Batik, Traditional Fabric of Indonesia

It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most
highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly
experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual
smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins
become apparent.
The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with
little dots'. The suffix 'tik' means little dot, drop, point or to make dots. atik may also originate from the
!avanese 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 techni"ues. #nother !avanese phase
for the mystical experience of making batik is $mbatik manah% which means $drawing a batik design on
the heart%.
A Brief History
#lthough experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth
can be traced back &,'(( years ago to )gypt and the *iddle )ast. +amples have also been found in
Turkey, India, ,hina, !apan and -est #frica from past centuries. #lthough in these countries people
were using the techni"ue of dye resisting decoration, within the textile realm, none have developed batik
to its present day art form as the highly developed intricate batik found on the island of !ava in
Indonesia.
#lthough there is mention of 'fabrics highly decorated' in .utch transcripts
from the &/th century, most scholars believe that the intricate !avanese batik
designs would only have been possible after the importation of finely woven
imported cloth, which was first imported to Indonesia from India around the
&0((s and afterwards from )urope beginning in &0&'. Textile patterns can be
seen on stone statues that are carved on the walls of ancient !avanese temples
such as 1rambanan 2#. 0((3, however there is no conclusive evidence that
the cloth is batik. It could possibly be a pattern that was produced with
weaving techni"ues and not dying. -hat is clear is that in the &4th century
batik became highly developed and was well ingrained in !avanese cultural
life.
+ome experts feel that batik was originally reserved as an art form for
!avanese royalty. ,ertainly it's royal nature was clear as certain patterns were
reserved to be worn only by royalty from the +ultan's palace. 1rincesses and
noble women may have provided the inspiration for the highly refined design
sense evident in traditional patterns. It is highly unlikely though that they
would be involved in any more than the first wax application. *ost likely, the messy work of dyeing and
subse"uent waxings was left to court artisans who would work under their supervision.
!avanese royalty were known to be great patrons of the arts and provided the support necessary to
develop many art forms, such as silver ornamentation, wayang kulit 2leather puppets3 and gamelan
orchestras. In some cases the art forms overlap. The !avanese dalang 2puppeteer3 not only was
responsible for the wayang puppets but was also an important source of
batik patterns. -ayang puppets are usually made of goat skin, which is
then perforated and painted to create the illusion of clothing on the
puppet. 5sed puppets were often sold to eager ladies who used the
puppets as guides for their batik patterns. They would blow charcoal
through the holes that define the patterns of clothing on the puppets, in
order to copy the intricate designs onto the cloth.
1
Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use
was prevalent with the rakyat, the people. It was regarded an important part of a young ladies
accomplishment that she be capable of handling a canting 2the pen-like instrument used to apply wax to
the cloth3 with a reasonable amount of skill, certainly as important as cookery and other housewifery
arts to ,entral !avanese women.
Selection and Preparation of the Cloth for Batik
6atural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is
applied in the dye resisting process. The fabrics must be of a high thread count 2densely woven3. It is
important that cloth of high "uality have this high thread count so that the intricate design "ualities of
batik can be maintained.
The cloth that is used for batik is washed and boiled in water many times
prior to the application of wax so that all traces of starches, lime, chalk and
other si7ing materials are removed. 1rior to the implementation of modern
day techni"ues, the cloth would have been pounded with a wooden mallet or
ironed to make it smooth and supple so it could best receive the wax design.
-ith the finer machine-made cotton available today, the pounding or ironing
processes can be omitted. 6ormally men did this step in the batik process.
+trict industry standards differentiate the different "ualities of the cloth used
today, which include 1rimissima 2the best3 and 1rima. The cloth "uality is
often written on the edge of the design. # lesser "uality cloth which is often used in laco.
Batik Design Tools
#lthough the art form of batik is very intricate, the tools that are used are still very simple. The canting,
believed to be a purely !avanese invention, is a small thin wall spouted copper container 2sometimes
called a wax pen3 that is connected to a short bamboo handle. 6ormally it is approximately && cm. in
length. The copper container is filled with melted wax and the artisan then uses the canting to draw the
design on the cloth.
Canting have different si7es of spouts 2numbered to correspond to the si7e3 to achieve varied design
effects. The spout can vary from & mm in diameter for very fine detailed work to wider spouts used to
fill in large design areas. .ots and parallel lines may be drawn with canting that have up to 4 spouts.
+ometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a
brush to fill in very large areas.
8or close-up pictures of canting.
Wajan
The wajan is the container that holds the melted wax. It looks like a small
wok. 6ormally it is made of iron or earthenware. The wajan is placed on a
small brick charcoal stove or a spirit burner called an 'anglo'. The wax is
kept in a melted state while the artisan is applying the wax to the cloth.
Wa
.ifferent kinds and "ualities of wax are used in batik. ,ommon waxes used
for batik consist of a mixture of beeswax, used for its malleability, and
paraffin, used for its friability. 9esins can be added to increase adhesiveness
and animal fats create greater li"uidity.
2
The best waxes are from the Indonesian islands of Timor, +umbawa and +umatra: three types of
petroleum-based paraffin 2white, yellow and black3 are used. The amounts mixed are measured in grams
and vary according to the design. -ax recipes can be very closely guarded secrets. ;arying colors of
wax make it possible to disguise different parts of the pattern through the various dying stages. <arger
areas of the pattern are filled in with wax that is cheaper "uality and the higher "uality wax is used on
the more intricately detailed sections of the design.
The wax must be kept at the proper temperature. # wax that is too cool will clog the spout of the
canting. # wax that is too hot will flow too "uickly and be uncontrollable. The artisan will often blow
into the spout of the canting before applying wax to the cloth in order to clear the canting of any
obstructions.
Cap
,reating batik is a very time consuming craft. To meet growing
demands and make the fabric more affordable to the masses, in the
mid-&4th century the . cap. (copper stamp - pronounced chop3 was
developed. This invention enabled a higher volume of batik
production compared to the traditional method which entailed the
tedious application of wax by hand with a canting.
)ach cap is a copper block that makes up a design unit. Cap are
made of &.' cm wide copper stripes that are bent into the shape of the design. +maller pieces of wire are
used for the dots. -hen complete, the pattern of copper strips is attached to the handle.
The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of
the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.
+ometimes cap are welded between two grids like pieces of copper that will
make a base for the top and the bottom. The block is cut in half at the center so
the pattern on each half is identical. Cap vary in si7e and shape depending on
the pattern they are needed for. It is seldom that a cap will exceed => cm in
diameter, as this would make the handling too difficult.
*en usually handle the application of wax using cap. # piece of cloth that
involves a complicated design could re"uire as many as ten sets of cap. The
usage of cap, as opposed to canting, to apply the wax has reduced the amount
of time to make a cloth.
Today, batik "uality is defined by cap or tulis, the second meaning hand-drawn
designs which use a canting, or kombinasi, a combination of the two techni"ues.
Dyes
Traditional colors for ,entral !avanese batik were made from natural ingredients and consisted primarily
of beige, blue, brown and black.
The oldest color that was used in traditional batik making was blue. The color was made from the leaves
of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight.
+ometimes sap from the Tinggi tree was added to act as a fixing agent. <ighter blue was achieved by
leaving the cloth in the dye bath for short periods of time. 8or darker colors, the cloth would be left in
the dye bath for days and may have been submerged up to 0 - &( times a day.
In traditional batik, the second color applied was a brown color called soga. The color could range from
light yellow to a dark brown. The dye came from the bark of the +oga tree. #nother color that was
traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the
Morinda Citrifolia.
3
The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped.
+killed artisans can create many variations of these traditional colors. #side from blue, green would be
achieved by mixing blue with yellow: purple was obtained by mixing blue and red. The soga brown
color mixed with indigo would produce a dark blue-black color.
Design Process
The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite.
Traditional batik designs utili7e patterns handed down over the generations. It is very seldom that an
artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern
before applying the wax. Often designs are traced from stencils or patterns called pola. #nother method
of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below
which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large
batik factories today, men usually are in charge of drawing the patterns onto the cloth. ,lick here to see
the step-by-step process of making batik.
Waing
Once the design is drawn out onto the cloth it is then ready to be waxed.
-ax is applied to the cloth over the areas of the design that the artisan
wishes to remain the original color of the cloth. 6ormally this is white
or cream.
8emale workers sit on a low stool or on a mat to apply the wax with a
canting. The fabric that they are working on is draped over light bamboo
frames called gawangan to allow the freshly applied wax to cool and
harden. The wax is heated in the wajan until it is of the desired
consistency. The artisan then dips her canting into the wax to fill the
bowl of the canting.
#rtisans use the wax to retrace the pencil outline on the fabric. # small
drop cloth is kept on the woman. s lap to protect her from hot dripping
wax. The stem of the canting is held with the right hand in a hori7ontal
position to prevent any accidental spillage, which greatly reduces the
value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch
the fabric, but it held ?ust above the area the artisan is working on. To ensure the pattern is well defined,
batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both
sides.
The most experienced artisans normally do first waxings. 8illing in of large areas may be entrusted to
less experienced artisans. *istakes are very difficult to correct. If wax is accidentally spilt on the cloth,
the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod
with a curved end is used to try and lift off the remaining wax. +pilled wax can never be completely
removed so it is imperative that the artisans are very careful.
If the cap method is utili7ed, this procedure is normally done by men.
The cap are dipped into melted wax. !ust under the surface of the melted
wax is a folded cloth approximately @( centimeters s"uare. -hen this
cloth is saturated with wax it acts like a stamp pad. The cap is pressed
into the fabric until the design side of the cap is coated with wax. The
saturated cap is then stamped onto the fabric, leaving the design of the
cap. This process is repeated until the entire cloth is covered. Often cap
and canting methods are combined on the same piece of cloth.
etter "uality batik may be waxed utili7ing canting in one part of
Indonesia and then sent to another part of Indonesia where the cap part of
the process is completed. On better "uality cap fabric great care is taken
4
to match the pattern exactly. <ower grade batik is characteri7ed by overlapping lines or lightened
colored lines indicating the cap was not applied correctly.
Dyeing
#fter the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was
done in earthenware tubs. Today most batik factories use large concrete vats. #bove the vats are ropes
with pulleys that the fabric is draped over after it has been dipped into the dye bath.
The waxed fabric is immersed in the dye bath of the first color.
The amount of time it is left in the bath determines the hue of the
color: darker colors re"uire longer periods or numerous
immersions. The fabric is then put into a cold water bath to
harden the wax.
-hen the desired color has been achieved and the fabric has
dried, wax is reapplied over the areas that the artisan wishes to
maintain the first dye color or another color at a later stage in the
dying process.
-hen an area that has been covered with wax previously needs to
be exposed so that it can be dyed, the applied wax is scraped
away with a small knife. The area is then sponged with hot water and resi7ed with rice starch before it is
re-immersed in the subse"uent dye bath.
If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The
dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally,
cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the
marble effect was accepted.
The number of colors in batik represents how many times it was immersed in the dye bath and how
many times wax had to be applied and removed. # multicolored batik represents a lot more work that a
single or two-color piece. 6umerous dye processes are usually reflected in the price of the cloth.
6owadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much
more liberally used.
Special Treat!ents to the Batik Cloth
Prada or "old Cloth
8or special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as
1rada cloth. Aold leaf was used in the !og?akarta and +urakarta area. The ,entral !avanese used gold
dust to decorate their 1rada 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. Aold decorated cloth is still made today: however, gold
paint has replaced gold dust and leaf.
Batik Designs
#lthough there are thousands of different batik designs, particular
designs have traditionally been associated with traditional festivals and
specific religious ceremonies. 1reviously, it was thought that certain
cloth had mystical powers to ward off ill fortune, while other pieces
could bring good luck.
5
,ertain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are
reserved for the +ultan and his family or their attendants. # person's rank could be determined by the
pattern of the batik heBshe wore.
In general, there are two categories of batik designC geometric motifs 2which tend to be the earlier
designs3 and free form designs, which are based on styli7ed patterns of natural forms or imitations of a
woven texture. Nitik is the most famous design illustrating this effect.
,ertain areas are known for a predominance of certain designs. ,entral !avanese designs are influenced
by traditional patterns and colors. atik from the north coast of !ava, near 1ekalongan and ,irebon, have
been greatly influenced by ,hinese culture and effect brighter colors and more intricate flower and cloud
designs.
Digh fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally
high-"uality pieces can take months to create and costs hundreds of dollars.
Kawung
Kawung is another very old design consisting of intersecting circles, known
in !ava since at least the thirteenth century. This design has appeared carved
into the walls of many temples throughout !ava such as 1rambanan near
!og?akarta and Eediri in )ast !ava. 8or many years, this pattern was
reserved for the royal court of the +ultan of !og?akarta. The circles are
sometimes embellished inside with two or more small crosses or other
ornaments such as intersecting lines or dots. It has been suggested that the
ovals might represent flora such as the fruit of the kapok 2silk cotton3 tree
or the aren (sugar palm3.
Ceplok
Ceplok is a general name for a whole series of geometric designs based
on s"uares, rhombs, circles, stars, etc. #lthough fundamentally
geometric, ceplok can also represent abstractions and styli7ation of
flowers, buds, seeds and even animals. ;ariations in color intensity can
create illusions of depth and the overall effect is not unlike medallion
patterns seen on Turkish tribal rugs. The Indonesian population is
largely *uslim, a religion that forbids the portrayal of animal and
human forms in a realistic manner. To get around this prohibition, the
batik worker does not attempt to express this matter in a realistic form.
# single element of the form is chosen and then that element is repeated
again and again in the pattern.
Parang
arang was once used exclusively by the royal courts of ,entral !ava.
It has several suggested meanings such as 'rugged rock', 'knife pattern'
or 'broken blade'. The 1arang design consists of slanting rows of thick
knife-like segments running in parallel diagonal bands. 1arang usually
alternated with narrower bands in a darker contrasting color. These
darker bands contain another design element, a line of lo7enge-shaped
motifs call mlin?on. There are many variations of this basic striped
pattern with its elegant sweeping lines, with over forty parang designs
recorded. The most famous is the 'arang !usak' which in its most
classical form consisting of rows of softly folded parang. This motif
6
also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical
instruments.
Washing Batik
Darsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik.
Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as -oolite, +ilky or Dalus.
8ine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional
markets. # bottled version of this detergent is also available at batik stores. e sure to line dry batik in a
shady area and not in direct sunlight.
#odern Batik
*odern batik, although having strong ties to traditional batik, utili7es linear treatment of leaves, flowers
and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff
guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern
designers use. #rtisans are no longer dependent on traditional 2natural3 dyes, as chemical dyes can
produce any color that they wish to achieve. *odern batik still utili7es canting and cap to create intricate
designs.
8ashion designers such as Iwan Tirta have aggressively introduced
batik into the world fashion scene. They have done much to promote
the Indonesian art of batik dress, in its traditional and modern forms.
The hori7on of batik is continuing to widen. -hile the design process
has remained basically the same over the last century, the process
shows great progress in recent decades. Traditionally, batik was sold in
= &B> meter lengths used for kain panjang or sarong in traditional
dress. 6ow, not only is batik used as a material to clothe the human
body, its uses also include furnishing fabrics, heavy canvas wall
hangings, tablecloths and household accessories. atik techni"ues are
used by famous artists to create batik paintings which grace many
homes and offices.
8ine "uality handmade batik is very expensive and the production of
such works is very limited. Dowever, in a world that is dominated by
machines there is an increasing interest in materials that have been
handmade. atik is one of these materials.
.uring your stay in Indonesia, take advantage of your time here to learn more about the fascinating
world of batik. Dave a batik dress or men's business shirt made for you by a seamstress or tailor. ;isit
batik factories in !og?akarta, +urakarta or 1ekalongan to see for yourself how the intricate process is
conducted or ask "uestions of batik artisans giving demonstrations in stores such as +arinah or 1asaraya
in !akarta. Fou will come away with sense of wonder over the time, effort and patience put into the
creation of each batik cloth. Fou too may soon grow to love the distinctive waxy smell of batik and your
batik ac"uisitions will provide many memories of your stay in Indonesia. Four support of the batik
industry will also ensure that this art form grows to even greater peaks.
7
Canting Batik $ traditional hand batiking tool fro!
Indonesia
In response to a re"uest from a visitor to this site .. we've put together this page on the ,anting atik ...
the traditional Indonesian tool that is used to apply wax in fine dots and lines on a cloth. -herever the
wax is applied, the cloth resists the next dye bath that it is put in .. leaving the white dotBline 2or another
color if the cloth has already been dyed3.
Though the si7e of most canting are similar ..
the difference is in the GtipG that allows the wax
to flow from the GbowlG. igger holes in the tip
allow wider lines and bigger dots.
<ooking down on the top of the GbowlG where
the wax is held prior to application to the cloth.
This closeup shows the various si7es of
opening holes in the tips.
8
)ach wax dot is applied one by one by the
canting.
The canting points to the curvy lines which it
created in this finished piece of batik.
The canting points to the small dots it created
in this finished piece.
9
The Process of #aking Batik $ Step by Step
Step %
The first wax is applied over the
penciled-in outline of the pattern.
#lmost always the original cloth is
white or beige.
Step &
The cloth is dyed in the first dye
bath. In this case the first dyebath is
indigo blue. The area of the cloth
where the wax was applied in +tep &
will remain white.
Step '
+econd application of wax is
applied. In this case it is a dark
brown color. # poorer "uality of wax
is used to cover larger areas of cloth.
The darker color helps to
differentiate it from the first wax
applied. #ny parts that are covered
with this wax application will
remain the indigo color.
10
Step (
The cloth is dyed in the second dye
bath. In this case it is a navy blue.
#ny areas that are not covered by
wax will become dark blue.
Step )
#ll the wax that has been applied
thus far is removed. This is done by
heating the wax and scraping it off
and also by applying hot water and
sponging off the remaining wax.
Step *
-ax is applied to the area of the
fabric that the artist wishes to
remain the indigo blue color.
Step +
-ax is applied to the area of the
fabric that the artist wishes to
remain white.
11
Step ,
The fabric is submerged in the final
dye bath. In this case it is brown.
#ny areas of the cloth that have not
been covered with wax will become
brown.
Step -
The finished cloth after all of the
12
Batik Designs. A C/lt/ral De0elop!ent
Infl/enced by Changes in Ti!e 1
2n0iron!ent
One of the fascinating characteristics of Indonesian batik is the changes in style, motif and color which
have come about through exposure to various foreign cultures. Throughout Indonesian history, each time
the rich batik tradition has come into contact with foreigner traders or colonial rulers, they have
influenced the development of batik. +ome of the more famous results are described belowC
Batik 3raton
atik Eraton is regarded as the basic batik of !ava. It is rich in Dindu-influenced motifs that have
influenced the courts of !ava since the 'th century, and later on influenced by the culture of Islam. The
Dindus introduced the sacred bird - Aaruda, the sacred flower - lotus, the dragon - 6aga and the tree of
life. Islam, since it forbids the depiction of humans or animals, brought styli7ed and modified ornaments
as symbols, i.e., flowers and geometric designs.
#s a specific attire in the dress code of the courts of !ava, atik Eraton is easily recogni7ed through its
sub-divisions, atik Easunanan +urakarta, atik Easultanan Fogyakarta, atik 1ura *angkunegaran
and atik 1ura 1akualaman. Over time, changes and modifications distinguished atik *angkunegaran
from atik Easunanan, even though both originated from the same source. atik 1akualaman, from the
city of Fogyakarta, originated from both Easunan and Easultanan design traditions and is more uni"ue
because the whole process was completed in +urakarta.
Batik Belanda
)ven though ,hinese traders arrived earlier in !ava than the )uropeans, their influence on batik was
evident in a later period. atik elanda, literally .utch atik, appeared as early as &0>(, decades before
the appearance of atik ,ina, ,hinese atik. 9ecords show that )uropean settlers on the northern coast
of !ava started their batik producing activities in the mid-&4th century. They pioneered a new era of
international enrichment which is still visible in modern day Indonesian batik. 9eaching its peak of
creativity in &04(-&4&(, atik elanda is clearly recogni7ed through various works of arts named after
the great designers. #mongst the most famous of these are atik ;an Huylen from )li7e ,harlotte van
Huylen, atik ;an Oosterom from ,atharina ,arolina van Oosterom, atik 1rankemon from ,arolina
!osephina von 8ran"uemont, atik *et7 from <ies *et7lar, atik Fans from #.!.8. Fans, and atik
,oenrad from ,oenrad of 1acitan, )ast !ava.
Batik Cina
Dighly influenced by the ,hinese culture, emerging decades after atik elanda, atik ,ina is easily
recogni7ed by the vast range of uni"uely ,hinese motifs including, dragons, phoenix, snakes, lions,
traditional ,hinese flowers and designs taken from chinaware. It is also easily recogni7ed through its
bright as well as pastel colors. In its effort to penetrate the +urakarta and Fogyakarta markets, atik ,ina
appeared in two derivatives, atik .ua 6egri and atik Tiga 6egri, processed in the north coastal
1esisiran, +urakarta and Fogyakarta in ,entral !ava. atik ,ina is still in production in the coastal cities
of 1ekalongan 2Oey +oe T?oen in Eedungwuni3, ,irebon, Eudus and .emak. atik Dokokai
)specially designed for the !apanese during the period that the !apanese occupied Indonesia 2&4>=-
&4>'3 the specific designs of atik Dokokai, which appealed to !apanese tastes, attracted ,hinese
consumers in !ava and *alaya as well. Dighly influenced by !apanese design in motifs and coloring,
fine intricate backgrounds enhanced the appearance of beautifully designed flowers. atik Dokokai was
mostly styled as Eain 1agi +ore batik with the colors and patterns different on each half of the fabric
length. 8avorite motifs included 1arang and <ereng.
13
Batik Indonesia
8reedom from .utch colonial rule introduced new designs to Indonesian batik. In the early '(s,
1resident +oekarno encouraged the creation of a new style of batik, popularly called atik Indonesia. #
symbiosis between various styles of batik, especially of the principalities of Fogyakarta and +urakarta
and the north coast of !ava, which still utili7ed soga brown as the basic color, atik Indonesia was
developed utili7ing bright colors. +ome appeared in a totally new design, i.e., ,endrawasih, +runi,
+andang 1angan, 5dang, while still using the traditional processing system. atik Indonesia is also
called atik *odern.
Batik S/dagaran
#n important genre in the development of batik, atik +udagaran emerged as early as the end of the
&4th century in the principalities of +urakarta and Fogyakarta. 1roduced by sudagar or batik merchants,
it is easily recogni7ed through the modified classic ornaments styled to the taste of the merchants. +ome
of the popular creations are the patchwork style Tambal, 1arang with the insertion of snail-like motifs,
<ereng filled with extra fine spirals called 5kel and +emen that shows high "uality workmanship.
Batik Pesisir
The distinctive designs of batik pesisir are those from the northern coastal cities of !ava, including
1ekalongan and ,irebon. The designs show ,hinese influence through their use of brighter colors,
flowers and cloud motifs.
14
Origins of Indonesian Batik
Indonesian atik has a worldwide recognition.
The word GbatikG is Indonesian in origin, even if the concept was known by )gyptians and Indians. It is
known to be more than a millenium old, and there are evidences that cloth decorated through some form
of resist techni"ue was in use in the early centuries #. in several -est #frican, *iddle-)astern and
#sian communities.
The word atik is originally an Indonesian-*alay word and derives propbably from 'titik' which means
to dot .This art of textile is well spread in the hindu and malay world, but Indonesia is certainly the heart
of the atik.This way of painting and coloring on textile cloth has reached its higher degree of
excellence in the Island of !ava , in cities like +olo, Fogyakarta, 1ekalongan or ,irebon. 8rom !ava this
'batik' cloth was exported to other islands of the archipelago and to the *alay peninsula.
Young Indonesian woman wearing traditional batik clothes
15
On the &/th century, the !avanese sultanate of *ataram accorded
important ceremonial functions to the atik clothes. +ultan #gung of
*ataram is known to have dressed in white cotton decorated with
Indigo blue, and his court dancers wore kain kembangan colored with a
red organic dye. De could be considered as a pioneer in the usage of the
the batik clothes in the !avanese ,ourts.

.uring the past two or three centuries batik has become one of the
principal means of expression of the spiritual and cultural values of
Indonesia, but also this was spread around the +outheast #sia region.
Batik techniques: painting on cloth
The art of GbatikingG is similar to the one of drawing or painting on a piece of cloth.
The main tool, the canting 2'tjanting'3, is used in stead of a pencil or a brush, and li"uid wax 2see
paragraph here below3in stead of paint.
Indonesian woman drawings batik motifs with li"uide wax.
8inely detailed designs are first drawn freehand with a pencil on the textile. Then hot li"uid wax is
applied.
Dere above, a !avanese woman applying wax in the intricately involved patterns with a canting
2t?anting3, a small copper container with a long slender spout.
8rom time to time she blows on the tip of the canting to secure an easy flow of the wax. #reas 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 2or whatever color the
original cloth was previously dyied3. +ince the wax behave as a resisting medium, this process is called
resist-dye process.
6ext, 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.
16
A canting 4ith !ore than a spo/t 5it can be /p to
se0en6 is /sed for patterns 4ith dot for!s7
Basically, as an art, batiking is painting7 The
canting is /sed to prod/ce the pict/re8 its si9e
depending on the type and degree of fineness of the
lines or points desired
!i"erent models and si#e o$ cantings used
$or drawing moti$ on batik

TH2 WA:
# traditional recipe for batik wax is a mix of beeswax and paraffin, about I(JB>(J. eeswax is soft,
pliable, and blocks completelyC no cracking. 1araffin is more brittle, and lets dye penetrate wherever
cracks form. ,rackle is a characteristic batik effect, a scatter of thin dark wavy lines, a batik hallmark.
+ome dyers seek crackle, free7ing and crumpling the cloth to make more. Others avoid, if they can, any
effect that seems uncontrolled. 8or more crackle, more paraffin. #ny clean, low-oil paraffin, melting
from &@( - &'(K 8 will work. eeswax should be light yellow or tan and clear of debris. ut most batik
today is done with synthetic micro-crystalline waxes. TheyLre more consistent, more often reusable,
penetrate better, can be heated 2safely3 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.
Foreign Infuences
On the eastern routesC
%ecause o$ Indonesia&s location on the trade route between 'orth and (outh as well as
$rom )est to *ast+ the 'orth coast o$ ,a-a was o$ten -isited b. $oreign -essels
.utch entrepreneurs settled in Indonesia, wearing batik clothes.
It results in a lively exchange of a variety of goods including ceramics and silks from ,hina and the
cinde or silk with the patola motif from the west of India.The foreign art and culture were absorbed and
fused with the existing ?avanese one, resulting in new works of art with their uni"ue beauty. *erchants
from all over the world came to the Indonesian archipelagoC ,hinese, Indians, 1ortuguese, #rabs, .utch,
and ritish.
17
Painting of an ArabMerchants vessel.
The growing importance of
the region as a centre of
trade between China in
the East and India and
Arabia in the West saw the
emergence of a great
Southeast Asian empire
the Srivi!a"a.
Te#tiles were alread"
among the ma!or items of
trade li$e sil$ brocade
and damas$ brought from
China and cotton from
India. Chinese traders had
been settling on the
islands long before the
arrival of the European
powers %&ritish 'utch in
particular(. Each of them
have in)uenced b" their
own taste the design of
bati$.
18
Indonesian Batik: The kinds of designs
#lthought ,entral !ava is the centre of !avanese atik, the design evolves according to the part of the
region where it is manufactured. -e are introducing the different kind of designs which are related to the
usage in the day-to-day life as well as in the celebrations and finaly their characteristics by location as
Fogyakarta, +urakarta or +olo, 1ekalongan and Indrama?u 2or Indramayu3.
There is two main kind of batik designsC geometric and non-geometric.
,lassified under the geometric designs are .iagonal or 1arang motif
Man?i
M +"uares, rectangles crosses or ,eplok
M and Eawung -eaving or <imar motifs
an?i is probably the oldest type of motif used for batik. It is based on a cross with arms called swastika.
It was originated from Fogyakarta and +urakarta 2+olo3. The use of an?i in +outh )ast #sia is coming
back from the Dindu-uddhist period. The word G+wastikaG is coming from +anskrit and means Gwell-
beingG and the word Gban?iG is of ,hinese origin.
The Eawung is an other oldest known batik patterns. It was in use in the royal courts of !ava, It is built
up from circular or elliptical shapes that touch or overlap.
/arang !esigns0 1e2lok and 3awung
/arang /arang 3awung 3awung
19
and the non-geometricC
M +emen
M <unglungan
M uketan


20
Yogyakarta Designs
At the heart of the Indonesian Batik
Fogyakarta the capital city of the most powerful and respected Eingdom of !ava, is also at the heart of
the atik art. #ll the old Traditions and customs are observed, as well as in +olo, and one can still find
many symbols that are related to Dindu-!avanese culture.
The combination of motifs in Fogya batik is uni"ue, and there is a tendency to combine a number of
large geometric motifs.
Traditional motifs and colors used in the Fogyakarta design.
The Grompol motif is a distinctively Fogya design customarily used for wedding ceremonies. Arompol,
which means Ggather togetherG symboli7es the coming together of all goods things, such as luck,
happiness, children, and harmonious married life.
Arompol design from Fogyakarta
The Nitik motif is found in great numbers in this area. .uring a colonial annual fair 2!aarbeurs3 during
the .utch period, a batik producer gave the name 6itik !aarbeurs to a motif which received an award.
21
'itik (ekar 4en5ung moti$ 'itik %rendi moti$
Solo, the second s/ltanat7
+olo 2 now named +urakarta3 was one of the two sultanates, with all the traditions and customs of their
courts, and the center of Dindu-!avanese culture.
The Eraton 2or court3 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 batiksC 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
symboli7ed by the motif.
The cloth on the left is a detail of a kain pan;ang 4hich 4as !ade in the
4orkshop of Hard;onagoro in S/rakarta in the early ,<=s7 The !otif
co!bine infl/ences of se0eral region, b/t the o0erall style and the color
are typical of Solo design

The =kain pan;ang= !eans =long cloth=7 It is a piece of cloth of
approi!ately one by t4o and a half !etre7 It is /sed as the sarong, b/t
the kain pan;ang is regarded as being !ore for!al7
The motifs of the +olo design are related to the Dindu-!avanese cultureC the +awat symbol of the crown
or highest power, the *eru symbol of mountain or earth, the 6aga symbol of the water, the urung
symbol of the wind or upper world and the <idah #pi symbol of the fire.
In +olo there were special rules about wearing of batik. &3 the social position of the wearer, =3 the
occasion on which the batik was worn or used. This was in connection with the meaning and hope or
wish symboli7ed by the motif.
Batik Sa4at or >ar Batik ?aga
22
Satrio Manah

Some of the traditional motifs worn on certain occasions:
When making a proposal of marriage, the wali (male relative of the girl), wears a batik with the
Satria Manah motif, denoting that when a satria or knight, took aim with his bow and arrow, the
arrow would be sure to hit the target, meaning, of course that the proposal will be accepted. the
family of the girl receiving the proposal wears batik with Semen ante motif.
ante, meaning chain symboli!es a close and binding relationship in conformity with the belief of
"sians that breaking#off a relationship would damage the good name of the woman.
Semen Rante
23