House of a Hundred Pillars

The Grand Footprint of Wooden Civilization: History and Philosophy of the House of a Hundred Pillars of Ogan Komering Ilir

Located on the tranquil banks of the Komering River, precisely in Sugih Waras Village, Teluk Gelam District, Ogan Komering Ilir (OKI) Regency, South Sumatra, stands an architectural monument that bears silent witness to past glories. The House of a Hundred Pillars is not merely a dwelling place, but a manifestation of the prosperity, social status, and local wisdom of the Komering people in their time.

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Origins and Period of Construction

The House of a Hundred Pillars was built in 1811, a period when the influence of the Palembang Darussalam Sultanate was still strongly felt in the inland areas of South Sumatra, even as it began to intersect with Dutch colonial interests. The construction of this house was initiated by a local nobleman and wealthy merchant named Pangeran Rejed.

The name "Rumah Seratus Tiang" (House of a Hundred Pillars) is derived from the number of wooden supports that hold up the main structure of the building. Although technically the number of pillars is not exactly one hundred (some sources mention 104 pillars), the number "one hundred" is used as a symbol of grandeur and strength. Its construction took years due to the highly selective material selection and the craftsmanship involving the best carvers from the region.

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Architecture and Construction Details

This house adopts the architectural style of Rumah Limas, but with modifications typical of the Komering riverine area. The main structure is a stilt house designed to anticipate the overflow of the Komering River and to avoid disturbances from wild animals.

The primary materials used are unglen wood (Eusideroxylon zwageri) and tembesu wood, known for their resistance to weather and termites for hundreds of years. The main uniqueness lies in its construction system, which does not use iron nails, but rather a system of wooden pegs and mortise and tenon joints, allowing the building to remain flexible yet sturdy during vibrations or ground shifts.

The roof is limas-shaped with a steep pitch to facilitate rapid rainwater runoff. Inside, there is a very strict division of space based on social hierarchy and function. The front area (bengkilas) is used for receiving guests and customary deliberations, while the middle section (tengah rumah) is more private for the family.

One of the most captivating aspects is its intricate carving. Floral motifs, such as jasmine flowers and pandan vines, dominate the walls and pillars. These carvings not only serve as decoration but also contain philosophical meanings about fertility, harmony, and gratitude to the Creator. The dominant colors of gold and red in some carved sections indicate the influence of Chinese cultural acculturation that entered through river trade routes.

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Historical Significance and Related Figures

Pangeran Rejed, the first owner, was not only an economic figure but also a respected customary leader. This house once served as the center of customary governance and a gathering place for community leaders to determine customary laws and strategies for facing external pressures.

During the colonial era, the House of a Hundred Pillars became a symbol of cultural resistance. Amidst the Dutch efforts to standardize regional administration, the existence of this house affirmed the identity and autonomy of the Komering people. Its presence also serves as tangible proof that in the 19th century, the Ogan Komering Ilir region already had a well-established economic system through the trade of forest and river commodities, which enabled the construction of such a magnificent structure.

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Unique Facts and Wonders of the Past

One rarely known unique fact is the existence of the "Tiang Raja" or main pillar placed in the center of the building. Traditionally, the planting of the first pillar had to go through a complex customary procession, involving prayers for safety. It is said that beneath this main pillar, gold coins or other valuable items were buried as a symbol of hope for the inhabitants to always be blessed with prosperity.

Furthermore, the layout of the House of a Hundred Pillars intentionally faces the river. This reflects the life orientation of the people at that time, who considered the river the lifeline for transportation, a source of livelihood, and the basis for social interaction.

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Importance of Culture and Religion

Although its architectural structure is rooted in local tradition, the influence of Islam is strongly felt in its functions and ornaments. There are no motifs of living beings (humans or animals) in the house's carvings, in accordance with Islamic teachings that prohibit the depiction of animate beings. The rooms inside the house are also arranged to separate male and female guests during certain events, maintaining values of modesty and privacy.

Culturally, this house is a "school" of life. It is here that customary values are passed down from one generation to the next through oral traditions, customary wedding ceremonies, and the resolution of community disputes conducted in the main meeting hall.

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Preservation Status and Restoration Efforts

Currently, the House of a Hundred Pillars has been designated as a Cultural Heritage Site by the Ogan Komering Ilir Regency Government and the South Sumatra Provincial Government. However, its age of two centuries presents significant challenges to its preservation. Some wooden parts are starting to decay, and threats from the surrounding environment, such as high humidity, require serious attention.

Restoration efforts have been undertaken several times by the Cultural Preservation Center. The main challenge in restoration is finding wood materials of the same quality as the original, as old unglen and tembesu wood are increasingly rare and expensive. In addition to the physical building, preservation efforts are also directed towards documenting the oral history from the descendants of Pangeran Rejed who still maintain the house as a family heritage and a regional identity.

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Conclusion and Reflection

The House of a Hundred Pillars is not just a pile of ancient wood. It is a visual narrative of the architectural intelligence of our ancestors, the economic prosperity of the past, and the steadfastness in upholding customary values. For the people of Ogan Komering Ilir, this house is a source of pride and identity. For the younger generation, it is a reminder that on the banks of the Komering River, there once stood a civilization capable of uniting artistic beauty with structural strength, creating a heritage that transcends time. Preserving the House of a Hundred Pillars means preserving the collective memory of the nation so that it is not eroded by the currents of modernization.