ABSTRACT
In looking at a spectrum of batik patterns one can discern a continuum that stretches between the antipodes of entirely Javanese-inspired designs and those certainly deriving from non-Javanese sources. The middle ground that joins these is broad, with imprecise edges and much room for debate. In the past 20 years, serious scholars, many of whom are presented in this conference audience, have looked and found the serious and profound foundations that structure many of the traditional batik expression (Heringa, 1989 and 1993; Veldhuisen-Djajasoebrata, 1984; Tirta, 1996). These reflect concepts from a realm of thought originating beyond the individual batiker and, when given form, deny flagrant individual interpretations.
