BATIK ART CRAFT

Batik art craft in several places of Indonesia are still developed till now. It reflects the
fact that this national culture's identity can survive, and even becomes such a cultural code,
eventhough the globalization flow never stops forging it and brings free competition and
economic liberalization, batik should be taken into account among the national as well as
international community. One thing that primarily makes this achievement possible is the
durability of the batik itself that is well maintained by the progress of its supporting
community. This supporting people keeps racing and adapting with the dynamic of time
changing that might be particularly perceived as a job performance's progression. Meanwhile,
the durability itself reflects that batik art craft is still needed.
With regard to its history, the art of batik craft in this country can be divided into two
grouping categories that mainly based on the nature of their design and colour variations.
This classification was made during the Dutch era but still used till today. It determines the
two main groups of batik that distinguish one batik craft from the other, namely;
1. BATIK VORSTENLANDEN
Batik Vorstenlanden is batik art craft that is found in several keraton (Javanese
traditional monarchy) area. Which was called Vorstenlanden during the Dutch era and it
pointed to the two keraton-centric areas, namely Solo and Yogya. The design variations
of these Solo and Yogya's batik symbolize the influence of Javanese-Hinduism cultural
background, with its dominant colours: called sogan, indigo, (blue), black, and white,
2. BATIK PESISIR
What we call as Batik Pesisir (pesisir = coastal area) are all batik art craft that
origined from outside of Solo and Yogya or outside of vorstenlanden areas. Most of the
designs found on Batik Pesisir are naturalistic and show a strong foreign cultural
influence with various colour variations.
Based on the nature of these design and colour variations, batik art crafts that do
not come from coastal areas such as. Garut, Banyumas, Ponorogo and so forth are then
classified into Batik Pesisir group. It is because their batiks almost always have some-
thing similar in variation of colour and design. However, there are also some differences
found in colour's nuance that made to fit their own local tastes, natural condition and
social values.
Glancing at its design, technicolour, variation as well as its style, the outstanding
type of Batik Pesisir that still favored till today among others are batik of Indramayu,
Cirebon, Pekalongan, Lasem, Madura and Tuban. This writing will try to present various
designs and colour variation of the batik art craft found in those areas that are considered
as the representative of Batik Pesisir group.
BATIK CIREBON

The Cirebon area, located in the northern coast of Javanese Island and becomes the
border of West Java and Central Java provinces is a karesidenan (Residency) area that com-
prises Cirebon Municipality, Cirebon Regency, Indramayu Regency, Majalengka and
Kuningan Regencies. Cirebon Municipality used to be a busy harbour that was frequently
visited either by foreign ships or inter-island vessels within the Indonesian territory itself.
During the era of Walisongo, this municipality also used to be the dissemination centre for
Islamic teaching within its two famous prominent keratons (kingdom) called Kasepuhan and
Kanoman. Those two keratons' influence was sastrong th.at the people way of life in that era
was essentially directed by the keraton's hegemony (keraton centric), just as Solo and Yogya
with their stronger keraton centric culture that remain to be exist till present days.
As a harbour site, connections were made between the Cirebonese and other regions
as well as emigrants from various countries with their own respective cultures, beliefs and
values enabled Cirebon to have such a cultural assimilation, either acculturation or
interculturation that influence one each other. The strong trading relationship between
Cirebon and China, Arab and India (Hinduism) also resulted in cultural assimilation between
Cirebon and those foreign cultures. This cultural assimilation brings about heterogeneous
cultural forms into Cirebon cultural order. It is generally reflected in the performance of
Cirebon culture. For example, there are two royal carriages that symbolize the sovereignty of
its two keratons, i.e. Singa Barong in keraton Kasepuhan and Peksi Naga Liman in keraton
Kanoman. These two golden chariots that imagine some imaginary animals symbolize the as-
similation process between three cultures; Chinese, Arabic and Hinduism. Those imaginary
animals have lion-like pawn, dragon head and horn (it is called Liong in Chinese culture),
horse body and wings (known as Bouraq in Islamic culture), and mouth with elephant trunk
(known as Ganesha in Hinduism). The name Singa Barong is taken from the word barung
that means mixture, combination, while Peksi Naga Liman is derived from its combined per-
formance; Peksi (bird), Naga (liong=dragon), Liman (elephant). The performance of these
imaginary animals can be found in most of batik Cirebon as one of its design model.
Motif and design based on Arabic calligraphy (khat) and Middle East's geometric
design also can be found in many batik Cirebon's art craft. It does make a sense as Cirebon is
known as one of dissemination centre for Islamic teaching during the era of Walisongo,
particularly through the figure of Sunan Gunung Jati. The change found that Cirebon used to
be the dissemination centre of Islamic teaching in design of Singa Putih (white lion) in form
of white tiger which as the sovereign symbol of Pajajaran kingdom verifies (Hinduism).
Islamic influence has made changing on its face and it is often called as Singa Parsi (Persian
lion) design.
The influence of Chinese culture on batik Cirebon can be traced more specifically
from its history, especially from the marriage of Sunan Gunung Jati and Ong Tie (a Chinese
princess). During this marriage, many Chinese artistic articles brought from her origin
country, especially ceramics. Besides, she really concerned about the local culture. Thus,
Chinese culture influence seems more notable on Batik Cirebon design rather than on other
Batik Pesisir.
Besides influenced by Chinese, Arabic and Hinduism culture, Cirebon has its own
typical design called mega or awan-awanan (mega, awan = cloud). Anyway, its technicolour
and design still reflect its Chinese taste and style because many batik traders of Chinese
generation could be found in Cirebon at that time. Generally, the dominant colours of batik
sold by those Chinese traders are red, blue, green and white. These are actually the Batik
Pesisir representative colours.
Batik of keraton Cirebon also has symbolic design that mostly influenced by
Javanese-Hinduism culture (as what also can be seen on batiks of Solo and Yogya's keratons)
and shows its two types of batik keraton's design. The first type is the large and impressive
design that usually used by the punggawa (Javanese traditional court official) or abdi dalem
(court servant). The second type is the smaller but finer design that usually used by the
ningi'at people (people of high rank or upper class). For examples, Semen Rama, Sawat
Pengantin, Liris Seno, Patran and Lunglungan designs. The batik of keraton Cirebon also hias
Trisula design in form of three-sharp-pointed forked lance. These three sharp ends symbolize
the sharpness of intellectuality, sensitivity and strength, in addition to the Payung (umbrella)
design that is generally considered as a symbol of grandeur in most of Indonesian areas.
The Sawat, Lar and Parang designs indicate that Batik Cirebon has a culture relation
with Solo and Yogya. Lereng Areuy (Garut) and Liris Patran Kembang (Cirebon) designs
show the Batik Cirebon relationship with Garut area while Kapal Kandas, Lengko-lengko and
Obar-abir design that look similar to Batik Indramayu design indicate its relationship with
Indramayu and other neighbor areas.
Geographic location of Cirebon as a coastal area also inspires its design to be closely
related to the sea realm designs such as Ikan (fish), Udang (shrimp), Ganggeng (algae),
Rumput Laut (seaweed) or Kapal Keruk (dredger). Furthermore, there are also designs that
reflect Cirebon nature condition such as Patran, Wadasan (rock), Mega (cloud) and Utah-
utahan designs. These designs often found on a piece of Batik Cirebon as filler or
complementer. Patran design even becomes a very representative design of Batik Cirebon al-
though the word Patran itself has an unclear literal meaning. It illustrates creeping plants as
can be seen in Patran Kangkung (a kind of leafy-creeping vegetable) and Liris Patran
Kembang (kembang = flower) designs. Wadasan design describes the rocky hill in Arum
Sunyaragi Park located in the Cirebon suburb. This type of design is frequently used as the
filler design in most of Batik Cirebon that looks like a painting, on batik Taman Arum
Sunyaragi, Singa Barong and Gedongan Sunyaragi for instances.
The design that describes the rain carrier, which is hardly expected for fertilization
and life sustaining, is reflected in Awan-awanan or Mega designs. It does contain gradated
colours starting from dark blue to light blue that sometimes ranges from nine to eleven
nuances. The dark blue colour symbolizes the dark cloud that contains rain and provides life
resource as well, while the light blue symbolizes the enlightening life. This colour gra dation
is a Chinese influence that also can be seen in other designs such as Wadasan and Utah-
utahan.
Taking its surrounding nature for design is the special feature of Batik Cirebon. It
often depicts the folk tales, beliefs or views of the local people and generally has an ivory
colour background. Ivory colour is considered as Cirebon typical colour and also known as
the yellow of Cirebon (ecru). The environment as design can also be found in batik Ayam
Alas Gunungjati (symbol of Islamic teaching dissemination from Gunungjati hill) and Pusar
Bumi (describes a crater at the top of Gunungjati that is considered as centre of the universe),
in addition to batik Taman Arum Sunyiaragi (symbolizes ah aromatic park where the soul and
universe are united to get closer to the Creator) and Gedongan Sunyiaragi! It also can be
found in batik Supit Urang, also known as Urang Ayu (illustrate a woman in form of shrimp,
holding a three-pronged spear that invites various interpretations), Kapal Kandas (stranded
ship) or Kapal Labuh (symbolizes the toughness in facing a complicated life and gain
achievement), Kapal Keruk (symbol of knowledge seeking spirit), Piring Aji and Piring
Selampad (inspired by the Chinese porcelain arrangement as the keraton and Gunung Djati
castle's wall decoration), Simbar Kendok and Simbar Menjangan (in form of tough creeping
plant that symbolizes strength and tenacity).
BATIK INDRAMAYU

This area is geographically located in northern part, beside Cirebon at along the north
coast (known and abbreviated as pantura), and even become one of the regency and included
into Cirebon Residency. Thus, its social life and nature conditions are not far different from
Cirebon. The social and moral •values as well as cultural identity held by these Indramayu
people are almost similar to the Cirebon's, including their daily language that is known as
Dermayon-Cerbon. This language becomes a communication media among the people. The
differences between Cirebon's and Indramayu's, if there is any, only found in dialect or accent
and some nonbasic terminologies. As maritime regions, Indramayu and Cirebon are certainly
quite open to any contact with foreign culture. Thus the Indramayu's social values seem easy
to change and its people seem familiar with that situation.
This condition is allowed since Indramayu is not too much depended upon the keraton
centric culture like Cirebon, Solo or Yogya. Consequently, its people-based values as well as
its folk culture is dominant compared to Cirebon that used to be strongly influenced by
keraton centric culture.
In spite of the fact that Indramayu and Cirebon can not be basically distincted from
culture, natural condition and social value's point of view, they are essentially different in the
art of batik craft. Besides for the different natural condition, style and taste reasons. Other
reason is because Cirebon strongly influenced by keraton centric culture while Indramayu
does not. Indramayu people are more dynamic and egalitant. Apart from those differences, as
neighboring regions, it can not be denied that there are many resemblances found in the art of
batik designs of these two north coastal regions. This can be examined in Obar-abir or
Ngobar-ngabir (banner's fluttering) design for instance. The Cirebonese people recognize it as
Lengko-lengko design.
The Chinese and Arabic cultures has dominated Indramayu as well as Cirebon's
culture for such a long time. Regarding with the art of batik craft, the Chinese influence in
Indramayu may be retrieved Burung Hong, Banji designs and the alike. In the past time, those
Chinese people used to be such a great community in Indramayu. Most of them, just like in
Cirebon, become traders of the well-known and high quality Batik Dermayon. They wore it
or sold it mainly to Sumatra and some other places. Batik sold by those Chinese traders are
usually have various designs in form of Chinese culture's symbolic signs, the batik Lok Chan
for instance. These Chinese culture symbolic designs consist of single nuanced dark colour
upon the similar but lighter colour. Nevertheless, the special features of Batik Dermayon,
such as the simplicity of isen-isen (the space filler design), cocohan (very small dots) and
plain background are still found on these batik clothes. Batik has been used as sarong,
wraparound, pants and tokwi (Chinese praying desk's cover) by the Chinese community since
long time ago.
Meanwhile, the Islamic culture influence towards the art of batik Indramayu can be
seen on batik Sawat Riweh design which is full of Arabic calligraphy, in addition to the
Middle East geometric design. Si Juning, Pintu Raja and Kembang Kapas are the famous and
favored design models, particularly for they illustrate the harmonic combination between
Chinese and Islamic cultures.
Besides influenced by foreign cultures, the art of batik Indramayu is also influenced
by the Vorstenlanden areas (Yogya and Solo). These influences can be seen at least on Sawat
or Lar and Parang designs. They are known as Liris in the Vorstenlanden areas. In the making
process, however, those influences are made to fit the local taste and style as illustrated in
Rama and Liris designs, meanwhile the effect of Indramayu and Garut relationship can be
seen in Merak Ngibing design that in Madura is called as Fajar Menyingsing design. Just like
the batik clothes of other areas, batik of Indramayu also has its own specific features that is
particularly influenced by its natural environment. Its technicolour as well as design are
strongly limited to dark blue or black, dark red, yellowish or reddish brown. According to the
local batik craftsman information, the nuance of this brown colour depends on the
comparison of mangkudu (small tree the root of which produces dyes) and mahoni that are
used to. produce this colour. The batik craftsman in this area does not familiar with sogan
since the water salinity level of this region is considerable high. Thus the The batik craft's
designs and technicolour of this fisherman territory are very much influenced by its
surrounding flora and fauna. For example, Jarot Asem (tamarind fruit), and Dara Kipu
designs. Some of these designs are also dominated by the realm of sea such as Ganggeng,
Urang Avu, Iwak Etong, Sawat Gunting, and so on. These designs show the dynamic and
sensitive people-oriented culture of the Indramayu community that automatically introduces
the art of Indramayu batik as batik of people/society. In addition, there is no certain rule that
describes the association between the type of wearing batik and than social status. This fact
then affirms that batik of Indramayu as batik of the people does not discriminate people by
using its type of design and technicolour. It also indicates that, inspite of that Indramayu is
part of Cirebon Residency with its two famous keratons, the Indramayu social life order does
not give an impression of keraton-centric cultural influence.
 However, some specific designs on the art of Indramayu batik crafts do considerable
have specific meanings. For example, Kapal Kandas (the Stranded Ship) is later often called
as Kapal Lajit (the Speedy Ship) to give such a better hope on everything. Sawat Riweh that
is full of Arabic calligraphy means the tenacity and perseverance in achieving the goals. Si
juring or juring-juring (ventilation) that means refresher for immediate recovery of the sick
people. Bangun Tulak, for exorcism ritual, with dark blue or black background and white
designs means the effort of misfortune warding off. Pacar Cina describes a kind of small-
quadrangled traditional snack made of flour boiled with sugar and coconut milk. Alam Laut
illustrates the sea themes such as Iwak Etong or Ikan Trubus and Sawat Gunting (scissors-
shaped seashell). Jenderal Pesta (Fiesta General) illustrates the Governor General of the
Dutch colonialism era who was celebrating the coronation of the Queen Wilhelmina;
Lambang Golkar (Golkar's (group of functionaries) symbol) describes the local people's
sensitivity towards their contemporary condition (just like in the Jenderal Pesta).
BATIK PEKALONGAN

Pekalongan is located in western part of Central Java, next to Tegal and Cirebon.
What makes its batik art craft special is that the batik craftsmen of this area always create
such a new design models following the contemporary style. Besides, they continually make
batik to fit the taste, style and natural condition of their respective customer in creating such a
specific feature. During the Japanese occupation for instance, they created batik Jawa
Hokokai with similar design and technicolor to Japanese kimono. The special feature of this
Jawa Hokokai batik was known as pagi-sore (morning and afternoon). This term appeared
because people had to live economically: there were two side-by-side designs on one cloth.
The darker colour is used in the afternoon while the lighter one in the morning time. In the
year of 60's batik of Pekalongan was made using the Trikora design in accordance with the
national event of Irian Barat liberation.
Anyway, batik art craft in Pekalongan (as well as in the neighbouring regions such as
Pemalang, Kaliwungu, Batang) has become a primary means of livelihood for its people. One
of the well known batik art craft of Pekalongan is called as batik Encim that is dominated by
exotic colours such as purple, pink, light green and so on.
BATIK LASEM

In activity of batik art craft, Lasem is different from Pekalongan where people
producing batik for their livelihood, in Lasem, a remarkable batik enclave, doing batik work
is mostly considered as a side job in addition to farming as the primary means of earning life.
At first glance, a number of Batik Lasem's designs and technicolour remind us of batiks from
Indramayu, Cirebon, Madura and even Jambi. It is possible for there was a significant
commercial relationship among those regions. By means of business relationship, those
regions each other influence their different cultural codes. It is quite understandable if batik
art craft of these areas do influence one each other either in design and colour. Anyway, each
of those designs keep having their own specific taste, style, and utility that reflect their own
respective origins.
Batik Lasem is favored especially in West Sumatra, Palembang, Jambi and North
Sulawesi. For this reason, the batik craftsmen of Lasem always make ilustration designs that
fit the different taste of their customers. In this case, it is applicable as well for batik of
Pekalongan. Batik Lasem is widely known for its thought-fulness in refitting as well as
redesigning to meet the customers' different taste and style.
Lasem frequently functions as the dyeing place for other place of batik works. For
example, Batik Gondologiri of Solo is dyed in Lasem for its red color. Batik Tiga Negeri was
dyed in Lasem for its red colour, in Solo for sogan and in Pekalongan for blue colour. There
are two locations named Kauman and Suditan in Lasem where batik sogan is made with red,
blue and green technicolour. This is batik of the people with indigenous taste and known as
Batik Kendoro-kendiri. In other part of Lasem, Baganan, there is also other particular design
that they call as Tutul design. Other special characteristic of Batik Lasem is usually seen at
tumpal or batik's upper design in form of pucuk rehtn? (bamboo sprout) that is filled with
various Chinese-look designs such as Banji, Kilin, Burung Hong (Hong Bird), Kupu-kupu
(Butterfly) and so on. Batik Lasem rarely use tumpal buket (bouquet tumpal), but Batik
Encim Pekalongan do otherwise. Just like in Cirebon and Indramayu, the making process of
high quality and refined batik in Lasem is also managed by the batik traders of Chinese
descent who employ the qualified and fixed craftspersons.
BATIK MADURA

Madura is an island located in the eastern part of East Java. Besides famous for its
karapan sapi (bull racing), it is also known for its typical batik art craft. Local people even
believe that the activity of batik processing has being started more or less since 210 years
ago. It was initiated by a merchant from the coastal area in Pekalongan who later got married
and lived in Madura. Batik art craft in Madura spreads to some regencies such as Sumenep,
Bangkalan, Pamekasan and Sampang. It formerly done by woman, wife of the fishermens,
while her husband went sailing for several months (just like in Indramayu). For those women,
doing the batik works is not sim-plv to kill the time, but also to earn money to support the
family financial resouce while their husbands away on the sea. The state of being lonesome
and wait on and on had inspired them to create designs that reflect their psychologic
condition. The birds design for example, describes the husband who is far away from home
as fisherman or is wandering to other distant places. Tase Malaya (the Malayan Sea) design
with wavy lines design expresses the wives who were imagining their husbands sailing to
Malaya.
In addition, there are also designs showing the life of Maduranese people who like to
go fishing to the sea. Apart from the sea realm designs that describe plant and animal of the
sea treasure, there is also design showing the fish scales and other items closely related to the
maritime realm. Out of 96 designs of this Maduranese batik, Tase Malaya is the most
representative one since it generally illustrates the life background of Maduranese people, in
addition to Sekar/agat, Sapu Jagat, Sesek Bei, Purik Ramo, Ji Panji, Adzan Sakera, Daun
Nimba, Ceremei, Banglan, Seret, et cetera.
From a number of batik types, Batik Tanjung Burnt from Bangkalan is the most
popular one because it is considered succeed the function as guardian of traditional design.
Meanwhile, Batik Sumenep, Pamekasan and Sampang to produce batik with market-oriented
designs. Batik of these regions-are also derived from Batik Tanjung Bumi Bangkalan. Batik
Sampang and Pamekasan particularly have dominant colour order. We can say that they are
almost similar to Solo-Yogya's colour arrangement; tend to be brownish of sogan colour,
dark blue or black and white.
Batik Madura also has its own typical characteristic that has a role in determining its
quality This characteristic appears in form of Guri (oret-oretan or doodle) design. It is used as
background or tanahan in addition to Isen-isen (empty-space filler) that is also found in other
areas. Guri is sometimes also employed as isen-isen in batik Madura, just like in Sekar Jagat,
Sibasi and Topa Saseba batik clothes. The quality of a batik cloth is laid on the number of
Guri and the way it is made. There are numerous Guri designs that depict the items which
people familiar with. Trasi design, for example, and various sorts of plant. If there are several
types of Guri found on a batik cloth of Madura, then it is named based on Guri of the
dominant type. Yet, there is an exception. Although it has many Guri on it, it is sometimes
not called based on the Gun's name, for examples, Sekar Jagat, Tase Malaya, Fajar
Menyingsing, and Semarang Jauh. These names are merely based on the craftsman
imagination.
Just like the batik pesisir of other regions, Batik Madura designs aren't free from Batik
Vorstenlanden (Solo and Yogya's) influence. Sawat or Lar design, for instance, in batik of
Madura is called as Sabet Rantay (sabet=sawat), Sabet Kraton or Pisang Ball. Batik Madura
designs also have similarities with batik craft of other coastal areas such as Indramayu,
Cirebon, Pekalongan, Lasem and even Jambi, as a side effect of business connection that
brought cultural interaction with it. Fajar Menyingsing design, for example, is in fact similar
to Merak Ngibing of Indramayu and Garut that have been suited to style and taste of typical
Madura. Batik Madura's technicolor also shows its correspond with Batik Lasem particularly
for bangan, kalengan and bang-biru (Maduranese calls itkamongan) colours, although the
colour combination in Madura looks more progressive and lively. Its difficult nature
condition somehow strongly influences characteristic of the determined and brave
Maduranese people. This Maduranese people characteristic automatically reflected in the
bright and loud colours with its large, strong and firm designs. It is not surprising if the
primary colours of Maduranese batik craft are dominated by red, red or purple, dark blue,
dark green, black and white. Referring to how it was created, batik of Madura is generally not
as fine as Javanese batik.
BATIK TUBAN

Tuban as one of regential towns in northern coast of East I Java is mostly populated
by fishermen and farmers. Be sides having such a great potency to supply salted fish and
terasi (condiment made of pounded and fermented shrimp or small fish), Tuban may also be a
potential tourism destination. In addition to its seashore, Tuban has Mesjid Agung Tuban
(Tuban Grand Mosque) in where we can find the grave of Sunan Giri, one of the famous Wali
Songo, the nine Islamic teaching disseminators in Java. Also, there is mythology about
Ronggolawe, a very brave battle commander whom the Tuban people very proud of, and a
Kelenteng (Chinese temple) which is said to be the one and only Kelenteng in Asia that looks
out on the sea. Besides those mentioned tourism objects, it is irrefutable that Tuban is one of
the potential places for batik craft activity. In this matter, Tuban is famous for its Batik Tulis
Tenun Gedongan that mainly created in Margorejo village, more or less 28 km towards
southwestern of Tuban town. The villagers consider batik activity as their secondary job after
farming as the primary means of earning life. Apart form Margorejo village in Kresek
subdistrict, Gaji, Kedungrejo and Karanglo villages also produce Batik Tulis Tenun
Gedongan. According to the local people, the word gedog is derived from the 'gedog' sound
produced by the spinning wheel itself.
The designs found on Batik Tulis Tenun Gedogan have typical motif of coastal area
such as Bunga Laut (coral) in any of its variations that always appear in every batik. This
Bunga Laut design is certainly a reflection of Tuban geographical location as well as its
natural condition. The Tuban people who is close to the sea definitely love and familiar with
various sea-world flora and fauna designs. It gives such an inspiration to the Tuban batik
craftsmen to express it on Batik Tulis Tenun Gedogan. The specific designs of this batik tulis
are Guntingan, Kapsaan, Campur Sari, Kembang Waluh, Ganggeng, and Danjiori. Apart
from those designs, sometime the batik makers have to fulfill the need of the buyer. The
designs on Tuban's Dharma Wanita (the wives of civil servant organization) uniform, for
example, has been made to fit its organizational need.
Other characteristic of Batik Tulis Tenun Gedogan is its coarse material as well as
'dirty' technicolour. Besides the whole traditional making process, the cotton small beads that
derived from traditional spinning method has emerged such a specific texture on this batik.