Priangan Batik, expanding not only through growth but also within the dimensions of meaning, principles, and goals. On top of that it has been enriched by the cultural influence of the heterogeneity of Indonesian culture in general. We have investigated the history of Priangan Batik, considering its birth, background, and designs. This investigation was aimed at identifying the characteristics of the aesthetics and identity that are embedded in the originality, values and local content of Sundanese culture.
Many aspects of batik have been the subject of research, but the context of Priangan Batik in the constellation of modern aesthetics, still needs to be studied from the aspect of identity. This sort of study can be a new or fresh start in itself and at the same time it is an attempt to complete previous research findings (from quite a different point of view). Having reviewed the literature about Sundanese artifacts, we found that there are few artifacts dedicated to ornaments, especially in relation to the aspects of aesthetics and identity. These last two elements are important factors in the endeavor of tracing the Sundanese artifacts.
Concerning batik artifacts, there is a significant statement in the script of Siksa Kanda ng Karesian from the first half of 16 th century that there were a number of “ corak lukisan (painting ornament): pupunjengan , hihinggulan , kekembangan , alas-alasan , urang-urangan , memetahan , sisirangan , taruk hata , kembang tarate ” and the same source also mentions “sorts of fabrics ( boeh ): kembang mu (n)cang , gagang senggang , anyam cayut , poleng re (ng )ganis , cecempaan , mangin haris , surat awi , parigi nyengsoh , hujan riris ”. The above statement clearly implies that at the time the script was written, the Sundanese people were familiar with several kinds of fabrics ( samping ) and batik as well” . At present, the development of batik – specifically, Priangan Batik: Batik Garut, Batik Tasik, and Batik Ciamis– “has been widely spread into a number of meanings as well as dimensions in its interpretation, principles, goals and even has become an influence towards the cultural variety of Indonesia” . However, the term Priangan Batik itself should be made clear by connecting its characteristics to the traditional meaning of batik related to its aesthetics and identity. The comprehension of the old batik has to be related to the meaning of present-day batik as an expression of modernity.
A number of problems were examined in this research that have to do with the aesthetic development from old or traditional Priangan Batik (in the past) to modern Priangan Batik in the context of the constellation of modern aesthetics, in order to recognize their respective characteristics. These problems were approached by studying the aesthetics of modern Priangan Batik, in order to classify aesthetic elements that can be of advantage, acting as a source of inspiration when designing novel variants –now and in the future– within the constellation of modern aesthetics. The research was conducted in two phases: first, we documented the development of modern Priangan Batik in the aesthetic domain – “aesthetic considered as ornaments”  –and secondly, the approach of “typological classification as a sub-part of the taxonomy related to the morphology of form study” .
“In the 20 th century the activity of batik making has developed in Cirebon (Trusmi), Indramayu (Paoman), Ciamis (Cikoneng), Tasikmalaya (Sukaraja, Cihideung, Cipedes), and Garut (Tarogong); each city (or area) has specific designs, which produced the terms Dermayon, Trusmian, Garutan, etc.” . These batik variants have “been widely spread into a number of meanings as well as dimensions in its interpretation, principles, goals and even has become an influence towards the cultural variety of Indonesia” . Furthermore “batik has been created based on artistic grounds that develop according to the demands of the age” . Batik is “a process of engraving textile using wax as resistant for the colour substance being applied to it. The process applies the cold dying technique and uses the canting technique or copper stamping. In the past, the stamping technique used to be excluded from the traditional dying batik technique. Stamped batik fabric was not considered batik (the original, in its old process of making). But later this view changed, although this inclusive view occurred specially because of commercial considerations” . The term Priangan Batik should be returned to its original meaning in order to be able to identify its characteristics clearly in relation to the aspects of identity and aesthetics. A number of samples of Priangan Batik which have underwent influence from modern batik aesthetics and that were used as research objects are: (a) Batik Garut; (b) Batik Tasik; and (c) Batik Ciamis.