Indonesia has many kinds of batik. Here, I will show you some of them...


Batik is a cloth that is traditionally made using a manual wax-resist dyeing technique. Javanese traditional batik, especially from Yogyakarta and Surakarta, has notable 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, Vishnu, and Śiva). This is related to the fact that natural dyes are most commonly 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 cultures. In the colonial times pesisir batik was a favourite of the Peranakan Chinese, Dutch and Eurasians.

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.

Kinds of Indonesian Batik :

1. Javanese Kraton Batik (Javanese court Batik)

Javanese kraton (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, indigo (tarum), 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. 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.
• Yogyakarta Batik. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district.

2. Pesisir 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. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
• Cirebon Batik. This cloud motif shows Chinese influence.
• Lasem Batik. 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

From Java :

1. Priangan Batik or Sundanese Batik

Priangan 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). 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:

• 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, indigo, 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.
• 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.
• 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.
• Kuningan Batik. Kuningan batik are influenced by nearby Cirebon pesisir batik.
• Baduy Batik. This type of Batik only employs indigo (tarum) color in shades ranged from bluish black to deep blue. It is a traditional batik worn as iket (a type of Sundanese headress similar to Balinese udeng) by Baduy Luar (Outer Baduy) of Lebak Regency, Banten. Baduy Dalam (Inner Baduy) do not worn this batik since they only wore plain white cotton clothes.
• 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.

2. 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. The long fabrics usually is done in two pattern called pagi/sore (Indonesian: morning and afternoon) refer to two type of motifs in one sheet of fabric, as the solution of cotton fabrics scarcity during war time. Another recognizable traits of Java Hokokai batik are the Japanese influenced motifs; such as sakura (cherry blossoms) and seruni or kiku (chrysanthemums, Japan national flower and the symbol of the emperor), butterflies (symbol of female elegance in Japanese culture), and overlaying intricate details that has made Jawa Hokokai batiks as one of the most notable, noble and beautiful batik art forms in Asia

From Bali :

    Balinese Batik.

As Balinese Hindu culture does not restrict the depiction of images, the Balinese have traditionally focused more on sculpture and painting than on textiles. 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.

From Sumatra :

• Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay Peninsula.
• Minangkabau Batik. Minangkabau ethnic also have batik called as Batiak Tanah Liek (Clay Batik). They use clay as dye for batik. The fabric was immersed in clay for more than 1 day to make permanent color and after that they design the motif of animal and flora
• Aceh Batik.
• Palembang Batik.
• Riau Batik.