BATIK

BATIK

I. AT GLANCE ABOUT THE HISTORY OF BATIK IN YOGYAKARTA A traditional Batik Art has been known a few centuries ago in Java Island. If we search the improvement of batik in java, it can’t be separated from the improvement of batik art in Central Java, Yogya batik is a part of the batik art development in Central Java which had got the combinations of some motives from other places. The course of “Yogya Batik” cannot be separated from Giyanti Treaty in 1755. Soon after Mataram Kingdom was devided into two parts, and Ngayogyakarta Hadiningrat was established, Mataram clothes were removed from Surakarta to Ngayogyakarta, so Sri Susuhunan Pakubuwono II ( The Previous King of Yogya) designed a new costume which was different from Surakarta traditional costume. In Giyanti Village, the conference was held. Among the results were the area of Mataram was devided into two, one area was under the authority of Sri Paduka Susuhunan PB II in Surakarta Hadiningrat, another area was under the authority of Kanjeng Pangeran Mangkubumi who was after inaugurated as a king having a title Ngersa Dalem Sampeyan Dalem Ingkang Sinuwun Kanjeng Sultan Hamengkubuwono Senopati ing Ngalaga Ngabdul Rachman Sayidin Panatagama Kalifatullah ingkang jumeneng kaping I, whose palace was then named Ngayogyakarta Hadiningrat. All the heirlooms and palace properties were also devided into two parts. Mataram costume was brought to Yogyakarta , as Kanjeng Pangeran Mangkubumi wanted to maintain it. Therefore, Surakarta which was under the authority of Sri Paduka Susuhunan PB III designed a new costume and managed to make the traditional costume of Surakarta Kingdom as we can see up to now. The characteristics of Yogyakarta style, there are two kinds of background or cloth basic colour. White and Black. Meanwhile the colour of batik can be white (mori cloth colour), dark blue blackish and dark brown. “Sered” or the edge of cloth, white, was exerted not to mixed or soga enters sered, both for the cloth with white or black background. The decoration, first: Geometry: stripe aslant line, crossing line or ceplok and kawung, anyaman and limaran as well. The second decoration style : Non-Geometry : semen, lung-lungan and boketan. The decoration style which is symbolic relates closely with Hindu-Java philosophy (Mrs. Nian S Jumena) among others are : Sawat symbolizes a crown or high powerful man, Meru symbolizes a mountain or earth, Dragon symbolizes water, Bird symbolizes wind or upper world, Fire tongue symbolizes fire. Since the first time there had been prohibition cloth. Each Sultan who had reigned deserved to make the new rules or prohibition. The last, Sri Paduka Sultan HB VIII made the new rule (revision) entitled Pranatan dalem bab pengangge keprabon ing Nagari Ngayogyakarta Hadiningrat ( The King’s Rule of Royal Clothes in Ngayogyakarta Hadiningrat Palace), which was published in Rijksblad van Djokjakarta No. 19, in 1927. Pengangge Keprabon (Royal Costume) are cap or kuluk (wangkidan), dodot/kampuh and bebet prajurit (soldier wraparound cloth worn by man), bebet nyamping ( long cloth), trousers, and glisire (cindhe trousers,velvet,silk,catoon, and its slide),songsong or umbrella. The prohibited batik motives : parang rusak (parang rusak barong, parang rusak gendreh < 8 cm, parang rusak klitik < 4 cm), semen ageng sawat grudha (gurdha), semen ageng sawat lar, udan riris, rujak senthe, parang-parangan which is not parang rusak ; how big it is depends on parang rusak size. All the Sultan’s (King’s) sons are allowed to wear those kinds of batik cloth. The queen’s batik costume is allowed to be the same with The Sultan (King). The other wives are allowed to wear parang rusak gendreh and others down. The first wife of KG Pangeran Adipati is the same with her husband. The other wives are allowed to wear parang rusak gendreh and others down. Also for KG Pangeran Adipati’s sons, their wives are the same with their husband ; and the previous prince (Pangeran Putra Sentana Panjenengan dalem Nata). Wayah Dalem (the King’s grand children) wear parang rusak gendreh and down, also for the King’s great grand children and the grand children’s children. The great grand children’s children (boys and girls) and down are allowed to wear batik parang-parangan which should have motive, prohibited to wear blank motive. Pepatih Dalem ( The Vice King) is allowed to wear parang rusak barong and others down. The Assistants : Pengulu Hakim (Judge), Wedana Ageng Prajurit (Soldiers), Bupati Nayaka jawi lan lebet (Outside and Inside Regents) are allowed to wear parang rusak gendreh and others down. Bupati Patih Kadipaten lan Bupati Polisi ( Vice Regents and Police Chief) are the same with the Assistants mentioned above. Penghulu Landrad ( Landrad Village Chief), Wedana Keparak para Gusti (Nyai Riya) or the village chief’s assistant, Bupati Anom (Junior Regent), Riya Bupati Anom (Junior Regent’s Assistant) parang rusak gendreh and others down. The servants and assistants whose positions are under Junior Regent’s Assistant and those who are not Junior Regent, those whose positions are Village Chief’s Senior Assisants also wear parang rusak gendreh and others down.

II. NAMES OF ANCIENT BATIK MOTIVE
1 Abdi nyamoe 2 Adoe manis 3 Agar-agar 4 Ajam poegér latar iréng. 5 Alas kobong 6 Alas-alasan 7 Alas-alassan latar ireng 8 Aloes ing nálá 9 Ambar sekar 10 Ampëk 11 Anak ayam 12 Anggoer 13 Anggoer kripik. 14 Anggoer latar poetih 15 Anggrek 16 Anggrek Beton 17 Anggrek sitangsoe 18 Angin-angin 19 Angin-angin kampoeng 20 Angin-angin katjang Tjina 21 Angin-angin latar irëng. 22 Angin-angin Madoeran 23 Angin-angin panyen 24 Angin-angin pléntong 25 Angin-angin sawoet 26 Angin-angin séprantoe 27 Angin-angin seprantoe latar ireng 28 Angkloeng jiwá 29 Angreni 30 Ardikoesoemá latar poetih 31 Ardikoesoenä 32 Aroem Ndaloe 33 Asmarandono 34 Asoep kana latar 35 Ayam 36 Ayam Alas 37 Ayam Poeger 38 Babon Angrem 39 Badèrran latar iréng 40 Baita Kandas 41 Baitá kandas latar poetih 42 Bak bayá 43 Balagbag 44 Baloembangan 45 Balok bosok 46 Bandji 47 Bandji Bengkok 48 Bandji bèngkok latar poetih. 49 Bandji ganggong latar iréng. 50 Bandji Goeling	51 Bandji kasoet latar poetih. 52 Bandji latar ireng 53 Bandji latar poetih 54 Bandji likassan latar irëng. 55 Bang Sënen 56 Bango 57 Bango boetak 58 Bango tontong 59 Bantji tjoka 60 Banyak angrém 61 Banyak ngéndog 62 Banyak rémbyang 63 Bantji 64 Bantji kasoet 65 Bantji kémbang 66 Bantji koeroeng 67 Banyi TjéTjèk 68 Banyi Tjiná 69 Banyi toetoep 70 Baris kondoer 71 Baris kondoer latar poetih. 72 Barong asepak 73 Barong latar poetih 74 Barong sèpoeh 75 Basoeto 76 Batawi 77 Batik ayam 78 Batik ho 79 Bayangkari 80 Bayém bang 81 Bayoel ngantang 82 Bekiking 83 Bekingking latar iréng. 84 Békoetahan 85 Bèlah kétoepat 86 Bèlinyon 87 Bëndóe ségara latar poetih 88 Béri kablak 89 Bëtawen 90 Betet 91 Betetan 92 Bibis pistä 93 Bibis pista latar irèng 94 Bintang Loehoer 95 Bintang latar ireng. 96 Bintang Loehoer 97 Bintang Wadjib 98 Bintangan 99 Bintangan latar iréng 100 Blabagan	101 Blandaran 102 Blarak sinampan 103 Blarak sineret 104 Blédeg 105 Blibar 106 Bligin Goerdo 107 Boeah Anggoer 108 Boeloe rambat 109 Boeloe rambat latar irëng. 110 Boeloes angrém 111 Boeloes ngérong 112 Boenga Melati 113 Boental 114 Boental latar poetih 115 Boental Manten 116 Boerbajäsá latar ireng 117 Boerbäkará latar poetih 118 Boerbayasa 119 Boeroeng gaok 120 Boeroeng Piknik 121 Boeroeng Tjolombo 122 Boeroeng yoewi 123 Boewah anggoer dimakan oelat 124 Bogém binalik 125 Bolodewo 126 Bondet 127 Bondèt latar ireng 128 Bongkang sémbayang 129 Brámärä latar iréng 130 Bribil 131 Byoer 132 Dablang 133 Dablang latar iréng 134 Dablang latar poetih 135 Dahon anggoer 136 Dalima wantah latar poetih 137 Dara Gelar 138 Därá gelar latar iréng 139 Ddjadjakoesoema 140 Ddjaladri 141 Délereng 142 Dèlimá wantah 143 Déngkloeng 144 Djäjákartälá latar poetih. 145 Djäjäkartiká latar irëng 146 Djäjákiränä. 147 Djäjákoesoema latar irëng 148 Djájáséntanä latar irëng 149 Djala sèrimpang 150 Djaloe Mampang
151 Djambe Tjepot 152 Djambé tjépot latar poetih. 153 Djamblang 154 Djamblang latar poetih. 155 Djamblang miring 156 Djamblang Tjilik 157 Djanger 158 Djanggléng latar irëng. 159 Djangkaran 160 Djangkarran latar irëng. 161 Djangkoeng koening 162 Djantoeng hati 163 Djántra kémbar 164 Djarak koeroeng 165 Djati koemoro 166 Djawah 167 Djáyákoesoemá 168 Djáyárésmi 169 Djayeng 170 Djélamprang 171 Djèmprit latar irèng 172 Djendral minoem 173 Djèng Nálá 174 Djengkollan latar irëng. 175 Djéntik manis latar poetih 176 Djobin 177 Djodipati 178 Djoebinan 179 Djoedjoekaring latar iréng 180 Djoempoettan latar irëng. 181 Djoewita 182 Djoko lola 183 Djolen 184 Djolo Nidri 185 Djong ranté latar poetih 186 Djoyo djotro 187 Djoyokirono 188 Djoyokoesoemo 189 Djoyomoelyo 190 Djoyosentono 191 Doeda brengos 192 Doedä brèngos latar irèng 193 Doeda gamblok 194 Doeda gèloet 195 Doemeling 196 Doerjadäná latar poetih 197 Doro Sadjodo 198 Elar 199 Eloeng 200 Emplek	201 Endas Maling 202 Endas maling latar poetih 203 Endog rémèk 204 Endol-endol 205 Endol-èndol latar iréng 206 Erang-erangan 207 Esoek sore 208 Gabah sinawoer 209 Gabah sinawoer latar poetih 210 Gadjah biráwä latar poetih 211 Gagak ngaoeb 212 Gagak setrá 213 Gambir Anom 214 Gambir anom latar poetih 215 Gambir Saketi 216 Gambir sakéti latar poetih. 217 Gambir sawit 218 Gambir sawit latar poetih 219 Ganda koesoemo 220 Gándásoeli 221 Gándáwiyayá 222 Gandoe 223 Gandosan 224 Gandossan latar iréng. 225 Gandroeng 226 Ganggeng 227 Ganggong 228 Ganggong barès latar ireng 229 Ganggong bèngkokkan latar irëng 230 Ganggong bintoeloe latar irëng 231 Ganggong boeloes 232 Ganggong Branta 233 Ganggong bräntá latar irëng 234 Ganggong djoebin 235 Ganggong djoebin latar iréng 236 Ganggong Garoet 237 Ganggong garoet latar irëng 238 Ganggong joedjana latar ireng 239 Ganggong kapoendoeng 240 Ganggong Kebar 241 Ganggong kèbar latar ireng 242 Ganggong këmbang latar poetih 243 Ganggong koeroeng latar irëng 244 Ganggong kraton 245 Ganggong kraton Soemenep 246 Ganggong latar poetih 247 Ganggong Lerep 248 Ganggong lèrèp latar irëng 249 Ganggong madoebrántä latar irëng 250 Ganggong Madoerá	251 Ganggong njamploeng iréng 252 Ganggong paningrat latar iréng 253 Ganggong rante 254 Ganggong ranté latar irëng, 255 Ganggong Ranti 256 Ganggong ranti latar irëng 257 Ganggong rèjab latar iréng 258 Ganggong sapit 259 Ganggong Sari 260 Ganggong sari latar irëng 261 Ganggong seprantoe latar iréng 262 Ganggong sidákrama 263 Ganggong sinapit 264 Ganggong soepit 265 Ganggong srandil latar iréng 266 Ganggong tèdjá latar iréng 267 Ganggong tjéplok latar poetih 268 Ganggong tjoerigá latar ireng 269 Ganggong Toerki 270 Ganggong toerki latar irëng 271 Ganggong wibáwä latar irëng 272 Ganggong Yoedjono 273 Ganggong yoenan 274 Ganthi 275 Garoedá latar iréng 276 Gayam roentoeh 277 Gébar sé 278 Gédagan latar irëng 279 Gèdang sélirang 280 Gedangan 281 Gegot 282 Gembel 283 Gembirowati 284 Gémék taroeng 285 Géndagan 286 Gèndani 287 Gendhono 288 Gendolo Giri 289 Germén 290 Girang Tjampoer 291 Girang tjampoer latar poetih 292 Giringsing 293 Glathik Madrim 294 Glebag 295 Godong pring 296 Godong soekoen 297 Godong yarak 298 Godongan 299 Goenardijáyá 300 Goenáwidjájá latar poetih
301 Goenoeng Sari 302 Goerdo Rodjo 303 Goerdo Yekso 304 Goerit Wesi 305 Goerit wësi latar ireng. 306 Goesti poetri 307 Golang Galing 308 Golang-galing 309 Gondang-gandoeng 310 Gondäsoeli latar poetih 311 Gondosoeli 312 Gong Gomino 313 Grageh Waloeh 314 Grènyiling 315 Grésik 316 Gringsing 317 Gringsing aloes 318 Gringsing angoen-angoen 319 Gringsing arya-arya 320 Gringsing ayam poeger 321 Gringsing bagenda 322 Gringsing kawoeng 323 Gringsing Koesoemagoena 324 Gringsing kawot 325 Gringsing Kloengsoe 326 Gringsing kloengsoe latar irèng 327 Gringsing lalampahan 328 Gringsing latar poetih, 329 Gringsing loeng anggoer 330 Gringsing loeng ing sih 331 Gringsing loeng lango 332 Gringsing oedajanaloes 333 Gringsing pálä latar irëng 334 Gringsing pamasah 335 Gringsing Pándawa 336 Gringsing Pándawa jaya 337 Gringsing Panjaloe 338 Gringsing Parta Awiwaha 339 Gringsing Rámáyana 340 Gringsing Ráwantaka 341 Gringsing ringgit 342 Gringsing Sangoepati 343 Gringsing Sangoepati 344 Gringsing sèsémenan 345 Gringsing silir ing maroeta 346 Gringsing Sisik 347 Gringsing sisik latar poetih 348 Gringsing Tjanggoe 349 Gringsing wajang latar poetih 350 Gringsing wayang	351 Gringsing pandawa jaya 352 Gringsing wayang lelakon rayoena tapa 353 Gringsing wayang lelakon Samba lalana 354 Gringsing Wirata 355 Gringsing yagaTjatroe 356 Grinsing Lintang 357 Grompol 358 Grompol latar ireng. 359 Grompol Tjilik 360 Grompolan 361 Harddjoeno Mangsah 362 Higoel-higoelan 363 Ikan Emas 364 Imá krèndá 365 Imá-imá 366 Imá-imá tatit 367 Imä-imá tatit latar poetih 368 Imo krendo 369 Intip ijan 370 Irisan pandan 371 Iris-irisan pandan 372 Kadèle wontá 373 Kagok ing klitik 374 Kahwá péTjah 375 Kahwá woengkoel 376 Kaïn Karet 377 Kaïn Prankèmon 378 Kaïn Raden Ayoe Saleh 379 Kakaryoen 380 Kálá jéngking 381 Kalamkare 382 Kalong Alit 383 Kalong Sari 384 Kandoeroewan 385 Kanigärä latar iréng 386 Kanigoro 387 Kantet 388 Kantil 389 Kapal Api 390 Kapal kandas 391 Kapal kéroek 392 Kapal layar 393 Kápálá slendang 394 Kapas 395 Kapidondong 396 Kapidongdong latar irëng 397 Kapiréntá 398 Karana 399 Karang mélok 400 Karetan	401 Kartika loka 402 Karwain 403 Katjang Wose 404 Kate mas 405 Katesan 406 KaTjeloeng 407 KaTjipoetan 408 Kawoeng 409 Kawoeng bendi 410 Kawoeng bligon 411 Kawoeng boelan 412 Kawoeng Boental 413 Kawoeng brántá 414 Kawoeng Brátáyoeda 415 Kawoeng Brendi 416 Kawoeng brèngos 417 Kawoeng bribil 418 Kawoeng dompol 419 Kawoeng eTjek 420 Kawoeng gagak 421 Kawoeng Gamblok 422 Kawoeng ganggong 423 Kawoeng garoedá 424 Kawoeng Gringsing 425 Kawoeng katoenggeng 426 Kawoeng kémiri kopong 427 Kawoeng kémplang 428 Kawoeng kémplang latar poetih 429 Kawoeng Kepyar 430 Kawoeng Koesoemagoena 431 Kawoeng Kopi PeTjah 432 Kawoeng latar poetih. 433 Kawoeng Madoera 434 Kawoeng pèTjah 435 Kawoeng pitjis 436 Kawoeng pitjis latar poetih. 437 Kawoeng poetri 438 Kawoeng Praboe 439 Kawoeng rájá 440 Kawoeng rante 441 Kawoeng sari 442 Kawoeng sari latar poetih. 443 Kawoeng Sawoet 444 Kawoeng Sen Goerdo 445 Kawoeng sewoe 446 Kawoeng TjaTjah Gori 447 Kawoeng Tjákrá 448 Kawoeng Tjépiring 449 Kawoeng tritis 450 Kayoe angrémit
451 Kayoe Tjiná 452 Kébar 453 Kédrah sená 454 Kejongan latar irëng. 455 Kékémbangan 456 Kèléngan 457 Kémádá 458 Kémáda géndoelan 459 Kémádá salangan 460 Kémádá satriyá manah 461 Kèmádá sékar katela 462 Kèmada soengging 463 Kémbang anggoer 464 Kémbang anggrek 465 Kembang Asem 466 Kembang asèm klewer 467 Kèmbang asém koeroeng 468 Këmbang asém latar iréng 469 Kémbang awi 470 Kèmbang bakoeng 471 Këmbang bèstroe latar poetih 472 Kémbang blimbing 473 Kémbang blimbing latar ireng 474 Kèmbang blimbing latar poetih 475 Kémbang boengah roempoek 476 Kémbang dalimá 477 Këmbang djamboe latar irëng. 478 Kembang djarak 479 Kémbang djarak latar poetih. 480 Kembang djemboel 481 Kémbang djémboel latar irëng. 482 Kembang djeroek latar irëng. 483 Kémbang doeren 484 Kémbang gadoeng 485 Kembang Gambir 486 Këmbang gambir latar iréng 487 Këmbang gambir latar poetih 488 Kémbang ganggong 489 Kémbang gayam 490 Kembang Gempol 491 Kémbang gèmpol koening 492 Kémbang gëmpol latar iréng 493 Kèmbang genjret 494 Kèmbang glagah 495 Kèmbang janggél 496 Kémbang jarak 497 Kémbang jati 498 Kémbang jèpoen 499 Kémbang jèroek 500 Kémbang jéroek koeroeng	501 Kémbang kangkoeng 502 Kembang Kantil 503 Kémbang kapas 504 Kembang kapas baris latar iréng 505 Kembang kapas kapita latar ireng 506 Kembang kapas latar ireng. 507 Kèmbang katelá 508 Kèmbang kates 509 Kèmbang kaTjang 510 Kèmbang kaTjang Tjina 511 Kémbang kaTjeloeng 512 Kembang Kenikir 513 Kembang kénikir latar iréng. 514 Kémbang kéntang 515 Kémbang kéntang latar ireng 516 Kémbang képèl 517 Kèmbang këtongkèng latar irëng. 518 Kembang Kipas Baris 519 Kembang kloewih 520 Kémbang koeroeng 521 Kèmbang kopi 522 Kémbang koro 523 Kémbang lek 524 Kémbang lombok 525 Kembang Manggar 526 Kembang manggar latar poetih 527 Kembang manggis latar ireng. 528 Kémbang mawar 529 Këmbang mindi latar poetih. 530 Kèmbang nanas 531 Kèmbang nanas boeloe 532 Kèmbang oeribang 533 Kembang pálá 534 Kémbang pare 535 Kémbang péndjalin latar iréng 536 Kembang Pepe 537 Kembang Pépé latar ireng 538 Kémbang pépé latar poetih 539 Këmbang pidjéttan latar poetih. 540 Kèmbang piyètan 541 Këmbang poedak latar irëng 542 Kembang Poedak Latar Poetih 543 Kèmbang pot 544 Kèmbang pring 545 Kémbang randoe 546 Kémbang randoe latar poetih. 547 Kembang ranti latar ireng 548 Kémbang régoelá 549 Kémbang sègérat 550 Kembang semak	551 Kémbang sëmak latar irëng 552 Kémbang sémboya 553 Kèmbang sèroeni 554 Kembang Sikatan 555 Kémbang sikattan latar iréng 556 Kèmbang soendoel langit 557 Kèmbang soeroeh 558 Kèmbang soewek 559 Kèmbang sore 560 Kèmbang sréngenge 561 Kèmbang tanyoeng 562 Kèmbang tanyoeng layon 563 Kémbang tarate 564 Kembang Tjengkeh 565 Kémbang téloeki 566 Kembang Telong 567 Kembang Temoe 568 Kembang Temoe-Selendang 569 Kémbang tiba 570 Kémbang Tjéngkeh 571 Kémbang tjéngkèh latar irëng. 572 Kèmbang Tjèpiring 573 Kémbang Tjina. 574 Kémbang tongkeng 575 Kémbang waloeh 576 Kembang Waroe 577 Kémbang waroe latar iréng. 578 Kémbang waron 579 Kémbang Wélándá 580 Kémbar 581 Kemladeyan 582 Kenaka 583 Kènángá 584 Kénanga di makan oelat 585 Kènángá jéntir 586 Kénángá jikét 587 Kènángá kampoeng 588 Kénängä latar iréng 589 Kenanga sari 590 Kèndagan 591 Kényat 592 Keong Emas 593 Keong Rambat 594 Kèpetek 595 Képiting latar poetih 596 Kèrangan 597 Kèraton 598 Kérisan 599 Kèsèmen 600 Kesoemo
601 Kestoebo 602 Kestoeri 603 Kethoprak 604 KéTjipiran 605 Kètongkeng 606 Kètower 607 Keyongan 608 Kidang kénTjáná 609 Kidjing Miring 610 Kidjing miring latar poetih 611 Kijing 612 Kijing wahäná 613 Kirnä mondä latar iréng 614 Kirno Mando 615 Klabang kamal 616 Klabangan 617 Kladoek manis 618 Klamboe latar poetih 619 Kláná latar irëng 620 Klanter 621 Klentang 622 Klewer 623 Klono Gandroeng 624 Kobardjo 625 Kodokan 626 Koeda Rante 627 Koekilá 628 Koekilo Asmoro 629 Koeldi 630 Koemitir 631 Koenir Pito 632 KoenTji 633 Koeping andjing latar ireng 634 Koepoe Anom 635 Koepoe gandroeng 636 Koepoe gandroeng latar irëng 637 Koepoe radja latar poetih 638 Koepoe Ranti 639 Koepoe Rawa 640 Koepoe rawis 641 Koepoe rawis latar poetih 642 Koepoe ráyá 643 Koepoe Taman 644 Koepoe toeroe 645 Koepon 646 Koepon latar ireng. 647 Koepon latar poetih 648 Koerá 649 Koesniá latar ireng 650 Koesnijá	651 Koesoemaningrat 652 KoeTjoeran 653 Kokrosono 654 Kolang-kaling 655 Komboran 656 Kongkang sembijang latar irëng 657 Kongkang sémbiyang 658 Kopi PeTjah 659 Kopi Petjah latar Poetih 660 Kotak Bodroyono 661 Kotak Slobok 662 KoTjak-kaTjik 663 Kowangan 664 Krambil SaTjoekil 665 Krambil satjoekil latar iréng. 666 KranTjis 667 Krété dédé latar iréng 668 Krokot lar 669 Krompol 670 Ladrang 671 Ladrang manis 672 Laleyan 673 Lamkare 674 Lamkarengan 675 Lapis latar irëng. 676 Lar 677 Lar moengä latar poetih 678 Lar Moengo 679 Lar rangkép 680 Lar sawat 681 Lárá Mèndoet 682 Laras ati latar iréng 683 Laras drijá latar irëng 684 Laras driyá 685 Laras Kongas 686 Lárás sèdoewá 687 Larasati 688 Láräsëdoewä latar iréng. 689 Lar-laran 690 Latar iyo 691 Lele ngarak 692 Lemed 693 Lengkong-lengkong 694 Lereng 695 Lereng Tjagak Talang 696 Lereng TjoeTjoek beloet 697 Leter 698 Limar 699 Limar galing 700 Limar kèdaton	701 Limar kémbang 702 Limar kètangi latar irëng 703 Limaran 704 Limaran Ketangi 705 Limaran latar ireng 706 Lindri 707 Lintang alih 708 Lintang trënggänä latar irëng. 709 Lintang Trenggono 710 Lintrik 711 Liris Poetih 712 Liris Tjemeng 713 Imá ranoe latar iréng 714 lmá-imä krénda latar poetih 715 lmä-imá tatit latar poetih 716 Loekito 717 Loeng 718 Loeng adas 719 Loeng adas latar irëng 720 Loeng adas latar poetih 721 Loeng anggoer 722 Loeng Bentoel 723 Loeng béntoel latar ireng 724 Loeng dalimá 725 Loeng dinar latar irëng 726 Loeng ETje 727 Loeng étjé latar irëng 728 Loeng gadoeng 729 Loeng gadoeng latar irèng 730 Loeng ganggéng 731 Loeng Gedawoeng 732 Loeng gedawoeng latar irëng 733 Loeng girang latar ireng. 734 Loeng Goemampir 735 Loeng kangkoeng 736 Loeng kangkoeng latar poetih 737 Loeng kare 738 Loeng katelá 739 Loeng kènaren 740 Loeng kënari latar irëng 741 Loeng kénèkër latar ireng 742 Loeng Kepet 743 Loeng Ketongkeng 744 Loeng këtongkèng latar irëng 745 Loeng klengkeng 746 Loeng klewer 747 Loeng klèwèr latar irëng 748 Loeng krantil 749 Loeng krokot 750 Loeng krokot latar iréng
751 Loeng krokot latar poetih 752 Loeng kroto 753 Loeng lèmèt latar ireng 754 Loeng manis 755 Loeng mawar 756 Loeng oeris latar iréng 757 Loeng pakis 758 Loeng pakis latar iréng 759 Loeng pakis latar poetih 760 Loeng paTjar 761 Loeng pèniti 762 Loeng Pernis 763 Loeng përnis latar iréng 764 Loeng régoelon latar poetih 765 Loeng sekotji latar poetih 766 Loeng semanggèn latar ireng 767 Loeng Sembagen 768 Loeng Sembodjo 769 Loeng sëtlop (ook wel këstlop) latar irëng 770 Loeng Slop 771 Loeng slop of setlop latar ireng. 772 Loeng srimpi latar poetih 773 Loeng Tandjoeng 774 Loeng tëlëng latar poetih 775 Loeng the 776 Loeng tjandi latar ireng 777 Loeng Tjempaloek 778 Loeng waloeh latar ireng 779 Loeng Widoeri 780 Loeng-loengan 781 Loer keong 782 Loer setrá 783 Lok Tjoan 784 Lokananta 785 Long Dawoeng 786 Lontang 787 Lontang kembang tanjoeng 788 Lontang loeng-loengan 789 Madoe Gondo 790 Madoe sinirat 791 Madoebrontá latar poetih. 792 Maliawan 793 Mándákaki 794 Manggaran 795 Manggisan 796 Mangkara 797 Manindras 798 Manoek alap-alapan 799 Manoek bango 800 Manoek barlin	801 Manoek bèloek 802 Manoek béri 803 Manoek dewátá 804 Manoek endol-endol 805 Manoek géntayoe 806 Manoek grigit 807 Manoek jatayoe 808 Manoek jiwátá oenjab 809 Manoek jonggrang 810 Manoek kablak 811 Manoek kèpèt 812 Manoek koeroeng 813 Manoek Krésna 814 Manoek manyoerá 815 Manoek mibèr 816 Manoek parang 817 Manoek ráwá 818 Manoek tarate 819 Manoek taroeng 820 Manoek tatit 821 Manoek Tjohoeng 822 Mantarsih 823 Margodadi 824 Mari-kangèn 825 Maroeto 826 Mas Ginoendjing 827 MaTjan kobar 828 MaTjan-maTjanan 829 Mawar Sari 830 Mboedoer 831 Mégat-roeh 832 Melati Selangsang 833 Melati selangsang latar poetih 834 Melati sepasang 835 Melati sedompol 836 Melinjon 837 Mémétahan 838 Ménjangan gringsing 839 Mentoel 840 Ményan kobar 841 Mérak angrém 842 Mérak kasimpir 843 Mérak ménTjélok 844 Mérak mènTjit 845 Mérak mibér 846 Mèrak ngigèl 847 Mérak ngigél latar poetih 848 Mérak simpir 849 Mèrang bodol 850 Mërang bodol latar poetih	851 Merang Kedjer 852 Mérang kedjer latar poetih 853 Meroe 854 Mideringrat 855 Mimilahan 856 Mindrasmárá 857 Mirong 858 Mirong latar iréng 859 Mlati rinontje 860 Mlindjo latar poetih 861 Mliwis 862 Mloyo 863 Moblong 864 Modang 865 Modang rawan 866 Modang Solo 867 Moelyo djati 868 Moelyowati 869 Nágá bisikkan latar poetih 870 Naga boelët latar irèng 871 Nägá dani latar iréng 872 Nágá gini latar poetih 873 Naga kirig latar irëng 874 Nágä latar poetih 875 Nágä pëksi latar iréng 876 Nägä poespá latar iréng 877 Nágá sásrá latar ireng 878 Nágá tápá latar iréng 879 Nágágini 880 Nagan 881 Nágáráyä 882 Nagäsari 883 Nagasari latar irëng. 884 Nagásásrá 885 Nágátápá 886 Nágátoemálá 887 Nam tikër latar poetih 888 Nam Batik 889 Nam-namman latar poetih 890 Nampan perak 891 Natar biron 892 Ngoelandoro 893 Niklang ngedi 894 Noes-noesan 895 Nogo djoyo 896 Nogo Gini 897 Nogo poespa 898 Nogo Rodjo 899 Nogo Sadjodo 900 Nogo Sinanding
901 Nogo Sosro 902 Nogo Topo 903 Nogo Wono 904 Nogo Yono 905 Nogosari 906 Nyaton 907 Nyoek 908 Obar 909 Obar-abir 910 Oebin 911 Oedan liris 912 Oedan liris latar poetih 913 Oedan mas 914 Oedan Tjaho 915 Oekèl pakis 916 Oekël pakis latar poetih 917 Oelá gonjing 918 Oelá toeroe 919 Oelèr kambang 920 Oelèr kambang latar poetih 921 Oempak 922 Oendoek alit 923 Oentoek banjoe latar iréng. 924 Oentoek banyoe 925 Oentoek banyoe ise 926 Oentoek banyoe nag 927 Oentoek soengoet 928 Oerang ajoe latar iréng 929 Oerang ayoe 930 Oerang oerangan latar irëng. 931 Oerang pletas. 932 Oerang sikat 933 Oerang-oerangan. 934 Oetjeng oedik 935 Oetil oetil gèndongan latar iréng 936 Oetjéng moedik latar poetih 937 Onang-onang sakebon 938 Onengan 939 Onëngan latar irëng 940 Ongko Widjoyo 941 Orak-arik 942 Orang Aring 943 Pagér Kétimoen 944 Pagersari 945 Pagi-Sore 946 Pakis 947 Pakis Tadji 948 Pakoeningrat latar poetih. 949 Palang 950 Pamiloeto	951 Pandan Iris 952 Pandan Leres 953 Pandèlégan 954 Panggang Lele 955 Panjang Gowang 956 Panjen Kasar 957 Panji 958 Panji Aloes 959 Panji Gènting 960 Panji Kénángá 961 Panji Kènari 962 Panji Kérémèk 963 Panji Késémèk 964 Panji Kintir 965 Panji Koeroeng 966 Panji Koyak 967 Panji Lintrik 968 Panji Mari-Kangen 969 Panji Nitik 970 Panji Oebin 971 Panji Sékétip 972 Panji Sérang 973 Panji Sérit 974 Panji Sikat 975 Panji Sisik 976 Panji Sosi 977 Panyi Tangkok 978 Papah Aren 979 Parang Angkik latar poetih 980 Parang Baladewa 981 Parang Baris 982 Parang Baris latar poetih 983 Parang Barong 984 Parang Barong Koetai 985 Parang Bintang latar irëng 986 Parang Blanggrëng latar poetih 987 Parang Daon 988 Parang Dimpil latar poetih 989 Parang Djenggot 990 Parang Djènggot latar poetih 991 Parang Esti latar poetih 992 Parang Gantoeng. 993 Parang Geloeng latar poetih 994 Parang Gendreh 995 Parang Godong 996 Parang Gondá latar poetih 997 Parang Gondokoesoema 998 Parang Gondosoeli 999 Parang Jejer 1000 Parang Jenggot	1001 Parang Kagok 1002 Parang Kaos latar irëng 1003 Parang Karná 1004 Parang Kémbang 1005 Parang kémbang latar poetih 1006 Parang Kembang Manggar 1007 Parang Kembang Tjoeboeng 1008 Parang Kèrná 1009 Parang Kesit 1010 Parang Késoelá. 1011 Parang Kirná latar poetih 1012 Parang Kirno 1013 Parang Kiting. 1014 Parang Klitik 1015 Parang Koeroe. 1016 Parang Koeroeng 1017 Parang Koeroeng latar irëng 1018 Parang Koesoemá latar poetih 1019 Parang Koesoemo 1020 Parang Krantil latar poetih 1021 Parang Kreno Srimpet 1022 Parang Krésná. 1023 Parang Laoet latar irëng 1024 Parang Lapis Troemtoem 1025 Parang Liris Glebak 1026 Parang Loreng. 1027 Parang Manggar. 1028 Parang Menang latar poetih 1029 Parang Mènang. 1030 Parang Méndoeng. 1031 Parang Ngèsti latar iréng 1032 Parang Oedet 1033 Parang Oekél latar poetih 1034 Parang Oekél. 1035 Parang Oelá latar poetih 1036 Parang Pakis latar poetih 1037 Parang Pakis. 1038 Parang Pamor 1039 Parang Pantjing latar poetih 1040 Parang Pari 1041 Parang Paroeng 1042 Parang Paroeng latar poetih 1043 Parang Peksi 1044 Parang Pléntong 1045 Parang Poespo 1046 Parang PoeTjang Klitik 1047 Parang Prajoeri 1048 Parang Ratoe Ratih 1049 Parang Reh. 1050 Parang Réjèng
1051 Parang Roesak 1052 Parang Roesak Kagok latar poetih 1053 Parang Roesak Klitik poetih 1054 Parang Roesak. 1055 Parang Sarpá latar poetih 1056 Parang Sarpakenaka 1057 Parang Sarpo 1058 Parang Sawoet 1059 Parang Sawoet latar poetih 1060 Parang Sélimpét 1061 Parang Semanggi 1062 Parang Sinoengging 1063 Parang Sisik. 1064 Parang Sobrah 1065 Parang Sobrah latar poetih 1066 Parang Soeli 1067 Parang Soeli latar poetih 1068 Parang Sonder 1069 Parang Sondèr latar poetih 1070 Parang Sonder. 1071 Parang Srimpi 1072 Parang Sroewá. 1073 Parang Tjanthel 1074 Parang Tjentoeng 1075 Parang Tèdjá latar poetih 1076 Parang Templek 1077 Parang Tjantèl latar poetih 1078 Parang Tjantel. 1079 Parang Tjengger latar poetih 1080 Parang Tjéntoeng 1081 Parang Tjéntoeng latar poetih 1082 Parang Tjinde 1083 Parang Tjindé latar poetih 1084 Parang Toeding 1085 Parang Wénang 1086 Parang Westi. 1087 Parang Yoengoet. 1088 Pare Anom 1089 Pare Wánáran 1090 Pari Sewoeli 1091 Parikésit. 1092 Pátáwálá. 1093 Patjar banyoe 1094 Peksi Adji 1095 Peksi Andong 1096 Peksi Bangoen Topo 1097 Pëksi Bido latar poetih 1098 Pëksi Blekok latar poetih 1099 Pëksi Darès latar poetih 1100 Peksi Gagak	1101 Pëksi Gagak latar irëng 1102 Pëksi Ganggëng latar iréng 1103 Pëksi Garoeda latar ireng 1104 Peksi Handon 1105 Péksi Handon latar poetih 1106 Pëksi Hoek latar iréng 1107 Peksi Kablak 1108 Péksi Kablak latar ireng 1109 Peksi Karing 1110 Peksi Kingkin 1111 Péksi kingkin latar poetih 1112 Peksi Kirna 1113 Peksi Koeroeng 1114 Peksi Koeroeng Latar Poetih 1115 Peksi Koewon 1116 Pëksi koewon latar poetih 1117 Pèksi Makoetá latar poetih 1118 Péksi Makoetä Rámá 1119 Péksi Manjoerá latar poetih 1120 Pëksi Oerang-oerangan irëng 1121 Pëksi Oetér latar poetih 1122 Peksi Orang orangan 1123 Peksi Rodjo 1124 Peksi Sikatan 1125 Pëksi Sikattan latar poetih 1126 Péksi Slènggrëng latar poetih 1127 Peksi Sonder 1128 Pèksi Taman latar poetih 1129 Peksi Tjangkloeng 1130 Pëksi Tjangak latar Poetih 1131 Pëksi Tjatoer latar iréng 1132 Pèksi Ziema 1133 Pèlaboehan Kamal 1134 Pélamboeng. 1135 Peleman latar poetih 1136 Pélëmman latar irèng 1137 Pèlëmman latar poetih 1138 Péndá-Péndá. 1139 Pendeleggan 1140 Péndëléggan latar poetih. 1141 Pendelikan 1142 Péngada 1143 Peni 1144 Perak Sinampan 1145 Pèrang Ménang 1146 Pérang Roesak 1147 PéTji Mayar. 1148 Pilih Asih 1149 Pilih Asih latar poetih 1150 Pinggiran	1151 Pintoe Ráyá. 1152 Pintoe Retno 1153 Pisang Woengkoel 1154 Pisang Bali 1155 Pisang Bali latar iréng 1156 Pisang Bali latar poetih 1157 Pisang Bali. 1158 Pisang Gono 1159 Platoek Bawang 1160 Plentong 1161 Poedak Mekar 1162 Poeng Garoedá 1163 Poengpoengan 1164 Poepá 1165 Poepoeyingan 1166 Poerbá 1167 Poerbákárá 1168 Poerbákoesoemá 1169 Poerbanegara 1170 Poerbanegarä latar irëng. 1171 Poerbaningrat 1172 Poerbaningroem 1173 Poerbaningsih 1174 Poerbáwijáyá 1175 Poerbonegoro 1176 Poerbosari 1177 Poerwo Retno 1178 Poespá Kérná 1179 Poespa Toeoedjoeng latar poetih . 1180 Poespá Wilis 1181 Poesporini 1182 Poe Tjoek Réboeng 1183 Poetri Solo 1184 Pongkang Sèmboja 1185 Pongpongan. 1186 Pontang in va 1187 PonTjot 1188 Potong Wayik 1189 Praboe Anom 1190 Praboe Romo 1191 Praboe Set 1192 Pragi Pringgi. 1193 Pramoegari 1194 Prang 1195 Prènis 1196 Pring Sédapoer. 1197 Pringgádani 1198 Pringgondani 1199 Proklamasi 1200 Radjo oeret
1201 Rägáhinä latar iréng 1202 Rámá gandroeng. 1203 Rámá. 1204 Ramboetan 1205 Ránggá 1206 Ránggá Poespitá. 1207 Ránggá Warsitá. 1208 Rangsang 1209 Rawan 1210 Ráyá Oeret 1211 Règoelá 1212 Régoelá Ngawi 1213 Regoelon 1214 Régoelon latar irëng (zie no hiervoren) 1215 Rëgoelon Siwallan latar poetih 1216 Rèmbang KaTjina 1217 Rémbang Rangoe. 1218 Rémboen. 1219 Réméng 1220 Rënggá latar irëng 1221 Rënggä Poespitä latar iréng 1222 Rengganis 1223 Réngganis latar iréng 1224 Réngganis. 1225 Reni 1226 Reyeng 1227 Ripi koening 1228 Riti riti 1229 Ritik. 1230 Riti-riti latar poetih 1231 Roempoek. 1232 Roeyak Sente ka 1233 Roeyak Sente. 1234 Roeyak Talés. 1235 Roeyak Woeni. 1236 Roeyak Yèroek. 1237 Rogohino 1238 Ron Semanggi 1239 Rondä Widätä latar poetih 1240 Rondo Widata 1241 Ronyokan. 1242 Sabagi 1243 Sábá-láná. 1244 Sákárini 1245 Salah ing Rahim 1246 Salak Sategal 1247 Salak Sategal latar poetih. 1248 Salak Tégal 1249 Salendro. 1250 Salobog.	1251 Sang Kobak 1252 Sang Nágá 1253 Sangga Langit. 1254 Sanggá Lewang. 1255 Sapit Oerang 1256 Sarang Boeroeng 1257 Sarasah 1258 Saroeng Sorotan, 1259 Satrijäwibäwá latar ireng. 1260 Satrio Wibowo Djangkep 1261 Satriyá Laláná. 1262 Satriyá Wibáwá. 1263 Satriyo Manah 1264 Sawah Sakèdok. 1265 Sawat Birowo 1266 Sawat Boekoeran. 1267 Sawat Bomá. 1268 Sawat Gándáwijaya 1269 Sawat Garoedá 1270 Sawat Géde. 1271 Sawat Gendong. 1272 Sawat Goenáwiyá 1273 Sawat Jéngoet. 1274 Sawat Kèmanten. 1275 Sawat Kèmbang. 1276 Sawat Kétandan 1277 Sawat Koepon. 1278 Sawat Loehoer 1279 Sawat Loka 1280 Sawat Manjoerá. 1281 Sawat Megáméndoe 1282 Sawat Ngeni 1283 Sawat Oelá. 1284 Sawat PaTjar 1285 Sawat Pènganten 1286 Sawat Poetro 1287 Sawat Rámá. 1288 Sawat Sálá. 1289 Sawat Sawér 1290 Sawat Séroenen. 1291 Sawat Soewiri Oek 1292 Sawat Soewiri. 1293 Sawat Tjoewiri 1294 Sawat. 1295 Sawen. 1296 Sawo Sémpal latar iréng. 1297 Sawo Sèmpal. 1298 Sawoeng Galing. 1299 Sawoet 1300 Sébagi	1301 Sedah Manyar 1302 Sedah Mirah 1303 Sékar 1304 Sekar Aroem Daloe 1305 Sekar Djambe 1306 Sekar Djati 1307 Sekar Giwang 1308 Sekar Gondoriyo 1309 Sekar Kapas 1310 Sekar KaTjang 1311 Sëkar Katjang latar iréng 1312 Sekar Keben 1313 Sekar Kepel 1314 Sekar Mondoliyo 1315 Sekar Polo 1316 Sekar Ratoe 1317 Sekar Remoedjoeng 1318 Sekar Sidogoeri 1319 Sekar Soekoen 1320 Sekar Soeryo 1321 Sekar Tate 1322 Sekar Teboe 1323 Sekar Teleng 1324 Sekar Temoe 1325 Sekar Waroe 1326 Sélimpèt 1327 Sélobog 1328 Sélobog Asmárád 1329 Sélobog Jántrá 1330 Sèlobog Lar-lar 1331 Sélobog Tjoeken. 1332 Semanggi 1333 Sèmangkan 1334 Semar Mesem 1335 Sëmarangan 1336 Sembagen 1337 Sembagen Anggrek 1338 Sèmbagen Gambir 1339 Sèmbagèn Hoek latar poetih 1340 Sèmbagen Kalong 1341 Sembagen Kembar 1342 Sémbagen Mènor 1343 Sèmbagen Ombak. 1344 Sémbagen Tjèloem 1345 Sèmbagen Tjérip 1346 Sémbagen. 1347 Sémbagi 1348 Sémen 1349 Semen Alit 1350 Sémen Angreni
1351 Sëmèn Antenar latar iréng 1352 Sémen Arjoená W 1353 Sémèn Baitá latar irèng 1354 Semèn Bèloek latar ireng 1355 Sëmèn Dèmpèt latar poetih 1356 Semen Djali 1357 Semen Djlekitit 1358 Semen Djlengoet 1359 Sëmèn Djlëngoet Garoedá latar poetih 1360 Semen Djogdja 1361 Sémèn Djolèn latar poetih 1362 Semen Gagakkan latar irèng 1363 Sèmèn Gédé latar iréng 1364 Sémèn Gëdé wragas poetih 1365 Sèmen Géde. 1366 Sëmèn Gèndong later irëng 1367 Sémen Gendong. 1368 Semen Giwang 1369 Semen Goenoeng 1370 Sémèn Goenoeng latar irèng 1371 Semen Goerdo 1372 Semen Goerdo Raddjo 1373 Semen Hok 1374 Sémen Jaléngoet 1375 Sémèn Jogjá latar irëng 1376 Sèmen Joli 1377 Semen Kagok 1378 Semen Kaloeng 1379 Sémèn Kaloeng latar poetih 1380 Semen Kasoet 1381 Sëmèn Kasoet latar irëng 1382 Sèmèn Katé latar poetih 1383 Semen Kebon 1384 Sëmèn kébon latar iréng 1385 Semen Kemladeyan 1386 Semen Keong 1387 Semen Kidang 1388 Semen Kipas 1389 Sèmèn Kipas latar irèng 1390 Semen Kladoek 1391 Sèmen Klawer 1392 Sëmèn Klèwèr latar poetih 1393 Sëmèn Koekilä latar iréng 1394 Semen Koekilo 1395 Sëmèn Koemboel latar irén g 1396 Semen Koeroeng Latar Poetih 1397 Sëmén Koewas latar poetih 1398 Semèn Kroen latar poetih 1399 Sëmèn Kroton latar poetih 1400 Semen Ladjoer	1401 Semen Loe 1402 Semen Lombok 1403 Sémèn Lombok latar irëng 1404 Sémèn Malèbari latar poetih 1405 Semèn Manjoera latar poetih 1406 Semen Menoro 1407 Semen Moelwo 1408 Semen Ngreni 1409 Sëmèn Ngrèni latar ireng 1410 Semen Oewer 1411 Sémèn Pèrsi latar iréng 1412 Sëmèn Pété latar poetih 1413 Sémèn Poering latar poetih 1414 Sémèn Poetér latar irëng 1415 Semen Pot 1416 Sëmèn Pot latar irëng 1417 Sémèn Praboe latar poetih, 1418 Sëmèn Prit latar poetih 1419 Semen Ragas 1420 Sëmèn Rámá latar poetih 1421 Sémen Rámá. 1422 Sémen Ranggas. 1423 Semen Rayoeng 1424 Semen Redjoenowidjoyo 1425 Sémen Réméng 1426 Sëmen Rëmëng latar irëng 1427 Sèmen Réngga 1428 Semen Roegos 1429 Semen Romo 1430 Semen Samoet 1431 Sèmen Sandi 1432 Semen Sawoet 1433 Semen Semeroe 1434 Semen Sidodadi 1435 Semen Sinom 1436 Sëmèn Sinom latar iréng 1437 Semen Sinto 1438 Semen Sirap 1439 Semen Slendri 1440 Sëmèn Sligi latar irëng 1441 Semen Sonder 1442 Sémen Sorásari 1443 Sémèn Srowot latar irëng 1444 Semen Tjoeboeng 1445 Semen Tjondro 1446 Sèmen èloeki 1447 Sémen Tjándrä. 1448 Sémen Tjélèkiti 1449 Sëmèn Tjèplokkan latar jrëng 1450 Sémen Tjilik	1451 Sémen Tjoewiri, 1452 Sémèn Tjondrä latar poetih 1453 Sëmèn Tjonil latar iréng 1454 Semen Tloetoer 1455 Sémen Tokol 1456 Sèmen Tritis 1457 Sèmèn Tritis latar poetih 1458 Semen Wose 1459 Sémèroe latar irëng 1460 Semoe Liris 1461 Sèmoekirang 1462 Sénggoeh 1463 Senggrang Nágás 1464 Senggreng 18 1465 Séprantoe 1466 Sérasah 1467 Sérasah Kébar, 1468 Sérasah Tjara M 1469 Seret. 1470 Seroem Wayang 1471 Seroenen 1472 Sèroeni Landak. 1473 Seto Koemiter 1474 Sidá Loehoer latar irëng 1475 Sidä Rëdjä latar poetih 1476 Sidagoeri. 1477 Sidämoekti latar irëng 1478 Sidangan 1479 Sido Asih 1480 Sido Loehoer 1481 Sido Loewoeng 1482 Sido Moekti 1483 Sido Moelyo 1484 Sidodadi 1485 Sidogori 1486 Sidokarso 1487 Sidoredjo 1488 Sidowoeyoeng 1489 Simá Ngalih 1490 Sinyang Giro. 1491 Sirah Gloendoengan 1492 Sirah Gloendoengan latar irëng 1493 Sirapan 1494 Sirappan latar irèng 1495 Sisirangan 1496 Slènggréng latar poetih 1497 Slobok 1498 Slobok Djamang 1499 Slobok Djamang latar irëng. 1500 Slobok Sekar Asem
1501 Slobok Sékar Asém latar ireng. 1502 Slobok Tjoekèn latar poetih. 1503 Slobrak 1504 Sobrah 1505 Sobrah latar iréng. 1506 Sobrah latar poetih 1507 Sobrang Gending 1508 Sobrang latar poetih 1509 Soebagi 1510 Soekmá Angén 1511 Soekowati 1512 Soelaman 1513 Soelamman latar iréng 1514 Soemäningrat latar irëng. 1515 Soemarsáná latar iréng 1516 Soemarsono 1517 Soemayar. 1518 Soembar Lintang 1519 Soemèdang. 1520 Soemping 1521 SoendoeI Langit. 1522 Soepit Kèpiting. 1523 Soepit Oerang 1524 Soepit Oerang latar iréng. 1525 Soeri Yáwá 1526 Soewiri 1527 Sogan Yéne 1528 Sogokan 1529 Sokorini 1530 Songgälangit latar poetih 1531 Sonyang 1532 Sorasari 1533 Sorasari Goemyoer 1534 Sorot 1535 Sorotan 1536 Srengengen 1537 Sri Dento 1538 Sri Koen Tjoro 1539 Sri Noegroho 1540 Sri Redjeki 1541 Sri Soewelo 1542 Sri Wedari 1543 Sri Wedari Tjeplok 1544 Sri Widadi 1545 Sriasih 1546 Sridadi 1547 Sridéntá 1548 Sridéntá Yoemáp 1549 Srigading latar irëng. 1550 Sriganti	1551 Srikandi. 1880. 1552 Srikaton 1553 Srikoyo 1554 Sripénah190 1555 Sriyatno 1556 Sroeni Landak latar irëng 1557 Talépokan 1558 Taloeki 1559 Tambal 1560 Tambal Kanomman. 1561 Tambal latar irëng. 1562 Tambal Miring. 1563 Tandjoeng Anom 1564 Tandjoeng Goenoeng 1565 Tanyoeng Beyo. 1566 Tapak Koetjing latar iréng 1567 Tapih KéTjil 1568 Tapih Sérasah. 1569 Tapih Talèpokan 1570 Tapih Tjinde. 1571 Taplak Latar Poetih 1572 Tarate 1573 Taroek Hata 1574 Taroepala 1575 Tatagati 1576 Tatit latar poetih 1577 Tatit Sawat 1578 Tjabe Rawit 1579 Tjakar Melik 1580 Tjakar Wok 1581 Tjakrawati 1582 Tjampoer Sari 1583 Tjandi Sastro 1584 Tjandra Koela 1585 Tjangklet 1586 Tjemoekiran Oosthoek 1587 Tjemoekiran Solo 1588 Tjemoekiran Yogya 1589 Tjenderawasih 1590 Tjendhani 1591 Tjepaka Moelya 1592 Tjepaka Sari 1593 Tjeplok Baris Kondoer 1594 Tjeplok Bibis 1595 Tjeplok Bintaroeng 1596 Tjeplok Birowo 1597 Tjeplok Blibar 1598 Tjeplok Djanoer Wendho 1599 Tjeplok Djloedjoet Roentoeng 1600 Tjeplok Ganggong	1601 Tjeplok Goesti Poetri 1602 Tjeplok Grameh 1603 Tjeplok Gringsing 1604 Tjeplok Kaos 1605 Tjeplok Kasatriyan 1606 Tjeplok Kawoeng Ningrat 1607 Tjeplok Kelan 1608 Tjeplok KeTji 1609 Tjeplok Kitiran 1610 Tjeplok Koesnia 1611 Tjeplok Koewari 1612 Tjeplok KoTji 1613 Tjeplok Kridodekso 1614 Tjeplok Lestari 1615 Tjeplok Loeng Kastlop 1616 Tjeplok Madoebronto 1617 Tjeplok Madoesari 1618 Tjeplok Manggis 1619 Tjeplok Mekar 1620 Tjeplok Melati 1621 Tjeplok Mendoet 1622 Tjeplok Moealangsih 1623 Tjeplok Moendoe 1624 Tjeplok Oentoek Banyoe 1625 Tjeplok Onde onde 1626 Tjeplok Pandiliran 1627 Tjeplok Paripoerno 1628 Tjeplok Pergiwo 1629 Tjeplok Pintoe Retno 1630 Tjeplok Poerbo Negoro 1631 Tjeplok Poewoko 1632 Tjeplok Proboaroem 1633 Tjeplok Renggo Poespito 1634 Tjeplok Sarimadoe 1635 Tjeplok Sekti Bali 1636 Tjeplok Sidomoen Tjoel 1637 Tjeplok Sidowayah 1638 Tjeplok Soebosito 1639 Tjeplok Soekoreno 1640 Tjeplok Soesilo 1641 Tjeplok Sriwedari 1642 Tjeplok Tata Gati 1643 Tjeplok Tjakrakoesoema 1644 Tjeplok Trenggiling 1645 Tjeplok Wibowo 1646 Tjeplok Widoro Laoet 1647 Tjeplok Wora wari 1648 Tjepoko Moelya 1649 Tjindelaras 1650 Tjloentang
1651 Tjoerigo 1652 Tjoewiri 1653 Tjoewiri Djogdjo 1654 Tjoewiri Gembel 1655 Tjoewiri Kartiko 1656 Tjoewiri Solo 1657 Tjokro Wibowo 1658 Tjokrobowo 1659 Tjokrokoesoemo 1660 Tjorang Tjakrik 1661 Tebeng 1662 Tëbëng latar iréng 1663 Teblem 1664 Tedjomaya 1665 Tèkek Koeroeng 1666 TèlaTjap 1667 TèlaTjap Kékémb 1668 TèlaTjap Loengloe 1669 TèlaTjap Saroeng 1670 Telekoen Angrem 1671 Tëlëkoen Angrëm latar poetih 1672 Télépoekan 1673 Tèloeken 1674 Téloeki 1675 Téloeki Tjendol. 1676 Tèrang 1677 Terang Boelan 1678 Tërang Boelan latar poetih 1679 Terongan 1680 Thoembs 1681 Tilar sa 1682 Ting latar poetih 1683 Tirtätèdja latar irëng 1684 Tirtotedjo 1685 Tjakar Ayam 1686 Tjakar latar irëng 1687 Tjakar Mélik latar ireng 1688 Tjakar Wok latar irëng 1689 Tjákrá 1690 Tjákrá Koesoemá. 1691 Tjakra Latar ireng. 1692 Tjakrakoemá latar iréng. 1693 Tjákräwála latar irëng. 1694 TjalaTjap 1695 Tjaloentang 1696 Tjampoer Bawoer. 1697 Tjándrá. 1698 Tjangapan 1699 Tjangklet 1700 Tjangkring	1701 Tjanklët latar poetih 1702 Tjap Kèyen 1703 Tjap Limar 1704 TjaTjing Sépiri 1705 Tjèbongan latar iréng. 1706 Tjeleng Kawénge 1707 Tjeleng Krokot. 1708 Tjeleng Mogok. 1709 Tjémárä 1710 Tjémékirang 1711 Tjémpáká 1712 Tjèmpáká Gondok 1713 Tjémpáká Kayon. 1714 Tjémpáká Moelyá 1715 Tjèmpaloekan 1716 Tjentel 1717 Tjepiring 1718 Tjèplok 1719 Tjéplok Bajém latar poetih. 1720 Tjéplok Banyi. 1721 Tjéplok Baroya 1722 Tjéplok Bendi 1723 Tjéplok Bintangan latar ireng. 1724 Tjéplok Bintara 1725 Tjëplok Bintaroem latar irëng 1726 Tjéplok Bogém. 1727 Tjèplok Danoerèd 1728 Tjèplok éndog. 1729 Tjéplok éntoeng. 1730 Tjéplok époen 1731 Tjèplok Goerameh 1732 Tjeplok Gori latar iréng. 1733 Tjeplok Gramèh latar ireng. 1734 Tjéplok Gringsi 1735 Tjèplok Kèdá 1736 Tjeplok Këlan latar poetih. 1737 Tjeplok Kénari latar ireng. 1738 Tjèplok KeTji. 1739 Tjeplok Koeroeng latar irëng 1740 Tjëplok Koesniä latar poetih. 1741 Tjéplok Koewari latar poetih. 1742 Tjeplok Kotji latar irëng. 1743 Tjéplok Lintang 1744 Tjèplok Liring. 1745 Tjèplok Manggis 1746 Tjeplok Manggis latar irëng 1747 Tjëplok Mendoet latar poetih 1748 Tjèplok Ménoer. 1749 Tjéplok Mlindjo latar poetih. 1750 Tjëplok Moendoe latar ireng.	1751 Tjéplok Ondé-ondé. 1752 Tjeplok Pálá latar poetih. 1753 Tjéplok Piring. 1754 Tjèplok Pohon 1755 Tjéplok PoTji. 1756 Tjéplok Praksi. 1757 Tjeplok Ranté latar poetih 1758 Tjëplok Sawo latar irëng. 1759 Tjeplok Setlop latar poetih. 1760 Tjéplok Slobok latar iréng. 1761 Tjéplok Tahoe. 1762 Tjèplok Tebok. 1763 Tjéplok Téloeki. 1764 Tjeplok Timang latar poetih. 1765 Tjéplok Tjangki 1766 Tjépoek Rante 1767 Tjépoek Rémoek 1768 Tjéréméndé latar iréng. 1769 Tjinde latar ireng 1770 Tjindé Wilis latar irëng. 1771 Tjinde Wilis. 1772 Tjinden 1773 Tjipta Rèngga. 1774 Tjitá, Tjitah. 1775 Tjloentang latar ireng. 1776 Tjoemèngkirang. 1777 Tjoewiri 1778 Tjoewiri latar irëng 1779 Tjokrak Tjakrik latar irëng 1780 Tloeki 1781 Tloeki latar poetih 1782 Toempal 1783 Toempal Kampoeng 1784 Toempal Koepoe 1785 Toempal Lintang 1786 Toendjoeng Karoban 1787 Toendjoeng Karobban latar irëng. 1788 Toendjoeng Rante latar irëng 1789 Toendjoeng Tirtä latar irèng 1790 Toendjoeng Tirto 1791 Toenjoeng 1792 Toenjoeng Karoba 1793 Toenjoeng Madoerá 1794 Toenjoeng Manoek. 1795 Toeronggo Djati 1796 Trang Boelan 1797 Trang Lintang. 1798 Trate 1799 Trate Kémbang 1800 Trate Koeroeng
1801 Traté latar irèng 1802 Trénggiling 1803 Trénggiling Méntik latar irëng 1804 Tri Boesono 1805 Triloka 1806 Troemtoem Troent 1807 Troentoem 1808 Troentoem Koeroeng. 1809 Troentoem latar iréng 1810 Wader 1811 Wader Pari	1812 Wahyoe Toemoeroen 1813 Walang Kadak 1814 Waloelin. 1815 Wáná Kabésmi 1816 Waringin Koeroeng 1817 Wayang Damar Woe 1818 Wayang Kénari 1819 Wayang Prenis. 1820 Wayang Sigég 1821 Wayikan 1822 Widárá Gèlar.	1823 Widaran Banyar 1824 Widaran. 1825 Wilmoeká. 1826 Winarno 1827 Wirangrong. 1828 Woráwari Roempoek 1829 Wora-wari Roempoek latar iréng. 1830 Yana 1831 Yoedistirá 1832 Yoeyoekaring
The data in 1832, the ancient batik motive names mentioned above are mentioned from several sources, among others are the book written by J.E. Jasper En Mas Pirngadie entitled DE BATIKKUNST ; in 1916 a book written by G.P. Rouffear En H.H. Juynboll entitled DE BATIKKUNST ; in 1914 and also some collections of batik motive patterns of TJOKROSUHARTO.

Sekarang mungkin banyak nama motif batik diatas yang telah jarang kita jumpai sehingga perlu kiranya kita untuk ikut melestarikannya. Walau mungkin telah banyak motif yang sudah tidak kita jumpai lagi, tetapi dalam perkembangannya muncul nama-nama motif batik baru.

III. THE EQUIPMENT OF BATIK CANTING PROCESS 1. THE EQUIPMENT TO MAKE BATIK CANTING From time to time the process of making batik traditionally hasn’t changed much up to now. Looking at the forms and functions of batik equipments are very traditional and unique, suitable with the ways which are still traditional. The traditional batik equipment is a part of the traditional batik itself, because if the change is done by using modern machines, it will change the name of traditional batik into batik motive cloth. It shows that the way to make batik has a special characteristic with the result of the traditional batik art. If we see from the time and amounts produced, they are quite limited and the art creation from the canting drawing onto mori cloth which will produce the relatively expensive and valuable batik art. A. Bandul Bandul is made from tin, or wood, or stone which is put in a pocket. the main function of bandul is to hold back the white cloth (mori) in which batik is being made in order not to move blown by the wind, or the pulling of batik maker by accident. But without bandul, the making of batik can be done.   C. Dingklik Dingklik is the seat of batik maker,the height is adjusted with the height of person sitting when making batik.   D. Gawangan Gawangan is made from wood or bamboo which is movable and strong. The function is to hang and spread out the mori cloth when batik will be made by using canting. E. Wajan Wajan (frying pan) the equipment to melt “malam” (candle to make batik). Wajan is made from steel or loam. It’s better to have a handle in order to be easy to lift up or get down from the fire without using another equipment. Therefore wajan that is made from loam is better than that of from metal because the handle is not hot easily. But wajan from the loam is slower to heat “malam”.   F. Anglo (STOVE) Anglo is made from the loam, or another material. Anglo is fire equipment to melt “malam”. Stove is made from iron in which the wick is given. If using anglo,so the material to make the fire is charcoal from wood. If using fire wood, anglo is changed with “keren” : this keren is much used in the villages. Basically keren is the same with anglo, but it doesn’t have the upper layer. G. Tepas (FAN) Tepas is not used if the fire uses a stove. Tepas is a tool to make the fire bigger depending on the need ; and is made from bamboo. Besides tepas, ilir is also used. Basically tepas and ilir are the same, only the form is different. Tepas’ form is square and pointed at one of the width and the handle is at the pointed part. H. Taplak(TABLE CLOTH) Its function is to cover and protect the batik maker’s tigh from the drop of malam (candle) from canting.   I. Kemplongan Kemplongan is a tool made from wood of which form is like table and hammer and it’s used to soften the mori cloth before it’s given batik motive pattern and made. J. Canting Canting is a tool to draw or paint with malam candle drawing onto the mori. Canting determines the name of batik that will be produced to become drawing batik. This tool is made from the mixture of copper and wood or bamboo which is flexible and light. Canting Can Be Differentiated Into Some Kinds :   a. According to the function - Canting Reng-rengan Canting reng-rengan is used to make batik reng-rengan. Reng-rengan (ngengrengan) is first drawing according to the pattern before it’s done further. The person who makes batik reng-rengan is called ngengreng. The pattern is the drawing which is used as a model sample. Reng-rengan means framework. Usually canting reng-rengan is used especially to make its pattern framework, while isen or the content of the part in which batik is made uses canting isen according to the content of the part wanted. Batik from the result of taking the sample from the batik pattern framework or together with the content is called Polan. Canting reng-rengan has a singular and middle tip. -.Canting Isen Canting isen is canting to make the content, or to fill polan. Canting isen has either singular or double small tip.   b. According to how big is the tip Canting can be differentiated into : - Small canting carat (tip) - Middle canting carat - Big canting carat   c. According to the number of carat (tip) Canting can be differentiated into : - Canting cecekan. Canting cecekan has one tip, small, and is used to make small dots (Javanese : cecek). A person who makes dots by using canting cecekan is called “nyeceki”. Besides to make small dots for the content, canting cecekan is also used to make small lines. - Canting loron. Loron derives from the word loro which means two. This canting has double tips, up and down to make double lines. - Canting telon Telon is from the word three. It has three tips with the form triangle. If canting telon is used for making batik, so it will be seen triangle which is formed from three dots as a content.     - Canting prapatan Prapatan is from the word four. So this canting has four tips, used for making four dots forming a square as a content. - Canting liman Liman means five. This canting has five tips to make a small rectangle which is made from four lines and one dot in the middle. -. Canting byok Canting byok is canting that has seven tips or more, used for forming a small circle containing dots ; a dot or more, according to the amounts of the tips, or how small or big the circle is. Canting byok usually has odd tips. -Canting renteng or galaran Galaran derives from the word galar, a bed made from bamboo which is formed horizontal. Renteng is a set of things in lines ; the way to arrange is by pricking. Canting galaran or renteng always has even tips ; four tips or more : maximally six tips, arranged from the bottom and up.   The Pictures of Canting Form 2. MORI CLOTHI Mori is the main material of batik from cotton. The qualities of mori are various, and the kinds will determine the result of batik painting. Because the need of mori from some cloth is not the same, the following information might be useful : 1.The size of mori   Mori which is needed is related to the length of cloth wanted. There is also a certain need like udheng or head cover. Udheng’s size can be more or less than the need ; therefore it cannot be used suitable with the common use. But cloth’s size is not certain. If short, it will influence the perfection of its usage ; if it’s longer, it will add the perfection in the usage.   The way to measure is only to hold both corners of mori on the wide side and attach one of the corner to the length side across the width of mori. If you will take some kacu , so hold the corner of mori by using right and left hand by turns, attach the same length side by folding the mori.   2. The need of mori       Dodot cloth (batik wraparound worn by courtiers and bridegrooms) needs 7 kacu of mori. Dodot cloth is usually used by the Royal family or the classic dancers. But because the price is expensive, so the function of dodot cloth is replaced with the common and long cloth. The side cloth needs 2 or 2,5 kacu, according to the desire or the size of the user. Udheng needs one kacu of mori. There are two kinds of udheng; “udheng lembaran” ( head cover cloth in sheet form) and “udheng jadi” ( finished head cover). The finished head cover (udheng jadi) is already formed, so the person uses it directly. Actually it just needs a half kacu of cloth, and cuts it diagonally. While “udheng lembaran” ( head cover in a sheet form) is formed when using it on the head of the user. After he finishes, it is taken off again. The last udheng needs one kacu of mori ; but practically it can be just a half kacu, another half is folded inside only as a thickness. Therefore udheng lembaran’s batik can be made based on two kinds of batik motive with one of the edges is diagonal. In term of udheng , the user is free to choose which motives will be put outside.   3. Processing mori before being made into batik Before being made into batik, mori has to be processed first. The good processing will determine the good cloth. The processing of mori is as follow : Mori that has been cut is folded. Folded here means sewn at the cutting in order that “pakan” thread doesn’t lose. Benang pakan (“pakan” thread) is thread that crosses on the weaving. After being folded , then it is washed with water until clean. If mori is dirty, so the dirt will retain the absorption of candle liquid (malam material to make batik) and retain the colour liquid in the process of washing. In Yogyakarta and Surakarta mori is sun-dried until it’s dry after being washed. But in Blora (Central Java), after being washed, then mori is boiled.   After wantu is hot, clean mori is put inside. The way to put mori inside wantu, starts from the edge up to the end in order. The boiling takes a few minutes. Then mori is lifted and washed to release the dirt when it is boiled. After being washed, then it needs to be dried. Mori gets soft; then it is hardened with kanji. The material of kanji is from rice. In Blora, any rice is used as long as it is white. Rice is put in the water for a few minutes ; then rice together with its water are boiled. Its water is taken and called tajin. The dry mori is put inside tajin all over ; without being pressed, it is directly dried, and finally becomes stiff. After mori is damp, then it is hit on the certain place with a certain way , in order that the thread becomes loose and limp, so the candle liquid can be absorbed. The hitting is called “dikemplong”.       After being hit (dikemplong), we can determine the batik motive wanted. If we want parang-parangan motive, or another motive that needs a certain shape, so lines must be made on mori first. The function of puting lines is to determine the motive place in order to be tidy. An expert batik maker doesn’t use the lining. The small or big of the line isn’t same, depending on the batik motive planning. Usually the wood ruler shapes rectangle.   The way to move the wood ruler after the first to the second line is by turning around, without lifting it. So the width of the space between the lines is determined by the amounts of the wood ruler turning. Mori in which semen motive batik will be made, doesn’t needs to be lined, directly doubled with the pattern on the mori face vice versa. After all finish, so the batik making process can be started.     3. CANDLE (“MALAM”) Candle or “malam” is the material used to make batik. Actually “malam” isn’t used up (lost), because finally it will taken back in the washing process,the making process till becoming batik cloth. In term of “malam”, it can be explained as follows :   1. The Kinds of Malam and Its Mixture   “Malam” that is used for making batik has various types. The quality affects on the absorption power, color that can affect mori color , the softnes of the liquid, etc. Therefore, its prices are different one another. But in our usage, it depends on the need. The types of “malam” are :   “Malam Tawon” (bee) is “malam” that is taken from bee nest (tolo tawon). Tolo tawon is separated from the eggs by boiling them.   “Malam Klanceng” is “malam” from the nest of Klanceng bee, and taken by the same way above.   “Malam Timur” is the best “malam”. This type hasn’t been known about the material.   “Malam Sedang”(middle malam) the material and origin hasn’t been known.   “Malam Putih” (white malam) taken from latung oil made in factory.   “Malam Kuning” (yellow malam) taken from latung oil made in factory.   “Malam Songkal” taken from latung oil made in factory. Its color is black and only for mixture.   Keplak is the mixture material.   Gandarukem is the mixture material.     2. The Mixing Way of Malam   The rule to mix malam is as follows: White malam as many as 100 pieces of cent coins (cent money in Dutch period) with black malam (sangkal) 50 pieces of cent coins, and “Malam Klanceng” 50 pieces of cent coins. or “Malam Timur” 100 pieces of cent coins with “malam” from the used batik that has got “wedelan” as many as 50 pieces of cent coins, and malam klanceng 50 pieces of cent coins. 4. THE BATIK PROCESS   Mori that has been hit (dikemplongi) and lined, if it will be made in parang-parangan batik motive or the other motives which need a certain shape and straight, it is usually made without using the pattern (dirujak). The person who makes this batikan is called “ngrujak”. She is already an expert. But for the beginner or learner usually just “nerusi” or “ngisen-ngiseni” (to continue or to fill). While making batik by using pattern has been explained before. Both making batik rujak and making batik using the pattern are usually done by the experts, because the beginning level is the determination how good the batik form as the whole is.       1. The Preparation of Making Batik   a. Keren, or anglo (fire tool) and frying pan containing “malam” must be prepared to start making batik. “Malam” must be in good liquid. In order to get out through canting tip well; besides that malam can be absorbed well into mori. The fire in the anglo or keren should be kept burning, but cannot flame, because it is dangerous iflicking malam inside the frying pan.   b. Mori that has been prepared must be on gawangan near anglo or keren. The maker sits between gawangan and keren or anglo. Gawangan stands the left side and keren on the right side of the maker. The person whose job is making batik is called “pengobeng”.   c. After all are ready, the maker starts her work. First holding canting. The way to hold canting is different from holding a pen, or pencil to write. The difference is caused by the top of canting tip has curve form and big pipe, while pen or pencil are straight. Holding canting is with top thumb, pointed finger, and middle finger like holding a pencil to write, but the canting handle is horizontal while pencil to write is leaning.That position of canting like that is to keep malam in the container not to be spilled.   d. With the canting, the maker (pengobeng) takes the boiling malam in the frying pan, then making batik on the mori. Before it is made, canting is blown first, the way to blow also uses a certain rule, in order that malam inside the container/nyamplungan not to be spilled on the maker’s lips. Canting which is blown is meant:   1. To return malam liquid back to the tip inside container (nyamplungan), in order not to drop before the tip of canting is attached on the mori.   2. To vanish malam liquid that wets the canting tip ; because the canting tip that smeared with malam liquid will reduce the quality of scratch, especially when canting is first processed on the mori.   3. To control the canting tip from the possibility of being clogged up by the dirt of malam. If it is clogged up, so the liquid inside the container (nyamplungan) doesn’t sound, because the air cannot enter. So the hole of the point tip is pricked using ijuk, or coconut coarse till it enters along the tip. Usually after being pricked, it’s blown again, or directly made on the mori. The specialty of pricking is using the left hand with a certain way quickly.   4. Canting in a good condition is then, scratched on the mori. The left hand is on the other side of mori, as a basis of mori that is being scratched by canting. If malam liquid inside the container is used up, or doesn’t run well, perhaps because of the coldness, so malam should put back into the frying pan ; canting is dipped up to malam liquid in the frying pan. The return of cold malam liquid doesn’t have a big effect to malam in the frying pan. It is done till the end, and includes covering the certain parts with malam.(nemboki).         2. The Steps of Making Batik The steps of making batik on the mori must be done step by step. Each step can be done by different person but a piece of mori cannot be done by different person in the same time. Those steps are:   a. Making the framework     Making the framework by using the pattern is called “mola”, while without the pattern is called “ngrujak”. Mori in which batik is already made in the form of framework, either after using the pattern or “ngrujak” is called “batik kosongan”, or “klowongan”. Canting that is used is middle tip canting (canting cucuk sedang), that is also called canting klowongan.   b. ngisen-iseni     Ngisen-iseni is from the word “isi” (content). So it means to give content or to fill.Ngisen-iseni by using small tip canting is also called “canting isen” which is various. But a piece of mori doesn’t always use all kinds of canting isen, but depending on the motive that will be made. For instance it needs various kinds of canting isen because of the variety. But making batik must be one by one, and each part must be finished before another part is done with another canting, for example “nyeceki” (making motive consisting of dots), this part should be finished all.     The activity of doing the parts has its own name ; the name is based on the canting name used. The process of giving the name is by changing the canting name into verb, while the result of the work is taken from the name of canting used. The names are: nyeceki, that is using canting cecekan, the result is cecekan. Neloni is using canting talon, the result is called telon. Mrapati is using canting prapatan, etc. But using canting galaran or canting renteng, is always called ngalari, and never called “ngrentengi”; while the result is always called “galaran”, never called“rentengan”. The way to use canting from one type to another has many advantages. The first is canting can be used in turn for a group of “pengobeng” (makers of different work), they have different step of work. The second advantage is to reduce the numbersof canting in the same type, although the members of makers are many. If twopersons want to use the same canting at the same time, while there is only one canting, so one of them can delay it and change another work with differentcanting.Batik with complete content is called “reng-rengan”. Because the name isreng-rengan so the maker who makes since the first time till the end is called “ngengreng”. So“ngengrengan” is the unity of motive from the whole wanted. That’s the first finishing.   c. Nerusi     Nerusi is the second finishing. Batikan in the form of ngengrengan is then, turned the surface, and made again on the second surface. Making nerusi is making batik which follows the first batikan motive on the track of pricking. Nerusi is the same with mola and the first batikan process functions as pattern. Its canting is used the same with that of for ngengreng nerusi especially to thicken the pricking of the first batikan making process and also to clear the finish batikan at this stage. It is still called “ngengrengan”. The maker (pengobeng) who makes from the first till finishes nerusi is called “ngengreng”.   d. Nembok     A batik is not all given color, or will be given various colors at the finishing to be cloth. So, the parts that will not be given color, or will be given color after other parts must be covered with malam. The way to cover it is the same with making batikan at other parts by using canting tembokan. Canting tembokan has a big tip. The doer is called “Nembok” or “Nemboki” and the result is called “tembokan”. The parts that will be covered with malam usually among the main motives. Nembok usually uses the low quality of malam. Although malam is full with dirt, but canting that has big tip doesn’t have a problem. Besides that, covered parts are big and thick enough, so the bad malam used to cover can be overcome.     Basically, malam functions are toform motives, to cover the stages of giving color into the cloth, in which actually color is to form batik motive. Nembok is only in the front face of mori.   e. Bliriki     Bliriki is to continue the covering (nemboki) so that the some certain parts are really covered. Bliriki uses canting tembokan and the way is the same as nemboki. If the last stage has finished, it means that the process finishes as well. The result of bliriki is called “blirikan”, but it is rarely called like that, usually called “tembokan”. Actually making batik is called finish if the last process finishes; or if the batik doesn’t need covering, so batik finishes before covering. Long time ago in Surakarta, after the stages finish, batikan was dried till “malam” almost melt.     Drying was meant in order that candle in mori wasn’t easily lost. Because “malam” (boiled) when it was used to make batik and stick with cold mori would freeze suddenly because of the quick process. The freezing of malam like this is not good, because batikan is sometimes broken, and malam is lost easily.     But if it is dried, the heating process will happen throughout, and mori is also heated. Mori that gets sunlight will expand and can absorb. The expanding process strengthen the sticking of malam that starts to melt; before it is melt, batikan should be lifted carefully in the cool place. In the cool place, batikan will freeze throughout.     This cooling process has an advantage, because between mori and malam strengthen the sticking each other. Then the batikan work is done.         5. MBABAR Mbabar is the finishing process from batikan to be cloth. After batikan is really covered, we come to the next work, that is to process it to be cloth. In some areas, the way to do mbabar is basically the same. The difference is only the comparison of the material used. There is one area in which the comparison of the mixed material has been fixed suitable with the cloth wanted. But there is also an area that doesn’t use the fixed comparison and only uses estimation based on the experience. Besides that, the difference is also on the duration needed for each mbabar stage. There are some persons using the certain duration, but some others only use the estimation. The differences influence the quality of cloth produced by every area. It is possible because on the mbabar stage, there is a chemical process; while ‘time’ has a big effect on the chemical process. But this process hadn’t been known deeply by the persons who did mbabar long time ago. 1. The Material for Mbabar Generally to process batikan to be cloth (mbabar), we use the natural material with simple process. Indonesia is rich with the natural resources. The materials for mbabar are :   a. NILA     Nila is from tarum plant. (Java tom). Since the ancient period, tarum was used to make the clothes color. Nila was used to make batikan with other materials.   b. TEBU(sugar cane)     Sugar cane is taken from the sugar or its drops, for the mixture.   c. ENJET(lime for chewing with betel leaves/ kapur sirih)     It is used for the mixture.   d. TAJIN     It is boiling water when cooking rice.   e. SOGA     Soga is the name of plant from papilionaceae family and has a yellow color.   f. SAREN     Saren is from the word sari which means core or essence. In Java there is a word “saren” which means the cow blood that is cut and cooked. Here, saren is a materialor mixture from several materials to dip batikan after soga. And this stage is to release“malam”, or or get close to the finishing.         2. The Process of Batikan into Cloth This process is devided into several stages and must be finished in order. If batikan has been covered completely, the work improves to the first step of changing batikan into cloth. The steps are s follows:   A. Medel And Mbironi     The main material for medel is nila (tarum). First, prepare water 24 pikul, one pikul is about 40 liters. A container is filled with 21 pikul and another is empty. A container that contains water is then given latak. Latak is the sediment of nila liquid. The amounts of latak are 3 pikul, steered in the morning and afternoon for 2 or 3 days. In the morning of the third or fourth day, if the condition of latak in the mixture has looked black, so the water above the sediment is taken and moved to the empty container. The sediment of mixtured latak is added with new latak as many as 2 pikul and sugar drop for one batok ( batok is meant coconut shell divided into two, and the flesh is taken). The color of the mixture will get yellow. In the afternoon it is added with black nila for 1,5 big bowls (pinggan).     The next morning at about 6 am, batikan can already be entered into the black nila in the container (jambangan). Nila in such amount is for 30 pieces, each 2,5 kacu. The dyeing takes about 2 hours; after that they are lifted from soaking and put on the hangers without being spread, till there is no water drop (atus). The lifting from the soaking and the placement till subsiding (atus) is called “kasirep” (“kasirep” is taken from the word sirep which means “subside”). If it subsides (atus), then it is entered into nila again for two hours, then lifted and sun-dried until dry. The second lifting and sun-drying is called “kageblogi” (it is from the word “geblok” which means a way to hit, or a group measurement).     After batikan is dry, it is entered again into nila. This work is done several times, till batik gets black. If batikan is already black, the work stops. Nila after the dyeing is added with the sediment of nila 1,5 big bowls soon. This addition is called “nglawuhi” (it is from the word lawuh which means side-dish for eating). But the meaning and function of nglawuhi in the process to change batik into cloth (mbabar) is as a perfection. Now nila is yellow. If it is too yellow, it will be dangerous because it can drop off “malam”, while malam function on mori hasn’t finished. Being too yellow is caused by the lack of enjet (lime for chewing with betel leaves/kapur sirih). But if there are too many enjet, the color will get green, cannot make batikan black. To return the color to be yellow, it is enough to be given Java vinegar or sugar drop.     If it’s not yellow, give sugar drop and vinegar till the color becomes yellow according to the need. After that, enter batik into nila mixture like mentioned above. Now batik is completely black. After it is enough, batikan is lifted and washed into plain water and dried in the cool place.     Batikan that has been dry is soaked in water till “malam” bluduk. (bluduk is like a condition to drop off). “malam” in reng-rengan and terusan batik are rubbed down by using a special tool till clean: while “malam” in blirikan and tembok aren’t rubbed. Batik that has been rubbed is then washed again (dibilas) till the washing water is clean, and dried again in the cool place. After batikan is dry, then give kanji (layer) by using “spoiled tajin” with cane sugar. The comparison of the mixture is 3 glasses of tajin and sugar as weight as 3 pieces of cent coin. After being given kanji, batikan is dried again. After being dry, parts that need blue color are given blue (dibironi). Before it, parts that don’t need blue color are covered with “malam”. The way to cover is the same with making tembokan and bliriki batik. After it has finished, we come to the third stage that is “soga”.     Then batikan is given blue color, Batik reng-rengan must be rubbed till clean like the way above. After being rubbed, then it is washed and dried, or without being dried, but directly dipped into “tajin” (disekuli),then dried. If it is dry, it is then given blue color. The difference from the previous way is without the first drying. Besides that, the comparison of nila mixed with other material isn’t certain, but depending on the estimation of the maker. That is perhaps the defeat in wedelan stage.   B. Nyoga     After being given blue color (mbironi) and dry, batikan is given soga. The steps are: batikan is folded spirally (diwiru). After that, enter into a container which contains warm soga, then press the whole. Then it is lifted, and spread on that container in order that soga can drop to that container again. If soga doesn’t drop again, then sun-dry till half dry, moved to a cool place till completely dry. Up to here, this is still the first step of giving soga; the usage of each soga will be different on the level.     After finishing nyoga, batikan is given saren (nyareni). Chalk and sugar mix with water in a container, steer until shattered. After settling, soaking water is poured into kenceng (a kind of container). Batikan is entered into kenceng till the whole parts; then lifted till subside. After subsiding, hit in hot water in order that “malam” will lose. Hitting in hot water is called “nglorot” or “nglungsur”.     After batikan is hit in hot water, then washed and sun-dried. The sun-drying of batikan is called “dikemplang”. Till this stage is called “ambabar”. Every morning batikan in the form of cloth is condensed. Now, the process of mbabar batikan has finished.   IV. THE EQUIPMENT OF PRINTED BATIK PROCESS a. Mattress (Bantalan)   It is made from cotton that is wrapped with cloth, functions as mori cloth layer that will be printed. b. Table cloth (Taplak)   It is made from cotton cloth function as mattress layer. c. Stove (Kompor)   Made from iron by using wick, function as the fire when melting malam candle. d. Big Anglo   It is made from earthenware, function as a fire place in which in the middle, stove is put to protect fire from the wind so that fire can burn still. e. Table   It is made from wood, function to put mattress. f. Loyang   It is made from iron and forms as afrying pan with flat base and has a diameter 40 cm, functions as a candle place when being heated. g. Angsang   It is made from copper with the surface of plaited line which is put on loyang. The function is a basic layer on loyang surface. h. Rough Serak and Soft Serak   They are made from cotton cloth with the form like gauze, function as layer on angsang to put the print when taking malam candle that has melted. i. Londo   Like small container containing water and ash, function to wet the mattress in order to be wet when it will be used to put mori to be printed. j. Printing Tool   It is made from copper with iron combination with a surface of batik motive. This tool is to put malam candle with batik motive on mori surface.     STAGES IN PRINTED BATIK PROCESS     1. Pengukuran Mori         2. Pemotongan 3. Ngloyori Mori     4. Menjemur setelah diloyori   6. Proses Cap Klowong   5. Ngemplong Mori   7. Proses Cap Nerusi   9. Menjemur untuk melelehkan malam     8. Proses Cap Neboki   10. Proses Wedelan 12. Proses Nyekul/penganjian 11. Proses Ngeroki 13. Proses Bironi 14. Proses Nyogo 15. Proses Ngloroti 16. Proses Angin-angian   V. THE USE OF BATIK CLOTH Jarik is batik cloth which has various motives. Long time ago, nyamping or jarik that was used was usually in the form of painted batik, but this time it seems that printed batik is often used as well. The use of batik motive, in fact has some differences between old time and present time. In the old time, there were some strict rules about batik motives that could be worn by someone. The determination was based on:   a. The royal descent   b. The position   c. The opportunity But at this time, the determination hasn’t been known anymore, so there is a freedom in using the batik motives. The determination based on the three things above will be discussed one by one, yet in one meaning, that the term was valid in the old time or if it is for the present time, it is only valid in certain places only. A. The Use of Batik Based on the Royal Descent There are some certain motives which are only allowed to be worn by the royalty, especially the King, his family and relatives only, for instance: his children, his grandchildren, his brothers and sisters, and his assistants. The motives are for instance: parang motives (it has been mentioned previously). Parang Klithik Parang Rusak Parang Gendreh Parang Barong Parang Kusumo Parang Kesit Parang Baris Parang Centhung Parang Gondosuli Parang Pamor Parang Pari Parang Ukel and etc B. The Use of Batik Based on the Position It is meant for the staffs and assistants who are employed by the king, for example: the Vice King (Patih), Tumenggung, Mantri, Regent (Bupati), Panewu, etc. They can wear the same batik motives with his relatives. C. The Use of Batik Based on the Opportunity It is meant to be some certain ceremonies or meeting, like: 1. To attend a wedding ceremony; Semen Romo Babon Angrem Ceplok Mendut Abimayu Kladuk Manis Buntal Wayang 2. For brides’ parents in the wedding ceremony; Sidodrajat Wirasat Truntum Delimo Truntum Pintu Retno 3. For the brides’ parents in Siraman ceremony (Bathing the brides); Nitik Nogosari Grompol Cakar 4. For the bride and bridegroom in the wedding ceremony; Sidomukti Sidoasih Sido Luhur Sidomulyo 5. To the funeral ceremony, the motives used are with black background.     Cuwiri Gabah Sinawur     6. For those who wear traditional dress daily. · Tambal Sewu, · Kepet, dan juga beberapa motif semen. 7. For “patutan” ceremony (7 months pregnancy), · Sidoasih · Sido luhur · Sido mulyo · Sido mukti · Semen room · Semen Gurdo 8. For those who become his servants, when coming to the king, use the same with wedding ceremony.

VI. WAYS OF USING BATIK 1. The Preparation to Wear Batik Before being worn, the cloth should be folded (wiru) first. The big or width of wiron are: · · 3 fingers (for male) · · 2 fingers (for female) For Yogyakarta style, the cloth seret is still seen. In order that wiron doesn’t lose, it’s better to be given tweezers. This is also to make wiron tidy. After that, cloth is worn. For male, the cloth wiron is on the right side, the opposite with female. Special for the cloth with parang motive, for Yogyakarta style, for male, parang direction is the opposite with keris (weapon) direction. If we pull line between keris and parang, so it will be crossing line. For the motives in which there is garuda bird motive, so the position of garuda must stand and try to place it in the middle of the user’s buttock. VII. BATIK CLOTH MAINTENANCE 1. Washing The washing of traditional batik cloth had better be with lerak liquid. Lerak liquid is usually available in bottle packaging or can be made ourselves. It’s better not to use washing soap. The ways to wash the batik cloth can be done as follows:   a. The washing of batik cloth by using lerak liquid (bottle packaging) Take 5 liters of water ± 3 bottle lid of lerak liquid, steer. Soak the cloth in the solution, then wash till lerak liquid full of foam. Rinse with clean water.   b. The washing of batik cloth by using lerak ore Prepare 5 liters of water ± 3-5 lerak ore, soak the cloth into the solution Then wash it till lerak water full of foam. Rinse with clean water.   Giving kanji can be done suitable with the need. If necessary, after the washing, in order that the batik cloth surface can be good, giving kanji can be done as follows:   a. Prepare 5 liters of hot water.   b. Solve 2 spoon full of kanji a glass of cool water.   c. Enter kanji solution into 5 liters of hot water in a bucket, steer thoroughly   d. Enter the cloth into the bucket, steer, and let it for a while.   e. Lift, press and dry it.   f. Expose to the air. 2. Drying To dry the batik cloth it is better exposing it to the air in the cool place, and don’t dry under the sunlight directly. Don’t use an iron! to soften the batik cloth. 3. Storing Vaporizing by using ratus can be done to make the cloth fragrance before being stored. It is better to enter the batik cloth into the closed wardrobe, not to get the direct lamp light or sunlight and not in a moist place. Giving kapur barus inside the wardrobe which is used to store the batik cloth can be done by putting kapur barus in a small pack or mashed and enter it to a small bowl. The function of kapur barus is to chase moths, so that they don’t eat the batik cloth. . DAFTAR PUSTAKA Drs. Hamzuri, Batik Klasik , penerbit Djambatan, Jakarta 1981. G.P. Rouffear En H.H. Juynboll, DE BATIKKUNST, Th.1914 J. E. Jasper en Mas Pirngadie, INLANDSCHE KUNSTNIJVERHEID IN NEDERLANDSCH INDI, Gravenhage Door De Boek? & Kunstdrukkerij, Mouton & Co.? 1916. Rijksblad van Djokjakarta No 19. th 1927 TJOKROSUHARTO. Koleksi Pola Motif Batik, Tim Pengabdian pada Masyarakat Jurusan Sastra Daerah Fakultas Sastra Universitas Gadjah Mada, Pakaian Adat Jawa Gaya Yogyakarta, 1995