Which Batik Motifs Represent Specific Tolkien Characters?

Batik refers to a technique of wax-resist dyeing applied to a fabric. The technique is popular in many countries, but Indonesian batik patterns are famous for their rich motifs. Batik is currently enjoying a revival in Indonesia after years of being considered old-fashioned. The word batik was first recorded in English in Encyclopedia Britannica in 1880 (spelled battik).

Batik has a unique philosophy in each of its motifs. In the past, some motifs were even considered exclusive (batik larangan = “forbidden batik”), and only certain people could wear them. This often makes me wonder: if Tolkien characters wore batik in their daily life, what kind of motif that will suit them? Here’s my simple take on them.

Parang

The name parang originated from pereng, which means “mountain slope” in Javanese. There are several variations of this motif, but the basic design consists of repeated curved lines that resemble intertwined “S”, which are also associated with ocean waves. The general meaning behind parang motif is “striving for a better self”. The mountain slope and waves symbolize struggles to uphold honor, fight the dark urges, and make the right choice. The traditional colors are brown, white, and black, which reflect the constant clashes between light and dark forces in a person.

Who Wear It

Naturally, Frodo and Bilbo Baggins. The philosophy of parang essentially reflects their struggles in facing their fear, doubt, and insecurity while taking such a high-risk task. Extra burden point for Frodo, who repeatedly almost succumbed to the temptation of the Ring.

A variation of parang motif, called parang rusak, used to be reserved for leaders and royal family members. Finarfin could totally wear it. As the youngest son of Finwë, I imagine he had not been “prepared” like Fëanor to become a king. Yet, when witnessing the First Kinslaying committed by his brother, Finarfin chose to turn around in remorse and actually decided to lead the remaining of his people, while being unsure about what would happen to them after Mandos pronounced the Doom of Noldor. I always like this side of him; a leader who battled insecurity, fear, and doubt to provide strength and guidance to his people. The parang suits him perfectly.

Parang is often considered as a masculine pattern (although there is a variation with subtler, more elegant design, considered more feminine). I like associating it with proud warriors who not only battle enemies on the battlefield, but also struggle against specific demons inside them, like Boromir, Isildur, and Thorin Oakenshield.

Since parang is a motif with strong energy, there is an old belief that a couple cannot wear the same parang batik during their wedding, or it will result in marital conflict. Judging from the fallout between Fëanor and Nerdanel, they had probably made some poor fashion choices during the wedding by wearing the same motif. Who knew? But the strength emanating from this motif fits Nerdanel well. She is an independent woman, a skilled sculptor, a mother of seven sons, and the only one who could restrain Fëanor’s temper. When the latter forced his wife to follow him in his rebellion or be called an untrue wife and mother, Nerdanel bravely refused. Her bravery, strength, and inner struggle are true reflections of parang motif.

Tambal

Tambal means patches, a motif with repeated squares as the base design. It symbolizes the act of “patching” or fixing negative things in life, which can be anything from bad personal habits to past mistakes. A tambal-patterned blanket is traditionally used to warm a sick person in bed, which doubles as a wish for the person to get well soon (I remember seeing many people, including my grandmother, using this blanket when laying sick on the bed).

Who Wear It

I like imagining anyone with healing abilities to wear this pattern. Elrond and Aragorn first came to mind, since Tolkien explicitly described them tending to others’ wounds. Aragorn revived Merry, Eowyn, and Faramir in the Houses of Healing in Minas Tirith, while Elrond treated Frodo in Imladris. Elrond is also described as a great healer, and I love imagining him keeping a couple of blankets with this motif in Imladris’ healing house!

Samwise Gamgee is also a great candidate for this motif. He “healed” his home by replanting trees and plants that had been destroyed during the Scouring of Shire. Also, do you know that Tolkien took the name “Gamgee” from the name of surgical cotton invented by a Birmingham surgeon called Sampson Gamgee? The “healing” part is practically in his name!

How about the deeper meaning of tambal motif? Galadriel and Maglor spent the later stages of their life atoning for their past mistakes (Galadriel for participating in the revolt of Noldor and witnessing her folk received the Doom of Mandos; Maglor for participating in the kinslaying and failing to save Dior’s children from being left in the forest to die). Galadriel later helped the Fellowship and used the last power of her own ring, Nenya, to purify Dol Guldur. Maglor took Elrond and Elros under his wing after the attack on their home, and later threw the last Silmaril to the sea before wandering with regret, his fate unknown. Regardless of the different outcomes, their efforts of atonement reflect the “fixing past mistakes” part in tambal motif.

Mega Mendung

Mega Mendung is a motif from Cirebon, a coastal city in West Java. The Chinese-style cloud patterns reflect the cultural marriage between Cirebon and China in the 16th century. It was said that the marriage between Sunan Gunung Jati (one of Wali Songo or Nine Muslim Saints) and Princess Ong Tien influenced the pattern. When the princess arrived in Cirebon, her personal items attracted the attention of local artists, who started to incorporate Chinese patterns in their works, including batik patterns.

Mega Mendung traditionally has bold colors, with red and blue as the original combination. The two colors reflect the balance between two opposing powers, such as masculinity and femininity. The blue reflects rain and water, thus symbolizing hope and fertility (mega mendung literally means “rain clouds”). Blue clouds also represent calmness in the face of rage.

Who Wear It

The bold red, blue, and water elements instantly brought my mind to Ulmo. He is described as the King of the Sea, one of the mightiest Valar. Yet, despite his massive power and domain, he was the friendliest toward all Children of Eru. Ulmo doesn’t have any spouse, and I imagine that the elements of masculinity and femininity all reside in him. The Silmarillion describes him as looking dreadful and terrible when appeared, like a “mounting wave that strides to the land.” However, his water power (described as “the veins of the world”) listens to all the grief and needs of the world.

Maritime culture really shapes Cirebon, and most of its people are fisherfolks, who mainly catch fish and small shrimps (rebon). Therefore, Ulmo’s vassals Ossë and Uinen (who are also husband and wife), fit nicely in this motif, since their names are both feared and evoked by sailors and fisherfolks wishing for a safe journey. Ossë is more violent and unpredictable in nature, while Uinen is gentle and the only one that can calm the resulting raging waves from her spouse’s outbursts.

Truntum

The truntum motif was created by Ratu (Queen) Kencana, the wife of Sunan Pakubuwana III, the ruler of Surakarta in the 18th century Java. The queen had been in anguish because her husband spent more time with concubine than with her. She decided to pour her sadness into making batik. The results were numerous small flowers that, at first glance, look like stars. Her husband was moved by her perseverance, feeling, and the beauty born from her hands, and love grew back between them. The name truntum came from Javanese word teruntum-tuntum, which means “to regrow (love).”

Who Wear It

As tragic as the story of Amroth and Nimrodel is, I’d love to pair this motif with them. Nimrodel, the Silvan Elf from the song Legolas sung near Lothlorien, hated Sindar and Noldor Elves (who she viewed as the causes of war and destruction in the world), and she decided to live a secluded life, away from them. Her love was kindled by and grew for Amroth, the king of the Sindar, who adopted the custom of Silvan Elves because of his love for Nimrodel. Amroth even promised to find her a peaceful land, something that no longer existed in Middle-earth, which he genuinely tried to achieve (without going into details about how a series of unfortunate events thwarted their plan to be together).

Yavanna also fits this pattern, and not just because of her affinity with plants and flowers. She also regrew the last flower (and fruit) from The Two Trees that Melkor destroyed, fashioning the Moon and the Sun from them and giving the new hope to all the living matters after the destruction of the Two Trees.

Udan Liris

Udan liris is a motif from lereng (mountain slope) category since the patterns are created in diagonal lines. The name means “soft rain,” reflected on the thin lines, neutral colors, and subtle patterns. The rain theme creates an association with fertility, grace, and cool-headedness. If you look closely, each line within the motif consists of individual patterns, symbolizing traits like happiness, ambition, good life, perseverance, strength, and balance. Combined into one, and this motif becomes a wish for strength when facing difficulties in life (and better life afterward).

Who Wear It

This motif immediately brings my mind to Nienna. She is known as the “weeping lady”, with her tears representing pity and compassion. Nienna had the foresight of sadness and grief that would mar the world, fashioning her own song in regards to this during the Music of the Ainur. Interestingly, Tolkien first depicted Nienna with more fearsome characteristics, describing her as some kind of queen of winter and death, sitting on a throne made of black volcanic stones. Over time, this depiction softened into a compassionate figure, full of pity. Later, pity became one of the main themes in Tolkien’s many stories, including The Lord of the Rings.

Pity is described as a trait of the powerful (a sentiment Gandalf, the student of Nienna, shared with Frodo regarding of Bilbo’s past decision to spare Gollum’s life), and Nienna’s (literal) tears and pity gave birth to hope after a devastation. In fact, her soft rain of tears helped The Two Trees to grow, and they later cleansed the filth caused by Melkor and Ungoliant after the Trees had been destroyed. Udan liris motif, like Nienna’s tears, look subtle and soft, but they hide powerful impacts. No wonder Tolkien placed Nienna among Aratar, the most powerful of Valar.

Kawung

Kawung is one of the oldest batik motifs in Indonesia, which can be traced to the reliefs on Prambanan Temple, date back to the 9th century A. D. There are several types of kawung patterns, but the basic design is a round geometric shape split into four symmetrical parts. The motif is thought to resemble a split kolang-kaling or sugar palm fruit (Arenga pinnata), which has white pulp under its darker peel, symbolizing pure heart under the disguise of the unassuming exterior.

Who Wear It

Faramir comes to mind in relation to this simple yet meaningful motif, and I, of course, meant book Faramir. A character that was only later added by Tolkien, surprising even him along with his readers, Faramir was described as “modest, fair-minded, just, and merciful”. He refused to kill if not necessary, and he even had this set of mind toward Orcs!

As much as Tolkien identified himself with Hobbits, Faramir, in many ways, spoke to him more, reflected in many dialogues such as “I do not love the bright sword for its sharpness… I love only that which they defend”. A sentiment they both shared since Tolkien was an officer in World War I, and had seen the atrocities and horrible deaths during the war. Unlike his more favored and brash brother Boromir, Faramir didn’t really care about war, and served as a Ranger of Ithilien, dressing in less flashy outfits compared to his brother. A perfect representation of the simple but pure kawung motif.

On the side note, it is interesting that one of the oldest batik motifs has a connection to one of the latest Middle-earth characters created by Tolkien. It almost seems like Faramir is a character deemed “mature” enough to inherit an old wisdom.

Batang Garing

Batang garing is a motif from Kalimantan (Borneo) that represents the Tree of Life. The basic design consists of a spear as the trunk, hornbill feathers as the foliage, and water jug as the root. This motif roots in Kaharingan, the belief system of native Dayak people in Borneo. The tree represents three levels of the universe; the world of the gods, the human world, and the underworld. The interconnected patterns and the formation of the bird’s feathers represent the balance between these three realms.

Gandalf is the right person to wear this motif. The wisest of the Maiar, Gandalf has existed in the world even before the Music of the Ainur. As Olórin, he served several powerful Valar, including Nienna (a Vala associated with death beside Namo, from whom he learned of compassion and pity). Gandalf walked among Elves, Men, and Dwarves. Among the Fellowship, he was the one who had the widest grasp of knowledge and foresight about all the events. He sacrificed himself to save the Fellowship by fighting against Balrog, until his exhausted spirit left his body before being returned to mortal realm. In short, Gandalf has “walked between the three worlds”, making this pattern a perfect match for him.

Sekar Jagad

Hails from Yogyakarta and Surakarta in the central region of Java, sekar jagad means “the flowers of the world,” describing a magnificent and charismatic beauty. In the past, it was often worn by court members and intellectuals. The “world” part is also reflected in the rich and colorful patterns. They reflect the diversity in all aspects of the world, including people. Many people even view the patterns as a map. Therefore, the beauty reflected this motif is not skin-deep; on the higher level, the patterns appreciate the colorful, diverse beauty in the world.

Who Wear It

Speaking of great beauty, Lúthien Tinúviel is a perfect match for this pattern. Not only she inherited her Maian mother’s beauty, but she was also the first Elf that successfully married Beren, a Man, joined her spouse in life and death and became the ancestors of important figures in Middle-earth legendarium. Lúthien and Beren’s interracial marriage is as legendary as their adventures against Morgoth.

Arwen, the descendant of Lúthien, is also very beautiful. Her marriage with Aragorn was the third successful union between Elf and Man, and I love the political savviness that made her weaving the Livery of Elendil, encouraging Aragorn to enter the Paths of the Dead and unfurl the banner, revealing his identity as the rightful king of Gondor and winning the help of the Dead in his fight against Sauron’s followers. After Aragorn’s death, Arwen maintained the relationship with Gondor’s allies, even taking Samwise Gamgee’s daughter (a Hobbit named Elanor) as her maid of honor; a proof that she saw the union between races as an important thing to uphold.

Legolas and Gimli reflect the deeper meaning of this motif perfectly. They were the first from their races (Elf and Dwarf) to openly addressed past conflicts, even getting involved in some verbal fights, before slowly mending their relationship and becoming best friends. In the end, Legolas and Gimly went to the Undying Land together, something that was practically unheard before.

These are by no means the only batik motifs in Indonesia. Batik makers even often combine several motifs into one fabric, creating an entirely new design and meaning. Reading the meaning behind batik motifs (especially if they are combined or worn by certain people) allows me to reflect on specific human traits; a great personal mental exercise that I can incorporate in my love toward Tolkien’s works.