Introduction
Batik is a work that is not strange for people of Indonesia. In many parts of Indonesia found many areas batik craftsman. Making batik each region has unique and distinctive uniqueness, both in governance and multiformity decorative color. And, one area that is Yogyakarta. In Yogyakarta own batik production centers scattered write-in various regions, each of which had only to develop certain motives, so it's easy to recognize the origin of the region where batik. In the city of Yogyakarta batik industry there is in the region: Tirtodipuran, Panembahan and Prawirotaman. Kulonprogo in the District is in the Village: Hargomulyo, Kulur and Sidorejo. Gunungkidul located in the District in the Village: Nitikan, Ngalang and Mengger. Sleman in batik industry in the village Nogotirto and Mororejo. In Bantul batik industry is in the Village: Wijireja, Murtigading and Wukirsari. This means, in each region TK.II (city and district) joined in the Special Region of Yogyakarta there are centers making batik. This article will only discuss one of the center pembatikan in the Bantul area, precisely in the Village Wukirsari products its batik then known as the "Batik-Write Giriloyo".
Origins
Perhaps, the village now known as Wukirsari is a combination of small villages, namely Giriloyo, Pucung, and Singosaren Kedungbuweng. Residents each have a solitary activity, especially Giriloyo, Pucung, and Singosaren, so that villages become famous because of the expertise held by residents. In this case Giriloyo with batiknya famous, famous Pucung with leather and webbing bambunya, and with the famous Singosaren gentengnya.
Origin of batik Giriloyo reputedly started simultaneously with the graves of the kings in Imogiri located in the hills Merak in the year 1654. At that time, when the Sultan Agung (Panembahan grandchildren Senopati) intends to build graves, he found the hill land smell fragrant, and it is made suitable for burial. However, when the cemetery is being built, the uncle called Panembahan Juminah states dimakamkan desires to participate in that place. In fact the first is the uncle died. Therefore, the first time the tomb was occupied, and not the uncle of Sultan Agung. Sultan Agung was disappointed because as a king or ruler should be the first time there is tombed himself. To menetralisir disappointment, Sultan Agung transfer of development potential tomb for himself on the hill that is called by locals "Bukit Merak" which is located in the Hamlet Pajimatan region Girirejo11.
In line with the tombs of kings in Imogiri this energy which then need to be responsible to maintain and guard. For that, its palace palace servant who are by a regent who have an important position. By many as a palace servant duty, maintain, so often associated with the palace, with the versatility to make batik motif fine palace developed in this region. Then, to make the skills inherited from the female child or grandchild.
Along with the orders of the palace, whereas the number of batik perajian on Pajimatan limited (inadequate), they bring in workers from Giriloyo. And, for the Giriloyo it is a fortune because they can ngangsu kaweruh of batik in Pajimatan before trying them yourself. Moreover, the process is done in each home. This means that the fabric will made batik go to Giriloyo, and then (after a) disetorkan to Pajimatan. This is the name and then create Giriloyo more mencuat rather Pajimatan.
One thing that needs to diacungi thumb is that the craftsman Giriloyo retaining batik batik-tulisnya. They will not know batik-stamp as other centers in the area of Bantul, such as the Village Wijireja, Murtigading2, but they are not tempted; they maintain the tradition leluhurnya, namely producing batik-batik and not write-cap. As for the types of batik products, among others: jarit, glove, and kemben (shawl).
Tools and Materials
Equipment used to make batik-writing are: (1) a small frying pan that is used as a place to heat up the night (candle) so that the liquid, (2) brazier, to warm nights with live coals from the charcoal, (3) Tepas (fan) , in order to obtain the wind ember still up; (4) gawangan, to place that will dibatik mori; (5) bandhul, to keep out the cloth so that does not sway when painted; (6) uthik, to carry on charcoal; (7) canting with various sizes as a means to pour the liquid into the night that digambari mori; (8) kenceng, to boil water when nglorot or mbabar; (9) cawuk, to curry, and (10) pestle, to beat the cloth will mori dibatik so weak and ease pembatik in the process pembuatannya. Basic material for making batik cloth is mori. In addition, there are also materials that are used as pewarnanya which can be a chemical substance or natural coloring agent, such as: high bark, soga, tegeran, and so forth.
The process of making Batik Tulis Giriloyo
Stages of making batik-write in Giriloyo is as follows. Before dibatik mori fabric, usually dilemaskan. How is the digemplong, namely cloth digulung mori and placed in a flat and beaten with a pestle made of wood. After the cloth becomes weak, then the next stage is the mola, a pattern that is created on the night with mori. After the pattern established, the next stage is nglowong, ie, drawing in accordance with the reverse pattern mori. This activity is called nembusi. After that, nembok that the process is almost the same as the night nglowong but using a more powerful. The meaning is unutk holding substances seep color blue or brown. The next stage is a medel or nyelup to blue in accordance with the result that you want. Medel process is done several times so that the blue color becomes more dense. Next, remove the wax ngerok namely klowongan that if disoga bekasnya brown. Tool that is used to ngerok is cawuk made from a snippet of the cans ditajamkan sides. After dikerok, and then proceed with mbironi. In this process, the parts that want to remain white and blue closed the night with the canting so special when not possessed disoga brown. After that, proceed with nyoga, that is, the color brown with bark soga herb, high, tegeran and others. To obtain a mature brown color or old, dyed cloth in the basin contain ingredients soga, then drained. The process nyoga done many times and sometimes take up to several days. However, when using a chemical dye substances, processes nyoga be conducted one day only. The process which is the next stage is the end of mbabar or nglorot, that is clear tonight. How, mori fabric is placed in boiling water that has been given the starch so that water does not stick to the night again. After a night faded, the fabric that has been mori dibatik is then washed and diangin-anginkan so dry. As a note, in making a batik piece is usually not only by one person only, but some of the different duties.
Variety Ornamental Motif Batik Tulis Giriloyo
Property Yogyakarta very nature affect the fad with the decorative patterns that fascinate. Even if the whim hiasnya created from a simple tool and work process that is limited, but the result is a work of art that very high value. So, batik cloth-write not just fabric, but has become a form of art that was reserved from the results, the author is feeling and intention. Motives are usually influenced decorative whim and with the closely related factors: (1) geography, (2) beliefs and customs; (3) the surrounding circumstances including the nature of flora and fauna and (4) any contact or relationship between producer batik; and (5) the nature and governance of the regions concerned.
Catalog Khas Batik in Yogyakarta issue of Small Industry Development Project and Special Region of Yogyakarta Province (1996), said that in the Special Region of Yogyakarta at least have more than 400 batik motif, both classical and modern motifs. Some of the names or decorative motif multiformity batik of Yogyakarta are: Parang, latticework, vine plants, water plants, flowers, animals, Sido Asih, renteng Keong, Sido Mukti, Sido Luhur, Mentul Cement, Sapit Urang, Harjuna Manah, Cement Kuncoro, Sekar Asem, Lung Kangkung, Sekar Keben, Sekar Polo, Grageh Waluh, Rev. Tumurun, Naga Gini, Sekar Manggis, Truntum, Tambal, Grompol, Queen Ratih, Roman Cement, Mdau Broto, Cement Gedhang, Jalu Mampang and others .
Each motif has a meaning and value of philosophical self. The philosophical meaning of batik-batik made in Giriloyo among others: (1) Sido Asih contain the meaning of life when the menage is always full of affection, (2) Sido Mukti used when the value of, their life will always be in the adequacy and happiness; (3) Sido Mulyo contain the meaning of this life will always be glorious; (4) Sido Luhur contain the meaning of this will be a dignitary of virtuous character and noble; (5) the value Truntum3 love the sprout; (6) Grompol means or gathered together, so that the value of all things that can be collected as well Rejeki, happiness, children, family life is harmonious; (7) the value Tambal add anything less. When the cloth with motifs tambal is used to wrap the sick person will be healthy or sebuh back in contention for the sick is certainly something less; (8) Queen of Ratih and Roman Cement symbolizes faithfulness of a wife; (9) Mdau Bronto symbolizing love that is like sweet honey; (10) Cement Gendhang to hope that the value of cloth is put on the hot-get momongan.
Motives from the first until now inherited from generation to generation, so that the pattern is not changed, because I memola motif itself is only done by certain people, and not every pembatik can create their own motif. People who live to make implementing the specified pattern. So, craft batik is a work that is collective. As a note, the pembatik in Giriloyo especially Yogyakarta and generally, all done by women both young and old. Expertise to make is, in general, inherited from generation to generation from generation to another generation.
Cultural values
Batik-writing produced by the crafter in Giriloyo be if, in the values that in turn can be used as reference in daily life for the people supporting. Values are: kesakralan, beauty (art), the diligence, thoroughness, and patience.
Kesakralan value reflected in the motives that may only be used by the sultan and his family. Value reflected the beauty of the fad motif hiasnya made in such a way, that radiate beauty. Meanwhile, the value of diligence, thoroughness, and patience is reflected pembuatannya process that requires diligence, thoroughness, and patience because without it is not possible to produce a good batik.
Batik is a work that is not strange for people of Indonesia. In many parts of Indonesia found many areas batik craftsman. Making batik each region has unique and distinctive uniqueness, both in governance and multiformity decorative color. And, one area that is Yogyakarta. In Yogyakarta own batik production centers scattered write-in various regions, each of which had only to develop certain motives, so it's easy to recognize the origin of the region where batik. In the city of Yogyakarta batik industry there is in the region: Tirtodipuran, Panembahan and Prawirotaman. Kulonprogo in the District is in the Village: Hargomulyo, Kulur and Sidorejo. Gunungkidul located in the District in the Village: Nitikan, Ngalang and Mengger. Sleman in batik industry in the village Nogotirto and Mororejo. In Bantul batik industry is in the Village: Wijireja, Murtigading and Wukirsari. This means, in each region TK.II (city and district) joined in the Special Region of Yogyakarta there are centers making batik. This article will only discuss one of the center pembatikan in the Bantul area, precisely in the Village Wukirsari products its batik then known as the "Batik-Write Giriloyo".
Origins
Perhaps, the village now known as Wukirsari is a combination of small villages, namely Giriloyo, Pucung, and Singosaren Kedungbuweng. Residents each have a solitary activity, especially Giriloyo, Pucung, and Singosaren, so that villages become famous because of the expertise held by residents. In this case Giriloyo with batiknya famous, famous Pucung with leather and webbing bambunya, and with the famous Singosaren gentengnya.
Origin of batik Giriloyo reputedly started simultaneously with the graves of the kings in Imogiri located in the hills Merak in the year 1654. At that time, when the Sultan Agung (Panembahan grandchildren Senopati) intends to build graves, he found the hill land smell fragrant, and it is made suitable for burial. However, when the cemetery is being built, the uncle called Panembahan Juminah states dimakamkan desires to participate in that place. In fact the first is the uncle died. Therefore, the first time the tomb was occupied, and not the uncle of Sultan Agung. Sultan Agung was disappointed because as a king or ruler should be the first time there is tombed himself. To menetralisir disappointment, Sultan Agung transfer of development potential tomb for himself on the hill that is called by locals "Bukit Merak" which is located in the Hamlet Pajimatan region Girirejo11.
In line with the tombs of kings in Imogiri this energy which then need to be responsible to maintain and guard. For that, its palace palace servant who are by a regent who have an important position. By many as a palace servant duty, maintain, so often associated with the palace, with the versatility to make batik motif fine palace developed in this region. Then, to make the skills inherited from the female child or grandchild.
Along with the orders of the palace, whereas the number of batik perajian on Pajimatan limited (inadequate), they bring in workers from Giriloyo. And, for the Giriloyo it is a fortune because they can ngangsu kaweruh of batik in Pajimatan before trying them yourself. Moreover, the process is done in each home. This means that the fabric will made batik go to Giriloyo, and then (after a) disetorkan to Pajimatan. This is the name and then create Giriloyo more mencuat rather Pajimatan.
One thing that needs to diacungi thumb is that the craftsman Giriloyo retaining batik batik-tulisnya. They will not know batik-stamp as other centers in the area of Bantul, such as the Village Wijireja, Murtigading2, but they are not tempted; they maintain the tradition leluhurnya, namely producing batik-batik and not write-cap. As for the types of batik products, among others: jarit, glove, and kemben (shawl).
Tools and Materials
Equipment used to make batik-writing are: (1) a small frying pan that is used as a place to heat up the night (candle) so that the liquid, (2) brazier, to warm nights with live coals from the charcoal, (3) Tepas (fan) , in order to obtain the wind ember still up; (4) gawangan, to place that will dibatik mori; (5) bandhul, to keep out the cloth so that does not sway when painted; (6) uthik, to carry on charcoal; (7) canting with various sizes as a means to pour the liquid into the night that digambari mori; (8) kenceng, to boil water when nglorot or mbabar; (9) cawuk, to curry, and (10) pestle, to beat the cloth will mori dibatik so weak and ease pembatik in the process pembuatannya. Basic material for making batik cloth is mori. In addition, there are also materials that are used as pewarnanya which can be a chemical substance or natural coloring agent, such as: high bark, soga, tegeran, and so forth.
The process of making Batik Tulis Giriloyo
Stages of making batik-write in Giriloyo is as follows. Before dibatik mori fabric, usually dilemaskan. How is the digemplong, namely cloth digulung mori and placed in a flat and beaten with a pestle made of wood. After the cloth becomes weak, then the next stage is the mola, a pattern that is created on the night with mori. After the pattern established, the next stage is nglowong, ie, drawing in accordance with the reverse pattern mori. This activity is called nembusi. After that, nembok that the process is almost the same as the night nglowong but using a more powerful. The meaning is unutk holding substances seep color blue or brown. The next stage is a medel or nyelup to blue in accordance with the result that you want. Medel process is done several times so that the blue color becomes more dense. Next, remove the wax ngerok namely klowongan that if disoga bekasnya brown. Tool that is used to ngerok is cawuk made from a snippet of the cans ditajamkan sides. After dikerok, and then proceed with mbironi. In this process, the parts that want to remain white and blue closed the night with the canting so special when not possessed disoga brown. After that, proceed with nyoga, that is, the color brown with bark soga herb, high, tegeran and others. To obtain a mature brown color or old, dyed cloth in the basin contain ingredients soga, then drained. The process nyoga done many times and sometimes take up to several days. However, when using a chemical dye substances, processes nyoga be conducted one day only. The process which is the next stage is the end of mbabar or nglorot, that is clear tonight. How, mori fabric is placed in boiling water that has been given the starch so that water does not stick to the night again. After a night faded, the fabric that has been mori dibatik is then washed and diangin-anginkan so dry. As a note, in making a batik piece is usually not only by one person only, but some of the different duties.
Variety Ornamental Motif Batik Tulis Giriloyo
Property Yogyakarta very nature affect the fad with the decorative patterns that fascinate. Even if the whim hiasnya created from a simple tool and work process that is limited, but the result is a work of art that very high value. So, batik cloth-write not just fabric, but has become a form of art that was reserved from the results, the author is feeling and intention. Motives are usually influenced decorative whim and with the closely related factors: (1) geography, (2) beliefs and customs; (3) the surrounding circumstances including the nature of flora and fauna and (4) any contact or relationship between producer batik; and (5) the nature and governance of the regions concerned.
Catalog Khas Batik in Yogyakarta issue of Small Industry Development Project and Special Region of Yogyakarta Province (1996), said that in the Special Region of Yogyakarta at least have more than 400 batik motif, both classical and modern motifs. Some of the names or decorative motif multiformity batik of Yogyakarta are: Parang, latticework, vine plants, water plants, flowers, animals, Sido Asih, renteng Keong, Sido Mukti, Sido Luhur, Mentul Cement, Sapit Urang, Harjuna Manah, Cement Kuncoro, Sekar Asem, Lung Kangkung, Sekar Keben, Sekar Polo, Grageh Waluh, Rev. Tumurun, Naga Gini, Sekar Manggis, Truntum, Tambal, Grompol, Queen Ratih, Roman Cement, Mdau Broto, Cement Gedhang, Jalu Mampang and others .
Each motif has a meaning and value of philosophical self. The philosophical meaning of batik-batik made in Giriloyo among others: (1) Sido Asih contain the meaning of life when the menage is always full of affection, (2) Sido Mukti used when the value of, their life will always be in the adequacy and happiness; (3) Sido Mulyo contain the meaning of this life will always be glorious; (4) Sido Luhur contain the meaning of this will be a dignitary of virtuous character and noble; (5) the value Truntum3 love the sprout; (6) Grompol means or gathered together, so that the value of all things that can be collected as well Rejeki, happiness, children, family life is harmonious; (7) the value Tambal add anything less. When the cloth with motifs tambal is used to wrap the sick person will be healthy or sebuh back in contention for the sick is certainly something less; (8) Queen of Ratih and Roman Cement symbolizes faithfulness of a wife; (9) Mdau Bronto symbolizing love that is like sweet honey; (10) Cement Gendhang to hope that the value of cloth is put on the hot-get momongan.
Motives from the first until now inherited from generation to generation, so that the pattern is not changed, because I memola motif itself is only done by certain people, and not every pembatik can create their own motif. People who live to make implementing the specified pattern. So, craft batik is a work that is collective. As a note, the pembatik in Giriloyo especially Yogyakarta and generally, all done by women both young and old. Expertise to make is, in general, inherited from generation to generation from generation to another generation.
Cultural values
Batik-writing produced by the crafter in Giriloyo be if, in the values that in turn can be used as reference in daily life for the people supporting. Values are: kesakralan, beauty (art), the diligence, thoroughness, and patience.
Kesakralan value reflected in the motives that may only be used by the sultan and his family. Value reflected the beauty of the fad motif hiasnya made in such a way, that radiate beauty. Meanwhile, the value of diligence, thoroughness, and patience is reflected pembuatannya process that requires diligence, thoroughness, and patience because without it is not possible to produce a good batik.
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