Batik in Review: 2 pieces of Kain Gendongan / Selendang

Today, we shall be seeing how batik is uniquely used in South-East Asia as a baby carrier and shoulder piece.

Kain gendongan means a baby carrrier (kain = cloth, gendong = to carry, gendongan = carrier). While a selendang or shoulder piece is sometimes worn by womenfolk in the Nusantara region (roughly present day Malaysia, Indonesia, Singapore, Brunei and some parts of the Phillipines) to sling onto their shoulders and can be easily used to shield their heads from the rays of the tropical sun, or to cover their hair when needed to), or even to bundle up things.

Here are 2 examples of these long cloths which can be used as either a kain gendongan or selendang, or naturally, both. These traditional cloths like these are rich in traditional symbols which often convey specific meanings.

Piece 1: A Javanese-styled batik cap piece – kain gendongan / selendang

Dimension: 160 X 51.5 cm

This harmonious piece comes in the more bold, sombre colours which give it an impression of some of the old Cirebon batiks in terms of colour choice and motifs. While the piece is a batik cap piece, and may not be that old in terms of age, it is rich in traditional symbols.

The pavilion amidst the rocky formations recall the symbol of taman arum (literally, fragrant gardens or sometimes called meditative gardens) in Cirebon iconography, may indicate a dimension of spiritual progress. The layered rock formations are also known as wadas (coral rock formations) and can be attributed to Chinese influences in the local batik designs.

Piece 2: A Chinese influenced batik cap piece – kain gendongan / selendang

Dimension: 176 X 53 cm

The piece depicts phoenixes (burung cenderawasih) (or some people say, the peacock, or burung merak) perching on flowering branches of flowers. The phoenix abound in old Malay and Chinese legends. In Malay legends, it is believed to come from the heavens or paradise, and is said to be fragrant and can bring luck to the owner. Even when dead, it is said that it will not rot, and it is believed that its feathers have magical and healing powers. In China, it is a symbol of the Chinese Empress and the bird is said to appear only in times of great prosperity and peace. This piece, which comes from Indonesia, has some ringings of Chinese influences and tastes about it such as the pastel colours that the local Peranakan Chinese community favours and also the phoenix on a peony branch motif which is a favourite symbol. In Indonesia where there is much criss-cross of cultures, it could have been used by either the local people or even the local Peranakan Chinese community. Whatever so, the phoenix and luxuriant blooms carry wishes of blessings and happiness to the wearer.

We welcome anyone who has any sharings to add the meanings of the motifs, or about kain gendongan or selendang 🙂

Batik in Review: A signed Pekalongan Batik Sarong

Material: Cotton
Colour: Synthetic dyes
Origin: Pekalongan, Java, Indonesia
Dimensions: 190 X 310 cm
Signed: Go Tjoe San, Pekalongan

The sarung (or sarong) here adheres to the styles of having two main parts, namely the badan (body) and kepala (head) of a typical sarung piece. The badan naturally covers most of the area of the sarong, and typically slightly less ornate as the designs on the kepala. Here, bouquets of flowers of different shades (red, pink, purple and blue) are found on both the kepala and badan. A pair of fluttering butterflies hover near the tops of the blooms, as if about to sip the nectar from the colourful flowers. The kepala here shows the same principal motifs as the badan except that the background looks more dense because it has parallel lines of arabesques and tiny dots moving downwards to the right, and a stamp depicting the Chinese name of Go Tjoe San (most likely of the batik workshop, or maker, or even trader). The batik here, with its main principal motifs repeated throughout the cloth suggests it is batik cap, or stamped batik.

This batik has features which were common in batik made for the Peranakan womens’ market. A first hint is the choice of colour schemes for the fabric, which is bright not sombre, and rather colourful, reminiscent of the colourful, old Chinese enamelled porcelain called Nyonyaware which is synonymous with the Peranakans. The sign of the maker, a Chinese name also accentuates the notion that this cloth was meant mainly for the Chinese Peranakan market. A signed batik usually comes with the better pieces, and when given as gifts, are a symbol of a valuable gift. The motifs of the butterflies, while not restricted to traditional Chinese symbolism, are a common motif which carries the meaning of happiness. A paired butterfly also connotes fidelity and happiness among couples.

Pekalongan, a city on the Northern Coast of Java, is famous for batik-making till today. Batik made in the region has a distinctive style and can usually be identified as a Pekalongan styled batik. Pekalongan batik was famous among the Straits Chinese and Peranakans in Malaya and Singapore. The community loved the vibrant and almost festive colours of batik from the towns of Pekalongan and nearby Kedungwuni. With the advent of synthethic dyes, the choices of colours for batik increased dramatically, and colours once impossible or hard to attain were now within reach of the batik makers who capitalized on their customers’ tastes for these bright and flamboyant colours.

As the piece was reputedly collected from the Riau Islands, a Peranakan lady of the region was probably the original owner of the piece who might have worned it for outings.