Batik Motif Details - Ornaments I

The patterns or motifs of Indonesian batik, especially the 'motif semen,' which represents a significant portion of Indonesian batik motifs, can be broken down into pattern elements as follows:

1. Primary Pattern Elements: These consist of specific shapes or images we call ornaments. Since they form the main components, we also refer to them as primary ornaments.

2. Filler Ornaments: Typically, patterns include smaller images used to fill space. These do not contribute to the overall meaning or essence of the motif and are known as filler ornaments.

3. Isen (Fillers): To enhance the beauty of the overall pattern, both primary and filler ornaments are adorned with decorations like dots, lines, or a combination of both. These are called isen. In batik art, isen has particular forms and names, and there is a large variety to choose from.

By analyzing batik patterns in this way, we can break down the elements step by step to illustrate the high cultural and aesthetic value of Indonesian batik art. This art is a cherished heritage from past generations and must be preserved and developed so it does not vanish from the Indonesian landscape.

Key Ornaments in Batik Motifs

The primary ornaments in batik motifs include Meru (Mountains), the Tree of Life, Plants, Garuda (mythical bird), Birds, Temples or Boats (Buildings), Flames, Dragons, Animals, and Butterflies.

MERU ORNAMENT

"Meru" depicts a mountain viewed from the side, sometimes represented as a sequence of three mountains, with the center peak as the highest. In ancient Indonesian beliefs, mountains symbolize the "earth" element, representing one of the "four elements of life"—Earth, Fire, Water, and Wind. In Javanese-Hindu culture, Meru signifies the peak of a high mountain where deities reside. In batik art, Meru is used to symbolize the earth or soil, illustrating the life-growing process above ground, referred to as "Semi" (Javanese), while motifs that represent this process are called "Semen."

Therefore, batik motifs that incorporate Meru, Plants, and other similar elements are known as the "Semen" motif. Over generations, as batik patterns have been passed down and modified, the Meru ornament has undergone changes, often merging with other forms, particularly plant shapes.

Examples of Meru Forms

1. Meru combined with plant elements.

2. Meru combined with other shapes from above and below, making the Meru shape almost indistinguishable.

3. Meru as the base for a wave-like shape.

4. Three Meru arranged together, adorned and combined with leaf shapes.

5. Plants growing from Meru, with Meru depicted as a place of growth.

6. Meru is illustrated at the tops of plants.

Numerous variations of Meru can be found in batik motifs due to generations of traditional adaptation and regional preferences in batik craftsmanship.

TREE OF LIFE ORNAMENT

The Tree of Life, in Indonesian cultural art, is depicted as a powerful and mystical tree symbolizing "life." This concept of the Tree of Life exists across many regions in Indonesia, each with its variations. In Kalimantan, it appears in woven art and is known as "Batang Garing." In shadow puppetry (wayang kulit), the Tree of Life is represented by the "Gunungan" or "Kayon." Also referred to as the Tree of Paradise, it is seen in temple art, with depictions in 9th-century temples such as the reliefs on Prambanan temple walls. In batik art, the Tree of Life ornament is found in the "Semen" motifs, especially in classic versions, though not all Semen motifs contain this ornament. The Tree of Life depicted in batik has been present since at least the 13th century, as seen in the reliefs at Jago Temple in East Java, and even more distinctly in the Semen-like illustrations on the 1559 AD reliefs at Queen Kalinyamat’s tomb complex in Mantingan near Jepara.

The mystical Tree of Life is depicted with a complete form, including the trunk, branches, buds, leaves, and aerial roots or "sobrah." In batik motifs, the tradition of continuous adaptation over generations has led to variations in the Tree of Life ornament's form.

Examples of Tree of Life Ornaments

1. Tree of Life in Semen Rama Motif: Shows a complete form with trunk, branches, buds, leaves, roots, and even flowers.

2. Tree of Life with Variations in Branches: Seen in the "Sido-mulya" motif, featuring unique branch shapes.

3. Tree of Life with Branch and Bud Variations: Found in the "Semen Ragas" batik motif, where the branches are distinct, and buds and leaves vary in form.

4. Tree of Life with Unique Branches and Abundant Roots (Sobrah): Present in the "Semen Sawat Mangkara" motif.

5. Simplified Tree of Life: Appears in the "Semen Taman" batik motif, with a more streamlined form.

6. Simplified Tree of Life Combined with Meru: Found in the "Semen Tokol" batik motif.

These examples provide an overview, yet there are numerous Tree of Life forms, ranging from original to those integrated with other shapes, such as plants or wings. The Tree of Life is often depicted alongside the Meru motif.

PLANT ORNAMENT

The Plant Ornament in Indonesian batik is a stylized depiction of various plant parts, such as flowers, clusters of leaves, buds, or a combination of leaves and flowers. In later designs, plants are depicted more realistically, as seen in the Buketan batik from the northern coast of Java. In classic batik motifs, plant ornaments hold an important role, both as main and filler ornaments. Sometimes, plants are depicted as trailing or spiraling vines, known in batik as "lung-lungan" or "spiral."

In batik motifs, plant ornaments appear in both the "Semen" (symbolic motifs) and geometric designs, like "Ganggong" and "Ceplok" motifs. In Ganggong and Ceplok designs, plant ornaments are shown as cross-sections of fruits, flowers, or leaf arrangements, typically within geometric shapes. In traditional Semen batik motifs, plant designs are often arranged with other ornaments such as Meru (mountain), Garuda (mythical bird), Tree of Life, and animals. However, in more recent Semen motifs, the design may focus solely on plant ornaments. Even when these later designs lack other symbolic elements of Semen motifs, they’re still recognized as such, often named after the plants that are featured prominently, like Lung-Anggur (grape vine), Lung-Gadung (yam vine), Lung-Pakis (fern), and many more.

Examples of Plant Ornament Forms

1. Plant Ornament as Vine Forms: Found in batik motifs like "Semen Lung Merak."

2. Imaginary Arrangements of Leaves and Flowers: Featured in the "Semen Lung Sengganen" motif.

3. Plant Ornament Representing a Fruit with Leaves and Buds: Seen in the "Simbar Hutan" motif.

4. Leaves and Buds Arranged with Meru: Depicted in the "Wilaya Resmi" batik motif.

5. Shrimp Claw-Shaped Plant Ornament: Found in the "Sapit Urang" motif, designed to resemble shrimp legs or claws.

6. Plant Ornament Depicted as a Collection of Buds and Flowers: Beautifully arranged in the "Semen Peksi Endra" motif.

These examples illustrate the diversity of plant ornament designs in batik, showcasing both traditional and stylized elements, which have been adapted over time to reflect regional tastes and artistic innovations.

GARUDA ORNAMENT

The Garuda ornament in Indonesian batik is inspired by the mythical Garuda, a powerful, sacred creature often depicted with a human-like body, a giant bird's head, and wings. Garuda is the vehicle of the god Vishnu and symbolizes strength and valor. In batik, the Garuda motif is typically stylized to resemble a powerful bird, like an eagle or sometimes a peacock. The Garuda ornament comes in several variations:

1. Two Wings and Tail: This version shows Garuda with two outstretched wings and a tail, similar to the front-facing peacock or "merak-ngigel" view. This type is also called "Sawat."

2. Garuda with Two Wings (Mirong): Another form of Garuda with two wings, known as "Mirong," which often appears with an elegant structure.

3. Single-Winged Garuda: This variation depicts Garuda with one wing, creating a side view. At the base of the wing, there may be a bird’s head, a giant bird’s head, or other decorative elements. Garuda wings come in two styles: open and closed.

The Garuda ornament is unique to Indonesian batik, serving as a defining symbol, especially in the "Semen" motif group, where it acts as a central element rather than a filler.

Examples of Garuda Ornament Forms

1. Garuda with Open Wings and Tail: The wings are fully spread out, showcasing strength

2. Garuda with Closed Wings: A depiction with two wings in a closed position.

3. Single-Winged Garuda with Closed Wing: A side-view with a single, closed wing.

4. Side-View Garuda with Closed Wing: Features decorative details like "sawut" and "uceng" on the outer wing. Other designs may show "sawut" and "cecek-pitu" patterns.

5. Modified Garuda from Northern Java: Shows Garuda with two wings and a tail, but stylized to resemble leaves in the wing and tail sections.

6. Garuda with Bird-Like Features: Sometimes the head resembles that of a naga (serpent) or a giant, blending mythological influences.

7. Evolving Garuda Designs: The Garuda ornament has undergone many changes and variations over time.

8. Abstracted Garuda Forms: Occasionally, Garuda motifs are abstracted to resemble animals or plants more closely than the original mythical bird.

These variations reflect both traditional and creative adaptations of the Garuda ornament, keeping its symbolic essence while allowing for regional and stylistic diversity.

BIRD ORNAMENT

Bird ornaments in Indonesian batik are commonly found in the Semen motif group, serving both as main elements and as fillers. There are three main types of bird ornament styles in batik patterns:

• Peacock Type:

1. Characterized by a combed crest on the head, wings similar to the powerful wings of Garuda, and open wing positioning. The tail and wings lack wave-like forms.

2. Commonly found in Central Java batik-making areas, such as Yogyakarta and Salatiga.

•  Phoenix Type:

1. Depicted with long, flowing, wavy feathers on both wings and tail. Sometimes, the head also has a wavy or crested style.

2. Predominantly found in the northern coastal batik regions of Java, such as Lasem, Pekalongan, Tegal, and Cirebon.

• Fantasy Bird Type:

1. A unique, imaginative style with variations that might include a crest or horns on the head, dragon-like heads, two-headed forms, plant-like appendages, or circular body shapes.

2. Found in various batik-producing areas across Indonesia, offering creative and mythical renditions of birds.

Bird ornaments are primarily found in the Semen motif, with fewer appearances in Ceplok or other geometric patterns. When used as filler ornaments, birds are depicted in smaller, simplified forms.

Examples of Bird Ornament Forms

• Simple Phoenix-Like Bird:

  Features short, wavy feathers on the wings and tail.

• Simple Peacock Type:

  Seen in the Semen Ngreni motif, this type shows the basic elements of a peacock.

• Hybrid Style between Peacock and Phoenix:

  Features long feathers on the wings, blending elements of both peacock and phoenix types. An example is the Semen Gunung motif.

• Complete Peacock Representation:

  Shows the full form of a peacock, with its tail included, as seen in the Semen Garuda motif.

• Simple Peacock Form in Semen Gunung:

  Depicts a simplified version of the peacock within the Semen Gunung motif.

• Distinct Phoenix Style in Sidoluhur Motif:

  Found in Yogya, this unique Phoenix-like bird ornament is influenced by the Cirebon and other northern coastal styles.

These bird motifs add elegance and symbolic meaning to Indonesian batik, showcasing regional variations and creativity in depicting both real and mythical bird forms.

BUILDING ORNAMENT

Building ornaments in Indonesian batik are shapes that resemble structures like houses, including a base or foundation and a roof. This ornament style dates back to the reliefs of 9th-century temples such as Prambanan and Borobudur, extending to East Java temples like Candi Jawi and Candi Jago, and even the burial complex of Ratu Kalinyamat in Mantingan near Jepara (1559 AD). The function of these depicted structures—whether as temples, floating pavilions, palanquins, palaces, or possibly boats—remains uncertain and is an area for further research.

In general, these ornaments are referred to as sacred or symbolic building shapes, carrying spiritual or cultural significance. In Kalimantan, for example, a sacred boat is known as Bahana. Variations of building ornaments often include plant motifs at the base and may feature one to three tiers in the structure.

Examples of Building Ornament Forms

• Two-Tiered Building with Pendant Decorations:

  Found in the Semen Rama batik motif, this ornament features two levels with decorative elements hanging from the bottom.

• Simple Two-Tiered Building

  Lacking pendant details, this form appears in the Semen Jali-rante motif.

• Three-Tiered Building with Pendants:

  Seen in the Semen Ngreni motif, this three-level structure includes hanging ornamentation, enhancing its complexity.

• Two-Tiered Building with Pendants in Semen Candra:

  This example is a two-level design with decorations at the base.

• One-Tiered Simple Building:

  The most minimal style with a single level, as seen in the Semen Peksi Purna motif.

• Two-Tiered Building with Extended Side Decorations:

  Found in the Semen Klewer motif, where the side decorations extend downwards, adding a unique flair to the design.

Building ornaments are primarily featured in older, classic Semen batik motifs and are used selectively in batik patterns, signifying the historical and cultural depth of the batik tradition.