INDONESIA CULTURE

cultural products that are considered a work of genius is a local batik. When the experts talk about batik, it means Indonesia or, more specifically, Java. The well-known designers from the West did not hesitate to pick up inspiration from batik. Emilio Pucci, the Italian designer of stunning the world in 1960 with a striking design motif, taking into one of batik cloth and clothing design (Pucci, A Renaissance in Fashion, 1991). The designer of the world's more now like Giorgio Armani, Kenzo and Paul Smith has long been impressed by the Indonesian batiks and woven fabrics. Humanitarian character who is also a former South African President, Nelson Mandela, always berkemeja batik made in Indonesia in every opportunity, including state occasions.



As a decorating technique, batik not only in Indonesia. Define where the origin of batik originated may be too vain. Iwan Tirta mention, batik evolved simultaneously in different parts of the world. However, the world recognizes that the Javanese batik is the most delicate because it has a decorative pattern of the richest, most developed perwarnaan techniques, and technically the most perfect creation than batik from other regions.

Batik is just one fabric decorating techniques developed in Indonesia. Indonesia familiar with other techniques such as that before the yarn was woven ikat technique. These techniques are often combined to generate wealth create decorative techniques are incredible. Those who now jump in batik and fabric industries such as Iwan Tirta, Josephine Komara of Bin House or Baron Manansang of Weaving Baron, both of us said, batik, tie, jumputan and weaving techniques such as songket and striated, giving an almost unlimited opportunities in producing decorative techniques and in the future is always able to meet the demands of the times.

Although initially only one of batik making decorative techniques, but in its development, batik became very prominent compared with other techniques to make decorative.

There are several reasons why more developed batik in Java. Iwan Tirta mentioned, one important reason is to be an alternative to batik cloth belt or a woven fabric like others who take a longer time in the making that can not meet demand. This happens especially when the fabric meets the need for religious ceremonies.

Batik as a decorative ornament and began imitating formed through the weaving technique. The most obvious example is the imitation motive patola, which is a kind of double ikat from Gujarat, India. Binding motif generated refinement patola quickly drew the interest of the royal Javanese aristocracy (Central). However, the scarcity of supply, the artisans make batik motifs rapidly emulate patola. Thus was born the motive nitik and jlamprang in Pekalongan.

Other evidence mentioned Iwan Tirta is in areas where developing weaving, batik is not growing. Batik then also started imitating decorative embroidery from mainland China, especially for altar cloths and wall decoration because of batik can repeat motifs are faster.

Other reasons why batik survive and thrive is because batik get protection (patronage) from the palace in the past, the government of the Republic of Indonesia after birth, and an elite group of society when society increasingly dominant role. Best batik batik-batik produced by the artisans to the king in part because it is a manifestation of the artist's devotion to the Creator.

Head of State is the patron when Indonesia had become independent. Star Sudibjo deceased was one of batik artisans who have a place when President Sukarno's rule. Iwan Tirta and then get a place when the deceased Mrs. Tien Soeharto heard about a man that Java is not bloody understand about batik. Now President Wahid is also more common Adurrahman wearing batik shirts in a variety show.

In addition, batik still have a place among the elite of Indonesia although a Western-style dress to wear everyday. Iwan Tirta on the 1980s introducing batik with gold prada, and come to give color to the development of batik. Bin House Houses cloth again aroused against batik and batik cloth back into vogue. Among the younger age of the designer, began to seriously pursue Carmanita batik and participate give their own color. Various batik design competition and apply it in everyday clothes who held various nongovernmental organizations to contribute to the persistence of batik till today.

BEFORE batik as it is now known to exist, the technique uses color to decorate with candles held tonight, in Indonesia has been known for "batik" technique is more simple. Cain simbut in Banten, and cloth ma'a from Toraja, South Sulawesi, also wearing the color resist techniques. As a holder of color on the fabric used simbut the crushed rice and sticky rice mixed with sugar water. Cloth and then dipped into the liquid dye made from plants. Then scrub the sticky rice and the rice is covered with sticky rice remained white rice as the original color of the fabric.

Ma'a was first done in an isolated mountainous area so there are some allegations, such as Iwan Tirta mentioned, Indonesia has the embryo of batik from within its own territory. One example of batik cloth is still produced and become examples of the evolution of intermediate forms to the present form of batik is batik cloth-striated Tuban in East Java and several motifs Jambi batik cloth. The shape of the dots that make up the geometric motifs or boxes.

Rens Heringa anthropologist who has studied Javanese batik for over 25 years in Batik from the North Coast of Java (1997) among others mention, simple motifs on simbut cloth, batik-striated Tuban or Jambi batik cloth, were also found on various objects made in South Asia and Southeast Asia. The same design is also found in batiks are drawn using bamboo sticks called Laran, which is made of ethnic minorities in southwest China, and ethnic minorities in the mountains of Thailand, Laos, and Myanmar.

Use of the night (candle) to distinguish the batik is now known from the early form of batik. Tonight provides an opportunity to produce a variety of motifs of batik in Java so that developed into the shape it is today.

Techniques to make decorative fabrics with color hold techniques are expected already in the archipelago since the prehistoric period, although no example of fabric that remains today except the cloth from the 19th century. One of them is the fabric simbut contained in the National Museum.

There are not many records about the development of batik technique (holding color) start to become rich Javanese batik techniques and decorative details are complex. One of the reasons for making batik in Java is women's work, and therefore not be written because the writing is decent domain name menfolk.

Heringa mention, although written evidence or physical evidence of the development of batik in the early period have not been found today, but most early myths about batik already exists in approximately the year 700 AD The myth that mentions the prince from the east coast near Surabaya Jenggala Amiluhur named Ox. Ox-Amiluhur bride, a princess from Coromandel, India and Hindu ladies, teaching the weaving, batik, and dye the fabric to the people of Java. This myth survived until the son of Ox, Raden Panji Ima Kerta Pati, became king.

Written records of new batiks appeared hundreds of years later, in 1518, namely from Galuh region in the northwest of Java, in the pre-Islamic.

Both the myth and the first written records about batik, both located in coastal or northern coast of Java and before the advent of Islam. These areas have tremendous influence from India, China, and Persia through trade. The technique uses color to hold a candle (night) which may be imported from the Coromandel and Persian, have more in common visually with the traditional cloth Coast, especially in size and format.

However, artisans in Java and then develop their own fabric to match their needs so that then the techniques used in the Coromandel is only ornament was made only on one side is very different from the Javanese batik in detail, so not exactly Javanese batik originated from India. The same thing applies in the fabric of the Persian kalamkari using block-printing process for ornamentation.

China also donated at least since the time of Javanese batik Sultan Agung who became the first Muslim king of Mataram (1613-1645). Sultan Agung mentioned using batik with a bird motif huk who in Chinese mythology brings good luck blessing. This story opens up the possibility of the role of Chinese immigrants in 19th century on the coast in the spread of Islam. Alternatively, immigrants from southern China to contribute to the development of batik. Women from minority tribes in the south and southeast China cotton fabric adorned them with the technique of wax resist wear colors used in the Empire of the Sun Java up to now.

Dutch colonialists began paying attention to the batik in the 19th century. The experts at that time to make judgments about batik distorted by stating that originally centered batik from Yogyakarta and Surakarta, a new kingdom spread to the women artisans in the villages that make batik for commercial purposes.

Rens Heringa reject that view, saying the possibility of a new batik technique into the hinterland of Java after the mid-17th century when the Sultanate of Mataram develop and adopt a culture of Coastal. When Kertasura became the capital of the kingdom, colors and patterns change gradually become softer style palace of Central Java. Batik-batik originated mainly from the Surakarta and Yogyakarta Palace and motifs derived from both, then regarded as the culmination of the work of batik and batik from another area then considered not as beautiful batik two regions that, for a long time.

So far, all made using batik canting with different size and shape refinement. Coloring using natural dyes, batik and more of a seasonal job for the family.

Batik began to develop as a commercial commodity when in the late 18th century the fabric of Indian exports have fallen because of competition from European print fabric. Coastal batik from start replacing the cloth from Indian and Peranakan Chinese trader was involved in batik production and trade.

Peranakan merchants who controlled trade in white cotton cloth and other materials batik maker, has a network to the remote villages and they also lend money. They often give advance payments to encourage the production of batik by women in rural areas. In the mid-19th century women's Indo-European and Indo-Arab coming in as a batik entrepreneur. At this time that women in the villages of Java began to work outside their villages for a wage as batik, especially when the crops failed family.

Pekalongan in 1850 by collector Harmen C. Veldhuisen Batik (Batik Netherlands, Dutch Influence in Batik from Java History and Stories, 1993), has emerged as an important center of batik. In the batik industry and the division of labor occurs: the man in charge of preparing the white and colored cotton cloth, while women's batik motif determined by the buyer or copying ready-made batik wear tonight.

Since the beginning of the start of commercial production of batik, batik needs can never be fulfilled. Therefore, in the early 19th century created a market for fabrics that imitate the technique of batik prints imported from Europe.

This fact and encourages traders to develop techniques for batik production speed. They then conducted various experiments, among others, using sweet potato as a stamp. Finally found a block cap which is made from copper wire to form a block pattern. However, because it requires a lot of stamp-making labor, production of cloth should be large enough to make it economical. Veldhuisen mention one stamp could create about 200 gloves. Because making batik is a job for men, women forced to only be working to make batik.

World War I brought destruction on the batik industry. White cotton imports from the Netherlands disrupted, batik price rises, and to get more money, the batik produce as much as possible. The result is flooding the market and prices fell, while the limited supply of fabric. After World War I, re-import the fabric of Dutch East Indies in 1918 but printed batik industry improved only momentarily because later affected by depression. Only those who are serving a group of elite like batik Peranakan's all I can survive. This caused many to lose jobs batik, batik and then brought in from other areas to use the train when the wages of local batik became too expensive.

BATIK is a major clothing to describe a person's social position, especially during the reign of the kingdom and Dutch colonial rule. Parang motif is damaged, for example, may only be worn by kings in Yogyakarta and Surakarta. This motif has been rescued by the myth of the dangers of Raden Panji and Sultan Agung also use this motif.

Batik is considered to have meaning associated with birth, marriage and death. Javanese people who died for example, the base where he lay before going to the grave covered seven batik cloth, batik is also used to cover the body. Brides use the cloth as a symbol of blessing sidamukti.

Iwan Tirta who call themselves as guardians of traditional values batik, batik look at the future of fashion will survive as a complement to the modern (Western) women in Indonesia in the form of cloth scarf (shawl) or scarf, as a batik shirt, or as a decor element. Long batik cloth in the form of kebaya worn together will only be used at certain times only.

The more melunturnya sacred elements of tradition in everyday life humans Indonesia, had an impact on more meaning sirnanya batik. Which will be developed later is a truly batik ornamentation.

Resist technique of batik as the night wore any color will likely increasingly scarce, especially batik. Workmanship that takes time, especially if you want to get the batik with many colors, make batik become increasingly expensive. Batik with beauty as in the 19th century and early 20th centuries, is likely only become collectibles.

On the other hand, the growth of textile industry in Indonesia is also threatening the existence of batik in the sense that they reproduce without using the batik technique but using the technique of batik print. Layman might be fooled by the "batik" like this batik cloth can be "cheap".

One that makes Java different from batik batik other regions is isen-isen which became the main motive background is divide the geometric patterns and motifs nongeometris. When batik was victorious, isen-isen which can be the point, and the tendrils or lines, filling the entire background of the fabric, something that is now very rarely done anymore because it takes a long time in the process. Batik, as a decorative technique, might eventually will belong to a few people.
Mobil Keluarga Ideal Terbaik Indonesia