Fractal Geometry Design Trail

 Ornamental and decorative paintings on batik motifs are not simple paintings. Ornamental and decorative batik patterns are painted following the design of fractal geometry models. A number of existing notes also provide color traces of the Nusantara batik tradition.

Although the term batik comes from Javanese, simplifying the batik tradition to only be sourced from the Javanese ethnic group is a mistake in itself. The batik tradition is not only a Javanese ethnic phenomenon. The tradition is spread across many regions. For example, in Aceh, Minahasa, Minangkabau, Batak, Nias, or even Papua.

So, talking about the batik tradition is actually also talking about the Nusantara tradition. Of course, it is not related to the naming, but also about the characteristics. That then the naming of the art of painting and coloring cloth in other regions refers to the Javanese naming, perhaps more due to the dominance and popularity of Javanese batik commodities in the market.

It is strongly suspected that, apart from the absorption of Javanese into the national language, namely Indonesian, it is not impossible that the popularity of the term batik is in line with the function of this terminology as a lingua franca in the world of trade. As an industrial phenomenon, referring to Denys Lombard's notes, like kretek cigarettes, batik has indeed emerged in Java since the second half of the 19th century, as an industrial prototype.

As a result, a kind of unwritten consensus emerged. That, the art of making patterns or images that technically apply wax (malam) to cloth - even though each ethnic group or region in Indonesia has different characteristic patterns and distinctive colors - is finally called by the same name, batik.

The naming of batik itself seems to refer more to the art and technique of making it. Etymologically, batik comes from Javanese, namely 'ngembat' and 'titik'. Literally, it can be interpreted as making a dot. Still in Javanese, the process of making batik itself is called 'mbatik'. The meaning is 'ngêmban titik'. Mbatik can also mean 'mbabaté sâkâ sithik'. Which means, the process of making it little by little. In practice, batik does require patience, precision, and diligence.

From an etymological perspective, the batik technique itself represents the process of making unique and complex ornamental paintings. Both in patterns and colors that form various geometric shapes, which are displayed by a particular batik motif.

The number of batik motifs throughout the archipelago is known to be very large. Not only in terms of variety, but also the richness of the patterns. The reason is, almost all regions in the country have encountered the phenomenon of batik. Analysis and inventory conducted by Bandung Fe Institute and Sobat Budaya show that at least 5,849 batik motifs have been collected.

Referring to UNESCO's description, batik as an intangible heritage has a diversity of motifs that reflect the various influences from the cultures of other nations. Starting from Arabic calligraphy motifs, European flower arrangements, Chinese phoenixes, Japanese cherry blossoms, to peacock motifs, both Indian and Persian.

Thus, the phenomenon of hybrid culture is clearly reflected in the batik tradition, which was designated by UNESCO as Indonesian Cultural Heritage, namely intangible cultural heritage, on October 2, 2009. And the existence of many influences from other nations is certainly closely correlated with the history of batik which can be said to be very long.

Although the word 'batik' comes from Javanese, it turns out that the history of its presence in Java is not recorded. Regarding that, there are several historical interpretations. Call it the interpretation of GP Rouffaer and HH Juynboll in De Batik-Kunst in Nederlandsch-Indie en haar Geschiedenis, which was published in 1914. This Indonesianist postulated that the history of batik techniques originated from India or Sri Lanka and entered Indonesia around the 6th century.

NJ Krom also strengthens the hypothesis that batik originated from India. Even so, GP Rouffaer and HH Juynboll also provide interesting notes. That the gringsing motif has at least been known in Kediri (East Java) since the 12th century. Such patterns, according to both, can only be formed using a canting tool.

The book also notes that carvings resembling batik patterns have been found carved on the Prajnaparamita statue from East Java, in the 13th century. Meanwhile, a Dutch Indonesianist, JLA Brandes, postulates the opposite position. That, along with keris, gamelan, and other cultural elements, batik has actually been known long before Hinduism and Buddhism entered Indonesia.

This hypothesis was confirmed by a historical researcher from Indonesia, FA Sutjipto. According to him, batik is clearly an original Indonesian tradition. At least, he reminded us, batik has also been found in Toraja, Flores, Halmahera, and Papua. Where these areas are not areas that are culturally strongly influenced by the Indian nation.

Not a Simple Design

What is also interesting to note here is the research findings of the Bandung Fe Institute. The institution driven by Hokky Situngkir, in addition to successfully launching the Filomemetika Tree or the Batik Kinship Tree throughout the Archipelago, also provides a new meaning regarding the basic logic behind the creation of batik designs.

According to the Bandung Fe Institute, the ornamental and decorative paintings on batik motifs are actually not simple paintings. This is because the ornamental and decorative patterns of batik are painted not with conventional geometric model designs, but have instead been worked on using fractal geometric model designs.

Fractal geometry itself is a branch of mathematics that was only discovered in the 20th century. The theory aims to study the properties and behavior of fractals. The word fractal was first coined by Mandelbrot through his article 'A Theory of Fractal Set' in 1975. The English word 'fractal' is fractal. While the root word fractal comes from the Latin word 'frangere' which means split into irregular fragments.

Fractals are any geometric shape that if the components of a shape are enlarged, it will be seen that the small parts that make up a certain geometric shape as a whole also duplicate the large design of the geometric shape as its model. That is the main logic of making ornamental patterns in batik motifs.

Thus, batik or in Javanese 'mbatik', according to the Bandung Fe Institute, is the result of a pseudo-algorithmic process and stages. Moving further, the batik pattern is then translated into a fractal or mathematical formula.

Then, with the help of computation, the results of the fractal formula are modified in such a way that it is possible to produce new, very diverse pattern designs. Be it in terms of graphics, color, size, angle, or the form of repetition (iteration).

That way, the process of making fractal batik motifs is certain to be able to solve the limitations of motifs, while also being able to produce new creative designs without deviating at all from the classic pattern of batik motif creation in the past.

Interestingly, today the creative industry sector is also moving in that direction. A software with the initials JBatik Fractal has also been launched. Speaking of hopes, the roadmap for preserving the batik tradition as a UNESCO mandate now seems increasingly clear. This means that if we talk about future steps, the projection should not only be to become a master in one's own country, but even go international.

And that hope should now also be easier to imagine for the development of the progress of the batik industry in the country.

Share :