Yogya Semen Batik Motif 25-36

Classification of Yogya Semen Batik Motif
25. Sawat Pengantin; 26. Nogo bisikan; 27. Lung Grageh Waluh; 28. Lung Babon Angrem; 29. Laras driya; 30. Kokrosono latar cemeng; 31. Kupu gandrung; 32. Kladuk manis; 33. Jaladri; 34. Cuwiri; 35. Candi brongto; 36. Buket Merak

Yogya Semen Batik Motif 13-24

Classification of Yogya Semen Batik Motif
13. Semen ragas latar pethak; 14. Semen ngreni; 15. Semen Mintuno; 16. Semen merak; 17. Semen Klewer; 18. Semen klewer latar cemeng; 19. Semen Jolen; 20. Semen Gurdo latar cemeng; 21. Semen Gunung Bledak; 22. Semen Gegot; 23. Semen Candra; 24. Semen Ageng Bledak.

Yogya Semen Batik Motif 1-12

Classification of Yogya Semen Batik Motif
1.Wahyu tumurun bledak; 2. Tluki Bledak; 3. Tarupolo; 4. Sri Kuncoro; 5. Sidoasih tetel; 6. Sidoasih Sringit; 7. Semen wose; 8. Semen srikuncoro; 9. Semen sinom ukel; 10. Semen semeru; 11. Semen Segaran; 12. Semen rojo.

Yogya Nitik Batik Motif 25-36

Classification of Yogya Nitik Batik Motif
25. Sekar kentang; 26. Sekar kemuning; 27. Sekar keben; 28. Sekar blimbing; 29. Sekar dangan; 30. Sekar dlima; 31. Sekar dukhu; 32. Sekar duren; 33. Sekar gayam; 34. Sekar gudhe; 35. Sekar jagung; 36. Sekar Jali.

Yogya Nitik Batik Motif 13-24

Classification of Yogya Nitik Batik Motif
13. Manggar; 14. Kuncup kanthil; 15. Sari mulat; 16. Rengganis; 17. Nitik sekar tunjung; 18. Nitik sekar pala; 19. Nitik mawur sekar manggis; 20. Nitik karawitan; 21. Nitik Jaarbeurs; 22. Nitik cakar; 23. Nitik brendi; 24. Mawur

Yogya Nitik Batik Motif 1-12

Classification of Yogya Nitik Batik Motif
1.Klampok arum; 2. Kemukus; 3. Kawung nitik; 4. Karawitan; 5. Jayakusuma; 6. Jayakirana; 7. Gendangan; 8. Cinde wilis; 9. Ceplok liring; 10. Cakar ayam; 11. Brendhi; 12. Arumdalu

Parang Batik Motif 25-36

25. Parang Gapit Seling; 26. Parang gapit ceplok; 27. Parang Gapit; 28. Parang Gagak Seta; 29. Parang Curigo latar Cemeng; 30. Parang Ceplok Prahu Layar; 31. Parang Centhung; 32. Parang Catur Manunggal; 33. Parang gapit seling grompol; 34. Parang Gapit Seling Kusumo; 35. Parang Gapit Seling Pucang; 36. Parang Gapit Seling Templek

Parang Batik Motif 12-24

Classification of Yogya Parang Batik Motif
13. Parang Baris; 14. Parang Canthel ; 15. Parang Brintik; 16. Parang Bolodewo Seling Tanjung; 17. Parang Blanggreng Seling Curigo; 18. Parang Barong Sel Peksi Hoek; 19. Parang Barong Kembang; 20. Parang Barong Bintang Leider; 21. Parang baris latar cemeng; 22. Lereng Udan Riris Glebag; 23. Parang Barong Curigo Nogo; 24. Parang Blanggreng

Parang Batik Motif 1-12

Classification of Yogya Parang Batik Motif
1. Lereng Pucang Anom; 2. Lereng Lung; 3. Lereng Liris Cemeng; 4. Lereng Limar Seling Kawung; 5. Lereng Lapis Truntum; 6. Lereng Lengko; 7. Lereng Krena Slimpet; 8. Lereng Kembang Temu; 9. Lereng Kawung golang galing; 10. Lereng Catur Karsa; 11. Lereng Glebag; 12. Lereng Sari Madu

THE STEPS OF MAKING BATIK

The Steps of Making Batik

The steps of making batik on the mori must be done step by step. Each step can be done by different person but a piece of mori cannot be done by different person in the same time.

Those steps are:
a. Making the framework
Making the framework by using the pattern is called “mola”, while without the pattern is called “ngrujak”. Mori in which batik is already made in the form of framework, either after using the pattern or “ngrujak” is called “batik kosongan”, or “klowongan”. Canting that is used is middle tip canting (canting cucuk sedang), that is also called canting klowongan.
b. ngisen-iseni (Klowongan)
Ngisen-iseni is from the word “isi” (content). So it means to give content or to fill.Ngisen-iseni by using small tip canting is also called “canting isen” which is various. But a piece of mori doesn’t always use all kinds of canting isen, but depending on the motive that will be made. For instance it needs various kinds of canting isen because of the variety. But making batik must be one by one, and each part must be finished before another part is done with another canting, for example “nyeceki” (making motive consisting of dots), this part should be finished all. The activity of doing the parts has its own name ; the name is based on the canting name used. The process of giving the name is by changing the canting name into verb, while the result of the work is taken from the name of canting used. The names are: nyeceki, that is using canting cecekan, the result is cecekan. Neloni is using canting talon, the result is called telon. Mrapati is using canting prapatan, etc. But using canting galaran or canting renteng, is always called ngalari, and never called “ngrentengi”; while the result is always called “galaran”, never called“rentengan”.
The way to use canting from one type to another has many advantages. The first is canting can be used in turn for a group of “pengobeng” (makers of different work), they have different step of work. The second advantage is to reduce the numbersof canting in the same type, although the members of makers are many. If twopersons want to use the same canting at the same time, while there is only one canting, so one of them can delay it and change another work with differentcanting.Batik with complete content is called “reng-rengan”. Because the name isreng-rengan so the maker who makes since the first time till the end is called “ngengreng”. So“ngengrengan” is the unity of motive from the whole wanted. That’s the first finishing.
c.Nerusi (Terusan)
Nerusi is the second finishing. Batikan in the form of ngengrengan is then, turned the surface, and made again on the second surface. Making nerusi is making batik which follows the first batikan motive on the track of pricking. Nerusi is the same with mola and the first batikan process functions as pattern. Its canting is used the same with that of for ngengreng nerusi especially to thicken the pricking of the first batikan making process and also to clear the finish batikan at this stage. It is still called “ngengrengan”. The maker (pengobeng) who makes from the first till finishes nerusi is called “ngengreng”.
d. Nembok (Tembokan)
A batik is not all given color, or will be given various colors at the finishing to be cloth. So, the parts that will not be given color, or will be given color after other parts must be covered with malam. The way to cover it is the same with making batikan at other parts by using canting tembokan. Canting tembokan has a big tip.
The doer is called “Nembok” or “Nemboki” and the result is called “tembokan”. The parts that will be covered with malam usually among the main motives. Nembok usually uses the low quality of malam. Although malam is full with dirt, but canting that has big tip doesn’t have a problem. Besides that, covered parts are big and thick enough, so the bad malam used to cover can be overcome. Basically, malam functions are toform motives, to cover the stages of giving color into the cloth, in which actually color is to form batik motive. Nembok is only in the front face of mori

THE PROCESS OF BATIKAN INTO CLOTH

THE PROCESS OF BATIKAN INTO CLOTH

This process is devided into several stages and must be finished in order. If batikan has been covered completely, the work improves to the first step of changing batikan into cloth.
The steps are s follows:
MEDEL AND MBIRONI
The main material for medel is nila (tarum). First, prepare water 24 pikul, one pikul is about 40 liters. A container is filled with 21 pikul and another is empty. A container that contains water is then given latak. Latak is the sediment of nila liquid. The amounts of latak are 3 pikul, steered in the morning and afternoon for 2 or 3 days. In the morning of the third or fourth day, if the condition of latak in the mixture has looked black, so the water above the sediment is taken and moved to the empty container.
The sediment of mixtured latak is added with new latak as many as 2 pikul and sugar drop for one batok ( batok is meant coconut shell divided into two, and the flesh is taken). The color of the mixture will get yellow. In the afternoon it is added with black nila for 1,5 big bowls (pinggan).
The next morning at about 6 am, batikan can already be entered into the black nila in the container (jambangan). Nila in such amount is for 30 pieces, each 2,5 kacu. The dyeing takes about 2 hours; after that they are lifted from soaking and put on the hangers without being spread, till there is no water drop (atus). The lifting from the soaking and the placement till subsiding (atus) is called “kasirep” (“kasirep” is taken from the word sirep which means “subside”). If it subsides (atus), then it is entered into nila again for two hours, then lifted and sun-dried until dry. The second lifting and sun-drying is called “kageblogi” (it is from the word “geblok” which means a way to hit, or a group measurement).
After batikan is dry, it is entered again into nila. This work is done several times, till batik gets black. If batikan is already black, the work stops. Nila after the dyeing is added with the sediment of nila 1,5 big bowls soon. This addition is called “nglawuhi” (it is from the word lawuh which means side-dish for eating). But the meaning and function of nglawuhi in the process to change batik into cloth (mbabar) is as a perfection. Now nila is yellow. If it is too yellow, it will be dangerous because it can drop off “malam”, while malam function on mori hasn’t finished. Being too yellow is caused by the lack of enjet (lime for chewing with betel leaves/kapur sirih). But if there are too many enjet, the color will get green, cannot make batikan black. To return the color to be yellow, it is enough to be given Java vinegar or sugar drop. If it’s not yellow, give sugar drop and vinegar till the color becomes yellow according to the need. After that, enter batik into nila mixture like mentioned above. Now batik is completely black. After it is enough, batikan is lifted and washed into plain water and dried in the cool place.
Batikan that has been dry is soaked in water till “malam” bluduk. (bluduk is like a condition to drop off). “malam” in reng-rengan and terusan batik are rubbed down by using a special tool till clean: while “malam” in blirikan and tembok aren’t rubbed. Batik that has been rubbed is then washed again (dibilas) till the washing water is clean, and dried again in the cool place.
After batikan is dry, then give kanji (layer) by using “spoiled tajin” with cane sugar. The comparison of the mixture is 3 glasses of tajin and sugar as weight as 3 pieces of cent coin. After being given kanji, batikan is dried again. After being dry, parts that need blue color are given blue (dibironi). Before it, parts that don’t need blue color are covered with “malam”. The way to cover is the same with making tembokan and bliriki batik. After it has finished, we come to the third stage that is “soga”.
Then batikan is given blue color, Batik reng-rengan must be rubbed till clean like the way above. After being rubbed, then it is washed and dried, or without being dried, but directly dipped into “tajin” (disekuli),then dried. If it is dry, it is then given blue color. The difference from the previous way is without the first drying. Besides that, the comparison of nila mixed with other material isn’t certain, but depending on the estimation of the maker. That is perhaps the defeat in wedelan stage.
NYOGA
After being given blue color (mbironi) and dry, batikan is given soga. The steps are: batikan is folded spirally (diwiru). After that, enter into a container which contains warm soga, then press the whole. Then it is lifted, and spread on that container in order that soga can drop to that container again. If soga doesn’t drop again, then sun-dry till half dry, moved to a cool place till completely dry. Up to here, this is still the first step of giving soga; the usage of each soga will be different on the level.
After finishing nyoga, batikan is given saren (nyareni). Chalk and sugar mix with water in a container, steer until shattered. After settling, soaking water is poured into kenceng (a kind of container). Batikan is entered into kenceng till the whole parts; then lifted till subside. After subsiding, hit in hot water in order that “malam” will lose. Hitting in hot water is called “nglorot” or “nglungsur”. After batikan is hit in hot water, then washed and sun-dried. The sun-drying of batikan is called “dikemplang”. Till this stage is called “ambabar”. Every morning batikan in the form of cloth is condensed. Now, the process of mbabar batikan has finished.
MBABAR
Mbabar is the finishing process from batikan to be cloth. After batikan is really covered, we come to the next work, that is to process it to be cloth. In some areas, the way to do mbabar is basically the same. The difference is only the comparison of the material used. There is one area in which the comparison of the mixed material has been fixed suitable with the cloth wanted. But there is also an area that doesn’t use the fixed comparison and only uses estimation based on the experience. Besides that, the difference is also on the duration needed for each mbabar stage. There are some persons using the certain duration, but some others only use the estimation. The differences influence the quality of cloth produced by every area. It is possible because on the mbabar stage, there is a chemical process; while ‘time’ has a big effect on the chemical process. But this process hadn’t been known deeply by the persons who did mbabar long time ago.

MORI CLOTH

MORI CLOTH
Mori is the main material of batik from cotton. The qualities of mori are various, and the kinds will determine the result of batik painting. Because the need of mori from some cloth is not the same, the following information might be useful :
The size of mori
Mori which is needed is related to the length of cloth wanted. There is also a certain need like udheng or head cover. Udheng’s size can be more or less than the need ; therefore it cannot be used suitable with the common use. But cloth’s size is not certain. If short, it will influence the perfection of its usage ; if it’s longer, it will add the perfection in the usage. The way to measure is only to hold both corners of mori on the wide side and attach one of the corner to the length side across the width of mori. If you will take some kacu , so hold the corner of mori by using right and left hand by turns, attach the same length side by folding the mori.
The need of mori
Dodot cloth (batik wraparound worn by courtiers and bridegrooms) needs 7 kacu of mori. Dodot cloth is usually used by the Royal family or the classic dancers. But because the price is expensive, so the function of dodot cloth is replaced with the common and long cloth. The side cloth needs 2 or 2,5 kacu, according to the desire or the size of the user. Udheng needs one kacu of mori. There are two kinds of udheng; “udheng lembaran” ( head cover cloth in sheet form) and “udheng jadi” ( finished head cover). The finished head cover (udheng jadi) is already formed, so the person uses it directly. Actually it just needs a half kacu of cloth, and cuts it diagonally.

CANDLE (“MALAM”)
Candle or “malam” is the material used to make batik. Actually “malam” isn’t used up (lost), because finally it will taken back in the washing process,the making process till becoming batik cloth. In term of “malam”, it can be explained as follows :
The Kinds of Malam and Its Mixture
Malam” that is used for making batik has various types. The quality affects on the absorption power, color that can affect mori color , the softnes of the liquid, etc.
Therefore, its prices are different one another. But in our usage, it depends on the need.
The types of “malam” are :
a)“Malam Tawon” (bee) is “malam” that is taken from bee nest (tolo tawon). Tolo tawon is separated from the eggs by boiling them.
b)“Malam Klanceng” is “malam” from the nest of Klanceng bee, and taken by the same way above.
c)“Malam Timur” is the best “malam”. This type hasn’t been known about the material.
d)“Malam Sedang”(middle malam) the material and origin hasn’t been known.
e)“Malam Putih” (white malam) taken from latung oil made in factory.
f)“Malam Kuning” (yellow malam) taken from latung oil made in factory.
g)“Malam Songkal” taken from latung oil made in factory. Its color is black and only for mixture.
Keplak is the mixture material.
Gandarukem is the mixture material.

SOME KINDS OF CANTING

Canting Can Be Differentiated Into Some Kinds :
According to the function
- Canting Reng-rengan
Canting reng-rengan is used to make batik reng-rengan. Reng-rengan (ngengrengan) is first drawing according to the pattern before it’s done further. The person who makes batik reng-rengan is called ngengreng. The pattern is the drawing which is used as a model sample. Reng-rengan means framework. Usually canting reng-rengan is used especially to make its pattern framework, while isen or the content of the part in which batik is made uses canting isen according to the content of the part wanted. Batik from the result of taking the sample from the batik pattern framework or together with the content is called Polan. Canting reng-rengan has a singular and middle tip.
-.Canting Isen
Canting isen is canting to make the content, or to fill polan. Canting isen has either singular or double small tip
According to the number of carat (tip)
Canting can be differentiated into :
-Canting cecekan.
Canting cecekan has one tip, small, and is used to make small dots (Javanese : cecek). A person who makes dots by using canting cecekan is called “nyeceki”. Besides to make small dots for the content, canting cecekan is also used to make small lines.
-Canting loron.
Loron derives from the word loro which means two. This canting has double tips, up and down to make double lines
-Canting telon
Telon is from the word three. It has three tips with the form triangle. If canting telon is used for making batik, so it will be seen triangle which is formed from three dots as a content
-Canting prapatan
Prapatan is from the word four. So this canting has four tips, used for making four dots forming a square as a content.
-Canting liman
Liman means five. This canting has five tips to make a small rectangle which is made from four lines and one dot in the middle.
-Canting byok
Canting byok is canting that has seven tips or more, used for forming a small circle containing dots ; a dot or more, according to the amounts of the tips, or how small or big the circle is. Canting byok usually has odd tips.
-Canting renteng or galaran Galaran derives from the word galar, a bed made from bamboo which is formed horizontal. Renteng is a set of things in lines ; the way to arrange is by pricking.Canting galaran or renteng always has even tips ; four tips or more : maximally six tips, arranged from the bottom and up.

THE EQUIPMENT OF BATIK CANTING PROCESS

THE EQUIPMENT TO MAKE BATIK CANTING
From time to time the process of making batik traditionally hasn’t changed much up to now. Looking at the forms and functions of batik equipments are very traditional and unique, suitable with the ways which are still traditional. The traditional batik equipment is a part of the traditional batik itself, because if the change is done by using modern machines, it will change the name of traditional batik into batik motive cloth. It shows that the way to make batik has a special characteristic with the result of the traditional batik art. If we see from the time and amounts produced, they are quite limited and the art creation from the canting drawing onto mori cloth which will produce the relatively expensive and valuable batik art.
A. Bandul
Bandul is made from tin, or wood, or stone which is put in a pocket. the main function of bandul is to hold back the white cloth (mori) in which batik is being made in order not to move blown by the wind, or the pulling of batik maker by accident. But without bandul, the making of batik can be done.
B. Dingklik
Dingklik is the seat of batik maker,the height is adjusted with the height of person sitting when making batik
C. Gawangan
Gawangan is made from wood or bamboo which is movable and strong. The function is to hang and spread out the mori cloth when batik will be made by using canting
D. Wajan and Stove
Wajan (frying pan) the equipment to melt “malam” (candle to make batik). Wajan is made from steel or loam. It’s better to have a handle in order to be easy to lift up or get down from the fire without using another equipment. Therefore wajan that is made from loam is better than that of from metal because the handle is not hot easily. But wajan from the loam is slower to heat “malam”. ````
E. Kemplongan
Kemplongan is a tool made from wood of which form is like table and hammer and it’s used to soften the mori cloth before it’s given batik motive pattern and made
F. Canting
Canting is a tool to draw or paint with malam candle drawing onto the mori. Canting determines the name of batik that will be produced to become drawing batik. This tool is made from the mixture of copper and wood or bamboo which is flexible and light.

BATIK CLOTH MAINTENANCE

BATIK CLOTH MAINTENANCE
1.Washing
The washing of traditional batik cloth had better be with lerak liquid. Lerak liquid is usually available in bottle packaging or can be made ourselves. It’s better not to use washing soap.
The ways to wash the batik cloth can be done as follows:
The washing of batik cloth by using lerak liquid (bottle packaging)
Take 5 liters of water ± 3 bottle lid of lerak liquid, steer. Soak the cloth in the solution, then wash till lerak liquid full of foam. Rinse with clean water.
The washing of batik cloth by using lerak ore
Prepare 5 liters of water ± 3-5 lerak ore, soak the cloth into the solution Then wash it till lerak water full of foam. Rinse with clean water. Giving kanji can be done suitable with the need. If necessary, after the washing, in order that the batik cloth surface can be good, giving kanji can be done as follows:
a) Prepare 5 liters of hot water.
b) Solve 2 spoon full of kanji a glass of cool water.
c) Enter kanji solution into 5 liters of hot water in a bucket, steer thoroughly
d) Enter the cloth into the bucket, steer, and let it for a while.
e) Lift, press and dry it.
f) Expose to the air.
2. Drying
To dry the batik cloth it is better exposing it to the air in the cool place, and don’t dry under the sunlight directly. Don’t use an iron! to soften the batik cloth.
3. Storing
Vaporizing by using ratus can be done to make the cloth fragrance before being stored. It is better to enter the batik cloth into the closed wardrobe, not to get the direct lamp light or sunlight and not in a moist place. Giving kapur barus inside the wardrobe which is used to store the batik cloth can be done by putting kapur barus in a small pack or mashed and enter it to a small bowl. The function of kapur barus is to chase moths, so that they don’t eat the batik cloth.

WEARING BATIK SHEET FOR FEMALE

WEARING BATIK SHEET FOR MALE

WEARING TRADITIONAL BATIK SHEET FOR BOTTOMS

WEARING TRADITIONAL BATIK SHEET FOR BOTTOMS
Before eing worn, the batik sheet is being diwiru (folded on the end) or folded. The sizes of the wiron are
• 3 fingers wide for male wearer
• 2 fingers wide for female wearer.
For wearing in the Yogyakarta manner, the white margin of the sheet is still visible from the outside. To keep the fold, it is being clipped. It is also to keep the fold neat. Then, the sheet is worn. For male the the sheet wraps the body in the counter clockwise direction. Therefore, the outer end which has the fold will be on the left side. It will be the other way around for female wearer. Specific to sheets with parang motif for Yogya manner, for male wearer, the direction for the parang motif should be in reverse with the direction of the keris. The keris and parang motif should cross each other. For motifs with garuda (eagle), the eagle should stand upright and placed in the middle of the wearer’s back side.

SYMBOLIC MEANINGS OF MOTIFS BATIK

Each motifs which can be worn the last contains symbolic meanings.
Wahyu Tumurun
Hope that the future who use batik will be a person who always close and pray to God for direction and so that God will guide and protect him or her for the entire life.
Sido Asih
Hope that the future who use batik will be adored and loved by others and so be loving and carring.
Sidomukti.
Hope that the future who use batik will be a charming person, happy and admired for his or her charisma.
Truntum.
Hope that the future who use batik will inherit the parrents’ good deeds.
Sidoluhur.
Hope that the future who use batik will be a polite and ethical person.
Parangkusumo.
Hope that the future who use batik will be smart, sharp thinking like the sharpnes of a sword and skillful like a strong warior. Hoped to be able to mikul dhuwur mendhem jero (bring goodwill to the family)
Semen romo.
Hope that the future who use batik will be loving and carring to others like the love between Rama and Sinta.
Udan riris.
Hope that the future who use batik will be able to bring joy and happyness to whomever he or she socialize.
Cakar ayam.
Hope that the future who use batik will be smart in building wealth like the skills of a chicken in finding food with its feet because of its responsibility towards its family. It also hopes that his or her live will be well off or even rich and wealthy.
Grompol.
Hope that the future who use batik will build a good family without divorce ar other separations due to disharmony.Grompol means unity

THE USE OF BATIK WHO WEAR TRADITIONAL DRESS DAILY

The Use of Batik Based on the Opportunity
For those who wear traditional dress daily.
a) Jarak Kepyar, b)Banci kasut, c)Kawung Benggol, d)Tambal, e) Cepoko Mulyo, f) Jamblang

THE USE OF BATIK BASED TO THE FUNERAL CEREMONY

The Use of Batik Based on the Opportunity
To the funeral ceremony, the motives used are with black background
a) Gabah Sinawur, b) Cuwiri

THE USE OF BATIK FOR BRIDE AND BRIDEGROOM IN THE WEEDING CEREMONY

The Use of Batik Based on the Opportunity
For the bride and bridegroom in the wedding ceremony
a) Semen Romo, b)Sidoluhur, c)Sidomulyo, d) Sidomukti e) Sidoasih
f) Wahyu Tumurun

THE USE OF BATIK FOR THE BRIDES' PARENT IN SIRAMAN CEREMONY

The Use of Batik Based on the Opportunity
For the brides’ parents in Siraman ceremony (Bathing the brides)
a) Nitik b) Nogosari c) Grompol, d) Cakar

THE USE OF BATIK FOR BRIDES' PARENT IN WEDDING CEREMONY

The Use of Batik Based on the Opportunity
For brides’ parents in the wedding ceremony
a) Sidodrajat,b)Wirasat,c)Truntum Drajat d)Pintu Retno e)Truntum f)Truntum srikuncoro

THE USE OF BATIK BASED ON THE OPPORTUNITY

The Use of Batik Based on the Opportunity
To attend a wedding ceremony;
a)Abimanyu, b)Purbonegoro, c) Lara Mendut , d) Kohinor e)Bligon f) Prabu Anom g)Sri kuncoro, h)Mimi Amintuna j)Godheg
For those who become his servants, when coming to the king, use the same with wedding ceremony

THE USE OF BATIK BASED ON THE POSITION

The Use of Batik Based on the Position
It is meant for the staffs and assistants who are employed by the king, for example: the Vice King (Patih), Tumenggung, Mantri, Regent (Bupati), Panewu, etc. They can wear the same batik motives with his relatives.a) Parang Tuding, b) Parang Kusumo, c) Parang Tuding, d) Parang Srimpi, e) Winarnan, f) Rujak Senthe, g) Udan Liris etc

THE USE OF BATIK BASED ON THE ROYAL DESCENT

The Use of Batik Based on the Royal Descent
There are some certain motives which are only allowed to be worn by the royalty, especially the King, his family and relatives only, for instance: his children, his grandchildren, his brothers and sisters, and his assistants. The motives are for instance: parang motives (it has been mentioned previously). a) Parang Barong, b) Parang Gendreh, c) Parang Rusak, d) Parang Klithik, etc

THE USE OF BATIK CLOTH

Jarik is batik cloth which has various motives. Long time ago, nyamping or jarik that was used was usually in the form of painted batik, but this time it seems that printed batik is often used as well.
The use of batik motive, in fact has some differences between old time and present time. In the old time, there were some strict rules about batik motives that could be worn by someone.
The determination was based on:
a. The royal descent
b. The position
c. The opportunity
But at this time, the determination hasn’t been known anymore, so there is a freedom in using the batik motives. The determination based on the three things above will be discussed one by one, yet in one meaning, that the term was valid in the old time or if it is for the present time, it is only valid in certain places only.

AT GLANCE ABOUT THE HISTORY OF BATIK IN JOGJAKARTA

A traditional Batik Art has been known a few centuries ago in Java Island. If we search the improvement of batik in java, it can’t be separated from the improvement of batik art in Central Java, Yogya batik is a part of the batik art development in Central Java which had got the combinations of some motives from other places.The course of “Yogya Batik” cannot be separated from Giyanti Treaty in 1755. Soon after Mataram Kingdom was devided into two parts, and Ngayogyakarta Hadiningrat was established, Mataram clothes were removed from Surakarta to Ngayogyakarta, so Sri Susuhunan Pakubuwono II ( The Previous King of Yogya) designed a new costume which was different from Surakarta traditional costume.In Giyanti Village, the conference was held. Among the results were the area of Mataram was devided into two, one area was under the authority of Sri Paduka Susuhunan PB II in Surakarta Hadiningrat, another area was under the authority of Kanjeng Pangeran Mangkubumi who was after inaugurated as a king having a title Ngersa Dalem Sampeyan Dalem Ingkang Sinuwun Kanjeng Sultan Hamengkubuwono Senopati ing Ngalaga Ngabdul Rachman Sayidin Panatagama Kalifatullah ingkang jumeneng kaping I, whose palace was then named Ngayogyakarta Hadiningrat.All the heirlooms and palace properties were also devided into two parts. Mataram costume was brought to Yogyakarta , as Kanjeng Pangeran Mangkubumi wanted to maintain it. Therefore, Surakarta which was under the authority of Sri Paduka Susuhunan PB III designed a new costume and managed to make the traditional costume of Surakarta Kingdom as we can see up to now.
The characteristics of Yogyakarta style, there are two kinds of background or cloth basic colour. White and Black. Meanwhile the colour of batik can be white (mori cloth colour), dark blue blackish and dark brown. “Sered” or the edge of cloth, white, was exerted not to mixed or soga enters sered, both for the cloth with white or black background. The decoration, first: Geometry: stripe aslant line, crossing line or ceplok and kawung, anyaman and limaran as well. The second decoration style : Non-Geometry : semen, lung-lungan and boketan.The decoration style which is symbolic relates closely with Hindu-Java philosophy (Mrs. Nian S Jumena) among others are : Sawat symbolizes a crown or high powerful man, Meru symbolizes a mountain or earth, Dragon symbolizes water, Bird symbolizes wind or upper world, Fire tongue symbolizes fire.Since the first time there had been prohibition cloth. Each Sultan who had reigned deserved to make the new rules or prohibition.
The last, Sri Paduka Sultan HB VIII made the new rule (revision) entitled Pranatan dalem bab pengangge keprabon ing Nagari Ngayogyakarta Hadiningrat ( The King’s Rule of Royal Clothes in Ngayogyakarta Hadiningrat Palace), which was published in Rijksblad van Djokjakarta No. 19, in 1927. Pengangge Keprabon (Royal Costume) are cap or kuluk (wangkidan), dodot/kampuh and bebet prajurit (soldier wraparound cloth worn by man), bebet nyamping ( long cloth), trousers, and glisire (cindhe trousers,velvet,silk,catoon, and its slide),songsong or umbrella. The prohibited batik motives : parang rusak (parang rusak barong, parang rusak gendreh < 8 cm, parang rusak klitik < 4 cm), semen ageng sawat grudha (gurdha), semen ageng sawat lar, udan riris, rujak senthe, parang-parangan which is not parang rusak ; how big it is depends on parang rusak size. All the Sultan’s (King’s) sons are allowed to wear those kinds of batik cloth. The queen’s batik costume is allowed to be the same with The Sultan (King). The other wives are allowed to wear parang rusak gendreh and others down. The first wife of KG Pangeran Adipati is the same with her husband. The other wives are allowed to wear parang rusak gendreh and others down. Also for KG Pangeran Adipati’s sons, their wives are the same with their husband ; and the previous prince (Pangeran Putra Sentana Panjenengan dalem Nata).Wayah Dalem (the King’s grand children) wear parang rusak gendreh and down, also for the King’s great grand children and the grand children’s children. The great grand children’s children (boys and girls) and down are allowed to wear batik parang-parangan which should have motive, prohibited to wear blank motive.Pepatih Dalem ( The Vice King) is allowed to wear parang rusak barong and others down. The Assistants : Pengulu Hakim (Judge), Wedana Ageng Prajurit (Soldiers), Bupati Nayaka jawi lan lebet (Outside and Inside Regents) are allowed to wear parang rusak gendreh and others down. Bupati Patih Kadipaten lan Bupati Polisi ( Vice Regents and Police Chief) are the same with the Assistants mentioned above. Penghulu Landrad ( Landrad Village Chief), Wedana Keparak para Gusti (Nyai Riya) or the village chief’s assistant, Bupati Anom (Junior Regent), Riya Bupati Anom (Junior Regent’s Assistant) parang rusak gendreh and others down. The servants and assistants whose positions are under Junior Regent’s Assistant and those who are not Junior Regent, those whose positions are Village Chief’s Senior Assisants also wear parang rusak gendreh and others down.