Translated from Indonesian to English - www.onlinedoctranslator.

com

PIG

INTRODUCTION

A. BACKGROUND

Batik is a culture that has long developed and is known by the Indonesian

people. The word batik has several meanings. According to Hamzuri in his book

entitled Classical Batik, the definition of batik is a way of giving decoration to

cloth by covering certain parts using barriers. The barrier substance that is often

used is wax or wax. Cloth that has been painted using wax is then colored by

dyeing. After that, the wax is removed by boiling the fabric. Finally, a piece of

cloth called batik is produced in the form of various motifs that have special

properties.

Etymologically, the word batik comes from the Javanese language, namely

"tik" which means point / matic (verb, to make a point) which later developed into

the term "batik" (Indonesia Indah "batik", 1997, 14). Apart from that, it has a

meaning related to making dots or dripping wax on mori cloth. According to

KRT.DR. H.C. Kalinggo Hanggopuro (2002, 1-2) in the book Bathik as Clothing

Order and Guidance writes that previous writers used the term batik which was

not actually written with the word "Batik" but should be "Bathik". This refers to

the Javanese letter "tha" not "ta" and the use of batik as a series of dots is

inaccurate or said to be wrong. Based on this etymology, batik is actually

identically associated with a technique (process) starting from drawing motifs to

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pelorodan. One of the characteristics of batik is the method of depicting motifs on

the cloth, namely through an immersion process, namely applying liquid wax

which is placed in a container called a canting and stamp.

B. Objective

The purpose of writing this paper is to expand knowledge about Batik, the

history of Batik, the process of making batik and examples of batik found in

Indonesia.

C. Benefit

The benefit of writing this paper is that we can find out more about Batik

in Indonesia.

D. Problem

1. What is the History of Batik in Indonesia?

2. What is the Batik Making Process in Indonesia?

3. How is Batik developing in Indonesia?

4. What are the types and examples of Batik in Indonesia?

CHAPTER II

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 DISCUSSION

A. UNDERSTANDING

This batik craft in Indonesia has been known since the Majapahit era and

continued to develop until the next kingdom. The spread of the art of batik to the

Indonesian people and especially the Javanese was after the end of the 18th

century or the beginning of the 19th century. The batik produced was written batik

until the early 20th century and stamped batik became known only after the end of

World War I or around 1920. Now batik has become part of Indonesian traditional

clothing. Batik is also a type of craft that has high artistic value and has been part

of Indonesian (especially Javanese) culture for a long time. Javanese women in

the past used their skills in batik as a livelihood, so that in the past batik work was

an exclusive job for women. Since

Industrialization and globalization, which introduced automation

techniques, a new type of batik emerged, known as “Stamped Batik and Printed

Batik”, which allowed the entry of men into this field. The exception to this

phenomenon is coastal batik which has masculine lines as can be seen in the

"Mega Mendung" pattern, where in some coastal areas batik work is common for

men. While traditional batik

Those produced using handwriting techniques using canting and wax are

called hand-written batik. The batik tradition was originally a tradition that was

passed down from generation to generation, so that sometimes a motif can be

recognized as originating from a particular family's batik. Some batik may

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indicate the status of a person. Even today, some traditional batik motifs are only

worn by the royal families of Yogyakarta and Surakarta.

B. HISTORY OF INDONESIAN BATIK

The exact history of batik cannot be ascertained but batik artifacts more

than 2000 years old have been found. Wherever it comes from, this art has

become a legacy of world civilization. There are many types of traditional batik

patterns, but the patterns and variations are in accordance with the very diverse

philosophy and culture of each region. The uniquely rich culture of the Indonesian

nation has encouraged the birth of various styles and types of batik

traditional with its own characteristics. The use of batik in traditional clothing has

a long history dating back to the early days of Malay civilization. Worn by all

groups, from kings to nobles to commoners, batik is used as an original art that is

practical and popular. In the tradition of writing cindai cloth, for example, it is

mentioned in many past sagas. Batik is a parting gift and a symbol of love in the

Malim Demam saga and is used as a sign of conferring degrees in the Hang Tua

Hikayat.

C. BATIK DEVELOPMENT IN INDONESIA

The history of batik in Indonesia is related to the development of the

Majapahit kingdom and subsequent kingdoms. In several records, the

development of batik was carried out during the Mataram kingdom, then during

the Solo and Yogyakarta kingdoms. Batik art is the art of drawing on cloth for

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clothing which was part of the culture of the families of ancient Indonesian kings.

Initially batik was only done in the palace and the results were used for clothing

for the king and his family and followers. Because many of the king's followers

lived outside the palace, the art of batik was carried out by those who left the

palace and worked on it in their respective places. In its development, the art of

batik was gradually imitated by people nearby and then expanded to become a job

for women in their households to fill their free time. Furthermore, batik, which

was previously only clothing for the royal family, then became popular clothing

for the people, both women and men. The white cloth used at that time was self-

woven. Meanwhile, the coloring materials used consist of native Indonesian plants

which are made by ourselves, including: noni tree, soga, indigo, and the soda

material is made from soda ash, and the salt is made from mud. So batik crafts in

Indonesia have been known since the time of the Majapahit kingdom and

continued to develop until the next kingdom. The art of batik began to spread to

the people of Indonesia and especially the Javanese after the end of the 18th

century or the beginning of the 19th century. The batik produced was all written

batik until the beginning of the 20th century and stamped batik became known

only after the end of the First World War or so. 1920. Now batik has become part

of traditional Indonesian clothing.

D. BATIK MOTIFS IN INDONESIA

The variety of Batik patterns and colors is influenced by various foreign

influences. Initially, batik had a limited variety of patterns and colors, and some

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patterns were only allowed to be worn by certain groups. However, coastal batik

absorbed various external influences, such as foreign traders and colonialists.

Bright colors like red were popularized by the Chinese, who also popularized the

phoenix pattern. Traditional batik is still maintained

its style, and is still used in traditional ceremonies, because usually each style has

its own symbol.

E. BATIK MAKING PROCESS

In general, the process of making batik goes through 3 stages, namely

coloring, applying wax to the cloth and removing the wax from the cloth. The

white cloth on which batik will be made can be given a base color as desired or

remain white before being waxed.

The process of giving mala mini can use a written batik process by hand

canting or a stamping process. On the part of the fabric that is waxed, the coloring

on the batik cannot enter because it is covered by wax (waxresist).

After being waxed, the batik is dyed with color. This coloring process can be done

several times as desired with several desired colors.

If the coloring and waxing process is complete, the wax is worn off using

a heating process. Batik that has melted and escaped from the water. This boiling

process is carried out twice, the last time with a soda ash solution to turn off the

color attached to the batik and avoid fading. After boiling is complete, the batik is

soaked in cold water and then dried in the sun.

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Tools for Making Batik / Batik Making Equipment

There are several things that we must prepare in preparing the tools and

materials to make written batik, including:

1. Mori Cloth

Mori cloth is the raw material for batik which can be made from cotton,

silk, polyester, rayon and other synthetic materials. The color of the mori cloth is

white. The quality of this cloth varies, and each quality really determines whether

the batik cloth produced is good or bad. The mori cloth that will be used is

previously selected (stitched on the cut marks) first so that the weft threads do not

come loose. After twisting, the cloth is washed with fresh water until clean.

2. Canting

Canting is for batik, which is made from copper and bamboo. Canting is

used to scoop hot liquid wax, which is used as a covering or protective agent for

dyes. Canting is used to write or make the desired batik motifs.

Canting consists of a cucuk (small channel) nyamplungan and eggplant handle.

There are various types of protruding holes, some are large and small. The

number of prongs varies, there are one prong, two prongs, three prongs.

3. Goal

Gawangan is a style for attaching and spreading mori cloth when making

batik. The wicket is made of wood or bamboo. This gate must be made in such a

way that it is easy to move, strong and light.

4. Candle

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 Wax is the material used to make batik. The use of wax for batik is

different from ordinary wax. Wax for batik absorbs quickly into the fabric but can

easily come off during the sagging process.

5. Wok

A frying pan is a tool for melting wax or wax. Pans are made of steel or

clay. The pan should have a handle so that it is easy to lift and lower from the

fireplace without using other tools. The pan is made of clay, the handle doesn't

heat easily, but it heats up a bit slowly. While pans are made of metal, the handle

heats easily, but heats up quickly.

6. Pendulum

Pendulums were made from tin, wood, or pocketed stone. The main

function of the pendulum is to hold the mori cloth that has just been batiked so

that it does not easily shift in the wind, or be pulled by the batik maker

accidentally.

7. Brazier

A brazier is a fireplace made of clay for heating at night. The fuel is wood

charcoal. Apart from using a brazier, stoves can also be used to heat the night, the

fuel for the stove is oil.

8. Exactly

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 Tepas is a tool for raising fire, made from bamboo. Apart from being

precise, you can use a fan to raise the fire

9. Cloth

A tablecloth is a cloth to cover the sipembatik's thighs so that they don't get hot

night droplets when the canting is blown, or when making batik. Tablecloths are

usually made from used cloth.

10. Night Filter

A filter is a tool for filtering hot nights where there is a lot of dirt. If the night is

filtered, the dirt can be removed, so that it does not disturb the flow of the night

on the cucuk canting when it is used for batik.

11. Sit down

Dingklik is a seat for batik makers

a) Handwritten Batik Making Process

The stages in the process of making written batik are:

 The first stage or also called the first batik process, is making the desired

pattern and motif on white cloth (silk) painted with a pencil.

 The second stage, namely painting with wax at night using a canting by

following the existing pattern on both sides (back and forth)

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  The third stage, namely covering with wax the parts that will remain

white (not colored)

 The fourth stage, namely the first coloring process on the parts that are

not covered by wax by dipping the cloth in a certain color

 The fifth stage, after dipping, the cloth is dried in the sun and dried

 The sixth stage, after drying, carry out the batik process again, namely

with wax using a canting to cover the parts that will remain in the first

coloring.

 Then proceed with the second color dyeing process, the next process,

removing wax from the cloth by placing the cloth in hot water on the

stove.

 Once the cloth is clean of wax and dry, the batik process can be carried

out again with a wax cover (using a canting tool to hold the first and

second colors).

 The process of opening and closing the candle can be done repeatedly

according to the number of colors and complexity of the desired motif.

 The final process is washing the batik cloth then drying it by hanging it

in the sun before it can be worn and used.

b) Batik Stamp Making Process

The stages in the process of making stamped batik are:

 Making the desired patterns and motifs on white cloth (silk) by

stamping/printing using the stamping tool onto hot wax and then

pressing it onto the cloth.

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  The first coloring process is on the part that is not covered by wax by

dipping the cloth in a certain color.

 After dipping, the cloth is dried in the sun and dried

 Once dry, carry out the painting process again, namely painting with

candle wax using a canting to cover the parts that will remain in the first

coloring.

 Then, proceed with the second color dyeing process

 The next process is to remove wax from the cloth by placing the cloth in

hot water on the stove

 Once the cloth is clean of wax and dry, the batik process can be carried

out again by covering the wax (using a canting tool) to retain the first

and second colors.

 The process of opening and closing the night candle can be done

repeatedly according to the number of colors and complexity of the

motif desired

 The final process is washing the batik cloth and then drying it and

drying it in the sun before it can be used and used.

c) Batik Printing Making Process

The stages in the process of making batik printing are:

 Making the desired patterns and motifs on white cloth (silk) by screen

printing / printing using a screen printing tool (plankon)

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  The next stages are like the first process for the second coloring and also

as a combination of batik motifs, this process can be done repeatedly

according to the desired batik

 Then proceed with drying or drying the cloth under the hot sun if

available or you can also place it on a special stove/oven.

 After drying, the cloth is washed to adhere and strengthen the color on

the cloth, then dried again. The reversal process can be completed up to

this stage, but for more complicated and complex batik, the next stage

can be carried out

 Returning to the batik process, namely painting with candle wax using a

canting to cover the parts that will remain in the color dyeing process

 Then proceed with the color dyeing process

 The next process is to remove the wax from the cloth by placing the

cloth in hot water on the stove

 The final process is to wash the batik cloth and then dry it by hanging it

in the sun before it can be used and worn.

E. BATIK EXAMPLES

1. Pekalongan Batik

The ups and downs of the development of Pekalongan batik show that

Pekalongan deserves to be an icon for the development of batik in the archipelago.

An icon for works of art that never give up with the times and are always

dynamic. Now batik has become the breath of everyday life for Pekalongan

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residents and is one of the superior products. This is caused by the large number

of industries that produce batik products. Because it is famous for the product

For its batik, Pekalongan is known as Batik City. The nickname comes from a

tradition that has long roots in Pekalongan. Pekalongan batik is one of the coastal

batiks that is richest in color. As is characteristic of coastal batik, its decoration is

usually naturalistic.

When compared with other coastal batik, Pekalongan Batik is heavily

influenced by immigrants of Chinese and Dutch descent. Pekalongan Batik motifs

are very free and attractive, although they are often modified with attractive color

variations. It is not uncommon for a piece of batik cloth to be found in up to 8

varying colors, with dynamic combinations.

The specialty of Pekalongan Batik is that its batik makers always keep up with the

times. For example, during the Japanese colonization, batik was born with the

name "Hokokai Javanese Batik", namely batik with motifs and colors similar to

the Japanese kimono. In the sixties batik was also created with the name "Tritura".

In fact, in 2005, shortly after President SBY was appointed, batik appeared with

the "SBY" motif, namely a batik motif similar to ikat and songket woven cloth.

Pekalongan residents never run out of ideas for creating batik motifs.

2. Batik Mega Mendung

Almost all areas of Java have a rich and distinctive batik culture. of course

there are more prominent areas such as Solo, Yogya and Pekalongan. However,

the richness of Cirebon regional batik art is no less than that of other cities.

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Historically, in the Cirebon area there is a busy port visited by various migrants

from within and outside the country. One of the immigrants who was quite

influential was immigrants from China who brought beliefs and arts from their

country. In history, it is explained that Sunan Gunung Jati, who developed Islamic

teachings in the Cirebon area, married a Chinese princess named Ong TIe. His

wife is very interested in the arts, especially ceramics. The motifs on ceramics

brought from China ultimately influenced batik motifs, resulting in a fusion

between Cirebon and Chinese culture. One of the most famous motifs from the

Cirebon area is Mega batik

Overcast or clouds. This motif can be seen in both shape and color in a

Chinese style. The Mega Mendung motif symbolizes the bringer of rain which is

eagerly awaited as the bringer of fertility and the giver of life. This motif is

dominated by blue, from light blue to dark blue. The dark blue color depicts dark

clouds containing rainwater, the giver of life, while the light blue color

symbolizes the brighter life.

3. Truntun motif batik

It could be said that the Truntum motif is a symbol of love blossoming

again. According to the story, this motif was created by a Queen of the

Yogyakarta Palace. The Queen, who had always been loved and pampered by the

King, felt forgotten by the King who had a new lover. To pass the time and get rid

of sadness, the Queen started making batik. Unconsciously, the queen made a

motif in the shape of stars in the dark sky, which had accompanied her in her

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solitude. The Queen's persistence in making batik attracted the attention of the

King who then started to approach the Queen to see her batik making. Since then

the King has always monitored the progress of the Queen's batik making, little by

little the King's affection for the Queen grew again. Thanks to this motif, the

king's love blossomed again or tum-tum again, so this motif was given the name

Truntum, as a symbol of the King's love blossoming again.

4. Jlamprang Batik

The Jlamprang motif or in Yogyakarta the name Nitik is one of the most

popular batiks produced in the Krapyak Pekalongan area. This batik is a

development of the Potola cloth motif from India which is geometric in shape,

sometimes in the shape of stars or winds and uses twigs with rectangular ends.

This Jlamprang batik was immortalized as one of the streets in Pekalongan.

5. Bridal Batik

Each motif in classic traditional batik always has its own philosophy. In

Batik motifs, especially from the Central Java region, especially Solo and Yogya,

every image has a meaning. This has something to do with the meaning or

philosophical meaning in Hindu-Javanese culture. There are certain motifs that are

considered sacred and can only be worn on certain occasions or events, including

wedding ceremonies. The Sido-Mukti motif is usually worn by the bride and

groom at weddings, also known as Sawitan (a pair). Sido means continuous or

becoming and mukti means living in abundance and happiness. So it can be

concluded that this motif symbolizes hope

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 A good future, full of happiness for the bride and groom. Apart from Sido

Mukti, there is also the Sido Asih motif which means living in love. There are

other motifs like Sido Mulyo, which means living in glory and Sido Luhur, which

means always being virtuous in life. There are also motifs that are not twin palms,

but are usually worn by couples

The bride and groom motif is Ratu Ratih paired with Semen Rama, which

symbolizes a wife's loyalty to her husband. In fact, there are many more motifs

that are commonly used by bridal couples, all of which are created to symbolize

hopes, messages, intentions and goodwill towards the bridal couple. At the

wedding ceremony, the parents of the bride and groom usually wear the Truntum

motif which can also mean to guide, which means guiding the bride and groom in

entering the new life, namely marriage. The Sido Wirasat motif is also known,

wirasat means advice, and in this motif

There is always a combination of truntum motifs in it, which symbolizes that

parents will always give advice and guide the bride and groom in entering married

life.

6. Batik Three Countries

The complexity of making a piece of written batik is still not enough if we

know the history of the Three Country Batik motifs. The Tiga Negeri Batik motif

is a combination of typical batik from Lasem, Pekalongan and Solo. During the

colonial era, the region had its own autonomy and was called a country. Maybe if

only the combination of motifs that are typical of each region would still be

normal and normal, but what makes this batik have high artistic value is the

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process. It is said that according to batik makers, the water in each region has a

big influence on coloring, and this makes sense because the mineral content of

groundwater varies according to geographical location. So this batik is made in

each region. First, this batik cloth was made in Lasem with a distinctive red color,

like blood red, after that the batik cloth was taken to Pekalongan and made into

blue batik, and finally the cloth was colored sogan brown which is typical of the

city of Solo. Considering that transportation facilities at that time were not as

good as now, this Tiga Negeri Batik cloth can be said to be one of the batik

masterpieces.

7. Morning Evening Batik

Morning and evening batik designs began to exist during the Japanese

colonial era. At that time, because life was difficult, to save money, batik makers

made batik cloth in the morning and afternoon. One batik cloth is made with two

different motif designs. So if in the morning we use one side of the fabric, then in

the afternoon we can wear a different motif from the other side of the fabric, so it

gives the impression that we are wearing 2 different fabrics even though it is only

1 piece of fabric. Of course, nowadays very few people wear kebaya every day,

but many morning/evening motifs are still made on other batik products. Usually

silk fabrics are made with 2 motifs on one piece of fabric so two clothes can be

made, there are also scarves which are usually used as headscarves, which are

made half plain and half patterned. Morning and afternoon batik is indeed an

alternative to having a variety of batik at a limited cost.

Types of Batik Based on Technique are as follows:

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a. Handmade batik

Handmade batikis cloth decorated with batik textures and patterns by

hand. Making this type of batik takes approximately 2-3 months.

b. Batik

Batikis a cloth decorated with batik textures and patterns formed with a

stamp (usually made of copper). The process of making this type of batik

takes approximately 2-3 days.

c. Painted Batik

Painted Batikis the process of making batik by directly painting on white

cloth.

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 CHAPTER III

CLOSING

A. CONCLUSION
Batik is one of the rich cultural heritage of the Indonesian people.
Batik is a process of retaining color by using wax repeatedly on cloth

B. SUGGESTION

It would be better if the use of batik needs to be improved further so that our

unique characteristics as Indonesian citizens are not lost. Because several other countries

have recognized Indonesian batik. For this reason, we must be proud to be Indonesian

children.

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