Ready to Be
Alive Again!
Part Three
The Contemporary Chut Thai Siwalai Formal National Costume in Batik Tiga Negeri in Pleats
The Contemporary Indonesian Kebaya Kutubaru in Batik Tiga Negeri in Pleats
The Contemporary Indonesian Kebaya Kutubaru in Batik Tiga Negeri in Pleats
SANDY
RISMANTOJO
xix_studio_bdg
+62 85975060616
cemenk2001@gmail.com
sandy.rismantojo@art.maranatha.edu
2020‑2023
Doctor of Philosophy in Design Arts (International Program)
Faculty of Decorative Arts, Silpakorn University, Bangkok, Thailand
1999‑2001
Pratt Institute School of Art and Design, New York, USA
Master of Science in Visual Communication Design
EDUCATION
1993‑1998
Program Studi Desain Komunikasi Visual,
Fakultas Seni Rupa dan Desain, Institut Teknologi
Bandung ‑ Indonesia Bachelor of Fine Art in Visual
Communication Design
2017 ‑ 2020
Vice Dean I at Fakultas Seni Rupa dan Desain
Universitas Kristen Maranatha Bandung Indonesia
2007 – 2011
Secretary of Bachelor Program in Visual
Communication Design
at Fakultas Seni Rupa dan Desain
Universitas Kristen Maranatha Bandung Indonesia
2002‑ 2014
Creative Director at Bandung Design Gallery
Clients:
Dewan Nasional Perubahan Iklim
L'Oreal Paris
Maybelline
Garnier
Excellent Hair Color
Ristra
Clear Men
Torabika
Havoline
Delo
Excelso
Revtex
Fitkom
Caltex
Wella
Trustee
Good Day
Kopi ABC
2009
Royal Kamuela Nusa Dua Bali, Art director
Spring 2001
Aliza Zamir's teaching assistant for Visual Communication I
Pratt Institute Graduate Communication Design Program,
New York, USA
Summer 2000
Intern
Creative Services Department, Donna Karan
New York International, New York – USA
1997
Part‑time Graphic Designer, Cabe Rawit Advertising,
Jakarta – Indonesia
2011 – 2016
Head of Bachelor Program in Visual Communication Design at Fakultas Seni Rupa dan Desain
Universitas Kristen Maranatha Bandung Indonesia
2008‑2009
Part One by Edward Hutabarat, Freelance Designer
2006 – today
Visual Communication Design Assistant Professor at
Fakultas Humaniora dan Industri Kreatif
(formerly Fakultas Seni Rupa dan Desain)
Universitas Kristen Maranatha Bandung Indonesia
2002 – 2020
Owner/Creative Director of CMNK Gallery Bandung
– Indonesia
2001‑2002
3D/Packaging Graphic Designer Victoria’s Secret Beauty
NewYork, USA
1995
Teaching Assistant of Foundation Year of Fakultas
Seni Rupa dan Desain, Institut Teknologi Bandung,
Indonesia Illustrator for Transmigration Guidebooks, prepared by The Indonesian Government and
Institut Teknologi Bandung
1994 ‑ 2008
Fashion Designer for Seurieus Band, Indonesia
Fall 2000
Intern
Corporate Apparel Department, Donna Karan
New York International, New York – USA
WORK/
TEACHING EXPERIENCE
EXHIBITIONS
International Design Workshop & Expo: Revitalizing The
Samarinda Chinatown, Samarinda Central Plaza,
Samarinda, Indonesia, 2024
Convergence of The Realms, Group Exhibitions of Selected
Works from Thesis Exhibition in Ph.D. Design Arts
International Program, Faculty of Decorative Arts,
Silpakorn University (DinDa), Bangkok Art and Culture
Centre, Bangkok, Thailand, 2024
Bangkok Design Week, urban’NICE’zation, Resident Artist,
Bangkok, Thailand, 2023
Respirare Iterum, Uno Flatu International Exhibition,
Universitas Kristen Maranatha, Bandung, Indonesia, 2023
Bangkok Design Week, Co With Creation,
Bangkok, Thailand, 2022
Re‑creation, Uno Flatu International Exhibition,
Universitas Kristen Maranatha, Bandung, Indonesia, 2019
Intertextuality, Uno Flatu International Exhibition,
Universitas Kristen Maranatha, Bandung, Indonesia, 2017
“Je moet ons geloven!” Anda harus percaya kami!,
Komuni Photo Collective. Rumah Seni Ropih. Bandung. 2017
Expo Evolusia, Universitas Kristen Maranatha,
Bandung, Indonesia, 2016
SAExhibiton Hajad Jagad 03, Universitas Kristen Maranatha,
Bandung, Indonesia, 2016
Design Outlook, Teachers' Works Exhibition, 20th Anniversary
of Design College's re‑establish meant as a Secondary
School of GAU, China, 2015
Warisan Antarabangsa International Heritage, 2nd International Alumni
eSe‑arts 2015, Universiti Sultan Idris, Tanjung
Malim, Perak, Malaysia, 2015
Impression of China, China Indonesian Art Exhibition,
Hebei Normal University, China, 2014
Collaboration Teachers' Works Exhibition, The Guangxi Arts
University School of Design, China, 2014
Evolusia 2014, Asyluminati Fashion Show at Hilton Hotel
Bandung, Indonesia, 2014
Hajad Jagad FSRD UK Maranatha, Harris Hotel Festival Citilink
Bandung, Indonesia, 2013
Evolusia 2013, Black White Fashion Show at Harris Hotel
Bandung, Indonesia, 2013
Evolusia 2012, Fashion Show at Panghegar Hotel Bandung,
Indonesia, 2012
La Composition Seduisante, Edwin Gallery Jakarta,
Indonesia, 2011
Brandung: Babarengan Ngabrending Bandung,
Bandung Indah Plaza, Indonesia December 2011
Uno Flatu IV, Galery Maranatha, Universitas Kristen Maranatha, Bandung,
Indonesia, February 2011
Poster Exhibition Bandung Ideaversity 200, organized by Forum Design Grafis
Indonesia (FDGI), Bandung, Indonesia,
December 2010
Uno Flatu III, Galery Maranatha, Universitas Kristen Maranatha, Bandung,
Indonesia, November 2009
Seurieus Memorabilia 9308, Galeri CMNK, Bandung, Indonesia, November
2008
Uno Flatu II, Galery Maranatha, Universitas Kristen Maranatha, Bandung,
Indonesia,November 2008
Iketeru Harajuku: Experimental Fashion Design Competition
held by The Japan Foundation. 15‑29 September 2006,
Jakarta, Indonesia
Urban Cartography V.01 Bandung Creative Communities 1995‑2005,
CP Bienalle, Jakarta, Indonesia, 2005
C on C local Clothing Design Exhibition, Auditorium CCF
Bandung, Indonesia, August 2005
Pratt Institute Visual Communication III Exhibition at Puck
Building, New York 2001
Fashion/Costume Show 50th year of Fakultas Seni Rupa dan
Design,Insitute Teknologi Bandung, 1997
Citraland Hotel, Jakarta, Indonesia, 1996, Levi's International
Poster Competition as a finalist Universitas Udayana, KMDGI III,
Denpasar, Bali ‑ Indonesia 1996
Era Baru Manajemen Pendidikan: Aplikasi, Strategi, dan Inovasi. 2020. Ideas Publishing
Jejak Budaya Komunitas Tionghoa di Bandung. 2020. Penerbit Pelita Ilmu
Batik Lasem, Nilai Tidak Kasat Mata pada 21 motif batik bersertifikat HKI. 2019. Penerbit Pelita Ilmu
BOOK
Transforming the Batik Tiga Negeri (Three-Countries Batik) in Pleats to Represent Indonesia, Malaysia, and Thailand's Batik Heritage by Applying the ATUMICS Method. Rismantojo, S., Sirivesmas, V., Joneurairatana, E., & Natalia, W. A. (2024). Archives of Design Research, 37(4), 65-96.
https://doi.org/10.15187/adr.2024.08.37.4.65
Designing Dua Negeri (Two Countries) Batik Influenced by Indonesia and Thailand Shared Culture to Enrich the Batik Repertoire in Both Countries. Rismantojo, S., Sirivesmas, V., & Joneurairatana, E. (2024). TEXTILE, 22(2), 481-506.
https://doi.org/10.1080/14759756.2023.2267339
Fashion Clothing and Garment as Communication: The Case of Batik 3 Negeri Solo by Tjoa Family, the Popular Choice of the Sundanese Ménak’s Taste, Priangan, Indonesia. Rismantojo, S., Sirivesmas, V., & Joneurairatana, E. (2014). JCSH, 92.
Komparasi Gaya Visual dan Makna pada Desain Batik Tiga Negeri dari Solo, Lasem, Pekalongan, Batang, dan Cirebon. Lukman, C. C., Rismantojo, S., & Valeska, J. (2022). Indonesian Journal of Industrial Research, 39(1), 51-66.
Peran Branding Bagi Penciptaan Image Batik 3 Negeri Solo Karya Keluarga Tjoa. Rismantojo, S., Lukman, C. C., & Valeska, J. (2021). Jurnal Bahasa Rupa, 4(2), 204-214. https://www.researchgate.net/publication/367572010_KOMPARASI_GAYA_VISUAL_DAN_MAKNA_PADA_DESAIN_BATIK_TIGA_NEGERI_DARI_SOLO_LASEM_PEKALONGAN_BATANG_DAN_CIREBON
Peranakan Batik: Cultures Connection in Indonesia, Malay Peninsula, and Thailand. Rismantojo, S. The New Viridian Journal of Arts, Humanities and Social Sciences. Vol. 1 No. 2 (2021): The New Viridian Journal of Arts, Humanities and Social Sciences ( March – April 2021) https://so01.tci-thaijo.org/index.php/The_New_Viridian/article/view/245908
Peran Augmented Reality dalam Meningkatkan Visitor Experience Generasi Milenial di Museum Bertema Tekstil Indonesia. Sandy Rismantojo, Jesslyn Valeska. Jurnal Demandia: Jurnal Desain Komunikasi Visual, Managemen Desain dan Periklanan. Vol 05, No 01 (Maret 2020), 74-99. https://www.researchgate.net/publication/340403462_PERAN_AUGMENTED_REALITY_DALAM_MENINGKATKAN_VISITOR_EXPERIENCE_GENERASI_MILENIAL_DI_MUSEUM_BERTEMA_TEKSTIL_INDONESIA
Kajian Budaya Terhadap Nilai Tak Kasat mata Pada Warna dan Motif Batik Lasem Bersertifikat HKI untuk Mendukung Ekonomi Kreatif (Cultural Study of the Intangible Value of Color and Motifs of Intelectual Property Right (IPR) Certified Lasem Batik to Support the Creative Economy). Christine Claudia Lukman, Yunita Setyoningrum, Sandy Rismantojo.
2 years Research Funded by The Ministry of Research, Technology and Higher Education of Indonesia.2017-2019
Repositioning Brand Shibotik untuk Membangun Citra Baru sebagai Batik Limited Edition. Fitri Nurlaili, Sandy Rismantojo. Serat Rupa Journal of Design Vol 3 No 2. 2019 https://doi.org/10.28932/srjd.v3i2.1646
Perancangan Buku Fotografi Dokumentasi kegiatan kesenian di Kampung Jelekong. Sherilyn Silviani, Sandy Rismantojo,
R.A. Dita Saraswati. Serat Rupa Journal of Design. Vol 3 No 1. 2019
https://doi.org/10.28932/srjd.v3i1.811
“Indonesian Chinese Visual Language of Qilin on Lasem Batik
Altar Cloth (Tok Wi), Christine Claudia Lukman, Yunita
Setyoningrum, Sandy Rismantojo. Journal of Arts and
Humanities 7 (9), 84‑94. 2018
https://www.theartsjournal.org/index.php/site/article/view/1488
“Status#3” Art Works that Represent Cultural Assimilation between Chinese and Padang Pariaman. Sandy Rismantojo. 2017.
https://repository.maranatha.edu/24461/
Evaluasi Keberhasilan Kurikulum pada Program Studi Sarjana Desain Komunikasi Visual (Studi Kasus: Keberhasilan Proses Desain pada Mahasiswa Tugas Akhir). Elizabeth Wianto, Monica Hartanti, Sandy Rismantojo. Internal Research Funded by Universitas Kristen Maranatha Bandung. 2017
Upaya Pengenalan Pakaian Adat Indonesia pada Anak Sekolah Dasar, Menggunakan Augmented Reality pada Book Design. Clara Riyanti Teresa, Berti Alia Bahaduri, Sandy Rismantojo. Serat Rupa Journal of Design. Vol 1 No.3. 2017 https://repository.maranatha.edu/24461/
Status#2. An Art Piece that Represents the Cultural Assimilation between Chinese and Indonesia. Sandy Rismantojo. 2016.
https://repository.maranatha.edu/24481/
Analisa Identitas Visual pada Iklan Fashion Brand Internasional DKNY. Sandy Rismantojo. Serat Rupa Journal of Design. Vol 1 No 1. 2016
https://doi.org/10.28932/srjd.v1i1.439
Runaway: A New Approach In Fashion Advertising. Sandy Rismantojo. Master Degree Thesis. Visual Communication Design Department. Pratt Institute New York. 2001
Visual Style of 21 Intelectual Property Right (IPR) Certified Lasem Batik Motifs as The Expression of Cultural Hybridity.Yunita Setyoningrum, Christine Claudia Lukman, Sandy Rismantojo. Jurnal Humaniora, 10(3), November 2019, 175-184. https://www.researchgate.net/publication/340403462_PERAN_AUGMENTED_REALITY_DALAM_MENINGKATKAN_VISITOR_EXPERIENCE_GENERASI_MILENIAL_DI_MUSEUM_BERTEMA_TEKSTIL_INDONESIA
Revealing The Intangible Values in Lasem Batik Motif. Lukman, C. C., Setyoningrum, Y., & Rismantojo, S. (2019). Journal of Arts and Humanities, 8(9), 64-72.
https://theartsjournal.org/index.php/site/article/view/1728
Indonesian Chinese Visual Language of ‘Qilin’on Lasem Batik Altar Cloth (Tok Wi). Lukman, C. C., Setyoningrum, Y., & Rismantojo, S. (2018). Journal of Arts and Humanities, 7(9), 84-94.
RESEARCH
Contemporary Fashion Design based on the National Costumes of each country. Part One design aims to redesign national costumes by applying the contemporary Batik Tiga Negeri in Pleats. The theme is the beauty of cultural diversity in ASEAN. Chiffon, which is made of polyester or viscose, is the primary fabric for the entire Part One fashion design collection.
Part Two
The Disruption
The primary thematic focus of this collection is Life Disruption. The design aims to illustrate the impact of the COVID-19 pandemic on people's everyday lives and change their perspective on life, which is represented by the shape and form of the fashion design. Hence, the choice of fabric used must also align with the theme.
The main theme of the Part Three collection evolves around the concept of The Blossoming Flower. The design of this collection is meant to depict the sense of hope and new atmosphere that everyone feels after the end of the pandemic, therefore they are ready to come alive again. The fabric for this Collection is satin. This fabric was chosen to give a shiny look and a luxurious impression.
First step process and red dyed batik
Second step process, filling isen motif and waxing.
Red dyed batik called Bang-bangan
Left, Batik Dua Negeri Thai Indonesian in green nuance. Right, National Flowers Bouquet on pastel yellow backgorund.
Final visual design for pleating for the blouse.
Left, National Flowers Bouquet in bright colors. Right, Batik Dua Negeri Thai Indonesian in purple nuance.
The origins of batik are ancient, and no one knows exactly when and where people first used wax, vegetable paste, and mud on fabric to obtain color. There is evidence that batik existed in China, Japan, India, Thailand, East Turkestan, Europe, and Africa. However, in Indonesia, this art was refined that it become one of the most important art forms in Asia. Javanese batik reaches its highest level of refinement through a combination of a vast repertoire of patterns, sophisticated dyeing methods, and technical perfection. In addition to Indonesia, batik is also developing in Malaysia and Thailand. It can be argued that the three countries shared a common culture, namely batik. Each region develops a unique visual style due to the influence of the time and socio-cultural environment.
Batik Tiga Negeri (Three-countries Batik), which belongs to the batik Peranakan category, is unique in its production process and famous for its beauty, prestige, and cultural value. Peranakan entrepreneurs along the north coast of Java and Surakarta developed Batik Tiga Negeri. In the 1870s, this batik underwent a natural dyeing process in three batik centers: red in Lasem, blue in Pekalongan, and brown in Solo/Surakarta. The result is batik featuring chicken red blood (merah getih pithik), indigo blue, and soga brown with motifs created by batik artists' creative collaborations in three batik centers that showing a diversity of visual cultures. With the discovery of synthetic dyes, the dyeing process can be carried out in one place only. Today, Batik Tiga Negeri refers only to batik, that has three colors (red, blue, and brown) with hybrid motifs of pesisir (coastal) and classical batik. Batik peranakan, like Batik Tiga negeri and batik nyonya, was the preferred batik for Peranakan Chinese living in Indonesia, Phuket Thailand, and Malacca, Penang, Singapore on the Peninsular Malaysia. The question arises as to what would happen if the Batik Tiga Negeri concept evolved to showcase the unique visual styles unique of each of these countries. Instead of engaging in mutual cultural claims, it would be more beneficial for each country to focus on developing contemporary batik and expanding the batik repertoire in the ASEAN regions.
This research employs descriptive qualitative and quantitative research with selected methods such as literature research, observations, interviews, questionnaires, and experiments. The sequence is first to explore the history of the development of batik, especially the creative concept behind the production of Batik Tiga Negeri. Second, research on batik or other illustrated fabrics in three countries. Then, it analyzed why batik plays a vital role on the island of Java by applying Barnard’s theory of fashion as communication, Saussure's semiotic theory, and Bourdieu's theory of taste, to examine the popularity of batik in Java and the Peranakan Chinese community.
Third, conducting interviews with practitioners/owners of batik workshops in Indonesia, Malaysia, and Thailand. Fourth, processing the analysis results using a compositional interpretation approach to analyze the symbolic meaning of the visual styles and the semiotics of the text for the development of contemporary Batik Dua Negeri (Two-countries Batik), and then continuing with the application of traditional transformation methods, namely ATUMICS, for the development of contemporary Batik Tiga Negeri. The creative process includes designing and producing the contemporary Batik Tiga Negeri and applying it using digital printing technology and pleating techniques. Subsequently, the results of the experiment were presented in a focus discussion group held in Lasem and attended by batik entrepreneurs. The aim is to get direct input from them. Fifth, a survey was conducted by distributing questionnaires through Google Forms to find out the opinions of the target audiences about the development of this batik. The result of this research is the contemporary Batik Tiga Negeri in Pleats and its derived fashion products with modern values. Therefore, the contemporary Batik Tiga Negeri in Pleats are expected to strengthen the cultural relations between the three countries by respecting each other's cultures.
Designing Contemporary Batik Tiga Negeri
(Three-Countries Batik)
in Pleats for Fashion Design
Sandy Rismantojo
The Elegance of
National Costumes
Part One
Color palette inspired by Batik Peranakan
Inspiration panel for Thai-inspired Traditional Batik
Tiga Negeri in Pleats fashion design
A production that involves techniques and materials consists of two stages. In the first stage, traditional techniques are still used, such as drawing with wax and canting, and then the three-color dyeing process continues. The result is Batik Tiga Negeri with modern motifs in traditional colors. The popular prisimina cotton is still used for the fabric. In the second stage, the newly produced Batik Tiga Negeri goes through a digitization process, namely reproduction through digital photography. Then the results can be processed digitally to achieve other color variations using the Adobe Photoshop program. The modified results are then digitally printed on the fabric. To be permanently pleated (shape), the fabric materials were changed from cotton to polyester fabrics such as satin, organdy, and chiffon.
Design Process of The Contemporary Chut Thai Siwalai Formal National Costume
in Batik Tiga Negeri in Pleats
Concept Design
This design is an adaptation of one of Thailand's formal national costumes, Chut Thai Siwalai. In 1960, Queen Sirikit of Thailand introduced this national costume. She noted a need for a modern national costume suitable for formal wear. The queen researched historical records of royal dress, and Chut Thai Siwalai was one of eight official designs developed and promoted by the Queen and her aides. The concept of this contemporary Chut Thai Siwalai is to apply Batik Tiga Negeri in Pleats to enhance the value, beauty, and elegance of the queen's design.
Contemporary Batik Tiga Negeri in Pleats (Sunburst pattern)
The contemporary Batik Tiga Negeri with pleating visual format
+
Contemporary Batik Tiga Negeri Batik design with Three Nation’s flowers bouquet.
Contemporary Batik Tiga Negeri with modified colors
Diagram showing the Design process from identification until implementation.
Kain (Cloth) Wiron inspired this pleating idea. Kain Wiron is a batik cloth with pleating made by a manual folding process called jarik wiru, which is popular among Indonesians, especially on Java Island. Traditionally, a long batik fabric is folded vertically into small accordion pleats two fingers wide (2.5–3 cm) with an odd number of 3, 5, 7, 9, or 11 folds. This kain wiron is usually worn on special occasions and eventually became the daily style of women. The folds are folded and left for several days. The longer they are left to set, the longer the folds will last. To ensure the longevity of the batik, heat is never used (kebaya societ, Instagram).
Altered shape is the changing shape of the batik fabrics which are normally two-dimensional into a three-dimensional form using the pleating technique. Pleating is a systematic folding of fabrics or other materials that results in precise symmetrical, non-symmetrical, or organic-looking folds. There are three basic types of pleating shapes, namely accordion pleats, side pleats, and box pleats. For this research, the shape experiment uses accordion pleats. Accordion pleats are a series of creases made in a fabric or other material that alternate and where the distance between each peak and valley is equal and symmetrical (Kalajian & Kalajian, 2017).
Diagram displaying new concept in applying Batik Tiga Negeri Concept.
The final Contemporary Batik Tiga Negeri in traditional colors. Source: Author, 2023
Before the final soga brown dyeing after adding
the filling motifs.
Mr Santoso handed over the red and blue (Bang Biron)
batik to Ms. Wiwin of Batik Pesona Canting for the next soga brown dyeing process
The Contemporary Batik Tiga Negeri design
Waxing process
Batik Kidang Mas for the red dyeing process
Batik Pusaka Beruang for the blue dyeing process
Pesona Canting for the soga brown dyeing process
The Contemporary Batik Tiga Negeri Process in 3
different batik workshop in Lasem, Indonesia
The icon representing Thailand was developed from Lai Thai (traditional Thai art), the hallmark of visual art in Thailand. Lai Thai is the basis for Thai artwork such as ornaments, paintings in Thai temples, and images on Siamise Chintz. The visual elements developed into the Thai Icon are from the details of the Siamise Chintz from the Ayutthaya kingdom period.
The icon representing Malaysia is a floral motif arranged in a bouquet of kembang sepatu flower (hibiscus), the Malaysia's national flower.
Malay kings of the northern countries of Peninsular Malaysia (Kedah, Kelantan, Terengganu, and Patani) delivered a Bunga Mas (Golden Flower) made of high quality gold to the King of Siam in Bangkok every three years as a symbol of friendship, which is due to the history between Malaysia and Thailand, from the 14th century to late 19th century.
The type of batik transformed is Batik Tiga Negeri. The batik's unique creative concept enables it to be developed into a contemporary Batik Tiga Negeri. Furthermore, this batik can be developed with a new visual appearance and dimensions, with the help of textiles technology. This batik transformation contributes to the revival of Batik Tiga Negeri and provides a new alternative that can be applied to fashion.
At the macro level, the motivation is survival, cultural, social, and economic. These motives then underlie the selection of elements of the tradition that must be preserved maintained and other elements that must be readapted.
Based on these motivations, elements that need to be redesigned and elements that need to be retained are identified. The elements that need to be redesigned include Technique, Material, Icon, Concept, and Shape, while the elements that will be maintained are Technique, Material, and Utility.
The concept developed in the transformation of this tradition is the evolution of the original concept of Batik Tiga Negeri, described earlier. If, at the beginning of Batik Tiga Negeri development, three visual styles were applied in one piece of batik from each batik workshop in three cities in Central Java, Indonesia, then this new concept was expanded by focusing on designing contemporary Batik Tiga Negeri that shows visual styles from three countries with batik culture. The traditional Batik Tiga Negeri concept has only three colors, namely red, blue, and soga brown. In the modern concept, the colors used are not limited to three colors.
The icon's appearance will be changed by implementing the new concept of Batik Tiga Negeri. The modified icons represent each country. For Indonesia, the Parang Rusak and the Kawung motifs were chosen. These two motifs' forms were simplified to give them a modern look. In the past, these motifs belonged to the category of forbidden motifs, which were reserved only for the royal family and high court officials as state dress in the sultanates of Solo and Yogyakarta due to roya decrees (Gluckman et al., 2018). Today, these motifs can be used freely outside the court but must be applied wisely to respect the sultanates.
Transformation Proces
The icon's appearance will be changed by implementing the new concept of Batik Tiga Negeri. The modified icons represent each country. For Indonesia, the Parang Rusak and the Kawung motifs were chosen. These two motifs' forms were simplified to give them a modern look.
ATUMICS Method. Source: Nugraha, 2021
Pujianto (2013) concluded that the batik esthetic is:
(1) Visual esthetic is the beauty evoked by the impression that is displayed in its entirety through the view of the combination of lines, shapes, textures, and colors in batik,
(2) Spiritual esthetic is the beauty of batik associated with an understanding of belief connected with a philosophy of life. In this case, a human relationship with God (Allah) is expressed through batik artworks.
The significant value of a batik artwork lies in its motifs and patterns, which are imbued with meaning, storytelling, hopes, and aspirations, establishing a connection between humans and the Creator (God).
The uniqueness of Indonesian batik lies in the spiritual aesthetics, which reflect the philosophy of life adopted by the people. This spiritual esthetic distinguishes Indonesian batik from others produced in different countries. Based on visual esthetics, batik is considered an inseparable part of daily activities attached to traditional rituals such as childbirth, marriage, and death (Rismantojo et.al., 2024).
In their entirety, the batik motifs refer to natural elements, and each stylized form follows the same philosophy, starting with water, land, and air. According to the ideology of the Triloka (Susanto. 1973), that is, the understanding of Hindu culture, the elements of life are divided into three realms, including the realm of the Upper World, the realm of the Middle World, and the realm of the Lower World. The three realms represent the relationship between the macrocosm (the entire environments in which a person lives) and the microcosm (oneself and the human mind itself).
Batik Esthetic
Conceptual Research. Source: Author: 2023
Mr. Rudi handed over the red batik to Mr. Santoso of Batik Pusaka Beruang
The Indonesia and Thailand
Batik Dua Negeri design
The idea of designing a batik that combines Indonesian and Thai visual styles is evidence of a common culture. The batik produced is called Batik Dua Negeri because it displays two visual styles from both countries in one piece of cloth. In this study, the design was divided into several stages as follows:
Develop hybrid motifs with Indonesian and Thai cultural influences. The following table illustrates hybrid motifs: the Royal pavilion of the Celestial Abode with Lotus vines and the Naga with Crown
Hybrid motif designs
The main elements of this batik design are the Royal Pavilion of Celestial Abode with Lotus tendrils, a hybrid form of Busabok, singgasana, pendapa, and Mount Meru on top, representing the upper world. The Naga with the crown guarding the Royal Pavilion represents the underworld and water. The Garuda and the wings (sawat) represent noble virtues required of a leader or person. These are the essential elements of the Semen pattern.
2. Applying the Sidomukti pattern as the primary background pattern
Sidomukti consists of a geometric pattern of diagonally crossing double undulating lines. It has diamond shapes filled with small motifs such as pavilions, Garuda wings, plant tendrils, butterflies, and other insects. The background may be solid color covered with the ukel pattern. Sometimes a solid color background alternates with the ukel pattern to give the fabric a checkerboard appearance. The Sidomukti pattern expresses the wish for marital bliss and is usually worn by a bride and groom on their wedding day. However, this pattern is not restricted to bridal or ceremonial rituals and can be worn in everyday life as well. The design is associated with a glorious, carefree life, implying the success of lofty intentions or sublime aspirations in a new beginning. Therefore, the pattern fits the concept of Dua Negeri batik creation, as it represents the marriage of two cultures.
3. Applying additional designs such as motifs with Chinese Peranakan
influences and Lai Thai motifs adopted from the mother-of-pearl inlays of the door panel of the Emerald Buddha artwork, as well as motifs from the Siamese Chintz cloth.
Additional motifs design
The motif on the Siamese chintz's band section has the same meaning and function as the Sawat Garuda motif. It represents the status of the wearer belonging to the high ranks or royalty. The intricate vine motifs combined with various mythical creatures from the Himmapan forest are arranged in a Sidomukti pattern that complements the Lai Thai visual style. Several Chinese Peranakan batik motifs are used in this new design to honor the role of Chinese Peranakan batik entrepreneurs in developing the Dua Negeri Batik. The motifs are butterflies, herons, and chrysanthemums, each with a meaning influenced by Chinese philosophy. Butterflies mean long life and joy, the heron represents a long life that leads souls to immortality, and the chrysanthemums symbolize longevity, strength, fortitude, and glory (Achjadi & Damais, 2006).
This new design uses Lasem's signature Latoh motif to represent Lasem, a small city in Central Java. The city is where the initial process of making Dua and Tiga Negeri batik is done by dyeing red first (Malagina, 2018). Many batik experts believe that the best red color is only achieved in Lasem with natural and synthetic dyes. The Latoh motif is a stylization of seaweed with small fruits used as an ingredient for dishes in the Lasem area. The batik workshops in Lasem refer to Latoh as a flower from the sea (Lukman et.al., 2019).
4. Final Dua Negeri Batik design in red, blue, and soga (brown).
These colors are red, influenced by Chinese culture, meaning good luck, courage, and happiness (Lukman et.al., 2022). In Javanese culture, dark blue is also considered black, implying nobility, wisdom, and firmness in the struggle for devotion. Soga is considered red to symbolize the flames, vigor, struggle, erotism, and productivity. In Hinduism, brown/red, blue, and white represent Brahma, Vishnu, and Shiva, respectively. These three elements are the source of life (Parmono, 1995).
Batik Dua Negeri Garuda by Maranatha Ong’s Art Batik, Lasem.
Source: Author 2022
The Final Batik Dua Negeri Garuda by Maranatha Ong’s Art Batik, Lasem.
Source: Author 2024
The picture above shows the final batik dua negeri. The process took place at Maranatha Ong’s Art Batik workshop in Lasem, run by Ms. Priscilla Renny. She is famous for her detailed, intricate, and delicate hand-drawn batik work. This three-colour batik dua negeri took 24 months to finish.
Contemporary Batik Dua Negeri
Second Experiment
With the help of Ms. Maneekan Chainon as a translator, the researcher specifically ordered stamped batiks in natural colors with typical Sivanat motifs to design the next Batik Dua Negeri. The colors used were blue and green. A special request was that the center and edges of the batik be left blank because once the batik is finished, it will be sent to Lasem, Indonesia, to be filled with typical Lasem motifs. The result is the Batik Dua Negeri, which combines typical motifs from the Phatthalung province with those from Lasem.
Sivanat Batik at Craft 2022 BITEC Exhibitition, Bangkok, Thailand.
Source: Author, 2022
Left, natural dyed Sivanat Batik. Right, Sivanat Batik motifs, Phattalung.
Source: Sivanat, 2022
Undyed and final stamped batik.
Source: Sivanat, 2022
The final Batik Dua Negeri design.
Source: Author 2023
Subsequently, the batik was given to Mr. Santoso, the owner of the Batik Pusaka Beruang Lasem. The researcher and Mr. Santoso discussed the process of completing the Sivanat batik, incorporating the distinctive Lasem motifs. Finally, the Sekar Jagat (Flowers of Universe) motif was chosen, symbolizing the cultural fusion's richness. This Sekar Jagat motif displays a collection of flowers and the typical Lasem motif, latohan (seaweed flower). This Dua Negeri Batik also represents the creative collaboration of Thai and Indonesian batik
Discussion with Mr. Rudy and Mrs. Vina of Batik Kidang Mas
The diagram on the left illustrates the new knowledge in the form of the production process of Batik Tiga Negeri in Pleats, which has a new value, modernity.
Based on the research results, the definition for traditional Batik Tiga Negeri is batik with hybrid motifs, which deliberately combines the best elements of typical motifs of two batik pesisir from the north coast of Java combined with classic designs from batik Vorstenlanden (keraton) or inland batik (Surakarta and Yogyakarta) with three colors (red, blue, brown) in one batik fabric.
The definition of contemporary Batik Tiga Negeri is batik with hybrid motifs, which is the result of combining the best elements of visual styles from three countries with a history of batik culture in one batik fabric.
The definition of contemporary Batik Tiga Negeri in Pleats is batik with hybrid motifs, combining the best elements of visual styles from three countries with a history of batik culture in one batik fabric. Then, a new method applied by using digital print and pleating technology to combine two pieces of contemporary Batik Tiga Negeri in one pleated batik fabric. This batik is included in the imitation batik category because it results from digital printing.
Pleats with sunburst pattern
Moodboard and Design for Indonesian Contemporary National Costume.
Source: Author (montage from various internet image), 2022.
Moodboard and Design for Malaysian Contemporary Baju Kurung.
Source: Author (montage from various internet image), 2022.
The Contemporary Malaysian Baju Kurung in Batik Tiga Negeri in Pleats
Final visual design for pleating for the skirt
The Contemporary Chut Thai Siwalai Formal National Costume in Batik Tiga Negeri in Pleats Final design