Professional Documents
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Batik Indonesia
Batik Indonesia
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All rights reserved
B AT I K
INDONESIA
PRESENTED BY
TABLE OF
CONTENTS
Chapter IV
A National Identity
p. 35
4
5
Assalamualaikum Warahmatulahi Wabarakatuh,
Salam sejahtera untuk kita semua.
Kebanggaan masih terasa ketika sepuluh tahun lalu ketika UNESCO menetapkan batik sebagai
Intangible Cultural Heritage of Humanity dari Indonesia. Sudah menjadi kewajiban bagi kita
semua untuk mengemban amanah tersebut sebaik-baiknya dengan cara terus menjaga
keluhuran budaya dan mengembangkan kreativitas seni batik nusantara.
Alhamdulillah, kita telah membuktikannya dengan pertumbuhan perajin batik yang amat
pesat dan kini berkembang hampir di seluruh wilayah tanah air. Batik pun semakin masif
dipergunakan oleh rakyat Indonesia, bahkan tampil dalam berbagai panggung busana kelas
dunia. Batik telah mampu menjadi identitas nasional yang lintas daerah dan lintas etnis;
menjadi simbol pemersatu dalam kreativitas seni yang beragam.
Dalam rangka memperingati Hari Batik Nasional 2019, saya sangat menghargai upaya Yayasan
Batik Indonesia dalam mengungkapkan rasa kebangsaan dan kebanggaan terhadap warisan
budaya Indonesia ini, antara lain melalui persembahan buku ‘Batik Indonesia’. Buku ini sangat
enak dibaca, dibuat sederhana dalam dua bahasa, ringkas, mudah dimengerti, dan informatif
yang akan menarik untuk generasi muda Indonesia baik di dalam, maupun di luar negeri.
Perjalanan batik di Indonesia merupakan sebuah perjalanan panjang yang telah membuktikan
dedikasi para pembatik, seniman, dan juga industriawannya. Sudah sepantasnya semangat
melestarikan dan menghargai batik terus dihidupkan dengan berbagai cara yang edukatif.
Saya berharap buku ini dapat menjadi inspirasi bagi generasi muda Indonesia untuk terus
mencintai, memiliki, dan mengenakan batik-batik Indonesia dengan berbagai kualitas
yang disandangnya.
Untuk itu saya menyampaikan terima kasih, rasa bangga, dan penghargaan kepada semua
pihak yang senantiasa mendukung perkembangan dan pelestarian batik, juga kepada seluruh
perajin batik, pencinta dan pemerhati batik Indonesia yang tergabung dalam Yayasan Batik
Indonesia (YBI). Semoga batik Indonesia akan tetap memiliki citra positif di mata dunia,
berjaya, dan lestari sepanjang masa.
JOKO WIDODO
Chapter I
The evolution
of batik
The art of batik-making was born in the Javanese
palace grounds, a meditative craft done by the
women of the court. Batik artisans would fast and
pray for days before starting their batik practice.
It was thought that a stable mind and a stable hand
are what is required for the slow, elaborate process of
batiking. Batik embodies the royal tradition, our love
of aesthetics, and need for balance and spirituality.
Carrying us through every ceremony, from birth to
death, batik is an art form that encapsulates every
part of our lives.
8
Chapter I
Timeline:
History of Batik in Indonesia
1. Pre-Islam
Popular batik patterns, such as lereng, ceplok,
sidomukti and kawung, have been found on
statues in famous Hindu temples, like the
Prambanan, Singosari and Banon temples. They
have also been found in locations throughout
Indonesia that are heavily influenced by Hindu
traditions such as the Dieng area.
4. Mid-19th century:
The Development
of Stamped Batik
With the increasing widespread
demand for batik, a new technique
of making batik emerged, called batik
cap or stamped batik. Stamped batik
utilizes a stamping process and is 6. End of the 19th Century:
much faster than the original hand-
Education Spreads
drawn batik process, thus reducing
the cost of making batik. Throughout Indonesia
The implementation of the Dutch
Ethical Policy allowed Indonesians
to enter Dutch schools, leading to
the adoption of European manners
and dress by locals. This change was
most pronounced for men, for whom
Western-style clothing signalled
“progress” and “modernity.”
5. Colonial Era
During the colonial era, the VoC
(Dutch East India Company) issued
a regulation requiring that all natives
wear their traditional regional dress.
For example, the Javanese would
wear batik as jarit. Western-stye
clothing was restricted to only
Europeans and Christians.
10
Chapter I
9. Batik Uniform
In the late 70s and 80s, many government
offices required that all civil servants wear
batik to work, thus creating a market for
the mass-production of printed batik.
These days, the word “batik” has become
diluted. People have begun to forget that
batik refers to a specific technique using
hot wax, rather than just the motifs itself.
Printed textiles with batik motifs is not
authentic batik, for it does not use hot
wax.
7. The 1950s
In the 1950s, Sukarno created
“Batik Indonesia,” marrying the motifs of
court batik and the coloring process of
Javanese coastal batik. This concept
became popular among the finest batik
artisans of the time, including Ibu Soed,
with her famous “Terang Bulan” batik
collection, Ibu Sakrie, Ibu Setyowati,
and KRT Hardjonagoro (Go Tik Swan).
8. Ready-to-Wear
In the past, batik was strictly preserved in its
original form, as a rectangular cloth that was then
tied around the body. When Ali Sadikin entered
office as the governor of Jakarta, he established
batik as the official dress for all men in Jakarta.
Artisans started cutting batik into Western-styled
shirts and trousers. Batik became more than just
textile, it was used to style modern outfits and
home decor.
The Evolution of Batik
12
Chapter I
Exquisite Batik
13
The Evolution of Batik
14
Bab I
Chapter I
15
The Evolution of Batik
16
Chapter I
Batik in Indonesia
18
Chapter II
AUTHENTIC
BATIK
What is Batik?
When one hears the word batik, the first thing one
should imagine is the process of making batik, not just
the motifs. The official definition of batik according to the
Indonesian National Standard is that it is “a resist-dyeing
coloring technique using canting tulis (wax-writing stylus
with copper basin, bamboo/wood handle) or canting cap
(wax printing block) and hot wax.” Resist-dyeing is a type
of technique used to color fabric. When batiking, hot wax
is used to cover the parts of the fabric not meant to be
dyed, while the non-waxed parts absorb the dye. The wax
and dye process is repeated many times, until the desired
outcome is achieved. At each stage of the process,
all of the wax is removed and the motifs are refilled and
outlined to highlight its details. Overall, batik-making
is a very elaborate and intricate process.
“A resist-dyeing coloring
technique using canting
tulis or canting cap
and hot wax.
20
Chapter II
A Close Up Look:
How to Differentiate Between
‘True’ Batik and Printed Batik
Hand-drawn Batik
Hand-drawn batik (batik tulis) is created by inscribing hot wax onto fabric using a
canting, a wax-writing stylus with copper basin, bamboo/wood handle. In the past,
batik was drawn on both sides of the fabric. Now, most batik artisans prefer to
design only the front to reduce time and cost.
Characteristics:
The beauty of batik tulis is in
the slight imperfections: the
strong aroma of hot batik
wax, the size and shape of the
motifs are not precisely even,
color seeps through due to the
thinness of the streaks, and
the rough, yet elegant lines
outlining the klowong.
Stamped Batik
Stamped batik (batik cap) uses wax printing block called a cap to repeatedly
stamp designs onto fabric.
Characteristics:
The patterns found in
stamped batik are completely
monotonous; each stamp is the
same, creating evenly produced
patterns. It also uses hot batik
wax, the size and shape of the
motifs are always the same, the
main decorative patterns recur
uniformly, and there is a visible
shift in each repetition.
21
Authentic Batik
Combination Batik
Sometimes batik artisans use both a stamp and canting to enhance the design
process — the result is called combination of hand-drawn and stamped batik.
Characteristics:
Combination batik has the
characteristics of both hand-
drawn and stamped batik.
Usually, the main designs are
done with stamp, and the
details done by hand.
22
Chapter III
Batik
Technique
Tools for
Batik Making
1a. small skillet
2. canting tulis
(wax writing stylus with copper basin, bamboo/wood handle)
3. canting cap
(wax printing block designed for batik stamping)
4. batik wax
5. cotton/calico cloth
24
Chapter III
Other than canting, hot wax, and small stove, a batik artisan also needs
a low bench (dingklik) and a gawangan (a wooden goal-post construction)
to hang the cloth she is working on.
25
Batik Technique
Canting tulis consists of three parts: a bamboo/wooden handle (gagang), a copper basin to hold
the hot wax (nyamplung) and a spouted end (cucuk).
This is the klowongan step, during which hot wax is drawn on following a design outline.
26
Chapter III
1. 2.
Prepare the cloth for batik by washing, Mbathik/klowongan: with a canting,
starching and kemplong, a process of draw wax onto the cloth creating the
beating the fabric repeatedly to soften it. design outline.
3. 4.
Nembok: be sure to cover the parts of Medel: After the nembok stage,
the design meant to be left white with dip the fabric into blue dye.
hot wax.
27
Batik Technique
5. 6.
Whittling: scrape the wax off the fabric Mbironi: cover the parts that is already
in the areas intended to be brown. blue, as well as the pattern details with
hot wax.
7. 8.
Nyoga: dip the fabric in brown dye. Nglorod: steep the cloth in boiling
water to remove the rest of the wax
from the cloth.
28
Chapter III
1. 2.
To prep the table, first, lay a primary After the wax melts into
cloth on the table that will create a liquid form, dip the stamp
barrier between the table and batik fabric. about 1-2 cm deep into the
Meanwhile, heat the wax in the stove until hot wax.
it melts and reaches a temperature of
around 70 degrees Celsius.
3. 4.
Firmly press the stamp onto the cloth After the stamping process
until the hot wax seeps through to the has been completed, the fabric
back of the fabric. is ready to be dyed.
5.
Once the cloth has been dried from
the coloring process, boil the fabric,
a process called nglorod, to remove
the wax.
29
Batik Technique
30
Chapter III
This is the synthetic process of producing the color soga (dark brown).
31
Batik Technique
Rinsing the cloth after nglorod step, in which the wax is removed from the fabric.
32
Chapter III
Vegan and
Synthetic Coloring
There are two ways to color batik: vegan and synthetic dyes.
In the past, traditional batik dyeing process was simple and
only used one color combination: red-white (bang-bangan) or
blue-white (kelengan). These days, there are a number of vegan
and synthetic dyes to choose from.
33
Batik Technique
Vegan dyes tend to produce softer colors. This green color was created by mixing Terminalia belerica
fruit (yellow).
34
Chapter IV
A National
Identity
Who can deny that batik has become an international
symbol of Indonesian traditional heritage? It is no
exaggeration to say that batik has become an important
art form, respected in all corners of the world.
The popularization of batik is a result of the hard work
of key figures who paved the way to make batik what
it is today.
36
Make this map come alive!
To activate augmented reality,
follow the instructions at the end of the book.
Chapter V
Batik PATTERNS
throughout
Indonesia
Minangkabau
jambi
bengkulu
3. Batik Besurek
This type of batik was introduced by Arabs
and Indians in the 17th century to the
people of Bengkulu. The decoration is in
the form of Arabic calligraphy; in Bengkulu,
besurek means “letter” or “writing.”
palembang
4. Batik Laseman
Lasem batik is one of the most popular
types of batik found in Palembang.
This type of batik is heavily influenced by
Chinese culture and colored in shades
of red, blue, and white.
40
Chapter V
lampung
5. Kapal Naga
The Kapal Naga (dragon boat) is one
of the most popular ornaments often
found in tapis Lampung. This pattern was
created as an attempt to enhance the
local batik culture.
garut
6. Merak Ngibing
Merak Ngibing is a decorative scene that
shows a grooming peacock. This is not
the only ornamental pattern unique to
Garut. The pattern can also be found
in Madura or Indramayu.
Indramayu
7. Kain Sisihan
The original indramayu batik was
colored blue or dark red against a white
background. However, in the late 1800s,
a dark brown color was added along with
flower decorations and cotton leaves.
CIREBON
8. Mega Mendung
This is an ornamental pattern of Chinese
influence: clouds in shades of blue with a
red background. The clouds are drawn on
directly using a brush, and the background
is colored with a vat dye.
41
Batik Patterns Throughout Indonesia
CIREBON
Cirebon
Banyumas
42
Chapter V
PEKALONGAN
pekalongan
13. Jlamprang
(1890-1970)
Solo
43
Batik Patterns Throughout Indonesia
SOLO
Solo
Yogyakarta
Yogyakarta
44
Chapter V
Yogyakarta
TULUNGAGUNG
TUBAN
21. Lokcan
Lokcan was the term for ‘silk scarf’ in the
north coast of Java during early 20th century.
Common patterns are: cotton flowers, vines
and phoenix which are usually in toast-like
brown. Displayed is the Tuban lokcan on
hand woven cloth, in indigo.
Madura
22. Barna’an
Madurese batik usually has very
dense patterns, seen here is a pattern
which resembles a stacked surau roof
(a small mosque) that is bordered by
geometric shapes.
45
Batik Patterns Throughout Indonesia
MADURA
TORAJA
PAPUA
46
Proper
Batik Care:
How to Wash
and Store
47
To wash batik cloth that uses
organic dye, it is pertinent
that you use soapnuts soap.
48
The Indonesian Batik Foundation (YBI) was
established on October 28, 1994 by Mrs. Jultin
Ginandjar Kartasasmita, Mr. Ir. Firdaus Ali and
Mr. DR. Dipo Alam MEM. YBI with a social, cultural
and economic mission to preserve, protect, develop
and socialize national batik as a cultural heritage
and commercial enterprise of the Indonesian people.
Moreover, YBI promotes all community-based batik
businesses, wishing to improve the livelihoods of
traditional batik artisans and entrepreneurs
throughout Indonesia.
49
Acknowledgments
Jultin G. Kartasasmita
(The Indonesian Batik Foundation - Chairperson)
50
Appendix
Bibliography
Achjadi, Judi (ed.): Batik: Spirit of Indonesia. Jakarta. Yayasan Batik Indonesia. 1999.
Achjadi, Judi: The Glory of Batik. Jakarta. BAB Publishing. 2010.
Achjadi, Judi & Natanegara, E. A.: Tenun Gedhog: the Hand-loomed Fabrics of Tuban, East Java.
Jakarta. Media Indonesia Publishing. 2010
Achjadi, J., Kartasasmita, J. & Natanegara, E. A.: Dunia Batik Seorang Jultin. Jakarta.
Red and White Publishing. 2012.
Doellah, H. Santosa: Batik: Pengaruh Zaman dan Lingkungan. Solo. Danar Hadi. 2002.
Doellah, H. Santosa & Natanegara, E.A.: Perjalanan 50 Tahun Batik Danar Hadi. Solo.
Danar Hadi. 2017.
Hitchcock, M. & Nuryanti, W. (ed): Building on Batik: the Globalization of a Craft Community,
University of North London Voices in Development Management. London.
University of London. 2000.
Nordholt, Henk Schulte (ed.): Outward Appearances: Dressing State and Society in Indonesia.
Jakarta. KITLV Press. 1998.
Photo Credits
Courtesy of Danar Hadi. pp. 13, 14, 15, 16, 25, 26, 34 (above)
Photography by Timur Angin, Courtesy of Danar Hadi. pp. 5, 24, 30, 31, 32
Photography by Priyanto Parto, Courtesy of Danar Hadi. pp. 27, 28
Photography by Chris Bunjamin. pp. 17, 18
Photography by Rinal Wiratama. pp. 21, 22, 34 (below), 40, 41 (no. 5 & 8), 42 (no. 11),
43 (no. 13), 45 (no. 20), 46 (no. 23)
Cloth Credits
Courtesy of Museum Batik Danar Hadi. Cover,
pp. 43 (no. 12 & 14), 44 (no. 15 s/d 18), 45 (no. 19 & 22)
Courtesy of Ibu Tumbu A. Ramelan. pp. 40 (no. 3 & 4), 41 (no. 8), 42 (no. 11), 43 (no. 13)
Courtesy of Ibu Jultin G. Kartasasmita. pp. 41 (no. 6 & 7), 42 (no. 9 & 10)
Courtesy of Bapak Komarudin Kudiya. pp. 45 (no. 21), 46 (no. 24 & 25)
Courtesy of Ibu Damayanti Hakim Tohir. p. 40 (no. 1 & 2)
Courtesy of Ibu Rina Doddy. p. 46 (no. 23)
Courtesy of Yayasan Batik Indonesia. p. 41 (no. 5)
Courtesy of Yayasan Batik Losari. p. 34 (below)
51
How to activate the
augmented reality map (pp. 37-38)
1. This activity is only accessible through the
Facebook camera feature that is available on
the Facebook app on your smartphone.
52
Supported by:
53