The origin of this batik was thought to be from China which allegedly entered Minangkabau in the 16th century during the Minangkabau Kingdom centered in Pagaruyung, Batusangkar. Clay batik was lost without a trace during the Japanese occupation, but thanks to the efforts of Wirda Hanim , this batik technique was reintroduced in 1994. Initially Wirda Hanim saw this batik motif used by several residents of the Sumanik Nagari, X Koto District, Singkarak, Solok Regency, West Sumatra. He is interested in the rare batik and intends to revive the traditional art of clay batik that is almost extinct.

Traditional clay batik motifs are seahorses and hong birds, but now besides Chinese motifs are also introduced traditional Minangkabau motifs such as siriah in carano, kaluak paku, kuciang tidua, lokcan, batuang kayu, dance plates, fans.

At this time new motifs were also introduced, whose inspiration was drawn from the richness of Minangkabau natural culture, such as the tabuik motif (ark), Jam Gadang and Rumah Gadang. At present there are three centers of making clay batik in the Province of West Sumatra, namely in the City of Padang, South Coastal District and in the District of Dharmasraya. Each of these centers displays its own style based on each environment, even in Dharmasraya they develop new motifs, flower palm.

One of the uniqueness of this Tanah Liek Batik is that the coloring materials used come from natural colors such as clay, jengkol skin (Pithecellobium NETA), mangosteen (Garcinia mangostana), sap gambir (Uncaria gambir), rice straw (Oryza sativa), Mahogany skin (Swe