I am always amazed by the richness of Indonesian culture. Lets recognize or learn the richness of Indonesian culture. at this time I would like to invite you to recognize traditional Indonesian fabrics. Here are 10 traditional Indonesian fabric:
Ulos is the traditional cloth of the Batak people of North Sumatra.
Different kinds of ulos have different ceremonial significance. The
ulos is normally worn draped over the shoulder or shoulders, or in
weddings to ceremonially bind the bride and groom together. Ulos are
traditionally hand woven and in the case of higher-quality examples are
significant family heirlooms, to be worn at important events, such as
funerals and weddings.
According to Batak people, there are 3 sources of warmthness for human; Sun, Fire and Ulos. Ulos is said to be a source of warmth because they were living on cold mountains. This natural condition makes the sunlight insufficient to give warmth especially at night. Then, they create something that is able to give them warmth, also believed to be able to give the men bravery and the women strength against infertility .
At first, Ulos was only used as an ordinary cloth. But it later developed to a symbol of love, traditional ceremony requirements, and society structural system symbol. Even Ulos is believed to have magical religious power and thus considered 'sacred' and that it has special power to protect the user.
There are many kinds and motives of Ulos, which have their own respective meaning in accordance to the characteristic, condition, function, and some relation. When it is used given to whom, and which traditional ceremony like wedding, birth, death and other rituals will never run without Ulos. If Ulos is used by a man, the upper part of it is called ande-ande, the lower called singkot, the one used on head called tali-tali, bulang-bulang or detar. But, because of its sacred value, not all Ulos can be used in daily activities. Ulos Jugja, Sadum, Ragidup, and Runjat are only used in some occasions. In everyday life, men wear Ulos in box pattern with black shirt named baju Kurung without shoes nor sandals.
Gringsing known as weaving as a characteristic of the village of Tenganan Pegringsingan. It is not known exactly when the fabric gringsing began appearing in the village of Tenganan Pegringsingan. Also unknown who first introduced this weaving in the village of Tenganan Pegringsingan. Gringsing sacred meaning that is as repellent reinforcements, this can be seen from the word Gringsing gring derived from the word meaning "sick" and sing meant "no", with so gringsing means to avoid pain. Gringsing motif that forms a plus sign describes the philosophy of life for people of Tenganan, the "balance", just like the swastika, a symbol of balance in Balinese Hinduism. There are only 3 colors are visible on gringsing, which is white or yellow represents oxygen or air, the red symbolizes the heat or energy, and black symbolizes water. Generally, people gringsing Tenganan has a centuries-old fabric used in special ceremonies, such as tooth filing ceremonies, weddings, and other religious ceremonies, performed by relying on the strength of the fabric gringsing
Songket is a fabric that belongs to the brocade family of textiles of Indonesia, Malaysia and Brunei. It is hand-woven in silk or cotton, and intricately patterned with gold or silver threads. The metallic threads stand out against the background cloth to create a shimmering effect. In the weaving process the metallic threads are inserted in between the silk or cotton weft (latitudinal) threads in a technique called supplementary weave
There are two categories of songket weaving equipments; the main weaving equipment made from wooden or bamboo frame; and the supporting equipment which includes thread stretching tool, motif making tool, thread inserting and picking tools. The materials for making songket consist of cotton or silk threads or other fibers as the base fabric and decoration threads made from golden, silver or silk threads. It is believed that in ancient times, real gold threads were used to create songket; the cotton threads were run along heated liquid gold, coating the cotton and creating gold thread. However today because the scarcity and the expensiveness of real gold threads, imitation gold or silver threads are commonly used instead.
Songket weaving is done in two stages, weaving the basic cloth with even or plain weaving and weaving the decoration inserted into basic cloth, this method is called "inlay weaving system". The shining gold, silver or silk threads were inserted and woven into the plain weave base cloth in certain motifs, creating a shimmering effect of golden pattern against darker plain background. Songket weaving is traditionally done as a part-time job by young girls and older women in between their daily domestic chores. The complicated process of songket making is believed to cultivate virtues, as it reflects the values of diligence, carefulness and patience.
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Sasirangan itself is derived from the Banjar word sirang or menyirang meaning “to stitch together” which illustrates the delicate process of hand stitching and weaving of the traditional fabric. The method in making Sasirangan is similar to that in Javanese Batik, which applies the barrier coloring process. The difference is that Sasirangan uses barrier cloth such as string or yarn instead of wax and ‘canting’. The artist stitches the pre-made patterns on cloths, then bind the required patterns with string to avoid contamination with other colors, the fabric then dipped in dyes.
Traditionally, natural dyes were used for colors; turmeric roots were used to create yellow, karabintang fruit and areca nut to make red and brown colors, etc. Today chemical dye is more commonly used. This coloring process is called Pewarnaan Rintang, or color blockage. The last step is removing the stitches when the pattern designs would appear clearly. One cannot create an exact pattern because of the manual process. Unlike in contemporary Javanese batik printing, mass production of Sasirangan is not possible either. Productios of a simple piece of Sasirangan can take about 4 days, while the complex pieces require a few months to finish.
Tapis is a traditional weaving style from Lampung, Indonesia. The word tapis also refers to the resulting cloth. It consists of a striped, naturally-coloured cloth embroidered with warped and couched gold thread. Traditionally using floral motifs, it has numeorus variations. It is generally worn ceremonially, although it can be used as a decoration. It is considered one of the symbols of Lampung.
Tapis is generally made by Lampungese women. It consists of a woven, naturally coloured fabric with warped gold and silk embroidery. The gold thread, shaped in stripes, chevrons, and checks, contrasts the colours of the fabric.Tapis can also be decorated with beads, mica chips, or old colonial coins
The gold embroidery is affixed using couching techniques, minimalizing waste. The gold thread is attached in sections, then couched with a different, less expensive, thread at turns. This ensures that none of the gold thread is used in a non-visible area
Traditionally, tapis has floral motifs. However, modern tapis may also be based on the weaver's own design and include non-floral motifs, such as Arabic calligraphy. Other designs may include snakes, ships, and mythical creatures.Some tapis, called tapis tua (old tapis), are covered entirely in golden embroidery.
Although generally produced by Lampungese home industries, tapis is also produced in other areas, including Kendal, Central Java and Pisang Island.
Besurek’s manufacturing process is not
too different from the usual Javanese Batiks, that can be hand-drawn or
printed, and uses similar materials, such as cotton with silk
embroidery. The artist may use a variety of methods and tools while
creating the motifs, such as etching, dyeing and stencils.
Besurek does not consist only of a single motif, but is a much larger composition, incorporating several designs. Arabic calligraphy is the one constant that is present in all besurek, but is often combined with other patterns.
Of the typical Besurek compositions, the first, of course, is the bare Arabic script, usually illegible. The Rafflesia flower found in Bengkulu forests, commonly referred to as the corpse flower because of its stench ,is the world’s largest flower and the symbol flower of Bengkulu. This is said to be the most widely used motif in Besurek after calligraphy. The pheasant, a characteristic bird of the province, is another symbol of Bengkulu. Pheasants in various pictorial forms are often found on Besurek, but constructed from a series of calligraphic letters. Other commonly seen patterns are those of a full, shining moon, combined with calligraphic motifs,or a display of Jasmine flowers, characteristic to Bengkulu flora.
“Tenun Dayak / Dayak Ikat Weaving” is a traditional weaving process from the heart of Indonesian in Borneo, Kalimantan. “Ikat” meaning “to bind” involves tying and dyeing thread before it is woven into elaborate designs. The symbolic Dayak motives incorporated into the woven patterns make every cloth unique: each depiction has a specific meaning, allowing every cloth to tell its weaver’s story. The skill and time required for each piece have made ikat weavings a prime collectible item, particularly when the cloth is aged. Patterns are passed down from generation to generation, deeply rooting the craft form in the Sintang Dayak culture. The delicate allure of Ikat products makes them perfect décor and couture accessories. Their elaborate designs can be played up or down to best fit one’s personal tastes.
Bugis Silk is one of the local handicrafts from South Sulawesi, manufacture found in the area Sengkang District Wajo. Generally they still using traditional tools and materials to make it. This fabric is usually woven using silk thread to produce a variety of motifs and colors are gorgeous. Typically, Bugis woven fabric is used as a subordinate kebaya or baju kurung. You can find various motifs silk Bugis, including Balo Renni (small boxes), Balo hole (big boxes) and Bombang (zig-zag motif depicting ocean waves).
1. Batik
The
word batik is thought to be derived from the word 'ambatik' which
translated means 'a cloth with little dots'. The suffix 'tik' means
little dot, drop, point or to make dots. Batik may also originate from
the Javanese word 'tritik' which describes a resist process for
dying where the patterns are reserved on the textiles by tying and sewing
areas prior to dying, similar to tie dye techniques. Another Javanese
phase for the mystical experience of making batik is “mbatik
manah” which means “drawing a batik design on the heart”.
Some experts feel that batik was originally reserved as an art form
for Javanese royalty. Certainly it's royal nature was clear as certain
patterns were reserved to be worn only by royalty from the Sultan's palace.
Princesses and noble women may have provided the inspiration for the highly
refined design sense evident in traditional patterns. It is highly unlikely
though that they would be involved in any more than the first wax application.
Most likely, the messy work of dyeing and subsequent waxings was left
to court artisans who would work under their supervision.
Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for
yourself how the intricate process is conducted or ask questions of batik
artisans giving demonstrations in stores such as Sarinah or Pasaraya in
Jakarta. You will come away with sense of wonder over the time, effort
and patience put into the creation of each batik cloth. You too may soon
grow to love the distinctive waxy smell of batik and your batik acquisitions
will provide many memories of your stay in Indonesia.
2. Ulos
According to Batak people, there are 3 sources of warmthness for human; Sun, Fire and Ulos. Ulos is said to be a source of warmth because they were living on cold mountains. This natural condition makes the sunlight insufficient to give warmth especially at night. Then, they create something that is able to give them warmth, also believed to be able to give the men bravery and the women strength against infertility .
At first, Ulos was only used as an ordinary cloth. But it later developed to a symbol of love, traditional ceremony requirements, and society structural system symbol. Even Ulos is believed to have magical religious power and thus considered 'sacred' and that it has special power to protect the user.
There are many kinds and motives of Ulos, which have their own respective meaning in accordance to the characteristic, condition, function, and some relation. When it is used given to whom, and which traditional ceremony like wedding, birth, death and other rituals will never run without Ulos. If Ulos is used by a man, the upper part of it is called ande-ande, the lower called singkot, the one used on head called tali-tali, bulang-bulang or detar. But, because of its sacred value, not all Ulos can be used in daily activities. Ulos Jugja, Sadum, Ragidup, and Runjat are only used in some occasions. In everyday life, men wear Ulos in box pattern with black shirt named baju Kurung without shoes nor sandals.
3. Tenun Ikat
Ikat is a dyeing technique used to pattern textiles that employs a resist dyeing process on the yarns prior to dyeing and weaving the fabric.In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another color. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colors and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors
4. Kain Gringsing
Gringsing known as weaving as a characteristic of the village of Tenganan Pegringsingan. It is not known exactly when the fabric gringsing began appearing in the village of Tenganan Pegringsingan. Also unknown who first introduced this weaving in the village of Tenganan Pegringsingan. Gringsing sacred meaning that is as repellent reinforcements, this can be seen from the word Gringsing gring derived from the word meaning "sick" and sing meant "no", with so gringsing means to avoid pain. Gringsing motif that forms a plus sign describes the philosophy of life for people of Tenganan, the "balance", just like the swastika, a symbol of balance in Balinese Hinduism. There are only 3 colors are visible on gringsing, which is white or yellow represents oxygen or air, the red symbolizes the heat or energy, and black symbolizes water. Generally, people gringsing Tenganan has a centuries-old fabric used in special ceremonies, such as tooth filing ceremonies, weddings, and other religious ceremonies, performed by relying on the strength of the fabric gringsing
5. Songket
Songket is a fabric that belongs to the brocade family of textiles of Indonesia, Malaysia and Brunei. It is hand-woven in silk or cotton, and intricately patterned with gold or silver threads. The metallic threads stand out against the background cloth to create a shimmering effect. In the weaving process the metallic threads are inserted in between the silk or cotton weft (latitudinal) threads in a technique called supplementary weave
There are two categories of songket weaving equipments; the main weaving equipment made from wooden or bamboo frame; and the supporting equipment which includes thread stretching tool, motif making tool, thread inserting and picking tools. The materials for making songket consist of cotton or silk threads or other fibers as the base fabric and decoration threads made from golden, silver or silk threads. It is believed that in ancient times, real gold threads were used to create songket; the cotton threads were run along heated liquid gold, coating the cotton and creating gold thread. However today because the scarcity and the expensiveness of real gold threads, imitation gold or silver threads are commonly used instead.
Songket weaving is done in two stages, weaving the basic cloth with even or plain weaving and weaving the decoration inserted into basic cloth, this method is called "inlay weaving system". The shining gold, silver or silk threads were inserted and woven into the plain weave base cloth in certain motifs, creating a shimmering effect of golden pattern against darker plain background. Songket weaving is traditionally done as a part-time job by young girls and older women in between their daily domestic chores. The complicated process of songket making is believed to cultivate virtues, as it reflects the values of diligence, carefulness and patience.
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6. Sasirangan
Sasirangan itself is derived from the Banjar word sirang or menyirang meaning “to stitch together” which illustrates the delicate process of hand stitching and weaving of the traditional fabric. The method in making Sasirangan is similar to that in Javanese Batik, which applies the barrier coloring process. The difference is that Sasirangan uses barrier cloth such as string or yarn instead of wax and ‘canting’. The artist stitches the pre-made patterns on cloths, then bind the required patterns with string to avoid contamination with other colors, the fabric then dipped in dyes.
Traditionally, natural dyes were used for colors; turmeric roots were used to create yellow, karabintang fruit and areca nut to make red and brown colors, etc. Today chemical dye is more commonly used. This coloring process is called Pewarnaan Rintang, or color blockage. The last step is removing the stitches when the pattern designs would appear clearly. One cannot create an exact pattern because of the manual process. Unlike in contemporary Javanese batik printing, mass production of Sasirangan is not possible either. Productios of a simple piece of Sasirangan can take about 4 days, while the complex pieces require a few months to finish.
7. Tapis
Tapis is a traditional weaving style from Lampung, Indonesia. The word tapis also refers to the resulting cloth. It consists of a striped, naturally-coloured cloth embroidered with warped and couched gold thread. Traditionally using floral motifs, it has numeorus variations. It is generally worn ceremonially, although it can be used as a decoration. It is considered one of the symbols of Lampung.
Tapis is generally made by Lampungese women. It consists of a woven, naturally coloured fabric with warped gold and silk embroidery. The gold thread, shaped in stripes, chevrons, and checks, contrasts the colours of the fabric.Tapis can also be decorated with beads, mica chips, or old colonial coins
The gold embroidery is affixed using couching techniques, minimalizing waste. The gold thread is attached in sections, then couched with a different, less expensive, thread at turns. This ensures that none of the gold thread is used in a non-visible area
Traditionally, tapis has floral motifs. However, modern tapis may also be based on the weaver's own design and include non-floral motifs, such as Arabic calligraphy. Other designs may include snakes, ships, and mythical creatures.Some tapis, called tapis tua (old tapis), are covered entirely in golden embroidery.
Although generally produced by Lampungese home industries, tapis is also produced in other areas, including Kendal, Central Java and Pisang Island.
8. Kain Besurek
Besurek is the traditional cloth of Bengkulu, and has a similar appearance to the well-known Batik,
hand painted fabrics that can be found throughout Indonesia. What
distinguishes Besurek from most Javanese Batik is that the motifs that
typically adorn this particular fabric are of decorative Arabic
Calligraphy as well as other elements of Islamic culture. The name
“besurek,” comes from a word that means to compose or to write, so
besurek can, in a sense be considered a form of writing.
Besurek does not consist only of a single motif, but is a much larger composition, incorporating several designs. Arabic calligraphy is the one constant that is present in all besurek, but is often combined with other patterns.
Of the typical Besurek compositions, the first, of course, is the bare Arabic script, usually illegible. The Rafflesia flower found in Bengkulu forests, commonly referred to as the corpse flower because of its stench ,is the world’s largest flower and the symbol flower of Bengkulu. This is said to be the most widely used motif in Besurek after calligraphy. The pheasant, a characteristic bird of the province, is another symbol of Bengkulu. Pheasants in various pictorial forms are often found on Besurek, but constructed from a series of calligraphic letters. Other commonly seen patterns are those of a full, shining moon, combined with calligraphic motifs,or a display of Jasmine flowers, characteristic to Bengkulu flora.
9. Tenun Dayak
“Tenun Dayak / Dayak Ikat Weaving” is a traditional weaving process from the heart of Indonesian in Borneo, Kalimantan. “Ikat” meaning “to bind” involves tying and dyeing thread before it is woven into elaborate designs. The symbolic Dayak motives incorporated into the woven patterns make every cloth unique: each depiction has a specific meaning, allowing every cloth to tell its weaver’s story. The skill and time required for each piece have made ikat weavings a prime collectible item, particularly when the cloth is aged. Patterns are passed down from generation to generation, deeply rooting the craft form in the Sintang Dayak culture. The delicate allure of Ikat products makes them perfect décor and couture accessories. Their elaborate designs can be played up or down to best fit one’s personal tastes.
10. Sutra Bugis
Bugis Silk is one of the local handicrafts from South Sulawesi, manufacture found in the area Sengkang District Wajo. Generally they still using traditional tools and materials to make it. This fabric is usually woven using silk thread to produce a variety of motifs and colors are gorgeous. Typically, Bugis woven fabric is used as a subordinate kebaya or baju kurung. You can find various motifs silk Bugis, including Balo Renni (small boxes), Balo hole (big boxes) and Bombang (zig-zag motif depicting ocean waves).