In line with a commitment to preserve the nation’s heritage, Levendig includes visual elements of Indonesian culture in each of its innovations. In doing so, the interior-design-and-architecture firm allows its products to stand out with an internationally competitive edge. One of Levendig’s efforts to globally introduce Indonesian culture is by showcasing the designs of 12 chairs that feature 12 batik patterns unique to cities across Java, in a collection called “Pranoto Mongso”.
Photo by Levendig Doc.
“The theme was originally derived from the zodiac system, better known as the Javanese calendar system, that we applied into the designs of 12 office chairs. Each of the designs features a batik pattern that is unique to 12 large cities on the island of Java,” says Nathaniel Wijaya, founder of Levendig Interior and Architecture. These batik patterns are used in keeping with Levendig’s aim to preserve Indonesian heritage, which has been passed on since the days of the realms of Majapahit, Mataram, Demak, and the other kingdoms that followed.
Pranoto Mongso, or Pranata Mangsa, is a traditional calendar system observed by farmers and fishermen, a practice that has been passed on orally from generation to generation. It has a local and temporal nature (constrained by time and space), so that a system that is used in one location might not work for other areas. Farmers have been known to use the Pranoto Mongso calendar to determine the start of the growing season while fishermen use it to guide them as they travel across the sea or to predict the kind of fish they are going to catch.
In the Kasunanan version, Pranoto Mongso covers the area between Mounts Merapi and Lawu. The system divides a year into four main seasons (mongso), including a dry season, or ketiga (88 days); the transitional season before the rainy season, or labuh (95 days); and rainy season, or rendheng. Based on similar observations, a year can also be divided into four major seasons and two minor seasons. These are sunny (“bright skies”, 82 days); semplah (“suffering”, 99 days) with the minor season of famine during the first 23 days; udan (rainy season, 86 days), and pengarep-arep (“hopeful,” 98 to 99 days) with a minor season of harvest in the last 23 days.
Following a more detailed observation, a year can be divided into 12 seasons (mongso). “From this point of view, Levendig tries to present Pranoto Mongso through the field that we work in, which is design and art,” Nathaniel says. This is done to introduce and make Pranoto Mongso more accessible to the public, and not only fishermen and farmers. From the 12 batik patterns, Kasa is the first design. It features Kujang Kijang batik from Bogor, a pattern that embodies a leader who preserves, protects, safeguard and chases away any troubles that might befall his subjects, thus creating a sense of security.
The second chair, Karo, is wrapped in Ceplok Grompol batik from Yogyakarta that reflects a hope to gather all good things in life (fortune, harmony, happiness and tranquility), while the Katelu chair presents a Carica batik pattern that originates from Wonosobo and is inspired by the carica and purwaceng leaves that grow abundantly in the area of Mount Dieng. The pattern represents the hope for a wise leader who will bring good names in everything he does.
Batik Jalak Harupat from Bandung is used for the Kapat chair, depicting a powerful rooster, which characterises a leading figure who is brave and superior in everything. The fifth chair, Kalima, is adorned with Cirebon’s signature Mega Mendung batik motif, expressing the philosophy that every man should be able to suppress anger and emotion in any situation. The pattern also symbolises a leader who is able to protect. The next design is Kanem with Merak Ngibing batik from Garut, describing the philosophy of a peacock which represents the natural beauty that brings harmony, peace and happiness.
The pattern of Solo’s Babon Angrem Riningan decorates the Kapitu chair. The motif comes with the hopeful message for a leader who governs with love and patience, and is expected to lead his subjects by example. The pattern also carries a meaning of prayer and hope, and a wish for no difficulties in work and to be patient in the job. In the design of Kawolu, the Banyumasan batik pattern from Purwokerto beautifully drapes the chair, portraying a leader who cherishes the norms of freedom, values of democracy and spirit of citizenry. The motif also reflects an honest society who says things as they are. The ninth motif, Tugu Malang, is displayed in the Kasanga chair, depicting territorial authority as a symbol of might and vigour.
There is also Kasadasa with the batik motif of Asem Tugu Muda, a graceful pattern showing the Tugu Muda monument surrounded by vines that was inspired by the monument that commemorates a five-day battle in Semarang. The eleventh design can found on Desta, with the iconic Surabaya symbol of Ikan Sura dan Buaya as the pattern. It is bright red and depicts the shark and the crocodile that give Surabaya its name. The philosophy behind the design is a life on land and in the sea, a symbol that we should be united despite our differences. Finally, there is the Saddha chair that showcases the Ciliwung Marunda batik pattern from Jakarta. The motif expresses the hope for a charismatic leader and also for a continuous flow of fortune like a river.