Not Ordinary Cloth, Tracing The Legacy Of Three Legendary Batik Generations Reaches 100 Years

JAKARTA - The exhibition titled "Hati Caring for Heritage" commemorates 100 years of legendary batik written by Oey Soe Tjoen (OST), as well as a reflection space on how cultural heritage is not only to be remembered, but also to continue to be cared for with great love and patience.

This exhibition was held at the Emiria Soenassa Gallery, Taman Ismail Marzuki from July 25 to August 3, 2025. This exhibition is an important moment for Indonesian cultural heritage lovers.

"For me, this is not just cloth. This is the breath of history that has been passed down from generation to generation," said the third generation batik craftsman and owner of Oey Soe Tjoen, Widianti Widjaja, when met in the Cilandak area, Jakarta on Wednesday, July 16, 2025.

Founded in 1925 by Oey Soe Tjoen in Kediri, this batik is known as a smooth batik with a high level of accuracy. Not infrequently one sheet of cloth takes up to three years of work.

"We were never in a hurry to make it. Every motive is prayer and determination," said Widianti.

Although the name OST is not as popular as Pekalongan or Solo batik in the ears of ordinary people, this batik has become a valuable collection at world auction halls such as Christie's, as well as exhibited at international museums in the Netherlands, United States, and Singapore.

OStT motifs are not easily recognized only with ordinary eyes. Collectors usually identify from the pattern of bouquets, color composition, and batik signatures.

"What is being sought is not only beauty, but also sincerity and direct footsteps of the creator," he added.

The first generation of OSTs used plain backgrounds with small flowers and conservative motifs typical of Javanese. The second generation continues the standard. Meanwhile, the third generation, namely Widianti Widjaja, began exploring Hokokai's motives and inserting contemporary patterns.

"I want to bridge the past and present in a piece of cloth," said Widia.

Widia's three main works became the center of the exhibition, namely Batik Bunda Maria, Dewi Kwan Im, and Ratu Kidul.

"To represent women's figures who influence the life and spirituality of the batik. This is not just batik, this is a form of prostration prayer," said Widia.

One of the exhibition's appeals is nearly 100-year-old cloth, the remainder of the colonial and chaos period in 1947.

"Only five fabrics survived. That's what we guard the most closely. Taking care of it is also not easy, I put it in the box, sprinkled with cloves and spices in small bags. Not directly on the fabric, so as not to damage the fiber," he explained.

It can be used for days, but it's a shame every day. This is like family jewelry, not for the market, but for sacred moments," he continued.