Aesthetic Values of Cocohan or Coblosan Motifs

on Tuban Gedhog Handmade Batik

Bramantijo

, M. Junaidi Hidayat

and Mufi Mubaroh

Sekolah Tinggi Kesenian Wilwatikta Surabaya, Jawa Timur, Indonesia

Institut Teknologi Adhi Tama Surabaya, Jawa Timur, Indonesia

Keywords: Gedhog handmade batik, Cocohan or Coblosan. Kerek.

Abstract: This paper discusses about the relationship between the cosmological view of society and aesthetic values of

“Cocohan or Coblosan” motif on TubanGedhog handmade batik. “Cocohan or Coblosan” motif is one of the

typical characteristics of traditional handmade batik that is different from the other handmade batiks in

Indonesia. The produced colorful dots on the background of Gedhog handmade batik cloth from coloring

process by means of punching the waxed cloth on Gedhog handmade batik motif is related to the cosmological

view of society in Kerek district, Tuban regency. This study uses ethnography method in order to know the

cosmological view of society and visual morphology method in order to reveal the aesthetic values on Gedhog

handmade batik through visual elements in the form of motif and motif background. The finding of this study

can explain that Cocohan or Coblosan motif on Gedhog handmade batik is only found in motifs having plant

stilation element not in geometric ones. The aesthetic values on Gedhog handmade batik with “Cocohan or

Coblosan” background have meaning related to the cosmological concept of human being life cycle from

birth to death or to the end of life.

1 INTRODUCTION

Gedhog handmade Batik is made traditionally on

Gedhog woven cloth, a woven cloth made by women

of Kerek area, Tuban Regency, starting from ngantih

(spinning cotton) into lawe (thread) then stringing

thread using traditional loom into rough textured

woven cloth. The produced Gedhog woven cloth will

be motif or plain. A motif woven is made with pattern

that may guide the Pembatik (maker of batik) to

arrange batik motif consisting of cecekan (dots) using

geometric composition to compose Satriyan,

KijingMiring, Cuken, or Krompol motifs. Such

woven motif can be vertical and horizontal pinstripe

or the meeting of both lines to be KedeleKecer,

JanganMenir, Tutul Bang motifs or parallel lines in

the form of Galaran, UlerGaling motifs and other

various motifs.

Plain Gedhog woven or without motif is used by

Pembatik to make various typical motifs of Gedhog

batik having geometric pattern or flora and fauna

motif. Generally, Gedhog handmade uses the

background (basic color) of putihan (whitish pattern),

biruan (bluish pattern), laseman (yellowish brown

pattern), bang biron (red and blue patterns), bang

tegeran (red pattern) or irengan(blackish pattern)

(Djumena, 2005: 5). On putihan, biron, laseman, bang

biron, bang tegeran patterns with flora and fauna

motif we can find Cocohan or Coblosan motif

(colored fine dots), while irengan pattern is usually

used for geometric motif. This Cocohan or Coblosan

is one of the differentiators of varuious motifs of batik

from other regions.

The process of making batik using Cocohan or

Coblosan technique is relatively complicated than the

other general techniques of making Batik. The proses

of mencocoh or mencoblos (punching) is the

technique of making batik by punching the covered

batik cloth (a cloth covered by lilin batik/ wax) using

thorn or needle on the whole surface of cloth in order

to allow the color entered into punched cloth at the

time of coloring process. The colored dots from

Cocohan or Coblosan (punching) which is integrated

with ren-renan (sharp pointed leave or thorny) motif

and Hong bird, Sri Gunting bird, Empritbird motif or

stilation of other flora and fauna add the exotism on

Gedhog handmade batik).

Be advised that papers in a technically unsuitable

form will be returned for retyping. After returned the

manuscript must be appropriately modified.

330

Bramantijo, ., Hidayat, M. and Mubaroh, M.

Aesthetic Values of Cocohan or Coblosan Motifs on Tuban Gedhog Handmade Batik.

DOI: 10.5220/0008764303300335

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 330-335

ISBN: 978-989-758-450-3

Figure 1: The process of punching (mencocoh or

mencoblos) and Gedhog batik with Cocohan or Coblosan

of bangrod pattern (Source of document: Bramantijo,

2018).

Some motifs of Gedhog handmade batik using

Cocohan or Coblosan (punching) as the background

of motifs are Gedhang Secengkeh, Kembang Kluwih,

Kembang Waluh, Ganggeng, and Kolorambat. The

traditional cloth motifs of Gedhog handmade batik

generally is related to the tradition of Kerek people as

agricultural society. According to Sutarto (2008: 1),

on agricultural – traditional society that can be found

in the most of Indonesian people, tradition and myth

will dominantly take part of their daily life. Their

traditional ceremonies or art products have the

relationship with the success of harvest and the

worship of some supernatural powers. The kind of

agricultural art showing grateful upon good and

abondant harvest will be in the form of flora and

fauna, season and water, threat and protection from

various supernatural powers to be believed to bring

prosperity or destruction to the farmer’s life.

The weaving tradition using Gedhog loom and

making batik on woven cloth have been existed for a

long time ago for Kerek people in Tuban Regency.

From generation to generation Gedhog handmade

batik cloth is taken as important component to

perform various ritual ceremonies which is deemed as

sacred by local society, such as customary activities

of the birth, marriage and also the death in undergoing

the life cycle. Woven cloth and Batik cloth according

to Kerek people’s view have relationship with

cosmological view of society of such cloth maker

(Heringa, 2010).

2 METHODOLOGY

This study is conducted to reveal the relationship of

aesthetic values of Cocohan or Coblosan (punching)

motif on Gedhog handmade batik according to the

cosmological view of society of creator and user of

Gedhog handmade batik in Kerek, Tuban Regency.

This study is ethnographic meaning that the

researchers interact directly with the object and

subject of research, conduct observation, interview,

take a note and make documentation to the society

social interaction, thoughts and its cultural behavior.

According to Putra (2010), Morphology method can

be interpreted as a method to see the form and

structure of an object or in other descriptive,

morphology is a composition and relationship

between parts of an object. In this study, visual

morphology method is used to explain the meaning

contained in Gedhog handmade batik cloth through

research to the visual elements owned, such as: motif,

decoration, composition and color.

3 FINDING AND DISCUSSION

3.1 Cotton and NiniThowok Myth

People in Kerek area has tradition of weaving and

making batik for a long time ago. The skill of weaving

using Gedhog loom and making batik on rough

textured Gedhog woven cloth becomes an activity for

Kerek’s women in spending their time when they

don’t go to the farm or at the time of waiting for

planting season. The life of Kerek people is very

depended to the farming activities by planting corn,

peanut and cotton. The rainfall in Kerek area is

relatively low, so the rice plant can only be planted on

one season, at the time of rainy season.

The work of processing soil in the farm will be the

responsibility of a man, and the woman will assist

when they are needed. The tradition of weaving and

making batik is very closely related to the agricultural

life of Kerek people, especially planting cotton.

Cotton is a vital material to make lawe (woven

thread), so cotton plant is special treated, starting

from processing the soil, planting and harvesting

cotton. There are two types of cotton produced by

Kerek area, white cotton and brown cotton. The two

types of this cotton will be processed by Kerek’s

women to be thread as the material of weaving.

Planting cotton is an important part of Kerek’s

people tradition, moreover it is covered by myths that

are told from generation to generation. Planting

cotton is mainly performed by a man, starting from

processing the field of cotton up to harvesting. The

characteristic of field land in Kerek area is not loose

soil, it is clay mixed, so it will be hard in dry season

and clayey in rainy season. Cotton plant is planted in

the beginning of dry season, when the soil in the field

is quite hard and clayey. The cotton seed is inserted

into the hole with 6-8 cm deep, the result of Naju

process (making the hole by plugging in pointed

wooden stick). Naju is conducted by a man, since

plugging in pointed wooden stick in the soil needs a

Aesthetic Values of Cocohan or Coblosan Motifs on Tuban Gedhog Handmade Batik

331

strong power. Then the cotton seed is inserted to the

hole with 1 or 2 step of a man or it is known as icir.

Inserting the cotton seed to the hole is also conducted

by a man, sometimes by a woman, further the land is

covered by loose soil mixed with manure, the process

of covering is known as hurug.

Figure 2: The process of Naju before inserting the cotton

seed into the land (Source of document: Bramantijo, 2019).

Land is identical with a woman and wooden stick

called as taju is identical with a man. Naju and icir are

the responsibility of a man. Punching the hole in the

land by taju is a symbol of lumpang and alu (Javanese

pestle). Punching the hole in the land by plugging in

taju is like to start the ritual of fertility. Planting

cotton is a tradition symbolizing ritual of fertility

cycle (the meeting between man and woman).

Punching the holes in the land through Naju process

is believed by older Pembatik (the informant of study)

is closely related to Cocohan or Coblosan (colored

fine dots) on the background (basic color) and

Gedhog Batik pattern of corakputihan (whitish

pattern), corakbiron (bluish pattern), corak bang biron

(red and blue patterns), and corak bang tegeran (red

pattern). Cocohan or Coblosan (red, blue or blackish

blue dots) on Gedhog Batik background have

philosophy meaning based on Gedhog Batik

allotment in Kerek’s people tradition, namely device

in tradition of birth, marriage and death.

For Kerek’s people, cotton as clothing material in

the form of woven and batik has important role to the

ritual tradition and myths of Kerek’s people life.

There is a legend in Kerek’s people told by their

ancestor that Kerek has very wide field of cotton,

white cotton is seen glittering likes the sky in the

night decorated by stars. When the full moon, in the

surface of the moon there is an old lady, namely

NiniThowok (a sunken eye and cheek old lady)

working with her spinning tool. NiniThowok twisted

her spinning tool gently and sent the spinned cotton

thread to the earth in the form of moonlight

NiniThowok that is also called as NiniDhiwut or

frizzy hair grandma is described as dissident and

disobedient figures. Therefore, the corpse of

NiniThowok is unaccepted to be buried in the earth

and needs jambe tree (Areca catechu), the wood of

which can be used as a material of certain part of

spinning tool. Further, it is told that NiniDhiwut flew

fastly shouting to call the moon. It is believed up to

the present time that NiniThowok still live in the

moon and maintain her cotton field in the sky.

NiniThowok is called “the moonlight” and it is

believed as guiding and protecting spirit for Kerek’s

people when they find difficulty in spinning. So that

before spinning, Kerek’s women in the past time

made gift to her as a part of Hindu-Javanese ritual

known as BagendoNgalih or “Your Majesty changed

form” (Heringa, 2010: 40).

According to Soedarso (1991: 35) for traditional

farmer, soil fertility is not adequate achieved by

improving the new agricultural system, but by

invisible powers. Therefore, it can be interpreted that

agricultural people in order to fertile their rice field,

besides making an effort by logical methods, making

contact with supranatural powers (adikodrati) in the

form of ceremony or salvation is required. The

meaning of the legend of NiniThowok becomes the

idea of cloth system creation in Kerek area. This does

not stand alone, but constitute a part of the very

complex systems that is related each other to many

aspects of life in society

3.2 Cocohan or CoblosanPatern and

Motif on Gedhog Handmade Batik

in Ritual Tradition

Gedhog handmade Batik cloth with Cocohan or

Coblosan motif all this time becomes an important

competent of performing ritual ceremony that is

sacred by Kerek’s people, such as ritual of birth,

marriage and death. The relationship of Gedhog

woven batik cloth and ritual tradition of Kerek’s

people can be seen through the events as here under.

On Birth ritual, the baby is usually wrapped by

putihanGedhog cloth with blue flora and fauna

Cocohan or Coblosan motif, it is believed that the

birth of baby in the world is in a holy condition, and

based on the faith of Kerek’s people, white

symbolizes birth and holy.

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Figure 3: Putihan pattern Batik with KembangWaluh motif

dark blue Cocohan or Coblosan colour background (Source

of documentation: Bramantijo, 2016).

On marriage ritual, Gedhog woven cloth and

Gedhog batik is used as the dowry, the use of Gedhog

woven batik has criteria as follows:

(i) on the ceiling (the upper part) of aisle is

installed lelangit cloth with Rengganis motif

dominated with cecekan (dots) and kitiran patterns

(white stripe forming rotating propeller) and biron

(bluish background) meaning angel in heaven. This

cloth symbolizes a permit request to the ancestors

(Heringa, 2010: 57).

(ii) At the time of sacred marriage ritual

procession, the bride and bridegroom wear Gedhog

batik cloth with Ganggeng motif symbolizing unity.

It is interpreted by Kerek’s people that the couple will

be united in a married life forever.

Figure 4: Ganggeng motif with ungon (purple) pattern of

blue Cocohan or Coblosan (Source of documentation:

Bramantijo, 2016).

Further, after performing Salinan (changing the

cloth) ceremony, the bride and bridegroom will seat

on the aisle and meet the guets, in this procession, the

couple wears lasemanbatik cloth with bang tegeran

(red pattern)color combination and blooming flowers

and opned flew away birds. This motif symbolizes

that after a marriage, a woman will become the new

family member of a man and enter to the man’s house

(Heringa, 2010: 54).The bridegroom wears

kelambirasukan constituting formal wear with

BolongBuntuPotongInten motif symbolizing honor

and majesty, gringsing trousers with

KembangManggar motif (gringsing in Javanese

means fight the disease) that is interpreted by Kerek’s

people as protection for the user. Overall, this suit is

symbolized as couple’s loyality in undergoing the

lifecycle (Heringa, 2010:57).

Death is a very sacred ritual for Kerek’s people.

Woven batik cloth with irengan (dark blue) pattern

and geometric motif is worn by almost all the Kerek’s

people, which is related to the end of lifecycle by

society and located in the north. The clothes are

dipped in the mud for the last time as analoque of

planting the human body in the land.

Figure 5: Pipitan pattern batik with dark blue Cocohan or

Coblosan background and AsemLondo motif to cover the

corpse casket. (Source of documentation: Bramantijo,

2017).

The corpse will be covered with Gedhog batik cloth

with irengan (blakish) motif before the procession of

bathing and shrouding. 4 clothes will be stacked on

Aesthetic Values of Cocohan or Coblosan Motifs on Tuban Gedhog Handmade Batik

333

the casket, then 3 different colorsayut cloth (bagrod,

pipitan, and irengan) will be put in different

directions on the previous cloth. After completing

buried ceremony, the cloth will be brought home to

be saved as a heirloom that will be given to the female

child as the marriage gift, therefore such cloth will be

owned from generation to generation (Heringa, 2010:

68).

3.3 Aesthetic Value on Gedhog

Handmade Batik and Cosmological

Concept for Kerek’s People

The beauty of Gedhog handmade batik is not only

seen from the pattern and motif composition

spreading in sheet of cloth materially, but also from

the full philosophy meaning. According to Heringa,

(2010: 42) the developed Gedhog woven and batik in

Kerek area have aesthetic values which is related to

the cosmological view of Lifecycle. From the aspect

of visual morphology, Gedhog batik is an artefact in

a culture which each element represents the value and

meaning of a culture through visual as presented. An

aesthetic value of this Gedhog batik from Kerek by

Heringa (2010; 43) is also illustrated having relation

with the concept of wind direction that is belived that

the age of human being and his life is like cycle

moving clockwise, with North symbolizes a

complete, East symbolizes a hope of fertility. Using

such criteria, a woman expecting her first child will

wrap her body tightly with white bengkung in order

to have power to protect her child when reaching

seven month pregnancy, and to support the mother’s

back because it is wrapped tigly from the hip up to

chest, like a corset. When the baby was born, he/ she

will be wrapped with whitish Gedhog batik cloth.

White color based on their knowledge symbolizes the

beginning of life where human is born in a clean and

holy condition.

When a girl reaching akilbalik age, an age that is

deemed ready to be married off by old people will

announce her status by wearing sayut cloth with

bright red pattern and fine red dots Cocohan or

Coblosan background. This stage is symbolized with

East direction. At the time of marriage, the bride will

wear lurikkembangan or batik with red

Ganggeng(algae/ seaweed) on the white surface. For

a married woman but having no children yet will wear

jarit bluish background (biron) and red sayut pattern.

When becoming a mother, a woman will wear blue

red pattern scarf with blue Cocohan or Coblosan

background symbolizing two descendants who live

side by side (Ciptandi, et al., 2016: 270-271). The

color of red and blue is believed as a color

symbolizing fertility and life. This stage is

symbolized by South direction. The pattern of red and

blue with dark blue Cocohan or Coblosan

background symbolizes the age and unfertile age, it is

symbolized by West direction. In the end of life, a

woman will wear blakish cloth with geometric motifs

as a symbol of the end of life cycle, it is symbolized

by North direction.

Figure 6: The Cosmological concept of Lifecycle of

Kerek’s people (The source of document: Heringa,

“NinikTowok’s Spinning Wheel”, 2010: 43)

The cosmological concept on birth, marriage and

death and aesthetic values on Gedhog batik as

expressed on pattern and motif is a visual reference,

the meaning of which has been interpreted firmly and

performed by Kerek’s people in the past covered by

myths to preserve its existence. Even though the use

of Gedhog batik and woven cloth is more flexible in

accordance with the need of clothing of the user, the

Kerek’s people use this Gedhog batik cloth as the

important part of ritual process that is still being

preserved.

4 CONCLUSIONS

Gedhog handmade batik is an artefact of traditional

culture covered by cosmological view and aesthetic

values. Starting from the process of planting cotton as

the main material of making lawe (thread), creating

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334

pattern and motif up to the use are close related to the

myths and ritual tradition of its society. Gedhog hand

writing batik is a reference and expression of

cosmological concept and firm aesthetic for Kerek’s

people in the past, as well as the typical identity that

must be preserved so the agricultural life’s view can

be maintained. Gedhog batik with Cocohan or

Coblosan background is one of the elements in

cosmological concept that is expressed on a sheet of

cloth, the existence of which is started to be forgotten

because of the efficiency factor of production

process, therefore it must be preserved as the integral

part of Gedhog handmade batik motif.

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Heringa, Rens. 2010. NinikTowok’s Spinning Wheel:

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