Batik
Batik (
/ˈbætɪk/ or
/bəˈtiːk/;
Javanese pronunciation: [ˈbateʔ];
Indonesian: [ˈbatɪk]) is a cloth that is traditionally made using a manual
wax-resist dyeing technique. Batik or fabrics with the traditional batik patterns are found in (particularly)
Indonesia,
Malaysia,
Japan,
China,
Azerbaijan,
India,
Sri Lanka,
Egypt,
Nigeria,
Senegal, and
Singapore.
Javanese traditional batik, especially from
Yogyakarta and
Surakarta, has notable meanings rooted to the Javanese conceptualization of the universe. Traditional colours include
indigo, dark brown, and white, which represent the three major
Hindu Gods
(Brahmā, Vishnu, and Śiva). This is related to the fact that natural
dyes are most commonly available in indigo and brown. Certain patterns
can only be worn by nobility; traditionally, wider stripes or wavy lines
of greater width indicated higher rank. Consequently, during Javanese
ceremonies, one could determine the royal lineage of a person by the
cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that
normally take themes from everyday lives, incorporating patterns such as
flowers, nature, animals, folklore or people. The colours of
pesisir
batik, from the coastal cities of northern Java, is especially vibrant,
and it absorbs influence from the Javanese, Arab, Chinese and Dutch
cultures. In the colonial times pesisir batik was a favourite of the
Peranakan Chinese, Dutch and
Eurasians.
[citation needed]
UNESCO designated Indonesian batik as a
Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.
[
Etymology
Although the word's origin is
Javanese, its etymology may be either from the Javanese
amba ('to write') and
titik ('dot' or 'point'), or constructed from a hypothetical
Proto-Austronesian root
*beCík, meaning 'to tattoo' from the use of a needle in the process. The word is first recorded in English in the
Encyclopædia Britannica of 1880, in which it is spelled
battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms:
mbatek,
mbatik,
batek and
batik.
History
The carving details of clothes worn by
Prajnaparamita, 13th century East Java statue. The intricate floral pattern similar to traditional Javanese batik.
Wax resist dyeing technique in fabric is an ancient art form.
Discoveries show it already existed in Egypt in the 4th century BCE,
where it was used to wrap mummies; linen was soaked in wax, and
scratched using a sharp tool. In Asia, the technique was practised in
China during the
T'ang dynasty (618-907 CE), and in India and Japan during the
Nara period (645-794 CE). In Africa it was originally practised by the
Yoruba tribe in Nigeria,
Soninke and
Wolof in Senegal.
In
Java,
Indonesia,
batik predates written records. G. P. Rouffaer argues that the
technique might have been introduced during the 6th or 7th century from
India or Sri Lanka.
On the other hand, JLA. Brandes (a Dutch archeologist) and F.A.
Sutjipto (an Indonesian archeologist) believe Indonesian batik is a
native tradition, regions such as
Toraja,
Flores,
Halmahera, and
Papua, which were not directly influenced by Hinduism and have an old age tradition of batik making.
Rouffaer also reported that the
gringsing pattern was already known by the 12th century in
Kediri,
East Java. He concluded that such a delicate pattern could only be created by means of the
canting (also spelled
tjanting or
tjunting;
pronounced [ˌtʃanˈtiŋ]) tool. He proposed that the canting was invented in Java around that time.
The carving details of clothes wore by
Prajnaparamita,
the statue of buddhist goddess of transcendental wisdom from East Java
circa 13th century CE. The clothes details shows intricate floral
pattern similar to today traditional Javanese batik. This suggested
intricate batik fabric pattern applied by
canting already existed in 13th century Java or even earlier.
In Europe, the technique is described for the first time in the
History of Java, published in London in 1817 by Sir Thomas
Stamford Raffles who had been a British governor for the island. In 1873 the Dutch merchant
Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today
Tropenmuseum houses the biggest collection of Indonesian batik in the
Netherlands.
The Dutch were active in developing batik in the colonial era, they
introduced new innovations and prints. And it was indeed starting from
the early 19th century that the art of batik really grew finer and
reached its golden period. Exposed to the
Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans.
After the independence of Indonesia and the decline of the Dutch textile industry, the Dutch batik production was lost. The
Gemeentemuseum,
Den Haag contains artifacts from that era.
Due to globalization and industrialization, which introduced automated techniques, new breeds of batik, known as batik cap (
[ˈtʃap]) and batik print emerged, and the traditional batik, which incorporates the hand written
wax-resist dyeing technique is known now as batik tulis (lit: 'Written Batik').
At the same time, according to the
Museum of Cultural History
of Oslo, Indonesian immigrants to Malaysia brought the art with them.
As late as the 1920s Javanese batik makers introduced the use of wax and
copper blocks on Malaysia's east coast. The production of hand drawn
batik in Malaysia is of recent date and is related to the Javanese batik
tulis.
In Sub Sahara Africa, Javanese batik was introduced in the 19th
century by Dutch and English traders. The local people there adapted the
Javanese batik, making larger motifs, thicker lines and more colors. In
the 1970s, batik was introduced to the aboriginal community in
Australia, the aboriginal community at Erna bella and Utopia now develop
it as their own craft.
Culture
In one form or another, batik has worldwide popularity. Now, not only
is batik used as a material to clothe the human body, its uses also
include furnishing fabrics, heavy canvas wall hangings, tablecloths and
household accessories. Batik techniques are used by famous artists to
create batik paintings, which grace many homes and offices.
Indonesia
The Javanese aristocrats
R.A. Kartini in
kebaya and her husband. Her skirt is of batik, with the parang pattern, which was for aristocrats. Her husband is wearing a
blangkon
Depending on the quality of the art work, craftsmanship, and fabric
quality, batik can be priced from several dollars (for fake poor quality
batik) to several thousand dollars (for the finest
batik tulis halus which probably took several months to make). Batik tulis has both sides of the cloth ornamented.
In Indonesia, traditionally, batik was sold in 2.25-metre lengths used for kain panjang or
sarong for
kebaya dress. It can also be worn by wrapping it around the body, or made into a hat known as
blangkon.
Infants are carried in batik slings decorated with symbols designed to
bring the child luck. Certain batik designs are reserved for brides and
bridegrooms, as well as their families. The dead are shrouded in
funerary batik.
Other designs are reserved for the Sultan and his family or their
attendants. A person's rank could be determined by the pattern of the
batik he or she wore.
For special occasions, batik was formerly decorated with gold leaf or dust. This cloth is known as
prada
(a Javanese word for gold) cloth. Gold decorated cloth is still made
today; however, gold paint has replaced gold dust and leaf.
Batik garments play a central role in certain rituals, such as the
ceremonial casting of royal batik into a volcano. In the Javanese
naloni mitoni
"first pregnancy" ceremony, the mother-to-be is wrapped in seven layers
of batik, wishing her good things. Batik is also prominent in the
tedak siten ceremony when a child touches the earth for the first time. Batik is also part of the
labuhan ceremony when people gather at a beach to throw their problems away into the sea.
Contemporary men batik shirt in typical Solo style,
sogan color and
lereng motif.
The wide diversity of patterns reflects a variety of influences,
ranging from indigenous designs, Arabic calligraphy, European bouquets
and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian
peacocks.
Contemporary batik, while owing much to the past, is markedly
different from the more traditional and formal styles. For example, the
artist may use etching, discharge dyeing, stencils, different tools for
waxing and dyeing, or wax recipes with different resist values. They may
work with silk, cotton, wool, leather, paper, or even wood and
ceramics.
Popularity
In Indonesia, batik popularity has had its tidings. Historically, it
was essential for ceremonial costumes and it was worn as part of a
kebaya dress, which was commonly worn every day. According to Professor Michael Hitchcock of the
University of Chichester
(UK), batik "has a strong political dimension. The batik shirt was
invented as a formal non-Western shirt for men in Indonesia in the
1960s, not long after the country's birth.
[10]
It waned from the 1960s onwards, because more and more people chose
western clothes as fashionable, decimating the batik industry.
However, batik clothing has revived somewhat in the turn of 21st
century, due to the effort of Indonesian fashion designers to innovate
batik by incorporating new colors, fabrics, and patterns. Batik is a
fashion item for many young people in Indonesia, such as a shirt, dress,
or scarf for casual wear.
Kebaya
is regarded as a formal attire for women. It is also acceptable for men
to wear batik in the office or as a replacement for jacket-and-tie at
certain receptions. After the UNESCO recognition for Indonesian batik as
intangible world heritage on October 2, 2009, Indonesian administration
has asked Indonesians to wear batik on Friday, and wearing batik every
Friday is encouraged in all government offices and private companies
ever since.
Batik had helped improve the
small business
local economy, batik sales in Indonesia had reached Rp 3.9 trillion
(US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006.
The value of batik exports, meanwhile, increased from $14.3 million in
2006 to $22.3 million in 2010.
The existence and use of batik was already recorded in the 12th
century and the textile has since become a strong source of identity for
Indonesians,
and to lesser extent Malaysia and Singapore. Batik is featured in their national airlines uniform, the flight attendants of
Singaporean,
Garuda Indonesia and
Malaysian
national airlines wear batik prints in their uniform. Although the
uniforms are actually not real batik because the production is not using
the traditional way but using mass produced techniques. The female
uniform of Garuda Indonesia flight attendants is more authentic modern
interpretations of kartini style
kebaya and batik
parang gondosuli motif, which also incorporate
garuda's wing motif and small dots represent
jasmine.
The batik motif symbolizes the ‘Fragrant Ray of Life’ and endows the wearer with elegance.
Malaysia, Singapore, Brunei
Batik was mentioned in the 17th century
Malay Annals. The legend goes when
Laksamana Hang Nadim was ordered by
Malacca King, Sultan Mahmud, to sail to India to buy 140 pieces of
serasah
cloth (batik) with 40 types of flowers depicted on each. Unable to find
any that fulfilled the requirements explained to him, he made up his
own. On his return unfortunately, his ship sank and he only managed to
bring four pieces, earning displeasure from the Sultan.
Today,
Malaysian batik can be found on the east coast of Malaysia such as
Kelantan,
Terengganu and
Pahang, while batik in
Johor clearly shows
Javanese and
Sumatran influences since there are a large number of Javanese and Sumatran immigrants in southern Malaysia.
The most popular motifs are leaves and flowers. Malaysian batik often
displays plants and flowers to avoid the interpretation of human and
animal images as idolatry, in accordance with local Islamic doctrine.
However, the butterfly theme is a common exception. The Malaysian batik
is also famous for its geometrical designs, such as spirals. The method
of Malaysian batik making is different from those of Indonesian
Javanese batik, the pattern being larger and simpler, seldom or never
using the
canting to create intricate patterns, it relies heavily on the
brush painting method to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik.
Thailand
Batik
sarongs are also designed as wraps for casual beachwear. In the southern Thai island of
Koh Samui,
batik is easily found in the form of resort uniforms, or decorations at
many places, and is also used for the locals' casual wear in the forms
of sarongs or shirts and blouses. It is the most common, or even
symbolic product for those visiting Koh Samui Island. The Batik of Samui
mostly shows the beauty and attractions of the paradise island and its
culture, such as the coconut shells, the beaches, palm trees, the
island's tropical flowers, fishing boats, its rich water life and
southern dancer, Papthalung.
Azerbaijan
The batik pattern can be found in its women's silk scarves, known as
kelagai, which have been part of women's clothing there for centuries.
Kelagai were first produced in the village of Basgal and were created
using the stamping method and natural colors. The cocoons were
traditionally processed by women while the hand-printing with hot wax
was only entrusted to male artists. The silk spinning and production of
kelagai in Azerbaijan slumped after the fall of the USSR. It was the
Inkishaf Scientific Center that revived kelagai in the country. Kelagai
is worn by women both old and young. Young women prefer bright colors,
while older women wear dark colors.
China
Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The
Miao,
Bouyei and
Gejia
people use a dye resist method for their traditional costumes. The
traditional costumes are made up of decorative fabrics, which they
achieve by pattern weaving and wax resist. Almost all the Miao decorate
hemp and cotton by applying hot wax then dipping the cloth in an indigo
dye. The cloth is then used for skirts, panels on jackets, aprons and
baby carriers. Like the Javanese, their traditional patterns also
contain symbolism, the patterns include the dragon, phoenix, and
flowers.
Types and Variations of Batik
Sacred Dance of
Bedhoyo Ketawang. The
prada (gilded) batik is wrapped around the body.
Javanese court batik in deep brown color
Cirebon batik depicting sea creatures
Javanese Kraton Batik (Javanese court Batik)
Javanese
kraton (court) Batik is the oldest batik tradition known in Java. Also known as
Batik Pedalaman (inland batik) in contrast with
Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (
sogan),
sometimes against a white background. The motifs of traditional court
batik have symbolic meanings. Some designs are restricted: larger motifs
can only be worn by royalty; and certain motifs are not suitable for
women, or for specific occasions (e.g., weddings).
The palace courts (
keratonan) in two cities in
central Java are known for preserving and fostering batik traditions:
- Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
- Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman
court. Usually Yogya Batik has white as the background color. Fine
batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.
Pesisir Batik (Coastal Batik)
Pesisir batik is created and produced by several areas on the
northern coast of Java and on Madura. As a consequence of maritime
trading, the Pesisir batik tradition was more open to foreign influences
in textile design, coloring, and motifs, in contrast to inland batik,
which was relatively independent of outside influences. For example,
Pesisir batik utilizes vivid colors and
Chinese motifs such as clouds,
phoenix,
dragon,
qilin,
lotus,
peony, and floral patterns.
- Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java
province. Compared to other pesisir batik production centers, the batik
production houses in this town is the most thriving. Batik Pekalongan
was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
- Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon Kraton. This cloud motif shows Chinese influence.
- Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
- Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
- Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.
Indonesian Batik from other areas
Java
- Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the "Priangan" region, a cultural region in West Java and Northwest Java (Banten). Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan
Batik which demonstrate Cirebon Batik influences, and also Banten Batik
that developed quite independently and have its own unique motifs. The
motifs of Priangan batik are visually naturalistic and strongly inspired
by flora (flowers and swirling plants) and fauna (birds especially
peacock and butterfly). The variants and production centers of Priangan
Batik are:
- Ciamis
Batik. Ciamis used to rival other leading batik industry centers in
Java during early 20th century. Compared to other regions, Ciamis batik
is stylistically less complex. The flora and fauna motifs known as ciamisan
are drawn in black, white, and yellowish brown. Motifs are similar to
coastal Cirebon Batik, but the thickness of coloring share the same
styles as inland batik. The thick coloring of Ciamis batik is called sarian.
- Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading
(yellowish ivory), indigo, dark red, dark green, yellowish brown, and
purple. Ivory stays dominant in the background. Despite applying
traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
- Tasikmalaya
Batik. This type of batik is produced in the Tasikmalaya district, West
Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
- Kuningan Batik.
- Banten Batik. This type of batik employs bright and soft pastel colors. It represents a revival of a lost art from the Sultanate of Banten,
rediscovered through archaeological work during 2002-2004. Twelve
motifs from locations such as Surosowan and several other places have
been identified.
- Java Hokokai Batik. This type is characterized by flowers in a
garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s. The long fabrics usually is done in two pattern called pagi/sore
(Indonesian: morning and afternoon) refer to two type of motifs in one
sheet of fabric, as the solution of cotton fabrics scarcity during war
time. Another recognizable traits of Java Hokokai batik are the Japanese
influenced motifs; such as sakura (cherry blossoms) and seruni or kiku
(chrysanthemums, Japan national flower and the symbol of the emperor),
butterflies (symbol of female elegance in Japanese culture), and
overlaying intricate details that has made Jawa Hokokai batiks as one of
the most notable, noble and beautiful batik art forms in Asia.
-
Javanese batik with bird and floral motifs
-
Batik Buketan Pekalongan shows European flower bouquet
-
Batik Lasem with its typical bright red
-
Batik Java Hokokai demonstrated Japanese influenced motifs
Bali
- Balinese
Batik. As Balinese Hindu culture does not restrict the depiction of
images, the Balinese have traditionally focused more on sculpture and
painting than on textiles. Balinese batik was influenced by neighbouring
Javanese Batik and is relatively recent compared to the latter island,
having been stimulated by the tourism industry
and consequent rising demand for souvenirs (since the early 20th
century). In addition to the traditional wax-resist dye technique and
industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye).
Balinese batik is characterized by bright and vibrant colors, which the
tie dye technique blends into a smooth gradation of color with many
shades.
Sumatra
- Jambi Batik. Trade relations between the Melayu Kingdom
in Jambi and Javanese coastal cities have thrived since the 13th
century. Therefore, the northern coastal areas of Java (Cirebon, Lasem,
Tuban, and Madura) probably influenced Jambi in regard to batik. In
1875, Haji Mahibat from Central Java revived the declining batik
industry in Jambi. The village of Mudung Laut in Pelayangan district is
known for producing Jambi batik. This Jambi batik, as well as Javanese
batik, influenced the batik craft in the Malay Peninsula.
- Minangkabau Batik. Minangkabau ethnic also have batik called as Batiak Tanah Liek
(Clay Batik). They use clay as dye for batik. The fabric was immersed
in clay for more than 1 day to make permanent color and after that they
design the motif of animal and flora
- Aceh Batik.
- Palembang Batik.
- Riau Batik.
Painting
Out of its traditional context as fabrics with pattern, batik can also be as a medium for artists to make traditional or modern
paintings or artworks. Such arts can be categorized in the normal categorization of arts of the west.
-
Batik painting depicting two Indian women
-
Javanese batik painting depicting buddhist deity
-
-
Indonesian modern batik painting.
-
-
Batik Collectors
- Santosa Doellah has been recognised by The Indonesian Museum of
Records as having the world’s largest collection of ancient
Chinese-influenced Indonesian batik textiles. In total his collection
consists of approximately 10,000 Batik pieces.
- The late mother of United States president Barack Obama, Ann Dunham was an avid collector of Batik. In 2009, an exhibition of Dunham's textile batik art collection (A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks) toured six museums in the United States, finishing the tour at the Textile Museum.
- Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.
Technique
-
Batik painting in Java during
colonial period. Observe many different varieties of patterns used.
-
-
-
-
Bambang Oetoro demonstrates batik painting technique in the first batik gallery in
Amsterdam, 1977.
Melted
wax (Javanese:
malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of
beeswax and
paraffin
wax. The beeswax will hold to the fabric and the paraffin wax will
allow cracking, which is a characteristic of batik. Wherever the wax has
seeped through the fabric, the dye will not penetrate. Sometimes
several colours are used, with a series of dyeing, drying and waxing
steps.
Thin wax lines are made with a tjanting, a wooden handled tool with a
tiny metal cup with a tiny spout, out of which the wax seeps. After the
last dyeing, the fabric is hung up to dry. Then it is dipped in a
solvent
to dissolve the wax, or ironed between paper towels or newspapers to
absorb the wax and reveal the deep rich colors and the fine crinkle
lines that give batik its character. This traditional method of batik
making is called
batik tulis.
For batik prada, gold leaf was used in the Yogjakarta and Surakarta
area. The Central Javanese used gold dust to decorate their prada cloth.
It was applied to the fabric using a handmade glue consisting of egg
white or linseed oil and yellow earth. The gold would remain on the
cloth even after it had been washed. The gold could follow the design of
the cloth or could take on its own design. Older batiks could be given a
new look by applying gold to them.
Industrialization of Technique
Batik cap (copper block stamp) as a method to apply wax on fabrics
The application of wax with a
tjanting tool is done with great
care and therefore is very time-consuming. As the population increased
and commercial demand rose, time-saving methods evolved. Other methods
of applying the wax to the fabric include pouring the liquid wax,
painting the wax with a brush, and putting hot wax onto pre-carved
wooden or copper block (called a
cap or
tjap) and
stamping the fabric. The tjanting is used like a pen on the cloth.
The invention of the
copper block (
cap)
developed by the Javanese in the 20th century revolutionized batik
production. By block printing the wax onto the fabric, it became
possible to mass-produce designs and intricate patterns much faster than
one could possibly do by using a
tjanting.
Batik print is the common name given to fabric that incorporates batik pattern without actually using the
wax-resist dyeing
technique. It represents a further step in the process of
industrialization, reducing the cost of batik by mass-producing the
pattern repetitively, as a standard practice employed in the worldwide
textile industry.
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