TEROB VOLUME 16 NOMOR 2 APRIL 2026
The Development of Ringkel Batik Motifs In Banyuates.
Sampang Regency Yekti Herlina (Sekolah Tinggi Kesenian Wilwatikta Surabaya/ Indonesia/ yektiherlina@gmail.
Muhammad Arifin (Sekolah Tinggi Kesenian Wilwatikta Surabaya/ Indonesia/ alondo2503@gmail.
ABSTRACT
DOI: https://doi.
org/10.
20111/terob.
The Ringkel batik motif of Banyuates possesses distinctive *Correspondensi: Yekti Herlina1, characteristics in its production process.
In addition to being manually drawn using a canting, it is also combined 1Email: / yektiherlina@gmail.
with jumputan .
ie-dy.
and ringkel techniques.
The 2 Email :
process involves binding sections of the fabric before dyeing, resulting in specific patterns.
Furthermore, the Received:07-04-2026 Ringkel technique is executed through stitching .
Accepted:14-04-2026 according to particular patterns, which are then integrated Published:15-04-2026 with hand-drawn batik.
This study aims to identify the various developments of Ringkel batik motifs in Banyuates and to examine the process of creating these motifs in Banyuates.
Sampang.
Madura.
The findings of this research are expected to be beneficial for local government Terob Journal is licensed under a Creative authorities in recognizing and documenting the names of International License Commons Attribution-ShareAlike 0 the developed batik motifs, as well as for batik artisans Copyright: A 2026 by the authors.
This research employs qualitative methods, including observation, interviews, and documentation.
These methods are utilized to explore and identify the range of Ringkel batik motifs that have been developed in Banyuates.
Sampang.
Madura.
The objective of this study is to provide contributions in the form of inspiration and innovation, particularly in fostering creative and critical thinking related to the development of Ringkel batik motifs in Banyuates.
Sampang.
Madura.
Ultimately, these efforts are expected to enhance the aesthetic appeal and economic value of Ringkel batik, making it increasingly attractive and commercially valuable.
Keywords: Motifs.
Batik.
Ringkel.
Banyuates TEROB VOLUME 16 NOMOR 2 APRIL 2026 jumputan .
ie-dy.
, ringkel, songket, and INTRODUCTION Batik in Indonesia was initially recognized as a form of handicraft woven textiles, resulting in increasingly varied and attractive products.
among Javanese communities.
It has Banyuates is a subdistrict within long functioned as a daily livelihood for Sampang Regency, located in East Java residents in many rural areas of East Province.
Indonesia.
It is situated on Java, while also serving as a source of Madura income for certain urban populations.
kilometers north of the regency capital.
Various natural materials from the Sampang.
The administrative center of surrounding environment are processed Banyuates is located in Banyuates through creative ingenuity into forms Village.
Geographically, it is bordered that are not only aesthetically valuable by the Java Sea to the north.
Ketapang but also functionally supportive of Subdistrict to the east.
Tambelangan, everyday household needs.
Robatal, and Kedungdung Subdistricts Batik art represents one of IndonesiaAos Island, to the south, and Bangkalan Subdistrict to the west.
expressions that has existed, evolved.
The batik industry in Banyuates, and been sustained over centuries, particularly hand-drawn batik .
atik tuli.
, constitutes a significant sub-sector historical legacy of the nationAos cultural within the creative economy, as it is The designation of batik as a deeply rooted in local wisdom and traditional textile reflects its status as a cultural heritage.
Beyond its cultural hereditary craft rich in cultural values.
value, batik productionAiespecially at The development of batik has AuNafa BatikAyAiplays an important socio- accelerated significantly following its economic role by employing local labor.
recognition by UNESCO on October 2.
Approximately 50 community members 2009, as an Intangible Cultural Heritage are involved in the production process, of Humanity.
Since then, various including 10 batik artisans, 20 colorists, regions across Indonesia have actively 8 workers responsible for sewing and competed to innovate and diversify thread removal, and 12 individuals engaged in drying the fabrics.
such as These Banyuates batik is particularly notable for its ringkel motifs, which TEROB VOLUME 16 NOMOR 2 APRIL 2026 demonstrate unique characteristics in RESULTS AND DISCUSSIONS their production process.
In addition to Definition of Batik being manually drawn using a canting, cultural heritage of Indonesia that has jumputan techniques, involving the developed over a long historical period binding of fabric prior to dyeing to produce specific patterns.
The ringkel It refers not only to a method of textile production but also to .
according to predetermined the resulting fabric itself.
On the one patterns, which are then integrated with hand, batik denotes a dyeing technique hand-drawn batik techniques.
that utilizes wax .
to resist dye Batik constitutes a distinctive The emphasis on creativity and penetration in certain areas of the cloth, commonly known as wax-resist dyeing.
processes in Banyuates batik reflects a On the other hand, it refers to the fabric strategic effort by artisans to enhance or garment produced through this market value of their products.
One specific and distinctive motifs (Prasetyo, notable innovation is the integration of the Trunojoyo batik motif with the From unique ringkel process, which has been terminological perspectives, the term adopted as an official uniform for civil batik is derived from the words mbat and servants (ASN) in Sampang Regency In the Javanese language, mbat and produced collaboratively by small means to throw or apply repeatedly, and medium batik enterprises (SME.
while tik refers to a dot or point.
Thus, across the region.
membatik can be understood as the process of repeatedly applying dots onto
METHODOLOGY
This research uses a creation mechanism, where the method is carried out procedurally to create a work fabric, which eventually accumulate to form lines and patterns (Musman & Arini, 2.
Based on the explanations above, it can be concluded that batik is the application of decorative patterns or ornaments onto fabrics such as mori.
TEROB VOLUME 16 NOMOR 2 APRIL 2026 silk, cotton, teteron, and others.
These several distinctive features.
First, it patterns are drawn or written using a possesses a unique wax aroma .
, tool known as a canting, which as the wax mixture is often blended with dispenses liquid wax .
that This combination neutralizes the functions as a dye resist during the strong carbon scent typically associated fabric dyeing process (Herlina, 2.
with wax and produces a distinctive The inclusion of batik in the Second, the color application Representative List Intangible is notably bold and, at times, conveys a Cultural Heritage by UNESCO is sense of intensity and mysticism.
attributed to its fulfillment of several Madurese batik is generally dominated criteria, including its richness in by strong colors such as red, yellow, and symbolic meanings reflecting the life of green, which reflect cultural values Indonesian society and its significant linked to the legacy of the Majapahit contribution to the preservation of Kingdom.
Among these, the use of red intangible cultural heritage for both and black is particularly prominent, present and future generations (Surya, symbolizing the bold and resilient character often associated with the Batik is widely recognized as a Madurese people.
Definition of Motif various regions in Indonesia, each According to Diksi Rupa, a motif possessing remarkable characteristics.
is defined as a pattern, design, variation.
One prominent example is Madurese or element that differentiates one Among the well-known types are artwork from another (Susanto, 2.
Batik Tanjung Bumi from Bangkalan, the context of batik, a motif constitutes Batik Banyuates from Sampang, and the fundamental framework that shapes Batik Banyumas from Pamekasan.
the overall composition of the textile.
These batik traditions are particularly represents a structured arrangement distinguished by their diverse motifs, resulting from the integration of lines, which are believed to number in the forms, and isen .
illing pattern.
, which hundreds, ranging from original designs to various combinations.
expression of batik.
The high aesthetic value of Madurese batik can be attributed to The creation of batik motifs TEROB VOLUME 16 NOMOR 2 APRIL 2026 Newly coloring process in batik production motifs are expected to demonstrate relied on natural dyes distinctive qualities that set them apart Creation Motif from pre-existing designs.
In Madurese A motif, in this context, refers to batik, motifs commonly depict birds, the driving force within an individual to flowers, plants, and narratives derived undertake certain activities in order to from local traditions.
Similar to visual achieve specific goals.
Meanwhile, a storytelling, these motifs may convey creation motif denotes a particular sequential narratives.
For instance, activity carried out in the process of certain motifs illustrate the story of a producing a work as intended by the usuA awaiting her husband, while others Batik from various regions represent themes such as Panji Suci exhibits diverse motifs, each reflecting .
eligious propagatio.
, nyiur melambai its own characteristics.
This is also .
waying coconut tree.
, and tar poteh, evident in the batik tulis motifs of characterized by a dominant white Banyuates.
Sampang.
Madura, which background symbolizing purity.
differ significantly from those found in In Batik Tulis Trunojoyo, bold regions such as Yogyakarta.
Solo, and striking colors are expressed Mojokerto.
Tulungagung.
Trenggalek, through motifs such as spearheads.
Sidoarjo, and Banyuwangi.
leaves, flowers, animals, and geometric Animal motifs frequently found in Madurese batik include fish .
ukok or iwa.
, shrimp, marine life, birds, and These colors and motifs are often associated with the character of the Madurese people, who are perceived Another distinctive feature of Madurese batik is the abundance of lines within a single design.
Each motif typically embodies its own narrative, often reflecting the daily life of the Form of Creation Form manifestation or appearance of an object (Kamus Besar Bahasa Indonesia, 1.
Accordingly, the form of creation can be understood as the tangible outcome of a creative process that can be presented or In this regard, design is composition of lines, shapes, colors, and figures that are organized in such a way as to embody aesthetic values (Hery Suhersono.
Embroidery Design Madurese community.
Initially, the TEROB VOLUME 16 NOMOR 2 APRIL 2026 Faunal Motifs, p.
The four forms unconventional shapes, or forms that are namely:
do not resemble any existing natural .
Natural Forms or man-made objects.
In other words.
This type of design is strongly abstract design refers to forms that are influenced by natural objects or non-representational and not directly forms derived from nature.
Its visual associated with tangible reality.
Several real-life objects such as leaves.
Banyuates incorporate forms such as fruits, flowers, plants, stones, wood, shells, fish, shrimp, squid, and plants, skin, clouds, rainbows, stars, the reflecting creativity rooted in local moon, the sun, as well as various designs remain relatively simple in their execution.
Decorative Forms Definition of Batik Ringkel This design form originates from Ringkel batik is a fabric dyeing natural elements that are transformed technique that combines traditional hand-drawn .
atik tuli.
or stamped through stylization.
These forms are batik with the ringkel technique.
The creatively modified into imaginative patterns, often supported by diverse coloring fabric by sewing or pinching variations and harmonious color .
it to create wrinkles or folds arrangements that enhance their that resist dye absorption.
This process aesthetic appeal.
produces distinctive abstract patterns in .
Geometric Forms the background, while the main motifs This type of design is based on are still applied using a canting.
As a result, ringkel batik can be categorized rectangles, circles, ovals, squares, as a type of batik with a relatively exclusive visual appearance.
nd polygon.
, cones, parallelograms.
From an etymological perspective, cylinders, and various types of lines.
the term ringkel is derived from the .
Abstract Forms Abstract Javanese word kringkelan, meaning wrinkled or crumpled fabric.
This refers to the physical texture of the cloth.
TEROB VOLUME 16 NOMOR 2 APRIL 2026 which develops a wrinkled surface after Innovation: This technique is being stitched using the smocking regarded as a form of development technique and tied in a manner similar and innovation within the field of to jumputan .
ie-dy.
textile craftsmanship.
Historically, ringkel batik was first developed in Sampang Regency.
Production Process The production process of East Java, before spreading to other ringkel batik generally involves the regions, including South Sulawesi and following stages:
the Special Region of Yogyakarta.
The Motif Sketching: The primary Balai Besar Kerajinan dan Batik under batik motif is first drawn onto the the Ministry of Industry has also played fabric using a pencil as a a significant role in the development and dissemination of this technique.
Ringkel Stitching: The fabric is Main Characteristics smocking technique to create Technique Combination: This method integrates two distinct techniques, namely batik .
anddrawing or stamping using wa.
and ringkel .
titching or pinching to create gathered or wrinkled Unique folds or wrinkles in the areas intended to produce the ringkel Wax Application (Waxin.
After the stitching process, the main motifs are covered with hot wax .
, similar to the Background:
The background or base surface of the fabric exhibits unusual blurred or wrinkled color effects, creating a distinctive and visually appealing Modern Motifs: This technique enables the creation of new motifs that cannot be achieved through conventional batik methods.
conventional batik process.
Dyeing: The fabric is immersed in a dye solution.
The stitched and wrinkled sections resist the distinctive and irregular color Removal of Stitches and Wax:
Once the dyeing process is removed, and the fabric is boiled TEROB VOLUME 16 NOMOR 2 APRIL 2026 to eliminate the wax.
Trace or transfer the smock and Drying: Finally, the fabric is jumputan pattern lines from the dried and sun-dried until it is paper onto the fabric using an EB ready for use.
Function of Smock Pattern Lines Facilitating the Process:
Especially Smock Pattern Lines organize the points to be stitched in a neat and systematic manner.
Achieving Symmetry:
Pattern lines ensure that the smocked gathers are formed with consistent size and placement, resulting in a symmetrical and visually appealing appearance.
Canadian Smock Following Fabric Motifs:
existing designs, such as checks or dots, thereby eliminating the need to create entirely new Design Planning Create smock and jumputan patterns on paper, then transfer Canadian Smock these patterns onto plain fabric according to the intended design.
Draw a grid pattern measuring 2 cm y 2 cm on the pattern paper.
Develop the smock and jumputan pattern lines on the gridded paper.
Transfer the design pattern.
TEROB VOLUME 16 NOMOR 2 APRIL 2026
The group produces a variety of batik *Nafa Batik* of Banyuates began to gain wider public recognition around 2010, a development that cannot be separated from the role of the government in providing guidance.
Sampang Regency.
Abstract Smock Quality improvement is essential, as it plays a significant role in developing and empowering the batik tulis industry in Banyuates, enabling it to become a distinctive and competitive leading If the artisan group is able to increase its sales, it will consequently improve the income of both batik artisans and the broader Banyuates Abstract Smock Batik-making is a complex and Following the conducted research on the development of Ringkel batik Regency.
Banyuates, concentration, making it physically and DISCUSION Sampang presented as follows:
mentally demanding.
As a result, many fishermen, migrant workers abroad, or laborers and service workers in other Ringkel Batik Motifs of Banyuates.
Nevertheless.
Sampang Regency Banyuates.
Nafa Batik The Banyuates Hand-Drawn Batik artisans, plays a crucial role in sustaining Artisans Group was established in 2000, the local industry, reducing urban under the leadership of Mrs.
Umsyiah.
migration, and serving as an economic TEROB VOLUME 16 NOMOR 2 APRIL 2026 attraction for the younger generation.
The motifs of Banyuates hand-drawn batik, which include representations of the natural beauty of BanyuatesAisuch as plants, flowers, and animals like butterflies, birds, and fishAireflect a form of local wisdom that has long existed within the community.
These motifs have evolved into a cultural generations and contribute to the Figure 3.
Trunojoyo Batik Motif in Blue Color advancement and identity of the region.
Figure 1 Nafa Batik Banyuates Figure 4.
Details of the Trunojoyo Batik Motif The Government Sampang Regency possesses a distinctive batik identity that is deeply rooted in historical Currently, this batik design has Figure 2.
Location of the Monter Hand been adopted as official attire for civil Drawn Batik Center (Nafa Bati.
It is widely known as the Trunojoyo batik.
The designs developed by Sampang artisans are TEROB VOLUME 16 NOMOR 2 APRIL 2026 environment surrounding the craftsmen.
Elements closely associated with the historical identity of the coastal city are also incorporated into the designs.
The naming of Trunojoyo batik is closely related to the motifs composed by the artisans.
There are four main significance and are represented in the design: the spear, pandan leaf weaving, moringa leaves, and guava leaves.
The Figure 5.
Ringkel Trunojoyo Batik Motif (Gree.
presence of moringa leaves alongside the spear is associated with a particular historical narrative.
It is said that when Raden Trunojoyo traveled to the northern regions, the handle of his spear As a substitute, the noble figureAialso known as Panembahan MaduretnoAiused moringa leaves.
At the lower part of the spear motif, pandan weaving is depicted.
This element serves as a distinguishing Figure 6 Ringkel Trunojoyo Batik Motif feature between batik originating from (Maroon Re.
Madura and those from other regions, as Madurese In Sampang, the central part of the characterized by the inclusion of pandan Trunojoyo weaving motifs relatively broad leaf element.
This leaf represents the distinctive local fruit of the region, namely the water guava, which is commonly cultivated by the people of Sampang.
According to Amina, some artisans modify or replace certain elements within the Trunojoyo
TEROB VOLUME 16 NOMOR 2 APRIL 2026
batik motif.
These substitutions are Sampang Regency.
characteristics of their respective areas.
For instance, in urban areas, artisans may incorporate leaves as a variation.
However, the main motif of Trunojoyo batik remains unchanged.
artisans only introduce additional combinations in accordance with the local potential of their regions.
Figure 7.
Bird.
Root, and Floral Motifs Artisans in Sampang continuously explore and develop distinctive batik regionAos historical identity.
The Government of Sampang Regency promotes batik as an official attire, reinforcing its cultural The designs created by adapting to the natural and cultural Figure 8.
Ringkel Batik Motif of Jukok (Fis.
Elements associated with Artisans often add or replace certain the maritime heritage are frequently elements within the Trunojoyo batik incorporated into the motifs.
These substitutions typically The designation of Trunojoyo batik reflect the distinctive characteristics of is closely related to the symbolic their respective regions.
For example, in elements composed by artisans.
Four sometimes used as a replacement However, the principal motif of represented in the design: the spear.
Trunojoyo batik remains unchanged.
pandan leaf weaving, moringa leaves, artisans merely introduce variations by and water guava leaves.
These elements collectively embody correspond to the local potential of their narrative and cultural identity of One of the emerging motifs is TEROB VOLUME 16 NOMOR 2 APRIL 2026 associated with Labang Rato Ebu.
CONCLUSION which, according to historical accounts.
The forms of Ringkel batik motifs in is closely linked to the legacy of the Banyuates are inspired by local wisdom Mataram Kingdom during its presence derived from the natural environment, in Sampang.
including plants, fruits, surrounding Beyond serving as identity, batik also functions as a Accordingly, the stylization process philosophy, and traditions that are adaptations in order to evoke visual transmitted across generations.
One prominent example is Batik Tulis Sampang, a distinctive art form from vegetation, roots, and fruits.
This Madura, characterized by the use of approach aims to represent and preserve natural dyes and meticulous traditional the local cultural identity embedded within the motifs.
The Ringkel batik motifs incorporate fundamental visual elements such as dots, lines, planes, and spatial composition.
The Government Sampang Regency possesses a distinctive batik historical values.
At present, the Ringkel Figure 9.
Ringkel Motif of Jukok Layar Trunojoyo batik motif has been adopted This developed in various forms by local artisans, adapting to the potential and Elements reflecting the maritime heritage are also integrated into the design.
The naming of Trunojoyo batik is inseparable from the motifs Figure 10.
Ringkel Motif of Jukok Jejer
created by artisans, which include four
TEROB VOLUME 16 NOMOR 2 APRIL 2026
historically significant elements: the spear, pandan leaf weaving, moringa leaves, and water guava leaves.
Furthermore, the development of Ringkel batik motifs in Banyuates Improvements craftsmanshipAi particularly in terms of detail and neatnessAiare necessary to enhance the overall quality and increase the market value of the products.
In addition, the application of color should be further innovated to strengthen the distinctive Ringkel Banyuates.
TEROB VOLUME 16 NOMOR 2 APRIL 2026
REFERENCES