Megalithic culture is one of the prominent forms of cultural
heritage in the history of civilization in Indonesia. Though it is often
regarded as part of the prehistoric period (dating back to around 2500 BCE),
megalithic culture also exists as a traditional culture that has evolved
throughout history and persists in some areas to this day.
According to Bagyo Prasetyo in Megalitik: Fenomena yang
Berkembang di Indonesia (2015), the megalithic culture in the Indonesian
archipelago developed over time, with Sumatra standing out as one of the
regions rich in megalithic relics. The remnants of this ancient culture can be
found in various corners of Sumatra, reflecting a diverse natural landscape
where these megalithic monuments are found. From sacred megalithic statues on
the shores of Lake Toba, to burial jars on the eastern coast of Jambi, and the
menhir gravestones of Lima Puluh Koto, the megalithic legacy is scattered throughout
the island. Even the large stone artifacts of Nias Island bear testament to
this rich cultural heritage.
Among the many megalithic sites on Sumatra, the Pasemah
region has garnered particular attention. Located in the western part of South
Sumatra province, Pasemah encompasses several districts, including Lahat, Empat
Lawang, and the city of Pagar Alam. This area, which lies south of the Bukit
Barisan mountain range, is home to hundreds of large stone statues that provide
valuable insights into megalithic life.
The uniqueness of Pasemah’s archaeological sites was praised
by three early foreign researchers: L. Ullman, E.P. Tombrink, and L.C.
Westenenk. In their exploration, these scholars noted the intricate
craftsmanship of the stone statues, leading them to associate the Pasemah
megaliths with Hindu-Buddhist civilization, influenced by Indian culture.
However, this view tends to downplay the extraordinary artistic abilities of
the indigenous peoples of the region, who had their own rich traditions of
sculptural art.
The statues found in Pasemah represent a distinctive feature
of the megalithic culture. The Tinggihari archaeological site, for instance, is
a prominent area featuring megalithic statues that depict both animals and
humans. In Tinggihari I, a 250 cm tall statue portrays a reclining pig with a
human figure grasping the pig’s rear and tail. According to Haris Sukendar in
his article Tinjauan Arca Megalitik Tinggihari dan Sekitarnya (1984),
this depiction of a human and pig was likely a symbolic gesture for bountiful
hunting results.
The theme of hunting also intertwines with leadership motifs
in the megalithic period, which is suggested by another statue found at the
Kota Raya Lembak I site. This statue depicts two human figures embracing an
elephant. One figure on the left is sitting while holding a ceremonial bell.
The statue is adorned with jewelry, such as a headdress, wide-brimmed bracelet,
and a necklace, while a sword and ten layers of ankle bracelets are affixed to
the figure’s waist. The depiction of the elephant, with its large body and
pig-like head protruding from its hindquarters, is thought to represent
leadership and possibly a high-ranking figure.
Apart from the statues, there are also paintings found on
some stone panels in the Pasemah region, a surprising discovery since
prehistoric cave paintings are typically associated with earlier periods like
the Paleolithic. These megalithic paintings, discovered at the Kota Raya Lembak
site, feature images such as a horned buffalo with an asymmetrical body, an owl
with white accents on its eyes and head, and even a creature that resembles a
buffalo yet has characteristics similar to a dragon. These paintings have yet
to be fully understood, with researchers still debating their symbolic
meanings.
The megalithic relics of Pasemah are often linked to the
legendary figure of Si Pahit Lidah, also known as Serunting Sakti. This
mythical figure is considered an ancestral figure by the people of southern
Sumatra. The tradition of storytelling about Serunting Sakti is particularly
concentrated around the foot of Mount Dempo, covering the regions of Lahat,
Pagar Alam, and Empat Lawang. The legend of Serunting Sakti also extends to
parts of Lampung and Bengkulu.
Serunting Sakti, with his title as Si Pahit Lidah (the
Bitter Tongue), was believed by the Pasemah people to possess the power to turn
those he disliked into stone. This connection between the megalithic remnants
and the myth of Si Pahit Lidah has sparked various hypotheses among
researchers. Halilintar Latief, in his work Megalitik Bumi Pasemah: Peranan
serta Fungsinya (1999/2000), suggested that the ancestors of the Srivijaya
Empire may have originated from Pasemah, a region with a civilization older
than that of Srivijaya.
As reflected in ancient inscriptions, Srivijaya is thought
to have been established by the mountain dwellers of Sumatra, including those
from Pasemah, who traveled along the river valleys toward the coastal areas.
The Pasemah people, who did not migrate to the lowlands, preserved their
megalithic culture, contrasting with the Hindu-Buddhist influences seen in the
lowland societies. They may have lived alongside the Srivijaya people,
contributing exotic commodities for trade in Srivijaya’s bustling ports.
In conclusion, the megalithic culture of Pasemah provides
invaluable insights into the ancient civilizations of Sumatra. The relics found
in this region are not only a testament to the artistic and spiritual life of
the people but also reflect the deep historical connections between myth,
leadership, and the environment in which these cultures flourished. The ongoing
exploration and interpretation of these archaeological sites continue to deepen
our understanding of Indonesia’s rich cultural history.
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