The arts of batik is an ancient technology almost as old as the arts of textile itself. From centuries ago, batik in Indonesia, especially on the Javanese plains, has developed into a form expression, deeply rooted in mythology, philosophy, and a world of symbols revolving around the circle of life.
Indonesian batik is the product of a series of global influences; Chinese and Indian (through Hinduism and Buddhism), Arabian and Persian (through Islam). Traces of these influences can be seen on the various batik motifs along the north coastal cities of Java, as well as in the two centres of Javanese aristocracy: Yogayakarta and Surakarta. "Batik is a masterpiece of crafts, shaped by the journey of time and environmental changes, "concludes H.Santosa Doellah, founder of Batik Danar Hadi and a keen ancient batik collector with a range of collection depicting the history of Indonesian Batik.
As the result of interaction with time and historical environment, batik falls into a number of categories, each distinguished by its pattern, motif, style and colour. Batik Kraton (Kraton Batik) blends in Hindu influence that have found its way through Javanese Kraton (palace compound) in the 5th century, along with Islamic culture shortly after. The Hindu influences takes forms in ornaments of eagle, dragon, lotus and the tree of life; while Islam contributes to ornament symbolizations. Batik Kraton consist of those developed in the sultanates of Surakarta and Yogyakarta as well as in the regency of Pakualaman and Mangkunegaran.
Batik Belanda (Dutch Batik) started to flourish in 1840 and reach its peak between 1890-1910. This category of batik was pioneered by the Dutch and European entrepreneurs living in north coastal cities of Java. Its distinct colour and motif type have made Batik Belanda uniquely significant. Next came Batik Cina (Chinese Batik), rich in oriental ornaments that come in the form of snakes, lions, dragons and phoenixes. Using both bright and pastel colours, Batik Cina can be found in the production centres of Pekalongan, Cirebon, Kudus and Demak. But especially for the Surakarta and Yogyakarta market, Batik Cina comes in the Batik Dua Negri and Batik Tiga Negri formats.
The Japanese colonization bore Batik Jawa Hokokai. Its motif and colour strongly reflect the Japanese influence such as brighthued flore spead over the traditional parang or lereng motifs. Batik Indonesia market the post independence era with a distinct trademark of traditional motif combined with modified isen and finished in the Batik Pesisiran technique. This particular technique uses myriad of colours besides the classic soga (brownish) tone and a number of new motifs, which would later be known as Batik Modern.
Batik Sudagaran appeared in the end of the 19th century, especially in Surakarta and Yogyakarta. Its trademark is in ornaments derived from the classic kraton batik that had been modified to the liking of batikmerchants of that era. To name a few are the modification of tambal with kotak-kotak (squares) motif and the parang with keong ornament filled with nitik motif.
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