BATIK ENCENG the GOITRE, RARE AND UNIK

Spoke the problem of batik, Yogyakarta indeed his warehouse.
Many centres of batik diligence that were spread in the city that the draught of this predicate.
In the Bantul Regency still often was found by us batik makers that aged continued.
They his status could as the worker/manpower or also as the owner of diligence.
Unfortunately they only were motionless to some pakem, or did not dare to make some of inovasi.Bagi Supriyatno (42) that already around two dasa warsa was involved in the world of batik, the media to membatik must not from the cloth material.
With the wood media then immediately often has been produced by the craftsmen.
With the media enceng the goitre?
Nah this just was rare and unique.
This media that now continues to be developed by the batik craftsman that beralamat in Krapyak Wetan 161 A, RT 8 RW 55 of Panggungharjo Sewon Bantul, 55188, telp.
0274-380181, fax.
0274-373507 this.
Supriyatno was melakukan
the process pemalaman

His love to batik according to the father who currently is father to 3 this already since SMP. "Waktu Itu every time had extra mbatik in the school, by the guide's teacher, my work was always considered best compared to the other friend", kenang him.
Sanjungan made him feel proud but not conceited.
After moving the adolescent and mature he also often socialised with the batik craftsmen in Taman Sari Yogyakarta.
This increasingly made his talent increasingly was sharpened.
Further officially during 1983 the alumnus of this Yogyakarta CONTENTS established the gallery by the name of "Painting Soepry Gallery Batik".
At the beginning of his production in fact now he is still using cloth for his batik media.
But in 2000, Soepri found enceng the goitre as the media to membatik him.
Beforehand, Soepri often carried out the experiment, to get perfect results.
Including him also often consulted with the Hall of Batik Yogyakarta, that gave the solution about the technique pewarnaan him.
To introduce results of his findings, in 2002 took part in the Inacraft exhibition, Icraft and Furnicraft in Jakarta with his 3 friends.
In 2003 the exhibition in the Netherlands by bringing approximately 50 works.
In event

Source
www.bantulbiz.com

The kind and the Batik Motive

The kind and the Batik
Motive
Basically, was based on the process of his production batik could be classified as follows:
Firstly, the traditional pattern.
This batik was also known as Tulis Batik.
Made with the dipper contained the night or the liquid candle.
The dipper was a form of cute copper cup with the pipe on the end in the small measurement.
With this dipper the batik artists describe the candle as liquid on a sheet of cloth, usually cloth mori (white).
Further cloth that has been depicted this was carried out pewarnaan.
Dye that was used then nature dye, like the tree mengkudu, soga, indigo, jelawe, wood tingi and many others.
Secondly, at the beginning of the 920 's began to be known stamp batik.
This emergence of kind batik, together with the entry of synthetic textile dye made by China.
The pattern of this kind batik, was made with the stamp dipper, where the dipper that was used has had the shape of the pattern, so as to speed up the process.
Thirdly, was batik printing.
This batik that disinyali often killed the batik craftsmen who still were remaining in various Indonesian corners.
Mentioned printig because this kind batik was printed with the textile machine so as in a manner the quantity of the productivity or the provisions of the number of results batikan to several fold.
Apart from the three production methods above, was gotten also by the production method of other batik, that is Batik sablon (that is batik that his motive was printed with the cliche/hand print) and Batik painting (that is batik that was made without the pattern, but immediately gathered the colour on cloth) .Bahkan currently has had the production method of batik of using the laser beam.
The motive of batik in Indonesia that was enough terebar, was believed in had the philosophical content, in accordance with the place of the production.
Moreover, in several places had the method membatik that must be preceded ritually certain, as reading the spell or fasting first.
Javanese batik personally had the uniqueness in isen-isen or the contents that took the form of the point, the soft line, or the other ornament in the form of the style decorated.
The design of Javanese batik had two basic rules.
First was based on the construction of geometry took the form of boxes, the line diagonal, or the circle with all the developments stilasi.
The two designs of non-geometry like the stem, the flower, the leaves, the bud (the flora), and

The Batik stock exchange ‘Sekar the world,

The Batik stock exchange ‘Sekar the world, Batik that began Ditinggalkan
on Sunday, in October 30th, 2005
On Saturday (29/10) was the last day of the Batik Stock Exchange that was held by the Association of the Lover of Batik ‘Sekar the world, Jogja.
The agenda that was held in Street.
Kemetiran Kidul No.60 this took place while 6 days were endless.
On the last day from this agenda, the room that was provided as the place was displayed by him these batiks were seen very quiet.
The agenda that was held with the intention could conserve this batik was seen not arrive at the aim.
This was seen from the data in the book of the guest recipient that only numbering 17 visitors for this agenda took place.
This agenda was supported not only from the batik makers from the Yogyakarta city, but also from various other areas like Banyumas, Sokaraja and Cirebon.
Apart from his batik makers that bervariatif, batik that was traded here then really bervariatif.
Both from the aspect of the form and his motive was very varying.
In this agenda, diperjualkan more than 50 batik cloths with the varying price.
Seen from agenda material that was offered, in fact this agenda had cultural cargo that was strong that is wanting to show the existence of batik and to cultivate the feeling of the love against the local product (batik) this in the community, especially the younger generation.
However the location of the agenda that projected inside caused the feeling to be not comfortable to be entered because of being impressed not the territory that was free to be entered by anyone.
Moreover, this agenda was apparently not more publicised well in the social circle of the public.
This was proven from the list of the visitor that in general from the palace side then.
The procurement of the actual agenda the draught with cultural cargo like this ought to receive the appreciation that better than the Jogja resident personally.
However apparently not all that touched the interest of the layman.
Did batik as one of the forms of culture that still often was developing in this Jogja city begin to be left by his interested persons?
Or at least the visitor only because of the location and the shortage of the publication?
Details that always accompanied the Yogya city that sounded that Jogja was the art city and the culture apparentl
The source: (dito) Trulyjogja.com

the Superior Batik

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K. Tribusana
Was new style batik where the production method of the second process direntas or riningan and most motives - his motive the bend - lungan lanjuran.
This Tribusana batik there is one that is annual and plain.

L. Batik Pangan/Petani

Batik that was made as the interlude of the housewife's activity in the house dikala did not go to the paddy-field or during leisure time.
Usually this batik is rough and awkward as well as not soft.
His motive hereditary in accordance with the area masing -masing and this batik was done unprofessionally because only as the sideline.
To pewarnaan then was included to the merchant.

M. Coletan
Where in a batik cloth pewarnaan in some places used the system colet with brushed and for the immersion only very much except the colour soga, the colour -the other colour used colet.

N. Batik Kemodelan
It was batik - classic batik both that from the Yogya style and Solo, was made with the new composition with pewarnaan Pekalongan and looked modern.
This really popular in Soekarno's time era to make Yogya batik and Solo be increased by the colour.

O. Batik Osdekan
Dalam a batik cloth will emerge one colour would dibatik still continued to be fallen on with the colour still was good that took the form of the young and old colour or the other colour, this made the colour of batik of still more lives and as being baying -the shadow.


P. Batik Modern
Batik that in his process especially in pewarnaan used the new system that usually in the immersion now uses the other system both tu took the form of gradations, the vein of wood and entertained broklat.
The motive -this motive was the new motive that was connected with aesthetics.
This composition of batik freestyle popular in the year era 80 an.


Q. Batik Kontemporer
An unusual batik looked like batik, but still used the process of his production same as making batik.

R. Batik Cap.
Batik that his production used the implement beebentuk the stamp or stamp both that the process coletan and kelira

BATIK kinds in PEKALONGAN

BATIK kinds in PEKALONGAN

(was processed from VARIOUS sources)
A. Batik Pecinan/Cina

The Chinese nation has for a long time been known as the expatriate Nation.
They were also known to be firm in conserving his tradition of the ancestors's culture.
Usually in their foreign region country combined their culture with the local culture as the form of cultural acculturation.
Even so that happened in Indonesia especially to Batik.
The descendants from the Chinese expatriates in Indonesia usually produce Batik for the community personally or also was traded in.
Their production batik that was acknowledged as PECINAN BATIK had the typical characteristics of his colour was enough variatif and clear, in a sheet of cloth often put forward various colours.
The motive that was used often put the element of the Chinese culture like the motive of Hong birds or the peacock, and the Dragon.
Usually the pattern of Pecinan batik more complicated and soft.
In ancient Pecinan Batik that had the shape of the sarong was combined with the Blouse Encim as the typical fashion of the descendants's Chinese women in Indonesia.
In Pekalongan that was famous produced Pecinan Batik one of them was Tan Tjie Hou.

B. Batik Belanda
In the Dutch colonisation time definitely many Dutch residents who remained and resided in Indonesia.
They evidently was interested also with the local culture.
Same like the resident of the Chinese descendants, the resident of the Dutch descendants quite a few that made and produced batik.
Batik that was produced by the resident of these Dutch descendants had the typical characteristics special.
The motive that was used most flowers that often was received in Europe like Tulip and the motive leading figures the famous fairy tale story there.
This model batik was really liked in Europe.
The famous leading figure made Dutch BATIK in Pekalongan that is Van Zuylen and J.Jans.
Their works dominated in the age 20 set.

C. Batik Rifa'iyah
This kind batik received the Islam influence that was strong.
In the Islam culture the motive - the motive that was connected with the object bernyawa might not be depicted equally precisely appropriate original him.
Appropriate that the feature in RIFA'IYAH BATIK especially that concerning the motive of the animal was seen by his head was cut off.
Because in the Islam teaching of all the shapes of the animal sembelihan that was permitted must be cut off by his head.
Usually the resident of the Arabian descendants produces this kind batik.



D. Batik Pengaruh Kraton
The manufacturer of batik in Pekalongan often made batik that his motive was the typical characteristics of Batik of Kraton Yogyakarta or Surakarta.
The motive of the style of the palace that usually in with that is cement, cuwiri, the machete etc..
Although having a motive the influence of the palace but the production technique and pewarnaa him with the Pekalongan style.
So as more unique and interesting.
Must be learnt the Pekalongan style was the Pesisiran style of becoming freer and often got various influences from outside.

E. Batik Java Baru

In the production after the batik era Javanese Hokokay.
In Batik Javanese Baru the motive and the available colour in the batik era Javanese Hokokay was more simplified, but still have the nature typical the morning in the afternoon without Tumpal.
Most used the motive of the series of the flower and the bend - lungan.

F. Batik Jlamprang
The motive - the Jlamprang motive or in Yogyakarta by the name of Nitik was one of the batik that were enough popular was produced in the area of Krapyak Pekalongan.
This batik was the development from the motive of Potola cloth from India that have the shape of geometric sometimes had the shape of the star or points of the compass and used the twig that his tip had the shape of the quadrangle.
This Jlamprang batik was immortalised to one of the roads in Pekalongan.

G. Batik Terang Bulan Suatu the design of batik where his ornament only underneath good that took the form of the bend - lungan or took the form of the ornament muzzled on him was empty or took the form of the point - the point.
This Terang Bulan batik was acknowledged also as the Mansion or Ram - raman.
H. Batik Cap Kombinasi Tulis
Combination batik wrote in fact stamp batik where the second process or before disoga direntes or dirining by the batik maker wrote so as batik looked as if being written.
This was done to speed up the production of batik and the uniformity.

I. Batik Tiga Negeri Pekalongan
As in the case of batik - the country's other batik where in one cloth was gotten by the red colour blue soga that all was made in Pekalongan occasionally the blue colour was replaced purple and green.

J. Sogan Pekalongan
Batik with the process twice where the first process of the white yard sometimes was coletan, and for the process of the two batiks ditanahi was full or the ornament plataran took the form of the refined point just after that disoga.
Soga batik was seen classic.

batik

Batik (or Batik words) came from the Javanese language "amba" that was significant wrote and the "point".
Batik words referred to cloth with the feature that was produced by the "night" material (wax) that was applied on cloth, so as to keep the entry of colouring matters (dye), or in his English "wax-resist dyeing".
Batik was diligence that had the high value of art and became part of the Indonesian culture (especially Java) since long before.
Javanese women in the past made their skills in membatik as the livelihood, so as in the work past membatik was the exclusive work of the woman until the discovery of "Cap Batik" that enabled the entry of the man in this field.
There were several exceptions for this phenomenon, that is coastal batik that had the masculine line like that could be seen in the "rainclouds" feature, where in several areas of the work coast membatik was usual for the men.
The style of the feature and the colour was of Batik influenced by various foreign influences.
Initially, batik had the style of the feature and the limited colour, and several features only might be used by the certain circle.
However coastal batik absorbed various outside influences, like the foreign traders but also in the long run, the colonisers.
Clear colours like red was popularised by the person Tionghoa, that also popularised the Phoenix feature.
Colonisers's European nation also took the interest to batik, and results were the feature bebungaan that beforehand was not known (like the flower tulip) but also objects that were brought by colonisers (the building or the horse carriage), including also colours of their pleasure like the blue colour.
Batik tradisonal continued to maintain his feature, and still was used in traditional ceremonies, because usually respectively the feature had their respective symbolism.
The technique membatik was known since thousands of years that set.
There were no history information that were clear enough about the batik origin.
There were those who suspected this technique of coming from the Sumeria nation, afterwards was developed in Java after being brought by the Indian traders.
At this time batik could be found in many countries like Indonesia, Malaysia, Thailand, India, Sri Lanka, and Iran.
Apart
from