The research titled "Studio Gendhis Batik Jepara (History, Manufacturing Techniques, and Characteristics of Stamped Batik Motifs)" aims to: (1) elucidate the history of Studio Gendhis Batik Jepara, (2) describe the manufacturing techniques of stamped batik at Studio Gendhis Batik Jepara, and (3) analyze the characteristics of the stamped batik motifs produced by Studio Gendhis Batik Jepara. The methodology employed in this study is historical research methodology, comprising four research steps: (1) heuristic, involving the search for historical sources (oral, documentary, artifacts), (2) criticism, a step to test the authenticity and reliability of sources, (3) interpretation, organizing historical facts according to authenticity and reliability, and (4) historiography, the final step of historical writing. The findings of this research are as follows: (1) Following the disappearance of Kartini batik by the late 19th century, Jepara batik emerged in the 21st century with innovations, incorporating motifs from Jepara woodcarving, pioneered by Suyanti. This led to the establishment of the Paguyuban Biyung Pralodho with 16 members, including Alfiyah. Alfiyah initiated a home industry for batik in 2013 out of her passion for the craft, focusing on stamped and hand-drawn batik. (2) The manufacturing technique during stamped batik production, known as the "directional movement of the canting," involves six techniques: Tobruk, ondo-ende 1, ondo-ende 2, parang, moving, and jalan sama. (3) Each stamped batik motif created by Alfiyah possesses meanings and characteristics that underlie its creation. These motifs are crafted to commemorate their beauty, imbue their aesthetic significance, and preserve Jepara batik.