{"title":"Batik Rifa'iyah","description":"","products":[{"product_id":"sarong-relawati-keong-2009","title":"SARONG RELAWATI KEONG","description":"\u003ch3\u003eIbu Yuliana \u003cbr\u003eBorn 1985, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI KEONG (2009)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e210 x 114cm\u003c\/p\u003e\n\u003ch4\u003eThis batik was inspired by the paisley design renowned throughout India and Persia.\u003c\/h4\u003e\n\u003cp\u003eRelawati — a woman’s name meaning radiance — refers to the flower design in the foreground of the feature panel, known as the \u003cem\u003ekepala\u003c\/em\u003e (head) of the batik. When worn by men, the \u003cem\u003ekepala\u003c\/em\u003e is typically displayed at the front, while women wear this feature panel at the back.\u003c\/p\u003e\n\u003cp\u003eAbstracted butterflies and other life forms are hidden within the intricate Relawati design. This practice of abstraction stems from a Sufi belief that it is unwise to seek to depict a whole living creature unless you are also able to grant it a soul. \u003c\/p\u003e\n\u003cp\u003eThe badan\/body of the batik is decorated with a \u003cem\u003ekeong\u003c\/em\u003e (snail\/paisley) design with a fill pattern of leafy vines known as wuni-wunian.\u003c\/p\u003e\n\u003cp\u003eIbu Yuliana worked on this piece for around five months, she chose the green\/red colour combination because it is unique, striking and individual.\u003c\/p\u003e\n\u003ch4\u003eIbu Yuliana\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eIbu Yuliana has been practicing batik production for almost three decades. She learned the artform from her mother at the age of 13, as a tradition based down through the generations (\u003cem\u003eturun-temurun\u003c\/em\u003e). For Ibu Yuliana, creating batik is a pastime and a way to relax, meditate and unwind from everyday life.\u003c\/p\u003e","brand":"Ibu Yuliana","offers":[{"title":"Default Title","offer_id":50456505188651,"sku":"BPB002","price":1800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB002_Mbak_Yuliana_Relawati_Keong_SV.png?v=1788745833"},{"product_id":"sarong-relawati-keong-2009-copy","title":"IBU NUR MAUIDHOH, SARONG RELAWATI SISIK","description":"\u003ch3\u003eIbu Nur Mauidhoh \u003cbr\u003eBorn 1988, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI SISIK 2025\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e218*114cm\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHidden creatures abound in this exquisite Relawati sarong — look closely at its flowers... they might look back.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis sarong-length hip wrapper exemplifies the feminine \u003cem\u003eRelawati\u003c\/em\u003e style, its flowing floral motifs set against a background of sisik — a fine, overlapping scale motif in gorgeously subdued terracotta tones.\u003cbr\u003e\u003cbr\u003eThe artist plays with visual illusion, hiding abstracted creatures amongst flowers, leaves and vines. Look closely and you will find forms suggestive of phoenix-like birds, butterflies and aquatic life — creatures of another sphere, neither fully of land nor water. This practice of samaran (camouflage or abstraction) respects the Sufi Islamic belief that it is unwise to depict a whole living creature unless one is also able to grant it a soul.\u003cbr\u003e\u003cbr\u003eThe \u003cem\u003ekepala\u003c\/em\u003e (head panel) features a bouquet motif with a mesmerising fill of intricate unfurling vines.\u003cbr\u003e\u003cbr\u003eAround the edge of the cloth, abstracted shrimp-like creatures — rendered in the botanical \u003cem\u003esamaran\u003c\/em\u003e style — form a border that encircles and protects the wearer.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Nur Mauidhoh\u003c\/h4\u003e\n\u003cp\u003eBorn and raised in Batang, Ibu Nur Mauidoh (Ibu Idhoh) has been creating batik since the age of thirteen, learning the artform as a tradition passed down through the generations. She is drawn to complex, detailed and fluid motifs that leave room for creative freedom and innovation — \u003cem\u003emateros\u003c\/em\u003e and \u003cem\u003erelawati\u003c\/em\u003e with intricate fills among her favourites. A mother of three, Ibu Idhoh creates batik because it brings her a deep sense of accomplishment, self-worth and contentment.\u003c\/p\u003e","brand":"Ibu Idhoh","offers":[{"title":"Default Title","offer_id":50456580849963,"sku":"BPB002","price":2600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB057_Idhoh_Sarong_Relawati_Sisik_SV.png?v=1781245279"},{"product_id":"sarong-relawati-keong-copy","title":"IBU MAISAROH, SARONG RELAWATI LUNG LUNGAN","description":"\u003ch3\u003eIbu Maisaroh\u003cbr\u003eBorn 1985, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI LUNG-LUNGAN (2025)\u003cbr\u003e100% cotton, synthetic dyes\u003cbr\u003eHand-drawn wax resist on machine-woven cotton\u003cbr\u003e216 × 114 cm\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eAn Escher-like dance of vines, this sarong invites contemplation of the infinite and the interlinked nature of our world.\u003c\/h4\u003e\n\u003cp\u003eThis sarong is a mesmerising work and a testament to Ibu Maisaroh’s technical mastery and gift for geometric detailing.\u003cbr\u003e\u003cbr\u003eWhat sets this piece apart is the fill. The badan (body of the cloth) is worked in\u003cem\u003e lung-lungan,\u003c\/em\u003e a motif of intertwining vines and tendrils whose name comes from \u003cem\u003elung\u003c\/em\u003e, the Javanese word for vine tendril. But Ibu Maisaroh’s interpretation is anything but literal. The vines are rendered with a geometric precision and interlocking rigour that elevates the motif into something approaching the abstract — less a garden, more a meditation on form itself. There is an Escher-like quality to the patterning: the eye follows one line and finds it has become another. This geometric sophistication is deeply rooted in the broader tradition of Islamic art, in which the infinite repetition and interlocking of pattern becomes a visual contemplation of the divine. The \u003cem\u003elung-lungan\u003c\/em\u003e motif carries its own symbolism: \u003cem\u003elung-lungan\u003c\/em\u003e literally means intertwining, and speaks to the interdependence of all living things, the hope for a flourishing social life, and the resilience and adaptability that comes from remaining connected. It is also said to confer protection on its wearer.\u003cbr\u003e\u003cbr\u003eThe \u003cem\u003ekepala \u003c\/em\u003e(feature panel) — displayed at the back when worn by men, and at the front by women — is anchored by the floral and distinctly feminine \u003cem\u003eRelawati\u003c\/em\u003e design. \u003cem\u003eRelawati\u003c\/em\u003e is a woman's name rooted in the Javanese word \u003cem\u003erela\u003c\/em\u003e (willing, open-hearted, generous of spirit) and carries the meaning of a woman who gives of herself with grace and sincerity. It is a prayer that the one who wears this cloth will embody deep compassion and joyful generosity.\u003cbr\u003e\u003cbr\u003eSubtle hints of creatures are woven through the plant forms… a curved leaf, or the arc of a plume? A petal, or the sweep of a wing? The viewer must use her imagination. This practice of samaran (abstraction or camouflage) stems from the Sufi Islamic teaching at the heart of Rifa’iyah batik: that it is unwise to depict a whole living creature unless one is also able to grant it a soul.\u003cbr\u003e\u003cbr\u003eThe outer border is finished with a beautifully executed wave-like design —suggestive of \u003cem\u003eudang samaran\u003c\/em\u003e, the abstracted shrimp rendered in the samaran style as curving, undulating forms. In Javanese philosophical tradition, the shrimp carries layered meaning: its characteristic backward movement is understood as a form of wisdom — the willingness to be humble, step back, to reflect, and to regroup before moving forward with greater clarity. The shrimp’s capacity to thrive across diverse aquatic environments speaks to adaptability and resilience. And the Javanese proverb \u003cem\u003eana udang ing sakwaliké watu\u003c\/em\u003e  (there is a shrimp behind the stone’ — serves as a reminder to look beyond surfaces, to remain thoughtful and discerning in the face of hidden intentions.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn terracotta, black and blues, the colour scheme is subdued and sophisticated.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Maisaroh\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003e\u003cbr\u003eIbu Maisaroh learned batik tulis from her mother, Ibu Juriyah — herself a celebrated Rifa’iyah artist — and mastered the artform by the age of fifteen. Batik is her consuming passion: she dedicates the greater part of her life to her practice. Her works consistently push beyond the expected, offering something at the next level of intricacy, inventiveness and spiritual depth. For this reason, they are highly sought after.\u003cbr\u003e\u003c\/p\u003e","brand":"Ibu Maisaroh","offers":[{"title":"Default Title","offer_id":53395103711531,"sku":"BPB031","price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB031_Maisaroh_Sarong_Relawati_Lung_Lungan_SV.png?v=1781245584"},{"product_id":"sarong-relawati-keong-2009-copy-1","title":"IBU HIDAYAT, JARIK PAGI SORE GEMBLONG SAIRIS LANCURAN","description":"\u003ch3\u003eIbu Hidayat\u003cbr\u003eBorn Batang, Indonesia, 1976\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eJARIK PAGI SORE GEMBLONG SAIRIS \/ LANCURAN (2025)\u003cbr\u003e100% cotton, synthetic dyes\u003cbr\u003eHand-drawn wax resist on machine-woven cotton\u003cbr\u003e250*102cm\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eOverflowing with symbolism, exquisite detailing and use of colour, this batik cloth illustrates diversity and interconnectedness in the natural world.\u003c\/h4\u003e\n\u003cp\u003eThis long \u003cem\u003ejarik\u003c\/em\u003e piece balances contained geometric order with free-flowing botanical forms, and reveals, on close inspection, a world of abstracted creatures hidden in plain sight. Made in the \u003cem\u003epagi-sore\u003c\/em\u003e (morning-evening) format, where one half of the cloth is intended for morning wear and the other for evening, is as rich in symbolism as it is in its variations of motif and colour.\u003cbr\u003e\u003cbr\u003eThe left panel presents a complex, botanical patchwork divided by sinuous foreground bouquets of plants and flowers. Each compartment is filled with a different \u003cem\u003eisen-isen\u003c\/em\u003e (fill motif): \u003cem\u003ekrokotan\u003c\/em\u003e (purslane leaves), a variety of abstracted seeds, vine-like delicate \u003cem\u003emateros\u003c\/em\u003e tendrils and \u003cem\u003esisik\u003c\/em\u003e (fish-scale) forms. This natural, patchwork-like composition shares similarities with the Central Javanese motif \u003cem\u003esekar jagad\u003c\/em\u003e — meaning, literally, ‘flowers of the universe’. In the \u003cem\u003esekar jagad\u003c\/em\u003e tradition, the cloth is understood as a map of the world’s beautiful diversity: different patterns within each compartment represent different botanicals, ecologies and ways of being, all of which are intrinsically interlinked.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe right panel features \u003cem\u003egemblong sairis\u003c\/em\u003e. The name is grounded in the everyday: \u003cem\u003egemblong\u003c\/em\u003e is a traditional Javanese sticky rice cake made from glutinous rice flour coated in palm sugar (\u003cem\u003etepung ketan berlapis gula aren\u003c\/em\u003e), and \u003cem\u003esairis\u003c\/em\u003e (or \u003cem\u003esak iris\u003c\/em\u003e) means ‘one slice’. The motif takes its geometric form from the cross-section of the cake when cut: a repeating pattern of lozenges and diamonds that is at once humble in its inspiration and extraordinary in its execution.\u003cbr\u003e\u003cbr\u003eOverlaying this geometric ground are abstracted \u003cem\u003eburung merak \u003c\/em\u003e— peacocks. Across Java’s north coast batik tradition, the peacock is considered the king of birds: a symbol of beauty, strength, grace and elegance in daily behaviour and attitude. Its spectacular tail has long been associated with fame, good fortune and heightened awareness. In Chinese-influenced coastal Javanese batik — of which Rifa’iyah is a part — the peacock carries additional associations with prosperity, protection and warding off bad luck. In Ibu Hidayat’s working, the peacock-like creatures dissolve into tendrils, its feathers become foilage, and bodies are adorned with \u003cem\u003esisik \u003c\/em\u003e(fish scales). This is the Rifa’iyah practice of \u003cem\u003esamaran\u003c\/em\u003e — camouflage or abstraction — in its most sophisticated expression. The teachings of Kyai Ahmad Rifa’i, drawn from his Sufi reform text Tarajumah, hold that living creatures must not be depicted in their entirety unless the artist is also able to grant them a soul.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBoth panels enact the same exquisite visual tension: the interplay between contained geometric backgrounds — the orderly \u003cem\u003egemblong sairis\u003c\/em\u003e diamonds, the structured compartments of the\u003cem\u003e pagi-sore\u003c\/em\u003e format — and the free-flowing, softer foreground of flowers, tendrils and abstracted creatures. It is a cloth that holds chaos within form, and finds freedom within structure. This is not merely an aesthetic choice: in Sufi thought, the discipline of the outward form creates the conditions for inner liberation.\u003cbr\u003eThe border of the cloth brings together several protective elements: abstracted \u003cem\u003eudang samaran\u003c\/em\u003e (camouflaged shrimp, rendered in the \u003cem\u003esamaran\u003c\/em\u003e style as curved, suggestive forms), trailing vines, small \u003cem\u003etumpal\u003c\/em\u003e (sacred triangles, symbolising cosmic order and the peaks where earthly and spiritual realms meet) and \u003cem\u003esisik\u003c\/em\u003e (scale motifs). Together these create a layered protective barrier around the wearer — each element contributing its own symbolic power to the whole.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe colour scheme is an exceptional, complex variant of the prestigious \u003cem\u003etiga negeri \u003c\/em\u003e(three nations) process — in which the cloth is dyed three times, each stage requiring the entire wax motif to be re-applied. Traditionally, each of the three dye colours came from a different Javanese centre: red from Lasem on the north coast, blue from Pekalongan, and the warm brown sogan from Solo. This multi-stage, multi-location process makes tiga negeri the most technically demanding and most prestigious of all Rifa’iyah batik colourways.\u003cbr\u003e\u003cbr\u003eIbu Hidayat’s cloth goes further still, incorporating additional tones of green, light blue, black and yellow into the colour scheme — a creative expansion of the \u003cem\u003etiga negeri\u003c\/em\u003e foundation that results in a uniquely complex palette and distinguishes this piece from most other tiga negeri works. The result is a cloth of rare chromatic richness.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Hidayat\u003c\/h4\u003e\n\u003cp\u003eBorn and raised in Batang, Ibu Hidayat learned the art of batik tulis from her mother, beginning at the age of ten — a tradition passed down through the generations of her family. For Ibu Hidayat, batik is not simply a craft but a matter of identity: a living connection to custom, community and the spiritual practice of the Rifa’iyah. She is drawn to motifs inspired by the unfurling of nature such as \u003cem\u003elancuran\u003c\/em\u003e (rooster tail feathers) and \u003cem\u003emateros\u003c\/em\u003e (interconnected vines).\u003c\/p\u003e","brand":"Ibu Hidayat","offers":[{"title":"Default Title","offer_id":53415059063083,"sku":"BPB030","price":4600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/Ibu_Hidayat_Jarik_Pagi_Sore_Gemblang_Sairis_363d4f01-460d-4310-bd6b-a21c60d7c9cc.png?v=1778807474"},{"product_id":"sarong-relawati-keong-2009-copy-2","title":"IBU ISTIKOMAH, JARIK KROKOTAN SOGAN","description":"\u003ch3\u003eIbu Istikomah \u003cbr\u003eBorn 1971, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eJARIK KROKOTAN (2010)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e230 x 100cm\u003c\/p\u003e\n\u003ch4\u003eA striking \u003cem\u003ekrokotan\u003c\/em\u003e jarik worked in rich tones, its purslane motif is said to be imbued with the healing and protective qualities of the plant that inspired it.\u003c\/h4\u003e\n\u003cp\u003eThis design is intricately detailed with the leaves of Portulaca oleracea — the krokot plant, a species of purslane known for its many healing properties in traditional Javanese medicine, or jamu. Many designs are inspired by native plants and vegetation with healing and nourishing qualities, imbuing the batik with protective properties that promote the prosperity and good health of the wearer.\u003cbr\u003e\u003cbr\u003eThe motif is punctuated by abstracted creatures connected along a vine, with feathery wings that suggest birds or insects — forms that dissolve into the design, adding a layer of mystery to the cloth. This reflects the Sufi Islamic tradition of not depicting whole living creatures unless one is also able to grant them a soul.\u003cbr\u003e\u003cbr\u003eSogan refers to the rich brown colour in the background, traditionally derived from plant materials indigenous to Java. Ibu Istikomah worked on this piece over a three-month period, across three waxing and dyeing stages to achieve each of the three colours. She chose the design because it is intricate and detailed when viewed up close, but most impressive and striking when viewed from afar.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Istikomah\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eBorn and raised in Batang, on the north coast of Central Java, Ibu Istikomah is an accomplished batik artist and local trader. \u003c\/p\u003e","brand":"Ibu Istikomah","offers":[{"title":"Default Title","offer_id":53415351550251,"sku":"BPB002","price":1600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/Unknown_1.jpg?v=1778813254"},{"product_id":"sarong-relawati-keong-2009-copy-3","title":"LEK JURIYAH, JARIK TAMBAL TIGA NEGERI","description":"\u003ch3\u003eIbu Juriyah \u003cbr\u003eBorn Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eJARIK TAMBAL TIGA NEGERI (2010)\u003cbr\u003e100% Cotton, synthetic dyes\u003cbr\u003eHand-drawn wax resist on machine-woven cotton\u003cbr\u003e250 x 110cm\u003cbr\u003e\u003cbr\u003eRich in flora and fauna-like detailing, this extraordinary tambal tiga negeri jarik is a dazzling patchwork symbolising healing and togetherness. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis lavish jarik cloth is coloured in the \u003cem\u003etiga negeri\u003c\/em\u003e (three nations) style with its three principal colours of red, blue and brown historically sourced from three different regions of Java: red from Lasem on the north coast, blue from Pekalongan, and warm sogan brown from Solo. To achieve this, Lek Juriyah applied intricate wax motifs to the entire cloth three times over, a painstaking process that occupied her for around six months.\u003cbr\u003e\u003cbr\u003eThe cloth combines a rich variety of motifs through the tambal (patchwork) structure where each geometric compartment is filled with a different pattern, creating a quilt-like composition of extraordinary visual complexity. The tambal design is associated with healing and repair: fixing what is broken, whether physical or spiritual, to build something stronger and more beautiful. Some believe that tambal batik carries genuine healing power, and that wearing it can aid recovery from illness or suffering.\u003cbr\u003e\u003cbr\u003eThroughout the foreground, flowers, abstracted birds and butterflies speak of vitality, abundance and the regenerative power of the natural world. The creatures are never depicted whole because Lek Juriyah practises \u003cem\u003esamaran\u003c\/em\u003e (abstraction or camouflage), respecting the Sufi Islamic belief that it is unwise to depict a living creature in its entirety unless one is also able to grant it a soul.\u003c\/p\u003e\n\u003ch4\u003eIbu Juriyah\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eGrowing up in Batang, Ibu Juriyah has practiced batik since she was a young girl, when she learned the traditional techniques from her mother and older sisters. Today Lek Juriyah is an accomplished batik producer, proud mother of twelve and grandmother of many. She has passed on her batik skills to her children, including the celebrated Rifa’iyah artist, Ibu Maisaroh, also featured in this collection.\u003c\/p\u003e","brand":"Ibu Juriyah","offers":[{"title":"Default Title","offer_id":53415354827051,"sku":"BPB005","price":3200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB005_Lek_Juriyah_Jarik_tambal_tiga_negeri_SV_09b79a24-4cf1-4724-8ebf-123696c8551f.png?v=1781424650"},{"product_id":"sarong-relawati-keong-copy-1","title":"IBU ISTIKOMAH, SARONG MATEROS SOGAN BOH GUNUNGAN","description":"\u003ch3\u003eIbu Istikomah\u003cbr\u003eBorn Batang, Indonesia, 1971\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eSARONG MATEROS SUGEN\u003cbr\u003e2010\u003cbr\u003e100% cotton, synthetic dyes\u003cbr\u003eHand-drawn wax resist on machine-woven cotton\u003cbr\u003e210 x 114cm\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eRich in symbolism, this \u003cem\u003eMateros\u003c\/em\u003e batik is a meditation on the abundance that comes from fostering close relationships with those around us.\u003c\/h4\u003e\n\u003cp\u003eThis is a sarong hip-wrapper is called \u003cem\u003eMateros Sogan Boh Gunungan\u003c\/em\u003e. It is divided into a main panel, referred to as the \u003cem\u003ebadan\u003c\/em\u003e or body of the cloth, and a decorative panel at one end known as the \u003cem\u003ekepala\u003c\/em\u003e (head).\u003cbr\u003e\u003cbr\u003eMateros refers to the filling motif inside the main panel, which is an intricate curl-like design. It is a design that requires painstaking patience and can only be successfully produced by an experienced artist. The interconnected vine is said to symbolise the prosperity that comes from strong kinship ties and relationships with those around us. For this reason it is considered an appropriate gift to convey blessings to a newly married couple.\u003cbr\u003e\u003cbr\u003eThe decorative \u003cem\u003ekepala\/sorot \u003c\/em\u003epanel, adopts the \u003cem\u003euntu walang\u003c\/em\u003e “cricket’s teeth” motif, used to ward off evil or bad-luck. The \u003cem\u003euntu walang\u003c\/em\u003e design is about inner strength and charisma - it represents the surprising powers and abilities that can be found in modest and unassuming characters (the grasshopper’s incredibly powerful teeth). The panel also features \u003cem\u003epelaraan\u003c\/em\u003e (stylised coconut palms), which are used as decorations for weddings and other cultural ceremonies and symbolise blessings and protection. The side panels to the \u003cem\u003esorot\u003c\/em\u003e are decorated with jasmine flowers.\u003cbr\u003e\u003cbr\u003eThe border around the edges of the cloth is in the \u003cem\u003egunungan\u003c\/em\u003e (mountain) design. Located along the Pacific Ring of Fire, in Java the volcanic mountain is considered the centre of life ― a symbol of vitality, the universe and all its wonders.\u003cbr\u003e\u003cbr\u003eIstikomah worked on this batik over a 12-month period applying wax to the entire cloth three times. She enjoys making materos batik because the design is intricately detailed yet look impressive from afar. \u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Istikomah (Ibu Itama)\u003c\/h4\u003e\n\u003cp\u003eBorn and raised in Batang, on the north coast of Central Java, Ibu Istikomah is an accomplished batik artist and batik trader. She makes batik nyambi (part-time) when she is not busy selling chicken, caring for children, running the household, cooking, shopping at the markets.\u003c\/p\u003e","brand":"Ibu Istikomah","offers":[{"title":"Default Title","offer_id":53415722582315,"sku":"BPB009","price":2300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB009_Materos_Sogan_SV_6edad617-7c66-4b0c-af2b-837bb94f8a2d.png?v=1782530113"},{"product_id":"sarong-relawati-keong-copy-2","title":"IBU MUSTOFIYAH, SARONG DLORONGAN","description":"\u003ch3\u003eIbu Mustofiyah \u003cbr\u003eBorn 1985, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG DLORONGAN (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e210 x 114cm\u003c\/p\u003e\n\u003ch4\u003eAn exceptional piece of rich colouring and detail in the rare \u003cem\u003edlorongan\u003c\/em\u003e style.\u003c\/h4\u003e\n\u003cp\u003eThis sarong is worked in \u003cem\u003edlorongan, \u003c\/em\u003ewhich is a Rifa'iyah motif characterised by thick vertical running bands, each filled with a different repeating botanical or geometric element.\u003cbr\u003e\u003cbr\u003eMade in \u003cem\u003etiga negeri\u003c\/em\u003e (three nations) colours, the wax motifs were applied to the cloth three times over, once for each dye bath — a process of extraordinary patience and precision. The three colours were each historically sourced from a different centre of Javanese batik production: deep red from Lasem on the north coast, blue from Pekalongan, and rich brown from Solo. Here, touches of yellow, green and light blue add further complexity and depth to an already vibrant palette.\u003cbr\u003e\u003cbr\u003eThe foreground is animated by abstracted birds interwoven with flowers and foliage — ayam-like figures worked into elaborate bouquet compositions of leaves and blooms, their forms constructed from leaves and tendrils in the samaran style. In keeping with the Rifa'iyah Sufi principle that living creatures must not be depicted in their entirety unless the artist can also grant them a soul, these birds are never quite complete — present in the composition, yet dissolved into it.\u003cbr\u003e\u003cbr\u003eEach band of the dlorongan is filled with fine botanical isen-isen (fill motifs) including a design inspired by \u003cem\u003epolong kedawung\u003c\/em\u003e — the distinctive elongated pods of Parkia timoriana, whose antioxidant-rich seeds are valued in traditional Javanese medicine — alongside \u003cem\u003eukel matero\u003c\/em\u003es (hook-like curling forms) and \u003cem\u003ececek \/ tutul-tutul\u003c\/em\u003e (tiny, evenly spaced dots drawn with the canting).\u003cbr\u003e\u003cbr\u003eThe kepala (head panel) is worked in the \u003cem\u003epelaraan\u003c\/em\u003e motif — sweeping coconut palm fronds that invoke the ceremonial frond decorations of Javanese weddings and blessings, carrying associations of spiritual protection, prosperity and the sweeping away of misfortune.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe vertical side panels are bordered with a delicate chain of \u003cem\u003ekembang sirih\u003c\/em\u003e — the slender flower spikes of the betel vine, renowned for their medicinal and ceremonial significance. Along the horizontal edges, blooming vines build further layers of botanical protection, encircling the entire cloth and, by extension, its wearer.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Mustofiyah\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eBorn and raised in Batang, Ibu Mustofiyah learned to batik after finishing elementary school, and the practice has become both a livelihood and a creative outlet as a young mother of three. She loves to batik — with the canting she feels free and creative, as if painting. Her work is characterised by precision, confidence and a striking command of colour.\u003c\/p\u003e","brand":"Ibu Mustofiyah","offers":[{"title":"Default Title","offer_id":53753690226987,"sku":"BPB073","price":4100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB073_Mustofiyah_Sarong_Dlorongan_SV_76007459-d37c-4593-b811-aa8c311deeb6.png?v=1781300306"},{"product_id":"jarik-gendhagan-2025","title":"IBU ISTIKOMAH, JARIK GENDHAGAN","description":"\u003ch3\u003eIbu Istikomah\u003cbr\u003eBorn 1985, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eJARIK GENDHAGAN (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e256 x 102cm\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003ci\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eGendhagan,\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003e the Rifa'iyah batik motif featuring the tree of life, or \u003ci\u003epohon hayat,\u003c\/i\u003e is also the Batang dialect word for courting or dating, much to the amusement of local artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eThe \u003ci\u003epohon hayat\u003c\/i\u003e carries a layered history in Java. Its roots reach into Hindu-Buddhist cosmology long before the arrival of Islam: the \u003ci\u003ekalpataru\u003c\/i\u003e, the divine wish-granting tree, appears in the 8th century stone bas-reliefs of Pawon temple in Central Java, understood as the axis mundi connecting earth, heaven and the underworld. The same tree recurs across the archipelago — as the \u003ci\u003egunungan\u003c\/i\u003e of Javanese wayang shadow puppetry, and as the sacred \u003ci\u003ewaringin\u003c\/i\u003e (banyan) at the centre of the \u003ci\u003ealun-alun \u003c\/i\u003e(town square) of almost every Javanese city. Protected not by law but by belief, these trees remain, centuries after the arrival of Islam, the spiritual anchor of public life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eThe \u003ci\u003egendhagan\u003c\/i\u003e motif is also traditionally used as a bridal offering cloth (\u003ci\u003ehantaran pengantin\u003c\/i\u003e), carrying associations of blessing and the promise of new life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eThrough these tree compositions, the artist has woven floral bouquets and phoenix-like birds constructed from leaves and fruits — their forms dissolved into the foliage in the samaran manner, suggested rather than stated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eThe long edges are finished with \u003ci\u003etumpal\u003c\/i\u003e — upward-pointing triangles symbolising creation and the sacred mountain peaks where earthly and spiritual realms converge — set against a field of \u003ci\u003etruntum-\u003c\/i\u003elike stars. Their tiny forms, resembling jasmine buds scattered across a night sky, were drawn night after night, a quiet declaration of love. \u003ci\u003eTruntum\u003c\/i\u003e, from the Javanese \u003ci\u003etumaruntum\u003c\/i\u003e, means 'to blossom again.'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eDecorative vines run through the border panels, anchoring a composition that ranges from the cosmic to the intimate.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Istikomah (Ibu Itamah)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003eBorn and raised in Batang on the north coast of Central Java, Ibu Istikomah, known to most as Ibu Itamah, is an accomplished batik artist and trader. At present she makes batik \u003ci\u003enyambi \u003c\/i\u003e(part-time), fitting it around selling chickens, cooking and trading at the market.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5pt; text-align: left;\"\u003e\u003cspan lang=\"EN\" style=\"color: #1a1a1a;\"\u003e\u003cem\u003eMay Batik Rifa'iyah continue to prosper and become ever more celebrated throughout the world — and may there always be a next generation of makers who are dedicated to this art... \u003c\/em\u003eIbu Itamah, June 2026\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Istikomah","offers":[{"title":"Default Title","offer_id":53753717883179,"sku":"BPB020","price":2000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB020_Istikomah_Jarik_Gendhagan_SV_92c98f28-2646-47ee-a26f-21ad450874a8.png?v=1782530014"},{"product_id":"ibu-nur-wakhidah-sarong-relawati-krokotan-unggu","title":"IBU NUR WAKHIDAH, SARONG RELAWATI VIOLET","description":"\u003ch3\u003eIbu Nur Wakhidah \u003cbr\u003eBorn 2001, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI VIOLET (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e216*112cm\u003c\/p\u003e\n\u003ch4\u003ePlayful, pretty and abundant with hidden creatures and floral delights — this work is  joy to behold.\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis sarong is rendered in two main colours in the Relawati style — a Javanese woman’s name derived from \u003ci\u003erela\u003c\/i\u003e (willing, open-hearted, generous of spirit), referring to the flowing floral design in the foreground of the \u003ci\u003ekepala\u003c\/i\u003e (head panel). The badan (body of the cloth) is filled with flowers, \u003ci\u003ekenari \u003c\/i\u003eleaves (Java almond, Canarium sp.) and other leaf clusters suggestive of \u003ci\u003emanuk hong\u003c\/i\u003e (phoenix birds), set against a background of \u003ci\u003ekrokotan\u003c\/i\u003e — sprawling pursulane, an important plant used in traditional foods and medicine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe kenari (Canarium sp.) is a large tropical tree native to the Indonesian archipelago, producing edible almond-flavoured nuts. Its compound leaves — a central stem bearing multiple oblong leaflets — create the distinctive layered forms visible throughout the composition. It is associated in Javanese tradition with abundance and natural generosity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci\u003ekepala\u003c\/i\u003e — displayed at the back when worn by men, and at the front by women — features a central floral arrangement with \u003ci\u003ekeladi \u003c\/i\u003eleaves (inspired by taro or caladium) and \u003ci\u003elancur\u003c\/i\u003e-type leaves suggesting both pandan and rooster plumage. Oversized \u003ci\u003ekembang mawar tanah\u003c\/i\u003e (rose forms) animate the composition, and the background fill is a dense krokotan-style curl motif (purslane vine). At the peak of the \u003ci\u003ekepala\u003c\/i\u003e, a large flower issues a spray of slim leaves with broad, eye-like tips — evoking peacock tail plumage without depicting the bird.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThroughout the cloth, phoenix-like creatures and abstracted butterflies are created from clusters of leaves and flowers, sometimes called \u003ci\u003esawut mati,\u003c\/i\u003e or ‘dead wings’: a Rifa’iyah device in which wing forms are separated from any living body, honouring the Sufi prohibition on depicting whole living creatures. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe border features \u003ci\u003eudang samaran\u003c\/i\u003e — abstracted shrimp rendered as curving botanical forms — encircling the wearer with their symbolism of adaptability and wisdom.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Nur Wakhidah (Mbak Wakhidah)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eMbak Wakhidah is one of the youngest active practitioners of batik Rifa’iyah in ther community. She learned from the age of ten, guided by her mother and older sister, with whom she continues to work. She is drawn to the creative variety of \u003cem\u003ebatik tulis\u003c\/em\u003e, and favours less common blue and violet colour combinations, in addition to the vibrant reds, greens and rich earthy tones more characteristic of the Rifa’iyah tradition.\u003c\/p\u003e","brand":"Ibu Nur Wakhidah","offers":[{"title":"Default Title","offer_id":53757971562795,"sku":"BPB017","price":2300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB017_Wakhidah_Sarong_Relawati_Unggu_SV.png?v=1781427209"},{"product_id":"ibu-khusnul-mubarokah-selendang-kawung-endhog","title":"IBU KHUSNUL MUBAROKAH,  SELENDANG KAWUNG ENDHOG","description":"\u003ch3\u003eIbu Khusnul Mubarokah\u003cbr\u003eBorn 1991, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSELENDANG KAWUNG ENDHOG (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e250 × 52 cm\u003c\/p\u003e\n\u003ch4\u003eAn eye-catching work rich in symbolism, showcasing both free-form organic flourish and geometric discipline.\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e shoulder cloth occupies a unique place in Javanese domestic and ceremonial life — worn as a fashion accessory, used to carry goods, and to cradle babies close to the body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eMade in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e (three nations) colourway, the wax motifs were applied to the cloth three times over, once for each dye bath — a process demanding patience and precision. The three colours were each historically sourced from a different centre of Javanese batik production: red from Lasem on the north coast, blue from Pekalongan, and brown from Solo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e (body of the cloth) is composed of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekawung endhog\u003c\/i\u003e design — a geometric pattern of evenly spaced ovals made from organic spirals. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eKawung\u003c\/i\u003e refers to the fruit of the sugar palm; the motif is said to symbolise the four elements — wind, water, fire and earth — and our origins within them. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eEndhog\u003c\/i\u003e means egg, the oval forms evoking the renewal of life. One of the oldest motifs in Javanese batik, \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekawung\u003c\/i\u003e appears in the stone reliefs of Hindu and Buddhist temples and was historically one of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elarangan\u003c\/i\u003e — forbidden patterns reserved for the royal courts. Filling the spaces between the ovals are tiny \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekembang mlati\u003c\/i\u003e (jasmine flowers) — sacred in Javanese ceremony and associated with purity and sincerity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe foreground features four stylised \u003ci style=\"mso-bidi-font-style: normal;\"\u003emanuk merak\u003c\/i\u003e (peacocks) composed from feather-like leaves and flowers in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e style — never depicted whole, in keeping with the Rifa'iyah Sufi principle that living creatures must not be fully shown unless the artist can also grant them a soul. The peacock is the king of birds in Javanese and Chinese-influenced coastal batik, associated with beauty, grace, prosperity and good fortune.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e (head sections) at each end feature very detailed \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e — upward-pointing triangles symbolising creation and the sacred mountain peaks — filled with \u003ci style=\"mso-bidi-font-style: normal;\"\u003esasek\u003c\/i\u003e (fern-like curling forms), geometric designs and flowers, with star-like configurations along the outer lengths suggesting the celestial horizon. The body is bordered by undulating vines.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Khusnul Mubarokah (Mbak Mila)\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: Arial; mso-bidi-font-family: Arial; color: #1a1a1a;\"\u003eMbak Mila is the daughter of batik artist and trader Ibu Istikomah. She rarely finds time to make batik today but is incredibly proud of this work, which she believes is her finest.\u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Khusnul Mubarokah","offers":[{"title":"Default Title","offer_id":53761461780779,"sku":"BPB019","price":2000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB019_Mbak_Mila_Selendang_Kawung_Endhog_SV.png?v=1781499757"},{"product_id":"ibu-nuridah-jarik-materos-manuk-merak","title":"IBU NURIDAH, JARIK MATEROS MANUK MERAK","description":"\u003ch3\u003eIbu Nuridah\u003cbr\u003eBorn 1953, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eJARIK MATEROS MANUK MERAK (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e252 x 102 cm\u003c\/p\u003e\n\u003ch4\u003eA testament to sixty years of artistic dedication, this intricate materos jarik cloth is abundant in symbolism and surprises.\u003c\/h4\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\" lang=\"EN\"\u003eThere is a certain magic in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003emateros\u003c\/i\u003e style: the background appears, from a distance, to be entirely plain. Only on close inspection is it revealed to be covered in an extraordinarily fine field of \u003ci style=\"mso-bidi-font-style: normal;\"\u003eukelan\u003c\/i\u003e — tiny, spiralling vine-like curls drawn with the lightest possible stroke of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ecanting\u003c\/i\u003e. This level of fine work is among the most technically demanding in Rifa’iyah batik, achievable only by artists with exceptional control and patience. Mbah Nuridah created this piece over a 12-month period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\" lang=\"EN\"\u003eThe style takes its name from Mrs Matheron (née Willemse), a Dutch-descended batik merchant in Banyumas, Central Java, who inherited the workshop of her aunt, Mrs Catharina Carolina van Oosterom (1816–1900), one of the influential Dutch entrepreneurs who shaped Java’s north coast batik industry in the 19th century. Her batiks became so celebrated that the style was named after her — \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebatik matheron\u003c\/i\u003e or \u003ci style=\"mso-bidi-font-style: normal;\"\u003emateros\u003c\/i\u003e — characterised by fine, intricate vine-like fills, often on a light or apparently plain background. The style was copied in Pekalongan by the 1920s, and eventually reached Batang, where the Rifa’iyah community absorbed it and imbued it with their own Sufi spiritual meaning. The interconnected vines are seen as a symbol of the kinship ties and relationships through which prosperity flows.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\" lang=\"EN\"\u003eThe foreground features two magnificent pairs of \u003ci style=\"mso-bidi-font-style: normal;\"\u003eburung merak\u003c\/i\u003e (peacocks), rendered in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e style: their heads detached, their bodies, wings and extravagant tail plumage constructed entirely from long, majestic leaf forms, almost symmetrical but not quite. These careful deviations from perfect symmetry are intentional. In the Rifa’iyah tradition, the deliberate introduction of a stylised flaw is the artist’s act of deference to the true Creator — a quiet acknowledgement that only God may achieve perfection. The peacock itself carries rich symbolism across Javanese and Chinese-influenced coastal batik: beauty, grace, prosperity and good fortune; depicted as a pair, marriage and partnership. Elsewhere, smaller \u003ci style=\"mso-bidi-font-style: normal;\"\u003emanuk samaran\u003c\/i\u003e — abstracted birds — flutter through the design, never depicted whole, in keeping with the Sufi Islamic teaching that living creatures must not be shown in their entirety unless one can also grant them a soul.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e*Mbah Nur accidentally made a stiny hole with her \u003cem\u003ecanting \u003c\/em\u003enear along one edge of this piece and would like to apologise for her lapse in concentration.\u003c\/p\u003e\n\u003ch4\u003eIbu Nuridah (Mbah Nur)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eLearning batik as a young child, Mbah Nur has been practicing for more than 60 years. She loves creating batik, including free-form \u003cem\u003erelawati\u003c\/em\u003e motifs and the complex and intricate \u003cem\u003esatria\/materos\u003c\/em\u003e styles.\u003c\/p\u003e","brand":"Ibu Nuridah","offers":[{"title":"Default Title","offer_id":53762198339883,"sku":"BPB002","price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB018_Ibu_Nuridah_Jarik_Materos_Manuk_Merak_SV.png?v=1781507199"},{"product_id":"ibu-mutarosatun-jarik-relawati-cemeng-manuk","title":"IBU MUTAROSATUN, JARIK RELAWATI NAGA PAKSI","description":"\u003ch3\u003eIbu Mutarosatun\u003cbr\u003eBorn 1972, Batang, Indonesia\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eJARIK RELAWATI NAGA PAKSI (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e242 x 104 cm\u003c\/p\u003e\n\u003ch4\u003eBolder and more folk in spirit than most Rifa’iyah batik, this jarik is steeped in ancient mythology.\u003c\/h4\u003e\n\u003cp\u003eLess ornate than typical Rifa’iyah work, Ibu Mutarosatun’s work has a spacious, dreamlike quality — a star-scattered field from which mythical creatures emerge with striking directness.\u003cbr\u003e\u003cbr\u003eAt the heart of the cloth, four figures take shape that resemble naga paksi — mythical creatures combining the sinuous body of a serpent (naga) with the wings of a great bird (paksi, from the Sanskrit pakshi). These composite beings have ancient roots in the Hindu-Buddhist civilisations that shaped Java for more than a millennium before the arrival of Islam: the naga was a dragon-like creature of water and earth, the great bird a creature of sky and heaven, and their union a bridge between the two realms. Traces of the naga paksi endure in wayang performance, temple reliefs and Javanese visual culture — a thread of pre-Islamic memory carried quietly within living tradition.\u003cbr\u003e\u003cbr\u003eHere, the figures are rendered in the samaran style, their forms constructed entirely from lancur and other botanical arrangements — leaves, fronds and curling stems. This is the Rifa’iyah Sufi principle at work: living creatures must not be shown in their entirety unless the artist is willing to imbue it with her soul. That an ancient mythological form from Java's pre-Islamic past is given expression through this Islamic artistic discipline speaks to a distinctive quality of the Rifa’iyah community — a willingness to honour and carry forward the cultural heritage of their ancestors, while remaining steadfast in their Islamic principles and faith.\u003cbr\u003e\u003cbr\u003eEach figure emerges from a lavish \u003cem\u003ebuketan\u003c\/em\u003e (bouquet) of vibrant roses — a hallmark of north coast Javanese batik shaped by centuries of both Chinese and European influence. The background is scattered with \u003cem\u003etabur bintang\u003c\/em\u003e (stars), evoking the celestial realm and the cosmos as a sign of divine creation.\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Mutarosatun (Ibu Satun)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eIbu Satun started making small \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e-sized batik at the age of only eight. She is happy to create bold, unusual pieces as well as more elegant and refined ones, and loves working in \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e and \u003ci style=\"mso-bidi-font-style: normal;\"\u003erelawati\u003c\/i\u003e styles.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Mutarosatun","offers":[{"title":"Default Title","offer_id":53766784778539,"sku":"BPB029","price":800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB029_Ibu_Mutarosatun_Jarik_Relawati_dng_Manuk_SV.png?v=1781579409"},{"product_id":"ibu-nasihatun-selendang-relawati-ketumbar-bolong","title":"IBU NASIATUN, SELENDANG RELAWATI KETUMBAR BOLONG","description":"\u003ch3\u003eIbu Nasiatun \u003cbr\u003eBorn 1970, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI KETUMBAR BOLONG (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e216 × 56 cm\u003c\/p\u003e\n\u003ch4\u003eA vivacious work, abundant with abstracted life.\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e shoulder cloth holds a distinctive place in Javanese domestic and ceremonial life — draped as a fashion accessory, used to carry goods, and to cradle babies close to the body. This vibrantly coloured work is in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003erelawati\u003c\/i\u003e style: a free-form mode of Rifa'iyah batik characterised by flowing, organic arrangements of flowers, foliage and creatures, drawn without the constraint of geometric templates.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eFrom each end of the cloth stem lavish \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebuketan\u003c\/i\u003e (bouquet) arrangements, almost but not quite symmetrical. This near-symmetry is characteristic of Rifa'iyah batik and resonates with a broader principle in Islamic artistic tradition: the deliberate introduction of imperfection is an act of humility — a quiet acknowledgement that only God may achieve perfection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eOn close inspection the cloth is teeming with life. Birds, butterflies and other insects are camouflaged throughout, constructed entirely from leaves and flowers in keeping with the Rifa'iyah Sufi principle that living creatures must not be depicted whole unless one can also grant them a soul.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003eisen\u003c\/i\u003e (fill) throughout the cloth is \u003ci style=\"mso-bidi-font-style: normal;\"\u003eketumbar bolong\u003c\/i\u003e — hollow coriander seeds — a tight, repeating pattern of small circles, creating a feeling of dense, tactile abundance across the cloth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eEye-catching \u003ci\u003epapan \u003c\/i\u003eborder panels with floral vines frame each end of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e, again near-symmetrical. The edges feature \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e — upward-pointing triangles symbolising creation, cosmic order and the sacred mountain peaks where earthly and spiritual realms converge — filled with \u003ci style=\"mso-bidi-font-style: normal;\"\u003esasek\u003c\/i\u003e (fern-like curling forms), \u003ci style=\"mso-bidi-font-style: normal;\"\u003ececek\u003c\/i\u003e (dots) and flowers. Star-like configurations along the outer lengths evoke the celestial horizon. The body is bordered by creeping vines with the outer \u003ci\u003epapan \u003c\/i\u003epanels enclosed by a geometic design known as \u003ci\u003ekopi ceplak\u003c\/i\u003e (cracked coffee beans).\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Nasiatun (Ibu Atun)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eBorn in Batang, Ibu Nasihatun — known to all as Ibu Atun — began making batik at the age of twelve, continuing a tradition passed down from her mother. She is renowned for her mastery across a wide range of designs, including the prestigious \u003ci\u003etiga neger\u003c\/i\u003ei works for which she is particularly celebrated:\u003ci\u003e tambal, gemblong sairis\u003c\/i\u003e and \u003ci\u003ekotak kitir,\u003c\/i\u003e as well as a rich variety of \u003ci\u003erelawati \u003c\/i\u003emotifs. She favours bold, confident colour combinations that reflect her character — Ibu Atun is known for her wide smile which, like her batik, leaves a lasting impression on everyone she meets.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003cem\u003e\"I am honoured to be a maker of Rifa'iyah batik — an artistic tradition passed down through so many generations in Indonesia.\" \u003c\/em\u003eIbu Atun, June 2026\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Nasiatun","offers":[{"title":"Default Title","offer_id":53766937772331,"sku":"BPB064","price":1400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB064_Nasihatun_Selendang_Relawati_Ketumbar_Bolong_SV.png?v=1781698679"},{"product_id":"ibu-nesti-selendang-relawati-ketumbar-bolong-copy","title":"IBU NESTI, SARONG RELAWATI BANG IRENG","description":"\u003ch3\u003eIbu Nesti\u003cbr\u003eBorn 1987, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI BANG IRENG (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e218 × 112 cm\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003eA bird, a flying fish or a floating leaf? This luscious botanical batik keeps you guessing.\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eThis densely worked sarong in the two-colour \u003ci style=\"mso-bidi-font-style: normal;\"\u003erelawati\u003c\/i\u003e style conceals birds, insects and other creatures carefully abstracted amongst flowers, vines and a tangle of foliage. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eRelawati\u003c\/i\u003e draws its name from the Javanese root \u003ci style=\"mso-bidi-font-style: normal;\"\u003erela\u003c\/i\u003e — willingness, surrender — and describes a mode of batik drawn freely, without geometric templates, giving each piece an organic, improvisational quality all its own.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eAgainst a \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepyur\u003c\/i\u003e background — a scattered fill of tiny granular marks whose name evokes the act of sprinkling — Ibu Nesti has conjured a world of intertwining plants and creatures that speaks to the connected nature of all living things. The bubble-like quality of the background, combined with motifs that read as both bird and fish, opens a productive ambiguity: are we in a forest canopy or an aquatic realm? The \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e becomes a space that is neither one nor the other, an imaginative world where creatures from different realms might meet and play.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e is bordered by \u003ci style=\"mso-bidi-font-style: normal;\"\u003eudang samaran\u003c\/i\u003e shrimp abstracted into sinuous, wave-like curves that echo the aquatic spirit of the cloth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e features a striking \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebuketan\u003c\/i\u003e arrangement rising from \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekeladi\u003c\/i\u003e (caladium) leaves into magnificent blooms and long fronds of \u003ci style=\"mso-bidi-font-style: normal;\"\u003elancur\u003c\/i\u003e (pandan-like leaves, evocative of a rooster’s long plumage). This is set against a fill of \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekrokotan\u003c\/i\u003e (purslane) — a small, resilient succulent used in traditional foods and medicines. Arranged here in almost starfish-like formations, the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekrokotan\u003c\/i\u003e seems to sway as if drifting in a current, taking our imaginations somewhere new.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Nesti\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a; mso-ansi-language: EN-US;\"\u003eIbu Nesti learned to batik at the age of twelve from her mother, renowned artist Ibu Warni. She loves making \u003ci style=\"mso-bidi-font-style: normal;\"\u003erelawati\u003c\/i\u003e and the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etambal\u003c\/i\u003e patchwork design, filling each section according to her mood at the time. Batik is a part-time practice for Ibu Nesti, who also runs two businesses from home, raises a family and holds a teaching qualification. A creative soul, she has a natural way with both children and with batik cloth.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Nesti","offers":[{"title":"Default Title","offer_id":53779113050411,"sku":"BPB065","price":1500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB065_Ibu_Nesti_Relawati_Bang_Ireng_SV.png?v=1781753158"},{"product_id":"ibu-nur-wakhidah-jarik-pagi-sore-kawung-jenggot-pelo-ati","title":"IBU NUR WAKHIDAH, JARIK PAGI SORE KAWUNG JENGGOT PELO ATI","description":"\u003ch3\u003eIbu Nur Wakhidah \u003cbr\u003eBorn 2001, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eJARIK PAGI SORE KAWUNG JENGGOT PELO ATI (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e244*100cm\u003c\/p\u003e\n\u003cp style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-outline-level: 4;\" class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eVibrant with detail, this jarik cloth is a story book for those interested in uncovering its mysteries.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThis long \u003ci style=\"mso-bidi-font-style: normal;\"\u003ejarik\u003c\/i\u003e cloth is worked in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003epagi-sore\u003c\/i\u003e format — literally 'morning-evening' — a style that, depending on how it is wrapped, presents one design for daytime and another for evening wear. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe left side of the cloth features \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelo ati\u003c\/i\u003e — a distinctly Rifa'iyah motif that takes its name from two Javanese words: \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelo\u003c\/i\u003e (gizzard), representing base instincts and impurities to be shed, and \u003ci style=\"mso-bidi-font-style: normal;\"\u003eati\u003c\/i\u003e (heart), understood in Sufi thought as the locus of sincerity and spiritual purification. The motif depicts bird-like forms resembling roosters intertwined with stylised plant tendrils — abstracted in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e tradition — with the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eati\u003c\/i\u003e visible within the torso of each figure. Together, \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelo\u003c\/i\u003e and \u003ci style=\"mso-bidi-font-style: normal;\"\u003eati\u003c\/i\u003e speak to the duality of human nature: the call to cultivate virtues such as patience, kindness and sincerity, while shedding envy, vanity and greed. The motif is framed above and below by \u003ci style=\"mso-bidi-font-style: normal;\"\u003eudan liris\u003c\/i\u003e — delicate diagonal lines evoking soft, steady rainfall — a symbol of fertility, growth and divine blessing descending from above. The rounded framing, including soft \u003ci\u003edaun lancuran (rooster plumage\/pandan) \u003c\/i\u003eleaves, creates a womb-like space, suggestive of feminine creativity and the divine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe right side of the cloth features the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekawung jenggot\u003c\/i\u003e motif. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eKawung\u003c\/i\u003e is among the oldest and most philosophically resonant of all Javanese batik motifs — its interlocking ovals, derived from the cross-section of the sugar palm fruit, appear in the stone reliefs of Hindu-Buddhist temples and were historically among the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elarangan\u003c\/i\u003e: forbidden patterns reserved for the royal courts. The motif carries layered meanings — the four elements, the origins of life, the cyclical nature of existence. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eJenggot\u003c\/i\u003e (beard) refers to the whisker-like lines that fill the \u003ci\u003ekawung\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe colour palette is distinctly Mbak Wakhidah's own: a predominance of blue tones that set this piece apart from the reds and earthy hues more typical of the Rifa'iyah tradition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe two \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e (head sections) are deliberately distinct. One features the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e design — upward-pointing triangles symbolising creation, cosmic order and the sacred mountain peaks where earthly and spiritual realms converge. The other displays the \u003ci style=\"mso-bidi-font-style: normal;\"\u003egigi walang\u003c\/i\u003e ('grasshopper teeth') design set against \u003ci style=\"mso-bidi-font-style: normal;\"\u003etambal \u003c\/i\u003e\u003cspan style=\"mso-bidi-font-style: italic;\"\u003e(patchwork). Grasshopper teeth design represents humility and the importance not to under-estimate: the grasshopper, with its astounding teeth, are small yet mighty.\u003c\/span\u003e The \u003ci style=\"mso-bidi-font-style: normal;\"\u003epapan\u003c\/i\u003e panels separating \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e from \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e are animated by vines of orchid-like flowers, some of which take on the form of moths or insects — creatures half-glimpsed in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e tradition. Border motifs include \u003ci style=\"mso-bidi-font-style: normal;\"\u003eombak\u003c\/i\u003e (waves) and trailing flower vines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e \u003c\/p\u003e\n\u003ch4\u003eIbu Nur Wakhidah (Mbak Wakhidah)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eMbak Wakhidah is one of the youngest active practitioners of batik Rifa’iyah in her community. She learned from the age of ten, guided by her mother and older sister, with whom she continues to work. She is drawn to the creative variety of \u003cem\u003ebatik tulis\u003c\/em\u003e, and favours less common blue and violet colour combinations, in addition to the vibrant reds, greens and rich earthy tones more characteristic of the Rifa’iyah tradition.\u003c\/p\u003e","brand":"Ibu Nur Wakhidah","offers":[{"title":"Default Title","offer_id":53925553832235,"sku":"BPB017","price":2900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB037_Wakhidah_Jarik_Pagi_Sore_Kawung_SV.png?v=1782548307"},{"product_id":"sarong-relawati-keong-copy-3","title":"IBU MAS ULAFAH,  SARONG KAWUNG ENDHOG","description":"\u003ch3\u003eIbu Mas Ulafah \u003cbr\u003eBorn 1981, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG KAWUNG ENDHOG (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e216 X 104cm\u003c\/p\u003e\n\u003ch4\u003eThis richly coloured and detailed sarong brings Rifa'iyah interpretations to ancient designs with dazzling results.\u003c\/h4\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis sarong is made in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e (three nations) style, where the wax motifs are applied to the cloth three times over, once for each dye bath — a process demanding patience and precision. The three colours were each historically sourced from a different centre of Javanese batik production: red from Lasem on the north coast, blue from Pekalongan, and brown from Solo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e (body of the cloth) is composed of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekawung endhog\u003c\/i\u003e design — a geometric pattern of circular forms, each comprised of \u003ci style=\"mso-bidi-font-style: normal;\"\u003esasek\u003c\/i\u003e (curling forms) or fine lines, creating subtle variation across the repeating grid. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eKawung\u003c\/i\u003e refers to the fruit of the sugar palm; the motif is said to symbolise the four elements — wind, water, fire and earth — and our origins within them. It is one of the oldest motifs in Javanese visual culture, found in the stone reliefs of Hindu-Buddhist temples, and was historically among the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elarangan\u003c\/i\u003e — forbidden patterns reserved for the royal courts. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eEndhog\u003c\/i\u003e means egg, the oval forms evoking the renewal of life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eAgainst this background emerge vines of flowers and foliage, among which abstracted birds are concealed — constructed from feather-like leaves, or leaf-like feathers, so that the boundary between creature and plant dissolves entirely. This is the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e principle at work: living beings are never depicted whole, in keeping with the Rifa'iyah Sufi teaching that a living creature must not be shown in full unless one can also grant it a soul.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eBorder panels are filled with \u003ci style=\"mso-bidi-font-style: normal;\"\u003ececek\u003c\/i\u003e (dots) and \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebiji kedawung\u003c\/i\u003e — the seeds of the kedawung tree (\u003ci style=\"mso-bidi-font-style: normal;\"\u003eParkia roxburghii\u003c\/i\u003e), long prized in traditional Javanese herbal medicine. Like other seed-based fill motifs in Rifa'iyah batik, \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebiji kedawung\u003c\/i\u003e carries connotations of health, abundance and the healing properties of the natural world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e (head section) is worked in the elaborate \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelaraan\u003c\/i\u003e design — stylised coconut palm fronds arranged within a geometric composition of intersecting \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e triangle forms. Coconut palms hold a prominent place in Javanese ceremonial life, their fronds woven into decoration for weddings and celebrations; the motif brings blessings, protection and the sweeping away of misfortune to the cloth and its wearer.\u003c\/span\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Mas Ulafah (Ibu Uul)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp style=\"margin-bottom: 5.0pt;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Uul has practised \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebatik tulis\u003c\/i\u003e since the age of twelve — beginning simply by watching others before taking hold of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ecanting\u003c\/i\u003e herself and never looking back. She learned from her great-aunt and other relatives, and has since mastered most forms of Rifa'iyah motif, including classic two-colour \u003ci style=\"mso-bidi-font-style: normal;\"\u003erelawati\u003c\/i\u003e combinations and the intensive three-stage \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e dye process.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Mas Ulafah","offers":[{"title":"Default Title","offer_id":53999994143019,"sku":"BPB002","price":3500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB066_Masulafah_Sarong_Kawung_Endog_SV.png?v=1782795867"},{"product_id":"ibu-mas-ulafah-sarong-kawung-endhog-copy","title":"IBU NASIATUN,  SARONG GEMBLONG SAIRIS","description":"\u003ch3\u003eIbu Nasiatun\u003cbr\u003eBorn 1970, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG GEMBLONG SAIRIS TIGA NEGERI DENGAN LANCURAN DAN SOROT PELARAAN (2024)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e212 × 115 cm\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003eIntricately ornamented with geometric precision, \u003ci\u003egemblong sairis\u003c\/i\u003e — meaning ‘sliced \u003ci\u003egemblong\u003c\/i\u003e’, a traditional Javanese sticky rice cake — is a geometric pattern composed of interlocking diamonds, each filled with a diverse array of intricate motifs.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003eInterlocking diamonds carry symbolic resonance within Islamic-inspired art, where they represent the interconnectedness of the cosmos and the divine harmony underlying all creation. \u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003eWithin the diamond lattice, a range of \u003ci\u003eisen-isen\u003c\/i\u003e (fill motifs) appear: \u003ci\u003epolong kedawung\u003c\/i\u003e — stylised depictions of \u003ci\u003eParkia timoriana\u003c\/i\u003e pods, whose antioxidant-rich seeds are valued in traditional Javanese medicine — alongside \u003ci\u003esasek\u003c\/i\u003e and \u003ci\u003eukelan\u003c\/i\u003e (organic, vine-like curls), and \u003ci\u003etutul kepyur\u003c\/i\u003e and \u003ci\u003etutul dengkeng\u003c\/i\u003e (scattered dots of differing weight and rhythm). Together these fills create rich textural complexity.\u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003eThe geometric ground is overlaid with abstracted \u003ci\u003eburung merak\u003c\/i\u003e (peacocks), their tail feathers rendered as curling foliage and delicate tendrils, alongside stylised flowers that suggest butterflies, beetles and other insects — lending a sense of graceful movement and natural life to the composition. This free-flowing foreground creates a dynamic contrast with the geometric discipline of the \u003ci\u003egemblong sairis\u003c\/i\u003e lattice, while maintaining harmony across the whole. All living creatures are rendered partially — a practice rooted in the Rifa’iyah Sufi belief that it is unwise to depict a whole living creature unless one is also able to grant it a soul.\u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003eThe \u003ci\u003ekepala\u003c\/i\u003e (feature panel), worn at the back in the manner of a men’s sarong, is decorated with the \u003ci\u003epelaraan\u003c\/i\u003e motif — a highly elaborate design of overlapping coconut palm fronds. In Javanese culture, these fronds are significant ritual objects, used in ceremonies such as weddings and blessings to invoke spiritual protection, ward off negative energy and call in good fortune. The border panels of the feature panel are lined with \u003ci\u003ekembang sirih\u003c\/i\u003e — stylised depictions of the betel vine flower spike, renowned for its medicinal and ceremonial significance. Along the outer borders, motifs of jasmine and orchids speak to the ephemeral beauty of tropical flora.\u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003eThis sarong is dyed in the prestigious \u003ci\u003etiga negeri\u003c\/i\u003e (three nations) process — named for the three Javanese centres that historically supplied its dye colours: red from Lasem on the north coast, blue from Pekalongan, and warm \u003ci\u003esogan\u003c\/i\u003e brown from Solo. To achieve this, Ibu Atun applied wax to both sides of the cloth across three separate dye baths — a process demanding exceptional patience, precision and spiritual composure. The sarong was completed over five months in 2024.\u003c\/span\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 9.0pt;\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif; color: #1a1a1a;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis work exhibited internationally in the 2026 exhibition, Batik Rifa'iyah: Be Immersed.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4\u003eIbu Nasiatun (Ibu Atun)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eBorn in Batang, Ibu Nasihatun — known to all as Ibu Atun — began making batik at the age of twelve, continuing a tradition passed down from her mother. She is renowned for her mastery across a wide range of designs, including the prestigious tiga negeri works for which she is particularly celebrated: tambal, gemblong sairis and kotak kitir, as well as a rich variety of relawati motifs. She favours bold, confident colour combinations that reflect her character — Ibu Atun is known for her wide smile which, like her batik, leaves a lasting impression on everyone she meets.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Nasiatun","offers":[{"title":"Default Title","offer_id":55440380395819,"sku":"BPB036","price":2700.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB036_Nasihatun_Sarong_Gemblong_Sairis_Tiga_Negeri_SV.png?v=1788742676"},{"product_id":"sarong-relawati-keong-2045-copy","title":"IBU WARNI, SARONG LANCURAN","description":"\u003ch3\u003eIbu Warni \u003cbr\u003eBorn 1950s, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG LANCURAN 2025\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e216 x 114cm\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis sarong is worked in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elancuran\u003c\/i\u003e style, in which the composition is structured and divided by the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elancur\u003c\/i\u003e, which are elongated, feathery forms that reference simultaneously the sweeping tail feathers of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ejantan\u003c\/i\u003e (the prized fighting rooster) and the long, blade-like strands of the pandan leaf (\u003ci style=\"mso-bidi-font-style: normal;\"\u003ePandanus amaryllifolius\u003c\/i\u003e).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe tail feathers of a \u003ci style=\"mso-bidi-font-style: normal;\"\u003ejantan\u003c\/i\u003e cock, highly sought-after in traditional Javanese culture, symbolise virility, vitality and boldness. The pandan leaf, by contrast, is one of the most fragrant and spiritually significant plants in Javanese life: its sweet, vanilla-like aroma is used to flavour food and to perfume ceremonial spaces, and the Javanese proverb \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekaya pandan wangi — sapa nyedhak, melu wangi\u003c\/i\u003e (like the fragrant pandan — whoever draws near, also becomes fragrant) invokes the plant as a symbol of good character that elevates all those around it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe sections created by the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elancur\u003c\/i\u003e divisions are each filled with fine \u003ci style=\"mso-bidi-font-style: normal;\"\u003eisen-isen\u003c\/i\u003e (fill motifs): inspired by \u003ci style=\"mso-bidi-font-style: normal;\"\u003epolong kedawung\u003c\/i\u003e — the distinctive pods of the medicinal \u003ci style=\"mso-bidi-font-style: normal;\"\u003eParkia timoriana\u003c\/i\u003e — alongside \u003ci style=\"mso-bidi-font-style: normal;\"\u003ececek\u003c\/i\u003e (evenly interspaced dots) and \u003ci style=\"mso-bidi-font-style: normal;\"\u003eukelan\u003c\/i\u003e (hook-like curling forms suggesting unfurling vines). Together these fills create a layered, textured ground.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe foreground is animated by bunches of \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebuah jamblang\u003c\/i\u003e — the Javanese plum (\u003ci style=\"mso-bidi-font-style: normal;\"\u003eSyzygium cumini\u003c\/i\u003e), also called Java plum or jambolan — arranged in creature-like clusters alongside flowers that resemble starfish and chains of leaves that trail like seaweed. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eBuah jamblang\u003c\/i\u003e is a plant of deep significance in the Javanese healing tradition: its fruit, leaves and bark have been depicted in the ancient temple reliefs of Java, including those at Prambanan and Penataran, as a plant known and used since at least the Majapahit Kingdom to concoct \u003ci style=\"mso-bidi-font-style: normal;\"\u003ejamu\u003c\/i\u003e. The deep purple-black fruit is considered a fruit of the gods in Hindu tradition. Combined with the dominant use of blue throughout the cloth, the aquatic, swaying quality of the foreground gives the batik a distinctly underwater feel, an evocation of the coastal world from which Rifa’iyah batik emerges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e (head panel) features \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e, upward-pointing triangles representing the sacred mountain peaks where earthly and spiritual realms meet, and the \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelaraan\u003c\/i\u003e or \u003ci style=\"mso-bidi-font-style: normal;\"\u003esemplak\u003c\/i\u003e motif, in which coconut fronds are arranged in different configurations to create arches and crowns. The \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelaraan\u003c\/i\u003e frond arrangements invoke the ceremonial coconut frond decorations of Javanese weddings and blessings as symbols of protection, prosperity and the sweeping away of misfortune. Multiple panels and borders throughout the cloth are detailed with flowers, fill motifs, vines and patterned chains.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis piece was created over five months and dyed in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e (three nations) tradition with morinda red from Lasem, \u003ci style=\"mso-bidi-font-style: normal;\"\u003esogan\u003c\/i\u003e brown from Solo and indigo blue from Pekalongan — each dye bath requiring the entire cloth to be covered in wax afresh, a process of extraordinary patience and devotion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis work exhibited internationally in the 2026 exhibition, Batik Rifa'iyah: Be Immersed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 2.0pt;\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Warni\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Warni learned to batik from her mother and grandmother, and was already completing her own pieces at the age of ten. She loves to create batik, beautiful batik, particularly the most demanding pieces in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e format: \u003ci style=\"mso-bidi-font-style: normal;\"\u003etambal\u003c\/i\u003e (patchwork style) and \u003ci style=\"mso-bidi-font-style: normal;\"\u003elancuran\u003c\/i\u003e among her greatest passions. Small but mighty, Ibu Warni is a mother of fourteen and grandmother of many, and a proud advocate of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebatik Rifa’iyah\u003c\/i\u003e tradition as one of its most experienced and celebrated living practitioners.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eI have been making batik since I was a child, and now I am old. Batik is my daily work.\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eI hope Batik Rifa’iyah can grow and become known not only within Indonesia, but hopefully in countries as well.\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Warni","offers":[{"title":"Default Title","offer_id":55440587587883,"sku":"BPB027","price":3100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB027_Ibu_Warni_Sarong_Lancuran_SV.png?v=1788745117"},{"product_id":"sarong-relawati-keong-2045-copy-1","title":"IBU TRIHANDAYANI MULYATI, SARONG RELAWATI BERAS WUTAH","description":"\u003ch3\u003eIbu Trihandayani Mulyati \u003cbr\u003eBorn 1985, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSARONG RELAWATI BERAS WUTAH 2025\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e216 × 114 cm\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003cstrong\u003eRendered in two colours in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eRelawati\u003c\/i\u003e style, the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e (body of the cloth) carries rich symbolism\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eAt its centre are two abstracted \u003ci style=\"mso-bidi-font-style: normal;\"\u003emanuk merak\u003c\/i\u003e, peacock-like figures constructed from foliage, plumage-like leaves and leggy branches. In Javanese and Chinese-influenced coastal batik, the peacock (\u003ci style=\"mso-bidi-font-style: normal;\"\u003emerak\u003c\/i\u003e) is the king of birds, associated with beauty, prosperity and good fortune. Depicted as a pair, the birds carry an additional meaning of coupledom and harmony. These abstracted creatures are woven into a larger bouquet composition, \u003ci style=\"mso-bidi-font-style: normal;\"\u003elumbungan\u003c\/i\u003e or \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekembangan,\u003c\/i\u003e in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e style that is the hallmark of Rifa’iyah batik. Elsewhere across the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e are small bird-like bouquets, tiny flowers and insect-like creatures constructed of leaves and petals — never quite complete, in keeping with the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e principle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe background fill is \u003ci style=\"mso-bidi-font-style: normal;\"\u003eberas wutah\u003c\/i\u003e — literally ‘spilled rice’ or ‘scattered grains’ — a fine motif of small grain-like forms scattered across the ground of the cloth. In Javanese ceremony, the scattering of uncooked rice grains is a ritual gesture invoking \u003ci style=\"mso-bidi-font-style: normal;\"\u003erezeki yang berlimpah\u003c\/i\u003e (abundant fortune and overflowing blessings) offered to newlyweds and at other auspicious occasions as a prayer for prosperity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e (head panel) features the \u003ci style=\"mso-bidi-font-style: normal;\"\u003egigi walang\u003c\/i\u003e border — the ‘grasshopper’s teeth’ motif, a serrated or saw-tooth pattern that is one of the most widely used protective borders in Javanese batik. Though the grasshopper is small and unassuming, its teeth can devastate entire crops; the motif thus carries the symbolism of surprising inner power and the Sufi virtue of \u003ci style=\"mso-bidi-font-style: normal;\"\u003etawadhu’\u003c\/i\u003e (humility), the understanding that true strength is often found in the quiet and the overlooked. In Rifa’iyah batik practice, \u003ci style=\"mso-bidi-font-style: normal;\"\u003egigi walang\u003c\/i\u003e is more commonly associated with the \u003ci style=\"mso-bidi-font-style: normal;\"\u003emateros\u003c\/i\u003e style, so its appearance here in a \u003ci style=\"mso-bidi-font-style: normal;\"\u003eRelawati\u003c\/i\u003e piece is a creative departure from convention.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe \u003ci style=\"mso-bidi-font-style: normal;\"\u003egigi walang\u003c\/i\u003e triangular forms are filled with \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelaraan\u003c\/i\u003e — the coconut palm frond motif, used as ceremonial decoration at Javanese weddings and blessings to invoke protection and sweep away misfortune. It is accompanied by \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekembang mlinjo\u003c\/i\u003e or \u003ci style=\"mso-bidi-font-style: normal;\"\u003euceng\u003c\/i\u003e — the flower clusters of the melinjo tree (\u003ci style=\"mso-bidi-font-style: normal;\"\u003eGnetum gnemon\u003c\/i\u003e), a tree central to Javanese ceremonial food culture whose distinctive blossoms carry associations with abundance and communal celebration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eBordering the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e panel are \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekembang mangga\u003c\/i\u003e (mango flowers), associated in Javanese tradition with abundance, auspiciousness and the sweetness of good fortune, alongside \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekembang sirih\u003c\/i\u003e, the flowers of the betel vine, renowned for their medicinal and ceremonial significance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe entire cloth is bordered with \u003ci style=\"mso-bidi-font-style: normal;\"\u003eboh gunungan\u003c\/i\u003e — a mountain-profile border derived from the \u003ci style=\"mso-bidi-font-style: normal;\"\u003egunungan\u003c\/i\u003e of Javanese shadow puppetry (\u003ci style=\"mso-bidi-font-style: normal;\"\u003ewayang kulit\u003c\/i\u003e). The \u003ci style=\"mso-bidi-font-style: normal;\"\u003egunungan\u003c\/i\u003e is the ornate, pointed form that the puppet master raises to open and close every \u003ci style=\"mso-bidi-font-style: normal;\"\u003ewayang\u003c\/i\u003e performance — a representation of the universe, the tree of life, and the axis connecting the earthly and spiritual realms. Its tapering, upward-pointing form represents the aspiration of all life toward God.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis work exhibited internationally in the 2026 exhibition, Batik Rifa'iyah: Be Immersed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 2.0pt;\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Trihandayani Mulyati (Ibu Yati)\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eGrowing up in Magelang, Ibu Mulyati, known by friends as Ibu Yati, learned \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebatik tulis\u003c\/i\u003e in the Solo style while still in primary school, and later became familiar with Rifa’iyah motifs after moving to Batang and marrying into a Rifa’iyah family. She loves to innovate with every piece through unusual colour combinations, unexpected fills or novel motif pairings. Her works carry stories and intentions for the wearer: hopes and prayers that they may lead a happy, if modest, life, and share whatever joys they are given with those around them.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Mulyati","offers":[{"title":"Default Title","offer_id":55440724754731,"sku":"BPB041","price":2200.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB041_Ibu_Mulyati_Sarong_Relawati_Beras_Wutah_SV.png?v=1788746627"},{"product_id":"sarong-relawati-keong-copy-4","title":"IBU NANDIROH, SELENDANG DLORONGAN","description":"\u003ch3\u003eIbu Nandiroh\u003cbr\u003eBorn 1967, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSELENDANG DLORONGAN TIGA NEGERI (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e234 x 50cm\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eWorn not only as fashion but also to carry goods and cradle babies, the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e shoulder cloth occupies a unique place in Javanese domestic and ceremonial life.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eMade in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etiga negeri\u003c\/i\u003e (three nations) colourway, the wax motifs were applied to the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e three times over, once for each dye bath, a process of extraordinary patience and technical precision. Traditionally the colours were each sourced from a different centre of Javanese batik production: red from Lasem, blue from Pekalongan, and brown from Solo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe cloth is in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003edlorong\u003c\/i\u003e style, a Rifa’iyah motif characterised by thick diagonal running bands, each filled with a different repeating botanical or geometric element.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe foreground is animated by abstracted birds interwoven with flowers and foliage. Three peacock-like figures rise upward from young plants — their bodies, wings and plumage constructed from leaves inspired by different plant species, in keeping with the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e principle. Abstracted butterfly and insect-like forms drift as petals and leaves between the floral arrangements, speaking to the interconnectedness of all living forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eEach band of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003edlorongan\u003c\/i\u003e is filled with fine botanical \u003ci style=\"mso-bidi-font-style: normal;\"\u003eisen-isen\u003c\/i\u003e (fill motifs) including a design inspired by \u003ci style=\"mso-bidi-font-style: normal;\"\u003epolong kedawung\u003c\/i\u003e, the distinctive elongated pods of \u003ci style=\"mso-bidi-font-style: normal;\"\u003eParkia timoriana\u003c\/i\u003e, whose antioxidant-rich seeds are valued in traditional Javanese medicine, alongside \u003ci style=\"mso-bidi-font-style: normal;\"\u003eukelan\u003c\/i\u003e (hook-like curling forms) and \u003ci style=\"mso-bidi-font-style: normal;\"\u003esisik\u003c\/i\u003e (overlapping fish scales), the latter evoking the coastal world of Java’s north shore from which Rifa’iyah batik emerges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe ends of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e — the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e or head sections — feature \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e and \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelaraan\u003c\/i\u003e motifs. The \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e, a row of upward-pointing triangles, symbolises creation, cosmic order and the sacred mountain peaks where earthly and spiritual realms converge; they are a prayer that the cloth and its wearer will always be moving upward, toward the light. The \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelaraan\u003c\/i\u003e fill motif (sweeping coconut palm fronds) invokes the ceremonial fronds used at Javanese weddings and blessings, carrying associations of protection, prosperity and the sweeping away of misfortune.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe vertical side panels are bordered with a delicate chain of \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekembang sirih\u003c\/i\u003e, the slender flower spikes of the betel vine. Along the horizontal edges, blooming vines build layers of botanical protection that encircle the entire cloth and, by extension, its wearer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 2.0pt;\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Nandiroh\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eBorn and raised in Batang, Ibu Nandiroh learned to batik at the age of twelve from her mother, as a tradition passed down through the generations as living, intergenerational practice. She has gone on to become one of the few remaining dye-masters in the village, undertaking dyeing work for many other batik producers using a body of technical knowledge that is increasingly scarce. In her own batik she often employs bold, striking combinations — red and black, red and blue — and while she can produce a wide variety of motifs, she prefers the freedom and fluidity of more feminine \u003ci style=\"mso-bidi-font-style: normal;\"\u003eRelawati\u003c\/i\u003e designs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eI have been making batik since I was a child. I hope Batik Rifaiyah continues to thrive and always maintains its high quality.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Nandiroh, Batang, June 2026\u003cbr clear=\"all\" style=\"mso-special-character: line-break; page-break-before: always;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Nandiroh","offers":[{"title":"Default Title","offer_id":55514516324651,"sku":"BPB024","price":700.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB024_Selendang_Glorongan_Shopify.png?v=1789011986"},{"product_id":"ibu-nandiroh-selendang-dlorongan-copy","title":"IBU MULYATI, SELENDANG PARANG RELAWATI","description":"\u003ch3\u003eIbu Trihandayani Mulyati\u003cbr\u003eBorn 1963, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eSELENDANG PARANG RELAWATI (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e230 x 54 cm\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003cstrong\u003eThis \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e is a synthesis of two distinct Javanese batik traditions, the Rifa’iyah style of Batang’s north coast and the classical inland style of Solo.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis unique combination reflects the artistic background of its maker as Ibu Yati was born in the inland region of Magelang and moved to Batang, on the north coast of Java, as an adolescent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe cloth is composed of diagonal alternating sections of two contrasting designs. The first is a stylised \u003ci style=\"mso-bidi-font-style: normal;\"\u003eparang rusak\u003c\/i\u003e, literally ‘broken \u003ci style=\"mso-bidi-font-style: normal;\"\u003eparang\u003c\/i\u003e’ or ‘broken knife’ — one of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elarangan\u003c\/i\u003e (forbidden) motifs of the royal courts of Yogyakarta and Surakarta, historically reserved for the royal family and believed to carry symbolic power, wisdom and cosmic energy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eHere, however, the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eparang rusak\u003c\/i\u003e takes on a distinctly Rifa’iyah character. The bands are rendered as fish-like tails, with leaves replacing the circular elements of the classical composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe alternating diagonal sections are worked in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eRelawati\u003c\/i\u003e style with animated floral bouquet compositions characteristic of Rifa’iyah batik. These wild arrangements of leaves and flowers create a vivid contrast with the geometric \u003ci style=\"mso-bidi-font-style: normal;\"\u003eparang rusak\u003c\/i\u003e, a more stylised and contained motif.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe ends of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e (the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e or head sections) feature \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e filled with \u003ci style=\"mso-bidi-font-style: normal;\"\u003esasek\u003c\/i\u003e (fern-like curling forms) and flowers. The \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e — triangular forms symbolising creation, the cosmic mountain and the aspiration of all life toward the divine — are accompanied by star-like configurations along the outer lengths of the cloth, suggesting the celestial realm beyond the earthly horizon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThe body of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e is bordered by stylised \u003ci style=\"mso-bidi-font-style: normal;\"\u003eudang samaran\u003c\/i\u003e — abstracted shrimp rendered as curving, undulating forms in keeping with the Rifa’iyah \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e principle — and \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebunga mlinjo\u003c\/i\u003e (also known as \u003ci style=\"mso-bidi-font-style: normal;\"\u003euceng\u003c\/i\u003e), the delicate flower clusters of the melinjo tree (\u003ci style=\"mso-bidi-font-style: normal;\"\u003eGnetum gnemon\u003c\/i\u003e), a tree central to both Javanese ceremonial food and everyday snacks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eThis artwork exhibited internationally at the Batik Rifa'iyah: Be Immersed exhibition as part of Darwin Festival 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 2.0pt;\"\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Trihandayani Mulyati (Ibu Yati)\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Akzidenz Grotesk BE',sans-serif;\"\u003eIbu Trihandayani Mulyati, known to friends as Ibu Yati, grew up in Magelang, where she learned \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebatik tulis\u003c\/i\u003e in the Solo style while still in primary school. After moving to Batang and marrying into a Rifa’iyah family, she became deeply familiar with the coastal tradition, and it is the creative tension between these two worlds that animates much of her work. This \u003ci style=\"mso-bidi-font-style: normal;\"\u003eselendang\u003c\/i\u003e, drawing together the royal \u003ci style=\"mso-bidi-font-style: normal;\"\u003eparang rusak\u003c\/i\u003e of the Javanese courts and the free-flowing \u003ci style=\"mso-bidi-font-style: normal;\"\u003eRelawati\u003c\/i\u003e of the coast, is a perfect expression of that fusion.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ibu Mulyati","offers":[{"title":"Default Title","offer_id":55536454009131,"sku":"BPB042","price":1000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB042IbuYatiSelendangRelawatiSV-Copy.png?v=1789106133"}],"url":"https:\/\/sahulandsunda.com\/collections\/batik-rafaiyah.oembed?page=2","provider":"Sahul \u0026 Sunda","version":"1.0","type":"link"}