Women

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Women

Women

Women

Women

Women

Batik solo

There were some specific Batik designs worn by the Javanese royalty and thus it was felt that Batik was originally meant to be worn by the monarchs of the royal Sultan's palace. The Princesses and royal women might have encouraged the finest designs of Batik that reflect the traditional patters. Well, the untidy dyeing work with consequent waxing was done by the court artisans who worked under their direction.

Known as the great fans of art, Javanese royalty supported the development of traditional art form like silver embellishment, leather puppets known as wayang kulit in java and gamelan orchestra. The Javanese dalang (puppeteer) was a major source for the Batik patterns too. Wayang puppets are made from goat skin which was treated and colored to build false impression on the puppet, were usually sold to women who could get the necessary idea of batik designs from these puppets. The used charcoal and blew it through the holes that describe the design of puppet clothing, so that they could copy complicated patterns onto the cloth.

However, some scholars deny the fact that Batik was originally meant for royalty as they feel that it is meant for the rakyat, the people too. It was considered as a significant job for young women of the Central Java, revealing the fact that they are capable enough to handle a canting (an instrument shaped like pen to apply wax to the cloth) with enough tact and skill just like skills used in cookery or other household arts.

History of batik solo

Surakarta or what we call the first Solo is a village located alongside a river. Formerly the village was named Sala where the village was included into the territory of the kingdom of Mataram. As a result of divide et impera Political divisions in the Netherlands came into the kingdom of Mataram kingdom in which the new two ruled Amangkurat I.

Anom Duke raised himself into Susuhunan Amangkurat II on the run he built the palace in Kartasura replacement. While Pangera Puger Amangkurat II’s sister who also seized the capital Mataram Plered after Kota Gede and Yogyakarta. This is the first time led by two of King of Mataram.

Until now, actually began to be created when batik is still unknown. However, the motives of batik in Indonesia are found in several cultural artifacts, such as the temples. Basic motif can be found on the slopes of golden Shiva statue (made centuries IX) in the thunder, Wonosobo.

Basic motif is found in the clothes fried Ganesha statue in the temple of Borobudur near Banon (made centuries IX). Batik is also found at points in the motifs on Padmipani sculpture in Central Java (according to estimates made early in the century statue VIII-X). Lyrical motifs found on the statue of Manjusri, Ngemplak, Semongan, Samarang (made X century).

Initially, batik is used as a garnish on palm leaves containing the text or text to appear more attractive. As the development of Indonesia Nation Interaction with foreign nations, it has become a popular medium of batik on fabric. Since then, batik cloth began to be used as a pattern that develops as traditional clothing, special use among patrician palace.

Solo the second sultanat

Solo ( now named Surakarta) was one of the two sultanates, with all the traditions and customs of their courts, and the center of Hindu-Javanese culture. The Kraton (or court) was not only the residence of the kings, but also the center of government, religion and culture.this was reflected in the art of the region, especially in its batiks: in the motifs as well as in the colors, and its special rules governing the wearing of batik. In solo there were special rules about wearing batik. These had to do with- the social position of the wearer the occasion on which the batik was worn or used, in connection with the meaning and hope or wish symbolized by the motif.

The cloth on the left is a detail of a kain panjang which was made in the workshop of Hardjonagoro in Surakarta in the early 80's. The motif combine influences of several region, but the overall style and the color are typical of Solo design The 'kain panjang' means 'long cloth'. It is a piece of cloth of approximately one by two and a half metre. It is used as the sarong, but the kain panjang is regarded as being more formal.

The motifs of the Solo design are related to the Hindu-Javanese culture: the Sawat symbol of the crown or highest power, the Meru symbol of mountain or earth, the Naga symbol of the water, the Burung symbol of the wind or upper world and the Lidah Api symbol of the fire.

Batik an identity of indonesia

Batik is a cloth which traditionally uses a manual wax-resist dyeing technique. Due to modern advances in the textile industry, the term has been extended to include fabrics which incorporate traditional batik patterns even if they are not produced using the wax-resist dyeing techniques. Silk batik is especially popular.

Javanese traditional batik, especially from Yogyakarta and Surakarta, has special meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are only available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.

Other regions of Indonesia have their own unique patterns which normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch culture. In the colonial times pesisir batik was a favorite of the Peranakan Chinese, Dutch and Eurasians..

UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.

Batik or fabrics with the traditional batik patterns are also found in several countries such as Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore. Malaysian batik often displays plants and flowers, as Islam forbid pictures of other living beings

Types and Variations of Batik

Javanese Kraton Batik (Javanese court Batik)

Javanese keraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions .

The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions: Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.

Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.

Pesisir Batik (Coastal Batik)

Cirebon batik depicting sea creatures Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.

Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.

Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon kraton. This cloud motif shows Chinese influence. Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.

Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics. Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.

Procedure

A Batik Tulis maker applying melted wax following pattern on fabric using canting, Yogyakarta , Indonesia. Melted wax is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.

Dipping cloth in dye.

Thin wax lines are made with a canting, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps.After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. 

This traditional method of batik making is called batik tulis.For batik prada, gold leaf was used in the Yogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them.

Batik as my local culture

Batik is always connected with Indonesia. The word Batik is came from Javanese word "amba" that means dot (a cloth with little dots) or in Indonesian language titik. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

There are many types and traditional batik patterns, but the patterns and variations in accordance with the philosophy and culture of each region is very diverse. The Indonesian rich cultures has been encouraging the birth of various patterns and types of traditional batik with the speciality of their own characteristics.Batik in Indonesia has been known since the times of the kingdom of Majapahit and growing up to the next kingdom. 

The expansion of this batik art become the property of the people of Indonesia and Java in particular tribe was after the end of XVIII century or early-to-XIX centuries. Batik which was produced is a written-batik until the early XX century and the stamped- batik was known after first world war or around 1920. Batik is now a part of the traditional Indonesian clothing

Many years ago Indonesian people just wear Batik for formal occasions such as formal ceremony, wedding party, and traditional events. NowBatik is more casual and become daily outfit. You may find people wearing Batik for work.

Batik Types

 

Batik Tulis or Written-Batik

A piece of cloth that is decorated by many kind of batik textures and designs using hand. The making of Batik tulis could be very long, it's about 2-3 months.

Batik Cap or Stamped-Batik

A piece of cloth that is decorated by batik textures and designs using copper stamp. The making process is faster than Batik Tulis, just 2-3 days.

Batik Designs

 

There are thousands of Batik design. But in general there are two kind of batik designs : geometric design and free form design. The design was influenced by many culture, like Chinese culture which is big in Indonesia give the Batik design a brighter color and more intricate flower and cloud design. You may find a dragon and phoenix design on Batik cloth too. The European culture influenced a tulip flower design on Batik and when Japanese arrived they influenced with Batik Hokokai.

History of indonesian batik

 

 

One of cultural product which is considered a work of genius is a local batik.When the experts talk about batik, it means Indonesia or, more specifically, Java. The famous designer from the West did not hesitate to pick up inspiration from batik.Emilio Pucci, the Italian designer who astonish the world in the 1960s with a striking design motif, taking into one of batik cloth and clothing design (Pucci, A Renaissance in Fashion, 1991). 

 

 The designer is now a world more like Giorgio Armani, Kenzo and Paul Smith has long been impressed by the Indonesian batik and woven fabric.People of humanity is also a former South African President, Nelson Mandela, always berkemeja made batik Indonesia in every occasion, including state occasions.

As a decorating technique, batik not only in Indonesia. Establish where the origins of batik are also possibly be in vain. Iwan Tirta mention, batik evolved simultaneously in different parts of the world. However, the world recognizes that the Javanese batik is the most delicate because it has a decorative pattern of the richest, most developed coloring techniques, and technically the most perfect creation than batik from other regions.Batik is just one technique of decorating fabric that grown in Indonesia.

 

 Indonesia familiar with other techniques ie before threads are woven like a bunch of techniques.These techniques are often combined so as to produce wealth techniques to create extraordinary decoration. They are now entering the industry such as batik and fabric Iwan Tirta, Josephine Komara of Bin House or Baron Manansang of Weaving Baron, similarly said, batik, tie, jumputan and weaving techniques such as songket and striated, giving an almost unlimited opportunities in producing decoration and in the future these techniques could always meet the demands of the times. 

Although initially only one of batik techniques to create ornaments, but in the development of batik became very prominent compared with other techniques to create decoration.There are several reasons why more developed batik in Java. Iwan Tirta mentioned, one important reason is the batik cloth to be an alternative to woven fabrics such as belts or any other that requires a longer time in the making and is unable to meet the needs. 

 

 This happens especially when the fabric meets the need for religious ceremonies.Batik as decoration and began imitating decoration formed by weaving techniques.The most obvious example is the imitation motive patola, which is a kind of double ikat cloth from Gujarat, India. The resulting bundle motif refinement patola quickly drew the interest of royal nobility Java (Central). However, the scarcity of supply, making batik artisans quickly imitate patola motif. 

 

 Thus was born the motive nitik and jlamprang in Pekalongan.Other evidence cited Iwan Tirta is in areas where developing weaving, batik does not develop. Batik then also began to imitate the decorative embroidery from mainland China mainly for altar cloths and decorate the walls because of batik can repeat motifs are faster.

Other reasons why batik survive and thrive is because batik get protection (patronage) of the palace in the past, the government of the Republic of Indonesia after birth, and an elite group of society when society increasingly dominant role.Batik-Batik batik artisans produced the best to the king in part because it is a manifestation of the artist's devotion to the Creator. 

 

Head of State is the patron when Indonesia was independent. Star Sudibjo deceased was one of batik artisans who have a place when President Sukarno ruled. Iwan Tirta then get a place when the late Mrs. Tien Soeharto humah heard of a man is not bloody understand Javanese batik. Now President Wahid is also more frequent Adurrahman wearing batik shirts in a variety show.In addition, batik still have a place among the elite of Indonesia although a Western-style dress into everyday wear.

 

 Iwan Tirta in the 1980's to introduce batik with gold leaf, and come to give color to the development of batik. Houses fabric Bin House back to excite against batik and batik cloth back into fashion. Among the younger designers of age, began to seriously pursue Carmanita batik and participate give their own color. Various batik design competition and apply it to everyday wear, held various nongovernmental organizations contributed to the persistence of batik till today.

BEFORE batik as it is now known to exist, which is a technique used to decorate with color hold a candle tonight, in Indonesia has been known for "batik" with a simpler technique. Cain simbut in Banten, and fabric ma'a from Toraja, South Sulawesi, using techniques also hold color. As a drag on the fabric color simbut used the crushed rice and sticky rice mixed with sugar water. 

 

 Cain then dipped into the liquid dye made from plants. Then the rice sticky rice scraped and covered the rice sticky rice remained white like the original color of the fabric.Ma'a was first done in an isolated mountainous area, so there is a suspicion, as mentioned Iwan Tirta, Indonesia has the embryo of batik from within its own territory.One example of batik cloth is still produced and become examples of the evolution of intermediaries to shape the current batik is batik cloth-striated Tuban in East Java and some Jambi batik cloth.

 

 The shape of the dots that form a geometric pattern or plaid.Rens Heringa anthropologist who has studied Javanese batik for over 25 years in Batik from the North Coast of Java (1997) among others mention, simple motifs on simbut cloth, batik-striated Tuban or Jambi batik cloth, were also found in a variety of objects made in South Asia and Southeast Asia. 

 

The same design is also found in batik are drawn using bamboo sticks called laran, made ethnic minorities in southwest China, and ethnic minorities in the mountains of Thailand, Laos, and Myanmar.Use of the night (candle) to distinguish batik is now known of the early forms of batik. 

 

Tonight provides an opportunity to produce a variety of motifs of batik in Java so that developed into the shape it is today.Techniques to create decorative cloth with color resist technique is estimated to already exist in the Islands archipelago since prehistoric times, although no example of fabric that remains today except the fabric of the 19th century. One of them is the fabric simbut contained in the National Museum.There are not many records about the development of batik technique (holding color) start to become rich Javanese batik techniques detailed and complex decoration.

One reason for the Javanese batik is women's work, and therefore not worth written down since the writing is the domain of men.Heringa said, although evidence of written or physical evidence of the development of batik in the early days have not been found today, but most early myths about batik already exist in about 700 AD Myth says about prince from the east coast near Surabaya Jenggala named Ox Amiluhur. Bride Amiluhur Ox, a nobleman's daughter from Coromandel, India and her ladies who are Hindu, teaches weaving, batik, and dye fabric to the people of Java. 

 

 This myth survived until the son of Ox, Raden Panji Ima Kerta Pati, became king.Written records of new batik emerged hundreds of years later, in 1518, from Galuh region in the northwest of Java, in pre-Islamic.Both the myth and the first written records about batik, both located in coastal or northern coast of Java and before the entry of Islam. These areas have tremendous influences from India, China, and Persia through trade. Color resist techniques using wax (night) which may be imported from the Coromandel and Persian, has more in common visually with traditional cloth Coast, especially in the size and format. 

 

However, artisans in Java, and then develop their own fabric to match their needs so that then the techniques used in the Coromandel is only decoration is made only on one side is very different from the Javanese batik in detail, so not exactly Javanese batik originated from India. The same thing applies to the fabric of Persian kalamkari using block-printing process to get the ornament.

 

 

China also contributed to the Javanese batik at least since the time of Sultan Agung, who became the first Muslim king in Mataram (1613-1645). Sultan Agung mentioned using batik bird huk which in Chinese mythology brings good luck blessing. This story opens up the possibility of the role of Chinese immigrants in the 19th century on the coast in the spread of Islam. Alternatively, immigrants from southern China contributed to the development of batik.  

 

Women from ethnic minorities in the south and southeast China decorate their cotton fabric with color using wax resist techniques used in Java from the Ming Empire to present.Dutch colonialists began to pay attention to the batik in the 19th century. The experts at that time to make judgments about batik distorted by stating that originally centered batik from Yogyakarta and Surakarta Kingdom new spread to women artisans in the villages that make batik for commercial purposes. 

 

Rens Heringa reject that view, saying the possibility of new batik technique into the hinterland of Java after the middle of the 17th century when the Sultanate of Mataram develop and adopt a culture of Coastal. When Kertasura became the capital of the kingdom, colors and patterns change gradually becomes softer style palaces of Central Java. Batik-batik from Yogyakarta Palace and especially Surakarta and motifs derived from both, then regarded as the pinnacle work of batik and batik from another area then considered not as beautiful batik two areas that, for a very long time. 

 

So far, all made using batik canting with different size and shape refinement. Staining using a natural dye, and batik is more of a seasonal job for the family.Batik began to develop as a commercial commodity when in the late 18th-century fabric of Indian exports have fallen because of competition from European print fabric.

 

Batik from Coastal began to replace the fabric of Indian and Peranakan Chinese traders was instrumental in the production of and trade in batik.Peranakan traders who trade over a white cotton cloth and other materials batik maker, has a network of up to remote villages and they also lend money. They often give advance payments to encourage the production of batik by the women in the countryside. In the mid-19th century women's Indo-European and Indo-Arab coming in as a batik entrepreneur. During this period the women in the villages of Java, was working outside their villages to earn wages as batik, especially when the harvest was not successful family.

 

 Pekalongan in 1850 by collector Harmen C. Veldhuisen Batik (Batik Netherlands, Dutch Influence in Batik from Java History and Stories, 1993), has evolved as an important center of batik. In the batik industry and the division of labor occurs: the man in charge of preparing the white and colored cotton cloth, while women batik motifs determined by the buyer or copying ready-made batik wear tonight.Since the beginning of the start of commercial production of batik, batik needs can never be fulfilled. 

 

 

 

 Therefore, in the early 19th century, formed a market for imitating batik cloth with print techniques imported from Europe.This fact and encourage batik traders developed a technique to speed up the production process. They then conduct various experiments, among others, using sweet potato as a stamp. Finally found stamp made of copper wire blocks that make up one block motif. However, since the stamp was making requires a lot of manpower, production of cloth should be large enough to make it economical.Veldhuisen mention one stamp can make about 200 gloves. 

Because making batik is a job for men, women forced to only be able to work to make batik.World War I brought destruction to the batik industry. White cotton imports from the Netherlands disrupted, batik price rises, and to earn money as much as possible, the batik produce as much as possible. The result is flooding the market and prices fell, while the limited supply of fabric. After World War I, the Dutch East Indies re-import the cloth in 1918 but printed batik industry improved only a moment since then affected by depression. Only those who are serving a group of elite like batik Peranakan who could survive. This causes a lot of batik lose their jobs, and then batik imported from other regions using rail when the wages of local batik became too expensive.

BATIK is a major clothing to describe a person's social position, especially during the reign of the kingdom and Dutch colonial rule. Parang motif is damaged, for example, may only be worn by the king in Yogyakarta and Surakarta. The motive, according to myth has been saved from the danger of Raden Panji and Sultan Agung also use this motif.Batik is considered to have meaning associated with birth, marriage, and death.Javanese people who died for example, the base where he lay before going to the grave covered seven of batik cloth, batik is also used to cover the body.  

 

 

 

Brides sidamukti cloth as a symbol of blessing.Iwan Tirta who calls himself as the guardian of traditional values ​​batik, batik look at the future of fashion will survive as a complement to modern (Western) women in Indonesia in the form of cloth scarf (shawl) or scarf, as a batik shirt, or as a decor element. Long batik cloth in the form of kebaya worn together will only be used at certain times only.The more melunturnya-sacred elements of tradition in everyday life humans Indonesia, had an impact on the disappearance of the meaning of batik.

 

 That will develop later is really batik as decoration.Batik is a resist technique night wear any color will likely increasingly rare, especially batik. The process that takes time, especially if you want to get the batik with many colors, make batik become increasingly expensive. Batik write with such beauty in the 19th century and early 20th century, probably just a collection of objects.On the other hand, the growth of textile industry in Indonesia is also threatening the existence of batik in the sense that they reproduce without using the batik technique but using a technique of batik print. Lay people may be fooled by the "batik" like this batik cloth could be "cheap".

One of the Javanese batik making is different from other local batik is isen-isen which became the main motive background that the outline is divided into geometric patterns and motifs nongeometris. While batik is victorious, isen-isen which can be the point, and tendrils or lines, filling the entire background of the fabric, something that is very rarely done anymore because it takes a long time in the process. Batik, as a technique to make ornaments, perhaps eventually will belong to a few people only.

Batik techniques: painting on cloth

The art of "batiking" is similar to the one of drawing or painting on a piece of cloth.
The main tool, the canting ('tjanting'), is used in stead of a pencil or a brush, and liquid wax (see paragraph here below)in stead of paint. 

Indonesian woman drawings batik motifs with liquide wax.

Finely detailed designs are first drawn freehand with a pencil on the textile. Then hot liquid wax is applied. Here above, a Javanese woman applying wax in the intricately involved patterns with a canting (tjanting), a small copper container with a long slender spout. From time to time she blows on the tip of the canting to secure an easy flow of the wax. Areas not slated for coloring are filed with the wax.

The cloth is then passed through a vat of dye.  The wax is removed with hot water, scraped from the portions of the dried material still to be dyed. The parts that were covered by the wax did not absorb the dye and thus remain white (or whatever color the original cloth was previously dyied). Since the wax behave as a resisting medium, this process is called resist-dye process. Next, other areas are waxed over. this is repeated during each phase of the coloring process, up to four or more times, until the overall pattern and effect are achieved.

A canting with more than a spout (it can be up to seven) is used for patterns with dot forms. Basically, as an art, batiking is painting. The canting is used to produce the picture; its size depending on the type and degree of fineness of the lines or points desired

THE WAX 

 

A traditional recipe for batik wax is a mix of beeswax and paraffin, about 60%/40%. Beeswax is soft, pliable, and blocks completely: no cracking. Paraffin is more brittle, and lets dye penetrate wherever cracks form. Crackle is a characteristic batik effect, a scatter of thin dark wavy lines, a batik hallmark. 

Some dyers seek crackle, freezing and crumpling the cloth to make more. Others avoid, if they can, any effect that seems uncontrolled. For more crackle, more paraffin. Any clean, low-oil paraffin, melting from 130 - 150° F will work. Beeswax should be light yellow or tan and clear of debris. But most batik today is done with synthetic micro-crystalline waxes. 

They’re more consistent, more often reusable, penetrate better, can be heated (safely) to higher temperatures. They usually fall between beeswax and paraffin in price and in working properties. They can be blended with other waxes for intermediate effects.

Traditional Batik Motif Yogyakarta

Batik patterns are divided into different families of designs, each with hundreds of variations within them. The following gives you a brief introduction to the main design families. You'll see certain designs that belonged to the sacred, forbidden patterns reserved for the royal court. Over time, these particular patterns did enter into common use. Yet to this day, if a person does not belong to the court, they would never wear those patterns inside the keraton, or palace walls. 

Ceplok Motifs

 

Ceplok Yogya Parang

Ceplok Grompol

Ceplok Motif

The Ceplok family includes a wide range of geometric designs, often based on circular rosettes, stars or other small shapes, forming an overall symmetric pattern on the cloth Grompol means to gather together. Often worn for wedding ceremonies, the pattern symbolizes the coming together of a harmonious marriage, for children, good luck, and happiness.

Kawung Motifs

 

Kawung Motif

Kawung Motif

The Kawung is one of the oldest designs, and was reserved for the royal family. It represents a cross-section of the aren-palm fruit, and some say the cross in between the four ovals refers to the universal energy source. While there are many variations, the basic structure is a group of four circles or ovals nearly touching each other, laid out on the cloth in geometric symmetry.

Parang Motifs

 

Parang Gendreh

Parang Tuding

Parang Rusak

Sometimes referred to as the keris or sword pattern by outsiders, the Javanese call the Parang motif lidah api, or tongue of fire. Parang are one of the most powerful of batik motifs with their strong parallel diagonal lines. There are hundreds of variations, from small 2cm in Parang Klithik to the largest at 8cm or more in Parang Barong. 

Parang Barong

 

In times past, Parang Barong was a sacred pattern worn only by the king. The motif reminded him to guard himself carefully so he would be a responsible, honest and just ruler. 

Parang Rusak

 

Another of the Parang designs worn by the royal family on state occasions, Parang Rusak symbolizes the human being's internal fight against wickedness by controlling their desires so their wise, noble character would win out. 

Lereng 

 

Lereng Motif

Udang Liris Motif

Refers to the diagonal rows of patterns in between the parang motifs. In addition, many patterns are simply rows of narrow diagonal lines filled with a whole array of small patterns. The Udang Liris, again, one of the old patterns reserved for the royal court, is one of the more famous of these motifs. Udang Liris or light rain symbolizes fertility, the hope for prosperity, determination, to have courage to carry out what's important for the nation and her people.

Nitik Motifs

 

Nitik Randu Seling

Nitik Kembang Jeruk

Truntum Motif

Nitik Motifs are among the oldest batik patterns and were inspired by woven patola cloths brought by traders from Gujarat, India long ago. The geometric design is created with small dots and dashes imitating the original woven fabric. 

Truntum

 

Worn by parents of a wedding couple the Truntum pattern.

Semen Motifs

 

Semen Garuda, Yogya Motif

Semen Sido Mukti, Yogya Motif

Semen Sido Asih

Semen, based on the word semi, meaning to sprout or grow, are non-geometric patterns inspired by the natural world. Filled with stylized stems, flowers, leaves, mountains, and animals, this group of designs was highly important for royalty on special occasions, as well as common people in everyday use. Garuda, the mystical bird-man in Hindu mythology, who carried Vishnu through the heavens, is often portrayed in Semen designs with a single, or pair of wings (Lar) or the wings and tail (Sawat). Often associated with Semen patterns, the wing shape is also found with Parang and Ceplok motifs. 

Isen Motifs

 

Filling patterns called Isen are highly characteristic of Indonesian, especially Javanese, batik. Finely rendered in a wax line, these small designs add a depth and harmonious beauty to the overall cloth.