Batik-Kimono : - LPPM uns

Batik-Kimono : The Study of Motives and Philosophical Meaning Kundharu Saddhono, Sahid Teguh Widodo, M. Taufiq Al Makmun Javanology Institute, Sebelas Maret University, Indonesia Email: [email protected] Masakatsu Tozu Kokushikan University, Tokyo, Japan Email: [email protected] Based on a research contract DIPA LPPM UNS No 247a/UN27.11/PN/2012 date on April 25, 2012 ABSTRACT The long term objective of the research is to strengthen the relationship between Indonesia and Japan in the area of research, publication and development of creative economy. Specifically, the research aims at facilitating the need of space for experts and watchers of culture between two countries in order to reinvent various forms of patterns and designs as well as the values found in Batik-Kimono fashion. This research is a continuation of the MoU signed by Javanology Institute, LPPM UNS and JICCA (Japan-Indonesia Clouth Cultural Assosiation) Kokushikan University, Tokyo, Japan. Based on the agreement, the result of the research will be published in the international journal AJJ Kokushikan University. Keywords: Batik, Kimono, Javanologi, JICCA, Kokushikan 1. Introduction Batik and Kimono are two original creative works from Indonesia and Japan which are closely connected to each other. Further, both of them own high cultural values. Over time, through their development Batik meets Kimono in the world of fashion and mode in both countries; they, indeed, put colour on the trend of global fashion. Batik clothing – especially shirt – has been widely recognized by Japanese society. Batik is suitable as summer wear in Japan due to its light material and simplicity. Moreover, Batik has also been used as an official outfit for some groups of society in Japan. Batik and Kimono are not only cultural assets but also useful in terms of creative economy such as fashion design and craft industries. As a nation with diverse cultures, Indonesia owns various outstanding cultural products. The diverse Indonesia is also supported by

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unique, attractive and outstanding cultural systems found as Indonesian national and local ethnic cultural system (Sedyawati in Leo, 2009). The efforts to reinvent and develop the outstanding products of cultural heritage have been widely applied in order to revitalize the national identity rooted to local wisdom which is a strategic point in shaping national characters and identities (Djoemena 1990). Ayatrohadi (1975) states that in Indonesia there are many groups of society possesing various specific life-skills such as pandemas (gold crafter), juru basa (interpreter), panjawab (spoken person), juru lukis (painter) or Batik painter. Koentjoroningrat (1985) underlines that arts crafts especially the Indonesian arts of tenun (weaving), Batik, ikat (dyeing) and textile are the branch of arts which have been rooted to the Indonesian culture for centuries, holding high quality of fineness, and being able to show the unique characteristics of Indonesia. The above facts have been part of Indonesia since the eighth century AD as the heritage of the forebears known as local genius. The values of local wisdom serve strategically to build the national characters and identities. In this sense, it is important to conserve and maintain the culture inherited by the ancestors in order to preserve the local identity. Cultural heritage posseses educational elements which encourage the societal members of a culture to develop their sense of belonging and respectance toward their own culture. The attempts to reinvent and revitalize the local wisdom of BatikKimono inherently can be applied through education. The purpose is to drive back the emergence of the foundation of local cultural values as part of efforts to develop the national identities and filter the various cultural influence in the age of universal globalization (Leo, 2009). Originally Batik is a form of traditional fine arts work. Reputedly, the Batik making for generations has been following and always adapting to the contemporary situation as well as conserving the traditions at the same time (Kalinggo 2002). According to Nanang Rizali (2011), the patterns and decorative varieties of textile are united to the technique of the making, reflection of traditional background and local cultural contents; therefore, it possibly enables traditional textiles to become national cultural identity. Visually, the form of traditional textile especially Batik does not only represent beauty, aesthetics, but also blended moral and customary norms. In the works, it is found signs or symbols which cannot be simply understood iconically as they reflect the symbolization of belief, philosophy, and harmonic living conception. Over time, Batik has been absorbing various combinations in its design elements since Nusantara is located in the crossing of the traffic of international trade and cultural distribution. The presence of Hinduism, Buddhism and Islam which experience process of acculturation with local cultural traditions in some areas of Nusantara has triggered the birth of more various culture. The contact between religions and local culture seems to

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enable various possibilities; that the developed and supported culture by a society is the culture which has basic foundation of religious values embraced by most members of the society. Batik culture which spread all over Nusantara is a work of arts created by a tradition originated from the same era of gamelan (traditional music ensemble), wayang (traditional puppet) and metal prior to the coming of Islam. Patterns and decorative varieties of batik from the glorious periods of Islamic kingdom have strong influences to the forms of decorative type of traditional arts of weaving in Indonesia, for instance, floral element and geometrical shape of arabic letters alike. It is a clue to have deeper studies about traditional textile and Batik in Indonesia which content Islamic elements (Kartiwa, 1987). Some decorative types of traditional Islamic Batik are charaterized by symbolical forms derived from religious and cosmologic symbols (Bakhtiar 1997). Based on the above facts, the symbolic structures of the form of decorative types of traditional batik are combinations of constructive symbolic forms, evaluative symbol, cognitive symbol, and expressive symbol (Triguna, 1997). Batik and Kimono are two creative workers of youth of the nation of Indonesia and Japan, which has a value of virtue, excellence, and a very close relationship. The development of fashion and clothing in both countries and even become a fashion trend in the world. Batik-clothing, especially shirts, has been widely recognized by Japanese society. Japanese people love to wear in summer because it is made of thin fabric and relatively simple. Batik even is used as formal wear by most Japanese people. The same fact is also felt by some communities in Indonesia that was suitable with Harajuku style, appearing light, exclusive and comfortable expressing themselves. BatikKimono is cultural assets that have multipurpose, not only in the context of culture but also in the field of creative economy such as fashion, design, and crafts (Tozu, 2011b: iv). 2. Research Methodology It is a qualitative research based on the concept theorized by Nunan (1992), Merriam (1988), Lincoln dan Guba (1985), Patton (1990), (Staruss & Crobin, 2003), Charmaz (2000), dan Sutopo (2002). This type of research is useful in a way it enables researchers to understand various situations in the level of individuals, group, or a certain social interaction (Lock, Spirduso & Silverman, 1987). The rule of qualitative research promotes the emergence of interpretation of various social phenomena by comparing, contrasting, rearranging, tabulating, and classifying the object of the studies (Miles & Huberman, 1984). The focus of a qualitative research is perception and the experience of informants and the way they asses their lives (Lock, Spirduso & Silverman, 1987). Various realities should be comprehended and expressed on how each of them occur and come to pass (Lincoln & Guba, 1985; Frankel & Wallen, 1990; Merriam, 1988).

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The research employs purposive sampling technique. This study is based on the context, hence each context must be treated in line with the context itself (Lincoln & Guba, 1985). It means that statistic generalization is impossible to do as each context is unique in terms of nature, characteristic, circumstance, profoundness, and its function in a different context. The sample used in the research is called internal sampling. It is a sample which is employed in order to represent information and not based on the number of informant taken from the available population (Bogdan & Biklen, 1982). The research attempts to provide complete and deep information dealing with the usefulness of batik patterns and designs to support the development of public creative industries. The sources of data of the research are: (1) informants, (2) documents dealing with types of patterns and designs of batik and kimono, cutting model and kimono design, the development of form, significance, and function of batik and kimono, and (3) events related to the making of batik and kimono patterns and designs. Based on the sources of data, the data of the research are: (1) The information obtained from batik and kimono maker and designer, batik and kimono industries, artists, cultural experts from both Indonesia and Japan, (2) Documents dealing with batik and kimono found in research reports, text books, summary and exhibition overview (booklet), and academic papers, and (3) The making process of patterns and designs of batik and kimono both in Indonesia and Japan. Interview: the purpose of the interview is to arrange and organize as well as manage, widen the construction, and predict various forms of information from the society, happening feeling, motivation, care, etc. (Lincoln & Guba, 1985). Generally, the idea is in line with Patton (1980), that the purpose of interviewing in a qualitative research is to collect exact information which cannot be obtained through observation. Observation: The research plans two types of observation, they are: (a) passive observation and (b) active observation (Spradley, 1997; Sutopo, 2002). Both types are employed by following the circumstance of data and sources of data. Content Analysis: Yin (1987) states that content analysis is collecting data which are derived from documents. The steps are as follows: (a) collecting the various patterns and designs of batik and kimono from various sources, (b) classifying data based on the forms, periods of distribution, types of pattern and design, and the distinctive characteristics, and (c) data interpreting dealing with the problems of the production of cultural merged form of batik kimono patterns and design and also watching closely the possibility of the existence of influence from another cultural system. Validity test technique which is employed in the research is triangulation (Patton, 1987). It is divided into three types of triangulation; they are sources (of data), method, and theory. The three types of Patton’s triangulation model are in line with Maxwell’s (1996). Triangulation of sources means that sources are compared in order to find the truth. A source of data is tested by using another source in a different context; it can be done

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through the following ways: (1) comparing the observation data to interview data, (2) comparing the general observation data to individual one, (3) comparing the situational data to fixed data, (4) comparing individual opinion data to public one and (5) comparing the interview data to documentary data (Moleong, 2005). Basically triangulation method is a strategy of validity level test based on the comparison of data collecting technique and different sources of data. The research employs data triangulation which includes data reduction, data presentation and verification (Miles & Huberman, 1992). 3. Result and Discusion 3.1. Introduction of Batik Batik of Indonesia by UNESCO as a Cultural Heritage for Humanity Oral and Non-material (Masterpieces of the Oral and Intangible Heritage of Humanity) since October 2, 2009. Batik is an art craft that has high value and has become part of Indonesian culture since time immemorial. With a variety of things related to the history, development, values, and spirit that is emitted, it is fitting the Indonesian government in cooperation with the people to maintain and preserve batik. The word "batik" consists of a combination of two words in the Java language, which amba 'write' and titik 'point'. Art staining fabric with stain prevention techniques nights in batik is an ancient art that is still to be found. In the State of Egypt such techniques have been known since the 4th century BC the mummy wrapping cloth which coated the night to form a pattern. It is also common in China during the Tang dynasty (618-907), in Japan and India in the Nara dynasty (645-794), and also in Nigeria on Yaruba tribes (Amindhito, 2010). Based on the discovery of the site's inscription in the temple relieves, experts believe that up to now the art of batik in Java has been known since the early days of the Majapahit (X-XI centuries). Many sources who have written the history and origins of batik, among others wrote Brandes (Dutch archaeologist) and Sutjipto stating that batik developed in areas less impacted by Hinduism as Flores, Halmahera, Toraja, to Papua. A research report from Rouffaer quite interesting stated that the motive Grinsing been known since the XII century in Kediri region. One of the main tools used are canthing, another source of Malay literature mentions that in the seventeenth century have been found litter 'batik' in the Malay kingdoms. While the source of Raffles (1817) describes the development of batik art in nineteenth-century Europe. The period was a Dutch merchant named Van Rijekevorsel handed a piece of batik cloth to ethnic museum in Rotterdam gained from Java. Apparently, a nineteenth century can be called the golden age of Batik period. Since then, Batik Java Java began to spread from the plains to the Malay world into Asia and Europe. In the development of batik continue experiencing a fairly significant change. As a result of the development of science and technology it is

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inevitable development of batik art from it. At this time there are various types of batik, batik tulis batik, batik cap, batik combination, and batik printing. Batik tulis is the art of painting on a cloth by using a tool called canthing made of tambaga. Canthing formed in order to accommodate the night 'wax batik' by having a hollow end of the night as the flow of materials. Canthing used to provide initial image on the fabric surface. Amber shapes generated by canthing more flexible and detail compared with Cap. Only the process is much longer than with other types of batik, example batik cap or batik celup. Until now, many experts argue that batik broadly divided into two, namely the pesisir batik and batik keraton. Batik keraton displays many colors brown and tend to sublime (blue, yellow, white), while the freer pesisir batik motifs and color displays. Some of the old masterpieces such as batik motif banner (14th century), the motive Grinsing (14th century), motif Kawung works Sultan Agung (1613-1645), and Tirta Raja motif (a type of webbing). Philosophical meaning Batik Keraton rated very high. Each type has a philosophical meaning attached to the concept of life and grandeur. What is interesting is that each motif has a different function. Even today, there are special motives are only found in the palace alone. Batik cap different from batik tulis . Batik cap using a stamp made of carved loga. Associated with his name, working techniques batik cap is done by stamping on a piece of fabric chosen. Motif repetition is very clear that distinguishes batik tulis. Equipment is more expensive than canthing stamp that costs about Rp. 20.000, - (twenty thousand rupiah). A great tool batik cap worth 700 thousand to 1 million rupiah. However, despite the high initial capital, it appeared to produce batik cap cloth batik much faster than with batik tulis. Therefore, it is only natural that batik cap is relatively cheaper than batik tulis. Age batik cap relatively shorter than the batik tulis. Batik tulis can be worn for up to 10-20 years, while the use of the same batik cap can only last 5-10 years. More batik cap produced by merchants or businessmen textile motif. Besides the price affordable by the community, the process is short, and can produce up to an infinite supply of labor and depends on fabric. Batik cap is not so much philosophical meaning, but the beauty of the senses. The beauty of batik cap it appears from the diversity of motifs produced. Batik Cap mass produced to be able to introduce batik cloth in a wider range. The existence of batik at least provide for the various groups, classes, and various economic levels to wear batik as a fashion masterpiece ancestors on numerous occasions. Batik combinations arise from creativity of the nation who want to preserve batik with reference to the context of artistic, economic, and social needs are constantly increasing. Batik combination is a fabric of batik combined with at some parts you want highlighted. There are many

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combinations Batik in Solo and Yogyakarta with varying prices. The more batik piece he wrote, smoothness and accuracy of the prime, the more expensive the price of batik combination. Batik combination allows the author to create a variety of modified forms of batik colors tend to be conventional by giving the lines and curves and colors are more popular and more acceptable to many people. Batik printing using printing technology to produce batik. Sophisticated equipment with enhanced technology that increasingly allows batik printing to better play with color and pattern variations. Materials can also be varied according to the selling price. Batik printing is currently manufactured by PT Sritex, batik printing company the biggest in Southeast Asia. Batik printing has many advantages, (1) The ability to produce batik printing many remarkable and fast with excellent accuracy, (2) What motives could be used as a fabric pattern with a digital photo techniques being filmed, and (3) Ability to sell products at very affordable by the public exceeds the capabilities of batik printing. But on the other hand, batik printing is often regarded as a source of problems for small batik industry made public for generations. Batik Solo is famous for its traditional style and patterns, both batik tulis and batik cap. Solo Batik many use materials from the surrounding environment (Anindito, 2010), which makes it different from either coastal, or batik in other regions. On the piece of batik Sido Mukti and Sido Luruh and we can find the whole copyright flavor masterpiece outstanding local. Almost all points describing the meaning of a typical local atmosphere and unique Java. In the region there are so many places Surakarta batik producer. Two of the most well known is Kampung Laweyan and Kampung Kauman. Laweyan village since the 19th century was known as the village of batik, which is a place for batik cloth merchants. Long historical background related to the social changes resulting in aggregation in Surakarta batik entrepreneurs establishing social unity batik traders in the late 19th century AD. Developments in Surakarta batik is inseparable from the symbols of Islam. It is evident that batik is Moslem villages in Surakarta. Batik time it would become a tool of economic struggle for merchants Moslem leaders to also broadcast the religion of Islam to the wider community. This is an interesting phenomenon because the first batik limited to the royal family. But in its development as well as to outside walls and produced on a large scale by traders who are not family (ordinary people, even the immigrants). In its development, batik became folk crafts among the public in Surakarta. Many mothers and women who worked as a mbatik in the company or the skipper batik production houses. A development in those days was a lot of exploration dye taken from plants that are around. For example, soga, noni, and tilapia with a material made from soda ash soda and salt using mud. 3.2. Philosophical Meaning of Batik

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Each motif Batik philosophical meaning. Meanings contained in batik motifs described in the following discussion. The first, the word "semen" means spring or shoots. The motive is still associated with a pattern of Meru. It is said that at the top of the mountain there Mahameru shoots or plants that always springs. Among these trees are trees that are considered sacred, the trees' sandilata "(tree of life), which can provide a magic tree; jambuwreksa tree, which has a height of up towering into the sky with branches very much, acwata trees whose roots stuck to the bottom is considered as a symbol of belonging Sang Hyang Vishnu, symbolizing the rays of the sun as the eternal tree; tree plaza ascribed to Sang Hyang Brahma; trees belonging yagroda Sang Hyang Shiva. The trees are considered a symbol of human life on earth. Therefore, when used as a motif is expected that the wearer can always be in touch with God. Semen, based on said spring means to grow or grow, is a non-geometric patterns inspired by nature. Full of stylish design, flowers, leaves, mountains, and animals, this group is very important to design royal special occasions, as well as the general public in everyday use. Garuda, the bird-human mystic Hindu mythology, which carries Vishnu through the sky, often depicted in Semen design with a single, or a pair of wings or the wings and tail. Batik motif Rama Semen including batik full of guidance. Batik is made in the Paku Buwana IV in 1787 to 1816. Making batik motif to remind his son who had been appointed his successor as crown prince. Ari Wulandari (2011: 138) states that the semen comes from the spring, the growth of the plant. In general, the principal ornament pattern ornament batik motif semen is related to the land described by the plants and animals that have four legs, air or mega depicted with clouds and flying animals, as well as water or sea water drawn by animals. Batik patterned "semenan" with Semen Rama's name was inspired from the story of King Ramawijaya giving exhortations to Raden Wibisana Gunawan, brother Dasamuka King of Alengka, as would be king. Discourse was then known as Hastha Brata, which must be owned by a leader. Fill Hastha Brata teaching (eight virtues for a leader) is as follows: (1) Indrabrata, is the doctrine of Dharma to give prosperity and protect their ground. Symbolized the form of plants or people, (2) Yamabrata, a fair yangbersifat teachings to others. Be represented in the form of a mountain or a cloud motif depicting a high position, (3) Suryabrata, is teaching courage, no half measures preformance take policy as matahari.Dilambangkan in the form of drawings eagle motifs, (4) Sasibrata, Meaning give exit to the suffering problems. Described in the form of animals, (5) Bayubrata, is the doctrine of virtue or a high position that does not accentuate the power or "dumeh kuasa". Described in terms of "iber-iberan" or a bird, (6) Danababrata or Kuwerabrata, meaning reward or gift to the people, like pulung or Ndaru. Represented in the form of inheritance, (7) Barunabrata or Pasabrata, Meaning like as well as the extent of forgiving ocean or "jembaring samudra welas asih." Represented in the form of a dragon, a boat or water-

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related, and (8) Agnibrata, meaning to crush the savage magic to protect the weak. Represented in the form of fire, flames or cemukiran. Motif batik semen yang lain dan populer dalam masyrakat Indonesia, khusunya Jawa yaitu Semen Ageng , Babon Angrem, Semen Kingkin, Semen Kipas, Semen Kukila, Semen Sida-Raja, Semen Buntal, Semen Remeng, Semen Kakrasana, Semen Naga Raja, Semen Candra, Semen Gendhong, Semen Prabu, Semen Wijaya Kusuma, Semen-Klewer, Semen Nagasasra, Semen Sinom, Semen Bondhet, and Semen Rante. Ceplokan is a flower, commonly used to refer to the unit of interest. For example, roses saceplok meaning red rose. In this case, related to the geometric patterns in the scope of a box which is termed a "rapot" that could be repeated and interconnected. At the time of the kingdom of Mataram Sultan Agung of Mataram Kartasura seventeenth century until the eighteenth century ceplokan motif has been developed and used among the Palace and the general public. For example ceplokan batik motifs are: Ceplok Batik is a fabric sheet consists of two different boxes, one box motif "lung", while another box motif "ukel". Told Lung Slop means foliage framed. Lung meaning of the word is to describe the life of the world, that life is finite. While the meaning of the frame is an order that must be executed in the community, regardless of position. But there are also others who interpret, that the motive Lung-Slop depicting the life and the universe gedhe little universe. Gedhe universe represented by the contents ukel and little universe symbolized by the lung form. The meaning of the universe is a little on the personal lives of their own, while the universe gedhe a reality. During Pakubowono IV in Surakarta batik originated from the fusion Lung and Parang Klithik called ceplok Sriwedari. Batik Ceplok Sriwedari, in principle the same as the Lung Slop, only motif ukel replaced with isen-isen parangan, so in one box of the lung and the other patterned patterned machete. Sriwedari name represents a beautiful garden and attractive and can make sengsem in the liver or can captivate to eliminate boredom in everyday life. Meaning, fried bathik ceplok Sriwedari can make coolness and inner peace as a family. Can be used for all classes of status in the community for people who are already married. Rengganis meant by the word "ireng-manis" there is also a link with the name of the Dewi Rengganis. It was both a hope, to have his life given completely adorable. In Javanese culture called " lelampahan kang sarwa manis, eca sekeca gesangipun". This means that given the good life, well off everything, and have a respectable position in society. Batik can be used for all classes of status in the community and is used for people who are already married. Batik Satriya Wibawa including the type of batik "ceplokan" rectangle with a central point in the middle, in the teaching of Java included in the concept "of powers" which symbolizes the king as a symbol means giving revelation. In administering justice assisted four-priyagung called "pancaniti". Satriya-Wibawa have shown dignity, character menep, wise. Can be used for all ages, both young and old.

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"Batik parang" and "lereng" is for the Palace of Surakarta as ageman sublime, that is only used by Agemandalem Sentanadalem Sinuhun and Son, for court employees to the ban. Some argue that the name 'parang' is identified with a sharp weapon such as a machete or similar swords. This understanding is called "Wantah" in interpreting a word. Based on consideration of the data, the word "parang" change from "Pereng" or rim of a cliff in the form of "lereng"". As from the highlands to the lowlands that form diagonal. Taking a basic overview of the cliff coastal area south of the island of Java, which is named: Paranggupito, Parangkusumo, Parangtritis, etc.. The name is very closely related to the presence of Ingkang Sinuhun Panembahan Senopati founder of the Mataram kingdom, after the move of the seat of government of Demak to Javanese Mataram. These places is a "teteki" or bertapanya Mataram king who inspired the emergence of the first lereng or parang batik suit the different characteristics of ageman Mataram with earlier batik. Also reminded laku-tetekinya Panembahan Senopati of Parangkusuma passes south coast towards Dlepih Paranggupito, browse cliff "gunung-sewu" (Pengunangan Sewu) which seems lined, lined cliffs, which is still sacred by the people of Java. As king of Java are qualified in the field of "seni" he created "yasan" and develop new works. So batik parangan / lerengan emerged in the sixteenth century. Kusuma means flower, that reinforce your power darahing-ratu or called darahdalem. This new batik motifs exist in the Ingkang Sinuhun Panembahan Senopati, the founder of the kingdom of Mataram, in the XVI century. As the name implies, is only used by Parangkusuma darahdalem pancer Ingkang Sinuhun Mataram hereditary.Batik Parang Pamor including batik parang early, including yasan Mataram Kutagedhe in the XVI century. Pamor which means emitting light or radiant shine. In terms of the dagger, the prestige is the result of a mixture of fabric wilahan shaped design, which exudes beauty, which bring "daya perbawa". Similarly in this batik, which symbolizes ageman luhuryang has "perbawa" and "wibawa". Batik "Parang Kumudhawati" including machetes "seling" between batik Parang Rusak and Parang Modang. Is the descendant of the noble clothing Mataram. Batik Kusuma Wibawa dari kata "kusuma" meaning blood-noble or noble life, "kawibawan" means authority. Meaning of Batik is expected to achieve a life that is noble and has the authority to another person or the community. Batik Kusuma Wibawa including background and white cement group, used the Regents. This motif is developed in the SISKS Pakubowono IV in the late eighteenth century. Motif Batik Lereng "Udan Riris" emerged in the Pakubowono III in Surakarta, mid eighteenth century. Background of the birth of this motif is of concern Pakubowono III. Upon agreement Giyanti, Mataram was divided into Surakarta and Yogyakarta that the condition of the government have not been regularly , there are still many improvements keprajan and require concerned. at the time when the behavior Pakubowono III laku teteki is one kungkum or take a dip in the River Premulung Laweyan village, which flows near the tomb of his ancestors Kyai Nis (Parents Ki Ageng archery). teteki

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Pakubowono in III illuminated with a kerosene lamp. At that time suddenly fell drizzle, the wind blowing. in such an atmosphere he creates inspired motif that later was named Udan Riris. Symbolic meaning of Udan Riris motif is symbolizing fertility or lead to prosperity. According to the Palace of Surakarta batik parangan and lereng are only used by the royal cemetery relatives only. it was hereditary as its slanted diagonally from top to bottom. thing it symbolizes where Panembahan Senapati as its founder. Motif batik lainya adalah Batik Naga Gisikan. Naga means snake large (in Javanese culture depicted crowned), gisikan meaning of the word which means outskirts, in this case symbolized the ocean or beach side. Its meaning in the philosophy of Java, crowned dragon symbolizes serenity guards, patient disposition as wide ocean of compassion. Batik Naga Gisikan include cement white background used for all classes, and especially for those who already housekeeping. Batik Ratu Ratih adalah motif batik lainnya yang ada dalam masyarakat Jawa. The name of Ratu ratih is from the word Ratu Patih, others interpret the lotus-white or queen upheld or be governor because of his young age. Meaning it was likened to "sesotya embanan ing", which manifested edged diamond gold ring. In the batik is associated with an honor, personal greatness that can adapt to the natural environment. Batik can be used anyone and from any class, as well as for a banquet. Judging from its name batik appeared in the reign of PB VI, which at the time was made king, PB VI was young and was accompanied by the governor in 1824 AD Batik Sidamukti, Sidaluhur, and Sidamulya have the same motive, the difference is the base color of batik. Sidamulya constitute a lot of white, black Sidaluhur constitute a court, and the court ukel Sidamukti basis. Sidamukti to mean that later in life can be achieved happiness have adequate material and thus respected position in society. Once in the Pakubowono IV, Sidaasih no development pattern with a white base interspersed ukel court. Batik Sidaasih has meaning to the attention of others and mutual love or other words liked and loved each other. Batik Sidamulya from Kartasura Mataram era. Later in the reign Pakubowono IV developed, the basic fabric of the original white background wearing basic "ukel" developed a fabric called batik batik Sida Mukti. Actually batik Sidamukti, Sidaluhur, and Sidamulya have the same motives, the difference is the base color of batik. Sidamulya constitute a lot of white. "Batik Sida Luhur" is a work of the period SISKS Pakubuwono II. Batik Sida Sublime have a hope in life can achieve a high position and become a role model of society. Batik Sido Dadi motif is a blend batik Sido Sido Mukti and Sido Luhur. Bokor Kencana adalah motif batik is usually used for water as a completion ceremony flowers. Kencana means gold. Batik motif is taken from the king's ceremonial equipment. When the king sat on the throne is always accompanied fixtures called king's ceremonial equipment brought by the king's son and grandson were still small. Son or grandson of the king are called "jaka palara-lara" meaning they learn manners. Meanings of batik is expected to bring dignity and majesty so respected within the community.

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Batik bokor kencana be used by all segments of rank in society, both young and old. The work appeared in the reign of PB IX and the late PB XIX century including batik new genre. Truntum batik, batik form a flower-background-black cape. There was a mean of said tuntum or recurrence or intertwining love a deal again husband and wife. Provide an overview of human life in the world there are only two, the happy-hard, bright-dark, husband and wife, day and night. Just as the "kembang tanjung latar-ireng" that describes the stars in the sky at night. That man will not escape from "pepeteng", even a "sagebyaringlintang" may be "pepadhang". Batik is yasan Kanjeng Ratu Kencana Kanjeng or better known as the monkey queen, empress palace Pakubowono III. Batik Wahyu Tumurun is usually used to flush the ceremony. One of them is the tradition of pouring ceremony "mitoni". The significance of the use of motifs wahyu tumurun is that later born children can be strong "kedunungan revelation" (a revelation) and away from all the temptations and obstacles. Batik Wirasat meaning symbolic associated with an application. Batik is the development of pattern sidomulya whose content consists of an assortment of batik patterns, such as "Batik Claw", "Truntum", "Sida Luhur" and "Sida Mulya" itself. Its meaning is that batik granted all the application and can achieve a high position and material can be self-fulfilled. Also requests guidance from God when the road gets dark so the light given. Emerging contemporary batik with batik sidamukti, ie during PB IV in 1800's. At first batik wirasat used by older group, but the community in the development of batik is often used by parents in the event mbesan bride's son. Nama kawung dalam motif batik is taken from the name of the fruit of the palm tree shaped oval round whose name and fro. Batik kawung rectangular geometric shape, in "kawruh" Javanese culture represents a doctrine "sangkan Paraning dumadi". Or a doctrine about the human life that is associated with "sedulur papat lima pancer", the group is always keeping the human life of Java. Batik Ayam Wana berasalah dari kata Ayam-wana, wana = forest. Is like a partridge could make the appeal because of the flexibility and beauty of the natural environment. Similarly, the batik is expected to make its own charm with their partner. Batik "Ayam-wana" can be used for all classes regardless of what it means rank position, commonly used by young people. Batik Sekar Jagad adalah motif batik yang sangat popular. The name "sekar-jagad" which can mean "kusumaning" life on earth. That is supposed to be a "pinunjul, which has a noble character pakarti utami”. Expectations are listed on a variety of batik motifs that exist within these, such as machetes, kawung, ceplok, etc.. Sekar-jagad developed in the late eighteenth century in Surakarta. Can be used for all groups in society, and both are used in traditional ceremonies. Batik Gajah Birawa has evolved during the reign Pakubowono VII, made for Semen-Latar Putih. Meaning, denoted as titihan sublime that is expected to reach a high position, mild-ing tranquility of mind, confident and

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always puts honesty. Batik was originally used by groups made up the rank of Regent-white background, for official ceremonies. It is now used for anyone, both young and old. Batik Sari-Ngrembaka interpreted with a sweet taste that develops or means "sari" as a child, growing offspring. Batik is classified as "glebagan" ramp, between ukel-white background with a black background. Meaning, that human life will not escape from ‘padhang’ and ‘peteng’, happy and difficult, but it should always get a sweet taste or ‘eca sekeca’. According to the slope of the diagonal shape, batik includes cloth the darah dalem, can be used as a means of ceremonies. Motif batik di Indonesia, khususnya di Jawa sangat kaya dan mempunyai makna yang sangat tinggi. Motif batik lainnya yang tumbuh dan berkembang dalam masyarakat Jawa serta mempunyai makna filosofis antara lain Batik Slobog yang Motif has developed Slobog before Mataram. Cemukiran batik is usually used for this type of headband or called udheng / dhestar or better known as blangkon. The style is shaped margin / periphery batik with plain field called modang.Batik cakar is taken from the title of chicken legs, the meaning is that the bride can claw-claw like chicken in looking for food, or for the bride and groom can seek a living themselves, no longer dependent on their parents. Batik Sri Pamiluto means infatuate (kepencut) for its beauty. Batik patchwork type which consists of various types of motifs contained in it, such as machetes, fried, flowers cape etc.. In accordance with the type of batik patchwork. Sripamiluto have hope complete an application that has not been spoken, which can make people like everyone else.Batik Peksi Huk means owl, if "kekablak" at night. In batik is associated with a "pepeling", has character: watchful in all things, menep heart. Batik Peksi Huk include cement-and-white background with iberiberan interrupted. Can be used by all groups, whether young or old and used day or night. Batik "Grompol" means "nglumpuk", a memorial to the command to always be "keklumpuk". That taught me to love "anggemeni" that a lot because of the great or little by little. Besides meaning "nglumpuk" itself has a sense of harmony, harmony and harmonious (fellow). Motif Batik "Grompol" belonged batik-fried, used by court employees Panewu / Mantri down. Batik kolang kaling is a type of batik Semenan-black background. Kolang Kaling is the name of the fruit of the palm tree, taken the meaning of the tree-arennya yng produce "drops" that can be made sugar, which tastes sweet. Describing sweet-paced life, the hope is always "eling" or remembers to God that everything is gift. Batik include genre-new, used court employees at the rank of class Panewu or Mantri down but at the present time may be used any old or young. Batik Kate is a smallish chicken that lived in the woods, usually chicken singing voice broke the silence, beautifully colored and vivacious. Its meaning: Although "darahing aceplik" (descendants of the little people) but if delivered can make “sengseming ati” or make cool hearts, “becik sira guranana” / her voice to be heard better. That is the motive of Kate's, is expected to make the coolness and tranquility in the heart. BatikKate relatively new genre, so it can be used by anyone and for any occasion.

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3.3. Introduction of Kimono Japan is a country located northeast Asia, surrounded by the North Pacific Ocean and the Sea of Japan. Japan is an island nation and has four major islands, namely Hokkaido, Honsu, Shikoku, and Kyushu. Honshu is the largest island and therein lies the cities like Tokyo, Osaka, Kyoto, Yokohama, and Nagoya which are big cities and important in Japan. Japan is a country rich in cultural diversity and beautiful arts and uniki. Japanese people often display their artistic and cultural beauty in the life. As typical Japanese clothing that adapts the function of clothes with natural conditions. Besides, the Japanese also keep their looks best in clothes, by way of beautifying clothing worn motif as well as the selection of a suitable color, then use a suitable supporting components, etc. Kimono Japanese national dress is derived from a word (ki) from (kiru) which means wear and (mono) which means the goods. The literal meaning of the kimono is something used or clothing. According Souga (1973), the definition of the Kimono is as follows: The general term for anything that is used in the body. Clothes. Clothes. Japanese traditional clothing. Typical Japanese clothes. Said to be opposed to Western-style clothing. Besides the kimono in The Kodansha Bilingual Encyclopedia (1988:209) argues: The word Kimono (literally, “clothing”) is usually used in the narrow sense to refer to traditional Japanese wrap- around garment with rectangular sleeves used by both men and women , which is made of vertical panels of cloth stitched together and is bound with a sash (Obi). Kimono is the work of art to show the beauty and uniqueness of those who wear them. Noma (1974:11), argues that the beauty of the Kimono It is surely proper that people see in the Kimono a beauty of great artistic value. There is good reason for the admoration the kimono enjoys abroad nowdays. It is therefore no surprise that Kimono become one the world's most beautiful national clothes. As said by Noma (1974:9), "In terms of artistic creation and Kimono is one of the world's most beautiful national dress. It also makes people idolize foreign national dress of Japan. The elegance and tranquility as if attached to the kimono that depict the elegant beauty of the wearer. Besides the colors and natural motifs shows a harmonious relationship with nature when wearing Kimono. As explained by Norio (1982:8), that No one would think of putting on a kimono with cherry blossom

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designs in the winter or fall. Cherry blossom are a spring design and should be worn when they are in fall bloom. For winter one might choose snow scenes or plum blossom. Representative summer and fall design are ocean waves and red maple leaves. Kimono is a traditional Japanese clothing that literally (ki means life, and mono means goods) is worn clothes or something. At present, kimonoshaped like the letter "T" and similar coat long-sleeved, collared, and length up to the ankle. Kimono now more commonly worn women on special occasions. Unmarried woman dressed in a kind of kimono called furisode (Dalby, 2001). Characteristic arms wide furisode is almost touching the floor. Women who turns 20 years old wearing a furisode shiki permission to attend. Men dressed in kimono at weddings, tea ceremonies, and other formal events. When performed outside the sumo arena, professional wrestlers are required to wear a kimono (Sharnoff, 1993). The children dressed in kimonos when attending the celebration Shichi-Go-San. In addition, the kimono worn service industry workers and tourism, traditional restaurants serving woman (Ryotei) and employees of a traditional (ryokan). Japanese traditional trousseau (hanayome Isho) consists of furisode and uchikake (coat worn over furisode). Furisode to differ from furisode bride to unmarried young women. Materials for furisode bride was given motif that is believed to invite luck, like a crane picture. Color furisode bride was also brighter than normal furisode. Shiromuku is the name for the traditional form of the bride dress white furisode clean with woven motif that is also white. The selection of the right type of kimono requires knowledge of symbolism and hidden cues contained in each type of kimono. The level of formality is determined by the woman's kimono fabric patterns and colors, ranging from the most formal kimono to kimono relaxed. Based on the type used kimono, kimono wearers can indicate age, marital status, and level of formality of the event attended. According to wikipedia the following is based on a variety of kimono elements above. First, Tomesode is the most formal kimono for married women. If black, kimono type is called kurotomesode (literally: black tomesode). Kurotomesode have a coat of arms in three places, namely on the back, in the upper chest (right / left), and the back of the arm (right / left). Characteristic kurotomesode is a beautiful motif on Suso (bottom about a foot) front and rear. Kurotomesode used to attend wedding receptions and events are very formal. Tomesode made of colored cloth called irotomesode (literally: tomesode color). Depending on the level of formality of the occasion, the user can choose the number of family crest on kimono fabric, starting at one, three, up to five pieces for a very formal event. This type of kimono worn by adult women who have / have not been married. Kimono type irotomesode used to attend an event that does not allow guests to come wearing

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kurotomesode, eg reception at the imperial court. Just as kurotomesode, irotomesode hallmark is a beautiful motif on Suso. Furisode is the most formal kimono for unmarried young women. Materials bright colorful with striking motifs throughout the fabric. Characteristic furisode sleeves are very wide and hanging down. When worn furisode shiki permission to attend the ceremony, attended a friend's wedding reception, graduation ceremony, or hatsumode. Trousseau called hanayome Isho including one type furisode. Another type is the hormones-gi means dress for the visit is a formal kimono for women, married or unmarried. Users are free to choose to wear the family crest pictorial material or not. Characteristic homongi is the motive in all parts of the fabric, front and back. Homongi used as a guest of a wedding reception, a tea ceremony, or celebrate the new year. Iromuji is semiformal kimono, but it can be a formal kimono when iromuji has a family crest (kamon). In accordance with the level of formality of the kimono, the coat of arms there could be 1, 3, or 5 points (the back, the arms and the chest). Iromoji not made of patterned and colored materials soft, pink, light blue, or light yellow or soft colors. Iromuji with the family crest can be worn in 5 places to attend the wedding. When attending a tea ceremony, quite worn iromuji with a family crest. Other semiformal kimono are used tsukesage or women who are not married. According to the level of formality, the position tsukesage homongi just a notch below. Kimono type does not have a family crest. Tsukesage charged to attend the tea ceremony that is not so formal, wedding party, party official, or celebrate the new year. The kimono for casual events are used Komon and women who are married or not. Characteristic of this type of kimono is a simple motif and small size are repeated. Komon charged to attend the reunion party, dinner, meet friends, or watch the show in the building. Another type of casual kimono Tsumugi used for day-to-day at home by women who are or are not married. However, this type of kimono worn to be out of the house such as shopping and walking around. The material used is a simple woven fabrics of cotton or silk thread thick low class and rude. Kimono type is durable and formerly charged to work in the fields. Other types of kimono for casual yukata is made of cheesecloth without coatings for casual occasion in the summer. Kimono popular now becoming known during the Heian period (794 - 1192 AD). At first kimono worn by the commoners or the clothes by the aristocracy. During the 16th century, the kimono became the main clothing for all classes and both sexes. At the end of the 17th century, during the Edo period (1615-1868), the difference becomes more apparent, the pattern on the kimono girls are more complex and vividly colored. At this time, the kimono became an important indicator of class and wealth. With the Meiji period (1868-1912), Japan opened to the West, and for the first time, kimono are exported to Europe. At this time, Japan's textile industry began to adopt Western technology and techniques that make affordable silk kimono and

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thus more available for popular use. During the Taisho period (1912-1926), Western-style clothing is gaining popularity among women, although it continues to wear kimono. Motif-like design inspired by the Art Deco West and Art Nouveau, began to appear-while chemical dyes allowed for the production of brighter colors. Development of innovative machines, such as power-operated spinning and weaving jacquard, accelerate production and keep costs lower, making high-fashion kimono is more readily available than ever before. Since the end of World War II, western-style clothing has become the norm in modern Japan. Some elderly women used Kimono and men and even fewer wear kimono every day, as well as geisha or people involved in traditional activities, such as the tea ceremony. But most often they are worn on special occasions, like a wedding or celebrating the New Year. Interestingly enough, the 21st century has seen a kind of rebirth kimono, a beautiful and contemporary design and vintage kimono look again at younger people, who use them in a more modern way. In Connection Peru, we continue to find inspiration in art and design of traditional kimono silhouette. The interpretation of the theme we often combine East and West: Japanese floral flourish skirts and sweaters, while Turkey geometric, paisley or even Andean India manta stripes grace contemporary kimono shape. This season, our latest designs include Kimono Paris (decorated with Art Nouveau scrolls) and Kimono Catoga (paisley with graphics). 3.4. Philosophical Meaning of Kimono Kimono patterns have meaning and significance of the diverse philosophical and this can be seen through the choice of colors and patterns available ornaments, age, status, wealth, and other things. At the beginning of the Edo period there was no substantial difference between the kimono worn by men and women, but the differences become more apparent in the course of the 17th century. The pattern on the kimono girls get bigger and bolder. Kimono young lady was very lavishly decorated and brightly colored, while the more subtle colors and quiet patterns considered appropriate for older women. At the beginning of the 17th century kimono surface area is divided into a regular pattern. Over time compartmentalisation is giving way to approaches garments are considered as a whole, and in which the techniques and motifs, patterns and integrated land. Disposition patterns on the surface of the clothes are changed from time to time. Nature, especially seasonal reference, providing the main source of design, along with allusions to classical literature. Rising market for luxury kimono cause expansion of the visual repertoire to include aspects of popular culture and visual puns. Wide variety of patterns, but rather on the late 19th century when Western motif introduced. The use of certain motifs may offend virtues or attributes of the user (or the people they might aspire to), reflect a certain emotion, or in connection with the season or occasion. Symbolism is used mainly on the

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kimono worn for celebrations like weddings and festivals, when it serves to give good luck to the wearer, wrap them in divine benevolence and protection. This beneficial use of motive in revealing dress Japanese belief in a literal, as well as strength, figurative images. Color also has a metaphorical connotation and cultural development. Dyes seen to embody the spirit of the plant from which they were extracted. Each drug is also believed to be the property transferred to the fabric color. Blue, for example, derived from indigo (ai), which is used to treat bites and stings, so wear blue cloth serves as a snake and insect repellent. Colors given cosmological dimension with the introduction to Japan in the 6th century from the Chinese concept of the five elements. Fire, water, earth, wood and metal associated with a particular direction, season, virtue and color. So the black suit for the water, the north, winter and wisdom. Color also has a strong poetic significance. Purple, for example, is a metaphor for eternal love, the image comes from the fact that gromwell (murasaki), a plant used to make dyes, have very long roots. Perhaps the most popular color for a red kimono, derived from safflower (benibana). Red connotes young glamor and appeal, and thus suitable for a young women's clothing. It is also a symbol of passion but, as beni-faded pink, love while. The following is a motif found in a kimono. In general, kimono motifs consisting of abstract motifs, animals, flowers and plants, as well as a combination of these motives. The following will be explained about the philosophical meaning of the motif kimono A recurring motif in kimono kids is hexagonal shaped cannabis. This motif is similar to batik in Indonesia. In Japanese society is a portrait of a characteristic pattern of fertility and long lasting or eternal. This motif is widely used in baby cloth with the hope that the baby will grow up healthy and growing like a plant. The motive is not only used in kimono and obi but panties. The pattern is similar to batik in Indonesia is hexagon’s continuous pattern. This pattern was originally derived from West Asia, namely China and Korea which ended up in Japan. Japan Society called the motif with the term "turtle’s back". The name is based on the existing pattern in the shape motifs such as turtles. In Japanese society, turtles are considered beneficial animals and have longevity. It is seen from the movement of turtles are slow. In the story, the tortoise Tao was once used as a vehicle in the odyssey. In addition to the turtles, the motif is also seen a flower motif and a hexagonalshaped diamond which indicates that this motif as a motif shows a family in Japan. It symbolizes an eternal togetherness in the family and is expected to bring glory in the life they lived. Meaning comes from a turtle motif complex in Japanese culture. Hinduism, Taoism, Confucism, and all of them contribute to the understanding of Buddhism. Traditions claim that turtles help shore up the world, guard northern quadrant of the universe with the snake, and run the carapace of the sacred inscription. The animal is believed to live up to the

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incredible age. According to Japanese folklore turtles flowing white tail then develop and release a special steam conjure sacred jewelry. Especially the turtle is a symbol of longevity. One motive I have a hard time understanding is the turtle with the things that flow from that side of the green came back. In this study it was found that turtles share with the crane quality long life, perhaps because life was so long, streaming moss sometimes grows out of that shell. It is also mentioned that generally described in style by hexagon motif, either as a whole or a single pattern or motif grouped. Motifs from previously owned by the people of Japan is the motive hollyhocks. Hollyhock motif is originally from Japan. This motif is one of the classic pattern typical in the Heian Period (794-1185 AD) and is still used by the people of Japan. Motif is generally used as costumes and nobility at the time. But when it has become a common motif that symbolizes the uniqueness and classical Japanese culture. Motif fabric pattern is a motif that originated in China. In Japan, this popular motif during the period of Manji. This motif symbolized svastika symbol. Svastika is one of the most sacred symbol in Hindu tradition. This symbol is a real example of a religious symbol that has a historical background and cultural complex that is almost impossible to be expressed as the creation of or belonging to a particular nation or creed. The symbol is then spread throughout the world with many variations. Svastika too much sense, if the clockwise direction means things - the nature or meaning of kindness. Meanwhile, when the counter-clockwise it is a form of ugliness and widely used by magicians in ancient times. Svastika the clockwise flow also means following the rules and habits of life prevailing in society at large, whereas when counter-clockwise it is an act which is contrary to all current rules and practices developed in the community. This could be good or bad but it basically means the motive may use in good condition. Motif seven gems is a combination of four circles, one quarter are interlocked with one another. This motif describes seven silver in Buddhism that refers to gold, silver, lapis lazuli, coral, agate, quartz, and tridacnidae. This motif is very similar to Indonesian batik motifs. This motif symbolizes kinship that was built from a lot of difference. From these differences it provides beauty and peace. This motif is suitable for use by the Japanese people in general, especially in social activities in the community. Crossed Lines Oblique motive is the motive in the form of a diagonal line across the oblique create pieces of water caltrop or diamonds. Japan Society calls this motif as 'tasuki'. This motif is a classic and universal patterns. Variations of this motif expanded rapidly after the Heian period. In this pattern seen any flowers, leaves, water, and diamonds. Based on these patterns, meaning that this motif is present in the prosperity and welfare of the wearer. The fourth picture also shows a peaceful life of the motif of leaves, flowers, and water. The diamond describes the wealth and well-being. This motif is widely used by Japanese people who are "rich" and used at any time.

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Motif in Japanese kimono is not only dominated by alloy lines and abstract symbols. But also often bring the full picture, like an animal. Stars were used as motive certainly does have philosophical and historical value to the people of Japan. There are an animal that are already familiar to Japanese society, and there is also a rare beast in Japan but appears in stories in Japan. Animal motifs in kimono certainly have meaning and philosophical values. Animals that exist in Japanese kimono motifs such as butterflies, squirrels, rabbits, fish, koi, plovers, deer, spiders, sparrow, turtles, swallow, dragonflies, frogs, and others. Animal is one of God's creations. When people opt out of the natural order and put themselves above all other species. Nevertheless, it still believes that communication from animals to humans still exist in the form of mental telepathy and through the spirit. In some traditional cultures still have the belief that the spirit of the animal can be entered at the time of birth and serves as a guide that person's life. A spirit guide may appear at critical moments. Nature provides hundreds of animals and each animal brings certain qualities. In the kimono motifs, symbols of the most widely used animal and each has its own meaning and it is not uncommon to choose a suitable symbol, one would select the desired line with expectations according to the meaning of the animal. Animals are used as symbols or motifs in kimono is deer. The deer is a ruminant mammal belonging familia Cervidae. A distinctive feature is the presence of deer antler (deer antler), and not the horn, which is a bone growth that develops every year (usually in the summer), especially on a stag. Since ancient times, deer have become a part of community life in Japan as it serves as a vehicle and the messenger of the gods. Deer motif also symbolizes immortality or longevity. Because deer animals used by the gods so often interpreted as wealth. In addition it also describes the nature of the beast deer calm, peaceful, beautiful and graceful. Deer spirit is one of peace, sensitivity and tenderness. Other well-known animal in Japanese culture and society is a rabbit. Rabbit motif is meaningful intelligence and cleverness and perseverance in life. It can be connected with the story of a rabbit who is in the old tales in Japan. Rabbit is an animal appears in some ancient Japanese tale is told that the animals were brought to the moon and fought with the crocodile in the ocean. The plot bunny attacked by crocodiles and Okuninushi rescued by a god who is in the Japanese mythology. The animals were there also in a squirrel motif kimono. Although these animals are not so popular in Japanese society but the squirrels have exoticism and uniqueness. This squirrel animal motifs famous Momoyama period. The animals were there also in a squirrel motif kimono. Although these animals are not so popular in Japanese society teatapi squirrels have exoticism and uniqueness. This squirrel animal motifs famous Momoyama period. Although this rare squirrel motif but still produced for export and demand by European society. In general, a squirrel motif combined with

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grapes. The combination of motifs characteristic of Japanese society turned out to be a favorite. The combination of motifs between animals and plants evolved on other motives. Motif combinations to be another favorite of Japanese society is the 'tiger and bamboo' and ‘deer and maple leaf' The famous animal motifs in Japanese society is a butterfly. At the beginning of this butterfly motif originated in China and were popular in Japan in the Nara period. At first, this is only an additional motive for the flowers and birds but of the Heian period the independent motif, often used in the courts at that costume, butterfly motif is an additional motive for the flowers and the birds are regarded as complementary. But in the Heian period, butterfly motif has become a self-reliant and independent motif. In the tradition of Japanese society, butterfly motifs symbolizing longevity to the wearer. Therefore, the motive is quite popular and is often used by young people, especially women. Animal motifs in the form of other birds are plovers. Plovers is a kind of small birds that live in groups near water, both in the river, beach, or lake. Plovers are quite popular motif in Japanese society. This sometimes-cage motifs appear alone or combined with other motifs, such as beach sand and beach with a view. The bird is a symbol luck and kindness. It is also associated with longevity and a sense of humor. This is because these birds always release chiyo or chiya booms form meaning "thousand generations". A meaning contained in the motif is togetherness. This is indicated by the motif plovers are always lots and always in groups when flying. Another bird motifs that exist in Japanese society is sparrow. Sparrow is the most common wild birds in Japan, which can be seen in each of the streets and did not know the season and region. When compared to the Indonesian sparrow is probably present in all regions and did not know the season. This motif appears in the Heian Period and develop variations on the Kamakura Period. Motif Sparrow is always associated with the bamboo because it is considered a suitable combination. This motif describes the togetherness and adaptive according to the nature of sparrow. This indicates that the motif is a motif familiar to the Japanese people in general and used in social activities, such as public ceremonies and others. The animals are also often appears in kimono dress is a dragonfly. In Japanese society the dragonfly is a symbol of martial success and survives through the trials of life. Dragonflies are one of the insects are most in demand by the people of Japan. In general, Japanese people give meaning a victory and freedom for these insects. Insect is most appropriate symbol used by Japanese youth are always striving to navigate life while defending themselves from the dangers he faced and won the battle of life. Symbols used in the kimono insects in late summer and early fall. Frog motif also included motifs of animals are quite popular in Japan. This is because there are about twenty-seven species of frog found in Japan. Because agricultural economy based on rice flooding, the presences of frogs are thought to bring good luck. In addition, the frog has become a much loved

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and being favored Japanese society. Animals’ transition between land and water for living in two worlds are. Some legends say frog animal came from the moon. Frogs are also considered as a determinant of rain. For the ancient Egyptians considered the animal carrier frog fertility. It is based on their presence in the Nile before the river overflow in fertility. According to Blavatsky, the nature of amphibians and frogs appear and disappear making as one of the main creatures in the idea of creation and resurrection. Frogs also symbolize the pinnacle of human evolution, reinforced by folklore about the frog who became man. Because of the nature of the frog is a frog motif also describes these properties. Frogs are amphibians, insectivorous animals that live in fresh water or on land, smooth-skinned, red-green or brownish, hind legs longer than the front legs, good jump and swim. So the frog motif generally means people are adaptive, hard work, fertility, and relentless Animal motifs favored by Japanese society is a spider. The motive was influenced by Chinese culture. Motif spider came to Japan as a symbol associated with the industry. The spider is a large insect-legged, gray-black, silk weaves a web of his stomach that functions as a trap prey. By the nature of the spider who always worked hard and patiently symbolize that this motif is used in order to live a life that has always had to work hard and was patient in accepting the obstacles and barriers. In Japanese society is also known folk tales featuring the spider as a good friend in life. Although sometimes the spider symbol connotes negative, as in Western culture, Japanese people take this motif by combining with other motives, such as plants, insects, or flowers. Another bird that is often used in kimono motifs are swallows. Swallows are birds that do annual migrants arrived in Japan in the early spring. This motif is also a symbol of spring in force in Japan. Swallows can be easily identified from the shape tail. This motif represents a symbol of good luck, fidelity in marriage and fertility. In general, this motif is also interpreted as a revival. Cranes motif in Japanese society and culture in general illustrates the longevity and good luck. This symbol often appears on Japanese New Year's celebration and ceremony. Of various shapes, animals, and artwork created by origami (Japanese paper folding) cranes produced most often. It is customary in Japanese culture to fold a thousand paper cranes when making special wishes. Colorful necklace giant cranes are a common sight outside Japanese temples and shrines. The cranes (as with other birds) took seed in the body and thus are considered to bring new life. In the story, the crane was ordered to live for a thousand years and is considered as the most profitable among the birds. Likewise, the Japanese regarded as a symbol of longevity leading crane along with turtles. The beauty of the white crane was often depicted on the back of the furniture and hand mirror since the Heian period. Motif crane was also comparable with other auspicious signs such as clouds or pine trees. During the Edo period, the crane also began to carry the connotation of a good catch.

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Florals are the most popular and favorite Japanese society is the cherry blossoms since the Heian Period. At that time, the nobles adore elegance of cherry blossoms. In the Momoyama period of many cherry varieties are created with variations of a more beautiful and colorful. Sakura motif is when the flowers bloom. Sakura bloom does have a special meaning that will probably never be revealed by the strands of words. Meaning depicted include coolness, stillness, happiness and tranquility. But can also mean parting sakura cherry blossoms begin to fall when falling in the wind blowing. The beauty and the beauty of the cherry blossoms also has spiritual and philosophical about life. For the Japanese, the flowers symbolize happiness and grief and remind people to always be grateful in honoring and mourning. This motif also meant that everything had opposite. There is sadness, there is joy. There's life, there comes a time to die. There was a time broke beautifully and there are times when falling. The phenomenon that is happening at the cherry blossoms are in bloom to give beauty to the wandering souls. These conditions bring Japanese society in every blossoming cherry blossoms, Japanese families gather together to celebrate with, through the park while doing meditation and enjoy a meal under the cherry tree. This celebration is called "Hanami". Hanami can be defined also by looking at or looking at flowers. The cherry blossoms are not long continue to grow, flower quickly collapsed and deciduous newly blossomed again in the years to come the new cherry blossoms bloom again, so if it does not quickly see later was turned into a leaf all. Understandably only once a year to see the cherry blossoms .. Hananami celebration is a celebration hereditary in Japanese society. Around the year 794, officials or aristocrats held a welcome party cherry blossom flowers. Tradition is a religious ritual in Japan. Regular prayer ceremony was held prior to the planting season, with hopes of farmers met with great success in the next harvest season. Florals are popular in Japan than sakura is Chrysanthemum. This plant is originally from mainland China and popular in Japan in the Nara period (710-794 AD). At first chrysanthemum motif is a symbol of longevity. Further development of chrysanthemum has become one of the distinctive motif used in the fall. In the Edo period, created so many varieties of chrysanthemum motif is very diverse and wide range. The development of this increasingly exclusive chrysanthemum motif as the Meiji period as the iconic du Japanese imperial family. At this time chrysanthemum motif is considered the most exclusive motive for being the pride and characterizes the emperor and his family. Chrysanthemum is considered the most luxurious and set as a symbol of Japan's imperial chrysanthemum with sixteen petals. Chrysanthemum type is the most beautiful motifs with a sense of the eternal and longevity. floral portrait is to mean eternity, or adaptive high durability, and integrity. This is indicated by the nature of this interest as a famous herbal medicinal plants from Asia. Chrysanthemums have properties to cure the hangover due, nerve pain, and pain is generally experienced by humans. At first this interest comes from China and is known

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in Japan before the year 710. In the Heian Period (794-1185) chrysanthemum relationship became a major symbol for autumn in Japan. Motive plants in the other Japanese kimono is Wisteria. Wisteria is an ancient and rare plants that originated in Japan. This plant is very famous in Japan for its beautiful blend of people of color and shape. Meaning owned motif is slightly negative because they have encountered. Society considers that with tassels signifies "down". As an example of a company that is developing will suffer the "down" benefits. The same thing would mean the same for someone. However, some have argued that the plant brings good luck to wisteria associated with "golden ears" which depicts a harvest. Wisteria motif is popular in the Heian period and is currently a lot of variants of this wisteria with a touch more beautiful and artistic. Wisteria has been described in a Japanese kimono for hundreds of years. For example, the wisteria is often celebrated at parties hosted by Japanese nobility at the end of the Heian period (794-1185). Plants are also popular motifs in Japanese society is autumn grasses. This motif is a motif familiar with the life of the Japanese people. This motif is often depicted in seven plants of autumn, which Hagi, Susuki, Kikyo, Kuzu, Ominaeshi, Nadeshiko, and Fujibakama. Seven plants is a symbol of the fallrelated grief and loneliness, and the expression of the transitory nature of life. In general, this autumn grasses motif combined with the moon. This motif is widely used when there is a family or a relative who died. By using this motif was sorry feeling experienced by families who died will be felt also by the usage of this motif kimono. Beautiful flower motif is also taken from the camellia flower. Camellias evergreen tree native to Japan, where the oil and the shaft has been used for various purposes. The flowers are messenger’s benefit of early spring, but the family of soldiers tends to avoid it due to motive sudden fall of camellias after full bloom to remind them of beheading people. During the Edo period, however, camellias have become one of the typical garden plants and motifs that found great favor among the people of the city. A flora is meaningful respect, excellence, beauty, gift 'good luck' for men. In history there Ume or plum tree comes from China and brought to Japan in the early Nara Period. Plum flowers come into bloom in the middle of winter in January or February before any other interest, and endurance considered noble ideal that every human needs to follow. Plum tree also has strong connotations associated with science and wisdom. Plum flower motif is used during winter in Japan and became the most favorite motif, in addition to bamboo and pine motif. Trees often appear in Japanese kimono motifs are pine trees. Pine tree is a tree that grows and grows naturally in Japan and valuable for practical purposes. Things that stand out from the pine tree is the beauty betuk and attractive appearance. Meanings in Japanese culture is heavily influenced by cultural symbols of China. For example, green pine has meaning longevity, luck and persistence. Both Japanese and Chinese art

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portrait of pine with virtues, motives winter and New Year, and as the ultimate symbol of long life and even immortality. Plum, pine and bamboo (3 friends of winter) that comes together as a symbol of good luck and often go by their Chinese name sho-chiku-bai. Pine and bamboo symbolizes endurance, because they remain green throughout the winter. Appearance changing pine brings a feeling of luck and happiness. It is also a symbol of longevity because it's long life. Because bamboo grows quickly as high, it is considered full strength, suggesting nobility, purity, honesty, and serious character. The plum blossom while there is still snow, symbolizes new hope and as an old tree still producing blooms, it also stands for longevity. Popular floral motif is also used by the Japanese kimono is a peony. This motif is known in the State of Japan in the Nara period (710-794) by the Chinese state. Peony tree symbolizes good fortune, high honor, and spring. Peony flower itself has meaning prosperity and wealth. A peony flower pattern became popular in Japan and is considered to be rolling the 'king of flowers' and therefore use it as a popular motif in textile designs and often regardless of the season. Peony flowers symbolize love and romance, and the flowers are very valuable. If women want to get married and still own the peony flower motif is to be used. . Kimono motifs derived from the other tree is nandina. Nandina shrub has a height of two to three feet tall and bears clusters of fruit that Japanese associate with winter. So the motive is very popular in the winter. This is shown also by the leaves that are very popular are considered to have medicinal qualities by the Japanese people. Because his name homonymic for 'trouble' words and 'change', which nandina is believed to have the power to make the bad luck away. This motif is also frequently used in New Year celebrations in which he symbolizes longevity. Motifs are quite popular in Japanese society for tree motif was bamboo. Philosophic meaning bamboo motif is related to bamboo trees can grow rapidly. In the bamboo shafts are straight forward and very lush and evergreen throughout the season, which is not a common trait for the plant. This illustrates that can survive various challenges and always gives life. Bamboo is also a good crop and is considered a sacred plant in Japan. Sometimes bamboo motif is juxtaposed with the snows that describe a fortune. Natural phenomena are used as motifs in popular kimono is snow. In Japan, the winter snow is a symbol, such as sakura is that spring. Motif snow describes something as lucrative as heavy snow is believed to precede good harvest. Snow has been described in Noh costumes and other clothing along with crops such as willow and bamboo leaves. During the late Edo period, snowflakes also become a very popular design. 4. CONCLUSION Based on the above analysis it can be concluded that between batik and kimono turned out to have the motives and meanings related

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philosophical despite bebereapa different things. The difference is certainly related to the culture and the influence of environmental supporters. Both of these aspects that significantly differentiate the meaning of existing motifs in batik and kimono. Batik motifs have several functions, namely the position of the pointer user, complementary ceremonies, and everyday wear and tear. Batik motif is used as a pointer to the position of the user and are batik prohibition of eight types of batik, which kawung, cleavers, machetes, broken, cemukiran, Udan riris, sawat, cement, base-grounds. Batik prohibition applies only in the palace and monopolized by the Mataram kingdom since the 18th century. Each batik used by certain restrictions in accordance with the rules applicable in the palace. At the present time the use of the 8 types of batik ban is still adhered to by the kings and their relatives who still understand the rules of use only, while the general public no longer understands the rules ban the use of batik Batik patterns are used as a complement in batik ceremony ceremony. Originally batik is used only in ritual ceremonies at the palace, both ceremonies were performed regularly as a tradition, such as jumenengan ceremonies, and ceremonies such as birth, marriage, death. In its development, batik ceremony was also used by people outside the palace, especially for ceremony marriage. One example of batik ceremony always used in the marriage ceremony is sidomukti batik. Batik motifs used are for everyday use in modern batik. Batik motifs in modern standard include: artificial standard motifs of batik prohibition or ceremonies that have been modified, and a completely new motif. Modern batik can be found in many household complementary, supplementary space, and souvenirs, as well as supplementary materials and clothing apparel. Motif batik ban raw and ceremonies are symbolic motifs, which contain a particular purpose are closely related to the views and beliefs of the author of life in ancient times and are still preserved by those who understand the meaning of these development. Generally the standard representation on batik motif ban and ceremonies can not be separated from understanding the Old Javanese, Hindu, and the natural elements of agriculture. Kimono dress has a meaning and significance of the diverse philosophical and this can be seen through the choice of colors and patterns available ornaments, age, status, wealth, and other things. Images used on kimonos often have complex levels of meaning and many have specific meanings that benefit derived from religious beliefs or popular. The use of certain motifs may offend virtues or attributes of the user (or the people they might aspire to), reflect a certain emotion, or in connection with the season or occasion. Symbolism is used mainly on the kimono worn for celebrations like weddings and festivals, when it serves to give good luck to the wearer, wrap them in divine benevolence and protection. This beneficial use of

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motive in revealing dress Japanese belief in a literal, as well as strength, figurative images Color also has a metaphorical connotation and cultural development. Dyes seen to embody the spirit of the plant from which they were extracted. The natural world provides the richest source for kimono motifs. Many flowers such as peonies, wisteria, hollyhock bush clover and appeared on clothing. Many of them, such as cherry blossoms, chrysanthemums and maple leaves, seasonal significance. Pine, bamboo and plum are known collectively as the Three Friends Winter (shōchikubai), and is a symbol of longevity, perseverance and renewal. Pine trees are evergreen and lived for many years, bamboo bends in the wind but never breaks, and plum is the first tree that blooms every year. Plum is very popular for winter kimono, for use indicate that spring can not be far away. Birds, animals, butterflies and dragonflies also appears in kimono, along with other motifs taken from nature such as water, snow and clouds. In some kimono entire mountain and river scenery depicted. Different ways in which such a popular natural motif used on clothing is a testament to the skills kimono designers, and dyers and embroiderers. Kimono designs often come from the natural world and has a great significance and meaning of the complex. Derek, for example, is one of the most respected animal and profitable in Japanese art, which represent longevity and good luck. Kimono crane below, for example, is a wedding kimono created during the Showa period. Phoenix is a virtue, wisdom and crane kimono feminine energy, while the koi symbolizes strength and endurance. Some motifs, such as flowers and plants, seasonal means. Bamboo, pine and plum flower-some of the most popular Japanese wintermotif known as the "three winter friends" when combined together in a single design, symbolizing longevity, resilience and renewal. Color also has strong connotations and often according to the characteristics of a particular plant dyes themselves. For example, purple, which represents eternal love-is traditionally made from plants gromwell, which has very long roots. Red, symbolizing the glamor, excitement and love of transients, derived from safflower plant, easy to dye fade over time. REFERENCES Anas, Biranul., ed. 1997. Indonesia Indah: “Batik” 8th Book, Jakarta: Yayasan Harapan Kita - BP3 Taman Mini Indonesia Indah. Anonim. 1991. Pameran Khusus: Peranan Batik Sepanjang Masa, Yogyakarta: Departemen Pendidikan dan Kebudayaan Direktorat Jenderal Kebudayaan Direktorat Permuseuman. Anonim. 1996. Puspawarna Wastra, Jakarta: Museum Purna Bhakti Pertiwi. Anindito Prasetyo. 2010. Batik. Karya Agung Warisan Budaya Dunia. Yogyakarta :Pura Pustaka.

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Ari Wulandari. 2011. Batik Nusantara: Makna Filosofis, Cara Pembuatan dan Industri Batik. Yogyakarta: Penerbit Andi Asti Musman dan Ambar B. Arini. 2011. Batik: Warisan Adiluhung Nusantara. Yogyakarta: G-Media. Dipokusumo. 2011. Batik as a Custom Cloth/tradition in Kraton Surakarta Hadiningrat. Surakarta: LPPM UNS Condronegoro, Mari. S.. 1995. Busana Adat 1877-1937 Kraton Yogyakarta: Makna dan Fungsi Dalam Berbagai Upacara, Yogyakarta: Yayasan Pustaka Nusatama. Doellah, Santosa. 2002. Batik: Pengaruh Zaman dan Lingkungan, Surakarta: Danarhadi,. Djoemena, Nian S. 1986. Ungkapan Sehelai Batik: Its Mystery and Meaning, Jakarta: Djambatan. Hardjonagoro, Panembahan. 2007. ”Batik and Its Agricultural Value” in All about Batik: Art of Tradition and Harmony catalogue, Osaka: The Asahi Shimbun Company Curtural Projects and Busines. Herusatoto, Budi. 2005. Simbolisme Dalam Budaya Jawa, Yogyakarta: Hanindita Graha Widia, . Honggopuro, K. R. T. Kalinggo. 2002. Bathik Sebagai Busana Dalam Tatanan dan Tuntunan, Surakarta: Yayasan Peduli Karaton Surakarta Hadiningrat. Hitchcock, Michael. 1991. Indonesian Textiles. Singapore: Periplus Editions (HK) Ltd. Judi Achjadi. 1986. Pakaian Daerah Wanita Indonesia. Jakarta: Djambatan. Kalinggo Honggopuro. 2002. Bathik sebagai Busana dalam Tatanan dan Tuntunan. Surakarta: Yayasan Peduli Karaton Surakarta. Kartika., Dharsono Sony. 2007. Budaya Nusantara: Kajian Konsep Mandala dan Konsep Triloka/Buana Terhadap Pohon Hayat Pada Batik Klasik, Bandung: Rekayasa Sains,. Nian Djoemena. 1990. Ungkapan Sehelai Batik. Its Mystery and Meaning. Jakarta: Djambatan Purwadi. 2005. Sejarah Peradaban Jawa Kuno. Yogyakarta: Media Wacana. Sulistiyono, Bambang. 2002. Makna Simbolis Rumah Pangeran Karaton Kasunanan Surakarta Dalam Komplek Baluwarti, Tesis, Program Magister Teknik Arsitektur Pascasarjana Universitas Diponegoro, Semarang. Susanto., S. K., Sewan 1980. Seni Kerajinan Batik Indonesia, Yogyakarta, Balai Penelitian Batik dan Kerajinan, Lembaga Penelitian dan Pendidikan Industri, Departemen Perindustrian R. I,. Suyanto, A.N. 2002. Sejarah Batik Yogyakarta, Yogyakarta: Rumah Penerbitan Merapi,. Suranto. 2011. The Development of Cultural Studies Java-Japan to Increase the Relationship between Indonesia and Japan. Surakarta: Institut Javanologi.

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Tozu, Masakatsu. 2011. ”The Meaning of Indonesian Batik as World Heritage” in Tozu, Masakatsu, etc. (eds.). Reinventing the Indigenous Value of Batik-Kimono to Strengthen the Indonesia-Japan Relationship. Surakarta: Institut Javanologi, Pemkot Surakarta, Japan Foundation, dan Kokushikan University. Tozu, Masakatsu, Laura Romano, Nuraini Yusoff, Sahid Teguh Widodo, Kundharu Saddhono (eds.). 2011. Reinventing the Indigenous Value of Batik-Kimono to Strengthen the Indonesia-Japan Relationship. Surakarta: Institut Javanologi, Pemkot Surakarta, Japan Foundation, dan Kokushikan University. Widiastuti, Theresia. 2011. ”Prime’s Motives and Visual Patterns Batik in Every Life Cycle Ceremonies of Java” in Tozu, Masakatsu, dkk. (eds.). Reinventing the Indigenous Value of Batik-Kimono to Strengthen the Indonesia-Japan Relationship. Surakarta: Institut Javanologi, Pemkot Surakarta, Japan Foundation, dan Kokushikan University. Yudoseputro, Wiyoso. 1986. Pengantar Seni Rupa Islam Di Indonesia, Bandung: Angkasa.

Appendix

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