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

The History of Pajang Kingdom

The Kingdom of Pajang (1568–1586) was founded a short-lived Muslim state in Java. It was established by Hadiwijaya or Jaka Tingkir, Lord of Boyolali, after ending civil war in and as successor to Sultanate of Demak. Hadiwijaya was a descendant of Brawijaya V, the last king of Majapahit, and Trenggana, the Sultan of Demak.

In the last battle against the last claimant of Demak, the vicious Arya Penangsang, Jaka Tingkir commissioned his greatest vassal: Ki Ageng Pamanahan and his son, Sutawijaya to destroy Arya Penangsang's army. The two managed to defeat and kill Arya Penangsang and were thus awarded a fief in a forest called Alas Mentaok, now Kotagede, on which they founded their base for the future capital of Mataram Kingdom. (1)

Legend said that the King Hadiwijaya was very fond of Sutawijaya that he adopted Sutawijaya as the play-mate of his heir, Prince Banawa. Hadiwijaya's rule was supposed to be succeeded by this weak-minded heir, but a rebellion by a vassal named Ario Pangiri forced the heir of King to seek asylum to his childhood friend, Sutawijaya.

Pledged to help, Sutawijaya gathered his army and defeated Ario Pangiri and seized the Pajang Palace. The Prince Banawa then submitted his crown to Sutawijaya and thus ended the history of Kingdom of Pajang in 1586, when Sutawijaya founded the greatest Islamic kingdom in Java: Mataram Sultanate.

Source:http://medlibrary.org/medwiki/Pajang

The Origin of Batik

Batik (Javanese, “wax painting”), technique of textile design by negative, or resist, dyeing and the resulting fabric. Designs are first painted in melted wax on both sides of a cloth. The cloth is then dipped in dye, which is absorbed by the uncovered areas but resisted by the waxed areas, thus creating a light pattern on a dark ground. After the wax is removed (by boiling or dissolving), the process may be repeated many times to achieve great intricacy of design and richness of colour.

Batik, known to the ancient Sumerians, was developed into an art of great beauty by the Javanese and other Indonesian peoples. The wax was originally applied by a piece of bamboo. From the 17th century it was poured from a tjanting, a copper pot with several spouts, and this led to refinements of technique. The earliest designs were in white against an indigo background. Multicoloured designs developed during the 18th century, when Muslim Indians introduced new dyeing techniques. Traditional Indonesian batik features, geometric or floral motifs, are often status symbols or have religious significance. Batik was introduced to Europe by Dutch merchants in the 17th century. The batik process has become commercialized in Indonesia, and a decline in craftsmanship and loss of symbolic meaning have resulted.

Source:Microsoft® Encarta® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.

Types of Batik

Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.
Certain batik designs are reserved for brides and bridegrooms as well as their families. 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/she wore.
In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.
High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

Kawung

Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Ceplok

Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Parang

Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.

Modern Batik

Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.
Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.
The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. 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.
Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.
During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.

Batik Home Furnishings

One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent home furnishings made of batik. As the fabric is truly unique to Indonesia... this is definitely the best place to purchase batik! Batik factories can product batik to your order, with custom colors and designs in large rolls, ready to use for your home decoration projects. The 100% cotton fabric is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops also have design consultants who can help you with the layout of the room you are planning to design with your batik fabric and work with you on additional furnishings (pillows, bed covers, and cushions) to complete your color scheme.

http://www.expat.or.id/info/batik.html

The History of Kampoeng Laweyan

Kampung Batik Laweyan actually been famous since the beginning of the independence of this republic. Even long before that villagers Laweyan already made history with the emergence of Islamic Trade Unions (SDI) which was formed by KH Samanhudi, one of the leading batik merchant. Through SDI is the breath of Islam became an important part in the trade in Indonesia. In this region also stands a building that supposedly Laweyan Mosque was built in 1546.

Geographically Laweyan Kampung Batik in the South and West Solo Solo City. This area had always been known as a batik industrial center. Existence has existed since the time of the Pajang kingdom in 1546. Because batik is famous for the production of this village soon became an icon of batik interior especially in Java on the production side of coastal batik Pekalongan, Lasem, Cirebon and Indramayu. Ward quickly became legendary icons and establish itself as the center of the triumph of the development of batik art in the city of Solo.
Location Laweyan Kampung Batik in the east by Kampong Jagalan Bumi Laweyan. Time is limited to the south and the west Jenes Village Kwanggan. There north street Dr. Rajiman which stretches from Market to Market Sapecada Jongke. In the main segment of the village there is a way Batik Laweyan flanked Sidoluhur legendary walled buildings owned batik merchants who had earned the nickname Mbok Mase and Ndoro Kakung Nganten.
Merchants had to make batik batik using canting as stamp or work equipment. In the manufacturing process uses wax painted on white cloth. Carved candles or night using a copper cap or canting. Because it is made with a stamp printed batik is called while the use is called batik canting strips or batik. This evening or a candle stick and a white dikain workmanship included in the process to beautify the complexion color motif.
During the period of manufacture to finished marketable involves the employment of people around Laweyan. Labor is called batik workers. Further promotion through the sticker affixed to the cloth a finished batik. Next batik batik shop marketed or sold in bulk in the Pasar Klewer. Promotional efforts are also made to lift the image of batik including through brochures and now the Internet media so that citizens of other countries will know the existence of batik as a valuable work of the Indonesian people, especially Javanese culture.
This was not in vain when UNESCO recognized batik as Indonesia’s cultural heritage. Through the existence of batik Unesco has got a place internationally. This recognition means that batik has a proven overseas market with many foreign or domestic tourists who visited the Kampung Batik Laweyan to shop and see batik production processes.
From this recognition businessmen should the government responded by immediately issuing laws that protect batik entrepreneurs. “For instance needs to be shown the actual definition of batik. If the process does not use candles not included batik, “said Widiarso, Management Forum Kampoeng Batik Laweyan as quoted Joglosemar some time ago.
If it is done will appear creative industries particularly in the manufacture of new batik.
In Kampung Klaseman with reiki healthy place to spend a little time until the high school population had mostly worked as laborers batik. There is worked as a cap batik, artisans tolet, nglorot, laundry workers and batik cloth batik writing usually done by mothers. They work in batik factory and there is also carrying material for the work of batik in their homes. These workers generally work from 8 am to 5 pm. Sometimes at night there are also working overtime.
In 1968 when production increases there is a batik batik merchant generous enough to allow the population of black and white television every week night at his home on the condition that the marquee was willing to help fold batik cloth that has not been so. Once a job finished batik cloth folded before the plane the size of black and white 20 inch started. Population busy-busy movie weekend that if it was broadcast TVRI Daktari, Flipper, Bonanza and broadcast commercial advertisements. In the village there was only 1 black and white television set and batik merchant’s the only weekend of entertainment for residents around the factory batik.
Well if want to know more batik-making process, you do not need help folding the cloth of batik, as illustrated above. You can just come while trying to make batik using canting. At this year’s Lebaran tourists visit both foreign and domestic tourists are expected to increase to Kampung Batik Laweyan. In the village of batik Laweyan all been available both batik or batik cap. Please select a batik shop and taste all of you.

The History of 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 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 culture. In the colonial times pesisir batik was a favorite 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.^[1]
Batik is an artistic technique of dyeing a cloth by using a wax-resist method. Wax-resist method is the most traditional way to dye or color a cloth. This method prevents the dye from spreading on the entire cloth and so as to give a beautiful pattern or design on the cloth. Batik is regarded as the cultural and traditional art in Indonesia. The traditional colors used for Batik are deep shades of indigo, dark brown and white which symbolize the three main Hindu Gods. Javanese Batik, from Jog Jakarta with some particular meaning is found in countries of West Africa like Nigeria, Ghana, Cameroon, Uganda and Mali with the true Javanese idea, and in Asia like India, Sri Lanka, Bangladesh, Iran, Philippines, Malaysia, Thailand and Burma.
Long ago, in the ancient period around 1500 years ago, the dye resist designs on the cloth were found in Egypt and the Middle East along with the two major countries, samples are also found in Turkey, India, China, Japan and West Africa around hundreds of years ago. In the present date, Batik is highly developed form of art found on the island of Java, Indonesia. In the 17th century, the fabrics were highly decorated with Dutch transcripts, by it is often believed that complicated designs in Java were possible when the finely woven imported cloth that was from India to Indonesia in 1800s and then from Europe in 1815. The similar Batik designs that were done on textiles earlier are noticed on stone statues that are beautifully sculptured on the walls of Javanese temples like Prambanan AD 800, but then it is not yet confirmed that the cloth was Batik. These designs could be produced by weaving techniques too. However, by the 19th century became greatly developed form of art in the cultural life of the Javanese.
There were some specific Batik designs worn by the Javanese royalty and thus it was felt that Batik was originally meant to be worn by the monarchs of the royal Sultan's palace. The Princesses and royal women might have encouraged the finest designs of Batik that reflect the traditional patters. Well, the untidy dyeing work with consequent waxing was done by the court artisans who worked under their direction.
Known as the great fans of art, Javanese royalty supported the development of traditional art form like silver embellishment, leather puppets known as wayang kulit in java and gamelan orchestra. The Javanese dalang (puppeteer) was a major source for the Batik patterns too. Wayang puppets are made from goat skin which was treated and colored to build false impression on the puppet, were usually sold to women who could get the necessary idea of batik designs from these puppets. The used charcoal and blew it through the holes that describe the design of puppet clothing, so that they could copy complicated patterns onto the cloth.
However, some scholars deny the fact that Batik was originally meant for royalty as they feel that it is meant for the rakyat, the people too. It was considered as a significant job for young women of the Central Java, revealing the fact that they are capable enough to handle a canting (an instrument shaped like pen to apply wax to the cloth) with enough tact and skill just like skills used in cookery or other household arts.

Article Source: http://EzineArticles.com/?expert=Jamie_Hanson 
^ ^{a b c} Indonesian Batik Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity