changes in style, motif and color which have come about through
exposure to various foreign cultures. Throughout Indonesian history,
each time the rich batik tradition has come into contact with
foreigner traders or colonial rulers, they have influenced the
development of batik. Some of the more famous results are described
below:
Batik Kraton
Batik Kraton is regarded as the basic batik of Java. It is rich in
Hindu-influenced motifs that have influenced the courts of Java since
the 5th century, and later on influenced by the culture of Islam. The
Hindus introduced the sacred bird - Garuda, the sacred flower - lotus,
the dragon - Naga and the tree of life. Islam, since it forbids the
depiction of humans or animals, brought stylized and modified
ornaments as symbols, i.e., flowers and geometric designs.
As a specific attire in the dress code of the courts of Java, Batik
Kraton is easily recognized through its sub-divisions, Batik Kasunanan
Surakarta, Batik Kasultanan Yogyakarta, Batik Pura Mangkunegaran and
Batik Pura Pakualaman. Over time, changes and modifications
distinguished Batik Mangkunegaran from Batik Kasunanan, even though
both originated from the same source. Batik Pakualaman, from the city
of Yogyakarta, originated from both Kasunan and Kasultanan design
traditions and is more unique because the whole process was completed
in Surakarta.
Batik Belanda
Even though Chinese traders arrived earlier in Java than the
Europeans, their influence on batik was evident in a later period.
Batik Belanda, literally Dutch Batik, appeared as early as 1840,
decades before the appearance of Batik Cina, Chinese Batik. Records
show that European settlers on the northern coast of Java started
their batik producing activities in the mid-19th century. They
pioneered a new era of international enrichment which is still visible
in modern day Indonesian batik. Reaching its peak of creativity in
1890-1910, Batik Belanda is clearly recognized through various works
of arts named after the great designers. Amongst the most famous of
these are Batik Van Zuylen from Elize Charlotte van Zuylen, Batik Van
Oosterom from Catharina Carolina van Oosterom, Batik Prankemon from
Carolina Josephina von Franquemont, Batik Metz from Lies Metzlar,
Batik Yans from A.J.F. Yans, and Batik Coenrad from Coenrad of
Pacitan, East Java.
Batik Cina
Highly influenced by the Chinese culture, emerging decades after Batik
Belanda, Batik Cina is easily recognized by the vast range of uniquely
Chinese motifs including, dragons, phoenix, snakes, lions, traditional
Chinese flowers and designs taken from chinaware. It is also easily
recognized through its bright as well as pastel colors. In its effort
to penetrate the Surakarta and Yogyakarta markets, Batik Cina appeared
in two derivatives, Batik Dua Negri and Batik Tiga Negri, processed in
the north coastal Pesisiran, Surakarta and Yogyakarta in Central Java.
Batik Cina is still in production in the coastal cities of Pekalongan
(Oey Soe Tjoen in Kedungwuni), Cirebon, Kudus and Demak. Batik Hokokai
Especially designed for the Japanese during the period that the
Japanese occupied Indonesia (1942-1945) the specific designs of Batik
Hokokai, which appealed to Japanese tastes, attracted Chinese
consumers in Java and Malaya as well. Highly influenced by Japanese
design in motifs and coloring, fine intricate backgrounds enhanced the
appearance of beautifully designed flowers. Batik Hokokai was mostly
styled as Kain Pagi Sore batik with the colors and patterns different
on each half of the fabric length. Favorite motifs included Parang and
Lereng.
Batik Indonesia
Freedom from Dutch colonial rule introduced new designs to Indonesian
batik. In the early 50s, President Soekarno encouraged the creation of
a new style of batik, popularly called Batik Indonesia. A symbiosis
between various styles of batik, especially of the principalities of
Yogyakarta and Surakarta and the north coast of Java, which still
utilized soga brown as the basic color, Batik Indonesia was developed
utilizing bright colors. Some appeared in a totally new design, i.e.,
Cendrawasih, Sruni, Sandang Pangan, Udang, while still using the
traditional processing system. Batik Indonesia is also called Batik
Modern.
Batik Sudagaran
An important genre in the development of batik, Batik Sudagaran
emerged as early as the end of the 19th century in the principalities
of Surakarta and Yogyakarta. Produced by sudagar or batik merchants,
it is easily recognized through the modified classic ornaments styled
to the taste of the merchants. Some of the popular creations are the
patchwork style Tambal, Parang with the insertion of snail-like
motifs, Lereng filled with extra fine spirals called Ukel and Semen
that shows high quality workmanship.
Batik Pesisir
The distinctive designs of batik pesisir are those from the northern
coastal cities of Java, including Pekalongan and Cirebon. The designs
show Chinese influence through their use of brighter colors, flowers
and cloud motifs.
Sources : expat
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