Batik plays multiple roles in the culture of Indonesia. The wax resist-dyeing technique has been used for centuries in Java, and has been adopted in varying forms in other parts of the country. Java is home to several batik museums.
On 2 October 2009, UNESCO inscribed written batik (batik tulis) and stamped batik (batik cap) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia. Since then, Indonesia has celebrated a Batik Day () annually on 2 October. In the same year, UNESCO recognized education and training in Indonesian Batik as a Masterpiece of Oral and Intangible Heritage of Humanity.
History Ancient to early modern periods
The art of batik is most highly developed in the island of Java, although the antiquity of the technique is difficult to determine since batik pieces rarely survive long in the region's tropical climate. The Dutch historians Rouffaer & Juynboll argue that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. The similarities between some traditional batik patterns with clothing details in ancient Hindu-Buddhist statuaries, for example East Javanese Prajnaparamita, has made some authors attribute batik's creation to Java's Hindu-Buddhist period (8th-16th century AD). Some scholars however object that mere similarity of pattern is not conclusive of batik, as it could be made by a number of non-related techniques. Further, as the word "batik" is not attested in any pre-Islamic sources, there is also the view that batik only flourished at the end of Java's Hindu-Buddhist period, from the 16th century onward following the demise of Majapahit kingdom.
The oldest physical Javanese batik piece to have survived so far is a 700 year old blue-white valance in the private collection of Thomas Murray. The batik's quality and early Majapahit period carbon-dating suggest that sophisticated batik techniques already existed at the time, but competed with the more established ikat textiles. Batik craft further flourished in the Islamic courts of Java in the following centuries.
Modern period
Batik technique became more widely known (particularly by Europeans) when Javanese batik was described for the first time in Thomas Stamford Raffles's 1817 The History of Java, which also marked the beginning of collecting and scholarly interest in batik traditions. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Examples were displayed at the Exposition Universelle at Paris in 1900. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands.
In the 19th to early 20th century, Dutch Indo–Europeans and Chinese settlers were actively involved in the production and development of Javanese batik, particularly pesisir "coastal" batik in the northern coast of Java, especially developed in Pekalongan City, Batik Elhasiq. They introduced innovations such as (copper block stamps) to mass-produce batiks, synthetic dyes which allow brighter colors, and new patterns which blended a number of cultural influences. Several prominent batik ateliers appeared, such as Oey Soe Tjoen and Eliza van Zuylen, and their products catered to a wide audience in the Malay archipelago (encompassing modern Indonesia, Malaysia, and Singapore). Batik skirts and sarongs for example were widely worn by indigenous, Chinese, and European women of the region, paired with the ubiquitous kebaya shirt. Batik was also used for more specialized application, for example peranakan altar cloth called 桌帷 tok wi. It is in this time period that the influence of Javanese batik spread. In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English merchants. It was subsequently modified by local artisans with larger motifs, thicker lines, and more colours into what is now known as African wax prints. Modern West African versions also use cassava starch, rice paste, or mud as a resist. In the 1920s, Javanese batik makers migrating to the eastern coast of Malay Peninsula introduced batik production using stamp blocks.
Many traditional ateliers in Java collapsed immediately following the Second World War and Indonesian wars of independence, but many workshops and artisans are still active today creating a wide range of products. They still continue to influence a number of textile traditions and artists. In the 1970s for example, batik was introduced to Australia, where aboriginal artists at Ernabella have developed it as their own craft. The works of the English artist Thetis Blacker were influenced by Indonesian batik; she had worked in Yogyakarta's Batik Research Institute and had travelled in Bali.
Types
As each region of Indonesia has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, 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). Batiks which do not fall neatly into one of these two categories are classified by their region. A clustering of batik designs from all parts of Indonesia by degree of similarity indicates a history of cultural assimilation.
Javanese batik
Inland batik
Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest batik tradition in Java. Inland batik has an earth colour such as black, indigo, brown, and sogan (a yellow 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. (in Indonesian) Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has a sogan background and is used by the Susuhunan and Mangkunegaran Courts. Batik Jogja typically has a white background and is used by the Yogyakarta Sultanate and the Pakualaman Court.
Coastal batik
Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batik has vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura; out of these, Pekalongan has the most active batik industry.
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 the early 1940s, 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. Common Hokokai motifs include Japanese cherry blossoms (sakura), butterflies, and chrysanthemums.
An example coastal batik called tiga negeri ([batik of] three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik is dyed in red, blue, and sogan dyes respectively. As of 1980, tiga negeri was only produced in one city.
Cirebon-Indramayu batik
Cirebon-Indramayu Javanese batik is a traditional cultural Cirebon and Indramayu Javanese-style of batik. The batik is native to the northwestern coastal region of the Indonesian island of Java, specifically within the Western Java cities of Cirebon and Indramayu. Cirebon-Indramayu Javanese batik is one of the indigenous Java-origin batiks; it is well-known for its vibrant colors and distinctive motifs that reflect the rich cultural heritage of the Javanese people in Cirebon and Indramayu.
Since 2021, as part of Indonesia's cultural heritage preservation efforts, the Government of Indonesia, through the Ministry of Education, Culture, Research, and Technology, has initiated the digitization and official inscription of Cirebon and Indramayu batik as an element of the nation's intangible cultural heritage. The designation identifies Cirebon and Indramayu as the associated geographical indication, it is protected under national laws.
Sundanese batik
So-called Sundanese or Parahyangan Batik is made in the Parahyangan region of West Java and Banten.Pradito, Didit; Jusuf, Herman; Atik, Saftyaningsih Ken (2010). The Dancing Peacock: Colours and Motifs of Priangan Batik. Jakarta: Gramedia Pustaka Utama. . Page 5 Baduy batik only employs indigo in shades from bluish black to deep blue. It is traditionally worn by Outer Baduy people of Lebak Regency, Banten as iket, a type of Sundanese head-dress similar to the Balinese udeng. 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 have been identified.Uke Kurniawan, Memopulerkan Batik Banten , haki.lipi.go.id, accessed 4 October 2009
Malay batik
Trade between the Melayu Kingdom in Jambi and Javanese coastal cities has 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 produces batik Jambi. Batik Jambi and Javanese batik influenced the Malaysian batik.National Geographic Traveller Indonesia, Vol 1, No 6, 2009, Jakarta, Indonesia, page 54
The batik from Bengkulu on the west coast of Sumatra is called batik besurek, meaning "batik with letters, calligraphic batik" as it draws inspiration from Arabic calligraphy.
Minangkabau batik
The Minangkabau people of West Sumatra produce batik called batiak tanah liek (clay batik). This uses clay as dye for the fabric. The fabric is immersed in clay for more than one day and then inscribed with motifs of animals and plants.
Balinese batik
Batik making in the island of Bali is a relatively new but fast-growing industry. Many patterns are inspired by local designs. Motifs include objects from nature such as frangipani and hibiscus flowers, birds, and fishes; daily activities such as Balinese dance and ngaben processions; and mythological creatures such as barong, kala and winged lions. Modern batik artists express themselves freely in a wide range of subjects.
Contemporary batik is not limited to traditional or ritual use in Bali. Some designers promote Balinese batik as an elegant fabric. High class batik, like handmade batik tulis, can denote social status.
Madurese batik
Madurese batik is a traditional cultural Madurese-style of batik. Native to the easternmost coastal region of the Indonesian island of Java and Madura, Madurese batik is one of the indigenous Eastern Java-origin batiks. It is well-known for its fusion (both earth tone and vibrant) colors and distinctive motifs that reflect the rich cultural heritage of the Madurese (incl. Pendalungan Madurese and Bawean Madurese) people in eastern part of Java, Madura, and Bawean.
Since 2013, as part of Indonesia's cultural heritage preservation efforts, the Government of Indonesia, through the Ministry of Education, Culture, Research, and Technology, initiated the digitization and official inscription of Madurese batik as an element of the nation's intangible cultural heritage. The designation identified Madura (and East Java in general) as the associated geographical indication, and protected it under national laws.
Culture