Dutch Batik Motifs: The Role of The Ruler and The Dutch Bussinesman

Patria, Asidigisianti Surya

doi:10.15294/harmonia.v16i2.7357

Cited by 6 publications

(5 citation statements)

References 1 publication

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“…Asmah et al (2015) and Asmah (2016) studied that innovative batik motifs are very important in contemporary batik design concepts to improve the quality of batik cloth in the Ghanaian fashion industry. Patria (2016) wrote about Dutch batik motifs: The role of Dutch rulers and entrepreneurs. Masiswo et al (2017) explained that to make batik paste wax, batik wax, resin or cat's eye, gondorukem, kote, paraffin and turpentine are used.…”

Section: Review Of Literaturementioning

confidence: 99%

Innovation of Batik Textile Works Using Wax Printing Techniques: Insights from Indonesia

2023

ISVS

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Batik is a type of decoratively patterned cloth made by applying hot wax to the surface of the cloth with a canting or stamp tool, a process that takes a long time. One batik maker in one week only produces 1 sheet of cloth (115cm x 250cm). Therefore, there is a question as to what is the right technique to speed up the batik production process. This research examines the wax printing technique including the steps for making it, the equipment used, and the preparation of the dough material.Research was conducted at the Dewi Ratih batik business in Sragen, Central Java, Indonesia using qualitative, descriptive and participatory methods. The informants consisted of a batik entrepreneur, a motif designer, a molding wax maker, three printers, two color craftsmen, and two batik craftsmen.It concludes that the innovation of wax printed batik is capable of producing 150 times the product compared to written batik. The stages of making batik patterned textile crafts using a new technique (cold wax print technique) are as follows: (1) make a master design of batik motif on paper then arrange the master design according to the pattern made, apply an afdruk of the motif design on the screen, make mixing print wax, printing motifs on fabric using cold wax media, drying the print wax, dyeing the fabric in the first stage, the process can also be combined with wax batik which uses writing techniques. (2) Dyeing the fabric, melting the wax, and finally washing the fabric to produce batik-patterned textile craft products.

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Section: Review Of Literaturementioning

confidence: 99%

Innovation of Batik Textile Works Using Wax Printing Techniques: Insights from Indonesia

2023

ISVS

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“…Natural dyes are commonly used in Indonesia before 1856 (Felaza, 2016). The trading between Indonesia and Dutch in the 18th century introduces artificial dyes from India which adds to the existing repertoire of colors (Patria, 2016). With technological advancement, the ensuing years mark the inclusion of synthetic dyes in the traditional batik.…”

Section: Batik Dyes and Chemicalsmentioning

confidence: 99%

“…For instance, Chinese influence is reflected in megamendung (rain cloud), phoenix, lotus, and dragon motifs. Patria's (2016) study on the effect of Dutch colonization in the late 1840s mentioned the design integration of floral-based motif known as buketan and European fairytale motifs such as mermaid and the red hood and the wolf. Japanese occupation in the 1940s had inspired new motifs stylized from cherry blossoms, orchids, chrysanthemums, butterflies, and peacocks are known as batik Jawa Hokokai (Amira & Ramadhan, 2018).…”

Section: Batik Design Motifmentioning

confidence: 99%

A Review on the Malaysian and Indonesian Batik Production, Challenges, and Innovations in the 21st Century

Shaharuddin

Shamsuddin²,

Drahman

et al. 2021

Sage Open

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Malaysia and Indonesia are well known as prolific producers of batik in Southeast Asia. The history of batik in both countries is deeply intertwined for more than a century. Most available published works related to batik production, challenges, and innovations were discussed within the local batik context of each country. This study aims to identify collectively how far batik, as a creative industry in these countries has progressed since its establishment until the present 21st century. It was notable that batik craftsmanships have been mostly maintained as similar tools and techniques are persistently being used until today in both countries. Significant progress was observed in the design and stylization of the batik design with the use of digital approaches such as fractal geometry. Similar challenging problems faced by both nations were highlighted and clustered into internal and external issues. It was concluded that assimilations of Third Industrial Revolution technology (IR3.0) primarily centered on the use of computer-aided design and computer-aided manufacturing to improve existing batik production. Emerging studies have shown the positive impact of integrating Fourth Industrial Revolution (IR4.0) technology such as augmented reality (AR) in promoting batik knowledge and transmitting batik as an intangible cultural heritage. The transmission of batik skills to the young generation has been a persistent problem. Thus, a brief framework was proposed to exemplify how IR4.0 technology can innovatively be used to transmit the batik skills via education platform.

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“…(2) Cement motifs, such as plant motifs, plant and animal combinations, and plant, animal, and winged beast motifs. (3) Buketan motifs, and (4) modern motifs (Susanto, 1980 andPatria, 2016). Batik motifs can also be characterized as machete, geometric, or banji motifs, and creeping plants, aquatic plants, flowers, or animals in their natural environment (Hamzuri, 1981).…”

Section: Introductionmentioning

confidence: 99%

Teak Trees as Source of Inspiration for Developing Batik Motifs

et al. 2022

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Many batik motifs have been developed in various regions, inspired by various local resources such as plants, animals, regional icons, cultural arts, etc. The objective of this study is to look for ideas in the form of teak leaves and flowers that can be developed into batik and textile motif designs. The descriptive qualitative, literature review, participatory follow-up study, focus group discussion method, and the development of craftsman creativity were all used to achieve these goals. The study took place at the Jalidin batik craft shop in Sragen. Teak plant objects, motif designers, batik craftsmen, and libraries were among the data sources. The findings of the study were the motifs in the form of teak leaves and flowers, which could be used as master designs for both batik and textiles. Then the shape of the teak leaves and flowers are arranged in various compositions to produce several designs, and the batik motif designs are applied to jarit-patterned batik, long-sleeved shirt-patterned batik, and textile/printed batik. The resulting motifs were then produced into batik according to the economic class projections of the consumers, namely the consumer’s economic class projections, using prima and primissima cloths, combination and writing techniques, synthetic and natural dyes, and synthetic and natural dyes. In addition, the motifs were produced into printed textiles/batik. Batik cloths and textiles that have been produced are then made into shirts.

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Dutch Batik Motifs: The Role of The Ruler and The Dutch Bussinesman

Cited by 6 publications

References 1 publication

Innovation of Batik Textile Works Using Wax Printing Techniques: Insights from Indonesia

Innovation of Batik Textile Works Using Wax Printing Techniques: Insights from Indonesia

A Review on the Malaysian and Indonesian Batik Production, Challenges, and Innovations in the 21st Century

Teak Trees as Source of Inspiration for Developing Batik Motifs

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