Kamis, 20 September 2012
Kamis, 10 November 2011
Senin, 22 November 2010
Batik Tulis Merah Kupu
kode batik : FN-0025
bahan kain : katun
warna : merah
ukuran : 115 x 200 cm
harga : Rp 215.000,- (belum termasuk ongkos kirim/kami menggunakan jasa pengiriman TIKI)
uraian : batik tulis
cara pemesanan :
1. sms ke 0852 212 55 222 dengan format : INFO.(kode batik).(nama pemesan).(alamat lengkap).(no hp)
contoh : INFO.FN-0025.yulia irani.jl a yani no 63 kab garut.081234567890
setelah mengirim sms maka akan mendapat pesan dari pengelola yang mengabarkan jumlah rupiah yang harus ditransper dengan rincian harga batik yang dimaksud dan ongkos kirim ke alamat. contoh : kode batik FN-0025 harga termasuk ongkos kirim ke kota anda adalah sebesar Rp 225.000,- Silakan transper ke No Rek Mandiri 131-00-123456 (contoh, no rek sebenarnya akan diberitahukan melalui sms)
2. Setelah mendapat sms tersebut, segera transper dan lakukan konfirmasi melalui sms dengan format : TRAN.(kode batik).(nama pengirim).(jumlah transper).(bank).(tanggal dan jam transper)
contoh : TRAN.FN-0025.yulia irani.225000.mandiri.20-11-2010 11.20
3. Setelah kami cek, maka kami akan segera mengirimkan pesanan anda melalui TIKI, anda akan segera menerima pesanan anda.
Terimakasih telah berbisnis dengan kami
Dobby Super Hijau
kode batik : FN-0515
bahan kain : dobby super
warna : hijau
ukuran : 115 x 200 cm
harga : Rp 165.000,- (belum termasuk ongkos kirim/kami menggunakan jasa pengiriman TIKI)
uraian : batik tulis cetak
cara pemesanan :
1. sms ke 0852 212 55 222 dengan format : INFO.(kode batik).(nama pemesan).(alamat lengkap).(no hp)
contoh : INFO.FN-0515.yulia irani.jl a yani no 63 kab garut.081234567890
setelah mengirim sms maka akan mendapat pesan dari pengelola yang mengabarkan jumlah rupiah yang harus ditransper dengan rincian harga batik yang dimaksud dan ongkos kirim ke alamat. contoh : kode batik FN-0515 harga termasuk ongkos kirim ke kota anda adalah sebesar Rp 172.000,- Silakan transper ke No Rek Mandiri 131-00-123456 (contoh, no rek sebenarnya akan diberitahukan melalui sms)
2. Setelah mendapat sms tersebut, segera transper dan konfirmasi melalui sms dengan format : TRAN.(kode batik).(nama pengirim).(jumlah transper).(bank).(tanggal dan jam transper)
contoh : TRAN.FN-0515.yulia irani.172000.mandiri.20-11-2010 11.20
3. Setelah kami cek, maka kami akan segera mengirimkan pesanan anda melalui TIKI, anda akan segera menerima pesanan anda.
Terimakasih telah berbisnis dengan kami
Rabu, 09 Juni 2010
About Batik
Batik (Javanese pronunciation: [ˈbate?]; Indonesian pronunciation: [ˈbaːtik]; English: /ˈbætɪk/ or /bəˈtiːk/) is a cloth that traditionally uses a manual wax-resist dyeing technique. Due to modern advances in the textile industry, the term has been extended to include fabrics that incorporate traditional batik patterns even if they are not produced using the wax-resist dyeing techniques. Silk batik is especially popular.[citation needed]
Javanese traditional batik, especially from Yogyakarta and Surakarta, has special meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are only available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch culture. In the colonial times pesisir batik was a favorite of the Peranakan Chinese, Dutch and Eurasians.[citation needed]
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.
Batik or fabrics with the traditional batik patterns are also found in several countries such as Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore. Malaysian batik often displays plants and flowers, as Islam forbid pictures of other living beings.
ETYMOLOGY
Although the word's origin is Javanese, its etymology may be either from the Javanese amba ('to write') and titik ('dot' or 'point'), or constructed from a hypothetical Proto-Austronesian root *beCík, meaning 'to tattoo' from the use of a needle in the process. The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.
HYSTORY
Wax resist dyeing technique in fabric is an ancient art form. Discoveries show it already existed in Egypt in the 4th century BCE, where it was used to wrap mummies; linen was soaked in wax, and scratched using a sharp tool. In Asia, the technique was practiced in China during the T'ang dynasty (618-907 CE), and in India and Japan during the Nara period (645-794 CE). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[6]
In Java, Indonesia, batik predates written records. GP. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.[6] On the other hand, JLA. Brandes (a Dutch archeologist) and F.A. Sutjipto (an Indonesian archeologist) believe Indonesian batik is a native tradition, regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism and have an old age tradition of batik making.[7]
GP. Rouffaer also reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that such a delicate pattern could only be created by means of the canting (also spelled tjanting or tjunting; IPA: [tʃantɪŋ]) tool. He proposed that the canting was invented in Java around that time.[7]
Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Sultan Mahmud to sail to India to get 140 pieces of serasah cloth (batik) with 40 types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he made up his own. On his return unfortunately, his ship sank and he only managed to bring four pieces, earning displeasure from the Sultan.[8][9]
In Europe, the technique is described for the first time in the History of Java, published in London in 1817 by Sir Thomas Stamford Raffles who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today Tropenmuseum housed the biggest collection of Indonesian batik in the Netherlands. The Dutch were active in developing batik in the colonial era, they introduced new innovations and prints. And it was indeed starting from the early 19th century that the art of batik really grew finer and reached its golden period. Exposed to the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans.[6] After the independence of Indonesia and the decline of the Dutch textile industry, the Dutch batik production was lost, the Gemeentemuseum, Den Haag contains artifacts from that era.
Due globalization and industrialization, which introduced automated techniques, new breeds of batik, known as batik cap (IPA: [tʃap]) and batik print emerged, and the traditional batik, which incorporates the hand written wax-resist dyeing technique is known now as batik tulis (lit: 'Written Batik'). At the same time Indonesian immigrants to Malaysia and Singapore brought Indonesian batik with them.
CULTURE
In one form or another, batik has worldwide popularity. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings, which grace many homes and offices.
INDONESIA
Depending on the quality of the art work, dyes, and fabric, the finest batik tulis halus cloth can fetch several thousand dollars, reflecting the fact that it probably took several months to make. Batik tulis has both sides of the cloth ornamented.
In Indonesia, traditionally, batik was sold in 2.25-meter lengths used for kain panjang or sarong for kebaya dress. It can also be worn by wrapping it around the body, or made into a hat known as blangkon. Infants are carried in batik slings decorated with symbols designed to bring the child luck. Certain batik designs are reserved for brides and bridegrooms, as well as their families. The dead are shrouded in funerary batik.[1] Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he or she wore.
Sacred Dance of Bedhoyo Ketawang. The batik is wrapped around the body
For special occasions, batik was formerly decorated with gold leaf or dust. This cloth is known as prada (a Javanese word for gold) cloth. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik garments play a central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni "first pregnancy" 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. Batik is also part of the labuhan ceremony when people gather at a beach to throw their problems away into the sea.[10]
Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics. The wide diversity of patterns reflects a variety of influences, ranging from Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks.[1].
In Indonesia, batik popularity has its up and downs. Historically it was essential for ceremonial costumes and it was worn as part of a kebaya dress, which was commonly worn every day. According to Professor Michael Hitchcock of the University of Chichester (UK), batik "has a strong political dimension. The batik shirt was invented as a formal non-Western shirt for men in Indonesia in the 1960s.[11] It waned from the 1960s onwards, because more and more women chose western clothes. However, batik clothing has revived somewhat in the 21st century, due to the effort of Indonesian fashion designers to innovate the kebaya by incorporating new colors, fabrics, and patterns. Batik is a fashion item for many young people in Indonesia, such as a shirt, dress, or scarf for casual wear. For a formal occasion, a kebaya is standard for women. It is also acceptable for men to wear batik in the office or as a replacement for jacket-and-tie at certain receptions.
MALAYSIA, SINGAPORE, BRUNEI, AND THAILAND
Batik is often worn in Malaysia, Singapore, Brunei, and southern Thailand brought there by Indonesian immigrants or merchants in the 19th century. Malaysian batik can be found on the east cost of Malaysia such as Kelantan, Terengganu and Pahang, while batik in Johor clearly shows Javanese and Sumatran influences since there is a lot of Javanese and Sumatran immigrants in southern Malaysia. The most popular motifs are leaves and flowers. Malaysian batik never depicting humans or animals because Islamic norms forbid anthropomorph and animal images as decoration. However, the butterfly theme is a common exception. The Malaysian batik is also famous for its geometrical designs, such as spirals. The method of Malaysian batik making also quite different from those of Indonesian Javanese batik, the pattern is larger and simpler, it seldom or never uses canting to create intricate patterns and rely heavily on brush painting method to apply colors on fabrics. The colors also tends to be more light and vibrant than deep colored Javanese batik.
The flight attendants of Indonesian, Singaporean, and Malaysian national airlines all wear batik in their uniform. Batik sarongs are also designed as wraps for casual beachwear.
In the southern of Thailand island of Koh Samui, batik is easily found in the form of the resort uniforms, or decorations at many places, and is also the locals casual wear in the forms of sarongs or shirts and blouses, and is the most common, or even one of the symbolic products for the ones whom travels to the Koh Samui Island. The Batik of Samui is mostly showing the beauty and attractions of the paradise island and its culture, such as the coconut shells, the beaches, palm trees, the islands tropical flowers, fishing boats, its rich water life and southern dancer, Papthalung.
AZERBAIJAN
The batik pattern can be found in its women's silk scarves, known as kelagai, which have been part of women's clothing there for centuries. Kelagai were first produced in the village of Basgal and were created using the stamping method and natural colors. The cocoons were traditionally processed by women while the hand-printing with hot wax was only entrusted to male artists. The silk spinning and production of kelagai in Azerbaijan slumped after the fall of the USSR. It was the Inkishaf Scientific Center that revived kelagai in the country. Kelagai is worn by women both old and young. Young women prefer bright colors, while older women wear dark colors.
CHINA
Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax 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 also contain symbolism, the patterns include the dragon, phoenix, and flowers.
TYPES AND VARIATIONS OF BATIK
Javanese Kraton Batik (Javanese court Batik)
Javanese keraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions (e.g., weddings).
The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions:
* Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
* Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.
PESISIR BATIK (COASTAL BATIK)
Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik, which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.
* Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
* Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon kraton. This cloud motif shows Chinese influence.
* Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
* Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
* Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.
INDONESIAN BATIK FROM OTHER AREAS
JAVA
* Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the "Priangan" region, a cultural region in West Java and Northwest Java (Banten).[14] Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan Batik which demonstrate Cirebon Batik influences, and also Banten Batik that developed quite independently and have its own unique motifs. The motifs of Priangan batik are visually naturalistic and strongly inspired by flora (flowers and swirling plants) and fauna (birds especially peacock and butterfly). The variants and production centers of Priangan Batik are:
o Ciamis Batik. Ciamis used to rival other leading batik industry centers in Java during early 20th century. Compared to other regions, Ciamis batik is stylistically less complex. The flora and fauna motifs known as ciamisan are drawn in black, white, and yellowish brown. Motifs are similar to coastal Cirebon Batik, but the thickness of coloring share the same styles as inland batik. The thick coloring of Ciamis batik is called sarian.
o Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading (yellowish ivory), indigo, dark red, dark green, yellowish brown, and purple. Ivory stays dominant in the background. Despite applying traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
o Tasikmalaya Batik. This type of batik is produced in the Tasikmalaya district, West Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
o Kuningan Batik.
o Banten Batik. This type of batik employs bright and soft pastel colors. It 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.[15]
* Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s.
BALI
* Balinese Batik. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.
SUMATRA
* Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. 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 Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay peninsula.[16]
* Riau Batik.
* Palembang Batik.
* Aceh Batik.
MODERN
Out of its traditional context, batik can also be as a medium for artists to make modern paintings or art. Such arts can be categorized in the normal categorization of arts of the west.
BATIK COLLECTORS
* Santosa Doellah has been recognised by The Indonesian Museum of Records as having the world’s largest collector of ancient Chinese-influenced Indonesian batik textiles. In total his collection are about 10,000 batik pieces.[17]
* The late mother of United States president Barack Obama, Ann Dunham was an avid collector of Batik. In 2009, an exhibition of Dunham's textile batik art collection (A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks) toured six museums in the United States, finishing the tour at the Textile Museum.[18]
* Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.
TECHNIQUE
Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.
Thin wax lines are made with a canting, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps. After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. This traditional method of batik making is called batik tulis.
For batik prada, gold leaf was used in the Yogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them.
INDUSTRIALIZATION OF TECHNIQUE
The application of wax with a canting is done with great care and therefore is very time-consuming. As the population increased and commercial demand rose, time-saving methods evolved. Other methods of applying the wax to the fabric include pouring the liquid wax, painting the wax with a brush, and putting hot wax onto pre-carved wooden or copper block (called a cap or tjap) and stamping the fabric.
The invention of the copper block (cap) developed by the Javanese in the 20th century revolutionized batik production. By block printing the wax onto the fabric, it became possible to mass-produce designs and intricate patterns much faster than one could possibly do by using a canting.
Batik print is the common name given to fabric that incorporates batik pattern without actually using the wax-resist dyeing technique. It represents a further step in the process of industrialization, reducing the cost of batik by mass-producing the pattern repetitively, as a standard practice employed in the worldwide textile industry.
MAINTAINING BATIK
For both batik tulis and batik cap, the following rules apply:
* Hand wash, or best just soak the cloth
* Use very little detergent, best to use lerak
* Hang the batik directly, do not squeeze the cloth
* Do not hang in direct sunlight
* The iron should not directly touch the cloth, best to use a steam iron
* Silk batik is best dry-cleaned
* Do not spray perfume onto the cloth directly
FROM: http://en.wikipedia.org/wiki/Batik
Javanese traditional batik, especially from Yogyakarta and Surakarta, has special meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are only available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch culture. In the colonial times pesisir batik was a favorite of the Peranakan Chinese, Dutch and Eurasians.[citation needed]
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.
Batik or fabrics with the traditional batik patterns are also found in several countries such as Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore. Malaysian batik often displays plants and flowers, as Islam forbid pictures of other living beings.
ETYMOLOGY
Although the word's origin is Javanese, its etymology may be either from the Javanese amba ('to write') and titik ('dot' or 'point'), or constructed from a hypothetical Proto-Austronesian root *beCík, meaning 'to tattoo' from the use of a needle in the process. The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.
HYSTORY
Wax resist dyeing technique in fabric is an ancient art form. Discoveries show it already existed in Egypt in the 4th century BCE, where it was used to wrap mummies; linen was soaked in wax, and scratched using a sharp tool. In Asia, the technique was practiced in China during the T'ang dynasty (618-907 CE), and in India and Japan during the Nara period (645-794 CE). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[6]
In Java, Indonesia, batik predates written records. GP. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.[6] On the other hand, JLA. Brandes (a Dutch archeologist) and F.A. Sutjipto (an Indonesian archeologist) believe Indonesian batik is a native tradition, regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism and have an old age tradition of batik making.[7]
GP. Rouffaer also reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that such a delicate pattern could only be created by means of the canting (also spelled tjanting or tjunting; IPA: [tʃantɪŋ]) tool. He proposed that the canting was invented in Java around that time.[7]
Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Sultan Mahmud to sail to India to get 140 pieces of serasah cloth (batik) with 40 types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he made up his own. On his return unfortunately, his ship sank and he only managed to bring four pieces, earning displeasure from the Sultan.[8][9]
In Europe, the technique is described for the first time in the History of Java, published in London in 1817 by Sir Thomas Stamford Raffles who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today Tropenmuseum housed the biggest collection of Indonesian batik in the Netherlands. The Dutch were active in developing batik in the colonial era, they introduced new innovations and prints. And it was indeed starting from the early 19th century that the art of batik really grew finer and reached its golden period. Exposed to the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans.[6] After the independence of Indonesia and the decline of the Dutch textile industry, the Dutch batik production was lost, the Gemeentemuseum, Den Haag contains artifacts from that era.
Due globalization and industrialization, which introduced automated techniques, new breeds of batik, known as batik cap (IPA: [tʃap]) and batik print emerged, and the traditional batik, which incorporates the hand written wax-resist dyeing technique is known now as batik tulis (lit: 'Written Batik'). At the same time Indonesian immigrants to Malaysia and Singapore brought Indonesian batik with them.
CULTURE
In one form or another, batik has worldwide popularity. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings, which grace many homes and offices.
INDONESIA
Depending on the quality of the art work, dyes, and fabric, the finest batik tulis halus cloth can fetch several thousand dollars, reflecting the fact that it probably took several months to make. Batik tulis has both sides of the cloth ornamented.
In Indonesia, traditionally, batik was sold in 2.25-meter lengths used for kain panjang or sarong for kebaya dress. It can also be worn by wrapping it around the body, or made into a hat known as blangkon. Infants are carried in batik slings decorated with symbols designed to bring the child luck. Certain batik designs are reserved for brides and bridegrooms, as well as their families. The dead are shrouded in funerary batik.[1] Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he or she wore.
Sacred Dance of Bedhoyo Ketawang. The batik is wrapped around the body
For special occasions, batik was formerly decorated with gold leaf or dust. This cloth is known as prada (a Javanese word for gold) cloth. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik garments play a central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni "first pregnancy" 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. Batik is also part of the labuhan ceremony when people gather at a beach to throw their problems away into the sea.[10]
Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics. The wide diversity of patterns reflects a variety of influences, ranging from Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks.[1].
In Indonesia, batik popularity has its up and downs. Historically it was essential for ceremonial costumes and it was worn as part of a kebaya dress, which was commonly worn every day. According to Professor Michael Hitchcock of the University of Chichester (UK), batik "has a strong political dimension. The batik shirt was invented as a formal non-Western shirt for men in Indonesia in the 1960s.[11] It waned from the 1960s onwards, because more and more women chose western clothes. However, batik clothing has revived somewhat in the 21st century, due to the effort of Indonesian fashion designers to innovate the kebaya by incorporating new colors, fabrics, and patterns. Batik is a fashion item for many young people in Indonesia, such as a shirt, dress, or scarf for casual wear. For a formal occasion, a kebaya is standard for women. It is also acceptable for men to wear batik in the office or as a replacement for jacket-and-tie at certain receptions.
MALAYSIA, SINGAPORE, BRUNEI, AND THAILAND
Batik is often worn in Malaysia, Singapore, Brunei, and southern Thailand brought there by Indonesian immigrants or merchants in the 19th century. Malaysian batik can be found on the east cost of Malaysia such as Kelantan, Terengganu and Pahang, while batik in Johor clearly shows Javanese and Sumatran influences since there is a lot of Javanese and Sumatran immigrants in southern Malaysia. The most popular motifs are leaves and flowers. Malaysian batik never depicting humans or animals because Islamic norms forbid anthropomorph and animal images as decoration. However, the butterfly theme is a common exception. The Malaysian batik is also famous for its geometrical designs, such as spirals. The method of Malaysian batik making also quite different from those of Indonesian Javanese batik, the pattern is larger and simpler, it seldom or never uses canting to create intricate patterns and rely heavily on brush painting method to apply colors on fabrics. The colors also tends to be more light and vibrant than deep colored Javanese batik.
The flight attendants of Indonesian, Singaporean, and Malaysian national airlines all wear batik in their uniform. Batik sarongs are also designed as wraps for casual beachwear.
In the southern of Thailand island of Koh Samui, batik is easily found in the form of the resort uniforms, or decorations at many places, and is also the locals casual wear in the forms of sarongs or shirts and blouses, and is the most common, or even one of the symbolic products for the ones whom travels to the Koh Samui Island. The Batik of Samui is mostly showing the beauty and attractions of the paradise island and its culture, such as the coconut shells, the beaches, palm trees, the islands tropical flowers, fishing boats, its rich water life and southern dancer, Papthalung.
AZERBAIJAN
The batik pattern can be found in its women's silk scarves, known as kelagai, which have been part of women's clothing there for centuries. Kelagai were first produced in the village of Basgal and were created using the stamping method and natural colors. The cocoons were traditionally processed by women while the hand-printing with hot wax was only entrusted to male artists. The silk spinning and production of kelagai in Azerbaijan slumped after the fall of the USSR. It was the Inkishaf Scientific Center that revived kelagai in the country. Kelagai is worn by women both old and young. Young women prefer bright colors, while older women wear dark colors.
CHINA
Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax 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 also contain symbolism, the patterns include the dragon, phoenix, and flowers.
TYPES AND VARIATIONS OF BATIK
Javanese Kraton Batik (Javanese court Batik)
Javanese keraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions (e.g., weddings).
The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions:
* Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
* Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.
PESISIR BATIK (COASTAL BATIK)
Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik, which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.
* Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
* Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon kraton. This cloud motif shows Chinese influence.
* Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
* Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
* Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.
INDONESIAN BATIK FROM OTHER AREAS
JAVA
* Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the "Priangan" region, a cultural region in West Java and Northwest Java (Banten).[14] Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan Batik which demonstrate Cirebon Batik influences, and also Banten Batik that developed quite independently and have its own unique motifs. The motifs of Priangan batik are visually naturalistic and strongly inspired by flora (flowers and swirling plants) and fauna (birds especially peacock and butterfly). The variants and production centers of Priangan Batik are:
o Ciamis Batik. Ciamis used to rival other leading batik industry centers in Java during early 20th century. Compared to other regions, Ciamis batik is stylistically less complex. The flora and fauna motifs known as ciamisan are drawn in black, white, and yellowish brown. Motifs are similar to coastal Cirebon Batik, but the thickness of coloring share the same styles as inland batik. The thick coloring of Ciamis batik is called sarian.
o Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading (yellowish ivory), indigo, dark red, dark green, yellowish brown, and purple. Ivory stays dominant in the background. Despite applying traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
o Tasikmalaya Batik. This type of batik is produced in the Tasikmalaya district, West Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
o Kuningan Batik.
o Banten Batik. This type of batik employs bright and soft pastel colors. It 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.[15]
* Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s.
BALI
* Balinese Batik. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.
SUMATRA
* Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. 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 Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay peninsula.[16]
* Riau Batik.
* Palembang Batik.
* Aceh Batik.
MODERN
Out of its traditional context, batik can also be as a medium for artists to make modern paintings or art. Such arts can be categorized in the normal categorization of arts of the west.
BATIK COLLECTORS
* Santosa Doellah has been recognised by The Indonesian Museum of Records as having the world’s largest collector of ancient Chinese-influenced Indonesian batik textiles. In total his collection are about 10,000 batik pieces.[17]
* The late mother of United States president Barack Obama, Ann Dunham was an avid collector of Batik. In 2009, an exhibition of Dunham's textile batik art collection (A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks) toured six museums in the United States, finishing the tour at the Textile Museum.[18]
* Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.
TECHNIQUE
Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.
Thin wax lines are made with a canting, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps. After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. This traditional method of batik making is called batik tulis.
For batik prada, gold leaf was used in the Yogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them.
INDUSTRIALIZATION OF TECHNIQUE
The application of wax with a canting is done with great care and therefore is very time-consuming. As the population increased and commercial demand rose, time-saving methods evolved. Other methods of applying the wax to the fabric include pouring the liquid wax, painting the wax with a brush, and putting hot wax onto pre-carved wooden or copper block (called a cap or tjap) and stamping the fabric.
The invention of the copper block (cap) developed by the Javanese in the 20th century revolutionized batik production. By block printing the wax onto the fabric, it became possible to mass-produce designs and intricate patterns much faster than one could possibly do by using a canting.
Batik print is the common name given to fabric that incorporates batik pattern without actually using the wax-resist dyeing technique. It represents a further step in the process of industrialization, reducing the cost of batik by mass-producing the pattern repetitively, as a standard practice employed in the worldwide textile industry.
MAINTAINING BATIK
For both batik tulis and batik cap, the following rules apply:
* Hand wash, or best just soak the cloth
* Use very little detergent, best to use lerak
* Hang the batik directly, do not squeeze the cloth
* Do not hang in direct sunlight
* The iron should not directly touch the cloth, best to use a steam iron
* Silk batik is best dry-cleaned
* Do not spray perfume onto the cloth directly
FROM: http://en.wikipedia.org/wiki/Batik
Tentang Batik
Batik adalah salah satu cara pembuatan bahan pakaian. Selain itu batik bisa mengacu pada dua hal. Yang pertama adalah teknik pewarnaan kain dengan menggunakan malam untuk mencegah pewarnaan sebagian dari kain. Dalam literatur internasional, teknik ini dikenal sebagai wax-resist dyeing. Pengertian kedua adalah kain atau busana yang dibuat dengan teknik tersebut, termasuk penggunaan motif-motif tertentu yang memiliki kekhasan. Batik Indonesia, sebagai keseluruhan teknik, teknologi, serta pengembangan motif dan budaya yang terkait, oleh UNESCO telah ditetapkan sebagai Warisan Kemanusiaan untuk Budaya Lisan dan Nonbendawi (Masterpieces of the Oral and Intangible Heritage of Humanity) sejak 2 Oktober, 2009.
ETIMOLOGI
Kata "batik" berasal dari gabungan dua kata bahasa Jawa: "amba", yang bermakna "menulis" dan "titik" yang bermakna "titik".
SEJARAH TEKNIK BATIK
Seni pewarnaan kain dengan teknik pencegahan pewarnaan menggunakan malam adalah salah satu bentuk seni kuno. Penemuan di Mesir menunjukkan bahwa teknik ini telah dikenal semenjak abad ke-4 SM, dengan diketemukannya kain pembungkus mumi yang juga dilapisi malam untuk membentuk pola. Di Asia, teknik serupa batik juga diterapkan di Tiongkok semasa Dinasti T'ang (618-907) serta di India dan Jepang semasa Periode Nara (645-794). Di Afrika, teknik seperti batik dikenal oleh Suku Yoruba di Nigeria, serta Suku Soninke dan Wolof di Senegal.[2]. Di Indonesia, batik dipercaya sudah ada semenjak zaman Majapahit, dan menjadi sangat populer akhir abad XVIII atau awal abad XIX. Batik yang dihasilkan ialah semuanya batik tulis sampai awal abad XX dan batik cap baru dikenal setelah Perang Dunia I atau sekitar tahun 1920-an.[3]
Walaupun kata "batik" berasal dari bahasa Jawa, kehadiran batik di Jawa sendiri tidaklah tercatat. G.P. Rouffaer berpendapat bahwa tehnik batik ini kemungkinan diperkenalkan dari India atau Srilangka pada abad ke-6 atau ke-7. [2]Di sisi lain, J.L.A. Brandes (arkeolog Belanda) dan F.A. Sutjipto (arkeolog Indonesia) percaya bahwa tradisi batik adalah asli dari daerah seperti Toraja, Flores, Halmahera, dan Papua. Perlu dicatat bahwa wilayah tersebut bukanlah area yang dipengaruhi oleh Hinduisme tetapi diketahui memiliki tradisi kuna membuat batik.[4]
G.P. Rouffaer juga melaporkan bahwa pola gringsing sudah dikenal sejak abad ke-12 di Kediri, Jawa Timur. Dia menyimpulkan bahwa pola seperti ini hanya bisa dibentuk dengan menggunakan alat canting, sehingga ia berpendapat bahwa canting ditemukan di Jawa pada masa sekitar itu.[4]
Legenda dalam literatur Melayu abad ke-17, Sulalatus Salatin menceritakan Laksamana Hang Nadim yang diperintahkan oleh Sultan Mahmud untuk berlayar ke India agar mendapatkan 140 lembar kain serasah dengan pola 40 jenis bunga pada setiap lembarnya. Karena tidak mampu memenuhi perintah itu, dia membuat sendiri kain-kain itu. Namun sayangnya kapalnya karam dalam perjalanan pulang dan hanya mampu membawa empat lembar sehingga membuat sang Sultan kecewa.[5] Oleh beberapa penafsir,who? serasah itu ditafsirkan sebagai batik.
Dalam literatur Eropa, teknik batik ini pertama kali diceritakan dalam buku History of Java (London, 1817) tulisan Sir Thomas Stamford Raffles. Ia pernah menjadi Gubernur Inggris di Jawa semasa Napoleon menduduki Belanda. Pada 1873 seorang saudagar Belanda Van Rijekevorsel memberikan selembar batik yang diperolehnya saat berkunjung ke Indonesia ke Museum Etnik di Rotterdam dan pada awal abad ke-19 itulah batik mulai mencapai masa keemasannya. Sewaktu dipamerkan di Exposition Universelle di Paris pada tahun 1900, batik Indonesia memukau publik dan seniman.[2]
Semenjak industrialisasi dan globalisasi, yang memperkenalkan teknik otomatisasi, batik jenis baru muncul, dikenal sebagai batik cap dan batik cetak, sementara batik tradisional yang diproduksi dengan teknik tulisan tangan menggunakan canting dan malam disebut batik tulis. Pada saat yang sama imigran dari Indonesia ke Persekutuan Malaya juga membawa batik bersama mereka.
BUDAYA BATIK
Batik adalah kerajinan yang memiliki nilai seni tinggi dan telah menjadi bagian dari budaya Indonesia (khususnya Jawa) sejak lama. Perempuan-perempuan Jawa di masa lampau menjadikan keterampilan mereka dalam membatik sebagai mata pencaharian, sehingga di masa lalu pekerjaan membatik adalah pekerjaan eksklusif perempuan sampai ditemukannya "Batik Cap" yang memungkinkan masuknya laki-laki ke dalam bidang ini. Ada beberapa pengecualian bagi fenomena ini, yaitu batik pesisir yang memiliki garis maskulin seperti yang bisa dilihat pada corak "Mega Mendung", dimana di beberapa daerah pesisir pekerjaan membatik adalah lazim bagi kaum lelaki.
Tradisi membatik pada mulanya merupakan tradisi yang turun temurun, sehingga kadang kala suatu motif dapat dikenali berasal dari batik keluarga tertentu. Beberapa motif batik dapat menunjukkan status seseorang. Bahkan sampai saat ini, beberapa motif batik tadisional hanya dipakai oleh keluarga keraton Yogyakarta dan Surakarta.
Batik Cirebon bermotif mahluk laut
Batik merupakan warisan nenek moyang Indonesia ( Jawa ) yang sampai saat ini masih ada. Batik juga pertama kali diperkenalkan kepada dunia oleh Presiden Soeharto, yang pada waktu itu memakai batik pada Konferensi PBB.
CORAK BATIK
Ragam corak dan warna Batik dipengaruhi oleh berbagai pengaruh asing. Awalnya, batik memiliki ragam corak dan warna yang terbatas, dan beberapa corak hanya boleh dipakai oleh kalangan tertentu. Namun batik pesisir menyerap berbagai pengaruh luar, seperti para pedagang asing dan juga pada akhirnya, para penjajah. Warna-warna cerah seperti merah dipopulerkan oleh Tionghoa, yang juga mempopulerkan corak phoenix. Bangsa penjajah Eropa juga mengambil minat kepada batik, dan hasilnya adalah corak bebungaan yang sebelumnya tidak dikenal (seperti bunga tulip) dan juga benda-benda yang dibawa oleh penjajah (gedung atau kereta kuda), termasuk juga warna-warna kesukaan mereka seperti warna biru. Batik tradisonal tetap mempertahankan coraknya, dan masih dipakai dalam upacara-upacara adat, karena biasanya masing-masing corak memiliki perlambangan masing-masing.
BAJU BATIK DI INDONESIA
Pada awalnya baju batik kerap dikenakan pada acara acara resmi untuk menggantikan jas. Tetapi dalam perkembangannya apda masa Orde Baru baju batik juga dipakai sebagai pakaian resmi siswa sekolah dan pegawai negeri (batik Korpri) yang menggunakan seragam batik pada hari Jumat. Perkembangan selanjutnya batik mulai bergeser menjadi pakaian sehari-hari terutama digunakan oleh kaum wanita. Pegawai swasta biasanya memakai batik pada hari kamis atau jumat.
BAJU BATIK INDONESIA JUGA DIKENAKAN DI MALAYSIA
Setiap hari Kamis, semua pegawai negeri lelaki di Malaysia diharuskan memakai baju batik mulai 17 Januari 2008. Ketua Pengarah Jabatan Perkhidmatan Awam Tan Sri Ismail Adam telah membagikan kepada semua jabatan kerajaan.
Sebelum ini peraturan memakai baju batik hanya pada hari Sabtu saja. Kemudian diubah kepada hari ke-1 dan hari ke-15 setiap bulan.
CARA PEMBUATAN
Semula batik dibuat di atas bahan dengan warna putih yang terbuat dari kapas yang dinamakan kain mori. Dewasa ini batik juga dibuat di atas bahan lain seperti sutera, poliester, rayon dan bahan sintetis lainnya. Motif batik dibentuk dengan cairan lilin dengan menggunakan alat yang dinamakan canting untuk motif halus, atau kuas untuk motif berukuran besar, sehingga cairan lilin meresap ke dalam serat kain. Kain yang telah dilukis dengan lilin kemudian dicelup dengan warna yang diinginkan, biasanya dimulai dari warna-warna muda. Pencelupan kemudian dilakukan untuk motif lain dengan warna lebih tua atau gelap. Setelah beberapa kali proses pewarnaan, kain yang telah dibatik dicelupkan ke dalam bahan kimia untuk melarutkan lilin.
JENIS BATIK MENURUT TEKNIK
1. Batik tulis adalah kain yang dihias dengan teksture dan corak batik menggunakan tangan. Pembuatan batik jenis ini memakan waktu kurang lebih 2-3 bulan.
2. Batik cap adalah kain yang dihias dengan teksture dan corak batik yang dibentuk dengan cap ( biasanya terbuat dari tembaga). Proses pembuatan batik jenis ini membutuhkan waktu kurang lebih 2-3 hari.
< SUMBER : http://id.wikipedia.org/wiki/Batik#Etimologi >
ETIMOLOGI
Kata "batik" berasal dari gabungan dua kata bahasa Jawa: "amba", yang bermakna "menulis" dan "titik" yang bermakna "titik".
SEJARAH TEKNIK BATIK
Seni pewarnaan kain dengan teknik pencegahan pewarnaan menggunakan malam adalah salah satu bentuk seni kuno. Penemuan di Mesir menunjukkan bahwa teknik ini telah dikenal semenjak abad ke-4 SM, dengan diketemukannya kain pembungkus mumi yang juga dilapisi malam untuk membentuk pola. Di Asia, teknik serupa batik juga diterapkan di Tiongkok semasa Dinasti T'ang (618-907) serta di India dan Jepang semasa Periode Nara (645-794). Di Afrika, teknik seperti batik dikenal oleh Suku Yoruba di Nigeria, serta Suku Soninke dan Wolof di Senegal.[2]. Di Indonesia, batik dipercaya sudah ada semenjak zaman Majapahit, dan menjadi sangat populer akhir abad XVIII atau awal abad XIX. Batik yang dihasilkan ialah semuanya batik tulis sampai awal abad XX dan batik cap baru dikenal setelah Perang Dunia I atau sekitar tahun 1920-an.[3]
Walaupun kata "batik" berasal dari bahasa Jawa, kehadiran batik di Jawa sendiri tidaklah tercatat. G.P. Rouffaer berpendapat bahwa tehnik batik ini kemungkinan diperkenalkan dari India atau Srilangka pada abad ke-6 atau ke-7. [2]Di sisi lain, J.L.A. Brandes (arkeolog Belanda) dan F.A. Sutjipto (arkeolog Indonesia) percaya bahwa tradisi batik adalah asli dari daerah seperti Toraja, Flores, Halmahera, dan Papua. Perlu dicatat bahwa wilayah tersebut bukanlah area yang dipengaruhi oleh Hinduisme tetapi diketahui memiliki tradisi kuna membuat batik.[4]
G.P. Rouffaer juga melaporkan bahwa pola gringsing sudah dikenal sejak abad ke-12 di Kediri, Jawa Timur. Dia menyimpulkan bahwa pola seperti ini hanya bisa dibentuk dengan menggunakan alat canting, sehingga ia berpendapat bahwa canting ditemukan di Jawa pada masa sekitar itu.[4]
Legenda dalam literatur Melayu abad ke-17, Sulalatus Salatin menceritakan Laksamana Hang Nadim yang diperintahkan oleh Sultan Mahmud untuk berlayar ke India agar mendapatkan 140 lembar kain serasah dengan pola 40 jenis bunga pada setiap lembarnya. Karena tidak mampu memenuhi perintah itu, dia membuat sendiri kain-kain itu. Namun sayangnya kapalnya karam dalam perjalanan pulang dan hanya mampu membawa empat lembar sehingga membuat sang Sultan kecewa.[5] Oleh beberapa penafsir,who? serasah itu ditafsirkan sebagai batik.
Dalam literatur Eropa, teknik batik ini pertama kali diceritakan dalam buku History of Java (London, 1817) tulisan Sir Thomas Stamford Raffles. Ia pernah menjadi Gubernur Inggris di Jawa semasa Napoleon menduduki Belanda. Pada 1873 seorang saudagar Belanda Van Rijekevorsel memberikan selembar batik yang diperolehnya saat berkunjung ke Indonesia ke Museum Etnik di Rotterdam dan pada awal abad ke-19 itulah batik mulai mencapai masa keemasannya. Sewaktu dipamerkan di Exposition Universelle di Paris pada tahun 1900, batik Indonesia memukau publik dan seniman.[2]
Semenjak industrialisasi dan globalisasi, yang memperkenalkan teknik otomatisasi, batik jenis baru muncul, dikenal sebagai batik cap dan batik cetak, sementara batik tradisional yang diproduksi dengan teknik tulisan tangan menggunakan canting dan malam disebut batik tulis. Pada saat yang sama imigran dari Indonesia ke Persekutuan Malaya juga membawa batik bersama mereka.
BUDAYA BATIK
Batik adalah kerajinan yang memiliki nilai seni tinggi dan telah menjadi bagian dari budaya Indonesia (khususnya Jawa) sejak lama. Perempuan-perempuan Jawa di masa lampau menjadikan keterampilan mereka dalam membatik sebagai mata pencaharian, sehingga di masa lalu pekerjaan membatik adalah pekerjaan eksklusif perempuan sampai ditemukannya "Batik Cap" yang memungkinkan masuknya laki-laki ke dalam bidang ini. Ada beberapa pengecualian bagi fenomena ini, yaitu batik pesisir yang memiliki garis maskulin seperti yang bisa dilihat pada corak "Mega Mendung", dimana di beberapa daerah pesisir pekerjaan membatik adalah lazim bagi kaum lelaki.
Tradisi membatik pada mulanya merupakan tradisi yang turun temurun, sehingga kadang kala suatu motif dapat dikenali berasal dari batik keluarga tertentu. Beberapa motif batik dapat menunjukkan status seseorang. Bahkan sampai saat ini, beberapa motif batik tadisional hanya dipakai oleh keluarga keraton Yogyakarta dan Surakarta.
Batik Cirebon bermotif mahluk laut
Batik merupakan warisan nenek moyang Indonesia ( Jawa ) yang sampai saat ini masih ada. Batik juga pertama kali diperkenalkan kepada dunia oleh Presiden Soeharto, yang pada waktu itu memakai batik pada Konferensi PBB.
CORAK BATIK
Ragam corak dan warna Batik dipengaruhi oleh berbagai pengaruh asing. Awalnya, batik memiliki ragam corak dan warna yang terbatas, dan beberapa corak hanya boleh dipakai oleh kalangan tertentu. Namun batik pesisir menyerap berbagai pengaruh luar, seperti para pedagang asing dan juga pada akhirnya, para penjajah. Warna-warna cerah seperti merah dipopulerkan oleh Tionghoa, yang juga mempopulerkan corak phoenix. Bangsa penjajah Eropa juga mengambil minat kepada batik, dan hasilnya adalah corak bebungaan yang sebelumnya tidak dikenal (seperti bunga tulip) dan juga benda-benda yang dibawa oleh penjajah (gedung atau kereta kuda), termasuk juga warna-warna kesukaan mereka seperti warna biru. Batik tradisonal tetap mempertahankan coraknya, dan masih dipakai dalam upacara-upacara adat, karena biasanya masing-masing corak memiliki perlambangan masing-masing.
BAJU BATIK DI INDONESIA
Pada awalnya baju batik kerap dikenakan pada acara acara resmi untuk menggantikan jas. Tetapi dalam perkembangannya apda masa Orde Baru baju batik juga dipakai sebagai pakaian resmi siswa sekolah dan pegawai negeri (batik Korpri) yang menggunakan seragam batik pada hari Jumat. Perkembangan selanjutnya batik mulai bergeser menjadi pakaian sehari-hari terutama digunakan oleh kaum wanita. Pegawai swasta biasanya memakai batik pada hari kamis atau jumat.
BAJU BATIK INDONESIA JUGA DIKENAKAN DI MALAYSIA
Setiap hari Kamis, semua pegawai negeri lelaki di Malaysia diharuskan memakai baju batik mulai 17 Januari 2008. Ketua Pengarah Jabatan Perkhidmatan Awam Tan Sri Ismail Adam telah membagikan kepada semua jabatan kerajaan.
Sebelum ini peraturan memakai baju batik hanya pada hari Sabtu saja. Kemudian diubah kepada hari ke-1 dan hari ke-15 setiap bulan.
CARA PEMBUATAN
Semula batik dibuat di atas bahan dengan warna putih yang terbuat dari kapas yang dinamakan kain mori. Dewasa ini batik juga dibuat di atas bahan lain seperti sutera, poliester, rayon dan bahan sintetis lainnya. Motif batik dibentuk dengan cairan lilin dengan menggunakan alat yang dinamakan canting untuk motif halus, atau kuas untuk motif berukuran besar, sehingga cairan lilin meresap ke dalam serat kain. Kain yang telah dilukis dengan lilin kemudian dicelup dengan warna yang diinginkan, biasanya dimulai dari warna-warna muda. Pencelupan kemudian dilakukan untuk motif lain dengan warna lebih tua atau gelap. Setelah beberapa kali proses pewarnaan, kain yang telah dibatik dicelupkan ke dalam bahan kimia untuk melarutkan lilin.
JENIS BATIK MENURUT TEKNIK
1. Batik tulis adalah kain yang dihias dengan teksture dan corak batik menggunakan tangan. Pembuatan batik jenis ini memakan waktu kurang lebih 2-3 bulan.
2. Batik cap adalah kain yang dihias dengan teksture dan corak batik yang dibentuk dengan cap ( biasanya terbuat dari tembaga). Proses pembuatan batik jenis ini membutuhkan waktu kurang lebih 2-3 hari.
< SUMBER : http://id.wikipedia.org/wiki/Batik#Etimologi >
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