The Meaning Of Symbols In The Acculturation Of Malay Islamic And Chinese Cultures In The Architecture Of The Old Mosque In Gang Bengkok Medan City (Analysis From The Perspective Of Roland Barthes’ Semiotics Theory)
Article Sidebar
Main Article Content
Abstract
Thesis,This study aims to reveal the meaning of symbols in the process of acculturation between Malay and Chinese Islamic cultures in the architecture of the Old Mosque on Gang Bengkok Street in Medan, as well as to understand how these symbols are interpreted by the community and Generation Z. The main issue examined is how architectural elements resulting from the encounter between these two cultures function as signs and form meaning at the denotative, connotative, and mythical levels according to Roland Barthes' semiotic theory. This study uses a descriptive qualitative method through in depth interviews, field observations, and documentation, which are then analyzed using Barthes' semiotic framework. The results show that architectural elements such as temple style roofs, hanging bee ornaments, green and yellow colors, main pillars, and circular motifs form a system of signs that reflect harmony, egalitarianism, and the collective identity of the Malay and Chinese community. The discussion also found that the local community responded positively to this acculturation and turned it into a social myth about cross ethnic harmony, while Generation Z interpreted these symbols as part of a relevant cultural heritage that needs to be preserved. This research confirms that the architecture of the Old Mosque of Gang Bengkok not only functions as a place of worship but also as a representation of a living multicultural narrative that is passed down from generation to generation.
Article Details
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work
How to Cite
References
Achyadi Siregar. F.(2022, August 8).Masjid Lama Gang Bengkok, Bukti Medan Kota Multi Etnis. https://www.detik.com/sumut/budaya/d-6221884/masjid-lama-gang-bengkok-bukti-medan-Kota-multi-etnis
Adirasa, Eri Santika(2024). Semiotika Simbol-Simbol pada Arsitektur Masjid Jamik Kota Malang (Perspektif teori The Power of Symbols F. W. Dillistone).
Ardiansyah, M. R. (2024). Masjid Lama Gang Bengkok: Menyusuri Sejarah dan
Keunikan Arsitektur di Kota Medan.
Barthes. R. (1964). Elements of Semiology. New York: Hill and Wang.
Barthes. R.(1977). Image, Music, Text. New York: Hill and Wang.
Fiantika. F. R. (2022). Metodelogi Penelitian Kualitatif. Padang: PT. Global Eksekutif Teknologi.
Halim. N. (2015). Filsafat Arsitektur Melayu. Pekanbaru: UMRI Press.
Hamzah. A. (2019) Simbolisme dalam Arsitektur Masjid Nusantara. Jakarta: LIPI Press.
Husaina. A. (2018). Analisis Film Coco dalam Teori Semiotika Roland Barthes.
Jamora Nasution, A. G. (2022). Masjid Bengkok: Kajian Sejarah Sosial dan Kontribusi Terhadap Masyarakat di Kota Medan
John W. Berry. (1997). Immigration Acculturation, and Adaptation. Applied Psychology: An International Review
Kevinia. C. (2024). Analisis Teori Semiotika Roland Barthes Dalam Film Miracle in Cell No.7 Versi Indonesia.
Koentjaraningrat. (2009). Pengantar Ilmu Antropologi. Jakarta: Rineka Cipta
Kurniawan. (2001). Semiologi Roland Barthes. Magelang: Indonesia Tera
Liang. T. (2018). Makna Filosofis Ornamen Teratai dalam Budaya Tionghoa.
Melville j. H. (1955). Cultural Anthropology. New York: Alfred A. Knopf
Miftakhuddin. (2019). Makna Simbolik Pada Arsitektur Masjid Nur Sulaiman Banyumas.
Moleong. Lexy J. (2014). Metodologi Penelitian Kualitatif Edisi Revisi. Bandung:
Remaja Rosdakarya.
Naiboho. P. D. R. (2024). Ciri Visual Bentuk Arsitektur Masjid Lama Gang Bengkok dalam Akulturasi Budaya.
Rahayu. S. (2020). Peran Cagar Budaya dalam Peningkatan Ekonomi Lokal.
Ratnasari. D. (2019). Motif Ornamen Melayu sebagai Representasi Identitas Lokal.
Setiawati. N. A. (2020). Makna Simbolik Warna dalam Budaya Melayu.
Shalekhah. A. (2020). Analisis Semiotika Roland Barthes Pada Poster Film Parasite Versi Negara Inggris.
Sugiyono. (2018). Metode Penelitian Evaluasi (Pendekatan Kuantitatif, Kualitatif dan Kombinasi). Bandung: Alfabeta
Tanjung. Raini dkk. (2019) Masjid Lama Gang Bengkok Sebagai Simbol Multietnis di Kota Medan.
Wahid. A. (2006). Islamku, Islam Anda, dan Islam Kita. Jakarta: The Wahidin Institute.
Yusuf. Y. (2012). Filsafat Budaya Melayu. Pekanbaru; UMRI Press.
Zalina, A. (2019). Akulturasi Budaya Pada Bangunan Masjid Di Kota Medan.
Zein, A. B. (1999). Masjid-masjid Bersejarah di Indonesia. Jakarta: Gema Insani