Examining the Forms and Variations of the Lampung Script in Ancient

Manuscripts

FARIDA ARIYANI

Faculty of Teacher Training and Education

University of Lampung

Jl. Prof. Dr. Ir. Sumantri Brojonegoro 1, Bandar Lampung, Lampung

INDONESIA

NURLAKSANA EKO RUSMINTO

Faculty of Teacher Training and Education

University of Lampung

Jl. Prof. Dr. Ir. Sumantri Brojonegoro 1, Bandar Lampung, Lampung

INDONESIA

SUMARTI

Faculty of Teacher Training and Education

University of Lampung

Jl. Prof. Dr. Ir. Sumantri Brojonegoro 1, Bandar Lampung, Lampung

INDONESIA

AS. RAKHMAD IDRIS

Lampung Province Language Office

Jl. Beringin II 40 Kompleks Gubernuran Telukbetung, Bandar Lampung, Lampung

INDONESIA

LISA MISLIANI

Lampung Province Language Office

Jl. Beringin II 40 Kompleks Gubernuran Telukbetung, Bandar Lampung, Lampung

INDONESIA

Abstract: - The study of the Lampung script's forms and variations in ancient manuscripts is a branch of linguistics

concerned with the script's evolution. We made observations on the Lampung script on two ancient manuscripts,

the NLP97N69 and the Hahiwang. Both manuscripts are housed separately. The NLP97N69 manuscript was

found in Indonesia, whereas the Hahiwang in Germany. A philological and paleographic approach was adopted

to investigate the Lampung script's forms and variations in the ancient manuscripts. Both manuscripts were

examined in conjunction with a presentation of the scriptwriter's Lampung script. After raising the Lampung

script, it was compared to the current script and Van der Tuuk's script table. Discrepancies were found out

between the characters in the two manuscripts, the contemporary script, and Van der Tuuk's table. Furthermore,

the gha script was found out to be unique to the NLP97N69 manuscript. It was created in an attempt to meet the

needs of Lampung language users who desired a unique script that incorporated the gha sound. This study

demonstrates that the Lampung script has evolved and changed over time in response to its users' needs.

Additionally, the article discusses the implications and future directions for research.

Key-Words: manuscripts, scripts, philology, paleography, Lampung

Received: May 27, 2021. Revised: November 13, 2021. Accepted: December 18, 2021. Published: January 15, 2022.

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1 Introduction

Lampung is one of the few regions in Indonesia's

archipelago that still speaks and uses its indigenous

language and script [1]–[3]. However, Lampung

society's tradition of writing in Lampung script is

currently restricted to 'decoration' purposes. As a

result, policies for the Lampung language are

required in order to address issues associated with its

use and to avert its extinction [4]–[6]. Lampung

Governor Regulation No. 39 of 2014 establishing

Lampung Language and Script as Mandatory Local

Content at the Elementary and Secondary School

Levels is one of the government's efforts to preserve

the Lampung language and script [2], [7]–[9]. The

Lampung script that is currently known and taught to

the Lampung people is the current Lampung script,

despite the fact that the Lampung people possess the

ancient Lampung script found in ancient Lampung

manuscripts. As a result, many Lampung people are

unable to read or even recognise the Lampung script

found in ancient manuscripts referred to as the old

Lampung script.

The Lampung people's lack of knowledge about

the ancient Lampung script, which is one of their

cultural products, ultimately results in some losses.

Kohler, a Dutch captain who rose to the position of

Military and Civilian Commander in the Lampung

District, once wrote a sentence that Frieda Amran

quoted in his article: "Not much is known about the

Lampung people" [10]. According to him,

Lampung's history was lost in the centuries-old

darkness. There are no writings or stories remaining

to resurrect the ancestors. The events preceding the

arrival and reign of the Banten sultans are little

known. The context of the preceding sentence very

accurately describes the current state of affairs,

namely when we (authors) were having difficulty

locating references pertaining to Lampung's history

(culture). Whereas Amran [10] asserts that the

primary requirement for writing history in any

perspective is written sources. Thus, historians,

anthropologists, and other social scientists who study

sociocultural issues through a historical lens require

written evidence [11], [12].

Hakiki et al. [13] stated in their study that the

Lampung region's position was also critical, as it had

been "conquered" by various powers in the past,

including Banten, Palembang, and finally the Dutch

Colonial. However, research on Lampung culture,

particularly on ancient manuscripts, religion, and

Lampung culture, is still uncommon. As expressed

by Eysinga, a Dutch colonial official, when he saw

Lampung from the coast of Banten [10], these studies

rise and fall. This is consistent with Pudjiastuti's [14]

assertion that little research has been conducted on

Lampung. Since the nineteenth century, beginning

with Van der Tuuk and K. F. Holle's research [15].

Van der Tuuk is best known for his book Les

Manuscrit Lampongs, which delves into the

Lampung language and script of the time period

through the examination of manuscripts.

Ka ga nga is the name given to the script or style

of writing used by the Central Malay, Rejang,

Lampung, and Kerinci peoples. The Rencong script

or Ulu writing is another name for the ka ga nga

script [16]. Lampung people refer to the script as Had

Lampung, Surat Lampung, or Kelebai Surat

Lampung. Although the ka ga nga script is

mentioned as the script used by the Central Malay,

Rejang, Lampung, and Kerinci people, the scripts

used by these communities differ in form [17].

The ancient Lampung script, which is found in a

variety of ancient Lampung scripts, takes on a variety

of forms. These variations represent 19 to 20 distinct

sounds through the use of letters. Additionally, the

Lampung script taught to students today (20

characters) is a simplification of the numerous

ancient Lampung script variants [9]. However, prior

to the establishment of the twenty Lampung scripts

that exist today, only 19 were used.

The twentieth script, dubbed the gha script, was

standardised in 1985 at a meeting of Lampung

traditional leaders. Since 1979, there has been

discussion about adding a twentieth script. However,

on February 23, 1985, the Lampung Regional

Customary Leaders Meeting Number 001/PAL/1985,

chaired by Baheran Bakr [18], enshrined the

standardisation of the gha script as the twentieth

script in the Decree of the Lampung Regional

Customary Leaders Meeting Number 001/PAL/1985.

This implies that the ancient Lampung script, a

cultural treasure, is a medium for recording the

supporting community's ideas, thoughts, and

indigenous wisdom. Similarly, Lampung once relied

heavily on ancient scripts as a primary mode of

communication, as evidenced by ancient texts [14].

As a result, this study should be able to decipher the

differences in the Lampung script's forms and

variations prior to its transformation.

Numerous researchers in Indonesia have

conducted paleographic studies on ancient

manuscripts. However, this paper discusses only a

few paleographic studies that have a direct

connection to this research. In her thesis, Ulu Writing

in the Serawai and Pasemah Manuscripts: Text

Editing and Paleographic Studies, Astuti [19]

examined the ulu script. She analysed six Ulu and

Pasemah scripts in her study to ascertain their history

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and development. Rahayu wrote about the Merbabu

Manuscripts: An Overview of Scripts and Their

Development in her 2009 thesis [20]. She examined

the variations in the form and pattern of Buddhist

script development in four Merapi Merbabu

manuscripts and their relationship to the manuscript's

dating. Additionally, Jaruki [21] published an article

titled A Study of the Sultan Manuscript/Document of

the Sultan of the Raja of the Sultanate of West

Kalimantan: Structure, Paleography, and Language

and he analysed data to determine the structure,

writing style, and language contained in the letter

Sultan Pontianak, Sultan Syarif Usman Al-Qodri

with the Dutch Government. In addition to

paleographic research on ancient manuscripts,

Misliani [22] conducted research on Lampung

ancient manuscripts regarding the Malay language

symptoms contained in the ancient manuscripts with

Lampung script, but in Malay.

Paleographic studies on ancient Lampung scripts

have never been conducted, according to a search of

various paleographic studies on ancient manuscripts

and studies on ancient Lampung scripts. As a result,

this paper addresses two issues: first, how was the

Lampung script shaped in the two ancient

manuscripts prior to their standardisation? Second,

how are the Lampung script variations represented in

the NLP97N69 and Hahiwang ancient manuscripts?

The purpose of this study is to demonstrate the

Lampung script's forms and variations in the ancient

Lampung manuscripts, which is expected to provide

additional information for determining the Lampung

script's development period.

2 Method

The current study adopted a philological

methodology, which is a compilation of the various

modes of inquiry necessary for editing texts in extinct

languages [23], [24]. We followed several steps

including the following: 1) inventory of manuscripts,

2) synopsis of manuscripts, 3) determining the age of

manuscripts, 4) manuscript reading, 5) manuscript to

manuscript comparison, 6) technique selection, and

7) editing [25]. As a result, inventorying and

describing the manuscript was the first step in

conducting a philological study. We began by

consulting Loir and Fathurahman's Khazanah

Manuscripts [20] to ascertain the global distribution

of Lampung manuscripts.

We consulted several catalogues, including the

National Library of the Republic of Indonesia's

Master Catalog of Archipelago Manuscripts and

Indonesian and Great Britain Manuscripts: A Catalog

of Manuscripts in Indonesian Languages in British

Public Collections, as well as a list of Lampung

museum collections based on the information

contained in the book. A search of these catalogues,

however, revealed that the Lampung script has not

been succinctly described. Lampung manuscripts'

catalogue entry contains only information on the

existence and number of manuscript storage

locations. We identified two ancient manuscripts for

examination, the NLP97N69 and the Hahiwang.

Additionally, we used codicology to describe the

manuscripts' physical characteristics.

We then edited the manuscripts to ensure that they

adhered to diplomatic standards [23]. The diplomatic

edition was divided into two phases. The first stage

involved creating a facsimile edition, which involved

reproducing or photographing each page of the

manuscript (first to thirteenth pages). The second

stage involved the purification of the written script,

specifically from Lampung script to Latin script.

We examined the shape of each character in the

NLP97N69 and Hahiwang manuscripts, as well as

the style and manner of writing employed by each

character. Each character was compared to the

current Lampung script. This enabled the

examination of the distinctions between the

characters in each text.

3 Results and Discussion

3.1 NLP97N69 Manuscript Description

The manuscript described physically is one of

those stored in 97 crate storage number 69 at the

National Library. The following is a description of

the NLP97N69 manuscript within this sub-chapter:

(1) the condition of the manuscript; (2) the material

of the manuscript; (3) the age of the manuscript; (4)

the size of the manuscript; (5) the number of pages;

(6) the number of lines per page; (7) the type of

writing and ink used; and (8) the condition of each

page of the manuscript.

Overall, the manuscript is in excellent condition.

The manuscript is legible. However, on the final two

pages, pages 12 and 13, the manuscript's centre is

slightly damaged. On that page, the manuscript paper

was divided, despite the fact that it did not separate

the two halves of the paper.

The NLP97N69 is one of the Bark Book

manuscripts kept at Indonesia's National Library.

NLP97N69 is catalogued in the Bahrend Catalog as

Peti 97 Number 69. This manuscript is housed on the

National Library's fifth floor in either the collection

room or the old manuscript storage room.

The bark manuscript NLP97N69 is referred to as

the bark book. The manuscript incorporates halim

bark. This manuscript was created using bark that has

been processed to resemble paper, but with a rougher

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texture and a stiffer sheet than European paper. This

manuscript's paper is made from bark and is a dark

brown colour with a combination of black at the

manuscript's edges. Additionally, as the manuscript

cover ages, it becomes thicker, harder, and wavy. In

the top left corner of the manuscript cover, a white

manuscript storage number, 69, is inscribed. On the

middle left is a white paper patch with the following

information: 97, 69, 97, 97, 97, 97, 97, 97, 97, : -.

The NLP97N69 manuscript lacks a colophon that

could provide information about the manuscript's

age. However, the age of the NLP97N69 manuscript

can be estimated based on the typeface used in the

manuscript. Based on Van der Tuuk's [15] study of

the Lampung script's development, the Old Lampung

script used around the XIII-XVII centuries

underwent changes in some of its characters up to six

times. The Lampung script used in the NLP97N69

script is from the youngest century, roughly the XVII

century. Additionally, as a manuscript containing a

storey about Nur Muhammad from one of the Sufi

literatures, it indicates that the manuscript was

written around the sixteenth century, when the

symbols of Islam arrived in the Lampung area.

According to this, the NLP97N69 manuscript was

most likely written after the XVII century.

The NLP97N69 is shaped like a book, but not the

kind where the pages are held together by a drain.

However, the book is formed by folding bark that has

been processed like paper 12 times to create a book

that measures 18.8 cm long and 12.4 cm wide and has

one face. When stretched, the fold has a width of 12.4

cm X 12 or 135.8 cm, plus the width of the 13th page,

which is 9.4 cm long. This results in a width of 145.2

cm with a fixed length of 18.8 cm.

The number of pages containing text or at the top

of the manuscript is 13 pages, based on the results of

the manuscript's folds. A blank page appears at the

bottom or back of the manuscript. This manuscript is

not numbered.

Lampung script is used to write NLP97N69 3654.

Lampung script belongs to the Kaganga family

because Lampung letters, when used alone, contain

the sound a, and are thus referred to as Basaja in the

spelling [18]. Black ink is used to write. The writing

is in excellent condition, making it easy to read.

The writing begins on the first page or

immediately following the cover page and continues

until the thirteenth page. Each page contains a

different number of lines of writing. The first page

contains 14 lines, the second 13 lines, the third 13

lines, the fourth 12 lines, the fifth 13 lines, the sixth

12 lines, the seventh 12 lines, the eighth 13 lines, the

ninth 13 lines, the tenth 14 lines, the eleventh 12

lines, the twelfth 12 lines, and the thirteenth page

contains 9 lines.

There are also illustrations of flowers on several

pages of text. This flower image is used to indicate

the beginning of a new discussion or chapter. The

flowers depicted in this text have a variety of petals.

Following this word on page I, row 10, is a drawing

of a flower with four petals on top and bottom. On

page II, row 12, near the beginning of the row, there

is a drawing of a six-petalled flower. On page IV, the

eighth line after the word, there is an illustration of a

six-petalled flower. On page V, the tenth line after the

title, there is a drawing of a six-petalled flower.

Figure 1. Facsimile Format Page I of NLP97N69

Manuscript

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Figure 2. Facsimile Format Page II of the

NLP97N69 Manuscript

The manuscript's page VI contains multiple

flower images. After the word wind in the fourth line,

there is a drawing of a flower with three petals

attached to only the left. After the word wind in the

seventh line, there is a drawing of a flower with four

petals arranged from top to bottom but only covering

the left side of the flower. In the eighth row, right at

the start of the row, there is an image of a six-petalled

flower.

On page VII, an image of a flower in the seventh

row is included. The flower images on this page are

slightly different from the previous pages' flower

images. The four petals are arranged in a broken line

with a circle in the centre on the bottom right. There

are no floral illustrations on pages VIII, IX, or X.

There is an image of a six-petalled flower on page

XI of the fifth row. A three-petalled flower is

depicted on page XII of the eighth row. On this page,

the flower petals are drawn larger than on the

previous page's flower images. The petals of the

flower are arranged correctly. There are no floral

illustrations on Page XIII.

3.2 Description of the Hahiwang Manuscript

Hahiwang is one of the bamboo manuscripts

housed in Germany's Staatsbibliothek Zu Berlin in

The Hag. This ancient manuscript is catalogued as

Schoem IX 1 in the Staatsbibiothek Zu Berlin's

Catalog of Indonesian Manuscripts Collection.

The description of the materials used to create the

script is included to illustrate the manuscript's basic

components. Bamboo can be used to create the

manuscript. Bamboo betung was traditionally used as

a medium for writing texts. It is referred to in Latin

as Dendrocalamus Asper. This bamboo is a very

strong and robust species of bamboo, growing in an

upright position with clearly visible segments.

Bamboo typically grows to a height of 30 metres. The

bamboo that is used to write the script must first be

soaked in water for an extended period of time until

it darkens in colour. Following that, the soaked

bamboo is dried in the sun until completely dry [14].

Hahiwang, also known as gelumpai script, is a

bamboo-based script. The bamboo on which this

manuscript is built has been treated in such a way that

its surface can be scratched during the writing

process. Some of the bamboo used to write scripts is

whole, while others is split into multiple pieces. The

Hahiwang manuscript makes extensive use of split

bamboo.

Ancient manuscripts that are bound with

European paper employ a curing system. However,

the Hahiwang script, which is based on a bamboo

slat, creates a hole at one end of the bamboo to

connect the script.

The manuscript's age can be determined in a

variety of ways, one of which is through the

colophone. The colophone is the section that contains

various types of information. However, there is a

possibility that we will occasionally need to exercise

caution because the manuscripts we are dealing with

are copies of other manuscripts that are

unquestionably older [26]. The Hahiwang manuscript

lacks a colophon that could provide information

about the manuscript's age. However, the age of the

Hahiwang manuscript can be estimated based on the

type of characters used in the manuscript. According

to Van der Tuuk's [15] study of the Lampung script's

development, the Old Lampung script used between

the XIII and XVII centuries changed some of its

characters up to six times. The Lampung script used

in the Hahiwang script is the script that was not used

in that period's youngest century. However, the

opening greeting, which contains the word

assalamualaikum, indicates that the manuscript was

written around the sixteenth century, when Islamic

symbols arrived in the Lampung area. According to

this, the Hahiwang manuscript was most likely

written after the sixteenth century.

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Figure 3. Facsimile Format of the Hahiwang

Manuscript

Figure 4. Facsimile Format of the Hahiwang

Manuscript

The Hahiwang manuscript is composed of split

bamboo, not whole bamboo, which is called

gelumpai. The bamboo blade bearing the text

Hahiwang measures 12.5 cm in length and 2 cm in

width. If the bamboo contains the text of Hahiwang

in chronological order, the Hahiwang manuscript will

measure 12 cm x 52 cm. The manuscript is numbered

from 1 to 26 at the back.

The bamboo base of the script requires the use of

a special writing utensil. Typically, a taper lading is

used to write the Lampung script, which is composed

of hard materials such as bamboo and animal horns.

A lading taper is a small knife with a pointed, sharp

tip. The bamboo that serves as the script's foundation

will be scratched to create the text with this pointed

plate. The Lampung script is used to write the

Hahiwang manuscript. Due to the fact that the

Hahiwang text was written on bamboo, the script did

not include ink to indicate the writing. However,

scripts that employ bamboo media employ hapul and

roasted candlenuts to emphasise the letters inscribed

on the script's base [14].

On the first chip, writing begins with the text's

initial opening sign, two square brackets, and the

opening word greetings. Each chip contains a

different number of lines of writing. The first to ten

pieces contain three lines of text; the eleventh page

contains three lines; the twelfth page contains three

lines; the thirteenth page contains four lines; the

fourteenth page contains three lines; and the fifteenth

to twenty-sixth page contains three lines.

At the start of each paragraph, there is an opening

sign indicating the start of the text. The text begins

with two square brackets. Throughout the text, this

bracketed image takes on two distinct shapes. From

the first to the fifth pieces, two square brackets are

written in a row to the side. From the sixth to the

twenty-sixth lines, the text's first indication is in the

form of a row of square brackets written upwards.

3.3 Information of the Manuscripts

The Sumatran script is known as the ka ga nga

family script. This script is an indirect descendant of

the Palawa script. Ka ga nga is the name given to the

script or style of writing used by the Central Malay,

Rejang, Lampung, and Kerinci peoples. The

Rencong script or Ulu writing is another name for the

ka ga nga script [16]. Lampung people refer to the

script as Had Lampung, Surat Lampung, or Kelebai

Surat Lampung. Although the ka ga nga script is

mentioned as the script used by the Central Malay,

Rejang, Lampung, and Kerinci communities, the

scripts used by these communities differ in form [17].

The genealogy of the characters that developed in

Sumatra is depicted in Figure 5.

Lampung script has evolved since its inception.

Lampung people generally classify the Lampung

script into two categories: the Old Lampung script

and the Lampung script as it is today. Lampung script

is a syllabic script or syllable script, which means that

it consists of consonants and vowels.

According to historical evidence, the

development of scripts representing regional

languages in the archipelago began with the spread of

Hinduism and Buddhism [27]–[30]. Additionally, it

accelerated when Islam began to penetrate the

archipelago. Thus, the Lampung script evolved most

likely from the Palawa script and was also influenced

by the Arabic script [31], [32]. Around the seventh

century, the Srivijaya Kingdom in South Sumatra is

believed to have been the birthplace of the Lampung

script [33].

Figure 5. Genealogy based on the Development of

the Characters on Sumatra Island

Lampung script's use as a tool for recording

various pieces of information in the Lampung area

can be divided into three eras: the past, colonialism,

and the present [34]. The Lampung script is not even

a representation of the Lampung language. However,

historical evidence suggests that the Lampung script

was used to represent the Malay or Banten language.

Along with the historically diverse forms, the writing

style has several variants, including Khad Lampung

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Ho, Khad Lampung Jebi, Khad Lampung Tumbai,

Khad Lampung Ampai, Khad Lampung Angka, and

Khad Lampung Ganta.

Based on the foregoing, information about the

Lampung script is necessary to support the script's

study in the following section. Additionally, this

subchapter will include a description of the old

Lampung script and the current Lampung script,

which will serve as a foundation for identifying the

various forms of the old Lampung script.

3.3.1 Old Lampung Script

Since its inception, the Lampung script has grown

in popularity. As a result, the Lampung people

classify the Lampung script into two categories: the

old Lampung script and the current Lampung script.

According to Van der Tuuk's [15] study of the

Lampung script's development in Les Manuscrits

Lampongs, the Lampung script has numerous writing

variants. These differences were identified in ten

Lampung scripts. The following is a synopsis of Van

deer Tuuk's [15] study of script variations in ten

ancient Lampung scripts. This synopsis is presented

in Table 1.

Table 1. Variations of the Van der Tuuk’s Lampung Script

Scripts

III

nga

nya

gra

The script is classified into three types:

alphabetical, syllabic, and morphemic. One

consonant and one vowel are represented by the one-

letter alphabet. The Latin script, for example, is used

in English and Indonesian. A single character's

syllabic script or syllable is represented by a

consonant and a vowel. Japanese, Javanese, and

Lampung scripts are all examples. Morpheme script

is a morpheme-based script in which each morpheme

represents a collection of sounds, a tone, and a

meaning. Kridalaksana in Enchantment of Language

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Table 2. Sound Signs based on Van der Tuuk's Study

Scripts

III

kill/die

[35] provides an illustration of morphemic

characters found in Mandarin. Lampung script is

included in the ka ga nga family as a syllabic script.

Lampung's syllabic script consists of one

consonant and one vowel, resulting in the presence of

the sound /a/ in a stand-alone Lampung script.

Lampung script is also known as Basaja [18].

Lampung language does not rely solely on the sound

or vowel a to fulfil its communication function.

Lampung has additional vowel sounds. The

following is a list of additional audible signs based

on Van der Tuuk's research.

3.3.2 Today's Lampung script

Lampung's current script is a simplified version of

the ancient Lampung script, which is quite varied. In

1971, a Decree of the Head of Representative of the

Ministry of Education and Culture initiated the

process of standardising the Lampung script, which

was adapted to the Lampung script reading and

writing textbook compiled by M. Noeh. The Decree

was issued in response to the research team's proposal

to schedule the beginning of Lampung script reading

and writing lessons for students.

One reason for wanting to standardise the

Lampung script is to eliminate the numerous

variations of the Lampung script found in various

areas throughout Lampung Province. The

government wishes to ensure that each region retains

its own variation of the Lampung script. The

government, however, wishes to standardise a form

of Lampung script that can be used throughout the

country. Additionally, the government wishes to

incorporate the findings of a research team's study of

the Lampung script by increasing the number of

Lampung scripts from 19 to 20. The gha script is the

twentieth script added.

On February 23, 1985, the two proposals that had

been put forward since 1971 were finally approved,

based on the results of traditional leaders'

deliberations. Following this, the government issued

two regulations aimed at further preserving the

Lampung script as an integral part of Lampung

culture: Lampung Provincial Regulation Number 2 of

2008 on the Preservation of Lampung Culture and

Lampung Governor Regulation Number 39 of 2014

on Lampung Language and Script Subjects as

Mandatory Local Content at the Elementary and

Secondary Education Unit Levels [7].

Additionally, some experts have conducted

research on the history and development of the

Lampung script. The following table compares old

and new Lampung scripts, based on a summary

conducted by Pudjiastuti [14], [36].

3.4 Forms and Variations of the Lampung

Script in the NLP97N69 and the Hahiwang

Manuscripts

The appearance of characters in each manuscript

varies according to the author's writing style. The

previous presentation demonstrated variations in the

appearance of the Lampung script in ten ancient

Lampung scripts described by Van Der Tuuk [15].

Thus, the following describes the Lampung script's

appearance and characters in two ancient Lampung

scripts, namely the NLP97N69 and the Hahiwang

manuscripts. The introduction of the old Lampung

script in both manuscripts was determined by

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referring to Van der Tuuk's Les Manuscrits

Lampongs [15].

Table 3. Old and New Lampung Scripts

Scripts

Script

Old

New

nga

nya

gra

In this section, we describe the shape of the

characters contained in the NLP97N69 and

Hahiwang texts sequentially (alphabetically). Each

character is analysed for its function and usage in the

text before it becomes a word or sentence.

Additionally, each character will be compared to the

current form of the Lampung script in order to

demonstrate the differences and peculiarities

between the old Lampung script and the NLP97N69

and Hahiwang scripts.

There are twenty Lampung script forms in the

NLP97N69 manuscript: ka, ga, nga, pa, ba, ma, ta,

da, na, ta, ja, nya, ya, a, la, ra, sa, wa, ha, and gha,

but only nineteen in the Hahiwang manuscript. The

following table compares the Lampung script used in

the NLP97N69 to the Hahiwang. The script's forms

and variants are compared to the contemporary

Lampung script in order to demonstrate the

distinction between the ancient Lampung script and

the contemporary Lampung script.

Table 4. Forms and Variations of the Lampung

Script

No.

Today's

characters and

their sounds

Script on

NLP97N69

Manuscript

Characters in

the Hahiwang

Manuscript

k (Ka)

g (Ga)

G (Nga)

p (Pa)

b (Ba)

m (Ma)

t (Ta)

d (Da)

n (Na)

10.

c (Ca)

11.

j (Ja)

12.

N (Nya)

13.

y (Ya)

14.

a (A)

15,

l (La)

16.

r (Ra)

17.

s (Sa)

18.

w (Wa)

19.

h (Ha)

20.

H (Gha)

Ka. The lampung script sequence begins with the

ka script. In the current Lampung script, the ka script

takes the form: k. The vertical line in the middle of

the horizontal line without crossing it is the ka script's

distinguishing feature. The writing begins with the

formation of a diagonal line ascending from left to

right and then vertically downward. The diagonal line

upward is lengthened relative to the vertical line

downward. The second pull establishes a vertical line

in the diagonal line's centre. The ka script found in

the NLP97N69 and Hahiwang texts is identical to the

current ka script and to the ten ka characters found in

the Van der Tuuk script variation table [15].

However, in the Hahiwang text, the diagonal line in

the ka script is horizontal.

Ga. The ga script is the second character in the

sequence of the Lampung script. In the current

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Lampung script, the ga script takes the following

form: g. The ga script is similar to the ka script in

shape, but lacks the vertical line in the centre of the

horizontal line. The letter ga is written by first

drawing a diagonal line upward from left to right and

then vertically downward. The diagonal line upward

is lengthened relative to the vertical line downward.

The ga characters found in the NLP97N69 text are

identical to those found in the current ga script and to

the ten ga characters found in the Van der Tuuk script

variation table [15]. The ga script used in the

Hahiwang text is identical to the current ga script and

to the ten ga characters listed in the Van der Tuuk

script variation table [15]. The diagonal line in the ga

character in the Hahiwang text, on the other hand, is

horizontal.

Nga. The nga script is the third in the sequence of

Lampung scripts. In the current Lampung script, the

nga script takes the following form: g. To begin

writing the nga script, form an upward diagonal line

from left to right, then a short vertical line downward,

followed by another upward diagonal line. The

second pull establishes a vertical line parallel to the

second diagonal line. The nga script in the

NLP97N69 and Hahiwang texts is not identical to the

current nga script, but it is similar in shape to the nga

script in column A.V of the Van der Tuuk script

variation table. The writing begins by forming a

diagonal line up from left to right, followed by a short

vertical line down and then another diagonal line up.

The second pull creates a brief vertical line

downward, followed by a diagonal line upward.

Pa. The pa script is the fourth character in the

sequence of the Lampung script. In the current

Lampung script, the pa script takes the following

form: p. The pa script is shaped similarly to the ga

script, but inverted. To begin writing the pa script,

draw a downward diagonal line from left to right and

then up diagonally. The diagonal line on the

downward side is shorter than the diagonal line on the

upward side. The pa script found in the NLP97N69

and Hahiwang texts is identical to the current pa

script and to the ten pa characters found in the Van

der Tuuk script variation table [15].

Ba. The ba script is the fifth character in the

sequence of the Lampung script. In the current

Lampung script, the ba script takes the following

form: b. The writing begins by drawing a diagonal

line from left to right and then diagonally up. The

diagonal line on the downward side is shorter than the

diagonal line on the upward side. The second pull,

forming a short vertical line down at the intersection

of the diagonal line up and down. The ba script in the

NLP97N69 and Hahiwang texts is identical to the

current ba script, but none of the ba characters in the

Van der Tuuk’a [15] script variation table are

identical. However, in the Hahiwang text, the

diagonal line in the ba script is horizontal.

Ma. The ma script is the sixth character in the

sequence of the Lampung script. In the current

Lampung script, the ma script takes the following

form: m. To begin writing the letter ma, draw a

diagonal line from left to right and then up

diagonally. The diagonal line on the downward side

is shorter than the diagonal line on the upward side.

The second pull will result in the formation of a short

vertical line up in the centre of the diagonal line up.

The ma script found in the NLP97N69 and Hahiwang

texts is identical to the current ma script and also to

the ma script found in columns AV, A.VI, B, C, E,

and F of the table of Van der Tuuk’s [15]. script

variations. However, in the Hahiwang text, the

diagonal line in the ma script is made horizontal.

Ta. Ta script is the seventh script in Lampung's

sequence of scripts. In the current Lampung script,

the ta script takes the following form: t. To begin

writing the ta character, create a diagonal line

ascending from left to right. The second drag creates

a short vertical line in the centre of the first diagonal

line, followed by a diagonal line up and down to the

right. The diagonal line to the right is lengthened

relative to the vertical line to the left. The ta script

found in the NLP97N69 and Hahiwang texts is not

identical to the current ta script, but it does have the

same shape as the ta script found in column A.I of the

Van der Tuuk’s [15] script variation table. The ta

character is written by first drawing a diagonal line

upward from left to right and then vertically

downward. The diagonal line upward is lengthened

relative to the vertical line downward. Form a vertical

line down from the centre of the first diagonal line in

the second pull, which is then continued with a

horizontal line to the right. The vertical line

extending downward is shorter than the horizontal

line extending to the right.

Da. Da is the eighth script in the Lampung script

family. In the current Lampung script, the da script

takes the following form: d. To begin writing the da

script, draw a diagonal line upward from left to right,

followed by a vertical line downward. The diagonal

line upward is lengthened relative to the vertical line

downward. The da script used in the NLP97N69 and

Hahiwang texts is not identical to the current da

script, but it is similar in shape to the ta script found

in column A.II of the Van der Tuuk’s [15] script

variation table. To begin writing the da script, draw a

diagonal line upward from left to right, followed by

a vertical line downward. The diagonal line upward

is lengthened relative to the vertical line downward.

Form a vertical line downward from the centre of the

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first diagonal line in the second pull, followed by a

short horizontal line to the right and then a vertical

line downward.

Na. The na script is the ninth in the sequence of

Lampung scripts. In the current Lampung script, the

na script takes the following form: n. The writing

begins with the formation of a diagonal line from left

to right, followed by a short vertical line down,

followed by another diagonal line to the right,

followed by another short vertical line down. The na

script found in the NLP97N69 and Hahiwang texts is

identical to the current na script and also to the na

script found in columns A.II to d.VI, B, C, D, E, and

F of the table of Van der Tuuk’s [15] script variations.

The na character is currently written as is the na

character in the NLP97N69 text.

Ca. The ca script is the tenth in the sequence of

Lampung scripts. In the current Lampung script, the

ca script takes the following form: c. To begin

writing the letter ca, draw a vertical line from top to

bottom, followed by a diagonal line up and to the

right, followed by a short vertical line down. The

second pull creates a vertical line that cuts through

the diagonal line's centre. The ca script found in the

NLP97N69 and Hahiwang texts is identical to the

current ca script and also to the ca script found in

columns A.II, A.IV, AV, A.VI, B, C, D, E, and F of

the table of Van der Tuuk’s [15] script variations.

Ja. In the Lampung script sequence, the ja script

is the eleventh script. In the current Lampung script,

the ja script takes the following form: j. To begin

writing the letter ja, form a diagonal line from left to

right, then a short vertical line down, then another

diagonal line to the right, followed by another short

vertical line down. The second pull creates a short

vertical line through the centre of the first diagonal

line up. The ja script in the NLP97N69 and Hahiwang

texts is not identical to the current ja script, and none

of the ja script forms in the Van der Tuuk’s [15] script

variation table are identical to the ja script in the

NLP97N69 and Hahiwang texts. However, there are

several variants of the letter ja in the table of

variations of the Van der Tuuk’s [15] script columna

A.IV, V, VI, B, C, and F that are nearly identical to

the variants found in the texts NLP97N69 and

Hahiwang.

Nya. The nya is the twelfth script in the Lampung

script family. In the current Lampung script, the nya

script takes the following form: n. The initial writing

is accomplished by drawing an upward diagonal line

from left to right, followed by a short vertical line

downward, followed by another diagonal line upward

to the right, followed by another short vertical line

downward, followed by another diagonal line upward

to the right. The nya characters found in the

NLP97N69 text are identical to the current nya

character and also to the nya character found in

columns A.II, A.III, and F of the table of Van der

Tuuk’s [15] script variations. The nya script used in

the Hahiwang text is shaped differently than the

modern nya script. It does, however, have the same

form as the nya characters in columns A.I, D, and E

of the table of Van der Tuuk’s [15] script variants. In

the Hahiwang text, the nya character is written by

first drawing a horizontal line from left to right and

then vertically downward. The horizontal line is

made longer than the vertical line running downward.

The second pull establishes a vertical line in the

diagonal line's centre. The third drag creates a

vertical line in the horizontal line's left third.

Ya. Ya is the thirteenth script in Lampung's

sequence of scripts. Ya in Lampung script has been

renamed y. To begin writing the characters, draw a

vertical line from top to bottom, then a diagonal line

up and to the right, followed by a short vertical line

down and then another diagonal line up and to the

right. The ya script found in the NLP97N69 text is

identical to the current ya script and also to the ten ga

characters found in the Van der Tuuk’s [15] script

variation table. The ya script in the Hahiwang text

resembles modern script.

A. The script a is the fourteenth in the sequence of

Lampung scripts. The current Lampung script's a

script takes the following form: a. To begin writing

the letter a, form a diagonal line up from left to right,

then a short vertical line down, followed by another

diagonal line up. The second pull establishes a

vertical line parallel to the first diagonal line. The a

character in the NLP97N69 text is identical to the

current a character and also to the ten letters a in the

table of Van der Tuuk’s [15] script variations. The

script an in the Hahiwang text is distinct from the

current a and the ten letters a in the table of Van der

Tuuk’s [15] script variations. To begin writing the a,

draw a horizontal line from left to right, then a short

vertical line down, followed by another horizontal

line to the right.

La. The la script is the fifteenth script in the

sequence of the Lampung scripts. In the current

Lampung script, the script la takes the form: l. To

begin writing the letter la, form a diagonal line up

from left to right, then a short vertical line down,

followed by another diagonal line up. The la script in

the NLP97N69 text is identical to the current la script

and to the ten la characters in the Van der Tuuk’s [15]

script variation table. The la script found in the

Hahiwang text is similar in shape to the current la

script and also resembles the ten la characters found

in the Van der Tuuk’s [15] script variation table.

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However, in the Hahiwang text, the diagonal line in

the script la is made horizontal.

Ra. The ra script is the sixteenth in the sequence

of Lampung scripts. In the current Lampung script,

the ra takes the following form: r. The ra character is

written by first drawing a diagonal line up from left

to right and then a short vertical line down. The

second pull is performed by tracing a short vertical

line downward from the centre of the first pull's

diagonal line and then tracing a diagonal line to the

right. In the second pull, the downward vertical line

is made shorter than the upward diagonal line. The ra

script found in the NLP97N69 and Hahiwang texts is

identical to the current ra script and to the ra script

found in the AI, A.II, A.III, A.IV, AV, A.VI, B

columns, C, and F of the table of Van der Tuuk’s [15]

script variations. However, in the Hahiwang text, the

diagonal line in the ra is made horizontal.

Sa. The sa script is the seventeenth in the

sequence of Lampung scripts. In the current

Lampung script, the sa script takes the following

form: s. The sa character is written by first drawing a

diagonal line up from left to right and then a short

vertical line down. The second pull is accomplished

by drawing a short vertical line up from the diagonal

line's centre. The sa script contained in the

NLP97N69 text is nearly identical to the current sa

form and also to the sa form contained in columns C

and F of the table of Van der Tuuk’s [15] script

variations. To begin writing the sa script on the

NLP97N69 text, create a diagonal line ascending

from left to right, followed by a short vertical line

downward. The second pull is accomplished by

cutting the diagonal line with a vertical line. The sa

script used in the Hahiwang text is distinct from the

modern sa script. It does, however, take the same

form as the letter sa in columns D and E of the table

of Van der Tuuk’s [15] script variants. The sa script

is written in the Hahiwang text by first drawing a

diagonal line up to the left, then a horizontal line to

the right, and finally a diagonal line down to the left.

Wa. Wa is the eighteenth script in the Lampung

script family. In the current Lampung script, the wa

script takes the following form: w. The wa character

is written by first drawing a diagonal line upward

from left to right and then a short vertical line

downward. The second pull is accomplished by

drawing a diagonal line up directly above the end of

the vertical line created in the first pull. The wa script

found in the NLP97N69 and Hahiwang texts is nearly

identical to the current wa script and to the wa script

found in column A.III of the Van der Tuuk’s [15]

script variation table. The wa script is written in the

NLP97N69 and Hahiwang texts by first drawing a

diagonal line from left to right and then a short

vertical line down. The second pull is formed by

cutting the vertical line in the first pull with a

diagonal line up to the right. However, in the

Hahiwang text, the diagonal line in the wa script is

made horizontal.

Ha is the nineteenth script in the Lampung script

family. In the current Lampung script, the script ha

takes the form: h. To begin writing the letter ha, draw

a vertical line from top to bottom, then a diagonal line

up and to the right, followed by a vertical line down.

The ha script found in the NLP97N69 and Hahiwang

texts is identical to the current ha script and to the ten

ha characters found in the Van der Tuuk’s [15] script

variation table.

Gha. The gha script is the twentieth script in

Lampung's sequence of scripts. In the current

Lampung script, the gha script takes the following

form: h. The gha script is written by first forming a

short vertical line down and then a diagonal line up

to the right. The second pull is accomplished by

drawing a diagonal line upward and then a short

vertical line downward. The NLP97N69 text contains

a gha script that is identical to the current gha script.

However, the gha script is not present in any of the

characters listed in the table of Van der Tuuk’s [15]

script variants. The Hahiwang text does not contain

the gha script. As a result, the Hahiwang text contains

only nineteen characters.

4 Conclusion

Lampung script has received little research. A

paleographic study examining the shape of the

Lampung script is a significant step in the history of

the Lampung script's development. This study is

critical in terms of preserving and developing local

languages and scripts.

The current findings suggest that the shape of the

Lampung script changed prior to the script being used

today. The paleographic study conducted in this

study makes use of the contemporary Lampung script

and Van der Tuuk’s [15] Lampung script table as a

point of comparison. This research demonstrates that

not all of the characters in the two manuscripts

correspond to those in the contemporary script or the

Van der Tuuk’s table. The differences in forms and

variations discovered in this study indicate that the

Lampung script evolves and changes in response to

the script's users' needs. Additionally, it was

discovered that the scriptwriter of the Hahiwang did

not use the gha script. This demonstrates that the gha

script developed in response to the requirements of

its users, particularly after Islam arrived and

introduced a vocabulary containing the letter gha.

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Additionally, the findings imply that the local

government, with the support of all parties, should

take an active role in preserving the Lampung scripts,

such as by using Lampung scripts for public signage.

This study, however, has limitations. While this study

was able to shed light on the differences between

ancient Lampung scripts and those in use today, it

was conducted in isolation from historical and

cultural contexts. As a result, future research should

focus on perspectives to gain a more holistic

understanding of the phenomenon. Additionally,

conducting research with participants, such as

through interviews, is a good way to ensure that

conclusions are valid.

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Volume 18, 2022

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Farida Ariyani and Nurlaksana Eko Rusminto

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As. Rakhmad Idris and Lisa Misliani aided in the

analysis process by gaining access to the original

Hahiwang and NLP97N69 manuscripts.

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DOI: 10.37394/232015.2022.18.22

Farida Ariyani, Nurlaksana Eko Rusminto,

Sumarti, AS. Rakhmad Idris, Lisa Misliani

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