Batik

Indonesian cloth dyeing technique

For other uses, see Batik (disambiguation).

Batik

Batik from Surakarta in Central Java province in Indonesia; before 1997

Type| Art fabric
Material| Cambrics, silk, cotton
Place of origin| Indonesia[1][2][3]
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[a]

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

This article contains letters from the Javanese script. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Javanese characters.

Batik[b] is an Indonesian technique of wax-resist dyeing applied to the whole cloth.[1][4][2][5][6] This technique originated from the island of Java, Indonesia.[3] Batik is made either by drawing dots and lines of wax with a spouted tool called a canting,[c] or by printing the wax with a copper stamp called a cap.[d][7] The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired.[3]

Indonesian coastal batik (batik pesisir) made in the island of Java has a history of acculturation, a mixture of native and foreign cultures.[8] It is a newer model compared to inland batik, and it uses more colours, though the patterns are less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone.[9]

Despite originating from the island of Java, batik has been generalised and nationalised by the general public and has become important to Indonesians who commonly wear it to formal or casual events. Batik is commonly used by Indonesians in rituals, ceremonies, celebrations, and even in daily uses.[10]

On October 2, 2009, UNESCO officially recognized the batik—written batik (batik tulis) and stamped batik (batik cap)—as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik.[1] Since then, Indonesia celebrates "the National Batik Day" (Indonesian: Hari Batik Nasional) annually on October 2. Nowadays, Indonesians wear batik in honor of this ancient tradition.[10] In the same year, UNESCO also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" as a Masterpiece of Oral and Intangible Heritage of Humanity in the Register of Good Safeguarding Practices List.[11]

## Etymology

[edit]

The word batik is Javanese in origin. The word bathikan means "drawing" or "writing" in Javanese.[12] 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.[13][14][15] Batik known as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).[16]

## History

[edit]

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

Batik is an ancient fabric wax-resist dyeing tradition of Java, Indonesia.[17] The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available—cotton and beeswax and plants from which different vegetable dyes are made.[18] 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.[19]

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 because it is close to magical elements from the kingdoms in Central Java and Yogyakarta.[20]

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. Based on the ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian written 1518 AD, it is recorded that Sundanese have batik which is identical and representative of Sundanese culture in general. Several motifs are noted in the text.[21]

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 evidence suggests that intricate batik patterns applied with the canting existed in 13th-century Java or even earlier.[22]

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. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.[19]

The Dutch Indo–Europeans and Chinese settlers were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Between 1811 and 1946, there was a breed of batik known as Batik Belanda ("Dutch Batik"), a batik industry run by the Dutch in the East Indies. The patterns and styles reflected European taste with a fusion of local indigenous culture. 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.[23]

In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.[24]

In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English merchants and batik makers. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. Locally it is known as African wax prints or Dutch wax prints. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.[25]

In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[19] This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.[26]

* Some ancient Indonesian statues that use batik motifs
* Kawung batik motif on Mahakala statue, from temple at Singhasari, East Java, 1275–1300

* Kawung batik motif on Nandishvara statue (foreground, 13th century)

* Batik motif on Durga Mahishasuramardini statue, Singhasari, 1275–1300

## Techniques

[edit]

Initially, batik was made only by the "written batik" (batik tulis) technique. The process and workmanship are still very traditional and labour-intensive.[5] Then the technique developed with the discovery of the stamped batik (batik cap) technique which made batik work faster. 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.[1]

Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins, which 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.[27]

### Written batik (batik tulis)

[edit]

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) is the most common. The canting 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. After the cloth is 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.[27][28]

* Written batik uses the canting
* A canting in use to draw a resist pattern in molten wax

* Written batik (batik tulis), drawing patterns with wax using canting in Java

### Stamped batik (batik cap)

[edit]

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.[29][30]

* Stamped batik uses the cap
* A handmade batik cap motif printing block, made of copper strips and wires

* Hand-printing batik using a cap tool in Java

### Painted batik (batik lukis)

[edit]

Painted batik or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or 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.[31]

* Painted batik, using a brush
* Painted batik (batik lukis): a woman is making batik with a Rangda motif using a brush.

* Indonesian Batik painting representing Rama-Sinta wayang kulit (shadow puppet) figures

## Culture

[edit]

Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons.[32] Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified.[33]

Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families.[34] Batik garments play a central role in certain 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 also prominent in the tedak siten ceremony when a child touches the earth for the first time.[35] Specific pattern requirement are often reserved for traditional and ceremonial contexts.[36]

* Batik in 19th century Java, from The History of Java by Thomas Stamford Raffles (1817)
* A Javanese man in court dress

* A Javanese chief, in his ordinary dress

* A Javanese man in war dress

* A Javanese man of the lower class

* A Javanese ronggeng dancer

### Traditional costume in the Javanese royal palace

[edit]

Batik is the traditional costume of the royal and aristocratic families in Java for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace.[37] The motifs of the Parang Rusak, semen gedhe, kawung, and udan riris are the batik motifs used by the aristocrats and courtiers in garebeg ceremonies, pasowanan, and welcoming honor guests. During the colonial era, Javanese courts issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved several patterns such as the Parang Rusak and Semen Agung for members of the Yogyakartan royalties and restricted commoners from wearing them.[38]

* Batik in the royal palace
* Sultan Hamengkubuwono VI, King of Yogyakarta Sultanate (1855–1877), dressed in royal majesty attire (batik)

* Pakubuwono X, the King of Surakarta Sunanate in kain batik, c. 1910

* The Ratoe Kedaton wearing batik, the head wife of Hamengkubuwono V of Kraton Ngayogyakarta Hadiningrat, c. 1865

* Princes and princess wearing batik of Kraton Ngayogyakarta Hadiningrat, c. 1870

### Traditional dance costumes

[edit]

Batik is used for traditional Javanese dance performances.[39] It is worn for instance for the Ramayana Ballet at the Prambanan temple.[40]

* Dancers' batik dress
* Bedhaya dance performance at Mangkunegaran royal palace at Solo, Java, in January 1921

* Topeng dance performance from Cirebon, West Java, Indonesia

* King Duryodana in Wayang wong performance in Taman Budaya Rahmat Saleh, Semarang, Jawa Tengah, Indonesia

* Golek Ayun-Ayun Dance performance accompanied by Gamelan Ensemble at Bangsal Sri Manganti Keraton Yogyakarta

### Birth ceremonies (mitoni, tedak siten)

[edit]

In Javanese tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a mitoni ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths. The batik used has rules and is not just any batik. 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.[41]

### Wedding ceremonies (siraman, midodareni, akad, panggih)

[edit]

Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families.[34] Such as the truntum motif (flower motif in the shape of the sun) 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 means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends.[42]

* Wedding batik
* Javanese Royal wedding in Mangkunegaran royal palace, January 1921

* Kacar-kucur ceremony, groom pouring rice and coins into bride's scarf, c. 1960

* Panggih ceremony, meeting between bride and groom on their wedding day

* Batik is used in a traditional Javanese wedding ceremony.

### Formal and informal daily dress

[edit]

Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to designs for modern batik clothes.[36]

* Daily dress
* Nelson Mandela wearing batik

* A Javanese man wearing typical contemporary batik shirt

* 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.[34] The day, 2 October 2009 has been stated by Indonesian government as National Batik Day,[43] 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.[44]

Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.[45]

## Patterns and motifs

[edit]

The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is believed that the motif made the batik famous.[46]

Cultural influences on batik patterns and motifs[47] 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 [id ], 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

[edit]

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.[48] 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.[49] 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.[49] 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.[49] Furthermore, the kawung batik motif is seen as a sign of power and justice.[50] 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.[51] Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public.[51]

### Parang

[edit]

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.[51] 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.[51] The size of the parang motif represents the wearer's position in the royal family's hierarchy.[52] 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.[51] 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.[51]

### Mega mendung

[edit]

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.[53] 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.[53] The term mendung, which means "cloudy", is used in the pattern's name to represent patience.[53] 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.[53] The clouds must be flat, as the cloud's purpose is to shield those beneath it from the scorching sun.[53]

### Tujuh rupa

[edit]

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.[54] Ceramic ornaments from China are frequently used in the Tujuh Rupa motif.[54] 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.[55] The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.[55]

### Truntum

[edit]

The Truntum  [id ] 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.[56] 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.[56]

### Sogan

[edit]

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.[57]

### Lasem

[edit]

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'.[58] 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.[59] 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.[60]

### Sidomukti

[edit]

The Sidomukti  [id ] 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.[61] 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".[61] 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.[62] 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.[61]

### Sidomulyo

[edit]

The Sidomulyo  [id ] 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.[61] 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.[61]

### Sekar Jagad

[edit]

The Sekar Jagad [id] 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.[63] 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.[63]

## Parts of the cloth

[edit]

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.[8]

* 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.[8]
* 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.[8]
* 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.[8]

## Types

[edit]

As each region 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).[64] Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs.[65]

### Javanese batik

[edit]

#### Inland batik (batik pedalaman)

[edit]

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 form of batik tradition known in Java. Inland batik has earthy colour[66] such as black, indigo, brown, and sogan (brown-yellow colour made 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.[67] Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.[35]

#### Coastal batik (batik pesisiran)

[edit]

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.[66] Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks.[34] Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.[8]

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

A sub-type of coastal batik called 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 early 1940, 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.[8] Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.[68]

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, batik tiga negeri was only produced in one city.[8]

#### Blackstyle batik (batik Irengan)

[edit]

"Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik.[20]

### Sundanese batik

[edit]

So-called Sundanese or Parahyangan Batik is made in the Parahyangan region of West Java and Banten.[69] Baduy batik only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.[70] 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 and several other places have been identified.[71]

### Malay batik

[edit]

Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have 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 is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.[72]

The batik from Bengkulu, a city on the west coast of Sumatra, is called batik besurek, meaning "batik with letters, calligraphic batik" as it draws inspiration from Arabic calligraphy.[73]

### Minangkabau batik

[edit]

The Minangkabau people produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora.[74]

### Balinese batik

[edit]

Batik making in the island of Bali is a relatively new but fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese and domestic tourists.[75] Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.[76]

Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth.[6] Using high class batik, like hand made batik tulis, can show social status.[76]

## Popularity

[edit]

Further information: Solo Batik Carnival

The leader of APEC wearing batik at APEC 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.[8] 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.[47]

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.[77] 2 October is celebrated as National Batik Day in Indonesia.[10] 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.[78]

Batik is popular in the neighboring 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.[79][80]

## Batik museums

[edit]

Indonesia as the origin of batik has several museums with collections of old batiks and equipment for batik production, including:

### Museum Batik Keraton Yogyakarta

[edit]

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. Some of batik collections here include kawung, semen, gringsing, nitik, cuwiri, parang, barong, grompol, and other motifs. These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII to Sultan Hamengkubuwono X. The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Visitors can see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. The museum does not allow cameras.[81]

### Museum Batik Yogyakarta

[edit]

Museum Batik Yogyakarta is at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta. It is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia.[82] The museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and colouring materials, including wax. Its excellent collection consists of batik 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, as well as batik made in the 1700s. The Museum provides batik training for visitors who want to learn to make batik.[83]

### Museum Batik Pekalongan

[edit]

Museum Batik Pekalongan is at Jalan Jetayu No.1, Pekalongan, Central Java. This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber, and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java, and batik from regions in Nusantara such as from Sumatra, Kalimantan, Papua, and batik technique type fabrics from abroad. The museum provides batik training.[84]

### Museum Batik Danar Hadi

[edit]

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, offers the best quality batik collections from regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik (Kudus, Lasem, and Pekalongan), Sumatran batik. This museum has a collection of batik cloth reaching 1000 pieces. Visitors can see the process of making batik and can take part in batik making workshops.[85]

### Museum Tekstil Jakarta

[edit]

Museum Tekstil, Jakarta

Textile Museum (Jakarta) 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 collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1,914 collections. The batik gallery showcases ancient batik and batik developments (contemporary) from time to time. The batik gallery is the embryo of the National Batik Museum managed by the Indonesian Batik Foundation and the Jakarta Textile Museum.[86]

## Batik outside Indonesia

[edit]

### Malaysia

[edit]

Main article: Malaysian batik

A batik craftsman making batik. Malaysian batik are usually patterned with 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.[72]

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.[87] 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.[88]

### India

[edit]

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.[89]

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

### Sri Lanka

[edit]

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.[90][91]

### China and neighbouring countries

[edit]

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.[92] 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.[93]

### Africa

[edit]

Main article: African wax prints

Lady selling colourful waxprint fabrics in Togo

The African wax prints (Dutch wax prints) was introduced during the colonial era, through Dutch's textile industry's effort to imitate the batik making process. The imitation was not successful in Europe, but experienced a strong reception in West and Central Africa instead.[94][95]

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.[96] 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.[97]

## See also

[edit]

* African wax prints
* Bagh print
* Balinese textiles
* Folk costume
* Ikat
* Madiba shirt
* 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

## Notes

[edit]

1. ^ Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan
2. ^ Javanese: ꦧꦛꦶꦏ꧀ (in aksara) or باتيق (in Pegon), Javanese pronunciation: [ˈb̥aʈɪʔ]; Indonesian: [ˈbatɪk]
3. ^ Javanese: ꦕꦤ꧀ꦛꦶꦁ, Javanese pronunciation: [ˈt͡ʃaɳʈɪŋ], also spelled tjanting
4. ^ Javanese: ꦕꦥ꧀, Javanese pronunciation: [ˈt͡ʃap̚], also spelled tjap

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73. ^ "Besurek Batik: Calligraphic Fabric from Bengkulu". jalurrempah.kemdikbud.go.id. 26 January 2022. Retrieved 30 August 2024. `{{cite web}}`: `|archive-url=` is malformed: save command (help)CS1 maint: url-status (link)
74. ^ "Pesona Batik Jambi" (in Indonesian). Padang Ekspres. 16 November 2008. Archived from the original on 17 August 2013. Retrieved 24 October 2011.
75. ^ "Batik Asli Indonesia". Archived from the original on 9 January 2012. Retrieved 30 April 2014.
76. ^ a b "Bali Batik, Bali Sarong, Kimono - Bali Textiles, Bali Garment, Clothing - balibatiku.com". balibatiku.com. Archived from the original on 2 May 2014. Retrieved 30 April 2014.
77. ^ "Administration calls for all-in batik day this Friday". thejakartapost.com. Archived from the original on 9 October 2011. Retrieved 22 January 2011.
78. ^ "Let's use batik as diplomatic tool: SBY". thejakartapost.com. Archived from the original on 1 October 2011.
79. ^ Indriasari, Lusiana; Yulia Sapthiani (26 September 2010). "Terbang Bersama Kebaya" (in Indonesian). Female Kompas.com. Archived from the original on 21 November 2010. Retrieved 24 October 2011.
80. ^ Pujobroto, P.T. (2 June 2010). "Garuda Indonesia Launches New Uniform". Garuda Indonesia.com. Archived from the original on 29 September 2011. Retrieved 24 October 2011.
81. ^ "Sejarah Museum Keraton Yogyakarta dan Bagian-Bagiannya". sejarahlengkap.com. 4 February 2019. Archived from the original on 29 January 2021. Retrieved 22 January 2021.
82. ^ "Museum Batik Yogyakarta". Dinas Pariwisata Daerah Istimewa Yogyakarta. Archived from the original on 19 January 2021. Retrieved 21 January 2021.
83. ^ "Profile of Museum Batik Yogyakarta". Museum Batik Yogyakarta. Archived from the original on 23 January 2021. Retrieved 21 January 2021.
84. ^ "Sejarah Museum Batik Pekalongan". Museum Batik Pekalongan. Archived from the original on 20 January 2021. Retrieved 22 January 2021.
85. ^ "Museum Batik Danar Hadi". Dinas Pariwisata Kota Surakarta. Archived from the original on 28 January 2021. Retrieved 21 January 2021.
86. ^ "Museum Tekstil Jakarta". Museum Jakarta. Archived from the original on 29 September 2021. Retrieved 22 January 2021.
87. ^ Indonesians tell Malaysians 'Hands off our batik' Archived 4 October 2017 at the Wayback Machine Telegraph.co.uk, accessed 8 October 2009
88. ^ "Figural Representation in Islamic Art". metmuseum.org. Archived from the original on 9 December 2022. Retrieved 24 February 2010.
89. ^ Burch, Susan; Kaferq, Alison (2010). Deaf and Disability Studies. Washington D.C: GU Press. p. 52\. ISBN 978-1-56368-464-7.
90. ^ "Sri Lankan Batik Textiles". Lakpura Travels. Archived from the original on 30 January 2023. Retrieved 1 May 2014.
91. ^ Kannangara, Ananda (10 June 2012). "Brighter future for batik industry". Sunday Observer (Sri Lanka). Archived from the original on 2 May 2014. Retrieved 1 May 2014.
92. ^ Gillow & Sentance 2000, pp. 132–133.
93. ^ Batik in China Archived 5 September 2011 at the Wayback Machine The Batik Guild, 1999
94. ^ Kroese, W.T. (1976). The origin of the Wax Block Prints on the Coast of West Africa. Hengelo: Smit. ISBN 9062895018.
95. ^ LaGamma, Alisa (2009). The Essential Art of African Textiles: Design Without End. New York: The Metropolitan Museum of Art. p. 20.
96. ^ Grant & Nodoba 2009, p. 361.
97. ^ Smith 2014, p. 103.

## Sources

[edit]

* 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

[edit]

* 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.

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Indonesian clothing

Clothing identified with Indonesian culture and still worn today

Textiles and weaving|

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Jewelry and ornaments|

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Armour|

* Baju Empurau
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Footwear|

* Bakiak (kelom)
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* v
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Folk costumes

Africa|

* Balgha
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* Head tie
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* Kanzu
* Kente cloth
* Kufi
* Litham
* Pareo
* Senegalese kaftan
* Tagelmust
* Wrapper

Asia|

| Central|

* Afghanistan
* Pakol
* Chapan
* Deel
* Malahai
* Paranja

|

East|

* China
* Cheongsam
* Hanfu
* Mao suit
* Tangzhuang
* Japan
* Hachimaki
* Kimono
* Obi
* Korea
* Cheopji
* Daenggi
* Gache
* Hanbok
* Hwagwan
* Jokduri
* Manggeon

South|

* Bhutan
* Gho
* Kira
* Dhoti
* Dupatta
* India
* Lungi
* Nepal
* Pakistan
* Pathin
* Perak
* Peshawari pagri
* Sari
* Shalwar kameez
* Sherwani

Southeast|

* Burma
* Longyi
* Gaung baung
* Cambodia
* Chong Kben
* Krama
* Sompot
* Sbai
* Indonesia
* Baju bodo
* Batik
* Blangkon
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* Sinh
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* Baju Kurung
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* Songket
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* Philippines
* Barong tagalog
* Baro't saya
* Buntal hat
* Malong
* Maria Clara gown
* Patadyong
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* Thailand
* Banong
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* Chut Thai
* Formal Chut Thai
* Pha khao ma
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* Raj pattern
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* Sinh
* Suea pat
* Tabengman
* Tudong
* Vietnam
* Áo bà ba
* Áo dài
* Áo giao lĩnh
* Áo tứ thân

Middle East|

* Abaya
* Agal
* Assyria
* Bisht
* Boshiya
* Burqa
* Chador
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* Jewish
* Kippah
* Sheitel
* Tallit
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* Tzitzit
* Jilbāb
* Keffiyeh
* Kurdish
* Niqāb
* Palestine
* Pandama
* Thawb
* Turban
* Hejazi

Europe|

| Balkan|

* Traditional Albanian clothing
* Brez
* Çorape
* Opinga
* Qeleshe
* Xhamadan
* Xhubleta
* Aromanian
* Croatia
* Fustanella
* Greek
* Chiton
* Chlamys
* Himation
* Macedonia
* Romania
* Serbia
* Kosovo

|

British Isles|

* Britain
* Country
* Court
* Windsor uniform
* Ireland
* Scottish highlands
* Aboyne
* Feather bonnet
* Kilt
* Sporran
* Wales

Central|

* Dirndl
* Lederhosen
* Poland
* Tracht

Eastern|

* Armenia
* Azerbaijan
* Kelaghayi
* Ukraine
* Kobeniak
* Kozhukh
* Kozhushanka
* Ochipok
* Sharovary
* Vyshyvanka
* Ukrainian wreath
* Russia
* Kokoshnik
* Kosovorotka
* Lapti
* Orenburg shawl
* Sarafan

Western|

* Netherlands
* Poffer
* Kraplap
* Oorijzer
* France
* Breton costume
* Spain
* Traje de flamenca
* Barretina
* Cachirulo
* Cordovan hat
* Sombrero de catite
* Mantilla
* Italy
* Ciocia
* Coppola cap

Scandinavian|

* Bunad
* Gákti
* Iceland
* Sweden
* Nationella dräkten
* Bäckadräkten
* Sverigedräkten

South America|

* Aguayo
* Chile
* Chamanto
* Chilote cap
* Chilote poncho
* Chupalla
* Chullo
* Guayabera
* Liqui liqui
* Lliklla
* Panama hat
* Pollera
* Poncho
* Ruana

North America|

* Inuit skin clothing
* Tignon
* Ceinture fléchée
* Western wear
* Bolo tie
* Chaps
* Huipil
* Mexico
* Huarache
* Mexican pointy boots
* Rebozo
* Serape
* Sombrero
* Quechquemitl

Oceania|

* Grass skirt
* Feather cloak
* I-sala
* Lap-lap
* Lavalava
* Kiekie
* Pareo
* Sulu
* Taʻovala
* Tēfui
* Tupenu

* v
* t
* e

Dyeing

Techniques|

* Batik
* Dyeing
* Ikat
* Kasuri
* Kalamkari
* Katazome
* Leheria
* Mordant
* Reactive dye printing
* Resist
* Ring dyeing
* Rōketsuzome
* Shibori
* Tie-dye
* Tsutsugaki
* Yūzen

Types of dyes|

* Dyes
* Natural
* Acid
* Reactive
* Solvent
* Substantive
* Sulfur
* Vat
* Disperse
* Discharge
* Pigment

Traditional textile dyes|

* Armenian cochineal
* Black walnut
* Bloodroot
* Brazilin
* Cochineal
* Cudbear
* Cutch
* Dyewoods
* Fustic
* Gamboge
* Dyer's broom
* Henna
* Indigo
* Kermes
* Logwood
* Madder
* Polish cochineal
* Saffron
* Turmeric
* Tyrian purple
* Weld
* Woad

History|

* Use of saffron
* Traditional dyes of the Scottish Highlands

Craft dyes|

* Dylon
* Inkodye
* Procion
* Rit

Reference|

* Glossary of dyeing terms
* List of dyes

* v
* t
* e

Fabric

Types|

| Woven|

* Abacá cloth (Medriñaque)
* Aertex
* Armazine
* Almerían silk
* Barathea
* Barkcloth
* Batiste
* Bedford cord
* Bengaline
* Beta cloth
* Bombazine
* Brilliantine
* Broadcloth
* Buckram
* Bunting
* Burlap
* Byrd Cloth
* C change
* Calico
* Cambric
* Canvas
* Chambray
* Capilene
* Cedar bark textile
* Challis
* Char cloth
* Charmeuse
* Charvet
* Cheesecloth
* Chiffon
* Chino
* Chintz
* Cloqué
* Cloth of gold
* Cordura
* Corduroy
* Cotton duck
* Coutil
* Crêpe
* Cretonne
* Denim
* Dimity
* Donegal tweed
* Dornix
* Dowlas
* Drill
* Drugget
* Eolienne
* Flannel
* Foulard
* Fustian
* Gabardine
* Gauze
* Gazar
* Georgette
* Ghalamkar
* Gingham
* Grenadine
* Grenfell Cloth
* Grosgrain
* Habutai
* Haircloth
* Harris tweed
* Herringbone
* Himroo
* Hodden
* Irish linen
* Jamdani
* Kerseymere
* Khādī
* Khaki drill
* Kijōka-bashōfu
* Kente cloth
* Lamé
* Lawn
* Linsey-woolsey
* Loden
* Longcloth
* Mackinaw
* Madapollam
* Madras
* Moleskin
* Muslin
* Nainsook
* Nankeen
* Ninon
* Oilskin
* Organdy
* Organza
* Osnaburg
* Ottoman
* Oxford
* Paduasoy
* Percale
* Perpetuana
* Pongee
* Poplin
* Rakematiz
* Rayadillo
* Rep
* Ripstop
* Russell cord
* Saga Nishiki
* Samite
* Sateen
* Satin
* Saye
* Scarlet
* Seerhand muslin
* Seersucker
* Sendal
* Serge
* Scrim
* Shot silk
* Stuff
* Taffeta
* Tais
* Tartan
* Ticking
* Toile
* Tucuyo
* Tweed
* Twill
* Ultrasuede
* Vegetable flannel
* Ventile
* Vinyl coated polyester
* Viyella
* Voile
* Wadmal
* Waffle
* Wigan
* Whipcord
* Zephyr
* Zorbeez

|

Figured
woven|

* Brocade
* Camlet
* Damask
* Lampas
* Songket
* Rinzu

Pile woven|

* Baize
* Chenille
* Corduroy
* Crimplene
* Fustian
* Mockado
* Moquette
* Plush
* Polar fleece
* Terrycloth
* Velours du Kasaï
* Velvet
* Velveteen
* Zibeline

Nonwoven|

* Felt
* Cedar bark

Knitted|

* Boiled wool
* Coolmax
* Machine knitting
* Milliskin
* Jersey
* Velour

Netted|

* Bobbinet
* Carbon fibers
* Lace
* Mesh
* Needlerun net
* Ninon
* Tulle

Technical|

* Ballistic nylon
* Ban-Lon
* Conductive textile
* Darlexx
* E-textiles
* Gannex
* Gore-Tex
* Lenticular fabric
* Silnylon
* Spandex
* Stub-tex
* SympaTex
* Windstopper

Patterns|

* Argyle
* Bizarre silk
* Check
* Chiné
* Glen plaid
* Herringbone
* Houndstooth
* Kelsch
* Paisley
* Pinstripes
* Polka dot
* Shweshwe
* Tartan or plaid
* Tattersall

Textile fibers|

* Abacá (Manila hemp)
* Acrylic
* Alpaca
* Angora
* Bashō
* Cashmere
* Coir
* Cotton
* Eisengarn
* Hemp
* Jute
* Kevlar
* Linen
* Mohair
* Nylon
* Microfiber
* Olefin
* Pashmina
* Polyester
* Piña
* Ramie
* Rayon
* Sea silk
* Silk
* Sisal
* Spandex
* Spider silk
* Wool

Finishing and

printing

* Androsia
* Batik
* Beetling
* Bingata
* Bògòlanfini
* Burnout
* Calendering
* Decatising
* Devoré
* Finishing
* Fulling
* Heatsetting
* Indienne
* Kasuri
* Katazome
* Mercerization
* Moire
* Nap
* Parchmentising
* Rogan printing
* Rōketsuzome
* Roller printing
* Sanforization
* Tenterhook
* Textile printing
* Tsutsugaki
* Warp printing
* Waxed cotton
* Woodblock printing
* Yūzen

Fabric mills|

* Carlo Barbera
* Cerruti
* Dormeuil
* E. Thomas
* Holland & Sherry
* Larusmiani
* Loro Piana
* Piacenza
* Reda
* Scabal
* Vitale Barberis Canonico
* Zegna

Manufacturing

industry|

* Design
* Manufacturing
* Performance
* Preservation
* Recycling
* Terminology

Related|

* Dyeing
* Fiber
* History of textiles
* History of silk
* Knitting
* Pandy
* Shrinkage
* Swatches and strike-offs
* Synthetic fabric
* Weaving
* Yarn

* v
* t
* e

Islamic art

Architecture|

| Regional styles|

* Abbasid
* Ayyubid
* Anatolian Seljuk
* Chinese
* Fatimid
* Great Seljuk
* Hausa
* Indo-Islamic
* Bengali
* Bahmani and Deccan
* Mughal
* Indonesian / Malaysian
* Iranian
* Mamluk
* Moorish
* Ottoman
* Sudano-Sahelian
* Swahili
* Tatar
* Timurid
* Umayyad
* Yemeni

|

Elements|

* Ablaq
* Banna'i
* Iwan
* Jali
* Mashrabiya
* Mihrab
* Minaret
* Mocárabe
* Muqarnas
* Sitara
* Stucco decoration
* See also Decoration

Arts|

| Regional styles|

* Bangladeshi
* Persian (Early, Qajar, Safavid)
* Turkish (Ottoman)

|

Carpets|

* Gul
* Kilim
* Motifs
* Persian
* Turkish
* Prayer

Pottery|

* Fritware
* Hispano-Moresque
* Iznik
* Lustreware
* Mina'i ware
* Persian
* Chinese influence

Textiles|

* Batik
* Damask
* Ikat
* Embroidery
* Soumak
* Suzani

Woodwork|

* Khatam
* Minbar

Other media|

* Music
* Brass
* Damascus steel
* Enamelled glass
* Glass
* Hardstone carving
* Ivory carving
* Mosque lamp
* Stained glass
* Shabaka

Arts of
the book|

| Miniatures|

* Arabic
* Mughal
* Ottoman
* Persian

|

Calligraphy|

* Arabic
* Diwani
* Indo-Muslim
* Kufic
* Muhaqqaq
* Naskh
* Nastaliq
* Persian
* Sini
* Taliq
* Thuluth
* Tughra

Other arts|

* Muraqqa
* Hilya
* Ottoman illumination

Decoration|

* Arabesque
* Geometric patterns
* Girih (tiles)
* Zellij
* See also Calligraphy

The garden|

* Charbagh
* Mughal
* Ottoman
* Paradise
* Persian

Museums,
collections|

* Berlin
* Cairo
* Doha
* Ghazni
* Istanbul (Arts, Calligraphy Art)
* Jerusalem (Islamic Museum, Museum for Islamic Art, Jerusalem)
* Kuala Lumpur
* London (British Museum, V&A, Khalili Collection)
* Los Angeles
* Marrakech (Museum, Majorelle Garden)
* Melbourne
* Paris (Arab World Institute, Louvre)
* Singapore
* Toronto (Aga Khan)
* Tripoli

Exhibitions|

* Empire of the Sultans
* Heaven on Earth: Art from Islamic Lands
* Hajj: Journey to the Heart of Islam

Principles,
influences|

* Islamic Art: Mirror of the Invisible World
* Aniconism in Islam
* Indo-Saracenic Revival
* Islamic world contributions to Medieval Europe
* Influences on Western art
* Grotesque
* Moresque
* Mathematics and architecture
* Moorish Revival
* Mudéjar
* Oriental carpets in Renaissance painting
* Pseudo-Kufic
* Stilfragen
* Topkapı Scroll

* v
* t
* e

UNESCO Oral and Intangible Heritage: Representative List

Africa|

* Aka music
* Chopi timbila
* Garifuna culture
* Afounkaha Gbofe
* Gẹlẹdẹ
* Gule Wamkulu
* Ifá
* Ijele Masquerade
* Kamablon re-roofing
* Kankurang
* Manden Charter
* Mauritian Sega
* Mbende Jerusarema
* Ritual dance of the royal drum
* Sega tambour of Rodrigues Island
* Sosso Bala
* Ugandan barkcloth making
* Vimbuza healing dance
* Yaaral and Degal
* Zafimaniry woodcrafting
* Zambian Makishi Festival

Arab States|

* Ahellil
* Al-Sirah Al-Hilaliyyah
* Bedu culture at Petra and Wadi Rum
* Iraqi maqam
* Jemaa el-Fnaa
* Palestinian hikaye
* Shashmaqam
* Song of Sana'a
* Taghribat Bani Hilal
* Tan-Tan Moussem

Asia and Pacific|

* Acupuncture and Moxibustion
* Ainu dance
* Akiu no Taue Odori
* Akyn
* Angklung
* "Arirang"
* Bakhshi music
* Batik
* Baul tradition of Bangladesh
* Beijing opera
* Bokator
* Boysun District
* Bunraku
* Cantonese opera
* Ca trù
* Chakkirako
* Cheoyongmu
* Chhau dance
* Chinese architecture
* Chinese block printing
* Chinese calligraphy
* Chinese paper cutting
* Chinese seal engraving
* Chinese shadow puppetry
* Daemokjang
* Daimokutate
* Dainichido Bugaku
* Darangen Epic
* Dragon Boat Festival
* Drametse Ngacham
* Durga Puja in Kolkata
* Epic of King Gesar
* Gagaku
* Gagok
* Ganggangsullae
* Gangneung Danoje Festival
* Gimjang
* Gióng Festival
* Gong culture
* Grand Song
* Guqin
* Guqin music
* Haenyeo
* Hansan Mosi
* Hayachine Kagura
* Hitachi Furyumono
* Hua'er
* Hudhud Chants
* Indonesian kris
* Jamdani
* Jeju Chilmeoridang Yeongdeunggut
* Jultagi
* Kabuki
* Kalbelia
* Kashan rug
* Katta Ashula
* Khon
* Khoomei
* Koshikijima no Toshidon
* Kumbh Mela
* Kumiodori
* Kunqu
* Koodiyattam
* Ladkah Buddhist chantings
* Lakalaka
* Lenj boats
* Lhamo
* Longquan celadon
* Mak yong
* Manipuri Sankirtana
* Mangal Shobhajatra
* Mazu belief
* Meshrep
* Mibu no Hana Taue
* Morin khuur
* Mosie ramie
* Mudiyett
* Muqam
* Naadam
* Namsadang Nori
* Nanyin
* Naqqāli
* Nhã nhạc
* Noh
* Nora
* Nowruz
* Afghan
* Uzbekistani
* Nuad Thai
* Oku-noto no Aenokoto
* Pencak silat
* Pahlevani and zoorkhaneh rituals
* Pansori
* Pinisi
* Pungmul
* Quan họ
* Radif
* Ramlila
* Ramman
* Royal ballet of Cambodia
* Regong arts
* Royal Ancestral Ritual
* Sada Shin Noh
* Saman dance
* Sand drawing
* Sbek Toch
* Sekishu-Banshi
* Shiraz rug
* Songkran in Thailand
* Ssireum
* Taekkyeon
* Ta'zīye
* Thathera utensil craft
* Tugging rituals and games
* Urtiin Duu
* Vedic chantings
* Wayang
* Xi'an ensemble
* Xuan paper
* Yamahoko
* Yeondeunghoe
* Yeongsanjae
* Yoga
* Yūki-tsumugi
* Yunjin

Europe and
North America|

* Albanian iso-polyphony
* Ashiqs of Azerbaijan
* Ashik
* Aubusson tapestry
* Azerbaijani carpet
* weaving
* Azerbaijani tar
* Baltic song and dance celebrations
* Bećarac
* Busójárás
* Călușari
* Cante Alentejano
* Cantu a tenore
* Carnival of Binche
* Castell
* Chovgan
* Christmas Tsars
* Council of Wise Men of the plain of Murcia and Water Tribunal of the plain of Valencia
* Copper craftsmanship of Lahij
* Croatian lacemaking
* Daina
* Dancing procession of Echternach
* Daredevils of Sassoun
* Doina
* Duduk
* Fado
* Falconry
* Falles of the Pyrenees
* La Mare de Déu de la Salut Festival
* Festivity of Saint Blaise
* Flamenco
* French timber framing scribing
* Fujara
* Georgian vocal polyphony
* Horezu ceramics
* Houtem Jaarmarkt
* Istrian scale
* Jem
* Karagöz and Hacivat
* Kelaghayi
* Keşkek
* Khachkar
* Kihnu culture
* Kırkpınar
* Klapa
* Lithuanian cross crafting
* Kvevri wine
* La Patum
* Lefkaritika
* Licitar
* Ljelje/Kraljice
* Makishi Festival
* Moldovan Christmas Carols
* Maloya
* Manas
* Meddah
* Mediterranean diet
* Mesir Macunu
* Mugham
* Mystery Play of Elche
* Nestinarstvo
* Nijemo Kolo
* Nowruz
* Azerbaijani
* Turkish
* Ojkanje
* Olonkho
* Opera dei Pupi
* Petrykivka decorative painting
* Procession of the Holy Blood
* Sama
* Sauna culture in Finland
* Semeiskie culture
* Seto leelo
* Silbo Gomero
* Sinjska alka
* Slovácko Verbuňk
* Turkish Sohbet
* The Song of the Sibyl
* Suiti Cultural Space
* Sutartinės
* Táncház
* Turkish coffee
* Violins craftsmanship of Cremona
* Wajãpi culture
* Wooden toys of Hrvatsko Zagorje
* Za križen
* Zvončari

Caribbean and
Latin America|

* Carnaval de Barranquilla
* Brotherhood of the Holy Spirit of the Congos of Villa Mella
* Candombe
* Carnaval de Negros y Blancos
* Bumba-meu-boi from Maranhão
* Carnaval de Oruro
* Ceviche
* Círio de Nazaré
* Cocolo
* Costa Rican oxherding
* Dancing Devils of Yare
* Danza de los Voladores
* Danza de tijeras
* Frevo
* Garifuna culture
* Gióng Festival
* Harakmbut
* Huaconada
* Indigenous Day of the Dead
* Kallawaya culture
* Mexican cuisine
* Moore Town's Maroon Heritage
* Panama hat
* Parachico
* Peña de Bernal
* Pirekua
* Popayán Holy Week processions
* Pütchipü'ü
* Quyllurit'i
* Rabinal Achí
* Samba de Roda
* San Basilio de Palenque
* South Pacific Colombian marimba
* Tango
* Taquile textiles
* Tumba francesa
* Vallenato
* Wajãpi culture
* Yaokwa
* Záparo culture

* v
* t
* e

National Intangible Cultural Heritage of Indonesia in Indonesia

Wayang (2008)

Keris (2008)

Batik (2009)

Angklung (2010)

Pinisi, art of boatbuilding in South Sulawesi (2017)

Three Genres of Traditional Dance in Bali (2019)

Pencak silat (2019)

Pantun (2020)

Gamelan (2021)

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List of Intangible Cultural Heritage in Need of Urgent Safeguarding

Noken (2011)

Saman dance (2012)

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Authority control databases

National|

* Spain
* France
* BnF data
* Germany
* Israel
* United States
* Japan
* Czech Republic

Other|

* IdRef

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