Sumenep located in the east of the island of Madura, which still has the Palace is still maintained until now. Unlike the Madura batik batik soga sumeneb browned, almost menyerupau batik from the Palace of Mataram. However there is also a dark blue batik, or black and white, but with a little extra green and red hue. Lar plane decorative and is thought to be the effect when Mataram Mataram master Sumenep. Some examples of batik is: lar, sekar universe, slope, Limar bouquet, carcena hole.
Cirebon government under Sunan Gunung Jati is the oldest center of Islamic kingdom in Java and sekaligur an important port in the trade route from Persia, India, Arabia, Europe and China. Second karatonnya, namely kasepuhan and Kanoman, produce batik motifs and styles that are not available in other areas. Cirebon batik motif shows the influence of Chinese culture. This is evident in the form of horizontal decking such as decorative painting and walasan the typical mega mega cloudy and Wadasan. Some other examples are batik: batik kasepuhan trains, ships foundered, peksi dragon liman, banner story.
At first Pakualaman region is part of the Yogyakarta Sultanate. In 1813 the Sultanate split into Ngayogjakarta Sultanate and the Duchy Pakualaman as a result of a dispute between the Sultanate Palace by British Lieutenant Governor-General Thomas Stamford Raffles. Therefore, cultural elements and motifs of batik has a stout equation.
Pakualaman temple motif style changed since Sri Paku Alam VII marry the daughter of His Majesty Sri Pakubowono X. So then Pakualaman motif appear later in the alloy between motif palaces of Yogyakarta and Surakarta batik colors. Pakualaman motif including: temple Varuna, peksi Manyura, alternating scales barong machete, machete klitik seling fried, broken machete alternating huk, plane manak, baboon angrem.
Mangkunegaran style motif similar to the Palace of Surakarta batik, but with a yellowish brown color soga. However batik temple Mangkunegaran step forward in the creation of motifs. This is evident from the many temples Mangkunegaran motif. Mangkunegaran temple motif among others: buketan fern (Bei Madusari mother works), sapanti nata, ole–ole, revelation tumurun, Kesit barong machete, machete sondher, machetes klithik glebag chrysanthemums, lyrical cemeng (Mother works Kanjeng Mangunkusumo).
Surakarta or Solo is one of two sultanate of Java, with all the traditions and customs of the kingdom which is the center of Hindu–Javanese culture. Not only the residence of the king’s palace, but also the center of government, religion and culture are reflected in the art of the region, especially in the nature of batik: motifs, colors and usage rules. In Solo there are some specific rules on the use of batik, include: tsosial status of the wearer and special events where the batik should be used in conjunction with the hope or blessing symbolized through batik design.Solo batik designs are often associated with Hindu Javanese culture, Sawat symbol of the crown or highest power, Meru symbol of mountain or the earth, a symbol of the water dragon, symbol Birds of wind or upper world and the symbol of fire Tongues of Fire. Beberapadesain traditionally used in important events, for example: Satria Manah and Cement Chain worn during the wedding ceremony application.Design Fabrics made in workshops Panembahan length Hardjonagoro, Surakarta in the early ’80s, the combined effects of multiple patterned areas, but the overall design style and color typical of Solo. Cloth fabric is twice the length of half a meter, which is used as a formal gloves.
Yogyakarta as the capital and royal in Java, known as the heart of the art of batik. Jogja batik is very unique design that is developing a combination of several design motifs geometris.Contoh Jogja Batik is: Grompol and Nitik.
Grompol commonly used for weddings. Grompol means coming together, symbolizing the presence with all good things, such as; good fortune, happiness, children and a harmonious marriage. Nitik is a motif commonly found in Jogja. During the annual celebration of colonial (Jaarbeurs) in the Dutch colonial period, a batik producer memberinama Nitik Jaarbeurs awarded to motive.
Batik moor dominated by brown and blue colors. Another characteristic of batik is colorful moor. Tegal batik or moor it can be recognized from the image patterns or motifs rengrengan large or wide. This motif is absent from other areas that seem exclusive. Motive much adapted from a variety of flora and fauna around the lives of the people in the town of Tegal. Grudo motif (Garuda) with bright colors that show forms and motifs eagle wings Gribigan with distinctive woven bamboo shape rather dark in color. Tegal batik dress culture in Amangkurat I brought King (Sunan
Amangkurat Mas) of Kraton Surakarta. Amangkurat then along the north coast brings followers among batik artisans.
is a Chinese-produced batik with patterns and colors influenced by cultural background with batik patterns of Japan Palace. This Batik started to develop during the occupation of Japan in Indonesia.
There are the usual motif of batik in Java Hokokai is cherry blossoms, krisant, dahlias and orchids in the form of buketan or lung-lungan and plus a butterfly motif, in addition there is also a motif a Peacock who has a sense of the beauty and grandeur.
Java Batik Hokokai created the Chinese entrepreneurs with the aim of adjusting to Japan’s Government. The name Hokokai is derived from the name of the Java organiosasi that help Japan activities create prosperity in Asia in a variety of activities in collaboration with the people of Java.
One of its activities ordered batik Pekalongan to entrepreneurs and given to the people of Indonesia who contributed in Japan. One of structuring motif very clearly shows the influence of Japan is part of a pattern called Susomoyo that is a fringe pattern consists of a range of ornamental flowers and butterflies that are set from the corner towards the bottom corner towards the bottom or the side such as the stacking pattern kimono.
Batik Banyumas is a folk craft products of the textile industry which had a distinctive motif Banyumas and so one type or pattern of Javanese Batik Banyumas Batik production center is in Sokaraja, Banyumas.
Batik Banyumas now rada Dim due to losing a matter of management (especially business management) with another period of batik batik Banyumas jaya is circa 1965-an nganti 1970s.
Now the local government district of Banyumas has begun trying to help the craftsmen and the efforts of Batik Banyumas District Government employees wear required e.g. bauju batik day certain days