The engravings which pervades all my designs, and arguably most of Balinese architecture is known as Patra Cina, which directly translates to “Chinese Pattern”. It’s history on the Indonesian archipelago is rich and spans thousands of years, predating both the introduction of Islam (8th century AD) and Hinduism (1st century AD) to Indonesia. It embodies the oldest known existence of cross-straits relationship between China and Indonesia.
Within the elaborate pattern of the Patra Cina, its elements draw inspiration from the hibiscus plant, symbolizing happiness and prosperity. The central flower, highlighting the significance of pollen, represents the continuous fertility and eternal nature of the cosmos. It serves as a reminder that life is an ever-evolving journey, filled with growth and renewal.
At the same time, the "S" pattern, derived from the leaves of the hibiscus plant, holds a deeper significance in Indonesian culture. It is the oldest motif, representing the ebb and flow of life itself (Sumardjo (2010: 223)). This motif signifies the unity of contradictions, the harmony of opposites, and the delicate balance required for a fulfilled and prosperous life.
In this unifying of cultures, the Patra Cina emerges as a profound metaphor that encapsulates the timeless beauty of life and the ever-changing tapestry of existence. It calls us to celebrate diversity, cherish the journey, and find solace in the transient nature of all things. The Patra Cina, with its timeless, alluring design and symbolic elements, encapsulates the essence of human existence.
Source:
1. Maharlika, Febry. (2017). Studi Multikultural pada Ornamen Bali Pepatraan: Patra Cina. Bandung: Serat Rupa Journal of Design, Vol.2, No.1: 67-77
2. Sumardjo, Jakob.(2010). Estetika Paradoks. Bandung: Sunan Ambu Press