Acculturation Chinese Symbol on Madura Batik Motif

This study has two chief purposes. Firstly, to introduce the Madurese Batik from Indonesia which has not yet been widely studied, and secondly, to show the acculturation of the Chinese culture in the motif of Madurese Batik. Research method employed in this study was descriptive qualitative, because our topic involves cultural and humanity sciences. The writers interview batik makers from the towns of Pamekasan, Tanjung Bumi, Sumenep, and Sampang, as research informants. We take two batik makers as representatives of each town. The four towns are selected because those towns are the centers of batik in Madura. To crosscheck the information obtained from the batik makers, also interview two collectors of Madurese batik who have good knowledge of Madurese batik. The data from the interviews and the photographic documentation of Madurese batiks are sorted and then analyzed by relating them to the theories about Madurese culture, acculturation process, and Chinese culture. The discussions and conclusions of the analyses correspond with the hypotheses proposed at the beginning of the study, which states that there are acculturations of the symbols on Madurese Batik motifs, which can be seen in the paintings of phoenix, butterfly, fish, bamboo trees on the batik, and that the acculturation process occurs naturally without conscious knowledge of the Madurese.


Introduction
Batik is a very valuable cultural product of Indonesia.All the more, in 2009 the United Nations has decreed that Indonesian batik is a cultural heritage which should be preserved.The UNESCO (United Nations Educational, Scientific and Cultural Organization) has included batik in world cultural heritage.The decree is really significant for Indonesian nationalists.The Indonesian Government has worked hard to gain this acknowledgement, and has struggled to protect batik from motif thefts by other nations.At present the government has also obtained the copyrights of 300 Indonesian batik designs.Most of these copyrights were obtained after 2007.Thus, it is quite appropriate for us as Indonesian citizens to study Madurese batik motifs and present the study in international journals with the hope of introducing Madurese batik motifs to more people.
Why do we study the acculturation of Chinese culture in Madurese batik?The answer is because both Indonesia and China have batik crafts and both crafts have a long history.The Overseas Chinese Affairs Office of the State Council (2007) states that Chinese motif cloth printing and batik is a traditional technology product of the Chinese people.Chinese art craft has a very long history (p. 204 & 186).Gǔ (2014) also states that Chinese batik craft has existed in China since the time of Xià 夏 dynasty (21 BC-16 BC), Shāng 商 dynasty (16 BC-11 BC), and Zhōu 周 dynasty (11 BC-221 AD), and reaches its peak in the Táng 唐 dynasty.During the Sòng 宋 dynasty, batik making in China dropped greatly because of the long time it took for the coloring process and the color produced was mono color.Batik making still survives in southwest and central China which is the dwelling place of ethnic minorities in China (pp.1-3).The ethnic minorities have high skills in handycrafts including batik making (Hán, 2002, p. 32).From this background we make the hypothesis that the motif of Chinese batik significantly influences the motif of Indonesian batik.
Concerning the history of Indonesian batik, Batik Market (2015) reports that batik has been known in Indonesia since the seventeenth century, when batik was painted on palm leaves.The batik motif at that time were mostly paintings of animals and plants.On further developments, abstract motifs were added such as cloud motif, temple reliefs, Javanese puppets, and so on.Then, by combining the painting style with cloth decorating, emerged the hand painted batik that is known today.The motif of hand painted batik usually contains the philosophy of each region from where the batik comes.Formerly batik was only made within the palace community and was worn only by the royal family and the court people.Because many of the court people lived outside the palace, they brought batik art out of the palace and then they also made batik in their own places.Today, batik is worn by the public (http://www.batikmarkets.com/cara_membuat_batik.php).
The term "batik" comes from the word "hamba-tik" which means 'titik'.This titik motif is the oldest batik motif (Samsi, 2011, p. 3).The tools needed in batik painting are mori cloth (made of silk, cotton, or polyester mix); pencil (for drawing the design); canting made of metal (bronze, brass, or zinc) with a mouth (which is used for scooping hot melted wax); wax for covering the painting on the cloth; dye; a pan; a small stove for heating the wax; gawangan (for hanging the cloth).The procedure of making hand painted batik as outlined by Batik Market (2015) includes three steps.The first step is drawing the design of the motif on mori cloth with a pencil.The second step is using canting which has been filled with hot melted wax to cover the design.When the wax has dried, the cloth is dipped into a dye solution, the part of the cloth which has been covered by the wax will not be affected by the dye solution.The third step is nglorot, in which the cloth which has changed color is boiled to take off the wax from the cloth so that the motif which has been drawn on the cloth is seen more clearly.The dipping in a dye solution will not change the color of the part of the cloth where the motif is drawn since it is covered by a thin layer of wax (the wax does not wear off entirely).A batik that is made by this process is called hand painted batik.Besides hand painted batik there is also printed batik.Both hand painted batik dan printed batik use hot melted wax.The difference lies in the way of putting the wax on the cloth: in printed batik the wax was stamped on the cloth, while in hand painted batik the wax was drawn on the cloth using canting.(Batik Market, Tuesday, April 14, 2015 http://www.batikmarkets.com/cara_membuat_batik.php).
The hypothesis that there has been an acculturation of Chinese culture in the motif of Madurese batik in the form of religious symbols is based on the fact that Chinese culture has entered Indonesia since year 1172, especially during the reign of King Sriwijaya.This is confirmed by Kǒng (1999) who stated that in year 1172 King Sriwijaya ordered roof tiles from the government of the Sòng 宋 dynasty (p.349).Then the entrance of Chinese immigrants to Indonesia several centuries ago has also made a great impact.These Chinese immigrants bring forth the peranakan (descendant) culture which is the fusion of two cultures namely the Chinese culture and the local culture to form a new culture which is called peranakan (descendant) culture.This descendant culture has reached all realms in Indonesian community, among others, fashion (kebaya/Javanese blouse, batik, shoes, and so on), culinary (soto, kecap, kue tok, lumpia, and so on), daily expressions and daily habits.If we trace back the descendant culture, we see clearly that the culture has developed within the community of the descendants of the Chinese immigrants and is different from the original foreign culture and also from the local culture.Thus the cultural acculturation in batik motif is an interesting topic to be studied.
We select Madurese batik as our research topic because in comparison to the Javanese communities in general, the Madurese are known to have a unique culture and character.The acculturation in their culture has occured since the sixteenth century as can be seen in the variety of keris (Javanese traditional knife) decorations, ladies' jewelry such as bracelet, binggel/gold ring worn around the ankle, pending/pin, and so on; daily utensils (cooking pan, ladle, tray, and so on); stone carving (tomb stone, statue, roof decoration); wood carving (bed, ship decoration, furniture) (Sunaryo, 2009).Wiryoprawiro (1986) states that Madura has a comparably large number of Chinese citizens, which was officially recorded in history in the eighteenth century after the Pecinan riot in Surakarta, when a large group of Chinese people arrived in Madura from Java.One of them was Lauw Koen Thing family who were skilled in construction building.Later they were trusted by the local dignitaries to perform works according to their skill.The results among others were the building of Sumenep Palace (1764) and Sumenep Grand Mosque (1781), which was built by Lauw Pia Ngo, the grandson of Lauw Koen Thing (pp. 32-35).
The urgency of this study lies on the fact that there are still very few studies on Madurese batik.The more popular topics of batik studies are about batik from the towns of Central Java, such as Yogyakarta, Solo, Cirebon, and so on.Besides, there has been a study on the acculturation of Javanese culture, European culture, and Chinese culture on Madurese community, performed by Tulistyantoro (2009).These backgrounds encourage us to make a study on the Madurese batik, especially the acculturation of Chinese culture in the motif of Madurese batik.It has been widely known that China is rich with symbols with high philosophical values.
As presented by Setyorini et al. (2013), batik-making business has given a considerable contribution to medium business trade.Thus, studies on batik are worthy to be developed more widely.Moreover, at present we have the Association of Central Java batik and Southern Java batik such as Yayasan Batik Indonesia (Indonesian Batik Foundation) which promotes national and global batik-making business.Indonesian Batik-Making Business

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The town batik make community with drago The Chine value caus We also fi            (pp. 158-159).Thus the acculturation process has taken place since a long time ago, therefore we find many motifs of Madurese batik with Chinese symbols such as phoenix, butterfly, bamboo, heron, fish.Koentjaraningrat also states that acculturation in Indonesian culture has taken place since ancient times (1990, p. 248-249).The acculturation of European culture in Indonesia has occured since the entrance of VOC to Indonesia.Thus, the acculturation, both of European culture and Chinese culture has occured naturally since acient time up to the present time in the Madurese community.
The acculturation of the Chinese culture in Madurese batik occurs naturally because both the Madurese and the Chinese have the same preferences, both like the Figure of bird, butterfly, and bamboo.The Madurese and Indonesians of Chinese origin consider a pair of butterflies as the symbol of a pair of lovers.The acculturation of the phoenix motif is supported by the fact that the Madurese also like the Figure of birds, that is why many of their batik motifs have the Figure of birds.When the bird's tail is not spread, it becomes peacock motif, when the bird's tail spreads beautifully, it becomes phoenix motif.This acculturation process is also strengthened by the openness of Madurese batik makers in developing the motifs of their batiks.They allow customers, including foreign ones, to create their own motifs, or to order motifs according to their own wishes, and even to paint the motifs themselves, and after that the batik makers will do the coloring process.

Conclusions
After observing the motifs of Madurese batik from the towns of Pamekasan, Tanjung Bumi, Sumenep, and Sampang, and analyzing the information obtained from the interviews with batik makers and batik collectors, we conclude that there is much acculturation of the Chinese culture in the motifs of Madurese batik.This acculturation process has occured since ancient times and does not only touch batik making, but also influences other fields including architecture and building ornaments.The batik motifs which have experienced acculturation are mostly plant and animal motifs.The plant motifs which are adopted into the motif of Madurese batik among others is the bamboo tree, because both the Madurese and the Chinese believe that the bamboo tree can live in any season, thus giving us example to do likewise.The animal motifs which have been adopted are among others butterfly, phoenix, fish, and heron.
Concerning the animal motifs adopted from the Chinese culture, both the Chinese and the Madurese consider that these animals symbolize positive things.The Chinese and the Madurese believe that per-keper or a pair of butterflies motif symbolizes the true love between a pair of lovers.The Chinese consider the phoenix motif as the symbol of a girl's beauty and elegance, while the Madurese like birds, especially in Sumenep which is famous for its forest chickens.Thus we find the phoenix in the motif of Madurese batik.The fish motif in the Chinese community symbolizes abundant food, while the Madurese like the Figure of fish because many Madurese husbands work as fishermen.The heron with one leg uplifted is taken as such by the Madurese from the Chinese motif.
The panji (swastika) isen motif which symbolizes a balanced life also indicates an acculturation of Chinese culture in Madurese batik.
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Figure Lauw Pia Ngo.Since then wood carvings with Chinese characteristics flourished in Sumenep.