Batik's pattern and length have a special meaning<\/p>\n
JAKARTA (JP): Batik is worn on various occasions, but few
\npeople understand that each batik pattern and length of cloth
\ncarries a certain meaning and is created for a certain occasion.<\/p>\n
According to batik expert Rahmaniar Soeriatna Djoemena, more
\npopularly known as Nian Djoemena, the traditions of using and
\nwearing batik are many and varied and differ from region to
\nregion.<\/p>\n
Batik has been used as kain panjang (long cloth), sarongs,
\nheadgear, kemben, selendang and dodot, says Nian, an ardent batik
\ncollector and expert.<\/p>\n
In her book Batik dan Mitra (Batik and Other Textiles), Nian
\nexplains the customs and traditions of wearing batik.<\/p>\n
In Central Java, particularly in Surakarta and Yogyakarta,
\nwomen wear kain panjang without wiron (pleats).<\/p>\n
In the past, members of the Surakarta and Yogyakarta royal
\nfamilies never wore pleated kain panjang. But fashions change,
\nand more and more Javanese noble women now wear pleated kain
\npanjang on formal occasions and unpleated kain panjang at
\ninformal events.<\/p>\n
The use of kain panjang in these two regions is closely
\nrelated to various religious and traditional customs. The form
\nand style of batik one wears are in accordance with one's social
\nstatus, age and also dependant on the particular occasion.<\/p>\n
The Sabukwolo style is for young, virginal girls who wear kain
\npanjang or cinde combined with gold lace kebaya (a Javanese
\nblouse).<\/p>\n
The Sabukwolo style is also used by young boys who have not
\nbeen circumcised. The style is also known as cothan.<\/p>\n
The Sereddan style of unpleated kain panjang is worn by female
\nmembers of Javanese royal families. In the royal families, this
\nstyle is only used by the female members closest to the king,
\nincluding the monarch's queen, daughters, granddaughters and
\ndaughters-in-law.<\/p>\n
The Kembaran style is usually worn on special occasions such
\nas a wedding ceremony. The bride and groom wear kain panjang of
\nsimilar motif and color. The style can also be worn by the entire
\nfamily at a special event. Such style symbolizes unity.<\/p>\n
Another style is kemben or semekkan. This style is usually
\nworn by noble women in the courts of Yogyakarta and Surakarta.
\nWhen wearing this style, a woman should wrap her kain panjang
\naround her body from the left to the right side. The kemben is
\ncombined with silk or other textiles which function as breast
\ncovers. The style is usually worn by noble princesses or noble
\ngirls and brides-to-be.<\/p>\n
A bride-to-be often wears the semekkan sindur style for the
\nmidodarenan ceremony, which takes place on the night before the
\nwedding. The sindur cloth used as kemben symbolizes fertility and
\nprosperity. The sindur cloth is worn with kain panjang with the
\ntruntum motif, which symbolizes eternal love.<\/p>\n
Female servants of the courts also wear kemben but with
\ndifferent motifs. They wear folded kain panjang as kemben which
\nis called ubet-ubet.<\/p>\n
Batik is also worn in the dodot, dodotan and basahan styles.
\nDodot is the formal attire of both the Yogyakarta and Surakarta
\nroyal families and is worn at important ceremonies such as
\njumenengan (the coronation of the king).<\/p>\n
Dodot is divided into two types -- dodot ageng (large sized
\ndodot) and dodot alit (smaller size dodot). Wearing a dodot
\nrequires a lot of effort and certain skills. It takes about two
\nhours to put on the dodot. The way of wearing a dodot ageng is
\nrelated to one's status.<\/p>\n
Men wear dodot over cinde lancingan or trousers, while women
\nwear it over the cinde or kain panjang. Dodot is worn with a belt
\ncalled selepe. For men, the buckle or ceplok is square, while
\nwomen wear oval ceplok. Noble men must wear dodot ageng
\naccompanied by a kris (dagger) fixed to the back of the waist,
\nand noble women wear an udhet (sash) at the front.<\/p>\n
A dodot is a long kain panjang folded in accordance with a
\nrequired style. The left end of the dodot is gathered in the
\nfront and tied at the waist. The remaining part of the dodot is
\nswept around (samparan) to the back to form layers (cincingan)
\nand trails (konca). If the wearer is a king or a prince, the
\nlayers of the dodot should be placed in a high position between
\nthe knees and waist. The trails of his dodot should be long
\nenough so to sweep the floor. During a royal ceremony, a number
\nof courtiers should walk behind the king to hold the trail of his
\ndodot.<\/p>\n
Lower-ranking royal officials are only allowed to wear dodot
\nwithout a trail. The cincingan (layers) should be placed in a low
\nposition, between the ankles and knees.<\/p>\n
Other styles of wearing dodot, ini addition to the batik's
\nmotif, also indicate a person's rank in society. The style of
\ndodot ngumbar konco is only worn by kings, princes and married
\nprincesses, and noble couples at their wedding ceremonies. Sri
\nSultan Hamengkubowono, the current sultan of Yogyakarta, was
\ndressed in dodot ngumbar konco at his wedding ceremony. He wore
\ndodot with a parang rusak barong motif combined with a pelangi
\nmotif in the middle. Such a motif is sacred and is only worn by
\nJavanese kings. Dodot ngumbar konco is longer than dodot worn by
\nlow-rank society so that it can sweep the floor.<\/p>\n
Another style of dodot ageng is dodot sampir konco. It is worn
\nby regents and other court officials. The motif of batik worn in
\ndodot sampir konco can be varied as long as it doesn't use any
\nforbidden patterns such as parang rusak. This kind of dodot is
\nshorter and it is worn without it touching the floor.<\/p>\n
Aside from the different styles, people should also pay
\nattention to the colors and motifs of each batik. Each color and
\nmotif carries deep philosophical significance.<\/p>\n
Just how seriously batiks were regarded as signs of the
\nwearer's social standing was demonstrated by the fact that in the
\nsecond half of the century, the sultans in Surakarta and
\nYogyakarta issued a law that prohibited the general use of
\ncertain batik patterns, permitting their use only by people of a
\ncertain rank.<\/p>\n
In Surakarta, the patterns included parang rusak, cemukiran,
\nand the sawat. The latter depicts a pair of wings with an open
\ntail in the middle and symbolizes the Garuda, the mythical bird,
\nand the holy riding bird of the Hindu God Wisnu. The mythical
\nGaruda is now the symbol of the nation.<\/p>\n
Although these patterns are now available on the market, many
\nJavanese people still regard it impolite to wear these forbidden
\npatterns.<\/p>\n
Many of the batik patterns from Central Java show elements of
\nHindu-Javanese beliefs such as the Garuda bird, the holy mountain
\nmeru and the mythical dragon naga. According to these beliefs the
\nnaga is a female symbol identified as fertility, rain and the
\nocean. It also symbolizes the underworld. The mountain meru is
\nrelated to both pre and post-Hindu Java. Javanese believe that
\nthe higher, wooded mountain regions are not only the realm of the
\ngods, but also the souls of their ancestors.<\/p>\n
There are several motifs which are thought to have special
\nmeanings. Kain panjang with sidomukti motifs are often worn by a
\nbride and a groom. The motif sido (always) and mukti (happiness
\nand prosperity) symbolize happiness. It is expected that the
\ncouple can build a happy family life.<\/p>\n
Kain panjang with the truntum motif is usually worn by parents
\nof the bride and groom. During the wedding ceremony, the parents
\nwear kain kembaran truntum sawat which symbolizes their
\nwillingness to lead the couple into a new life.<\/p>\n
Colors<\/p>\n
In addition to the motifs and patterns, colors also play an
\nimportant role. The light-green called Mayang Mekar is worn by
\nyoung virgins. Green-white or Godong melati, the color of jasmine
\nleaves, is regarded as the color of Nyi Roro Kidul, the legendary
\nqueen of the South Seas. In the past, Javanese people would not
\ndare wear the color when visiting the coastal areas in southern
\nparts of Java. They believed that the queen reigned in these
\nareas. Many people wearing green clothes drowned in the sea and
\nwere believed to have been sacrificed as offerings for the queen.<\/p>\n
Times have changed. People now wear batik for various
\npurposes, thanks to the efforts of famous batik designers like
\nIwan Tirta and Prayudi, who helped popularize batik nationwide.
\nBatik is tailored as a daily wear or elegant night attire. It is
\nalso used for interior decoration.<\/p>\n
Djoemena, however, feels concerned about the change, saying,
\n\"People may wear batik in any kind of style, but they still have
\nto understand the philosophy behind each motif, otherwise we will
\nlose our valuable heritage. Batik is our pride.\" (raw)<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/batiks-pattern-and-length-have-a-special-meaning-1447893297",
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