Like the puppet arts, batik has become part of the wealth of traditional arts in the archipelago, long before the advent of Islam. Early myths about batik has been around since about 700 AD epidemic. The myth tells of wife of Prince Jenggala, Ox-Ami Luhur. She was a daughter of the Coromandel. He taught the Javanese weaving, batik and dye fabric. Since then batik cloth with a variety of specific motives becomes a part of fashion and cultural identity of the king, queen consort and the royal family during the Hindu kingdom. But the written records of new batik appeared in 1518, in the region Galuh in the Northwest Java.
In the Islamic period batik continues to grow, especially in the wealth motive and meaning perlambangannya. At the time of animism and Hinduism Islamic motifs that appear in the Hindu kingdom of motifs enriched in Arabic calligraphy, mosque, Ka'ba and rugs. In addition, China is very strong motif in batik motifs. In a story mentioned that the Sultan Agung, the king of Mataram Islam mining (1613-1645) wear batik with motif of birds Huk. In Chinese mythology, the bird symbolizes luck Huk.
In the Islamic period and previous period, batik tradition is likely to be part of the tradition of the palace. But in its development, when the values keistanaan decaying, the values of batik became popular in the community. Batikpun made and used by many people. Hasanuddin in his book states that coastal batik batik activities based on five basic motivations, namely:
- Batik as a sideline activity underprivileged.
- Activities of batik as a commodity.
- Batik as a noble tradition.
- As batik trading business activities of Chinese and Indo-Dutch decoration and function intended for a limited circle.
- Batik as an art or design needs with contemporary concepts.
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