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From the Rudolf Smend & Donald Harper Batik Collections

1 Sarong, signed “Mevr. B. Fisßer Pek”, Pekalongan, ca. 1880.

The batik workshop belonging to Mrs B. Fisßer was one of the most famous in Pekalongan at the end of the 19th century. Mrs Fisßer passed away in 1905. The decoration on this sarong combines Central Javanese motifs on the badan (main body ) with Pesisir (north coast) motifs on the kepala (head). This hybrid style became popular in Pekalongan in the last years of the 19th century. The badan is decorated with sidomukti, a latticework composition containing symbols of prosperity and well-being, such as the wing (lar) of the mythical bird Garuda (seen also in the sarong on pages 72–3 and in the photos on pages 113, 135 and 137). In Central Java, sidomukti frequently features on batik worn by a bride and groom. On this sarong, the kepala is filled with garlands of flowers and pairs of lovebirds, which also make reference to a festive, joyful occasion. It is possible that this batik sarong was specially commissioned for a wedding.

2 Sarong, signed “wed: J. Jans Pekalongan”, made in Mrs J. Jans’ workshop (ca. 1850–ca. 1920), ca. 1885–1900.

The workshop of Mrs Jans catered to wealthy clients at the turn of the century, consistently producing batik with delicate scallop-like lacy borders and soft colors. This sarong depicts a range of dainty flowers favored by the Dutch residents of Indonesia, set against striking floral arrangements on a darker ground on the kepala. The badan has been decorated with rows of small bouquets of poppies, carnations, tiger lilies, forget-me-nots, lily of the valley and jasmine. To increase the dynamism of the composition, the rows of bouquets alternately slant left and right. The kepala features other very fine floral arrangements, such as a floating basket of flowers, two bouquets of mixed flowers and a round floral wreath, as well as butterflies in flight and birds perched on branches.

3 Sarong kelengan, signed “wed: J. Jans Pekalongan”, made in Mrs J. Jans’ workshop (ca. 1850–ca. 1920), ca. 1885–1900.

Among the Chinese Peranakan of the Pesisir area, blue and white batik (kain kelengan) used to be worn during a period of mourning. In some families, a bride would also wear a sarong with this range of colors to indicate her sorrow at leaving her parents’ house. At the same time, a wedding was a joyful occasion, therefore on the badan, bouquets of lilies and Lenten roses are interspaced with floating baskets of flowers, birds and butterflies. On the kepala, the joyful atmosphere has been further enhanced with a centrally positioned bouquet of roses and baskets of carnations, surrounded by the graceful stems of jasmine.

4 Sarong buketan, signed “J. Jans”, made in Mrs J. Jans’ workshop (ca. 1850–ca. 1920), Pekalongan, probably after 1900.

This sarong derives its name from the floral bouquets (buketan; boeket in Dutch) that are evenly arrayed along the badan and kepala, a tribute to the beauty of tiger lilies. Four elaborate bouquets of tiger lilies decorate the badan, while the same arrangement, presented as a mirror image, dominates the kepala.

5 Sarong, signed “wed Jans–Pekalongan”, made in Mrs J. Jans’ workshop (ca. 1850–ca. 1920), ca. 1885–1900.

This sarong has been dyed with typical colors of the Pesisir area—indigo blue, made from the leaves of the indigo plant (Indigo tinctoria), and a deep turkey red called mengkudu, produced from the bark of the roots of Morinda citrifolia— with each color executed in at least two hues of varied intensity. The main feature of the badan is a garland of flowers that runs down each side of the kepala and along the lower edge of the cloth, while the background has been covered with hundreds of stylized jasmine flowers spaced at regular intervals. The kepala presents a large bouquet of Margaret flowers, a common species of daisy, and fuchsia.

6 Sarong, Pesisir area, second half 19th century.

Around 1860, batik sarongs decorated with poems in the Malay language became popular on the north coast of Java. As this cloth indicates, the text and the iconography did not always complement each other. The poem shown on this sarong, written by a man (see the original and the translation on page 174), mentions a farewell and parting with a loved one, while the diagonal bands separating the lines of the poem feature romantic and happy scenes, suggestive of an engagement and marriage. The bands depict a man presenting flowers to a young woman and there is a large music band and horse-drawn carriages. Numerous bouquets of flowers enhance the celebratory atmosphere.

7 Sarong, signed “Drinhuijzen Pek”, made in the Drinhuijzen workshop, Pekalongan, 1890s.

The Drinhuijzen workshop was active in the 1870s to 1890s. On this sarong, scattered groups of cornflowers decorate the badan, while the kepala features smaller blossoms on a background covered with a multitude of tiny, stylized jasmine blossoms.

8 Sarong dlorong buketan, signed Mrs “L. Metz Pek”, made by Mrs Lien Metzelaar (ca. 1855–1930), Pekalongan, ca. 1890–1900.

Mrs Lien Metzelaar ran a well-known batik workshop in Pekalongan between 1880 and 1919, the heyday of Indische or Indo-European batik. She frequently signed her batik “L. Metz Pek”. Between 1890 and 1900, she produced a series of batik sarongs that combined colors and designs typical of two major batik centers of Java—a warm brown and mengkudu red from the Pesisir area. The badan on this sarong has been decorated with a dlorong design composed of alternating diagonal bands filled with a hook-like motif on a cream ground, typical of the Priangan area of West Java where it is known as rereng, and rows of ornate leaves on an indigo ground. The kepala has been decorated with a bouquet of carnations.

9 Sarong, signed “L Metz Pek”, made by Mrs Lien Metzelaar (ca. 1855–1930), Pekalongan, ca. 1910.

While the kepala of this sarong features a large bouquet of bleeding hearts, the badan has been decorated with bunches of peonies on a background covered with a woven or plaited design. As Mrs Metzelaar used to work with an Arab dealer from Batavia (Jakarta), it is possible that the frequent appearance of woven patterns on her batik reflects the aesthetic preference of Arab Peranakan.

10 Kain buketan, signed “E v Zuylen”, made in Mrs Eliza van Zuylen’s workshop (1863–1947), Pekalongan, ca. 1930.

Because of her lengthy career as a batik entrepreneur, Mrs van Zuylen’s life and work are well documented. All the batik in the van Zuylen compound was decorated by hand (batik tulis) to the highest standards and was distinguished by its large floral bouquets cleanly delineated against solid backgrounds, often in pastel hues, accentuated by simple diagonal lines on the badan. Her floral inspiration was believed to come from Dutch horticulture books. Prior to World War II, kain panjang (long cloths) became popular among some Peranakan. Here, the classic van Zuylen buketan motif of gerbera flowers decorates this new type of wrapped skirt cloth. The dark colors indicate that this cloth was suitable for an older woman.

11 Sarong, signed “E v Zuylen”, made in Mrs Eliza van Zuylen’s workshop (1863–1947), Pekalongan, ca. 1930s.

Motifs of large wading birds and water plants became popular on the north coast of Java in the 1920s and 1930s (see photo page 63). The drawing on the badan of this sarong was executed in a highly simplified way without the usual attention to detail characteristic of van Zuylen batik. It is possible, therefore, that the batik is a forgery that imitates the work of van Zuylen.

12 Sarong buketan, signed “E v Zuylen”, made in Eliza van Zuylen’s (1863–1947) workshop, Pekalongan, ca. 1920–1930.

This batik is an Indo-European (Indische) interpretation of lotuses, which frequently decorate Lasem batik made in Chinese workshops. While the flowers are usually presented on an undyed cream background in Lasem, here the background is a deep red. The use of lotus flowers indicates that the sarong was meant for a Chinese Peranakan woman.

13 Sarong buketan, signed “E v Zuylen”, made in Eliza van Zuylen’s (1863–1947) workshop, Pekalongan, ca. 1900.

The dark, subdued colors of this sarong and its restrained decoration, with the kepala filled with abstract, geometric motifs and the badan bearing four elegant bouquets against a background grid of simple dots, would have appealed to affluent Muslim women from Sumatra. Eliza van Zuylen used to have clients also in that part of Indonesia and it was there that this sarong was purchased.

14 Sarong buketan, signed “M. Coenraad. Patjitan”, Pacitan, 1890–1900.

The Coenraad sisters opened a batik workshop in Pacitan in southwestern East Java around 1880. The characteristic feature of their work is a combination of Central Javanese colors (indigo blue and soga brown) with floral motifs of the Pesisir area. The large bouquets of chrysanthemums that decorate the badan of this sarong indicate that it was made for a Chinese customer.

15 Sarong buketan, signed “E Coenraad. Patjitan”, Pacitan, ca. 1900–1910.

Unusually for the Coenraad sisters, this batik was executed in the Pesisir colors of indigo blue and mengkudu red. The exaggerated lines of the stems of the poppies on the badan point to the influence of the Art Nouveau style. Also remarkable is the extremely fine net-like decoration on the background. The kepala features another large floral arrangement of orchids and poppies surrounded by butter-flies, bees, small birds and a horseshoe. It is possible that this sarong was commissioned as part of a bridal trousseau.

16 Sarong buketan, signed “The Tie Siet Pekalongan”, made in the The Tie Siet workshop, 1920–1930s.

The Tie Siet’s batik workshop in Pekalongan was recognized as one of the best in the Pesisir area, and one that clearly showed The Tie Siet’s Chinese heritage. This sarong illustrates the use of two non-traditional colors—orange and aqua—and simpler bouquets on a plain background. Four carefully executed bouquets of daffodils decorate the badan and kepala. Smaller renditions of the same flower run along the top and bottom of the sarong and also separate the badan from the kepala.

17 Sarong buketan kelengan, signed “The Tie Siet Pek”, made in the The Tie Siet workshop, Pekalongan, 1930s.

Kain kelengan, blue and white batik cloths, were worn by Sino- Indonesian residents of the Pesisir during times of mourning. While the kepala and badan of this sarong have been decorated with four large bouquets of peonies, the most remarkable feature is the very elaborate grid-like background pattern which this workshop was famous for in the 1930s.

18 Sarong dlorong buketan, synthetic dyes, signed “The Tie Siet Pekalongan”, made in the The Tie Siet workshop, Pekalongan, 1920–1930s.

Peonies are much loved by the Chinese for their bold size and colors. They are also associated with female beauty. Here, peonies dominate the diagonal bands (dlorong) on the badan as well as the large bouquet on the kepala.

19 Sarong dlorong, synthetic dyes, signed “Kwee Nettie”, made in the Oey Soe Tjoen workshop, Kedungwuni, near Pekalongan, 1930s.

In 1925, Kwee Nettie (1905–98; Chinese name Kwee Tjoen Giok), who came from a batik-making family in Batang, married the great master of Sino- Javanese batik, Oey Soe Tjoen. In the early years of their marriage, she signed her pieces with her European name, Kwee Nettie, but later used her husband’s name. She also managed their joint workshop. This nine-color sarong is testimony to her love of color as well as her mastery in handling synthetic dyes. The type of decoration, made of wide vertical and diagonal bands, is known as dlorong. In the badan, the vertical bands of leaves and lotus flowers alternate with bands of jasmine blossoms and forget-me-nots. The kepala features the floral bands in a diagonal arrangement, a common feature of Pesisir batik of the 1920s and 1930s.

20 Sarong buketan, signed “Oey Soe Tjoen Kedoengwoeni”, made in the Oey Soe Tjoen workshop, Kedungwuni, near Pekalongan, 1930s.

The workshop of Oey Soe Tjoen (1901–76) was famous for creating the finest batik in Java. Oey Soe Tjoen was known for his superb craftsmanship and attention to detail. The care with which the motifs, primarily flowers and leaves in bouquets, were drawn and shaded, such as the carnations on this sarong, produced a unique three-dimensional effect on his batik. Although such bouquets of flowers used to be a popular feature of Pekalongan batiks made in the Indo-European workshops, in the 1920s this style also became popular on Chinese batik from the north coast of Java.

21 Sarong, signed “Oey Soe Tjoen. Kedoengwoeni”, made in the Oey Soe Tjoen workshop, Kedungwuni, near Pekalongan, 1930s.

Cranes, Chinese symbol of immortality, are abundant on this sarong. While pairs of cranes feed among oversized plants and water lilies, other cranes fly overhead. The style of drawing and the colors of the motifs bear a resemblance to the gold-thread couched embroidery that is frequently found on Chinese ceremonial garments.

22 Sarong dlorong buketan, signed “Nja Lie Boen In Koedoes”, made by Njonja Lie Boen In, Kudus, 1920s.

Lie Boen In was born in Pekalongan, but in later years moved to Kudus. However, the iconography of her batik indicates the strong influence of Pekalongan textiles. Her batik production was rather limited and her clients were mainly members of her extended family. The badan on this sarong features three large floral bouquets composed of colorful poppies and blue and white forget-me-nots, while the diagonal bands (dlorong) on the kepala have been filled with birds and lily stems. The most striking feature of the sarong is its background, which is covered with extremely fine, densely worked diagonal lines, known as the galaran pattern.

Pages 50–63 Studio portraits of Chinese Peranakan women (except page 61) wearing fine north coast batik sarongs with lacy kebaya blouses.

23 Kain, Chinese workshop, north coast (Semarang or Lasem), second half 19th century. Chinese wedding procession (Arak-arakan Pengantin Cina).

Towards the end of the 19th century, batik was often made in the Pesisir area to commemorate special events. In the case of Chinese weddings, the fabrics were used as wedding gifts, presented by the family of the groom to the bride. At the top and bottom of this cloth, a joyful procession accompanies the young couple as the bride is taken from her family house to the house of the groom. Men are shown holding flags, banners and lanterns, and there are scores of musicians. The actual wedding ceremony is presented in the center of the cloth, inside a series of pavilions. From left to right, in their respective family houses, the bride and groom undergo a series of rituals and are dressed in elaborate wedding costumes. The next pavilion features the newlyweds, sitting opposite each other at a table, marking their union by eating a ritual dish. In the following scene, they pray at the ancestral pavilion. In the last building, probably the final stage of the wedding, the newlyweds serve tea to the family elders. The people standing behind the bride and groom are the ritual minders whose duty it is to make sure that all elements of this important ceremony are conducted in the correct way.

24 Sarong, Pekalongan, late 19th–early 20th century.

Batik sarongs made by Indo-European workshops for the colonial market in Java included depictions of famous fairytales, such as this one showing the story of Cinderella. The bottom half of the badan features, from right to left, the two ugly sisters, the stepmother and Cinderella. In the upper half is a clock, the prince holding Cinderella’s shoe and the heroine, running away with one foot bare. The kepala presents the happy ending, where the prince and Cinderella are united under an oversized floral arrangement. The background has been densely covered with intricate filler motifs (tanahan). The sarong would probably have been made for a young Indo-European woman.

25 Kain, probably made in an Arab workshop in Pekalongan, early 20th century.

The minarets that frame the two arch-like structures, probably mosques, as well as the fact that the faces of all human beings have been disguised with bird-like features, suggest that this cloth was made in one of the Arab workshops in the Pesisir area. In the late 1920s, there were 130 batik workshops on Java run by members of the Arab Peranakan community. Different modes of transport, from hand-drawn to motor-propelled, are also depicted.

26 Sarong, probably made in an Arab workshop in Pekalongan, early 20th century.

The faces of all the living beings—humans, birds, dogs and even a horse—depicted in this rural scene have been disguised in some way. Some have been turned into floral-like forms. This feature, as well as the large bouquet of flowers, suggests that the cloth was produced in Pekalongan, in one of the many batik workshops run by Indonesian Arabs.

27 Sarong, made in the Masina family workshop, Trusmi, near Cirebon, late 19th century.

Whereas in Central Java a sarong is considered to be an everyday garment for commoners, in West Java it is also worn by the nobility. The motifs on this sarong indicate that it was made for a member of the Kesepuhan or Kanoman Sultanates of Cirebon. The badan features the penganten design, the wings of the mythical bird Garuda, known as sawat in Central Java, which was traditionally reserved for use by the Javanese nobility. Other important symbols are the tree of life, snakes (probably the serpent Naga) and mountains (Mount Meru, the abode of Hindu gods). The main motifs are connected by a network of small sprouting plants and tendrils, in Central Java known as semen (“to grow”, “to sprout”), which support life forces and assure prosperity. The kepala features an intricate patchwork-like tumpal design composed of different sized triangles (see also pages 80–1, 84–5). The batik decoration is of the latar putih (white background) type, whereby a layer of wax was applied to the background prior to the dyeing process, leaving only the outlines of the motifs uncovered. Technically, it is a very complex and time-consuming way of wax drawing that requires high manual dexterity and experience.

28 Sarong, Pesisir area, early 20th century.

The rooster, the most popular bird of Java, is the hero of this batik, which may have been made for a devotee of cock-fighting. The badan is filled with thousands of tiny dots (cocohan) (see also pages 78–9). This effect has been achieved by pricking the layer of wax with a set of fine needles, and is typical of batik made in Lasem, Indramayu and, occasionally, Cirebon.

29 Sarong, probably Lasem, ca. 1890.

Swallows appear quite frequently on Pesisir batik, usually presented as a schematic bird figure. However, the decoration on this cloth is quite exceptional as it presents the birds in a multitude of positions—in various stages of flight and resting among curved plant stems. The brownish-red color is known as ungon and results from the overdyeing of indigo and mengkudu red.

30 Sarong, probably Cirebon, ca. 1860–1880.

This is probably another batik associated with one of the Cirebon royal courts (kraton) (see pages 72–3). While it maintains the classic sarong composition, its badan has been decorated with motifs usually associated with the courts of Central Java, such as lar, the wing of the mythical bird Garuda. A dense and elaborate network of plant tendrils covers the background of the whole cloth. The execution of this sarong required great manual skill as the wax had to cover all areas except the outlines of the motifs.

31 Sarong, made in a Chinese workshop, probably Lasem, 1870–1880.

The badan of sarongs made in the 1880s in Lasem were often decorated with repetitive geometric designs, usually in the form of stars, crosses, rosettes, lozenges or polygons. On this sarong, the tumpal and pinggir feature carnations while the two papan have been filled with dragons, a mythical serpent (Naga) and probably a centipede, the latter symbolizing protection. The background of the whole cloth has been decorated with thousands of tiny dots (cocohan) (see pages 74–5).

32 Sarong, made in a Chinese workshop, Pesisir area, 1900–1910.

This sarong features a typical Pesisir motif, ganggeng or floating seaweed, yet included among the animals within it are mythical Chinese creatures, such as dragons with four claws and dragon-headed fish.

33 Sarong, Pesisir area, ca. 1880.

The badan of this cloth has been decorated with a lung-lungan design of fantastic birds and exuberant flowers, a typical Javanese rendition of Indian chintz. Dark colors indicate that the cloth was made for an older person. The thousands of tiny dots (cocohan) present in the tumpal, papan and pinggir sections indicate that the cloth was made in one of the workshops of Lasem, Cirebon or Indramayu.

34 Sarong, made in a Chinese workshop, Pesisir area, ca. 1900.