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Asian Social Science; Vol. 12, No. 4; 2016 ISSN 1911-2017 E-ISSN 1911-2025
Published by Canadian Center of Science and Education
200
Acculturation Chinese Symbol on Madura Batik Motif
Ong Mia Farao Karsono1 & Lintu Tulistyantoro2 1 School of Chinese Literature, Petra Christian University, Indonesia 2 School of Interior Design, Petra Christian University, Indonesia
Correspondence: Ong Mia Farao Karsono, School of Chinese Literature, Petra Christian University, Siwalankerto 121-131, Surabaya, Indonesia. E-mail: [email protected]
Received: November 13, 2015 Accepted: March 9, 2016 Online Published: March 23, 2016
doi:10.5539/ass.v12n4p200 URL: http://dx.doi.org/10.5539/ass.v12n4p200
Abstract This study has two chief purposes. Firstly, to introduce the Madurese Batik from Indonesia which has not yet been widely studied, and secondly, to show the acculturation of the Chinese culture in the motif of Madurese Batik. Research method employed in this study was descriptive qualitative, because our topic involves cultural and humanity sciences. The writers interview batik makers from the towns of Pamekasan, Tanjung Bumi, Sumenep, and Sampang, as research informants. We take two batik makers as representatives of each town. The four towns are selected because those towns are the centers of batik in Madura. To crosscheck the information obtained from the batik makers, also interview two collectors of Madurese batik who have good knowledge of Madurese batik. The data from the interviews and the photographic documentation of Madurese batiks are sorted and then analyzed by relating them to the theories about Madurese culture, acculturation process, and Chinese culture. The discussions and conclusions of the analyses correspond with the hypotheses proposed at the beginning of the study, which states that there are acculturations of the symbols on Madurese Batik motifs, which can be seen in the paintings of phoenix, butterfly, fish, bamboo trees on the batik, and that the acculturation process occurs naturally without conscious knowledge of the Madurese.
Keywords: acculturation, Madurese batik, motif, Chinese culture symbols
1. Introduction Batik is a very valuable cultural product of Indonesia. All the more, in 2009 the United Nations has decreed that Indonesian batik is a cultural heritage which should be preserved. The UNESCO (United Nations Educational, Scientific and Cultural Organization) has included batik in world cultural heritage. The decree is really significant for Indonesian nationalists. The Indonesian Government has worked hard to gain this acknowledgement, and has struggled to protect batik from motif thefts by other nations. At present the government has also obtained the copyrights of 300 Indonesian batik designs. Most of these copyrights were obtained after 2007. Thus, it is quite appropriate for us as Indonesian citizens to study Madurese batik motifs and present the study in international journals with the hope of introducing Madurese batik motifs to more people.
Why do we study the acculturation of Chinese culture in Madurese batik? The answer is because both Indonesia and China have batik crafts and both crafts have a long history. The Overseas Chinese Affairs Office of the State Council (2007) states that Chinese motif cloth printing and batik is a traditional technology product of the Chinese people. Chinese art craft has a very long history (p. 204 & 186). Gǔ (2014) also states that Chinese batik craft has existed in China since the time of Xià 夏 dynasty (21 BC-16 BC), Shāng 商 dynasty (16 BC-11 BC), and Zhōu 周 dynasty (11 BC-221 AD), and reaches its peak in the Táng 唐 dynasty. During the Sòng 宋 dynasty, batik making in China dropped greatly because of the long time it took for the coloring process and the color produced was mono color. Batik making still survives in southwest and central China which is the dwelling place of ethnic minorities in China (pp. 1-3). The ethnic minorities have high skills in handycrafts including batik making (Hán, 2002, p. 32). From this background we make the hypothesis that the motif of Chinese batik significantly influences the motif of Indonesian batik.
Concerning the history of Indonesian batik, Batik Market (2015) reports that batik has been known in Indonesia since the seventeenth century, when batik was painted on palm leaves. The batik motif at that time were mostly paintings of animals and plants. On further developments, abstract motifs were added such as cloud motif, temple reliefs, Javanese puppets, and so on. Then, by combining the painting style with cloth decorating,
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emerged the hand painted batik that is known today. The motif of hand painted batik usually contains the philosophy of each region from where the batik comes. Formerly batik was only made within the palace community and was worn only by the royal family and the court people. Because many of the court people lived outside the palace, they brought batik art out of the palace and then they also made batik in their own places. Today, batik is worn by the public (http://www.batikmarkets.com/cara_membuat_batik.php).
The term “batik” comes from the word “hamba-tik” which means ‘titik’. This titik motif is the oldest batik motif (Samsi, 2011, p. 3). The tools needed in batik painting are mori cloth (made of silk, cotton, or polyester mix); pencil (for drawing the design); canting made of metal (bronze, brass, or zinc) with a mouth (which is used for scooping hot melted wax); wax for covering the painting on the cloth; dye; a pan; a small stove for heating the wax; gawangan (for hanging the cloth). The procedure of making hand painted batik as outlined by Batik Market (2015) includes three steps. The first step is drawing the design of the motif on mori cloth with a pencil. The second step is using canting which has been filled with hot melted wax to cover the design. When the wax has dried, the cloth is dipped into a dye solution, the part of the cloth which has been covered by the wax will not be affected by the dye solution. The third step is nglorot, in which the cloth which has changed color is boiled to take off the wax from the cloth so that the motif which has been drawn on the cloth is seen more clearly. The dipping in a dye solution will not change the color of the part of the cloth where the motif is drawn since it is covered by a thin layer of wax (the wax does not wear off entirely). A batik that is made by this process is called hand painted batik. Besides hand painted batik there is also printed batik. Both hand painted batik dan printed batik use hot melted wax. The difference lies in the way of putting the wax on the cloth: in printed batik the wax was stamped on the cloth, while in hand painted batik the wax was drawn on the cloth using canting. (Batik Market, Tuesday, April 14, 2015 http://www.batikmarkets.com/cara_membuat_batik.php).
The hypothesis that there has been an acculturation of Chinese culture in the motif of Madurese batik in the form of religious symbols is based on the fact that Chinese culture has entered Indonesia since year 1172, especially during the reign of King Sriwijaya. This is confirmed by Kǒng (1999) who stated that in year 1172 King Sriwijaya ordered roof tiles from the government of the Sòng 宋 dynasty (p. 349). Then the entrance of Chinese immigrants to Indonesia several centuries ago has also made a great impact. These Chinese immigrants bring forth the peranakan (descendant) culture which is the fusion of two cultures namely the Chinese culture and the local culture to form a new culture which is called peranakan (descendant) culture. This descendant culture has reached all realms in Indonesian community, among others, fashion (kebaya/Javanese blouse, batik, shoes, and so on), culinary (soto, kecap, kue tok, lumpia, and so on), daily expressions and daily habits. If we trace back the descendant culture, we see clearly that the culture has developed within the community of the descendants of the Chinese immigrants and is different from the original foreign culture and also from the local culture. Thus the cultural acculturation in batik motif is an interesting topic to be studied.
We select Madurese batik as our research topic because in comparison to the Javanese communities in general, the Madurese are known to have a unique culture and character. The acculturation in their culture has occured since the sixteenth century as can be seen in the variety of keris (Javanese traditional knife) decorations, ladies’ jewelry such as bracelet, binggel/gold ring worn around the ankle, pending/pin, and so on; daily utensils (cooking pan, ladle, tray, and so on); stone carving (tomb stone, statue, roof decoration); wood carving (bed, ship decoration, furniture) (Sunaryo, 2009). Wiryoprawiro (1986) states that Madura has a comparably large number of Chinese citizens, which was officially recorded in history in the eighteenth century after the Pecinan riot in Surakarta, when a large group of Chinese people arrived in Madura from Java. One of them was Lauw Koen Thing family who were skilled in construction building. Later they were trusted by the local dignitaries to perform works according to their skill. The results among others were the building of Sumenep Palace (1764) and Sumenep Grand Mosque (1781), which was built by Lauw Pia Ngo, the grandson of Lauw Koen Thing (pp. 32-35).
The urgency of this study lies on the fact that there are still very few studies on Madurese batik. The more popular topics of batik studies are about batik from the towns of Central Java, such as Yogyakarta, Solo, Cirebon, and so on. Besides, there has been a study on the acculturation of Javanese culture, European culture, and Chinese culture on Madurese community, performed by Tulistyantoro (2009). These backgrounds encourage us to make a study on the Madurese batik, especially the acculturation of Chinese culture in the motif of Madurese batik. It has been widely known that China is rich with symbols with high philosophical values.
As presented by Setyorini et al. (2013), batik-making business has given a considerable contribution to medium business trade. Thus, studies on batik are worthy to be developed more widely. Moreover, at present we have the Association of Central Java batik and Southern Java batik such as Yayasan Batik Indonesia (Indonesian Batik Foundation) which promotes national and global batik-making business. Indonesian Batik-Making Business
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202
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fan symbolizeymbol of goode’s problems. y season. Figur
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s most batik mons they incluusly according
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Bumi classica
n Social Science
203
Yáo, 2013), thu(bamboo) sym
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th fan and reng
osophy when ts in their batainter or accoik when they p
an batik are birakers have thehey draw butterare usually not nd dot isen (ithe motifs of
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metimes the hebatik which isbatik with variions and intervdraw a living creal ones.
with “the Dawnof a pair of pea
i with peacockgathered
tifs (Karsono,
Vol. 12, No. 4;
inese acknowlo live diligently
tree because iof fan and bam
nly in batik-masan batik are mustomer. The competitions, e
ge chrysanthemhe real animalutlines or they eads are in the s generally useious bird painviews. The mocreature on a
n” motif and thacocks
k motif, the tail
2015, pp. 8-10
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ure 4 we find thalso see the dr
motif. While inThe basic momotif is even , is used in thecculturation. Teen a pair of lobutterflies) mogure 5 shows t
Classical Pamek-Keper” (a pair
motif
odern Pamekasuely drawn but
decorat
in Pamekasan motif is simil
e philosophy omotif is called “ws that there isalso find Liris
ik with “Liris”) motif
Figur
hat batik is namrawing of birdn Pamekasan botifs in Madur
used for spece marriage cereThe Chinese cuovers, and whiotif in Pamekathe photograph
kasan batik r of butterfliesf
an batik with tterfly motif asion
Figure 5.
Asian
batik as showlar to the batikof joy in the m“Phoenix”. If ts an acculturati(Lines) motif,
” Pamekasa“(C
re 4. Pamekasa
med accordingds. There are abatik with Okera and Pamekacial occasions,emony. The simulture is well ach is popularly
asan batik alsohs of the batik.
) Pamekasa
pair of m
s Modern butterfl
Pamekasan ba
n Social Science
204
wn in Figure 3 k from other pl
morning or the zthe bird’s tail iion of ChineseBem-ombek (W
an batik with “OCurves) motif
an batik with v
g to its main paalso drawings el (Curves) moasan batik oft, for example milarity in moacquainted wity known throu
o has the same.
an batik “Per-Kbutterflies) mo
modern colorin
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atik with variou
is called Fajalaces such as Szeal for life. Inis not spread, te culture in MaWaves) motif,
Okel Pam“Bek-o
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attern. In the Pof birds in Pa
otif we can finten represent p
the Per-Kepeotif and in cereth the symbol
ugh the “Sampe philosophy, it
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ng “
atik with coration
M
us butterfly mo
r MenyingsingSidoarjo and Inn Figure 3, if tthe the motif iadurese batik. and Okel (Cu
mekasan batikombek” (Wav
Pamekasan batiamekasan batind drawings oplants, birds,
er motif, whicmonial use indof butterfly w
ek Ingtai” leget symbolizes tr
Modern Pam“Butterfly” mo
Modern Pamekbutterfly and f
deco
otifs
Vol. 12, No. 4;
g (the dawn) wndramayu. Bethe bird’s tail his called “PeacBesides bird m
urves) motif.
k with es) motif
ik with Liris (Lik with Bek-omof birds, butter
or butterflies.ch means a padicates a very which signifiesend. The Per-Krue love betwe
mekasan batik tif as decoratio
kasan batik witflower motif aration
2016
which ing a has a
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mon floral motis usually calleans flower with
rn Pamekasanure 7 shows th
Orang
Dark Pamek
elements of background. Path. Concerningy used isens achicken featheken from plantFigure 8 we c
if in Madura ied buketan, is h a lot of varia
Figu
n batik are usuhe photographs
ge modern Pam
blue on whitekasan batik (na
Figure 7.
atik are motif,ttern is the strug isen characteare cecek (doers, and so onts or nature aro
can see the exa
Asian
is the flower malso common
ations. Figure 6
ure 6. Pamekas
ually of bright/s of Pamekasan
mekasan batik
e base modern amed kelengan
Modern Pame
, pattern, and mucture of the dreristic, from t
ot), rawan (lin. Thus we canound them. Th
amples of isen.
n Social Science
205
motif. The main here. The Ma6 shows mode
san batik with
/strong colors n batik with its
Dark g
) Bro
ekasan batik w
main motif. Israwing, while the interviews nes), spilled rn conclude thahe type and the
in motif in theadurese also crn Pamekasan
flower motif
such as red, bs color.
green modern batik
ownish dark redPamekasan b
with various co
sen is the insidthe main motiwith informa
rice, half mooat the theme oe elegance of t
e form of bouqall the flower batik with var
blue, orange, p
Pamekasan
d modern batik
olors
de fill in batik if is the most dant (1) and (2on, okel (curvf the isen of Pthe isen determ
Vol. 12, No. 4;
quet, which in motif “kembh
rious flower fo
pink, green, ye
which is genedominant moti2) we find thaves), bang gedPamekasan bamines the quali
2016
local hang” orms.
ellow,
erally f in a
at the dung, tik is ity of
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Gringseng ise
cludes amonghers pring sedaon of the batik isen. Certain icomes from
Indonesia andf also means bch implies varimbolizes the bowery with colves until the used in the ma2004, p. 80) (F
o comply with Pamekasan a
otifs are change
also modern mse people (Onicates that the.
en of classical P
F
g others liris, apur, buketan, maker. If one
isens such as SDutch which
d all the world.beauty which fiety is represen
beauty and the lor variation inpresent time
arriage ceremoFigure 9).
Figure
h market requialso produce bed into garis b
Figure 10
motifs with fishng, 1993, p. 24re has been na
Asian
Pamekasan ba
Figure 8. The is
bek ombek, ktong centong,batik cloth hasSekar Jagad mmeans map, w. Sekar Jagad
fascinates anyonted in repeategreatness of t
n each sectionbecause it is
ony of young c
9. Pamekasan
irements of cubatik with conbangun motif a
0. Pamekasan
h drawing in P44). Fish drawatural accultur
n Social Science
206
atik Circul
sens of Pamek
kobhung, kar j per keper, ands several isens
motif is commwhile jagad cmotif means v
one who sees ied geometricalthe life in the w
n. This motif stbeautiful and
couples, which
batik with Sek
ustomers who ntemporary mas seen in Figu
batik with con
Pamekasan batwing is also poration which o
ar isen of mod
kasan batik
jagad, and so d so on. Somes, the batik wil
mon in Java, whcomes from Javariety, both init (Wolody & Cl form which iworld. The aptarted to devel
d attractive. Bh signifies their
kar Jagad mot
do not like thmotifs. In conteure 10, while th
ntemporary mo
tik. Fish drawiopular and use
occurs without
dern Pamekasa
on. While metimes batik ml be named acchich symbolizavanese whichn Indonesia anChian, 2004, pis drawn alonepearance of Selop in the eigh
Batik with Sekr true love to e
tif
he motifs of clemporary mothe colors are u
otifs
ing symbolizesed as batik mt the conscious
Vol. 12, No. 4;
an batik
main motif inclotif is based ocording to the es world map
h means the wnd in all the wp. 80). Sekar Je or in pairs sidekar Jagad bahteenth centurykar Jagad moeach other (Wo
lassical batik, tifs the flower
usually bright.
s prosperity amotif in Pameks knowledge o
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ludes n the most . The
world, world. Jagad de by tik is y and tif is
olody
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mong asan,
of the
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There is aprosperity painting thprosperity.look carefvehicle to heron painpainted wi
Figure 12
Although philosophyJagad motPer Keperpresent frolove and abetween thdeath, Meabundant fFigure 13 motifs.
Fig
Thus, thercan be seeMadurese
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a difference bein the Chines
he fish is dra. Besides fish,fully, we will s
western heavnted accordingith one leg lifte
. The similarit
from the intervy of the batik, tif and Reng-Pr, Melate Setoom the bridegrability to take che bridegroomlate Seto’or sfood because cwe can see th
gure 13. Classi
re has been an en from the lain Pamekasan
Figure 11. Th
etween the fishse culture. Th
awn jumping u there is also hsee that one o
ven for the soug to Chinese ped, too. Thus th
ty between the
views with theclassical Pam
Pereng motif. To’or and Tongroom to the brcare of the brid
m and the bridymbolizes thecentong or entohe photograph
ical Pamekasan
acculturation arge number on are quite flex
Asian
he fish motif in
h motif of mohe fish motif iupward. The heron in the mf the heron’s lul of a dead pphilosophy, wihe Madurese p
Chinese symb
e research infomekasan batik m
There are alsog Centong. Thride, because tde in the futur
de, Per-Kepere true love of ong is a kind ohs of Pamekas
n batik with Sa
from Chineseof bird, butterfxible, they can
n Social Science
207
n local batik an
odern Pamekasin Madurese bChinese symb
motif of Madurleg is lifted wperson (Williaith one leg lifpaint the heron
bol of the heromotif
ormants we finmotifs generalo other classicaese motifs arethey have the pre. Sabet Manik
symbolizes ththe couple. T
of ladle used fsan batik with
abet Manik, To
e culture in Pafly, and dragonn suit their cus
nd in Chinese
san batik and batik is paintedbol is painted rese batik, wh
which in the Chams, 1993, pp.fted. The heron according to
on and the mod
nd that they maly have philosal motifs such e only used inphilosophical k symbolizes the strength of Tong-Centongfor taking cookh Sabet Manik
ong Centong, a
mekasan batikn motifs. In thstomer’s wish.
symbol
the fish motifd horizontallyupward to re
hich symbolizehinese culture . 101-102). Fion in Pamekasthe Chinese pa
dern Pamekasa
ake batik withsophical meanias Sabet Man
n the marriagemeaning abouthe promise wf love which csymbolizes pr
ked rice from tk, Tong Centon
and Melate Set
k, both in colohe coloring ofIf the custom
Vol. 12, No. 4;
f which symboy, while in Chepresent increaes a long life. I
is the symbolgure 12 show
san batik is alainting.
an batik with h
hout thinking oings, such as S
nik or Sabet Rae ceremony, aut the bridegrohich binds the
can not stopperosperous life the cooking pang, Melate Se
to’or motifs
or and motif, wf modern batik
mer wants red c
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olizes inese asing If we l of a
ws the ways
eron
of the Sekar antai, s the
oom’s love
ed by with
an. In to’or
which k, the color,
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they will malso the faAccordingthe doors house, anddrive away
4.2 The Ac
The town research inthe husbanbook releasays that bsomeone wfind someoits men areor other sethe photogthe town.
Peacoc
Fish an
Concerninif the birdAlthough elephant m
net.org/ass
make batik witavorit color ofg to legend, in and windows
d then it wouldy calamity. Be
cculturation of
of Tanjung Bnformant (4) shnds go to sea ased by the Mbatik makers arwho is willing one who is wie mostly fisherea creatures. Wgraphs of Tanju
ck with long ta
nd Bird classic
Bird motif
Figure
ng the bird mot’s tail does noTanjung Bum
motifs, as show
th a red color, f the Chinese bancient China of a house w
d leave the villsides, they also
f the Chinese C
umi lies abouhows that Tanjto catch fish,
Minister of Toure generally lato paint batik
illing to make rmen, however
When we ask aung Bumi batik
ail motif
cal motif
e 14. The phot
tifs in Madureot spread, then mi batiks are mwn in Figure 15
Asian
and in fact thbecause it symlived a strang
were covered wlage. Since theo believe that r
Culture on Tanj
ut 50 km from jung Bumi is athe wives hav
urism and Creadies, both mark on both sides
batik with an r the batik mot
a research infork with bird mo
Fish and Bcharacteristic
Bird classical
Bird motif w
tographs of Tan
ese batik, whetit is a peacoc
mostly of bird5 and 16.
n Social Science
208
here are many Pmbolizes prospge animal whicwith red paperen the Chinese red color symb
jung Bumi Bat
m the town of Ba coastal town ve time to makative Economrried and youn
s of the cloth, tunknown or ntifs of the townrmant about thotifs which we
Bird motif whi of Tanjung Bu
l motif with ge
with Kembangisen
anjung Bumi ba
ther from Pamck; if the bird’sd motifs, there
Pamekasan baperity and powch liked to scarr, the strange believe that re
bolizes power
tik
Bangkalan in whose people
ke batik. This my of the Repu
ng ones (p. 41)the inside and
new motif. Tann are mostly phis, he can note take when we
ich is a umi batik.
P
e-toge isen
g Gadung
atik with vario
ekasan, Tanjuns tail spreads, e are also bat
atiks with brighwer, and it drivre the village panimal did noed color can band courage (W
Madura. The e are mostly fisagrees with th
ublic of Indon). Nowadays itthe outside. It
njung Bumi is painting of birdt tell the reasone are visiting t
Phoenix classicramuk
Phoenix c
Bir
ous Bird motifs
ng Bumi, Sumthen it is a ph
tiks with butte
Vol. 12, No. 4;
ht red color. Rves away calapeople. Howevot dare to entering prosperityWáng, 2012).
interview withshermen, and whe statement in
nesia (2009), wt is difficult tot is also difficua coastal town
ds, not of fish, n. Figure 14 shtwo batik make
cal batik motifk akar isen
classical motif
rd motif
s
menep, or Samphoenix from Cerfly and mod
2016
Red is mity.
ver, if er the y and
h our when n the
which o find ult to n and crab, hows ers in
f with
pang, hina.
dified
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As in Pamalso lifts oresearch inChinese ph
The differ(2010). Fadifference of Pamekathe subjecconsistent color is mo
In the isen18 shows t
net.org/ass
F
mekasan batik, one leg. This shnformants can hilosophy. Figu
rences and simadilah states th
lay in the factasan batik was t of our studyin color, whil
ore varied and
n of Tanjung Bthe photograph
Figure
Figure 16. Tan
in Tanjung Bhows that therenot tell the reaure 17 gives th
Figure 17. T
milarities of Phat both Pamekt that in Tanjun not so intricat
y (9) who saysle Pamekasan bd its motif does
Bumi batik therh of this batik.
Figure 18. T
Asian
15. Tanjung B
njung Bumi bat
Bumi there aree has been an ason why the hhe photograph
Tanjung Bumi b
Pamekasan batkasan batik andng Bumi batikte as the motifs that the motibatik has beens not follow the
re is a swastika
Tanjung Bumi
n Social Science
209
Bumi batik with
tik with contem
also batiks wacculturation o
heron does nots of the batik w
batik with hero
tik and Tanjund Tanjung Bum
k the motif waf of Tanjung Bif and color ofn impregnated e strict rule as
a or banji mot
i batik with Pa
h butterfly mot
mporary eleph
with heron andof Chinese cult stand on its twwith heron and
on and chicken
ng Bumi batikmi batik use pls stronger and
Bumi batik. A mf Tanjung Bumby elements fTanjung Bum
tif which is der
anji (Swastika)
tif
hant motif
d chicken motilture on Tanjunwo legs, but lifd chicken moti
n motif
k have been slant and anima
d the color wasmore specific cmi batik is difffrom outside it
mi batik.
rived from Ch
motif
Vol. 12, No. 4;
ifs. The heron ng Bumi batikfts one leg as iifs.
studied by Faal motifs, whils thicker. The mcause was give
fferent becausets region so th
hinese motif. F
2016
here . Our in the
dilah le the motif en by e it is hat its
igure
www.ccsen
The MaduChinese, aconnotatiodifferent mbeen used associatedcentury ma
Besides cljasmine flshows the
The name leres, taek (chicken fmotifs are 20 we can
4.3 The Ac
As in Pamphoenix),
net.org/ass
urese call the as the symbol oon, while in reameaning from
by Hinduist, d the symbol wany Westerner
lassical batik lowers called Bphotograph of
F
of Tanjung Buk melaya, and sfeather), bhang
per keper (busee Tanjung B
Tan
Tanj
F
cculturation of
mekasan batik forest chicken
Swastika (卍of luck, while ality it is not sowhat is underBuddhhist, an
with positive rs considered s
with Panji mBhang Melatef this batik.
Figure 19. Clas
umi batik is baso on. The iseng gadhung (g
utterfly), reng pBumi batik wit
njung Bumi baakar (root ra
njung Bumi bat(bean spro
Figure 20. Tanj
f the Chinese C
k and in Tanjun, and butterfl
Asian
卍) symbol Panthe German uo. According trstood today. Ind Yudaism sithoughts and
swastika as the
motif, there aree which symb
Ja
ssical Tanjung
ased on its pattns are ramok aadhung flowepereng (bamboth various isens
atik with ramokamok) isen
tik with ge-togout) isen
jung Bumi bat
Culture in Sum
ung Bumi batily motifs, as c
n Social Science
210
nji. This symbsed it as the syto Prasetyo (20In Sanskrit theince ancient ti
wise traditione symbol of luc
e also classicaolizes the pur
asmine flowers
g Bumi batik w
tern, isen, and akar (root ramer), pi kopi (cooo), kar jagads.
k Tanjung
ge Tanjung
melat
tik with variou
menep Batik
ik, in Sumenecan be seen in
bol is known ymbol of Nazi014) the swastie swastika meimes. When Enal values. Inck.
al Tanjung Bure love betwee
s
with Bhang Me
main motif. Thmok), ramok ke
offee flower), d (world map),
g Bumi batik w
(whitish) ise
g Bumi batik wti (jasmine flow
us isens and ma
ep batik we an Figure 21. T
by many peo, which gives ika symbol in eans prosperity
Europeans migrn the beginnin
umi batiks wien husband an
late motif
he patterns areerang (scallop
kobhung, and half moon, an
with potehan
en
with kembang
wer) isen
ain motifs
also find manyThe customers
Vol. 12, No. 4;
ople, includingit a dark (negaSanskrit has ay. This symborated to Asia,
ng of the twen
ith the paintinnd wife. Figur
e topa, jung drramok), bulu ad so on. The nd so on. In F
y bird (peacocs from Jakarta
2016
g the ative) very l has they
ntieth
ng of re 19
ajad, ayam main igure
ck or a and
www.ccsen
Surabaya wisen. The pbird motif for exampprocess wsame as tcoloring. Tbrown colotingi.
Customersform of ga
Besides ab(cow race)which are known amfor forest chicken m
net.org/ass
who come froprice is around
f is distinguishple, they will c
will be done bythose of otherThe blue color or is made from
s in Sumenep aris bangun as
bstract motifs, ) and mosque,high quality c
mong bird lovechickens (p. 7
motifs.
om Chinese ethd Rp. 150.000
hed from the pcomply willingy the Sumenepr Madurese bais made from
m jaran wood
Figure
also like abstin Pamekasan
Figure 22
nowadays we as shown in Fcows. The for
ers in Indonesi7). It also cau
Asian
hnic like to or0,- The colorinphoenix motif igly when a toup batik makeratiks. The difindigofera tre
d, dark brown c
21. Sumenep b
tract contempon batik, but in t
2. Modern Sum
also find motiFigure 23. Wirrest chickens fia. This fact enuses Sumenep
n Social Science
211
rder batik withng is natural coin the tail. Baturist from Chinrs. The characfference is in ees, greenish brcolor is made f
batik with vari
orary motifs. Tthe form seen i
menep batik w
ifs which tells ryoprawiro (19from Kangean ncourage peop
batik makers
h white backgolor from leavtik makers in na wants to pa
cteristics of Sucoloring, Sum
rown color is mfrom jolawe, w
ious bird motif
The abstract min Figure 22.
with abstract mo
a local story o986) says that Island in the
ple whose craf to use karap
ground and floves which are bSumenep are aint his own mumenep batik menep batik mmade from the
while blackish
fs
motifs in Sume
otif
or tradition, suSumenep is fdistrict of Sum
ft is wood carvpan sapi (cow
Vol. 12, No. 4;
wer motif, wiboiled thickly.open to foreig
motif. The coloare principally
makers use nae leaves of jati color is made
enep are not in
uch as karapanfamous for its menep is also ving to make c
racing) and f
2016
thout . The
gners, oring y the atural trees, from
n the
n sapi cows well
cages forest
www.ccsen
In Sumeneof Chinesethe bambo
Nowadays(Figure 25
Thus, Summotifs in Smotifs (Fig
net.org/ass
F
ep batik we cane culture in Suoo motif Reng-p
Dragon
Figu
s, in Sumenep 5).
menep batik is Sumenep batikgure 26) are gr
Sumenep bsapi (co
Sumenepmotif
Figure 23. Sum
n also find draumenep batik. F-pereng.
n motif
ure 24. Sumene
customers can
Figure 2
open to customk, although noreater in numb
Asian
batik with karaow racing) mot
p batik with natf (bonsai trees)
menep batik wi
agon and bambFigure 24 show
Dr
ep batik with d
n require batik
25. Sumenep b
mer’s requiremot as many as ber.
n Social Science
212
apan tif
Sumesap
ture )
Sumja
ith motifs of na
boo motifs. Thws batik with
ragon motif
dragon and ren
k motifs accord
batik with figh
ments, and introin Pamekasan
enep batik withpi (cow racing)
menep batik witami (mosque) m
ature and local
is indicates thadragon and ba
Reng-
ng-pereng (bam
ding to their w
hting tigers mo
oduces local trn batik and Ta
h karapan ) motif
th masjid motif
l tradition
at there has beamboo motifs.
-Pereng (bamb
mboo) motifs
wishes, as the fi
tif
raditions. Theranjung Bumi b
Vol. 12, No. 4;
een an acculturThe Madurese
boo) motif
ighting tigers m
re are also buttbatik. While fl
2016
ration e call
motif
terfly ower
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Although tis similar batik. Figu
The contem
The isen misen motiftree, eler (taste or mo
net.org/ass
the motifs of Sto other Madu
ure 27 shows th
mporary motif
motifs of Sumefs in Sumenep (chain), scallopore contempor
Figu
Sumenep batikurese batik, nahe photograph
Figure
fs in Sumenep
Figure 2
enep batik arebatik are in t
p, grass, and srary. Figure 29
Asian
ure 26. Sumene
k are more attuamely Sekar Jah we take of thi
27. Sumenep
batik have fre
28. Sumenep b
different fromthe form of fisso on. The isen shows the ise
n Social Science
213
ep batik with f
uned to customJagad, with difis batik.
batik with Sek
e design and a
batik with cont
m the ones in Psh scales, gadun motifs in Sun motifs of Su
flower motifs
mer’s taste, the fferent isen an
kar Jagad moti
are usually with
temporary mot
Pamekasan batung flower, okumenep batik iumenep batik.
classical motind coloring fro
if
hout isen (Figu
tif
tik and Tanjunkel (curves), flis more compl
Vol. 12, No. 4;
f of Sumenep om other Madu
ure 28).
ng Bumi batiklower of the clying to custom
2016
batik urese
. The offee mer’s
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S
S
Figure 29 Pamekasansmeared ouse colors leaves of jthan batikmeaning o
net.org/ass
Sumenep batik
isen
Sumenep batik isen
Sumenep batthe coffee
shows that thn batik and Ta
over the cloth, from nature, s
jati trees and js with chemic
of a batik also d
with contemp
n motif
with contempn motif
tik with flowertree isen motif
S
Figure
he isen motifs anjung Bumi bit is broken so
such as blue frjaran wood. Hcal coloring. Bdetermines the
Asian
orary Sume
orary Su
r of f
Sumenf
Sumenep batik
29. Sumenep b
of Sumenep bbatik. Remekao that it will drom indigofera
Hand painted bBesides, the leve price of the b
n Social Science
214
enep batik wit(curves)
isen motif
umenep batik wcontemporary
isen motif
nep batik with flower isen mo
k with fish scal
batik with vari
batik is more an isen is maddraw thin irrega, black from tbatiks with colvel of difficul
batik.
th okel
with y
Sum
gadung otif
Su ise
les isen motif
ious isen motif
simple and node in this way:gular lines. In tingi, brownishloring from nalty in painting
Sumenep bacontempo
isen mo
menep batik wisen mo
umenep batik wen motif and p
motif
fs
ot so dense as: On the nightcoloring, Sumh from jolaweature are usual
g the motif and
Vol. 12, No. 4;
atik with orary otif
with remekanotif
with giwangphoenix main f
the isen motit when the col
menep batik ma, greenish fromlly more expend in expressin
2016
ifs of lor is akers m the nsive g the
net.org/ass
cculturation of
ct of Sampang
wikipedia.org/
ber of batik mauces batiks wim Pamekasan, ily distinguish
are more variouproduced in aobeyed. Sampare too monoto
turation in Samulture with theigure 30.
ird motifs therint ladies’ nail
f the Chinese C
lied around 90
/wiki/Kabupat
akers in Sampith classical anTanjung Bum
hed by new batus and colorfu
a coastal regionpang batiks do onous.
mpang batik ce Madurese cul
Peacock
Bird m
Figure 30. S
re are also Cars. In Figure 31
Asian
Culture in Samp
0 km from Sur
ten_Sampang#
pang is fewer tnd modern mo
mi, Sumenep, antik lovers. Pamul. Tanjung Bumn have also benot experienc
can also be seelture in Sampa
k motif
motif
Pea
Sampang class
r Cena motif w1 we can see th
n Social Science
215
mpang Batik
rabaya, the cap
#Geografis).
than in Pamekotifs. The batind Sampang ar
mekasan batiks mi batiks still
een impregnatece much innova
en in its motifang batik in th
acock motif
sical batik with
which is taken he photograph
pital of East Ja
kasan, Tanjungk collector were a little diffehave been impretain their rul
ed by outside eation so they a
fs. We find thae form of phoe
Phoenix mo
Phoenix mo
h various bird m
from pacar ciof Sampang b
ava Province.
g Bumi, and Se interview starent from one pregnated by oles and colorinelements so thare more origin
at there is an aenix motifs. T
otif
otif
motifs
ina flowers whbatik with Car
Vol. 12, No. 4;
Sumenep. Samates that Maduanother, which
outside elemenng. Sumenep bhat the rules arnal but on the
acculturation ohe photograph
hich are commCena motif.
2016
mpang urese h can nts so batiks e not other
of the hs are
monly
www.ccsen
Figure 31
The charakembang jkembang g
Figure
Kembang Bumi batikthe isen is
net.org/ass
1. Sampang ba
acteristics of tjeruk (orange gadung (gadun
Kembang
Kembang
Kemban
32. Sampang b
gadung (gaduk or Pamekasapainted in stra
S
atik with sruni
the isen in Saflower), raw
ng flower) and
g gadung (gadu
g gadung (gadu
ng jeruk (orang
batik with kem
ung flower) isean batik, becauaight lines. We
Asian
Seruni motif
(crysanthemu
ampang batik wan (straight a
kembang jeru
ung flower) ise
ung flower) ise
ge flower) isen
mbang gadung
en of Sampanguse in Sampane can see the ex
n Social Science
216
Isen bhan
um flower) mot
lie on the foand curving liuk (orange flow
en Kemban
en Kemban
n Kemba
(gadung flowe
g batik is diffe
ng batik the isexamples of the
ng Gadung mo
tif and kemban
orms like kemines). Sampanwer) isens (Fig
ng gadung (gad
ng gadung (gad
ang jeruk (oran
er) and kemban
erent from thoen is painted inese isens in Fig
otif
ng gadung (ga
mbang gadungng batik isens ure 32).
dung flower) is
dung flower) is
nge flower) ise
ng jeruk (oran
ose of Sumenen circles whilegure 33.
Vol. 12, No. 4;
dung flower) i
g (gadung floware dominate
sen
sen
en
ge flower) isen
ep batik or Tane in the other b
2016
isen
wer), ed by
ns
njung batiks
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Figure 33.
The modebuketan on
In SampanThe philoscourageouwhich is towhich symMadurese Ing Tai or acculturati
Other motcan also secan see the
net.org/ass
Kembang
The differenc
ern Sampang bn black backgr
ng we also finsophical mean
usly and never o symbolize th
mbolizes the trubatik remindsin bin yin spe
ion process in
Sampanreng-permotif and
Figure 35.
tifs are also fouee bird motif ie photographs
g gadung (gadu
in Sampang
e between kem
batik has no isround (Figure 3
Figure 34.
nd classical baning of the bam
give up. The he joy of a youue love betwee us of the Chinelling Liángshthe motifs of S
ng batik with reng (bamboo)d rawan (lines
isen
Batik Sampan
und in Sampanin Sampang baof this batik.
Asian
ung flower) ise
batik
mbang gadung
sen, only main34).
. Sampang bati
atik motifs sucmboo tree is, aphilosophical
ung couple. When the bridegronese legend w
hānbó yǔ ZhùySampang batik
) s)
Sampper-ke
ng with bambo
ng batik, amonatik. This show
n Social Science
217
en Kemba
(gadung flowebatik
n motif in the
ik with flower
h as bamboo, as has been givmeaning of se
hile per-keperoom and the br
which tells of thyīngtái 梁山伯k. The photogr
pang batik witheper (butterfly)
motif
oo, sekar jagad
ng others sea cws that the Ma
ang gadung (g
in Sumen
er) isen of Sam
form of flowe
r motif without
sekar jagad, ven previouslyekar jagad hasis the Madureride for as longhe love betwee
伯与祝英台. Thaphs can be se
h )
Sam
sek
d, and per-kepe
creature motifsadurese really
gadung flower)
nep batik
mpang batik and
ers or bouquet
t isen
and per-kepery, to advice ths also been expese term for kupg as they live. en a pair of lovhis proves thateen in Figure 3
mpang batik wit
kar jagad motif
er (butterfly) m
s like crab and like bird moti
Vol. 12, No. 4;
) isen
d modern Sum
ts which are c
r (butterfly) mhe Madurese toplained previopu-kupu (buttePer-keper mo
vers titled Samt there has bee
35.
th
f
motifs
shrimp motifsif. In Figure 3
2016
menep
called
otifs. o live ously, erfly) otif in m Pek en an
s. We 6 we
www.ccsen
In Sampanvarious locbird, the bkembang j
Figure 37.
Besides thacculturati
Figure 38.
The batik Chinese leand windodiscussed (Figure 39
net.org/ass
ng batik we alscal isens. The
beauty of its tajeruk (orange f
The accultura
he acculturationion in the form
The accultura
makers in Saetters 喜喜, reows on the maabove, there a
9).
Figure
so see an acculphotograph o
ail symbolizes flower) isen.
ation of Chines
n in the form om of dragon wit
ation of Chineson the ba
ampang whomead shuāngxǐ, arriage day, ware also other m
Asian
36. Sampang
lturation of Chof this batik is
the beauty and
se culture in Sa
of phoenix comth Chinese lett
Huru
se culture in Saackground of lo
m we interviewwhich means
which symbolimotifs from ot
n Social Science
218
batik with sea
hinese culture igiven in Figu
d elegance of
ampang batik i
mbined with loters on the bac
uf Letters 喜喜
ampang batik iocal flowers in
w tell us that b
double happinzes abundant ther regions of
creatures mot
in the form of ure 37. The bira girl in the C
in the form of p
ocal isen, in Sackground of loc
喜
in the form of dnside a sling cl
besides the Finess. These lethappiness. Bef Madura such
tif
phoenix motifrd in this batik
Chinese culture
phoenix combi
ampang batik wcal flower isen
dragon with Cloth
igure of dragotters are usualesides the moth as fan, jung
Vol. 12, No. 4;
f accompaniedk is not Indone. While the is
ined with local
we can also finn. (Figure 38)
hinese letters
on there is alsolly pasted on dtifs that have derajad, and s
2016
with esian
sen is
l isen
nd the
喜喜
o the doors been
so on
www.ccsen
We can stiphilosophialso no rulwish or his
Concerninby the motprocess is also influeprice will rarely do tthe isen an
4.5 The DMadurese
From obseTanjung BThe creatioin the accubetween cumotifs whacculturatilocal Madudo not havMadurese philosopicmotif, sabe
Accordingreign of Kbuilt, it wa
net.org/ass
Samp
Sumen
ill detect the pical meanings,le in painting ms own creativit
ng the price of tif and the colocarried out. Co
enced by the tebe more expenthis. So the prind the number
Determinant FBatik
ervation amonBumi, Sumenepon of the motiulturation of thustomer and b
hich contain Cion in batik murese culture.
ve certain rulesbatik makers o
cal meanings. Tet rantai motif
g to WiryoprawKing Amangkuas impregnate
pang batik with
rawan (line
nep batik with
(jasmine flow
Figure
philosophical m, while modernmodern motifsty.
batik, not onlyoring process, oloring substan
echnique of mansive, becauseice of this batiof isens painte
Factors in the
ng and interviep, and Sampanifs spontaneouhe symbols betbatik maker. If Chinese culturemotif, namely th
Because they s and their maonly need to cThe classical f, reng-pereng
wiro (1986), thurat II, Sumend by foreign c
Asian
h fan motif and
es) isen
kembang mela
wer) motif
e 39. The vario
meanings of son Madurese bas, batik makers
y with Madurethe coloring snce from naturaking the batike the process tik can reach ared on the batik
e Acculturatio
ews with the ng, we find th
usly emerge whtween the Chin
f there are mane, such as the he main motifdo not care m
ain motifs are mopy the motifsmotifs which motif, melate
he cause of theep has been inculture. This w
n Social Science
219
d Pamekrantai (c
ate Sumene
ous motifs of M
ome of Sampaatiks do not has can paint the
ese batik but wsubstance usedre is usually m
k, if the cloth isakes a longer round Rp. 2.00k, and the quali
n of the Sym
research subjehat they paint hile they are pnese culture an
ny customers frFigure of dra
f is from Chinmuch about themore free. On s which have bhave philosopseto’or motif,
e acculturationnfluenced by Dwas caused by
kasan classical chain) motif an
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whose name was Lauw Pia Ngo. Since then wood carvings with Chinese characteristics flourished in Sumenep. (pp. 158-159). Thus the acculturation process has taken place since a long time ago, therefore we find many motifs of Madurese batik with Chinese symbols such as phoenix, butterfly, bamboo, heron, fish. Koentjaraningrat also states that acculturation in Indonesian culture has taken place since ancient times (1990, p. 248-249). The acculturation of European culture in Indonesia has occured since the entrance of VOC to Indonesia. Thus, the acculturation, both of European culture and Chinese culture has occured naturally since acient time up to the present time in the Madurese community.
The acculturation of the Chinese culture in Madurese batik occurs naturally because both the Madurese and the Chinese have the same preferences, both like the Figure of bird, butterfly, and bamboo. The Madurese and Indonesians of Chinese origin consider a pair of butterflies as the symbol of a pair of lovers. The acculturation of the phoenix motif is supported by the fact that the Madurese also like the Figure of birds, that is why many of their batik motifs have the Figure of birds. When the bird’s tail is not spread, it becomes peacock motif, when the bird’s tail spreads beautifully, it becomes phoenix motif. This acculturation process is also strengthened by the openness of Madurese batik makers in developing the motifs of their batiks. They allow customers, including foreign ones, to create their own motifs, or to order motifs according to their own wishes, and even to paint the motifs themselves, and after that the batik makers will do the coloring process.
5. Conclusions After observing the motifs of Madurese batik from the towns of Pamekasan, Tanjung Bumi, Sumenep, and Sampang, and analyzing the information obtained from the interviews with batik makers and batik collectors, we conclude that there is much acculturation of the Chinese culture in the motifs of Madurese batik. This acculturation process has occured since ancient times and does not only touch batik making, but also influences other fields including architecture and building ornaments. The batik motifs which have experienced acculturation are mostly plant and animal motifs. The plant motifs which are adopted into the motif of Madurese batik among others is the bamboo tree, because both the Madurese and the Chinese believe that the bamboo tree can live in any season, thus giving us example to do likewise. The animal motifs which have been adopted are among others butterfly, phoenix, fish, and heron.
Concerning the animal motifs adopted from the Chinese culture, both the Chinese and the Madurese consider that these animals symbolize positive things. The Chinese and the Madurese believe that per-keper or a pair of butterflies motif symbolizes the true love between a pair of lovers. The Chinese consider the phoenix motif as the symbol of a girl’s beauty and elegance, while the Madurese like birds, especially in Sumenep which is famous for its forest chickens. Thus we find the phoenix in the motif of Madurese batik. The fish motif in the Chinese community symbolizes abundant food, while the Madurese like the Figure of fish because many Madurese husbands work as fishermen. The heron with one leg uplifted is taken as such by the Madurese from the Chinese motif.
The panji (swastika) isen motif which symbolizes a balanced life also indicates an acculturation of Chinese culture in Madurese batik.
Acknowledgements We would like to express our gratitude to Direktorat Jenderal Pendidikan Tinggi (Directorate General of Higher Education in Indonesia) for the moral and financial support given to us so that we can perform this study smoothly and sucessfully, and can publish it in an international journal.
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