The Long Journey of Yogyakarta Batik

Following wayang kulit and Keris, in 2009 Unison designated Batik as cultural heritage of the Indonesian nation, ending the polemic on the “copyright” of batik, which had been claimed by Indonesia’s neighbor Malaysia. This recognition by an international agency enhances Indonesia’s pride in the rich cultural heritage bequeathed by our ancestors. And whether recognized or not, batik has certainly has historical significance in the long journey of the Indonesian people.

The journey of batik to the present day can be seen by the many examples of ancient batik kept in museums, and in Indonesia’s main batik centers, mostly in Java and especially in Surakarta and Yogyakarta. These two cities are widely acknowledged as the center of a batik styles that has its roots in the Islamic kingdom of Mataram.

There is written evidence on batik production going back to the early 18th century, but if we examine the fact, it is clear that the history of batik, specially the Batik Mataram now found in Yogyakarta, actually dates back to the more ancient Hindu Kingdom of Mataram. According to a batik expert, Ir. Dra Lestasi Soeliantoro Sulaiman, this can be traced from the batik cloth in the Semen Romo Ngarak motif often worn by the adipati (regents, now bupati) in the area of Balegen, Purworejo, Central Java.

This motif, according to Larasati Soeliantoro, has existed since the Syailendra dynasty, when Borobudur temple was built in the eight century. When the Ancient Mataram kingdom fled to East Java because of the natural disasters devasting Central Java, Begelen’s local government did not join the migration to East Java. It can therefore be concluded that the clothing style of the Begelen clan, and especially its batik motifs, has not undergone as much change as has occurred with the batik that was taken in the flight to East Java. The Semen Romo Ngarak motif still used at all inaugurations of Regents and often worn by the Sultan of Yogyakarta is believed to still be the same as in the past.

The art of batik production that was taken on East Java, with the height of its glory during Majapahit Empire, interacted continuously with the outside cultural influences as other kingdoms succeeded it. The art of batik developed and spread in the line with the entry religions and cultures from outside Java; Islamic, Hindu, Chinese, Dutch, and Japanese. From the establishment of the Majapahit kingdom to the kingdom of Demak, the Mataram Islam dynasty at Kotagede and then Plered, and then the division of Mataram into two kingdoms – Kasunanan Surakarta and Kasultanan Yogyakarta – through the Giyanti Treaty, each of these kingdoms added its own special touch to development of batik.

Nevertheless, certain motifs – such as Parang Rusak created by Panembahan Senopati when he was about to establish the Mataram Islam kingdom in Kotagede in the 16th century, and the Parang Rusak Barong, created by Sultan Agung – are still maintained by the Keraton of Yogyakarta. The Parang Barong motif, which only the sultan is allowed to wear, is known to be an ancient motif anf believed to bring special powers to its wearer.
The idea behind creating Parang Rusak motif came to Panembahan Senopati as he was passing through the thousand hills region near the south coast in his spiritual journey of meditation to found the Mataram kingdom. Parang or Pereng means cliffs; the cliffs he saw inspired him to create the parang motif.

The Parang Barong is an indication that the Batik Mataram motif persist in Yogyakarta. This is confirmed by the Giyanti Treaty of 1775, one of whose clauses stipulates that all the royal apparel, including batik, is to be transferred to the Sultanate of Yogyakarta.
Other ancient motif can be seen at the Yogyakarta Kraton’s Labuhan ceremony held every year at Parangkusumo Beach, Mount Merapi and Mount Lawu. Among the offerings presented to creators are batik pieces in at least eight motifs, including Parang Barong, Bangun Tulak, Gadhung Mlati and Poleng.

This is why even today, batik observers refer to the batik motifs characteristic of Yogyakarta as Mataraman. Mataraman motifs are still preserved, and referred to a classic motifs. In contrast, the other kingdom established through the Giyanti Treaty, the Sunanate of Surakarta, did not bear such a great cultural burden and has therefore been freer to develop newer batik motifs. Today, Surakarta batik has more, and more varied, motifs than does Yogyakarta batik.

But apart from all that, for the community of Yogyakarta, and especially the extended family of the keraton, batik cloth influences nearly all events in human life. The people of Yogyakarta firmly uphold Javanese traditions; every stage in the life cycle is signaled by traditional ceremonies, starting with the Mitoni to commemorate a baby’s seventh month in the womb, the Selapanan for a new baby, the Tedhak Siten ceremony when a toddler start to walk, Khitanan and Tetesan (circumcision ceremonies), wedding ceremonies, and funeral rites – batik is always present in one form or another.

Nowadays, as the tourism industry is being encouraged in Yogyakarta, batik is used not only for clothing but also for all kind of daily goods: home décor, handbags, bed sheets, handicrafts, and even bicycle accessories. Recently, Fitriani Kuroda, an Indonesian woman who lives in Tokyo, developed Yogyakarta batik to be used as Obi – the sash wom with Kimono. In collaboration with another local artist, she also used batik to create Oshie, a kind of handicraft made folded cloth. And while batik used to be kept behind the walls of the keraton, it has now moved beyond the palace walls and become deeply rooted in daily lives of the people of Yogyakarta.

Inaugurating the Batik Museum at the Keraton of Yogyakarta in 2005, Sultan Hamengku Buwono X said that we in Yogyakarta, especially within the keraton, are intimately familiar with batik. “Starting from birth, throughout our lives and until we die, we are wrapped in batik. Batik is close to our lives, especially within the family.”

The reality can still be seen in Yogyakarta, especially in the keraton. Batik is more than clothing, something to cover the body; every piece of batik cloth also contains philosophical meaning when it is worm in a ritual. Batik motifs, especially older ones such as Wahyu Tumurun, Semen, Kawung and Sido Mukti have symbolic meanings intended by their makers. These motifs are believed to influence the spiritual life of their owners.

For example, a person who owns and wears batik in the Sido Asih motif is expected to be loved and appreciated by others. Someone who wears Kawung Picis should always remember God Almighty and always be able to restrain his passions and achieve balance in life.

There are other hopes and uses of certain motifs. For example, babies are carried in Sido Luhur motif batik in the hope that the little one will grow up to be a useful person with noble character. Clothes for funeral visits use batik in the Slobog motif; Slobog means “loose”, so that the one who has passed away can easily ad smoothly go to meet his/her Maker. And a person who is sick should use a blanket from batik in the Tambal motif. This motif is believed to foster a new spirit and promote healing.

So over the ages, many batik motifs have been created, which are endowed by their creators with certain intended hopes and inluences. The batik making process is more than simply making patters with liquid malam (wax) on white cloth; it is an expression of maker’s spirit. The word batik is said to come from Javanese word Amba, meaning “to write” and Titik, a point, indicating an art from steeped in philosophy.

As Yogyakarta batik designer Nita Azhar notes, the batik making process is more than scrawling with a Canting onto a white cloth. It’s an artistic process that requires a very high level of concentration, even involving the person’s emotions. Indeed, batik making is form of meditation; batik artist often fast, and recite special prayers as they make pattern with the Canting. “When my grandmother was making batik, she was not to be disturbed, and when she was menstruating or upset for whatever reason, she did not make batik”.

Yet apart from all that, Nita Azhar adds, batik making requires the ability to focus one’s thoughts. Certain motifs require special skills. For example, certain line curves must be applied to the cloth during a single inhalation, and this is a meditation practice much like yoga.

This is why batik, especially in Yogyakarta, is more than simply decorating cloth with certain patterns. Batik has a long history with deep roots in Javanese culture, philosophy and mythology.

Source: Garuda magazine, November 2009 edition.