Dutch Batik, Fragments of Colonial History in Indonesia

Dutch Batik, Fragments of Colonial History in Indonesia


EVEN exhibition of batik cloth has repeatedly held, each time looking at the batik cloth always feels there is a radiating charm. Not just the beauty of the composition mix and the color of decorative and interesting games were observed, but also the spirit of the times that are emitted cloth.

So did that feel when the see the exhibition of batik cloth Dutch private collection of Mrs Eiko Adnan, Nian Djoemena Mrs and Mrs Asmoro Damais in Hadiprana Gallery, Kemang Raya, South Jakarta (24 February-6 March 2004). The third belongs to lovers of batik cloth fabric that is generally a batik workshop and many came from businessmen in Pekalongan batik.

Pekalongan batik is where the main production of the Netherlands. Rens Heringa As noted in the Fabric of Enchantment, Batik from the North Coast of Java (1996), after a year in 1860, became Pekalongan batik production centers of the Indo-European or Dutch known as batik.

Especially in Pekalongan is batik ornamentation and composition experiencing Europeanization process, especially in the inspiration and workmanship. This is because there is demand from buyers of the Indo-European people, male and female. Batik originating from batik workshop owned by entrepreneurs such as AJF Jans, Lien Metzelaar, Tina van Zuylen, and especially Eliza van Zuylen become imperative to have as a bookmark connectedness with the Dutch community.

Batik-blooded businessman Indo-European, according Heringa, contribute to the development of batik through custom signature on each piece of batik them to show each sheet made specifically with the perfection of workmanship. The Indo-European businessmen had also introduced new colors in addition to the classic red and blue. Through a complex staining techniques, they produce perfect color gradation of each color.

Other contributions that employers are in decorative style and composition that create unique style of Pekalongan. The first style is characterized by simple lines and geometric designs are neat. The second style is the use of motifs bouquet or better known as buketan which was then regarded as the essence of Coastal batik. This large bouquet placed at the body and head cloth.

The Indo-European women choose floral motif typical of Europe in every season to represent every stage of their lives. Flower color also determine who the wearer. White color for the bride, blue for unmarried women, red is used to describe the love that a married woman, while the purple represents the simplicity that is considered intended for widows.

Dutch BATIK become markers of social class in colonial societies differentiated by race and social status. Year 1754 Governor-General Jacob Mossel issued a dress code for all ethnic groups, including the number of slaves should be brought when in public places. According to local habits of dress were allowed for European officials and their wives, but when in public places in Batavia had to wear Western clothes.

Batik cloth worn as long or sarong and kebaya or tunic-style top to wear loose favorite because of the Indo-European people in accordance with its tropical climate. Heringa also mentioned, equivalent length of cotton gloves and baggy clothes is a favorite of Governor-General Daendels, wearing this outfit for informal events and also to the office.

In 1872 the Dutch colonial government issued a regulation that forces everyone in the Dutch East Indies origin wearing tribes when appearing in public. Dutch batik and kebaya ebbed as the clothing in public in the early 20th century when European-style lifestyles increasingly dominate. They are wearing batik cloth in public is among the Indo-Europeans from the lower social classes, batik entrepreneurs even Indo-European, according Heringa, do not want to wear batik cloth and consider making batik as a mere business.

Batik-batik collections Eiko Adnan Ny, Ny Djoemena Nian, and Mrs Asmoro Damais not only beautiful, but also gives an understanding of a piece of Indonesian history. One of the batik fabric collection Djoemena Ny, made in Pekalongan, described the European fairy tale motif of a very mini-sized girl. It also appears on the fabric florals. "Flower bouquet and sparrows are one of the main features of Dutch batik," said Mrs Djoemena.

Mrs Eiko Adnan fabric collections include fabrics that depict the hajj to Mecca by ship, cotton, wood stamp, for women and men. In addition to drawing board, the body part there is also a lotus, squid, camels, and angels, while the head floral taro, geese, birds, and butterflies. Cain was signed by Haji Ambari. Other fabrics are fabrics that depict the VOC soldiers, ships, airplanes, cannons with galaran (fine lines) as a backdrop. Adnan Ny fabric collection there are also made in Palmerah, Jakarta, in 1880, patterned birds, flowers, butterflies in the head, while in the body section describes peacocks, flowers, and background galaran.

While Mrs Asmoro Damais collection include artificial batik Eliza van Zuylen 1925 with a large slash, flowers, and decorated with symbols of prosperity body section called Horn of Abundance.

Although there who see the Dutch batik motif mere decoration without meaning, when viewed from the perspective of colonial rulers, the motives of these European shows "coercion" from a position of power against a weaker, including the influence of Western cultural values. This is the picture of this piece of colonial history in Indonesia. (NMP)