History of Kampoeng Batik

Kampong Batik Laweyan

Batik is a traditional art work that has been the source of living of Laweyan society for ages. Laweyan was known as “juragan batik” kampong. It achieved its best moment in 1970s. There are still many interesting batik showrooms that can be visited at present as one of expense tourism destination.

Laweyan was known as the center of batik at the era of Kingdom of Pajang in 1546. As a cultural pledge, there are a lot of historical sites can be visited. They are Laweyan Mosque, the burial ground of Ki Ageng Henis (the founding father of Mataram King), Ki Ageng Henis and Sutowijoyo’s (Panembahan Senopati) houses, the ex-Laweyan traditional market, the burial ground of Jayengrana (Untung Suropati’s soldier), Merdeka Mosque, Makmoer Mosque, and the residence of H. Samanhudi, the founding father of Serikat Dagang Islam.

Laweyan is also famous of its characteristic architecture and environment. The mix Javanese, Europe, Chinese and Islamic elements color the building architecture in Laweyan. High gateway, or is known as beteng, forms narrow alley for the entrance to the building.

Kampung batik KAUMAN :

Kauman Village has close links with the history of the move of Kartasura Palace to Solo which later changed its name to Kasunanan Palace. Kauman is a place of scholars consisting of several layers of society ranging from the prince commentary anom, preacher, muezzin, suronoto and courtiers (Indonesian translation: Kaum). The existence of the majority population in the region becomes the basis for the choice name "Kauman".

The courtiers get special training from Kasunanan Palace for producing batik either jarik (traditional Javanese cloth) or scarves and so forth. In other words, the tradition of producing batik is inherited directly by Ndalem Kraton Kasunanan Surakarta Hadiningrat (Kasunanan palace). Based on the provision of expertise provided by the Kauman community to produce works that directly relate to batik motifs that are often used by the royal family

In its development, the art of Kauman batik can be divided into three forms of classical batik motifs grip (batik tulis), pure batik stamp and a combination model between them. Batik-patterned grip that is heavily influenced by Kasunanan Palace is a prime product of Kampong Batik Kauman. Kauman batik products made using natural silk and woven silk, cotton and prime type premisima, rayon.

Kampong Batik Kauman which has 20-30s home industries of batik becomes the expense tourist destination intertwined hereditary. Most of the foreign tourists come from Japan, Europe, Southeast Asia and the United States. Uniqueness offered to the tourists is the ease of transactions, looking at the home venue for the activities of batik production. That is, visitors have the opportunity to find out and do the process of batik making.

Besides the production of batik, Kampong Batik Kauman offers many of historical sites such as joglo houses, Limasan, colonial, and the mixture between colonial and Javanese architecture. The buildings of the past remain strong amid towering modern architecture shopping malls, financial institutions (banks and foreign exchange). Not to mention home stays and hotels are widely available around the Kampong Batik Kauman. Other facilities around the village Kauman clearly provide special conveniences for all the tourists who visit in meeting other needs beyond batik

Types of Batik

Indonesian batik patterns and motifs vary, there is a genuine motive of our ancestors  and there is  an acculturation with other nations as well.
Batik Keraton, for instance, is believed to be the origin of Indonesian batik. It is mainly made by princesses. And it is forbidden to be worn by common people. The motives are such as Parang Barong and Parang Rusak.

Since the kraton motif is forbidden, the merchants tend to develop their own motifs, which is known as Sudagaran. The Sudagaran motif tends to be "brave" in its styles, mainly dominated by the animal motifs and plant motifs. Batik Sudagaran presents high quality  and complexity in the process of presenting the new decoration. The artists of batik Sudagaran change  the palace style complexity and filled with cecek (spots) to create a very beautiful batik. 

Peasant batik is another style. Generally, it is rough and made by housewives to kill time. The Coloring is similar to batik Sudagaran.Since it is not for sale, then the motif varies much.

The Classical Dance of Bedaya Ketawang

Bedaya Ketawang that emerged in the early seventeenth century in the Javanese state of Mataram and commemorates the coronation of the king of Surakarta, one of the two Mataram Kingdom divisions. In Java, Indonesia, bedaya are dancers who perform ritual court dances. Bedaya are living embodiments of traditional Javanese high culture, and in addition to dance are expected to be proficient in the Javanese language and literature, as well as able to practice batik and the healing arts.

Bedaya Ketawang is one of sacred dance in Central Java. The movements in this Bedaya Ketawang dance are very simple, with few ornaments, and the instrumentation for the accompanying gendhing is not as full as the gamelan used for wayang or shadow puppet theatre. The patterns of dance are simple, the movements sway smoothly, as if following the breathing pattern of the dancers. It seems to contain sequence of body movements which have the goal of controlling fluctuating emotions, so that what appears gives an impression of a continuous flow, calm, without ripples or erratic movements or even explosions.
The dance depicts the relationship between Panembahan Senopati, the first ruler of Mataram, and Kanjeng Ratu Kidul (Her Majesty Queen of The South Sea), the goddess of the sea and protector of the royal family.
The dance is performed by nine bedayas wearing the makeup and dress of brides. The dancers prepare for the dance as they would for a marriage ceremony, and the hour long dance is open only to selected audiences who refrain from smoking, drinking, and eating. Some believe that a tenth dancer is the goddess herself, she also performs and can be seen by some people.

This story is a legend, but the fact that it’s used as a theme in the court dance suggests that it is in the official chronicles of the Babad Kraton Mataram. Things I can get that dancing is an educational process to acquire an ideal personality in the view of Javanese life. An ideal personality is one which is able to control emotions with movement and behaviour patterns, or body language, which in interpersonal relationships always shows self restraint and allows others to take the initiative. A personality which is almost passive and easily ashamed when acting outside the norms. These norms become the basis for reacting to the patterns of dance movements taught. High technical discipline is obligatory, as discipline in the details of movement performed also reflects the discipline in implementation of social order.

The Spirit of Java

Surakarta or more famous as Solo is lying across in fertile plain terrain along the longest river in Java, Bengawan or River Solo. Flanked by mountain volcanoes Merapi and Merbabu in the north, and mount Lawu in the southeast border, is famous as a stronghold and center of Javanese culture and tradition. Surakarta, is the cradle of Javanese culture, with two royal houses in one single city: the Kraton of Solo and the Mangkunegaran, a principality. Descendants of these two royal houses are still considered leaders of Javanese culture and traditions. Majestic ceremonies and royal festivals are still held with great affectation nowadays. Surakarta or Solo (550000 inhabitants) draws its name from the longest river of Java, which passes in this city. It was the capital of the kingdom of Mataram from 1745 to 1755. There are many Becak (rickshaws decorated with naive scenes) croos the city.

Solo offers an incredible list of eateries also popular far beyond the city. Solo today remains a distinctly Central Javanese with an elegance all its own. It is one of the centers of batik and other Javanese fabrics, and souvenir hunters may find exquisite 'objects d'art" and ornate trinkets in the local markets. Those interested in old, Javanese culture and art should not miss Solo. Solo is called the city that never sleeps. From the evening throughout the whole night one can always find something to eat or buy, as vendors of all kinds as well as small food-stalls remain active and open 24 hours. Home of two royal houses with centuries of power and influence over the city. There are nice inns and hotels in Selo for accommodation. This place was a famous holiday resort of Surakarta Royal Families.

Solo is Surakarta's commercial as well as its administrative center, and produce from the surrounding desa fills the markets every day. Solo produces cigarettes, herbal medicines and various other light industry products, but batik is far and away the most important manufacturing activity in the city. Batik is a traditional textile working process involving the use of wax to cover the cloth in patterns and thus control the areas affected by dying. In the traditional process, batik tulis ("written batik") hot wax is applied with incredible patience and skill with an instrument that looks like a pipe but is used like a pen. The women and girls sit circled around an often-smoky little burner that heats the wax.

Many of the larger houses participate in the batik industry, with an area set aside for a covey of from 10 to 30 women and girls, who usually come from the village (desa). Really skilled workers are generally old, and the present level of batik production is not likely to continue in economically developing Java as alternative, less demanding activities absorb more of this cheap labor.

History of Central Java

Since the 7th century, there was a lot of Kingdom, which emerged in Central Java. Kalingga Buddha Kingdom of Jepara, ruled by Queen Shima emerged in 674. The colonization by the Dutch lasted for about 350 years March 9, 1942. The Japanese occupation forces landed in Indonesia for 3,5 years. The August 17th, 1945 the Indonesian people proclaimed their independence to the world. Nowadays, Central Java territory is administratively a province, which was established under the law No. 10/1950.

History oozes from every corner of Central Java, an area rich in a culture and tradition cumulated from a powerful Hindu and Buddhist past and more recent Islamic influences. Under the Sailendra and old Mataram kings, the Hindu Javanese culture flourished between the 8th and 10th centuries. It was during this pinnacle of power that Java's most remarkable religious monuments were built; Borobudur, the biggest and most magnificent monument to Mahayana Buddhism in the world; the enormous Hindu temple complex of Prambanan, dedicated to Shiva and built by the rulers of the Sanjaya Dynasty, and the ancient site of the oldest Hindu temples in Java on the magnificent, heights of the Dieng Plateau. All of these and more are testimony to the ancient power and influence of the region. The first Islamic kingdom in Java saw its beginnings in 1511 in Demak, not far from the capital, Semarang. Here one can find one of the province's greatest Islamic structures, the Grand Mosque of Demak, which has said to be built in a single night by one of the nine early leaders of Islam in Java. Symbolic of the way the new faith was introduced, the mosque displays a curious combination of Islamic and Hindu architectural influences and is still revered and worshipped in by Javanese pilgrims who regularly visit the area.

Surakarta, better known as Solo, is the cradle of Javanese culture in the province. The courts of Solo illustrate the noble value that the Javanese attach to grace and refinement, with majestic ceremonies and royal festivals still held with great pomp and circumstance. Although no longer the seats of power they once were, the courts of Solo are still regarded as the bearers of values, which the Javanese have treasured for generations. Descendants of the royal houses are regarded as leaders of Javanese culture and traditions, which uphold standards of sophistication and bearing.

Two major seaports are also to be noted, providing national and international outlets for the province's agricultural and industrial products; Tanjung Emas on the northern coast on the Java Sea, and Cilacap, a natural ocean port in the Indian Ocean, in the southern part of the province.

Filsafat Canting

Canting berasal dari bahasa Jawa canthing, sebuah alat yang dipakai untuk memindahkan cairan malam untuk membuat batik tulis. Alat ini terdiri dari nyamplung (tampungan cairan malam* yang terbuat dari tembaga), cucuk (tempat keluarnya malam), dan gagang (tangkai canting yang biasanya terbuat dari bambu atau kayu).

Umur alat untuk membatik ini memang sudah setua peradaban Mesir lama. Jejaknya ditemukan kali pertama pada pembungkus mumi, yang ternyata buatan abad ke-IV Sebelum Masehi. Namun, ruhnya untuk menyuguhkan pola-pola keindahan tak pernah mengenal kata berkesudahan, tak lekang di tiap ruang dan juga milenia.

Namun demikian, dibutuhkan harmoni embusan napas dan perasaan ketika menuangkan cairan malam dalam lembaran kain bakal pembungkus badan. Bukan saja kekuatan memegang gagang canting yang dibutuhkan, tapi juga kehalusan penjiwaan dan kesabaran dalam menerakan detail mili demi mili pewarnaan pola keindahan.

Tak heran jika batik sarat dengan muatan kejiwaan yang menjadi latar seni dan keindahan. Setali tiga uang dengan catatan etimologis, kata ini berasal dari paduan kata Jawa “amba” dan “nitik”. Amba bermakna menulis, dan nitik berarti titik. Dengan demikian, ia bisa dibilang akumulasi titik yang menyuguhkan pesona elok nan cantik yang multimakna.

Dalam matra sejarah, membatik tidak melulu dilatari alasan ekonomi, tapi juga media penyaluran emosi. Sebagai media ekspresi emosi, para pembatik –yang kebanyakan para ibu— menuangkan cairan lilin tidak saja dalam suasana bungah, tapi juga saat jengah dan resah dengan kehidupan yang kadang menyuguhkan masalah yang pelik menurut logika sederhana.

"butuh kesabaran untuk menghasilkan keindahan"

Saat marah membuncah, membatik menjadi media kompensasi yang dapat meredakannya, lantaran membatik selalu menuntut keluwesan, keprigelan, dan kesabaran. Seraya menunggu suami pulang, membatik pun menjadi aktivitas positif untuk mengisi waktu luang ketimbang ngerumpi membahas aib sesama di pelataran rumah orang.

Bahkan, saat Sri Susuhunan Pakubuwono III tak lagi memberikan cinta dan kehangatan, Ratu Beruk resah. Ia menenangkan diri di taman Bale Kambang, lantas menuangkan kegelisahannya dalam lembar kain. Dari situlah lahir motif batik truntum, yang berarti “timbul atau berkumpul”, semakna dengan mekarnya kembali cinta raja kepada Ratu Beruk.

Memang, membatik identik dengan menulis. Sama-sama menggunakan alat penuang —tinta dan malam: pena dan canting. Sama-sama mewarnai lembaran —kertas dan kain— yang polos tanpa corak, sebagaimana fitrah anak Adam. Keduanya mengekspresikan suasana hati dan kenyataan sekitar. Sebagaimana pena dalam meretas kata, dari situlah canting mengurai makna. Dari filosofi itu pulalah canting menjadi komunitas untuk saling berdiskusi dan saling berbagi…

Let your canting do the thinking!

* malam adalah cairan lilin yang diproduksi secara alami.

Source:http://filsafat.kompasiana.com/2010/03/09/filsafat-canting/
Tags: canting, Aziz Safa, Jogja, batik

Coastal Batik: Lasem

Lasem Batik History closely related to the arrival of Admiral Cheng Ho in the year 1413. Lasem Chronicle written by Mpu Santri Badra in 1401 Saka (1479 AD,) and rewritten by R Panji Kamzah (1858) mention, the ship crew of Dhang Puhawang Tzeng Ho from Zhong Guo State, Bi Nang Un and his wife, Na Li Ni, chose to live in Bonang after seeing the natural beauty of Java.

In place of this new habitation, Na Li Ni started to make oriental batik, especially phoenix, dragon, chrysanthemums, latticework motifs. Chicken blood red color (dark red) typical of Chinese dominate batik color. This motif is characteristic of Lasem Batik unique.

Lasem Batik uniqueness got an important place in world trade. Inter-island trader with the ship and then send Lasem Batik throughout the archipelago. Even the early nineteenth century Lasem Batik could be exported to Thailand and Suriname. Lasem Batik entering heyday.

Lasem Batik booming make crafters become more creative. New motifs like Latohan, Gunung Ringgit, or Kricakan (broken stone) emerging. Syahdan, crafters create Kricakan motifs inspired by the suffering of the people because when it comes to breaking big rocks to make the highway heading by Daendels.

Lasem Batik continue incised gold records until late termination of colonial rule. Lasem Batik entrepreneurs who come from the Tionghoa got a special place in the indigenous population because a lot of job opportunities.

Heyday of batik, which became an icon of cultural assimilation of Java and China began to recede in the 1950s. The main cause of deterioration is due to Lasem Batik pressured by the proliferation batik in various regions. In addition, also due to political conditions that marginalize ethnic Chinese who is the ruler Lasem Batik trade.

According to data of Rembang Economic Development Forum (Fedep), in the 1950s there were about 140 entrepreneurs Lasem Batik. In the 1970s the number dropped to half. Peak in the 1980s Lasem Batik entrepreneur only reached seven people are active. Further development of Lasem Batik continue to experience ups and downs.

Source:http://lasembatikart.com/?p=5