov.: Mark Felix, Brussels, until 1976; Fred and Rita Richman, New York, 1976–88
Architectural Ornaments
Architectural ornament. Toba Batak artist; Sumatra, Indonesia, late 19th–early 20th century. Wood, pigment; H. (incl. staple) 14 1/2 × W. 7 × D. 2 5/8 in. (36.8 × 17.8 × 6.7 cm). Gift of Fred and Rita Richman, 1988 (1988.143.68). Prov.: Ben Tursch, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
The sides of Batak communal houses were richly decorated with bold design elements, including images of horses’ heads. Dynamically painted in red, white, and black and embellished with scrolling motifs, these features were not simply ornamental, but were understood to act as guardians that ensured the safety of the house’s inhabitants. Horses were earthly symbols of status, reserved for elites who could afford to own them. During consecration ceremonies, ritual specialists often dedicated the animals to the three principal Batak deities, transforming them into spiritual mounts for the community’s prominent ancestors and other supernatural beings.
Architectural ornament. Toba Batak artist; Sumatra, Indonesia, late 19th–early 20th century. Wood; H. 21 in. (53.3 cm). Gift of Fred and Rita Richman, 1988 (1988.143.56). Prov.: Mark Felix, Brussels, until 1977; Fred and Rita Richman, New York, 1977–88
Although the term singa derives from the Sanskrit word for lion, the mythological creature combines aspects of a water buffalo, horse, and naga, a fantastical serpent-dragon. The composite beast, associated with fertility, abundance, and protection, often featured in decorative elements of Batak communal houses. Carved singa heads were attached on flat panels to the ends of a house’s central supporting beam, which served as the creature’s body. Together, the beams and the singa heads were identified with Naga Padoha, the mythical snake of the underworld. Ornaments such as this one enhanced the spiritual dimension of the house and protected the space within from malevolent spirits.