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Oei Khing Liem, the Maestro of Indo-Chinese Pekalongan Batik

The Indo-Chinese commune was famous for providing the best or the most favorite things of their late relatives along with the burial procession, making countless most exquisite batik vanished from our sight. Aside from the fact mentioned, the clothes that left intact are still the most delicate and beautiful inheritance from the golden era of hand-drawn batik.

One of the Indo-Chinese batik maestros is Oei Khing Liem, who starts his workshop around 1910’s.

His striking handiworks are not only filled by stunning motifs and colors, but also the writing of “M.D.E. van Zuylen” beside his own signature. This can be means that some of the design/model were come from van Zuylen’s.[1]

Some interesting fact are, the living and working quarter of Oei Khing Liem in Residentsweg in Pekalongan lies exactly behind the land owned by Lies van Zuylen. Through this relation, Oei offers the right to use Zuylen’s autograph (stamp) in his work to her ancestor, though no source can confirm whether they accepted this offer or not.[2] Oei Khing Liem was recorded to take some batik order from the Japanese as they occupied Indonesia throughout the World War II, creating the well-known Java Hokokai batik.

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[1] Helen Ishwara, et. al., Batik Pesisir Pusaka Indonesia: Koleksi Hartono Sumarsono, Jakarta, KPG: 20111, h. 72

[2] “…seorang pengusaha Tionghoa bernama Oei King Liem menawarkan uang sebanyak 60 ribu gulden untuk memperoleh hak untuk memakai tanda tangan dari mendiang E.V. Zuylen…” dari website resmi kota Pekalongan 

disarikan dari sumber: Dirhamsyah, Ensiklopedia Tokoh Pekalongan, Pekalongan, Kantor Perpustakaan dan Arsip Daerah Kota Pekalongan: 2015

“Van de patronen van Eliza Charlotta van Zuylenen os bekend dat ze in Chinese handen vielen die zestigduizend gulden bode nom de handtekening van mevrouw van Zuylen te mogen gebruiken.” http://www.wandelgek.nl/?p=10798

http://classicalbatik.blogspot.co.id/2008/08/masterpieces-of-batik-peranakan-made-by_7247.html

*Pictures by: http://collections.lacma.org/node/172178

http://classicalbatik.blogspot.co.id/2008/08/masterpieces-of-batik-peranakan-made-by_7247.html 

Oei Khing Liem, Maestro Batik Pekalongan-Cina Peranakan

Kaum Cina peranakan yang kerap membekalkan barang-barang kesayangan/barang terbaik bersamaan dengan prosesi penguburan kerabatnya yang meninggal membuat jarangnya kain batik terbagus yang masih dapat ditemukan hingga saat ini. Namun beberapa yang tersisa pun masih tetap menjadi salah satu batik paling indah dan paling halus dari masa keemasan batik tulis.

 Salah satu maestro batik Cina Peranakan adalah Oei Khing Liem, yang memulai usahanya sekitar tahun 1910-an.

Selain tanda tangannya, dalam beberapa batik karyanya juga dibubuhkan tulisan “M.D.E. van Zuylen”, yang dapat berarti model dari pembatikan van Zuylen.[1]

  Tempat tinggal serta rumah pembatikan milik Oei Khing Liem berada di Residentsweg di Pekalongan, dimana halaman belakangnya tepat berbatasan dengan tanah milik Lies van Zuylen. Lewat hubungan inilah Oei menawarkan pembelian izin untuk menggunakan tanda tangan/signature kepada keturunan dan pewaris dari Ny. Van Zuylen setelah kematiannya, meski tidak dapat dipastikan apakah diterima/tidaknya penawaran tersebut.[2] Oei Khing Liem juga sempat mengerjakan batik bagi kaum Jepang semasa kependudukannya di Perang Dunia ke-II, melahirkan batik Djawa Hokokai yang tidak kalah terkenal.

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[1] Helen Ishwara, et. al., Batik Pesisir Pusaka Indonesia: Koleksi Hartono Sumarsono, Jakarta, KPG: 20111, h. 72

[2] “…seorang pengusaha Tionghoa bernama Oei King Liem menawarkan uang sebanyak 60 ribu gulden untuk memperoleh hak untuk memakai tanda tangan dari mendiang E.V. Zuylen…” dari website resmi kota Pekalongan 

disarikan dari sumber: Dirhamsyah, Ensiklopedia Tokoh Pekalongan, Pekalongan, Kantor Perpustakaan dan Arsip Daerah Kota Pekalongan: 2015

 “Van de patronen van Eliza Charlotta van Zuylenen os bekend dat ze in Chinese handen vielen die zestigduizend gulden bode nom de handtekening van mevrouw van Zuylen te mogen gebruiken.” http://www.wandelgek.nl/?p=10798

 http://classicalbatik.blogspot.co.id/2008/08/masterpieces-of-batik-peranakan-made-by_7247.html

 *Pictures by: http://collections.lacma.org/node/172178

Pics bawah: Batik Pekalongan karya Oei Khing Liem

http://classicalbatik.blogspot.co.id/2008/08/masterpieces-of-batik-peranakan-made-by_7247.html

More than a Gulden, Indo-Dutch Pekalongan Batik

Talking about a high-quality batik; a soft, fine fabric would be the prerequisite—which is the kind of fabric that could be easily found at the period of Dutch and England colonialism in Indonesia where a European-made white silken fabrics are much repeatedly imported, substituting a rough handmade woven fabric previously been used in making batik. Two great names in batik craftsmanship in Pekalongan are Lien Metzelaar and Eliza (Lies) van Zuylen-Niessen. 

Metzelaar pioneering many breakthroughs in batik that later widely imitated by other batik artisans, such as the motif of flowery bouquet (buketan motif), the pattern of flowers among a wide diagonal column adorned with many dots and lines (dlorong motif), also the notorious design of crane as the head piece of the batik cloth. Metzelaar signed her batiks with the signature of “L. Metzelaar Pekalongan”, which later days shortened with only “L. Metz Pek”.

 Van Zuylen batik (Panselen in the tongue of the native Indonesian) is the most famous Dutch batik known. Her works also extensively popularized the motif of buketan, though it was indeed renowned earlier. Buketan motif and the pastel color of Panselen batik still have their own zealous admirer until this very day. In the year of 1937 when van Zuylen started to sign her signature along with the design number on top of her batik, this exquisite cloth’s value reached around 15-20 gulden, whereas the price for a gram of gold itself was merely 1 gulden.[1]

 Although in her late days van Zuylen were unable to put signature on her work—around 1940—and her batik was no longer signed, her ardent fans are still manage to spot which one the real work of her craftsmanship and which is not.

[1] Helen Ishwara, et. al., Batik Pesisir Pusaka Indonesia: Koleksi Hartono Sumarsono, Jakarta, KPG: 20111, h. 93

“Owning one of van Zuylen’s exquisite hand-drawn cloths was a privilege that only very wealthy women in 19th-century colonial Indonesia enjoyed. With the average wage of a government employee being twenty guilders a month, and a van Zuylen sarong costing around thirteen guilders…” from the writing of the Curator of Dallas Museum of Arts, https://uncrated.wordpress.com/2015/03/25/discovering-eliza/

*Pictures by: https://www.artgallery.nsw.gov.au/collection/works/?artist_id=zuylen-eliza-van (buketan pink/salem)

http://collectie.wereldculturen.nl/default.aspx?ccid=P38851&lang= (bunga dlorong)

https://artsearch.nga.gov.au/detail.cfm?irn=186779&pictaus=true (flowers & birds)

Seharga Emas, Batik Pekalongan Indo-Belanda

Batik yang bermutu tinggi salah satunya ditentukan oleh baiknya kualitas bahan, yang mana pada masa ketika Inggris dan Belanda berkuasa di Indonesia bukanlah hal yang sulit didapatkan mengingat banyaknya impor kain putih halus buatan Eropa yang lalu dipakai dalam pembuatan batik, menggantikan kain tenunan tangan yang lebih kasar. Dua nama besar pembatik Belanda di Pekalongan adalah Ny. Lien Metzelaar dan Eliza (Lies) van Zuylen-Niessen.

 Ny. Metzelaar memulai penemuan-penemuan dalam batik yang kemudian banyak ditiru oleh pembatik lain, contohnya pemberian bunga-bungaan (motif buketan), motif bunga di antara lajur miring lebar yang dihiasi garis/titik (motif dlorong), serta yang paling banyak ditiru adalah motif bangau dalam kepala batiknya.Ny. Metzelaar menandatangani batiknya dengan tulisan “L. Metzelaar Pekalongan”, yang kelamaan hari disingkat menjadi hanya “L. Metz Pek”.

 Batik van Zuylen (Panselen di lidah pribumi) adalah batik Belanda yang paling terkenal. Batik ini pula yang mempopulerkan motif buketan secara besar-besaran meski memang sudah dikenal sebelumnya. Motif buketan dan warna pastel dari batik Panselen masih memiliki banyak penggemar hingga saat ini. Pada masa tahun 1937-an saat Ny. Van Zuylen mulai membubuhkan tanda tangan serta nomor desain di kainnya, kain van Zuylen dihargai antara 15-20 gulden, dimana harga emas sendiri hanyalah 1 gulden per gram-nya.[1]

 Walaupun Ny. Van Zuylen di kemudian hari mengalami kesulitan menulis sehingga sejak tahun 1940-an batik-batik miliknya tidak lagi ditandatangani, penggemar beratnya tetap mampu membedakan mana karyanya yang asli dan yang bukan.

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[1] Helen Ishwara, et. al., Batik Pesisir Pusaka Indonesia: Koleksi Hartono Sumarsono, Jakarta, KPG: 20111, h. 93

“Owning one of van Zuylen’s exquisite hand-drawn cloths was a privilege that only very wealthy women in 19th-century colonial Indonesia enjoyed. With the average wage of a government employee being twenty guilders a month, and a van Zuylen sarong costing around thirteen guilders…” from the writing of the Curator of Dallas Museum of Arts, https://uncrated.wordpress.com/2015/03/25/discovering-eliza/

  *Pictures by: https://www.artgallery.nsw.gov.au/collection/works/?artist_id=zuylen-eliza-van (buketan pink/salem)

http://collectie.wereldculturen.nl/default.aspx?ccid=P38851&lang= (bunga dlorong)

https://artsearch.nga.gov.au/detail.cfm?irn=186779&pictaus=true (flowers & birds)

Getting to know the Baduy

The people known as the Baduy have remained isolated from  the mainstream society, living in a cluster of villages in the province of Banten, West Java. They cling to their very ancient way of life, holding on to their ancestral beliefs and practicing Sunda Wiwitan. They are devided into two groups, an inner group (Baduy Dalam) who have no contact with the outside world, and who are surrounded by the villages of the outer group the Baduy Luar. They are almost completely self-sufficient for their everyday needs, including the weaving of cloth.

The Baduy Dalam wear predominantly white clothing, representing purity and life. The Baduy Luar wear more black (indigo dyed) clothing, representing eternal life. When worn in combination the colours are united and represent the idea that eternal life is devotion to God.

Baduy Luar use also more colours in their clothing - red, yellow, and blue - although black dominates. Nowadays the Baduy make textiles for sale as well in order to earn money needed for schooling for their children andfor medicines when sick. 

Pics are Suat Songket made by outer Baduy people (Baduy Luar) using back-strap loom called a pakara

Ulap Doyo, hidden gems in Kalimantan

Ulap doyo is a traditional cloth belonging to the community of Dayak Benuaq, who lives in West Kutai, East Kalimantan.

They weave their clothing using fiber extracted from the fleshy leaf of Doyo, a ground plant kind of reed which grows wild locally. Its yarn then weave with a very traditional loom, made entirely of wood and bamboo. The arrangement of ikat pattern are  simple yet creates a beautiful piece of cloth.

Below are example of Ulap Doyo weaving which textiles are traditional, but made with a modern twist. Love the texture, love the simplicity!

The softness of batik lawas Adek Baji

Batik tulis Adek Baji (little baby brother) was uniquely named like that due to the softness of batik material described as soft as baby skin - since it's being used to carry & cuddle a baby (gendongan bayi). This unique soft characteristics set them apart from other kind of batik tulis during the time 1930-1960 in Solo and Pekalongan.

Earlier time of batik tulis Adek Baji had very complicated motifs especially at the edge of the batik (letter L motifs called sushomoyo) and use only traditional method which entailed the tedious application of wax by hand with a canting (full batik tulis).

Unlike other 3 (Tiga) Negri batik, most of batik Adek Baji have white or yellowish colour background (warna latar), with some motifs in green tosca colour and or purple colour, in pagi/sore (morning/evening) and buketan (flower bouquet) style.

Later time of Indonesian batik development (after 1970), many of them including batik Adek Baji were start using cap (copper stamp). This invention enabled a higher volume of batik production compared to the traditional method of full batik tulis mentioned above.

This beautiful batik Adek Baji was found in Pekalongan, estimated produced in 1950-1960. Enjoy!

Adorable antique Batik Kopitutung

Batik Kopitutung or sometimes called Batik Koptung, are antique and rare collection, as they were made estimated during 1910-1930.

They're so beautiful and the motifs can be categorised as Tiga Negri, however they have beautiful unique brown colour that was produced only during the time and therefore highly valued by batik collectors. This unique brown colour was actually driven the naming "Kopitutung", which means "kopi gosong".

Batik Kopitutung originated from Solo, Lasem and Pekalongan - all in central Java - places that known have special colour for red (Lasem), Solo (brown), Pekalongan (blue). The handmade of Batik Kopitutung took around 8 months to produce a piece of, and all colours were from naturals.

Tjoa Giok Tjiam, the first generation of the famous Tjoa family that produced Tiga Negri Batik in Solo, also found to be one of the artist of Batik Kopitutung. 

Tjoa Giok Tjam's Batik Kopitutung ca.1920

Unfortunately not much literature can be found about the adorable batik Kopitutung.

Java Hokokai Batik - Japanese influence

Java Hokokai Batik came during the Japanese occupation in Indonesia 1942-1945, which design & colours are strongly influenced by Japanese culture. The name of "Java Hokokai" taken from an organization formed by Japan on 1 March 1944 to replace Putera  (Pusat Tenaga Rakyat).

Dominant motifs are butterflies and sakura flowers with traditional Java motifs as background such as Parang, Kawung, and Sidomukti.  In the past, Java Hokokai Batik motifs were made with complicated ornament & isen-isen intentionally to make the batik process longer, due to the lack supply of mori  and synthetic colours from Europe after World War1&2. Nowadays,  Java Batik Hokokai motifs are simplified without loosing its beauty & unique designs.

Below picture are new Java Batik Tulis Hokokai from Pekalongan, Central Java.

The famous Tjoa's family Batik 3 Negri

Batik Lawas has special place in of pride in treasury of Indonesian textile heritage and tradition. Usually "Lawas" applied for Batik over 40years of old, it's amazing how the colour looks brighter and subtle within the time, and the natural colours used in the process make them look so beautiful even now! No wonder many batik collectors are actively looking for Tjoa batiks.

One of the well-known is Batik Tiga Negri made by Tjoa's family long time back in Solo (Surakarta). Tjoa Giok Tjiam was born in chinese peranakan family & started his batik business in year 1910, got married with Liem Netty. 

They had 2 sons:

1. Tjoa Tjoen Kiat (1910), had 3 children:
    Tjoa Siang Gwan, Tjoa Tjing Nio (Ny Sie Djien Nio), Tjoa Siang Swie

2. Tjoa Tjoen Tiang( 1914), had 3 children:

    Tjoa Siang Hing, Tjoa Siang Lie, Tjoa Siang Liat

They made Batik Tiga Negri - if you're wondering why it's called like that- it's because this amazing reason: based on the history, this kind of batik has been coloured in different locations in Java: Solo (for brown/sogan colour), Lasem (for red colour) and Pekalongan (for blue colour) !

Pics above: Tjoa Tjoen Tiang (TOTOT) Batik 3 Negri

We can imagine how extensive the work of producing a piece of Batik, considering the distance between cities, the the road access during the time. And Tjoa's family were meticulously to quality that they'd like to do quality control even in between the process, so the Batik travelled along the way: Solo-Lasem-Solo-Pekalongan-Solo!

It sounds complicated but they believed that each city has its own special and colour recipe that sourced from natural plants. Other factor that causing its special colour were the water in the particular city/area, that mixed perfectly to create beautiful desired colour.

Pekalongan was famous for their natural indigo made from Tarum leave/indigofera, Lasem was known for their red colour from mengkudu root mixed with other ingredients, and Solo was known for their beautiful sogan (brown-yellow) colour.

It's so delightful to enjoy Tjoa's Batik Tiga Negri while appreciating all the effort done in producing one piece of the art!