Batik
Traditional Art
Batik
Batik plays multiple roles in the culture of Indonesia. The wax resist-dyeing technique has been used for centuries in Java, and has been adopted in varying forms in other parts of the country. Java is home to several batik museums.
On 2 October 2009, UNESCO inscribed written batik (batik tulis) and stamped batik (batik cap) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia. Since then, Indonesia has celebrated a Batik Day (Hari Batik Nasional) annually on 2 October. In the same year, UNESCO recognized education and training in Indonesian Batik as a Masterpiece of Oral and Intangible Heritage of Humanity.
History
Early Modern periods
The art of batik is most highly developed in the island of Java, although the antiquity of the technique is difficult to determine since batik pieces rarely survive long in the region’s tropical climate.
The Dutch historians Rouffaer & Juynboll argue that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. The similarities between some traditional batik patterns with clothing details in ancient Hindu-Buddhist statuaries, for example East Javanese Prajnaparamita, has made some authors attribute batik’s creation to Java’s Hindu-Buddhist period (8th-16th century AD).
Some scholars however object that mere similarity of pattern is not conclusive of batik, as it could be made by a number of non-related techniques. Further, as the word “batik” is not attested in any pre-Islamic sources, there is also the view that batik only flourished at the end of Java’s Hindu-Buddhist period, from the 16th century onward following the demise of Majapahit kingdom.
The oldest physical Javanese batik piece to have survived so far is a 700-year-old blue-white valance in the private collection of Thomas Murray. The batik’s quality and early Majapahit period carbon-dating suggest that sophisticated batik techniques already existed at the time, but competed with the more established ikat textiles. Batik craft further flourished in the Islamic courts of Java in the following centuries.
Modern period
Batik technique became more widely known (particularly by Europeans) when Javanese batik was described for the first time in Thomas Stamford Raffles’s 1817 The History of Java, which also marked the beginning of collecting and scholarly interest in batik traditions.
In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Examples were displayed at the Exposition Universelle at Paris in 1900.
Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands.
In the 19th to early 20th century, Dutch Indo–Europeans and Chinese settlers were actively involved in the production and development of Javanese batik, particularly pesisir “coastal” batik in the northern coast of Java, especially developed in Pekalongan City.
Many traditional ateliers in Java collapsed immediately following the Second World War and Indonesian wars of independence, but many workshops and artisans are still active today creating a wide range of products 
Types
As each region of Indonesia has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik). Batiks which do not fall neatly into one of these two categories are classified by their region. A clustering of batik designs from all parts of Indonesia by degree of similarity indicates a history of cultural assimilation.
Javanese batik
Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest batik tradition in Java. Inland batik has an earth colour such as black, indigo, brown, and sogan (a yellow from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions.
At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has a sogan background and is used by the Susuhunan and Mangkunegaran Courts. Batik Jogja typically has a white background and is used by the Yogyakarta Sultanate and the Pakualaman Court.
Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura; out of these, Pekalongan has the most active batik industry. Another coastal batik called tiga negeri ([batik of] three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively.
Sundanese batik
So-called Sundanese or Parahyangan Batik is made in the Parahyangan region of West Java and Banten. Baduy batik only employs indigo in shades from bluish black to deep blue. It is traditionally worn by Outer Baduy people of Lebak Regency, Banten as iket, a type of Sundanese head-dress similar to the Balinese udeng. Bantenese batik employs bright pastel colours and 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 have been identified.
Malay batik
Trade between the Melayu Kingdom in Jambi and Javanese coastal cities has thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district produces batik Jambi.
Batik Jambi and Javanese batik influenced the Malay batik.
The batik from Bengkulu on the west coast of Sumatra is called batik besurek, meaning “batik with letters, calligraphic batik” as it draws inspiration from Arabic calligraphy.
Minangkabau batik
The Minangkabau people of West Sumatra produce batik called batiak tanah liek (clay batik). This uses clay as dye for the fabric. The fabric is immersed in clay for more than one day and then inscribed with motifs of animals and plants.
Balinese batik
Batik making in the island of Bali is a relatively new but fast-growing industry. Many patterns are inspired by local designs. Motifs include objects from nature such as frangipani and hibiscus flowers, birds, and fishes; daily activities such as Balinese dance and ngaben processions; and mythological creatures such as barong, kala and winged lions. Modern batik artists express themselves freely in a wide range of subjects. Contemporary batik is not limited to traditional or ritual use in Bali. Some designers promote Balinese batik as an elegant fabric. High class batik, like handmade batik tulis, can denote social status.