How To Wear a Batik Sarong

Step 1

Wrap SkirtHold the sarong behind at waist height and extend the ends forward, holding your arms straight out. Make sure the sides are even. Wrap one side around you pulling it snugly against your body. Now wrap the other side around you so it crosses the first side, like you'd wrap a towel around yourself. Tuck the end in. If you want, you can put a nice pin in that side to hold it more securely. You can also bring the ends of the sarong forward and tie the top corners together at the front of your waist or to the side at one hip instead of tucking it in.

Step 2

Wrap DressHold the sarong behind you just below your armpits with the ends extended out. Wrap it like a towel around you, tucking the ends in. If you wish, secure it with a pin. You could also tie the top corners of both ends together just above your breasts.

Step 3

Halter DressHold the sarong behind you, just below your armpits with the ends extended out. Make sure they're even. Bring the top corners of the ends forward and cross them over each other. Bring them up and tie them together behind your neck.

Source : e-How

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The Process of Making Batik

Batik is the result of the original art of the peoples of Indonesia that until now is still well maintained. Almost all elements of society know and ever wear cloth with batik pattern. One of the tune and the public still interested is Batik Tulis (Batik Tulis is cloth decorated with batik patterns teksture use hands (not printed) and use tool named canting. Making this type of Batik take approximately 2-3 month). According to the education staff at the Textile Museum Jakarta Pusat, Misari, recently in Jakarta, the Batik Tulis is still exist and people are still interested in Batik Tulis.

In its history, according to Misari, batik in Indonesia affected by two areas, namely rural and pesisiran. Inland areas are Yogyakarta and Solo. While the region covers pesisiran are Banten, Jakarta, Indramayu, Cirebon, Pekalongan, Lasem, Madura, and Sumatra. Each region has a unique motif itself. Batik motif influenced many rural culture of India and use the normal color of brown, blue, black, yellow or ivory. While many pesisiran batik motif influenced Chinese culture, Europe and the Middle East. Nature batik pesisiran naturalist and usually use bright colors such as blue, yellow, and green


Primary stage processing batik, Misari explains, begins with the burning candle on the stove. Wax is boiled thoroughly. Once heated, the water of wax/candle then inserted in the canting, which is also useful framework for batik painting. Next, create batik pattern known by the term molani. Molani devoted in making batik patterns that have been designed. Then the cloth is given a frame called ngolowong. At ngiseni stage, they must make ornaments complement in the frame, such as point, sphere, or shell.

After giving patterns, batik craftsman gave motif on the back of the cloth or nerusi. The next step is coloring the fabric/cloth through the dyeing process. Then forwarded nglorod with boiling water or use of the sago flour mixture. Once completed, the framework batik drabble with wax. Previously, batik framework must first be coated with paper that newspapers do not berimbas to the floor. Ngelorod stage is the end, next batik that has been so ready to be dried in the sun.













Source: (ULF / Esther Mulyanie and Kurnia Supriatna) Liputan6.com, Jakarta.Translated and illustrated by Heru)

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Collection

Name : Bledak
Size : 1 x 2,5 M
Price : Rp.225.000,- (IDR)/$21.80 (USD)




Name : Sekar jagad
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Nama :Jahe (ginger)
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Nama : Serit
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Price : Rp.225.000,-(IDR)/$ 21.80 (USD)






Nama : Melati (jasmine)
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Nama : Serit
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Nama : Kupu-kupu (Butterfly)
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Nama : Sekar Jagad
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Nama : Sekar Jagad
Size : 1 x 2,5 M
Price : Rp.200.000,- (IDR)/$ 19.37 (USD)





Name : Melati (Jasmine)
Size : 1 x 2,5 M
Price : Rp.275.000,- (IDR)/ $26.63 (USD)





Name : Sekar Jagad
Size : 1 x 2,5 M
Price : Rp.225.000,- (IDR) / $ 21.80 (USD)





Name : Sekar Jagad
Size : 1 x 2,5 M
Price :Rp.225.000,- (IDR) / $ 21.80 (USD)

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Batik, Traditional Fabric of Indonesia

It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent.

The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

A Brief History
Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia.

King Kertajasa East Java 1294-1309Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.

Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.

Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also Tambil Miring Designan important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.

Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women.
Selection and Preparation of the Cloth for Batik

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.

Applying wax with a canting to create BatikThe cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.

Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.

Batik Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.

For close-up pictures of canting.

Wajan

Wajan is used to melt the waxThe wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.

Blowing into the Canting keeps the wax flowing freelyThe best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.

The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.

Cap

Cap utilize copper string to make various designsCreating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.

Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.

The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.

Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and theApplying wax with cap bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.

Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.

Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.

Dyes

Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.

The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.

In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.

The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.

Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas Applying wax with a Cantingof the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.

Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.

Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.

The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.

Applying wax with a copper capIf the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth.

Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.

Dyeing

After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.

The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.

Dye BathWhen the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.

When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.

If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted.

The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used.

Special Treatments to the Batik Cloth

Prada or Gold Cloth

For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik Designs

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.

Wedding Batik

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 DesignKawung 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 DesignCeplok 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 DesignParang 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 Modern Batiklonger 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 Modern Batikworld 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.
(original article from :http://www.expat.or.id/info/batik.html)

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History Of Batik

Word “Batik” is come from Javanese language (Indonesia) “amba” which means to write and “dot/point” The word refers to the batik cloth with a pattern produced by the “malam” (kind of wax) is applied to the top of the cloth, so that keep the entering of a coloring material (dye), or in the English Language “wax-resist dyeing”.

Batik is a craft that has a high value of art and has become part of the culture of Indonesia (particularly Java) since long. Javanese women in the past make their skill of making Batik as a livelihood, so that in the past to make Batik exclusiv work to women until finding “Batik Cap” (printed batik); which allows the men in this field. There are some exceptions to this phenomenon, namely the coastal batik has the masculine as can be seen in the pattern “Mega Mendung” (cloud), where in some coastal areas is to make work for the common man.


Variety of style and color of Batik is influenced by various foreign influences. Originally, batik has limited of style and color, and some patterns may only be used by certain circles. However, coastal batik absorb various external influences, such as foreign traders and also in the end, the colonists. Bright colors such as red is popularized by the Chinese, who also popularize “Phoenix” pattern. Colonialist European nations are also taking interest to the batik, and the result is a pattern “bebungaan” (“kind of flower”) previously unknown (such as tulip flowers) and also the things that was brought by colonists (or building horse-drawn carriage), including the colors of their favorite color as blue. Maintain the traditional batik “style”, and is still used in traditional ceremonies, usually because each color has a symbolism of each.

The technique of making batik has been known since thousands of years back. There is no description of the history is quite clear about the origins of batik. Some people suspected that this technique comes from the Sumerian nation, and developed in Java (Indonesia) after brought by Indian traders. Currently, batik can be found in many countries such as Indonesia, Malaysia, Thailand, India, Sri Lanka, and Iran. In addition to Asia, batik is also very popular in some countries in the African continent. However, batik, which is very famous in the world of is batik from Indonesia, mainly from Java.

The tradition of making batik for the beginning is tradition from generation to generation, so that sometimes a motif can be identified originating from batik particular family. Some batik motif can indicate the status of someone. Even now, some batik tadisional motif only used by the family palace of Yogyakarta and Surakarta (cental java-Indonesia).

Batik is an ancestor heritage of Indonesia (Java) is still there. Batik is also the first time introduced to the world by President Soeharto, who wearing batik at the United Nations Conference.

Making Batik

Originaly batik is created with a white material made of cotton called "Mori". Nowday these batik is also made on other material such as silk, poliester, rayon and other syinthetic materials. Batik motif is formed with liquid paraffin using tool calle "canting", for fine pattern motifs or brus for large, so that the liquid of wax seep in to fiber cloth. Cloth that has been painted with wax and then dyed with the color usually starting with the plain color. immersion and other motifs to do with the dark color or older. After some time of the coloring process, the cloth is dyed with chemical in order to dissolve the wax.

Type of batik

Writed batik, is decorated with batik pattern texture and use hand (hand made). Making of this type of batik will take approximately 2-3 months.

Printed batik, is decorated with batik pattern and texture formed with the "cap" (stamp, usually made of copper). The process of making this type of batik will take approximately 2-3 days. (Original article :http://id.wikipedia.org/wiki/batik, translated free translated by heru).

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The Types Of Batik Lasem

If people asked you about “Batik”, certainly directly you will think about the city of Jogja or Solo, even Pekalongan, because this city is famous as a batik industrial center in the country. Batik Jogja, is common, Batik Lasem? Some might have heard a lot about the quality of processed batik craftsman in the area Lasem, Solo, Central Java this. However, many may not know that, if Lasem Batik is the work of the cultural heritage of China's hybrid.

Hartono Santoso is one of 23 batik craftsman Lasem remaining at this time. Santoso is the third generation of his family who Trah maintain batik handicraft business in the area Lasem. However, he attempts to build its own wing. "Business is built the way the parents, also the way my business," he said as quoted Kompas Online. As a generation from generation to generation, the male descendants of these Chinese are not many know the history of batik as a source of income. "If Lasem the origin of the Chinese hybrid, I know. But, I do not know much history. I know that, in the first place in the village Lasem Kemendung descendants of Chinese women have the name Putri Cempa. He said, batik Lasem was first made by the descendants of Putri Cempa this, "said Santoso, when found in the cultural arena exhibition China hybrid, at Ciputra Mall, on Wednesday (30 / 1).

Santoso start to undertake Lasem Batik handicraft business, beginning when he returned from around 2004. Characteristic of batik Lasem style is actually written or carved by the batik maker thmeselves, not printed (diprinting). The unique colors, one color which is the typical Chinese Society, red. Blue and green color is also unique batik Lasem. "If the first color of dark Lasem also typical, but if we survive such a behavior, so we continue to make innovations." One of the innovations that made Santoso and batik craftsman Lasem other motive is to create a more 'populer'. He said, the motif is preferred by young people. In addition to embracing a wider market, can also be expected to encourage the younger generation to love the product unique in the country.

The types of batik Lasem also vary. Santoso said some of them, namely Sekar Jagad, Three Affairs, Tambal, scale, Pukel and Klerek. What about price?Varies, ranging from 100 thousand to 1.5 million. Depending on the type. Origin can be distinguish with batik 'laseman', which is false. If laseman only 25 thousand. Many motifnya stereotyped, but the printed, not write. That makes me worry, "original author : pungkas Santoso. source: Kompas Online / script & photos

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Batik Lasem

If people mention the batik of Central Java ( Indonesia), They - immediately - called Solo and Pekalongan or Jogjakarta. In fact, in addition to the two regions still have other areas that also produce batik that is not less beautiful, the Lasem City. About 12 kilometers east of the city this extent Rembang 45.04 square kilometers with a population of approximately 44,879 people (Litbang Kompas, 2003).

BATIK Lasem figured typical production, especially the color of “red”, color that resembles the blood of chickens, which they say can not be imitated by Batik maker in other regions. Uniqueness lies in the other design which is a combination of the influence of Chinese culture, local culture northern coastal communities, and cultural palace (Surakarta and Yogyakarta). Perhaps the Chinese foreign traders who came to give Lasem large influence on the style batik in this area.

In the heyday of batik Lasem, almost every house where Chinese people live in this area undertake make batik with and recruit staff from around the village. They generally do this job as a sideline while waiting to harvest and planting season on the paddy fields. When creating the design motif for their batik production, the entrepreneur of making batik of Lasem influenced cultural beliefs as their ancestors and legend. Variety ornamental birds and animals “hong” legendary kilin (such as lions) and so they enter into their motives batik production. In fact, the classic Chinese love story as Sam Pek Eng Tay was batik motif in this region.

No surprise then when batik production Lasem is often referred to as "Encim." "Encim" is a hybrid for the Chinese women who have advanced age. Besides the influence of culture of Yogyakarta and Surakarta palace also seen in the batik motifs Lasem, among other ornaments on “kawung”, “chopper” and so on. While the influence of culture on the coastal look that bright colors like red, blue, yellow and green. Batik Lasem, in heyday been exported to foreign countries, among others, to Suriname.

Batik Lasem can compete with batik from other regions because of motifnya interesting with fine quality fabrics, also red blood chicken the characteristic can not be imitated by batik maker from otherregions. However, if you now come to explore Lasem and batik production Lasem, especially batik with traditional motifs Lasem, you will have difficulties like the search for antiques only.

Nowdays it's difficult to find Batik Lasem because who produce batik Lasem many roll mats. Of about 140 entrepreneurs in the batik 1950s, then declining to around 70 operators in 1970, and now live only about 12 people who still strive in making Batik. That still survive is also a lot of business "Monday-Thursday." Then, just when it is said batik Lasem endangered. Around half a century ago are still many families we met in Lasem City become a batik businessman , or at least become a trader who takes batiks from batik maker in around small villages. Now they are no longer active in making batik business, batik shops are making their notions store. Tools of making batik left in dusty corner of a room in the back of the house or in the warehouse used to store goods. "Business batik Lasem always been glorious, but now not anymore. In fact, the situation increasingly lethargic, "said Ir Rudy Hartono (33), a former businessman who now Lasem batik shop opening peddler selling electronic goods and household needs in the consumer goods fishermen. Even if the kitchen washing batik cloth is still visible behind the house, a tool to make batik no longer see themselves as already stored in the warehouse.

Many factors caused a decline in batik business in Lasem. "Batik Lasem are bewildered. The next generation to be on the wane batik business because of the higher education and they did not want to dive in the batik business. They prefer to work or do business on the other according to their knowledge acquired in universities, "said Poernomo Maskoen (52), a batik Lasem. In addition, add Poernomo, the energy of batik maker also reduced. Children's after graduating high school level first / top does not follow his parents into pembatik but working in offices in major cities such as Surabaya and other. Thus, energy pembatik not have a resume. Because the labor pembatikan generally hereditary, the work is primarily farmers or farm worker in the home, when the harvest season and planting season they returned to the village rice fields. As a result of batik does not take place smoothly. Sons of the craftsman with a stock certificate that they are looking for work in the office, factory or store, with the hope to get higher wages from the wages as batik craftsman. As wage batik laborers around Rp 7,500 per day plus meals at the workplace. In addition srunk due to the number of people do batik business, both as entrepreneurs and as a crafter, business batik Lasem decline also caused flooding sablon batik or batik printing (printing).

"Technology sablon consecutive shut batik Lasem. Batik sablon price of Rp 25,000 per sheet, much cheaper than the price of batik reach hundreds of dollar per sheet, "said Sigit Wicaksana, batik Lasem businessman who now try to survive in order to provide employment to employees who live a few people. According to Sigit, the pirates of batik also participated in efforts to make batik Lasem increasingly lethargic. Lack of capital worsen the life of a business batik Lasem in the family business, which is hereditary. According Poernomo Maskoen, people now often use a good fabric but prefer to wear skirt because the practical use on the side of the skirt material is cheaper than batik cloth. These conditions also create a succession in business batik Lasem. What Lasem batik will be marginalized continue to disappear and live goods, so memories can be viewed at the museum? Holder of the authority may determine the policy, owners of capital, and lovers of batik can be answered.
(original author : SN Wargatjie,) Kompas Cetak, Jakarta translated by Heru SIf people mention the batik of Central Java- Indonesia, They immediately called Solo and Pekalongan. In fact, in addition to the two regions still have other areas that also produce batik that is not less beautiful, the Lasem City. City district in District Rembang about 12 kilometers east of the city this extent Rembang 45.04 square kilometers with a population of approximately 44,879 people (Litbang Kompas, 2003). BATIK Lasem figured typical production, especially the color of “red”, color that resembles the blood of chickens, which they say can not be imitated by Batik Maker other regions. Uniqueness lies in the other design which is a combination of the influence of Chinese culture, local culture northern coastal communities, and cultural palace (Surakarta and Yogyakarta). Perhaps the Chinese foreign traders who came to give Lasem large influence on the style batik in this area.

In the heyday batik Lasem, almost every house where Chinese people live in this area undertake make batik with and recruit staff from around the village. They generally do this job as a sideline while waiting to harvest and planting season on the paddy fields. When creating the design motif for their batik production, the entrepreneur of making batik of Lasem influenced cultural beliefs as their ancestors and legendanya. Variety ornamental birds and animals hong legendary kilin (such as lions) and so they enter into their motives batik production. In fact, the classic Chinese love story as Sam Pek Eng Tay was batik motif in this region. No surprise then when batik production Lasem batik is often referred to as "Encim." "Encim" is a hybrid for the Chinese women who have advanced age. Besides the influence of culture of Yogyakarta and Surakarta palace also seen in the batik motifs Lasem, among other ornaments on kawung, chopper and so on. While the influence of culture on the coastal look that bright colors like red, blue, yellow and green. Making batik, in Lasem indeed been developing a hit. Sigit Wicaksono (74), the batik business Lasem pembatikan that way since around 1942, said, batik Lasem in heyday been exported to foreign countries, among others, to Suriname.
Batik Lasem can compete with batik from other regions because of motifnya interesting with fine quality fabrics, also red blood chicken the characteristic can not be imitated by batik maker from otherregions. However, if you now come to explore Lasem and batik production Lasem, especially batik with traditional motifs Lasem, you will have difficulties like the search for antiques only. Nowdays it's difficult to find Batik Lasem because who produce batik Lasem many roll mats. Of about 140 entrepreneurs in the batik 1950s, then declining to around 70 operators in 1970, and now live only about 12 people who still strive pembatikan. That still survive is also a lot of business "Monday-Thursday." Then, just when it is said batik Lasem endangered. Around half a century ago are still many families we met in Lasem City become a batik businessman , or at least become a trader who takes batiks from batik maker in around small villages. Now they are no longer active in making batik business, batik shops are making their notions store. Tools of making batik left in dusty corner of a room in the back of the house or in the warehouse used to store goods. "Business batik Lasem always been glorious, but now not anymore. In fact, the situation increasingly lethargic, "said Ir Rudy Hartono (33), a former businessman who now Lasem batik shop opening peddler selling electronic goods and household needs in the consumer goods fishermen. Even if the kitchen washing batik cloth is still visible behind the house, a tool to make batik no longer see themselves as already stored in the warehouse.

Many factors caused a decline in making batik Lasem. "Batik Lasem are bewildered. The next generation to be on the wane batik business because of the higher education and they did not want to dive in the batik business. They prefer to work or do business on the other according to their knowledge acquired in universities, "said Poernomo Maskoen (52), a batik Lasem. In addition, add Poernomo, the energy of batik maker also reduced. Children's after graduating high school level first / top does not follow his parents into pembatik but working in offices in major cities such as Surabaya and other. Thus, energy pembatik not have a resume. Because the labor pembatikan generally hereditary, the work is primarily farmers or farm worker in the home, when the harvest season and planting season they returned to the village rice fields. As a result of batik does not take place smoothly. Sons of the craftsman with a stock certificate that they are looking for work in the office, factory or store, with the hope to get higher wages from the wages as batik craftsman. As wage batik laborers around Rp 7,500 per day plus meals at the workplace. In addition srunk due to the number of people do batik business, both as entrepreneurs and as a crafter, business batik Lasem decline also caused flooding sablon batik or batik printing (printing).

"Technology sablon consecutive shut batik Lasem. Batik sablon price of Rp 25,000 per sheet, much cheaper than the price of batik reach hundreds of dollar per sheet, "said Sigit Wicaksana, batik Lasem businessman who now try to survive in order to provide employment to employees who live a few people. According to Sigit, the pirates of batik also participated in efforts to make batik Lasem increasingly lethargic. Lack of capital worsen the life of a business batik Lasem in the family business, which is hereditary. According Poernomo Maskoen, people now often use a good fabric but prefer to wear skirt because the practical use on the side of the skirt material is cheaper than batik cloth. These conditions also create a succession in business batik Lasem. What Lasem batik will be marginalized continue to disappear and live goods, so memories can be viewed at the museum? Holder of the authority may determine the policy, owners of capital, and lovers of batik can be answered.
(original author : SN Wargatjie, Kompas Cetak, Jakarta, translated (free translated) by Heru S)

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