Batik

For other uses, see Batik (disambiguation).

Batik

Batik from Yogyakarta, late nineteenth century
Type	Art fabric
Material	Cambrics, silk, cotton

Indonesian Batik
UNESCO Intangible Cultural Heritage
Batik craftswomen in Java drawing intricate patterns using canting and wax that are kept hot and liquid in a small heated pan, on 27 July 2011
Country	Indonesia
Domains	Traditional craftsmanship, oral traditions and expressions, social practices, rituals and festive events
Reference	00170
Region	Asia and the Pacific
Inscription history
Inscription	2009 (4th session)
List	Representative
Written batik (batik tulis) and stamped batik (batik cap)

Education and training in Indonesian Batik
UNESCO Intangible Cultural Heritage
Museum Batik Pekalongan, Central Java
Country	Indonesia
Domains	Traditional craftsmanship, oral traditions and expressions, social practices, rituals and festive events
Reference	00318
Region	Asia and the Pacific
Inscription history
Inscription	2009 (4th session)
List	Good Safeguarding Practices

Batik refers to a dyeing technique using wax-resist and also patterned cloths made in that technique. Batik is made either by drawing or stamping patterns of wax in cloths. When the cloth is dyed, the applied wax resists coloring and creates patterned negative when the wax is removed. Using this basic principle, artisan may create intricate pattern and colour by multiple instances of wax application and dyeing.

The technique is attested independently in several world culture, including China and neighboring regions (especially among hill tribes like the Miao, Bouyei and Gejia peoples), India, Malaysia, Sri Lanka, and Nigeria. The technique developed in Indonesia (especially in Java) is among the most sophisticated and most studied by textile scholars, and it is Javanese terms that are often borrowed into English when discussing the relevant technique and cloths.

On 2 October 2009, UNESCO recognized written batik (batik tulis) and stamped batik (batik cap) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia. Since then, Indonesia has celebrated a Batik Day (Hari Batik Nasional) annually on 2 October. In the same year, UNESCO also recognized education and training in Indonesian Batik as a Masterpiece of Oral and Intangible Heritage of Humanity.

Etymology

The word batik is Javanese in origin. The word bathikan means "drawing" or "writing" in Javanese. The word batik is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled as battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in forms such as mbatik, mbatek, batik and batek. Batik known as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).

History

Wax-resist dyed textile from Niya (Tarim Basin), China

Dyeing of fabric using wax to resist the dye (so that only unwaxed areas receive a colour) is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practiced in China during the Tang Dynasty (618-907 AD), and in India and Japan during the Nara Period (645-794 AD). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. Modern West African versions, uses cassava starch, rice paste, or mud as a resist.

Jlamprang or ceplok batik motif of clothes of 13th-century East Javanese Prajnaparamita statue, National Museum of Indonesia, Jakarta

The art of batik is most highly developed in Java, Indonesia. Materials used include cotton, beeswax, and vegetable dyes. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.

The oldest Batik activities came from Ponorogo which was called Wengker before the 7th century; the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that Ponorogo batik is generally dark black or batik irengan symbolising magical themes.

Pre-1867 Javanese batik probably from the Semarang workshop owned by Carolina Josephina von Franquemont (1817–1867). This sarong was purchased by the King of Siam during a state visit, most likely c. 1871. There are few surviving pieces of 19th-century commercial batik wearing-apparel.

The Sundanese people have made Batik since the 12th century. The Sundanese manuscript Sanghyang Siksa Kandang Karesian written in 1518 mentions several motifs.

The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This suggests that intricate batik patterns applied with the canting existed in 13th-century Java or even earlier.

In Europe, the technique was described for the first time in "The History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Examples were displayed at the Exposition Universelle at Paris in 1900. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands.

The Dutch Indo–Europeans and Chinese settlers were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns and the use of the cap (copper block stamps) to mass-produce batiks. Between 1811 and 1946, there was a batik industry run by the Dutch in the East Indies, producing Batik Belanda ("Dutch Batik"). Its patterns and styles reflected local culture adapted to European taste. It was quite successful, as several prominent batik ateliers appeared and the products were exported to Singapore and the Netherlands. The industry collapsed after the Second World War and Indonesian independence.

In the 1920s, Javanese batik makers migrating to the Malay Peninsula introduced the use of wax and copper blocks to its east coast.

In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English merchants and batik makers. The local people adapted the Javanese batik, making larger motifs with thicker lines and more colours. Locally it is known as African wax prints. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.

• Some ancient Indonesian statues that use batik motifs
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  Kawung batik motif on Mahakala statue, from temple at Singhasari, East Java, 1275–1300
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  Kawung batik motif on Nandishvara statue (foreground, 13th century)
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  Batik motif on Durga Mahishasuramardini statue, Singhasari, 1275–1300

Techniques

Initially, batik was made only by the "written batik" (batik tulis) technique. The process and workmanship are still very traditional and labour-intensive. The technique developed with the introduction of the stamped batik (batik cap) technique which increased productivity. The batik tulis and batik cap wax resist techniques are recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia.

Production begins by washing a cloth, soaking it, and beating it with a large mallet. Patterns are sketched with pencil and redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins. The wax functions as a dye-resist. The wax can be applied with a variety of tools, including writing with a canting, printing with a cap, or painting with a brush.

Written batik

See also: Canting

Written batik or batik tulis (Javanese script: ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon: باتيق توليس) is made by writing molten wax on the cloth with a pen-like instrument called a canting (Javanese pronunciation: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting). It is a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. The cloth is then dipped in a dye-bath, and left to dry. The resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. The process is repeated as many times as the number of colours desired.

• Written batik uses the canting
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  A canting in use to draw a resist pattern in molten wax
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  Written batik (batik tulis), drawing patterns with wax using canting in Java

Stamped batik

Stamped batik or batik cap (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a cap (Javanese pronunciation: [tʃap]; old spelling tjap) stamp to print an area of the cloth with the resist. The tool is made of copper plates which form a batik motif on one of its surfaces. The manufacture of the cap tool is a highly skilled process. The rest of the dyeing process is as for written batik. The replacement of the canting with the cap reduces the effort needed to make a batik cloth, and hence the cost, but still requires skill.

• Stamped batik uses the cap
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  A handmade batik cap motif printing block, made of copper strips and wires
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  Hand-printing batik using a cap tool in Java

Painted batik

Painted batik or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a template) on a white cloth using a combination of tools such as the canting, brush, cotton, or sticks to apply the resist, according to the painter. Batik painting is a development of traditional batik art, producing contemporary (free) motifs or patterns. It may use more colours that are traditional in written batik.

• Painted batik, using a brush
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  Painted batik (batik lukis): a woman is making batik with a Rangda motif using a brush.
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  Indonesian Batik painting representing Rama-Sinta wayang kulit (shadow puppet) figures

Culture

Batik is widespread in Indonesia. Written batik has a cultural dimension that contains prayer, hope, and lessons. Batik motifs in ancient Javanese society had a symbolic meaning, indicating a person's level in society.

Infants are carried in batik slings decorated with symbols designed to bring the child luck; other designs are reserved for brides and bridegrooms, and their families. Batik garments play a central role in Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is prominent in the tedak siten ceremony when a child touches the earth for the first time. Some patterns are reserved for traditional and ceremonial contexts.

• Batik in 19th century Java, from The History of Java by Thomas Stamford Raffles (1817)
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  A Javanese man in court dress
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  A Javanese chief, in his ordinary dress
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  A Javanese man in war dress
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  A Javanese man of the lower class
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  A Javanese ronggeng dancer

Traditional costume in the Javanese royal palace

Batik is the traditional costume of the royal and aristocratic families in Java. The use of batik remains a mandatory traditional dress in the Javanese palaces. Initially, the tradition of making batik was only practiced in the palace, and was reserved for the clothes of the king, his family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, batik came outside the palace. The motifs of the Parang Rusak, semen gedhe, kawung, and udan riris are used by the aristocrats and courtiers in garebeg ceremonies, pasowanan, and welcoming honoured guests. During the colonial era, Javanese courts required certain patterns to be worn according to a person's rank and class within society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved patterns such as the Parang Rusak and Semen Agung for the Yogyakartan royal family, forbidding commoners from wearing them.

• Batik in the royal palace
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  Sultan Hamengkubuwono VI, King of Yogyakarta Sultanate (1855–1877), dressed in royal majesty attire (batik)
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  Pakubuwono X, the King of Surakarta Sunanate in kain batik, c. 1910
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  The Ratoe Kedaton wearing batik, the head wife of Hamengkubuwono V of Kraton Ngayogyakarta Hadiningrat, c. 1865
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  Princes and princess wearing batik of Kraton Ngayogyakarta Hadiningrat, c. 1870

Traditional dance costumes

Batik is used for traditional Javanese dance performances. It is worn for instance for the Ramayana Ballet at the Prambanan temple.

• Dancers' batik dress
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  Bedhaya dance performance at Mangkunegaran royal palace at Solo, Java, in January 1921
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  Topeng dance performance from Cirebon, West Java, Indonesia
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  King Duryodana in Wayang wong performance in Taman Budaya Rahmat Saleh, Semarang, Jawa Tengah, Indonesia
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  Golek Ayun-Ayun Dance performance accompanied by Gamelan Ensemble at Bangsal Sri Manganti Keraton Yogyakarta

Birth ceremonies

In Javanese tradition, when a mother-to-be reaches the seventh month of pregnancy, a mitoni ceremony is held, where she has to put on the seven kebayas and seven batik cloths. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality.

Wedding ceremonies

Every motif in classical Javanese batik has its own meaning and philosophy, including for wedding ceremonies. In the Javanese wedding ceremony, certain designs are reserved for brides and bridegrooms, as well as their families. The truntum flower motif in the shape of the su) is used for midodareni ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the panggih ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The truntum motif symbolises love that never ends.

• Wedding batik
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  Javanese Royal wedding in Mangkunegaran royal palace, January 1921
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  Kacar-kucur ceremony, groom pouring rice and coins into bride's scarf, c. 1960
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  Panggih ceremony, meeting between bride and groom on their wedding day
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  Batik is used in a traditional Javanese wedding ceremony.

Formal and informal daily dress

Contemporary practice often allows people to pick any pattern according to one's taste and preference from casual to formal situations, and batik makers modify, combine, or invent new iterations of well-known patterns. Batik has become a daily dress for work, school, and formal and informal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration. Their creativity has given birth to modern batik clothing.

• Daily dress
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  Nelson Mandela wearing batik
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  A Javanese man wearing typical contemporary batik shirt
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  An elderly Sundanese woman wearing batik sarong and headdress

In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. The day, 2 October 2009 has been stated by Indonesian government as National Batik Day, as also at the time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by the Indonesian Ministry of Research and Technology.

Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.

Patterns and motifs

Cultural influences on batik patterns and motifs

Cultural influences	Batik patterns	Geographic locations	Sample
Native Indonesian	Kawung, ceplok, gringsing, parang, lereng, truntum, sekar jagad (combination of motifs) and other decorative motifs such as of Javanese, Dayak, Batak, Papuan, Riau Malay.	Respective areas
Hindu–Buddhist	Garuda, banji, cuwiri, kalpataru, meru or gunungan, semen rama, pringgondani, sidha asih, sidha mukti, sidha luhur	Java
Islamic	Besurek or Arabic calligraphy, buraq	Bengkulu, Cirebon, Jambi
Chinese	Burung hong (Chinese phoenix), liong (Chinese dragon), qilin, wadasan, megamendung (Chinese-style cloud), lok tjan	Lasem, Cirebon, Pekalongan, Tasikmalaya, Ciamis
Indian	Jlamprang, peacock, elephant	Cirebon, Garut, Pekalongan, Madura
European (colonial era)	Buketan (floral bouquet), European fairytale, colonial images such as house, horses, carriage, bicycle and European-dressed people	Java
Japanese	sakura, hokokai, chrysanthemum, butterfly	Java

Kawung

The Batik kawung motif originated in the city of Yogyakarta and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to represent a lotus flower with four blooming crown petals, representing purity. The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of sedulur papat lima pancer. As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The colour scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whoever uses this motif will have a positive influence on the environment. Furthermore, the kawung batik motif is seen as a sign of power and justice. Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family.

Parang

Main article: Parang (batik)

The Javanese Parang motif

The word Parang comes from the Javanese for slope. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. The parang motif's oblique construction is a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. The size of the parang motif represents the wearer's position in the royal family's hierarchy. The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. In general, the motif is meant to represent a person's strong will and determination. It represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties.

Mega mendung

The mega mendung pattern has become a symbol of the city of its origin, Cirebon, due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven colour gradations. The motif's name means "the sky will rain", and the motif's seven colour gradations are supposed to represent the seven layers of the sky. The term mendung, which means "cloudy", is used in the pattern's name to represent patience. This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should be consistent, as the direction must be horizontal rather than vertical. The clouds must be flat, as the cloud's purpose is to shield those beneath it from the scorching sun.

Tujuh rupa

Main article: Tujuh rupa (batik)

Th Tujuh rupa ("Seven Appearances") pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. However, the embellishments on these motifs sometimes include brilliantly coloured ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.

Truntum

The Truntum pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion.

Sogan

As the colouring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colours of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colours to represent the human nature: black, red, yellow, white, and green are the five colours.

Lasem

Batik Lasem Tulis

Lasem batik is a coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif, and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'. This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the colour red in batik. As a result, the Lasem patterns and colours have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation.

Sidomukti

The Sidomukti batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. On Sidomukti batik cloth, the colour of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of multiple ornaments with different meanings and philosophies. A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana or throne ornament is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise.

Sidomulyo

The Sidomulyo batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java. Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future.

Sekar Jagad

The Sekar Jagad motif has been popular since the 18th century. It may be intended to depict the beauty and diversity of the world's ethnic groups, or it may derive from the Javanese words sekar (flower) and jagad (world), for the beauty of flowers. The existence of curving lines like islands is a feature of the motif, making it look like a map. The motif is irregularly patterned, unlike many other batik motifs. The island-shaped lines, isen-isen, have embedded motifs such as kawung, truntum, slopes, flora and fauna.

Parts of the cloth

Names of the parts of an Indonesian batik sarong cloth

Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections. Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.

• The head is a rectangular section of the cloth which is worn at the front of the sarong. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determine whether the cloth is kain panjang or sarong.
• The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colours called pagi-sore ('morning-evening'). Brighter patterns are shown during the day, while darker pattern are shown in the evening. The alternating colours give the impression of two batik sets.
• Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret.

Types

As each region of Indonesia has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik). Batiks which do not fall neatly into one of these two categories are classified by their region. A clustering of batik designs from all parts of Indonesia by degree of similarity indicates a history of cultural assimilation.

Javanese batik

Inland batik

A typical inland batik has deep earthy colours with indigenous patterns (contemporary kain panjang with sidha pattern from Solo).

Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest batik tradition in Java. Inland batik has an earth colour such as black, indigo, brown, and sogan (a yellow from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has a sogan background and is used by the Susuhunan and Mangkunegaran Courts. Batik Jogja typically has a white background and is used by the Yogyakarta Sultanate and the Pakualaman Court.

Coastal batik

In contrast, a typical coastal batik has vibrant colours with patterns drawn from numerous cultures (kain panjang with lotus motifs from Semarang, 1880).

Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura; out of these, Pekalongan has the most active batik industry.

Princess Raden Ayu Mursilah wearing Kebaya and Batik from the Keraton Yogyakarta Hadiningrat, c. 1870

Jawa Hokokai, named after Hōkōkai (ジャワ奉公会), a Japanese-led organization of locals for war-cooperation, is not attributed to a particular region. During the Japanese occupation of the Dutch East Indies in the early 1940s, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine Jawa Hokokai batiks. Common Hokokai motifs include Japanese cherry blossoms (sakura), butterflies, and chrysanthemums.

Another coastal batik called tiga negeri ([batik of] three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, tiga negeri was only produced in one city.

Blackstyle batik

"Black-style Batik" or "Irengan batik" has a black background, representing the magical practices of Ponorogo. The Dutch name for the style is gothic batik.

Sundanese batik

So-called Sundanese or Parahyangan Batik is made in the Parahyangan region of West Java and Banten. Baduy batik only employs indigo in shades from bluish black to deep blue. It is traditionally worn by Outer Baduy people of Lebak Regency, Banten as iket, a type of Sundanese head-dress similar to the Balinese udeng. Bantenese batik employs bright pastel colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan have been identified.

Malay batik

Trade between the Melayu Kingdom in Jambi and Javanese coastal cities has thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district produces batik Jambi. Batik Jambi and Javanese batik influenced the Malaysian batik.

The batik from Bengkulu on the west coast of Sumatra is called batik besurek, meaning "batik with letters, calligraphic batik" as it draws inspiration from Arabic calligraphy.

Minangkabau batik

The Minangkabau people of West Sumatra produce batik called batiak tanah liek (clay batik). This uses clay as dye for the fabric. The fabric is immersed in clay for more than one day and then inscribed with motifs of animals and plants.

Balinese batik

Batik making in the island of Bali is a relatively new but fast-growing industry. Many patterns are inspired by local designs. Motifs include objects from nature such as frangipani and hibiscus flowers, birds, and fishes; daily activities such as Balinese dance and ngaben processions; and mythological creatures such as barong, kala and winged lions. Modern batik artists express themselves freely in a wide range of subjects.

Contemporary batik is not limited to traditional or ritual use in Bali. Some designers promote Balinese batik as an elegant fabric. High class batik, like handmade batik tulis, can denote social status.

Popularity

Further information: Solo Batik Carnival

The leaders of APEC wearing batik at their 2013 meeting in Bali

The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of the Dutch East Indies. With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colours, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.

Singapore Airlines costumes, 2012

After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.

Batik is popular in the neighbouring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.

Batik museums

Java has several museums with collections of old batiks and equipment for batik production, including:

Museum Batik Keraton Yogyakarta lies in the Kraton Ngayogyakarta Hadiningrat complex.

Museum Batik Keraton Yogyakarta is inside the Palace of Yogyakarta Sultanate, Yogyakarta. The museum which was inaugurated by Sultan Hamengku Buwono X on 31 October 2005 has thousands of batik collections. The batik collection here includes kawung, semen, gringsing, nitik, cuwiri, parang, barong, grompol, and other motifs. These items come from different eras, from the era of Sultan Hamengkubuwono VIII to Hamengkubuwono X. Visitors can see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. The museum does not allow cameras.

Museum Batik Yogyakarta is in Bausasran, Yogyakarta. It was inaugurated in 1977. In 2000, it received an award from MURI for the work 'The Biggest Embroidery', a batik measuring 90 x 400 cm2. The museum holds more than 1,200 batik items consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and colouring materials, including wax. Its collection consists of fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen. The Museum provides batik training for visitors who want to learn to make batik.

Museum Batik Pekalongan is in Pekalongan, Central Java. This museum has 1,149 batik items, including batik cloth, centuries old batik wayang beber, and traditional weaving tools. It maintains a large collection of old to modern batik, with those from coastal areas, inland areas, other areas of Java, and regions such as Sumatra, Kalimantan, Papua, and batik-type fabrics from abroad. The museum provides batik training.

Museum Batik Danar Hadi, the owner of Batik label Danar Hadi, located in Jl. Slamet Riyadi, Solo City

Museum Batik Danar Hadi is on Jalan Slamet Riyadi, Solo City (Surakarta), Central Java. The museum, which was founded in 1967, holds items from regions such as the original Javanese Batik Keraton, Javanese Hokokai batik, coastal batik (Kudus, Lasem, and Pekalongan), and Sumatran batik. It has a collection of batik cloths reaching 1000 pieces. Visitors can see the process of making batik and can take part in batik making workshops.

The Textile Museum in Jakarta

The Textile Museum is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta. On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta. The initial collections at the Textile Museum were obtained from donations from Wastraprema (about 500 items), then increased through purchases by the Museum and History Service, as well as donations. By 2021, the collection was recorded at 1,914 items. The batik gallery showcases ancient batik and contemporary batik developments. The batik gallery is the embryo of the National Batik Museum managed by the Indonesian Batik Foundation and the Jakarta Textile Museum.

Batik outside Indonesia

Malaysia

Main article: Malaysian batik

A craftsman making batik. Malaysian batik usually have floral motifs with light colouring.

The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay Peninsula.

Dr. Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the canting for intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.

India

Indians use resist-dyeing with cotton fabrics. Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and work in other vocational programs.

A batik craftswoman brush painting with wax in Kandy, Sri Lanka

Sri Lanka

Main article: Batik industry in Sri Lanka

Over the past century, batik making in Sri Lanka has become firmly established. The batik industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.

China and neighbouring countries

Miao batik baby-carrying quilt. Exhibited in the Yunnan Nationalities Museum, Kunming

Batik is made by ethnic peoples in the South-West of China, and in neighbouring countries including Thailand, Laos, and Vietnam, especially by hill tribes. The technique requires a ladao knife with two copper triangles mounted in a bamboo handle. Molten wax is held between the triangles, and can then be dripped from the knife to form a resist pattern on the cloth. Some ladao knives have more than two triangles, holding more wax and creating thicker lines. The Miao, Bouyei and Gejia people use a dye resist method for some of their traditional costumes. Almost all the Miao decorate hemp and cotton by applying hot wax, and then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns contain symbolism; the patterns include the dragon, phoenix, and flowers.

Africa

Main article: African wax prints

Colourful waxprint fabrics in Togo

African wax prints were introduced during the colonial era, through the Dutch textile industry's effort to imitate the batik-making process. The imitation was not successful in Europe, but was welcomed in West and Central Africa. Nelson Mandela was a noted wearer of batik during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa, subsequently dubbed as a Madiba shirt based on Mandela's Xhosa clan name. There are many who claim the Madiba shirt's invention. According to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, the Madiba design is based on Mandela's request for a shirt similar to Indonesian president Suharto's batik attire.

See also

• Bagh print
• Balinese textiles
• Folk costume
• Ikat
• Malong
• National costume of Indonesia
• Screen printing
• Songket
• Textile printing
• Thetis Blacker, English batik artist
• T'nalak
• Tsutsugaki, Japanese resist-dyeing using starch, not wax

Sources

• Doellah, H. Santosa. (2003). Batik : The Impact of Time and Environment, Solo : Danar Hadi. ISBN 979-97173-1-0
• Elliott, Inger McCabe. (1984) Batik : fabled cloth of Java photographs, Brian Brake ; contributions, Paramita Abdurachman, Susan Blum, Iwan Tirta ; design, Kiyoshi Kanai. New York : Clarkson N. Potter Inc., ISBN 0-517-55155-1
• Fraser-Lu, Sylvia.(1986) Indonesian batik : processes, patterns, and places Singapore : Oxford University Press. ISBN 0-19-582661-2
• Gillow, John; Sentance, Bryan (2000). World Textiles. Thames and Hudson. ISBN 978-0-500-01950-4.
• Gillow, John; Dawson, Barry. (1995) Traditional Indonesian Textiles. Thames and Hudson. ISBN 0-500-27820-2
• Grant, Terri; Nodoba, Gaontebale (August 2009), "Dress Codes in Post-Apartheid South African Workplaces", Business Communication Quarterly, 72 (3): 360–365, doi:10.1177/1080569909340683, S2CID 167453202
• QuaChee & eM.K. (2005) Batik Inspirations: Featuring Top Batik Designers. ISBN 981-05-4447-2
• Raffles, Sir Thomas Stamford. (1817) History of Java, Black, Parbury & Allen, London.
• Smith, Daniel (2014), How to Think Like Mandela, Michael O'Mara, ISBN 9781782432401
• Sumarsono, Hartono; Ishwara, Helen; Yahya, L.R. Supriyapto; Moeis, Xenia (2013). Benang Raja: Menyimpul Keelokan Batik Pesisir. Jakarta: Kepustakaan Populer Gramedia. ISBN 978-979-9106-01-8.
• Tirta, Iwan; Steen, Gareth L.; Urso, Deborah M.; Alisjahbana, Mario. (1996) "Batik: a play of lights and shades, Volume 1", Indonesia : Gaya Favorit. ISBN 979-515-313-7, ISBN 978-979-515-313-9
• Nadia Nava, Il batik – Ulissedizioni – 1991 ISBN 88-414-1016-7

External links

• Media related to Batik at Wikimedia Commons
• UNESCO: Indonesian Batik, Representative of the Intangible Cultural Heritage of Humanity – 2009
• Early Indonesian textiles from three island cultures: Sumba, Toraja, Lampung, exhibition catalogue from Metropolitan Museum of Art Libraries
• Batik, the Traditional Fabric of Indonesia, an article about batik from Living in Indonesia
• iWareBatik |Indonesian Batik Textile Heritage A website devoted to Batik, Indonesian Textile enlisted by UNESCO as Intangible Cultural Heritage. It links Batik production with Tourism and Fashion in Indonesia
• Batiks, and how to make them (1919) by Pieter Mijer through New York: Dodd, Mead and Company, Inc.