THE AESTHETIC ELEMENTS IDENTITY OF PERANAKAN CHINESE BATIK 'OEY SOE TJOEN' (THE FIRST GENERATION

• Main Author: Rachel Budianto, Erica
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/40277
• Institution: Institut Teknologi Bandung

Chinese people had come to Southeast Asia since the beginning of Common Era. In 1850-1950, the rate of migration from Mainland China to Southeast Asian increased drastically, including in Indonesia. The majority of China immigrants were men. Since they could not bring their spouse overseas, they married the local women in Indonesia. The inter-ethnic marriage resulted in the Peranakan Chinese community, which had different culture from the original Chinese culture. On the other hand, batik had been an Indonesian tradition in textile field since the 13th century. The policy of Dutch colonialist increased the cotton production in Indonesia, which also had impact on the emerging batik industry in the north coast of Java, including Kedungwuni, which was located near Pekalongan. Based on the making technique, the Oey Soe Tjoen batik tulis was often considered the best Peranakan Chinese batik. Since 1925 until now, Oey Soe Tjoen batik tulis had still survived for three generations. In this research, the qualitative research methodology was used along with the aesthetic morphology analysis approaches. The aesthetic elements which were analysed are pattern, motif, isen-isen (filler motif), background and colour. The research focused on the first generation of Oey Soe Tjoen buketan batik. Moreover, this research can be an information source for society about the aesthetic elements of Peranakan Chinese batik 'Oey Soe Tjoen', and also encouraged the society to appreciate cultural diversity and the role of acculturation in the development of Indonesia’s art and textiles.