Recently, batik is in need to be studied deeply especially from the aspect of identity in the modern aesthetic domain. The study basically problemize the aspect of identity in the aesthetic domain of Priangan batik, that began from the old Priangan batik  to the present (modern) that occurred within the constellation change with its aesthetic elements. Considering various modernity impacts that flood the world of batik from its ornaments, themes, colors, composition, techniques, naming and labeling to the characteristics of each of the batik production areas.

Bandung is the city of heritage and culturally distinguished for educational institutions, arts communities and collaborations as well. The creative industry, which is in vogue within a decade, has also been a part of the city’s demand-interest. And this includes its batik industry. Furthermore, the UNO’s claim of Batik as one of the World’s heritage achievements has pushed the industry more in fashion.

The development of Modern Batik Priangan, in this writing has been widening not only for development but also its dimension of meaning, principles, goals and designs, and to the peak of that enriching the cultural influence in the heterogeneity of Indonesian culture in general. Basically, the term of Modern Batik Priangan should be investigated further due to the history of its birth, background, designs. This investigation is hopefully results on the characteristics in the dictums of aesthetics and identity that have embedded within the originality, values and local content of the Sundanese culture.

Priangan batik has also been mixed with other cultures - especially due to the influence of modernity - which when its local wisdom is being traced back in its various forms and dimensions, and then there should an evidence of the reflection of aesthetical cultural identity of the Priangan community. The community that has experienced cultural transformation diachronically as well as synchronically, interwoven with assimilation process, acculturation, enculturation, negation and at the same time adoption of various new cultures. Regarded as modern ones. The modern paradigm itself contains the concept of rationalism which is believed supporting the process of industrial production that is related to objectivity, collectivity, universality, and utility as well as commercial culture.

In the 20th century, the batik activity (or production) developed in the Priangan areas among others: Ciamis (Cikoneng), Tasikmalaya (Sukaraja, Cihideung, Cipedes), Garut (Tarogong), and Sumedang. But its real development batiks of these areas have been widening themselves into a number of meanings within the meaningfulness dimensions, principles of aims, and this can be considered as the influence of heterogeneity of Indonesian cultures in the constellation of modern aesthetics.

The Sundanese identities, viewed from termino­logy as well as aesthetics horizon, are expected to be represented within the Modern Batik Priangan that have become cosmopolite in form, such as those have existed in Bandung related to modernity within the context of creative industry.