Batik Pesisir

The distinctive designs of batik pesisir are those from the northern inshore cities of Java, including Pekalongan and Cirebon. The designs show Asiatic influence through their use of brighter colors, flowers and cloud motifs.

Batik Sudagaran

An essential music in the utilization of batik, Batik Sudagaran emerged as early as the modify of the 19th century in the principalities of Surakarta and Yogyakarta. Produced by sudagar or batik merchants, it is easily recognized through the modified classic ornaments styled to the discernment of the merchants. Some of the popular creations are the patchwork style Tambal, Parang with the insertion of snail-like motifs, Lereng filled with extra dustlike spirals called Ukel and Semen that shows high calibre workmanship.

Batik Indonesia

Freedom from Dutch complex conception introduced newborn designs to Indonesian batik. In the early 50s, President Soekarno pleased the creation of a newborn style of batik, popularly called Batik Indonesia. A symbiosis between different styles of batik, especially of the principalities of Yogyakarta and Surakarta and the north coast of Java, which still used soga brown as the basic color, Batik state was developed utilizing bright colors. Some appeared in a totally newborn design, i.e., Cendrawasih, Sruni, Sandang Pangan, Udang, while still using the traditional processing system. Batik state is also called Batik Modern.

Batik Belanda

Even though Chinese traders arrived earlier in Java than the Europeans, their influence on batik was evident in a later period. Batik Belanda, literally Dutch Batik, appeared as early as 1840, decades before the attendance of Batik Cina, Chinese Batik. Records exhibit that European settlers on the northern shore of Java started their batik producing activities in the mid-19th century. They pioneered a newborn era of international enrichment which is still visible in modern day Indonesian batik. Reaching its extreme of creativity in 1890-1910, Batik Belanda is clearly recognized through different entireness of arts named after the great designers. Amongst the most famous of these are Batik Van Zuylen from Elize metropolis van Zuylen, Batik Van Oosterom from Catharina Carolina van Oosterom, Batik Prankemon from Carolina Josephina von Franquemont, Batik Metz from Lies Metzlar, Batik Yans from A.J.F. Yans, and Batik Coenrad from Coenrad of Pacitan, East Java.

Batik Kraton

Batik Kraton is regarded as the basic batik of Java. It is rich in Hindu-influenced motifs that have influenced the courts of Java since the 5th century, and later on influenced by the culture of Islam. The Hindus introduced the sacred bird - Garuda, the sacred flower - lotus, the dragon - Naga and the tree of life. Islam, since it forbids the depiction of humans or animals, brought stylized and modified ornaments as symbols, i.e., flowers and geometric designs.

As a specific attire in the dress code of the courts of Java, Batik Kraton is easily recognized through its sub-divisions, Batik Kasunanan Surakarta, Batik Kasultanan Yogyakarta, Batik Pura Mangkunegaran and Batik Pura Pakualaman. Over time, changes and modifications distinguished Batik Mangkunegaran from Batik Kasunanan, even though both originated from the same source. Batik Pakualaman, from the city of Yogyakarta, originated from both Kasunan and Kasultanan design traditions and is more unique because the whole process was completed in Surakarta.

Batik Designs A Cultural Development Influenced by Changes in Time And Environment

One of the fascinating characteristics of Asiatic batik is the changes in style, thought and color which hit become about through exposure to different foreign cultures. Throughout Asiatic history, each time the rich batik tradition has become into contact with foreigner traders or colonial rulers, they hit influenced the development of batik. Some of the more famous results are described below.

Modern Batik

Modern batik, although having brawny ties to tralatitious batik, utilizes linear communication of leaves, flowers and birds. These batiks run to be more dependent on the dictates of the designer rather than the stiff guidelines that hit guided tralatitious craftsmen. This is also apparent in the use of color that past designers use. Artisans are no Modern Batiklonger dependent on tralatitious (natural) dyes, as chemical dyes can produce any color that they desire to achieve. Modern batik still utilizes canting and cap to create intricate designs.

Fashion designers such as Iwan Tirta hit aggressively introduced batik into the world fashion scene. They hit done much to promote the Indonesian prowess of batik dress, in its tralatitious and past forms. The horizon of batik is continuing to widen. While the design process has remained essentially the same over the terminal century, the process shows great advancement in past decades. Traditionally, batik was sold in 2 1/4 meter lengths utilised for kain panjang or sarong in tralatitious dress. Now, not only is batik utilised as a material to garb the manlike body, its uses also include furnishing fabrics, heavy sheet wall hangings, tablecloths and household accessories. Batik techniques are utilised by famous artists to create batik paintings which petition many homes and offices. Fine quality handstitched batik is rattling expensive and the creation of such works is rattling limited. However, in a Modern Batikworld that is dominated by machines there is an increasing interest in materials that hit been handmade. Batik is digit of these materials.
During your meet 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 prefabricated for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to wager for yourself how the intricate process is conducted or ask questions of batik artisans gift demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will become absent with sense of astonishment over the time, effort and patience put into the creation of each batik cloth. You too may presently acquire to love the distinctive smooth odor of batik and your batik acquisitions will provide many memories of your meet in Indonesia. Your support of the batik business will also ensure that this prowess form grows to even greater peaks.

Washing Batik

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

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 streaming in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands include added design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic patterned pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical modify consisting of rows of softly bifold parang. This thought also appears in media another than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Ceplok

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

Kawung

Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared engraved into the walls of many temples throughout Java much 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 another ornaments much as intersecting lines or dots. It has been advisable that the ovals might equal flora much as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Batik Design

Although there are thousands of different batik designs, particular designs have traditionally been related with tralatitious festivals and limited religious ceremonies. Previously, it was intellection that certain cloth had cerebration powers to ward off ill fortune, while other pieces could bring good luck. Certain batik designs are distant for brides and bridegrooms as well as their families. Other designs are distant for the Sultan and his family or their attendants. A person's surpass could be determined by the pattern of the batik he/she wore.

In general, there are two categories of batik design: nonrepresentational motifs (which tend to be the earlier designs) and free form designs, which are supported on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.

Certain areas are famous for a ascendance of certain designs. Central Bahasa designs are influenced by tralatitious patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese society and gist brighter colours and more intricate flower and darken designs.

High fashion designs drawn on silk are rattling popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

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.

Dyeing

After the initial rise has been applied, the artifact is primed for the first colour bath. Traditionally ending was finished in earthenware tubs. Today most batik factories use super concrete vats. Above the vats are ropes with pulleys that the artifact is draped over after it has been unfit into the colour bath.

The waxed artifact is immersed in the colour bath of the first color. The amount of time it is mitt in the bath determines the hue of the color; darker colours order longer periods or numerous immersions. The artifact is then put into a algid water bath to accustom the wax. When the desirable colouration has been achieved and the artifact has dried, rise is reapplied over the areas that the artificer wishes to maintain the first colour colouration or another colouration at a after stage in the ending process.

When an Atlantic that has been awninged with rise previously needs to be exposed so that it can be dyed, the practical rise is scraped away with a small knife. The Atlantic is then sponged with hot water and resized with rice polyose before it is re-immersed in the ensuant colour bath.

If a marble gist is desired, the rise is designedly cracked before being settled in the colour bath. The colour seeps into the tiny cracks that create the fine lines that are symptomatic of batik. Traditionally, cracks were a clew of base textile especially on indigo colouration batik. On brown batik, however, the marble gist was accepted.

The number of colours in batik represents how many times it was immersed in the colour bath and how many times rise had to be practical and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous colour processes are usually echolike in the toll of the cloth. Nowadays, chemical dyes have pretty much replaced tralatitious dyes, so colours are long and much more generously used.

Waxing

Once the organisation is drawn out onto the textile it is then ready to be waxed. Wax is practical to the textile over the areas Applying rise with a Cantingof the organisation that the artificer wishes to rest the original color of the cloth. Normally this is white or cream. Female workers sit on a low stool or on a mat to administer the rise with a canting. The artifact that they are working on is draped over reddened bamboo frames called gawangan to allow the freshly practical rise to modify and harden. The rise is hot in the wajan until it is of the desired consistency. The artificer then dips her canting into the rise to modify the bowl of the canting.

Artisans use the rise to retrace the pencil summary on the fabric. A small drop textile is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the correct assistance in a horizontal function to prevent any unplanned spillage, which greatly reduces the value of the final cloth. The left assistance is placed behind the artifact for support. The spout does not contact the fabric, but it held just above the area the artificer is working on. To secure the ornament is substantially defined, batik is waxed on both sides. True tulis batik is reversible, as the ornament should be identical on both sides.

The most old artisans normally do first waxings. Filling in of large areas may be entrusted to less old artisans. Mistakes are rattling difficult to correct. If rise is accidentally spilt on the cloth, the artificer will try to remove the discarded rise by sponging it with hot water. Then a hot iron rod with a arching end is utilised to try and displace off the remaining wax. Spilled rise can never be completely distant so it is imperative that the artisans are rattling careful. If the container method is utilized, this procedure is normally done by men. The container are dipped into melted wax. Just low the opencast of the melted rise is a bifold textile approximately 30 centimeters square. When this textile is saturated with rise it acts like a walk pad.
The container is pressed into the artifact until the organisation lateral of the container is coated with wax. The saturated container is then stamped onto the fabric, leaving the organisation of the cap. This process is repeated until the whole textile is covered. Often container and canting methods are compounded on the same piece of cloth.
Better quality batik may be waxed utilizing canting in digit part of Indonesia and then sent to added part of Indonesia where the container part of the process is completed. On meliorate quality container artifact enthusiastic tending is taken to correct the ornament exactly. Lower evaluate batik is characterized by covering lines or lightened colored lines indicating the container was not practical correctly.

Design Procces (Step 9)

The finished cloth after all of the wax has been removed.

Design Procces (Step 8)

Wax is applied to the area of the artifact that the artist wishes to remain white. The artifact is submerged in the final dye bath. In this case it is brown. Any areas of the cloth that have not been awninged with wax will become brown.

Design Procces (Step 7)

Wax is applied to the area of the fabric that the artist wishes to remain white.

Design Procces (Step 6)

Wax is applied to the area of the fabric that the artist wishes to remain the indigo blue color.

Design Procces (Step 5)

All the wax that has been applied thus far is removed. This is finished by vaporisation the wax and scraping it soured and also by applying hot water and sponging soured the remaining wax.

Design Procces (Step 4)

The cloth is dyed in the second dye bath. In this case it is a navy blue. Any areas that are not awninged by wax will become dark blue.

Design Procces (Step 3)

Second application of wax is applied. In this case it is a dark brown color. A poorer quality of wax is used to cover larger areas of cloth. The darker color helps to differentiate it from the first wax applied. Any parts that are covered with this wax application will remain the indigo color.

Design Procces (Step 2)

The cloth is dyed in the first colour bath. In this case the first dyebath is indigo blue. The area of the cloth where the wax was applied in Step 1 will remain white.

Design Process (Step 1)

The first wax is applied over the penciled-in outline of the pattern. Almost always the original cloth is white or beige.

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.

Cap

Creating 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 the 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.

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.
The 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.

Wajan

The 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.

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.

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.
The 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.

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.

Although 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 an 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.

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”.

Maintaining Batik

For both batik tulis and batik cap, the following rules apply:

• Hand wash, or best just soak the cloth
• Use very little detergent, best to use lerak
• Hang the batik directly, do not squeeze the cloth
• Do not hang in direct sunlight
• The iron should not directly touch the cloth, best to use a steam iron
• Silk batik is best dry-cleaned
• Do not spray perfume onto the cloth directly

Industrialization Of Technique

The application of wax with a canting is done with great care and therefore is very time-consuming. As the population increased and commercial demand rose, time-saving methods evolved. Other methods of applying the wax to the fabric include pouring the liquid wax, painting the wax with a brush, and putting hot wax onto pre-carved wooden or copper block (called a cap or tjap) and stamping the fabric. The invention of the copper block (cap) developed by the Javanese in the 20th century revolutionized batik production. By block printing the wax onto the fabric, it became possible to mass-produce designs and intricate patterns much faster than one could possibly do by using a canting.

Batik print is the common name given to fabric which incorporates batik pattern without actually using the wax-resist dyeing technique. It represents a further step in the process of industrialization, reducing the cost of batik by mass-producing the pattern repetitively, as a standard practice employed in the worldwide textile industry.

Procedure

Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.

Thin wax lines are made with a canting, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps.

After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. This traditional method of batik making is called batik tulis.

For batik prada, gold leaf was used in the Yogjakarta 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.

Sumatra

• Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay peninsula.
• Riau Batik.
• Palembang Batik.
• Aceh Batik.

Bali

Balinese Batik. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.

Indonesian Batik from other areas (Java)

• Tasikmalaya Batik. This type of batik is produced by Sundanese people in the Tasikmalaya district of West Java province. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
• Garut Batik. This type of batik is produced by Sundanese people in the Garut district of West Java province. Despite applying traditional Javanese court motifs such as parang, Garut batik uses lighter and brighter colors compared to Javanese court batik.
• Banten Batik. This type of batik employs bright and soft pastel colors. It represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002-2004. Twelve motifs from locations such as Surosowan and several other places have been identified.
• Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s.

Pesisir Batik (Coastal Batik)

Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.

• Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
• Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon kraton. This cloud motif shows Chinese influence.
• Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
• Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
• Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.

Types and Variations of Batik Javanese Kraton Batik (Javanese court Batik)

Javanese keraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions (e.g., weddings).

The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions:

• Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
• Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.

Notable Batik Collector

• Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.
• The late mother of United States president Barack Obama, Ann Dunham was an avid collector of Batik. In 2009, an exhibition of Dunham's textile batik art collection (A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks) toured six museums in the United States, finishing the tour at the Textile Museum.
• Santosa Doellah, The Indonesian Museum of Records has recognized him as having the world’s largest collector of ancient Chinese-influenced Indonesian batik textiles. In total his collection are about 10,000 batik pieces.

Malaysia, Singapore, Brunei, And Thailand

Batik is often worn in Malaysia, Singapore, Brunei, and southern Thailand, brought there by Indonesian immigrants or merchants in the 19th century. The flight attendants of Indonesian, Singaporean, and Malaysian national airlines all wear batik in their uniform. Batik sarongs are also designed as wraps for casual beachwear.

China

Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.