BATIK

Javanese batik culture
Introduction

Batik is a work that is familiar to the people of Indonesia. In various regions of Indonesia found many areas of batik artisans. Each region has a unique batik and its own peculiarities, both in decoration and color layout. And, it is one of the Pekalongan district. Pekalongan batik can be categorized as coastal batik motif has a characteristic of the fabric dressing that is naturalistic and rich colors. Characteristic is what gives a distinct identity for batik and write different Pekalongan batik, such as batik and write Yogya or Solo.
origin
That said, the origin of Pekalongan batik has been around since around the 1800's. This is confirmed by the data recorded on the Ministry stating that in 1802 there has been Pekalongan batik-patterned dress material for a small tree.
However, significant developments are estimated to occur in 1925-1839 after a major war in the kingdom of Mataram are often referred to by war or war Diponegoro Java. In the war many of the nobles left the royal palace. They spread to other areas in eastern Java as Mojokerto, Tulungagung, Gresik, Surabaya and Madura. And, some are spread to the west of the kingdom of Mataram as Banyumas, Kebumen, Tegal, Cirebon, and Pekalongan. In these places they are not only evades the Netherlands, but also to develop the arts that exist only in the first palace, the batik.


Equipment and Materials
The equipment used to make batik-writing are: (1) a small frying pan made ​​of metal or clay is used as a place to heat up the night (candles) to liquid, (2) anglo, to heat up the night with burning coals of charcoal; (3) tepas (fan), to obtain the wind to keep the embers burning, (4) gawangan, to place or spread out to be carved mori, (5) kowolan or bamboo brush the ends tied with a thick cloth to lay a broad field; (6) cloth, batik maker to shut down the thighs to avoid being hit at night droplets blown canting, (5) bandhul, to hold the cloth so as not to twitch when painted, (6) uthik, to scavenge charcoal, (7) canting [1 ] with a variety of sizes as a means to pour the liquid into the night mori drawn; (10) Ganden (wooden mallet), for the cloth to be beat to suffocation and facilitate carved batik makers in the manufacturing process, and (11) nights or wax to cover certain parts of the fabric is not dyed.
The basic ingredients to make batik in Pekalongan area can be divided into two, namely: a material made from cotton and silk. Material made of cotton or so-called mori / muslin can be categorized into three parts: (1) mori muslin used for this type of fine batik or batik, (2) mori raw material used in batik, and (3) mori rough is almost never used for batik. While the material is made ​​of silk are also categorized again into five sections, namely: (1) ciuk pik, (2) ciuk cit, (3) ciuk shellac, (4) ciuk POA, and (5) ciuk si.



In addition to the basic material in the form of cloth, there are materials that are used as a dye which can be either chemical or natural dyes such as indigo Java, werdi indigo (indigo dried created by the factories of Europe), Noni or Modinda Tintoia Roxb (for make the color yellow and red), or Fasciculata jerek Zoll, soga (Peltophormn Ferrugineum Benth), tegerang (Cudrania javanensis Trecul), jackfruit wood, turmeric, ginger, Gum Rosin, resin and so forth.
Pekalongan Batik Making Process
The stages in the manufacture of batik and write in Pekalongan is as follows. Before the cloth was carved, usually dilemaskan. The trick is to soak in water mori for one night, then washed for ¼ hour in water and boiled starch or starch (rice boiled water that is sometimes given a mixture of bamboo leaves and a little lime). This method is referred to as nganji or nyekuli.
Once starched, cloth and dikemplong, which is rolled up and placed on a board or a flat and beaten with Ganden (wooden mallet). Mengemplong starching process and is done so that the liquid nights later inscribed on cloth not seep into the fabric fibers. Thus the night can be easily removed.
For the record, if the fabric to be used are silk fabric, then the process pengemplongan, pengetelan, and ngusun no. Fabric just washed and dried in the sun dried, then starched. Penganjian the silk should be more careful of the memory, because silk is rarely prangpang or fibers. If penganjian is not good, then it is difficult to make batik top.

Once the fabric becomes weak, then the next step is ngengrengi and nerusi, which create patterns on mori by using the night. Once the pattern is formed, the next step is ngiseni, which draw on the contrary mori according to the pattern. This activity is called nembusi. After that, nemboki or mbiriki the closing section should remain white. The next stage is to give nyelup Medel or white color so that the results are as expected. Medel process is done several times so that the white color becomes more concentrated. Next, remove the wax klowongan ngerok so if disoga brown scar. The tools used for cawuk ngerok is made ​​from a sharpened piece of tin side. After the scrub, followed by mbironi. In this process the parts that want to keep the blue and white closed the night with a special order when using the canting disoga not let brown. After that, proceed with nyoga, which gives a brown color with a mixture of bark Soga, Cleaner, tegeran and others. To obtain a mature brown color or old, dyed fabrics in a tub of herb Soga, then drained. Nyoga process done many times and sometimes takes up to several days. However, when using chemical dyes, the process is conducted every day nyoga only. The next process is the final step is nglorot, which is cleanse the night. Way, the cloth is placed in boiling water that has been given a starch to water does not stick to the night again. After the evening wear, which has carved cloth is then washed and aerated to dry. For the record, in making a piece of batik is usually not only handled by one person only, but some people whose job is different.


Variety of Decorative Motif Batik Pekalongan
District's natural wealth Pekalongan influence the creation of decorative patterns are amazing. Even though a variety of dressing created a simple tool and work processes are limited, but the result is a work of art a very high value. So, batik fabric is not just fabric, but has become an art form that lifted from the creativity, taste and intention maker. Decorative motifs are usually affected and closely related factors: (1) geography, (2) beliefs and customs, (3) circumstances surrounding nature including flora and fauna, and (4) of contact or relationship between the regions producing batik, and (5) the nature and order of living area.
Some of the names or decorative motif Pekalongan among others: (1) jlamprangan (nitik similar geometric patterns developed by the batik of Arab descent), (2) cement (plant or animal-shaped motf), (3) encim (batik motif tatawarnanya many influenced by the distinctive colors of China such as: porcelain, famille rose, verte famile, etc.), (4) Sam Pek Eng Tay (motif pattern consists of buketan and arranged in two distinct parts both decoration and color), (5 ) encim chrysolite Mulya (batik decoration has a machete in the background and the little flowers that dominate the color blue, red and yellow), (6) encim early afternoon (this motif hia buketannya paint the entire range of field pattern different positions of the edges) , (7) motifs are influenced by the Dutch settlers as: (chrysanthemums, grapes, bridges cards, Cupido, the Company, and Cinderella), and (8) semarangan batik motifs, namely flowers cengah, grindilan, and so forth.