Batik Patterns

This motif implies a hope that the wearer will have the courage and wisdom of the exemplary Javanese knight figure in the epic tale of Mahabharata, Prince Abimanyu.

Ake is related to the divinity and the composition of the universe. It is a symbol of enlightenment of God for the King. This motif can be found both in batik and woven textiles.

This motif is created based on the local wisdom and philosophy of Anggrek Tewu (Sugar Cane Orchid). Like the nature of sugar cane orchid, the people of East Kotawaringin wish to have continuous growth, successful, yet maintain social harmony to live side by side without disturbing others. It represents a hope to be the most developed district among other districts in Central Kalimantan

According to legend, the Angso duo batik motif is a pair of swans that are believed to have led Princess Mayang Mangurai and Orang Kayo Hitam in their quest for a place to stay or open a new country, which is now known as Jambi City. In another version, it represents the character of the Jambi people as a simple and conventional society.

Awan Berarak is a combination of Dayak motifs and Malay patterns. The word ‘Awan Berarak’ means the marching cloud in English. It represents a well-mannered person and the gentle character of the Malay ethnic community. As it illustrates the grace of the clouds that march above the sky, it signifies the highness of the royal family that gives support and protection for the people. This motif is dedicated to the royal authorities of the Amantubilah Mempwah Kingdom in Pontianak.

This motif is usually associated with gentleness, wisdom, and self-knowledge. These characteristics are the basic moral education introduced by Riau parents to their children. Flowers and buds are the symbol of love, purity, sincerity, humbleness, friendship, and brotherhood. Parents hope that the advice contained in this motif can always be remembered and practiced by their children.

. Bale Lumbung Motif: this motif signifies the welfare of the ancient Sasak society. Bale also symbolizes the traditional house form of the Sembalun community, East Lombok. It may also mean food granary for the Lombok village community. 

The Banji motif is the symbol of protection and purity. The batik motifs represent the connection of heart and harmony in every aspect of life.

The meaning of the Barong batik motif is based on its name and history. The Barong  is a kind of mythological or magical animal because in Javanese and Balinese culture the word “barong” has a magical meaning. The creature is a combination between the lion or the tiger (body, legs, eyes), eagle, elephant, and dragon (grinning mouth with long tongue). The term of the word barong is found in many Javanese and Balinese arts. This motif represents power or masculinity.

The Raja Bayam Sasirangan motif illustrates the social status of the person and the dignity of the ancestors. The motif is designed as a vertical curved line that separates motifs of one another.

This motif represents Pakis Haji (Polystichum setiferum), an endemic plant in North Kalimantan, and the Bekantan, the world’s rare Borneo Monkey.  This Pakis motif represents eternal life and longevity. It also concerns the protection of rare Bekantan species.

The term “Basurek” refers to a textile that contains letters or inscriptions. Besurek batik art in Bengkulu was introduced by batik merchants and artists from Demak. This can be traced from the history of the Sultanate of Demak, which was the first and largest Islamic Kingdom in Java Island (1475-1548). The motif pattern consists of Kaganga letters or Bengkulu original letters, combined with Arabic calligraphy. This motif also illustrates the beauty of the Rafflesia Arnoldi flower, a rare flower in the world that grows in the Bengkulu area.

Besurek Rembulan is batik which combines Arabic calligraphy and the full moon (Rembulan) motifs. This batik depicts the universe as a creation of the Almighty God. This cloth is usually worn by the bride and groom in the splash ceremony before the wedding.

Batik Palembang also has a specialty in producing Batik cloth, namely by using the tie-dye technique. The Bintik Tujuh (Seven Dots) motif was produced by tie-dye technique, which results in 7 white spots and green color gradation.

This motif means sacred love for family, kingdom, and God; It also illustrates openness and togetherness in the social life of the people of Palu.

The Balinese bouquet (Buketan Bali) is a floral arrangement and the name is derived from French. This batik motif was actually manufactured in Indonesia long ago in 1880 by a Dutch batik businessman named Cristina Van Zuylen.

This motif is ornamented with flower motifs or small plants arranged along the width of the fabric with additional decorations of butterflies and phoenix that add artistic value to the batik artwork.

The word ‘Bultiya’ is an acronym of the three major tribes in East Kalimantan, namely Bulungan, Tidung. The motif was created by Ridwansyah, a Batik artisan in Bulungan regency. This motif was created to maintain and strengthen harmonious relationship among tribes in Bulungan regency, East Kalimantan.

This motif is a combination of the Dayak Tidung and Bulungan tribes, namely the Raye Flower motif. This motive means to unite all forces to maintain the unity in diversity and expresses a wish for safety and cure for all diseases.

The clove flower motif is the main commodity of the Tolitoli Regency.

The variety of colors shows the differences in society that need to be appreciated and accepted. The wearer of this motif is expected to have a strong personal charm that holds fast to religion and tradition, but always be tolerant and respectful in social life. The Symbol of Ceplok Gayo signifies the beauty of living together in a peaceful society.

The black pepper motif represents the main commodity of Bangka Belitung province

Motif batik daun sirih adalah motif yang menggambarkan daun sirih. Daun sirih memiliki banyak kegunaan sebagai obat trasidional. Warna dasar pada kain ini pada umumnya coklat dengan daun warna biru atau hijau.

Kamang motif is generally found in the Dayak tribe shield because it is believed to increase the magical power that can arouse the spirit of the person who wears it.

Dayak Taghol has a distinctive style of four curved lines and small dots. This motif represents a shield which means endurance and maintaining unity in the society.

Desa Na Tolu is the motive of ‘Batak Philosophy’ which reflects the concept of the existence and harmony of the Batak society. This motif contains rules of mutual respect, as well as a code of ethics of relations with family members, with the clan of the wife and the in-laws.

Gorga Desa Ualu is the symbol of the eight cardinal directions, used as an astrology tool in the ancient Batak tradition to determine good times for planting rice, catching fish, having parties, etc. This symbol also relates to the ritual activities of one’s life, including fortune telling for family horoscopes.

Broken Durian motifs depict two parts of durian fruit, but are still interlocked at the base of the stem. The first half of the fruit means the foundation of faith and piety. The second half signifies the mastery of science and technology. The overall meaning of this motif is that all works must be based on faith, moral wisdom, and supported by science and technology to get maximum and satisfying results.

 The Egang bird motif is a symbol of kindness. It also represents the Batang Garing or ‘tree of life’ based on the Dayak tribes’ belief system. This tree symbolizes a vertical relationship between humans and God they believe in. This motif also illustrates the horizontal relationship between humans and other creatures on earth.

Gajah Mungkur symbolizes an elephant (Gajah) that is trapped (Mungkur) in the bamboo forest. Semantically, it means a huge longing emotion trapped in the heart and cannot be expressed to the person.

The motif illustrates the Lampung’s natural reserve, the Way Kambas. Way Kambas is a protected nature reserve which serves as the elephant conservation center.

This motif illustrates Gamolan, a bamboo musical instrument of Lampung that is different from the Javanese gamelan. Such batik motifs are created as an effort to promote local musical instrument to the wider community. This Batik motif can be found in West Lampung and Way Kanan.

Gedhog Batik motifs are a combination of Javanese cultural heritage from the Majapahit kingdom (12-14th century), Chinese acculturation (12th century), and Islamic culture (1465-1525 AD). The process of interaction between these three cultures has greatly influenced the pattern of life of the Tuban people until now. Scarf Flower Shawl is usually used for rituals, ceremonies, and weddings. This motif means to protect someone from bad luck and to provide healing for the sick.

The Gigi Haruan Lidi motif is taken from the name of the Haruan fish or cork fish and the Lidi snake motif. Haruan’s teeth are a symbol of a sharp-minded person. Also, according to Banjar folklore, the Lidi Snake motif is considered a symbol of ingenuity and courage. The philosophy of this motive is to encourage people to become a smart and sharped-minded person, and able to read the situation.

This motif illustrates that a person should maintain a positive attitude and speak with good words so that s/he could achieve good fortune, success, and noble life.

Gonggong (Strombus Turturella) is one type of sea snail found around the coastal areas of Bintan Island, Riau Islands. Gonggong is a local culinary in Tanjungpinang. This motif also reflects the geographical area of Riau Islands (Kepulauan Riau) Province of which 95% of it is the ocean.

The Simeol-eol Gorga is a motif consisting of plant tendrils. It is regarded as a symbol of joy, as well as prayer for health and longevity. This motif also symbolizes the hope of gaining a lot of sons to maintain the patriarchal lineage. The filler motifs reflect solidarity, determination to keep promises, and the mutual cooperation for the common interest, which is the code of ethics of the Batak community.

 This motif symbolizes the tenderness and nobleness of the mind of a person who uses it.

“Gurdo” or garuda bird is the mount of the Indian god Vishnu.  As the Sun Bird, Gurda is seen as the main source of life and a symbol of manhood.  As such, this symbol is expected to bring honesty, steadfastness, and strength to its wearer.  The textile is coloured by soaking it in a natural dye made of tingki wood from Sumbawa Island, East Indonesia.

Indonesia is also home to the world’s largest fish, the whale shark (Rhincodon typus). The whale shark is declared as the largest fish in the world, with a length reaching 18 meters and weighing up to 20 tons. This shark is docile and friendly to humans and becomes friends with fishermen in Derawan sea, East Kalimantan.

The word “Ikan” refers to fish. The philosophical meaning of Ikan Tambal means is togetherness, simplicity in social life, and treat the others equally, regardless of the social class. The waves pattern describes the ups and downs of community life and contains a piece of advice to face social problems with patience.

Insang refers to the gills of the fish. This is a typical pattern of Malay ethnic who inhabits the coastal line of the Kapuas river. It symbolizes people’s sense of gratitude to God. It also signifies a reflection on the most important part of a fish, which gives them a means of livelihood.

The philosophy of the corn motif illustrates the dream and the spirit of life that never dies. This motif also means that people who think positively always see things from the positive side and can enjoy a better life.

In addition to plant motifs, Batik Palembang also has a specialty in producing Batik cloth, namely by using the tie-dye technique. The word Jumputan means the tie-dye technique, while the word “Bintang” means the stars. This beautiful textile creation requires a lot of patience to produce the desired star objects on the textile.

Jupri Kembang Teh illustrates the tendrils of tea plants which grow in the highlands of South Sumatra. Palembang motifs are heavily influenced by Islamic cultures, such as plant and flower motifs, with a strong Malay ornament style.

Kaganga Batik is a typical Batik from Rejang region, Bengkulu. This batik was created around 1985-1990. If Batik Besurek combines Arabic calligraphy motifs, then the Kaganga batik takes the inspiration from the Kaganga letters, the ancient script of Rejang tribe. This fabric also illustrates plant motifs such as clove flowers, Malay Magnolia (Cempaka) flowers, and Rafflesia Arnoldi flowers, a rare flower whose natural habitats are often found in Rejang land.

Cual textile tradition has existed since the 17th century. The word “Cual” refers to woven textile, which was first invented by Muntok community in West Bangka. The Cual Batik motifs are adopted from plants and animals. Nowadays, the producer combines the Batik handwriting within the production of Cual textile. The Cual Fabric motif with the flower motif symbolizes purity, elegance, and good wishes for the user.

Kalo Sara is a sacred motif for Tolaki ethnic. It is considered as a way of life, the creation of social and moral order in society, as well as the way to overcome social-cultural conflicts in the Tolaki community.
This motif can be found both in batik and woven textiles.

Mahkuta refers to Gorontalo Crown. This motif means to be a leader and a useful person in society. It also indicates that a man or a husband must have a high position as a leader and a gentle character.

This is the original pattern of Karawo embroidery textiles. Pohon Pinang refers to the areca tree. The meaning of this motif is someone who is a straight-minded, protective, perfectionist, and has the character of a warrior. Gorontalo Karawo textile is presented in 4 traditional colors. Yellow symbolizes prosperity, green means fertility, red means courage, and purple is considered a symbol of solemnity.

The Kawung motif was created by Sultan Agung Hanyokrokusumo of Mataram Kingdom (1593 – 1645) as a symbolic gift for his son during the imperial succession ceremony. The pattern contains deep philosophical values: it symbolizes the manifestation of the Four Core Powers of the universe (wind, water, fire, earth). It is also a subtle reminder that a leader should master four communication abilities: the ability to communicate with God, to have inner communication with oneself, to communicate with fellow humans, and to communicate with nature. The Kawung motif conveys the wish that the wearer would grow as an excellent and useful person in society.

The word “Keluak” is a Minang language which means twisted or tangled. The Motif of Keluak Daun Pakis is inspired by tangled fern plants that are common and easy to find in Indonesia, especially in the river banks.

This motif symbolizes the embodiment of religious values for daily interactions in work and society. The user of this motif is expected to be a man who loves peace, has a noble character, a controlled manner, dynamic, never gives up on challenges, and brings benefits to his environment. Yellow symbolizes glory, and red symbolizes strength and versatility.

The Vertical Upright (Kerawang Tegak) Motif symbolizes a person who has a strong awareness of God. The white color symbolizes purity, yellow symbolizes glory, and black symbolizes strength and sincerity. These colors are found in the Aceh Gayo traditional house. Batik users are expected to show personal charm that is religious, noble, and has a purity of heart and mind.

Siger is the crown of a noblewoman in ancient time. It is a symbol of femininity, strength, and elegance of a woman. For Lampung people, women are very involved in all activities, especially in household activities. Behind women’s tenderness, there is hard work, independence, persistence, and feminine qualities. Although the Lampung community themselves are adherents of the patrilineal or father line, the women figure is important, both as an inspiration for the children and a driver for the success of their life partners.

It is the modification of the motif of Mega Mendung, or the cloud. This motif means to stay cool and calm in any situation and to be an inspiring leader who protects and cares for the needs of the people. 

Abyorhokokai Peacock Batik Motif depicts the beauty of the Peacock as the main axis of the fabric and is accompanied by petals resembling cherry blossoms. Abyorhokokai’s peacock is influenced by Japanese culture. Abyorhokokai Peacock represents the beauty and the spirit of Bali, as the Island of the Gods.

As the mount of Kartikeya, the peacock is considered to be the king of the birds. It represents beauty, strength, and elegance in daily behavior and attitude. This colorful pattern is characteristic of the batik produced in areas in Lasem, the northern coast of Central Java.

The hatching peacock motif has a very deep meaning which refers to the sacrifice and affection of a mother. This motif signifies respect towards mothers and harmonious relationships between parents and children.

Another meaning behind this motif is an unconquerable spirit, symbolized by the wavy pattern like the ocean’s waves, and a noble character that can control the continuous waves of temptation in human daily life. As such, this motif is reserved for royalty.

Parang Seling or “alternating daggers” is a royal batik motif. It is a feminine variant of the classic parang motif with floral motifs. The alternation of these two divergent motifs remind princesses that they are expected to be gentle, subtle, harmonious in their daily behavior, but also firm and unwavering in their beliefs and principles. The textile is colored by soaking it in a natural dye made of Tingki wood from Sumbawa Island, East Indonesia

It symbolizes the hierarchy in society and the social status of the Mekongga tribe. The 7 stairs motif refers to the king, while the 5 stairs motif is designated for the knights.

Description

The Pinawetengan Batik pattern was taken from a prehistoric inscription in North Sulawesi, called the Watu Pinawetengan, which is existed since 1000 BC. Discovered by J.G.F. Riedel in 1881, this site is a place where the ancestors of the Minahasa people divided their territory into nine Minahasa sub-ethnic groups today. The main motif of Pinawetengan cloth is sunflower which is an icon of Pinawetengan Village, where the site of Watu Pthis site is a place where the ancestors of the Minahasa people divided their territory into nine Minahasa sub-ethnic groups today. this site is a place where the ancestors of the Minahasa people divided their territory into nine Minahasa sub-ethnic groups today. inawetengan is located.

Description

In Balinese society, the bananas (in local dialect refers to “Pisan” or “pisang”) are also one of the symbols of Amartha in Wiswa Ongkara (number 3 in Balinese script). Another version indicates that Pisang Bali words are derived from the Javanese words “Pisan” (again) and “Bali” (return), which means constantly returning or repeating. Therefore such batik motif is usually given by a person to his/her lover who will travel away, in a hope that the intended person will return again.

The Batik motifs in Lampung are dominated by the acculturation of Buddhist and Islamic culture, for example, the Hayat Motif or also known as the Tree of Life. The tree of life motif has a deep philosophical meaning for Lampung community. The tree of life signifies the Tree of Heaven, eternal strength, masculinity, and the symbol of life. This motif is usually worn as the sarong for the women.

Pucuk Rebung symbolizes heart determination in achieving goals, good luck, and hope. This motif is classified as Malay motif, which represents a bamboo tree that does not collapse easily, even when exposed to strong winds.

The word “Rangkiang” refers to the rice granary in the Minangkabau language. Rangkiang has a philosophy that describes welfare and life, as it symbolizes the rice as a staple food source for people of the archipelago.

This motif describes the local wisdom which favors modesty and simplicity in life. The motif signifies that nature is a reflection of life. Life will be easier if one could always have inner introspection and be united with nature bestowed by God.

The Batik textile can be made into a thematic painting. This art painting means to be a strong-willed person to pursue life goals. It also conveys prayers and wishes for a person to have a successful journey in pursuing their dreams abroad. 

Sekarjati is derived from two words, Sekar and Jati. Sekar means flower and Jati refers to teak trees. Teak trees are important economic assets for Bojonegoro community.

The Sero Tangga motif describes the lives of the coastal fishermen communities of Sulawesi. This motif means fruitful results of hard works. Based on the literature of coastal communities, this motif also implies the achievement of good hopes and able to fulfill the loved one’s wishes.

Sidomulyo is one of the classical motifs, which is specifically used for
the bride’s costume in Javanese royal wedding. It symbolizes good wishes for the wearer to achieve glory, harmonious family, and highly respected social status

This pattern originates from Cirebon. It represents the reflection of light that illuminates the flowers in the garden. The light symbolizes knowledge and profound understanding in the heart that enables one to see things more positively.

The Singayaksa motif comes from the name Singayaksa. It is the name of a place where Sultan Hasanuddin used to pray, asking for the guidance of God in establishing the palace.

The name of Srimanganti motif refers to a chamber in the Banten palace. The word ‘Sri’ signifies a King and ‘Manganti’ means awaiting. The motif illustrates the Palace’s hallway that connects to the gate.

Tanjung flower is a type of Cherry tree flower, which is commonly found in Indonesia. Adopted from Riau woven textile (Songket), this motif means sincerity, friendliness, and welcoming attitude toward a guest.

Taiganja is a precious gold pendant that shows the social status of the Kaili family. It is often used as a wedding dowry and as a sacred object in traditional ceremonies. Taiganja describes the womb of a woman as the beginning of human life. This motif represents fertility and describes strong feelings of love and sincerity.

Description

The word “Tanah Liek” refers to clay in Minang language. Tanah Liek batik is also known as clay batik, which is a typical batik fabric originating from Minangkabau. This batik uses clay as a coloring agent beside jengkol (dogfruit), rambutan, and gambier plants. The cloth is first soaked for a week with clay, then painted with other natural dyes after washed. The basic color of the fabric is unusual. It is a shady dark brown, yet exudes an aura of elegance.

Tangerang Herang motif is a symbol of Tangerang city. The Tangerang Herang batik motif consists of a pavilion house, ten doors, a boat, and jasmine. The pavilion house represents the central government building of the Tangerang city, while the ten doors symbol refers to the Ten Water Gate in Tangerang. The boat symbolizes the Dragon Boat, which is one of the sports commonly practiced on Cisadane River. Jasmine flower is a symbol dedicated to commemorating Nyi Mas Melati, a local hero who fought against the Dutch.

The Kabasaran dance is a sacred dance performed in the Minahasa tradition ceremony. In ancient times, the performers were used to be able to kill or drive away from the evil spirit who interfered with the ceremony.

This motif illustrates the beauty of underwater life in Tomini bay. The batik motif depicts the aquatic creatures and colorful fishes which become the natural treasure of this region

2. Mbojo Woven Fabrics: motifs from batik are more or less received a great influence from Islam. The influence can be seen from the selection of motifs that are only in the form of geometric lines or zigzags. Another unique thing about this batik is its color selection. The color combination is at least 3 colors with black as the base. 

https://kep islandsbatik.com/2016/03/25/tenun-mbojo-bima/

The name of this motif is the acronym of three ethnics namely, Dayak, Malay (Melayu), and Chinese (Tionghoa). Tidayu’s design consists of sacred motifs adopted from each culture in the region, such as Lembayung, Beuntai, Lanterns, Jungle, Harmony, Phoenix, and Storks. This motif symbolizes the harmony of ethnicity and culture in Singkawang City.

It symbolizes the coastal beauty of the Wakatobi island and the symbol of the Patra leaf that symbolizes self-awareness and divinity.

Minahasa batik motifs are adopted from Waruga. Waruga is the graves of Minahasa ancestors, which is made of stone consisting of different layers. The triangle shape of the upper waruga contained reliefs which are called Tonaas. There two kinds of Tonaas, namely Tonaas ang kayobaan which represents a man who can dominate other beings and the Tuama loor which is a representation of masculinity.

Wirasat or divine inspiration is a gift from God. This inspiration is symbolized by a flower-like light in the center that rays out to four directions. It is a hope and belief of meaningful life and strength in the heart to choose a life decision

This motif implies a hope that the wearer will have the courage and wisdom of the exemplary Javanese knight figure in the epic tale of Mahabharata, Prince Abimanyu.

Ake is related to the divinity and the composition of the universe. It is a symbol of enlightenment of God for the King. This motif can be found both in batik and woven textiles.

This motif is created based on the local wisdom and philosophy of Anggrek Tewu (Sugar Cane Orchid). Like the nature of sugar cane orchid, the people of East Kotawaringin wish to have continuous growth, successful, yet maintain social harmony to live side by side without disturbing others. It represents a hope to be the most developed district among other districts in Central Kalimantan

According to legend, the Angso duo batik motif is a pair of swans that are believed to have led Princess Mayang Mangurai and Orang Kayo Hitam in their quest for a place to stay or open a new country, which is now known as Jambi City. In another version, it represents the character of the Jambi people as a simple and conventional society.

Awan Berarak is a combination of Dayak motifs and Malay patterns. The word ‘Awan Berarak’ means the marching cloud in English. It represents a well-mannered person and the gentle character of the Malay ethnic community. As it illustrates the grace of the clouds that march above the sky, it signifies the highness of the royal family that gives support and protection for the people. This motif is dedicated to the royal authorities of the Amantubilah Mempwah Kingdom in Pontianak.

This motif is usually associated with gentleness, wisdom, and self-knowledge. These characteristics are the basic moral education introduced by Riau parents to their children. Flowers and buds are the symbol of love, purity, sincerity, humbleness, friendship, and brotherhood. Parents hope that the advice contained in this motif can always be remembered and practiced by their children.

. Bale Lumbung Motif: this motif signifies the welfare of the ancient Sasak society. Bale also symbolizes the traditional house form of the Sembalun community, East Lombok. It may also mean food granary for the Lombok village community. 

The Banji motif is the symbol of protection and purity. The batik motifs represent the connection of heart and harmony in every aspect of life.

The meaning of the Barong batik motif is based on its name and history. The Barong  is a kind of mythological or magical animal because in Javanese and Balinese culture the word “barong” has a magical meaning. The creature is a combination between the lion or the tiger (body, legs, eyes), eagle, elephant, and dragon (grinning mouth with long tongue). The term of the word barong is found in many Javanese and Balinese arts. This motif represents power or masculinity.

The Raja Bayam Sasirangan motif illustrates the social status of the person and the dignity of the ancestors. The motif is designed as a vertical curved line that separates motifs of one another.

This motif represents Pakis Haji (Polystichum setiferum), an endemic plant in North Kalimantan, and the Bekantan, the world’s rare Borneo Monkey.  This Pakis motif represents eternal life and longevity. It also concerns the protection of rare Bekantan species.

The term “Basurek” refers to a textile that contains letters or inscriptions. Besurek batik art in Bengkulu was introduced by batik merchants and artists from Demak. This can be traced from the history of the Sultanate of Demak, which was the first and largest Islamic Kingdom in Java Island (1475-1548). The motif pattern consists of Kaganga letters or Bengkulu original letters, combined with Arabic calligraphy. This motif also illustrates the beauty of the Rafflesia Arnoldi flower, a rare flower in the world that grows in the Bengkulu area.

Besurek Rembulan is batik which combines Arabic calligraphy and the full moon (Rembulan) motifs. This batik depicts the universe as a creation of the Almighty God. This cloth is usually worn by the bride and groom in the splash ceremony before the wedding.

Batik Palembang also has a specialty in producing Batik cloth, namely by using the tie-dye technique. The Bintik Tujuh (Seven Dots) motif was produced by tie-dye technique, which results in 7 white spots and green color gradation.

This motif means sacred love for family, kingdom, and God; It also illustrates openness and togetherness in the social life of the people of Palu.

The Balinese bouquet (Buketan Bali) is a floral arrangement and the name is derived from French. This batik motif was actually manufactured in Indonesia long ago in 1880 by a Dutch batik businessman named Cristina Van Zuylen.

This motif is ornamented with flower motifs or small plants arranged along the width of the fabric with additional decorations of butterflies and phoenix that add artistic value to the batik artwork.

The word ‘Bultiya’ is an acronym of the three major tribes in East Kalimantan, namely Bulungan, Tidung. The motif was created by Ridwansyah, a Batik artisan in Bulungan regency. This motif was created to maintain and strengthen harmonious relationship among tribes in Bulungan regency, East Kalimantan.

This motif is a combination of the Dayak Tidung and Bulungan tribes, namely the Raye Flower motif. This motive means to unite all forces to maintain the unity in diversity and expresses a wish for safety and cure for all diseases.

The clove flower motif is the main commodity of the Tolitoli Regency.

The variety of colors shows the differences in society that need to be appreciated and accepted. The wearer of this motif is expected to have a strong personal charm that holds fast to religion and tradition, but always be tolerant and respectful in social life. The Symbol of Ceplok Gayo signifies the beauty of living together in a peaceful society.

The black pepper motif represents the main commodity of Bangka Belitung province

Motif batik daun sirih adalah motif yang menggambarkan daun sirih. Daun sirih memiliki banyak kegunaan sebagai obat trasidional. Warna dasar pada kain ini pada umumnya coklat dengan daun warna biru atau hijau.

Kamang motif is generally found in the Dayak tribe shield because it is believed to increase the magical power that can arouse the spirit of the person who wears it.

Dayak Taghol has a distinctive style of four curved lines and small dots. This motif represents a shield which means endurance and maintaining unity in the society.

Desa Na Tolu is the motive of ‘Batak Philosophy’ which reflects the concept of the existence and harmony of the Batak society. This motif contains rules of mutual respect, as well as a code of ethics of relations with family members, with the clan of the wife and the in-laws.

Gorga Desa Ualu is the symbol of the eight cardinal directions, used as an astrology tool in the ancient Batak tradition to determine good times for planting rice, catching fish, having parties, etc. This symbol also relates to the ritual activities of one’s life, including fortune telling for family horoscopes.

Broken Durian motifs depict two parts of durian fruit, but are still interlocked at the base of the stem. The first half of the fruit means the foundation of faith and piety. The second half signifies the mastery of science and technology. The overall meaning of this motif is that all works must be based on faith, moral wisdom, and supported by science and technology to get maximum and satisfying results.

 The Egang bird motif is a symbol of kindness. It also represents the Batang Garing or ‘tree of life’ based on the Dayak tribes’ belief system. This tree symbolizes a vertical relationship between humans and God they believe in. This motif also illustrates the horizontal relationship between humans and other creatures on earth.

Gajah Mungkur symbolizes an elephant (Gajah) that is trapped (Mungkur) in the bamboo forest. Semantically, it means a huge longing emotion trapped in the heart and cannot be expressed to the person.

The motif illustrates the Lampung’s natural reserve, the Way Kambas. Way Kambas is a protected nature reserve which serves as the elephant conservation center.

This motif illustrates Gamolan, a bamboo musical instrument of Lampung that is different from the Javanese gamelan. Such batik motifs are created as an effort to promote local musical instrument to the wider community. This Batik motif can be found in West Lampung and Way Kanan.

Gedhog Batik motifs are a combination of Javanese cultural heritage from the Majapahit kingdom (12-14th century), Chinese acculturation (12th century), and Islamic culture (1465-1525 AD). The process of interaction between these three cultures has greatly influenced the pattern of life of the Tuban people until now. Scarf Flower Shawl is usually used for rituals, ceremonies, and weddings. This motif means to protect someone from bad luck and to provide healing for the sick.

The Gigi Haruan Lidi motif is taken from the name of the Haruan fish or cork fish and the Lidi snake motif. Haruan’s teeth are a symbol of a sharp-minded person. Also, according to Banjar folklore, the Lidi Snake motif is considered a symbol of ingenuity and courage. The philosophy of this motive is to encourage people to become a smart and sharped-minded person, and able to read the situation.

This motif illustrates that a person should maintain a positive attitude and speak with good words so that s/he could achieve good fortune, success, and noble life.

Gonggong (Strombus Turturella) is one type of sea snail found around the coastal areas of Bintan Island, Riau Islands. Gonggong is a local culinary in Tanjungpinang. This motif also reflects the geographical area of Riau Islands (Kepulauan Riau) Province of which 95% of it is the ocean.

The Simeol-eol Gorga is a motif consisting of plant tendrils. It is regarded as a symbol of joy, as well as prayer for health and longevity. This motif also symbolizes the hope of gaining a lot of sons to maintain the patriarchal lineage. The filler motifs reflect solidarity, determination to keep promises, and the mutual cooperation for the common interest, which is the code of ethics of the Batak community.

 This motif symbolizes the tenderness and nobleness of the mind of a person who uses it.

“Gurdo” or garuda bird is the mount of the Indian god Vishnu.  As the Sun Bird, Gurda is seen as the main source of life and a symbol of manhood.  As such, this symbol is expected to bring honesty, steadfastness, and strength to its wearer.  The textile is coloured by soaking it in a natural dye made of tingki wood from Sumbawa Island, East Indonesia.

Indonesia is also home to the world’s largest fish, the whale shark (Rhincodon typus). The whale shark is declared as the largest fish in the world, with a length reaching 18 meters and weighing up to 20 tons. This shark is docile and friendly to humans and becomes friends with fishermen in Derawan sea, East Kalimantan.

The word “Ikan” refers to fish. The philosophical meaning of Ikan Tambal means is togetherness, simplicity in social life, and treat the others equally, regardless of the social class. The waves pattern describes the ups and downs of community life and contains a piece of advice to face social problems with patience.

Insang refers to the gills of the fish. This is a typical pattern of Malay ethnic who inhabits the coastal line of the Kapuas river. It symbolizes people’s sense of gratitude to God. It also signifies a reflection on the most important part of a fish, which gives them a means of livelihood.

The philosophy of the corn motif illustrates the dream and the spirit of life that never dies. This motif also means that people who think positively always see things from the positive side and can enjoy a better life.

In addition to plant motifs, Batik Palembang also has a specialty in producing Batik cloth, namely by using the tie-dye technique. The word Jumputan means the tie-dye technique, while the word “Bintang” means the stars. This beautiful textile creation requires a lot of patience to produce the desired star objects on the textile.

Jupri Kembang Teh illustrates the tendrils of tea plants which grow in the highlands of South Sumatra. Palembang motifs are heavily influenced by Islamic cultures, such as plant and flower motifs, with a strong Malay ornament style.

Kaganga Batik is a typical Batik from Rejang region, Bengkulu. This batik was created around 1985-1990. If Batik Besurek combines Arabic calligraphy motifs, then the Kaganga batik takes the inspiration from the Kaganga letters, the ancient script of Rejang tribe. This fabric also illustrates plant motifs such as clove flowers, Malay Magnolia (Cempaka) flowers, and Rafflesia Arnoldi flowers, a rare flower whose natural habitats are often found in Rejang land.

Cual textile tradition has existed since the 17th century. The word “Cual” refers to woven textile, which was first invented by Muntok community in West Bangka. The Cual Batik motifs are adopted from plants and animals. Nowadays, the producer combines the Batik handwriting within the production of Cual textile. The Cual Fabric motif with the flower motif symbolizes purity, elegance, and good wishes for the user.

Kalo Sara is a sacred motif for Tolaki ethnic. It is considered as a way of life, the creation of social and moral order in society, as well as the way to overcome social-cultural conflicts in the Tolaki community.
This motif can be found both in batik and woven textiles.

Mahkuta refers to Gorontalo Crown. This motif means to be a leader and a useful person in society. It also indicates that a man or a husband must have a high position as a leader and a gentle character.

This is the original pattern of Karawo embroidery textiles. Pohon Pinang refers to the areca tree. The meaning of this motif is someone who is a straight-minded, protective, perfectionist, and has the character of a warrior. Gorontalo Karawo textile is presented in 4 traditional colors. Yellow symbolizes prosperity, green means fertility, red means courage, and purple is considered a symbol of solemnity.

The Kawung motif was created by Sultan Agung Hanyokrokusumo of Mataram Kingdom (1593 – 1645) as a symbolic gift for his son during the imperial succession ceremony. The pattern contains deep philosophical values: it symbolizes the manifestation of the Four Core Powers of the universe (wind, water, fire, earth). It is also a subtle reminder that a leader should master four communication abilities: the ability to communicate with God, to have inner communication with oneself, to communicate with fellow humans, and to communicate with nature. The Kawung motif conveys the wish that the wearer would grow as an excellent and useful person in society.

The word “Keluak” is a Minang language which means twisted or tangled. The Motif of Keluak Daun Pakis is inspired by tangled fern plants that are common and easy to find in Indonesia, especially in the river banks.

This motif symbolizes the embodiment of religious values for daily interactions in work and society. The user of this motif is expected to be a man who loves peace, has a noble character, a controlled manner, dynamic, never gives up on challenges, and brings benefits to his environment. Yellow symbolizes glory, and red symbolizes strength and versatility.

The Vertical Upright (Kerawang Tegak) Motif symbolizes a person who has a strong awareness of God. The white color symbolizes purity, yellow symbolizes glory, and black symbolizes strength and sincerity. These colors are found in the Aceh Gayo traditional house. Batik users are expected to show personal charm that is religious, noble, and has a purity of heart and mind.

Siger is the crown of a noblewoman in ancient time. It is a symbol of femininity, strength, and elegance of a woman. For Lampung people, women are very involved in all activities, especially in household activities. Behind women’s tenderness, there is hard work, independence, persistence, and feminine qualities. Although the Lampung community themselves are adherents of the patrilineal or father line, the women figure is important, both as an inspiration for the children and a driver for the success of their life partners.

It is the modification of the motif of Mega Mendung, or the cloud. This motif means to stay cool and calm in any situation and to be an inspiring leader who protects and cares for the needs of the people. 

Abyorhokokai Peacock Batik Motif depicts the beauty of the Peacock as the main axis of the fabric and is accompanied by petals resembling cherry blossoms. Abyorhokokai’s peacock is influenced by Japanese culture. Abyorhokokai Peacock represents the beauty and the spirit of Bali, as the Island of the Gods.

As the mount of Kartikeya, the peacock is considered to be the king of the birds. It represents beauty, strength, and elegance in daily behavior and attitude. This colorful pattern is characteristic of the batik produced in areas in Lasem, the northern coast of Central Java.

The hatching peacock motif has a very deep meaning which refers to the sacrifice and affection of a mother. This motif signifies respect towards mothers and harmonious relationships between parents and children.

Another meaning behind this motif is an unconquerable spirit, symbolized by the wavy pattern like the ocean’s waves, and a noble character that can control the continuous waves of temptation in human daily life. As such, this motif is reserved for royalty.

Parang Seling or “alternating daggers” is a royal batik motif. It is a feminine variant of the classic parang motif with floral motifs. The alternation of these two divergent motifs remind princesses that they are expected to be gentle, subtle, harmonious in their daily behavior, but also firm and unwavering in their beliefs and principles. The textile is colored by soaking it in a natural dye made of Tingki wood from Sumbawa Island, East Indonesia

It symbolizes the hierarchy in society and the social status of the Mekongga tribe. The 7 stairs motif refers to the king, while the 5 stairs motif is designated for the knights.

Description

The Pinawetengan Batik pattern was taken from a prehistoric inscription in North Sulawesi, called the Watu Pinawetengan, which is existed since 1000 BC. Discovered by J.G.F. Riedel in 1881, this site is a place where the ancestors of the Minahasa people divided their territory into nine Minahasa sub-ethnic groups today. The main motif of Pinawetengan cloth is sunflower which is an icon of Pinawetengan Village, where the site of Watu Pthis site is a place where the ancestors of the Minahasa people divided their territory into nine Minahasa sub-ethnic groups today. this site is a place where the ancestors of the Minahasa people divided their territory into nine Minahasa sub-ethnic groups today. inawetengan is located.

Description

In Balinese society, the bananas (in local dialect refers to “Pisan” or “pisang”) are also one of the symbols of Amartha in Wiswa Ongkara (number 3 in Balinese script). Another version indicates that Pisang Bali words are derived from the Javanese words “Pisan” (again) and “Bali” (return), which means constantly returning or repeating. Therefore such batik motif is usually given by a person to his/her lover who will travel away, in a hope that the intended person will return again.

The Batik motifs in Lampung are dominated by the acculturation of Buddhist and Islamic culture, for example, the Hayat Motif or also known as the Tree of Life. The tree of life motif has a deep philosophical meaning for Lampung community. The tree of life signifies the Tree of Heaven, eternal strength, masculinity, and the symbol of life. This motif is usually worn as the sarong for the women.

Pucuk Rebung symbolizes heart determination in achieving goals, good luck, and hope. This motif is classified as Malay motif, which represents a bamboo tree that does not collapse easily, even when exposed to strong winds.

The word “Rangkiang” refers to the rice granary in the Minangkabau language. Rangkiang has a philosophy that describes welfare and life, as it symbolizes the rice as a staple food source for people of the archipelago.

This motif describes the local wisdom which favors modesty and simplicity in life. The motif signifies that nature is a reflection of life. Life will be easier if one could always have inner introspection and be united with nature bestowed by God.

The Batik textile can be made into a thematic painting. This art painting means to be a strong-willed person to pursue life goals. It also conveys prayers and wishes for a person to have a successful journey in pursuing their dreams abroad. 

Sekarjati is derived from two words, Sekar and Jati. Sekar means flower and Jati refers to teak trees. Teak trees are important economic assets for Bojonegoro community.

The Sero Tangga motif describes the lives of the coastal fishermen communities of Sulawesi. This motif means fruitful results of hard works. Based on the literature of coastal communities, this motif also implies the achievement of good hopes and able to fulfill the loved one’s wishes.

Sidomulyo is one of the classical motifs, which is specifically used for
the bride’s costume in Javanese royal wedding. It symbolizes good wishes for the wearer to achieve glory, harmonious family, and highly respected social status

This pattern originates from Cirebon. It represents the reflection of light that illuminates the flowers in the garden. The light symbolizes knowledge and profound understanding in the heart that enables one to see things more positively.

The Singayaksa motif comes from the name Singayaksa. It is the name of a place where Sultan Hasanuddin used to pray, asking for the guidance of God in establishing the palace.

The name of Srimanganti motif refers to a chamber in the Banten palace. The word ‘Sri’ signifies a King and ‘Manganti’ means awaiting. The motif illustrates the Palace’s hallway that connects to the gate.

Tanjung flower is a type of Cherry tree flower, which is commonly found in Indonesia. Adopted from Riau woven textile (Songket), this motif means sincerity, friendliness, and welcoming attitude toward a guest.

Taiganja is a precious gold pendant that shows the social status of the Kaili family. It is often used as a wedding dowry and as a sacred object in traditional ceremonies. Taiganja describes the womb of a woman as the beginning of human life. This motif represents fertility and describes strong feelings of love and sincerity.

Description

The word “Tanah Liek” refers to clay in Minang language. Tanah Liek batik is also known as clay batik, which is a typical batik fabric originating from Minangkabau. This batik uses clay as a coloring agent beside jengkol (dogfruit), rambutan, and gambier plants. The cloth is first soaked for a week with clay, then painted with other natural dyes after washed. The basic color of the fabric is unusual. It is a shady dark brown, yet exudes an aura of elegance.

Tangerang Herang motif is a symbol of Tangerang city. The Tangerang Herang batik motif consists of a pavilion house, ten doors, a boat, and jasmine. The pavilion house represents the central government building of the Tangerang city, while the ten doors symbol refers to the Ten Water Gate in Tangerang. The boat symbolizes the Dragon Boat, which is one of the sports commonly practiced on Cisadane River. Jasmine flower is a symbol dedicated to commemorating Nyi Mas Melati, a local hero who fought against the Dutch.

The Kabasaran dance is a sacred dance performed in the Minahasa tradition ceremony. In ancient times, the performers were used to be able to kill or drive away from the evil spirit who interfered with the ceremony.

This motif illustrates the beauty of underwater life in Tomini bay. The batik motif depicts the aquatic creatures and colorful fishes which become the natural treasure of this region

2. Mbojo Woven Fabrics: motifs from batik are more or less received a great influence from Islam. The influence can be seen from the selection of motifs that are only in the form of geometric lines or zigzags. Another unique thing about this batik is its color selection. The color combination is at least 3 colors with black as the base. 

https://kep islandsbatik.com/2016/03/25/tenun-mbojo-bima/

The name of this motif is the acronym of three ethnics namely, Dayak, Malay (Melayu), and Chinese (Tionghoa). Tidayu’s design consists of sacred motifs adopted from each culture in the region, such as Lembayung, Beuntai, Lanterns, Jungle, Harmony, Phoenix, and Storks. This motif symbolizes the harmony of ethnicity and culture in Singkawang City.

It symbolizes the coastal beauty of the Wakatobi island and the symbol of the Patra leaf that symbolizes self-awareness and divinity.

Minahasa batik motifs are adopted from Waruga. Waruga is the graves of Minahasa ancestors, which is made of stone consisting of different layers. The triangle shape of the upper waruga contained reliefs which are called Tonaas. There two kinds of Tonaas, namely Tonaas ang kayobaan which represents a man who can dominate other beings and the Tuama loor which is a representation of masculinity.

Wirasat or divine inspiration is a gift from God. This inspiration is symbolized by a flower-like light in the center that rays out to four directions. It is a hope and belief of meaningful life and strength in the heart to choose a life decision