Shopping Batik on Pekalongan, Indonesian Batik City

Batik (Javanese pronunciation: [ˈbateʔ]; Indonesian: [ˈbatɪʔ]; English: /ˈbætɪk/ or /bəˈtiːk/) is a cloth that traditionally uses a manual wax-resist dyeing technique.
Javanese traditional batik, especially from Yogyakarta and Surakarta, has notable meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are most commonly available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch cultures. In the colonial times pesisir batik was a favourite of the Peranakan Chinese, Dutch and Eurasians.
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.
Batik or fabrics with the traditional batik patterns are also found in several countries such as Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.

Shopping Batik on the largest batik market, “PASAR GROSIR SETONO” PEKALONGAN

Pekalongan, Indonesian Batik City
Pekalongan batik is batik made by people who mostly live Pekalongan north coast of Java island. Although no official records began to be known when the batik in Pekalongan, but according to estimates existing in Pekalongan batik around the year 1800. Even according to data recorded at the Ministry, batik was made 1802, like a small tree motif in the form of clothes.

But significant progress is expected to occur after a major war in 1825-1830 in the kingdom of Mataram which is often referred to as Diponegoro war or Java war. With the onset of this battle royal family and urged his followers were many who left the kingdom. They then spread towards the East and West. Later in the area - a new area that the family and followers develop batik.

To the east of Solo and Yogyakarta Batik, batik patterns that have been perfected in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Other way westward batik developed in Banyumas, Kebumen, Tegal, Cirebon and Pekalongan. With this migration, the batik Pekalongan that have been there before growing.

Over time, Batik Pekalongan experiencing rapid development compared to other regions. In this region batik evolved around the coastal areas, namely in Pekalongan city and regional areas Buaran, Pekajangan and Wonopringgo.

Pekalongan public encounter with the various nations such as China, Dutch, Arabic, Indian, Malay and Japanese in ancient times has colored the dynamics of color motifs and batik art.

In connection with the several types of batik motif result of the influence of various countries came to be known as the identity of Pekalongan batik. As for motive, among others Jlamprang inspired batik from India and Arabia, and batik Encim Klengenan, influenced by the Peranakan Chinese, batik Morning Afternoon by the Dutch, and batik Hokokai, grown rapidly since the Japanese occupation.

The development of print culture techniques using dye motifs cover the night (candles) on the fabric which is then called batik, is inseparable from the influence of those countries. This shows the context of the flexibility of batik from time to time.

Pekalongan batik is very unique because it relies entirely on hundreds of small entrepreneurs, rather than on a handful of large employers have capital. Since many decades ago until now, most of Pekalongan batik production process is done in homes. As a result, closely united with batik Pekalongan Pekalongan community life that is now divided into two administrative regions, namely Pekalongan Municipality and Regency of Pekalongan.

Pekalongan batik tidal development, showing Pekalongan eligible to become an icon for the development of batik in Indonesia. Icon for works of art that never gave up with the times and always dynamic. Now, batik has become a breath of everyday life Pekalongan residents and is one superior product. This is because many industries which produce batik. Because the product is known for his batik, known as the City of Pekalongan Batik. The nickname came from a long tradition rooted in Pekalongan. During that long period, various properties, the variety of uses, type design, as well as batik quality is determined by the climate and the presence of fibers of local, historical factors, trade and community readiness to accept and understand new ideas.

Batik is an art culture that admired the world, among the traditional varieties produced with dye technology hurdles, none of which can be present as beautiful and as smooth as batik Pekalongan.

Visit “PASAR GROSIR SETONO” on Pekalongan Batik City, Central Java Indonesia.
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Galery Batik Motif