<![CDATA[The home-based batik industry has become one of the driving forces behind the development of batik (batik tulis) within communities in East Java. This paper seeks to critique the declining aesthetic quality of batik that has increasingly emerged in society. Data were collected through a and observation. The data were then analyzed by classifying, interpreting, and identifying correlations among categories. An artwork that can be regarded as batik should contain three essential aesthetic elements: visual aesthetics, spiritual aesthetics, and symbolic-ornamental aesthetics. Visual aesthetics relate to the outward or visible structure of the work. Spiritual aesthetics concern the meaning and philosophy embedded by its creator. Symbolic-ornamental aesthetics refer to the relationship between the visual form and its deeper, metaphorical meaning, which enriches interpretive rhetoric. It is this symbolic-ornamental dimension that distinguishes batik from a mere drawing or image despite both possibly being created using batik techniques. Processes of desacralization and desymbolization have increasingly uprooted handwritten batik from its noble cultural essence, transforming it into ordinary pictorial work reduced to motifs that are forced to convey meaning.]]>
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