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Batik, the Traditional Fabric of Indonesia

It would be impossible to visit or alive in Indonesia and not be exposed to ane of the land's nearly highly adult art forms, batik. On your first visit to a batik shop or factory you will undoubtedly feel an overwhelming stimulation of the senses - due to the many colors, patterns and the actual scent of batik. Just through repeated visits and a scrap of study will the types of designs and their origins become credible.

The word batik is idea to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means niggling dot, driblet, point or to make dots. Batik may likewise originate from the Javanese word 'tritik' which describes a resist procedure for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, like to tie dye techniques. Another Javanese phase for the mystical feel of making batik is "mbatik manah" which means "drawing a batik blueprint on the middle".

A Cursory History

Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can exist traced back 1,500 years agone to Egypt and the Centre East. Samples accept also been found in Turkey, India, China, Japan and Due west Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have adult batik to its present twenty-four hour period art form as the highly developed intricate batik establish on the island of Java in Indonesia.

Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, nearly scholars believe that the intricate Javanese batik designs would only take been possible afterward the importation of finely woven imported cloth, which was first imported to Indonesia from Republic of india around the 1800s and afterwards from Europe beginning in 1815. Material patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (Advertisement 800), however in that location is no conclusive bear witness that the fabric is batik. Information technology could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.

Some experts experience that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear equally certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. Information technology is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.

Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many fine art forms, such as silver decoration, wayang kulit (leather puppets) and gamelan orchestras. In some cases the fine art forms overlap. The Javanese dalang (puppeteer) not simply was responsible for the wayang puppets only was also an important source of batik patterns. Wayang puppets are usually made of caprine animal skin, which is so perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets equally guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the material.

Other scholars disagree that batik was but reserved as an art form for royalty, as they as well feel its apply was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to use wax to the cloth) with a reasonable amount of skill, certainly as important every bit cookery and other housewifery arts to Central Javanese women.

Selection and Training of the Fabric for Batik

Natural materials such every bit cotton wool or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must exist of a high thread count (densely woven). It is of import that textile of high quality have this loftier thread count so that the intricate design qualities of batik can be maintained.

The cloth that is used for batik is done and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern twenty-four hour period techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple and then it could best receive the wax pattern. With the finer motorcar-made cotton bachelor today, the pounding or ironing processes can exist omitted. Normally men did this step in the batik process.

Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The fabric quality is often written on the edge of the design. A lesser quality material which is frequently used in Blaco.

Batik Design Tools

Although the art course of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is continued to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the textile.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied blueprint furnishings. The spout tin can vary from i mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be fatigued with canting that take up to 9 spouts. Sometimes a wad of cotton fiber is attached over the mouth of the canting or fastened to a stick that acts every bit a brush to fill in very large areas.

For close-up pictures of canting.

Wajan

The wajan is the container that holds the melted wax. It looks like a small wok. Usually it is fabricated of iron or earthenware. The wajan is placed on a modest brick charcoal stove or a spirit burner chosen an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins tin can exist added to increase adhesiveness and animal fats create greater liquidity.

The all-time waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; 3 types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can exist very closely guarded secrets. Varying colors of wax make it possible to disguise unlike parts of the blueprint through the various dying stages. Larger areas of the blueprint are filled in with wax that is cheaper quality and the college quality wax is used on the more intricately detailed sections of the blueprint.

The wax must be kept at the proper temperature. A wax that is also cool will clog the spout of the canting. A wax that is likewise hot will catamenia too speedily and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in gild to clear the canting of any obstructions.

Cap

Creating batik is a very time consuming arts and crafts. To meet growing demands and brand the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher book of batik product compared to the traditional method which entailed the tiresome awarding of wax past hand with a canting.

Each cap is a copper block that makes up a design unit of measurement. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.

The cap must be precisely made. This is peculiarly true if the pattern is to be stamped on both sides of the fabric. Information technology is imperative that both sides of the cap are identical and then that pattern will be consequent.

Sometimes cap are welded between two grids similar pieces of copper that will brand a base of operations for the top and the lesser. The block is cut in one-half at the centre so the pattern on each half is identical. Cap vary in size and shape depending on the blueprint they are needed for. It is seldom that a cap volition exceed 24 cm in bore, every bit this would make the handling too difficult.

Men ordinarily handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many equally ten sets of cap. The usage of cap, equally opposed to canting, to apply the wax has reduced the corporeality of time to make a cloth.

Today, batik quality is divers by cap or tulis, the second pregnant paw-drawn designs which apply a canting, or kombinasi, a combination of the two techniques.

Dyes

Traditional colors for Primal Javanese batik were fabricated from natural ingredients and consisted primarily of beige, blue, brown and black.

The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo found. The leaves were mixed with molasses sugar and lime and left to stand up overnight. Sometimes sap from the Tinggi tree was added to human action as a fixing amanuensis. Lighter blue was achieved by leaving the textile in the dye bath for short periods of fourth dimension. For darker colors, the cloth would exist left in the dye bath for days and may have been submerged upwards to viii - 10 times a twenty-four hours.

In traditional batik, the 2nd color applied was a brownish colour called soga. The color could range from calorie-free yellow to a dark chocolate-brown. The dye came from the bark of the Soga tree. Another colour that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.

The last hue depended on how long the textile was soaked in the dye bath and how often it was dipped. Skilled artisans tin can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellowish; majestic was obtained by mixing blue and red. The soga brownish color mixed with indigo would produce a night blue-black color.

Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is and then skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Oft designs are traced from stencils or patterns called pola. Another method of tracing a design onto a material is past laying the material on a glass tabular array that is illuminated from beneath which casts a shadow of the pattern onto the material. The shadow is then traced with a pencil. In large batik factories today, men ordinarily are in charge of drawing the patterns onto the cloth. Click here to see the step-by-pace process of making batik.

Waxing

One time the blueprint is fatigued out onto the cloth information technology is and then prepare to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the material. Commonly this is white or cream.

Female workers sit down on a low stool or on a mat to utilize the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to permit the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.

Artisans use the wax to retrace the pencil outline on the fabric. A pocket-sized drop material is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to forestall whatever accidental spillage, which profoundly reduces the value of the terminal fabric. The left hand is placed behind the fabric for support. The spout does not affect the fabric, merely it held only in a higher place the area the artisan is working on. To ensure the design is well defined, batik is waxed on both sides. True tulis batik is reversible, equally the design should be identical on both sides.

The about experienced artisans ordinarily do get-go waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. And so a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never exist completely removed then information technology is imperative that the artisans are very careful.

If the cap method is utilized, this procedure is unremarkably done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded textile approximately 30 centimeters square. When this material is saturated with wax it acts like a stamp pad. The cap is pressed into the material until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of textile.

Better quality batik may be waxed utilizing canting in ane part of Indonesia and so sent to another role of Republic of indonesia where the cap part of the process is completed. On improve quality cap fabric great care is taken to match the pattern exactly. Lower course batik is characterized by overlapping lines or lightened colored lines indicating the cap was non applied correctly.

Dyeing

After the initial wax has been practical, the fabric is set up for the beginning dye bathroom. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.

The waxed fabric is immersed in the dye bath of the first color. The corporeality of fourth dimension information technology is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The cloth is then put into a common cold h2o bath to harden the wax.

When the desired color has been achieved and the cloth has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or some other color at a later stage in the dying process.

When an area that has been covered with wax previously needs to be exposed so that it tin be dyed, the applied wax is scraped away with a modest pocketknife. The area is then sponged with hot water and resized with rice starch before information technology is re-immersed in the subsequent dye bath.

If a marble result is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth peculiarly on indigo color batik. On brown batik, however, the marble effect was accepted.

The number of colors in batik represents how many times information technology was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are commonly reflected in the cost of the cloth. Nowadays, chemical dyes accept pretty much replaced traditional dyes, so colors are countless and much more liberally used.

Special Treatments to the Batik Cloth

Prada or Aureate Material

For special occasions, batik was formerly decorated with gold lead or gold grit. This cloth is known as Prada cloth. Aureate leaf was used in the Jogjakarta and Surakarta expanse. The Cardinal Javanese used gilt dust to decorate their Prada material. Information technology was applied to the material using a handmade gum consisting of egg white or linseed oil and yellowish world. The aureate would remain on the cloth even after information technology had been washed. The gold could follow the design of the material or could take on its own design. Older batiks could be given a new look past applying gilded to them. Gilt decorated material is still made today; nevertheless, gold paint has replaced golden dust and leaf.

Batik Designs

Although there are thousands of dissimilar batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, information technology was thought that certain material had mystical powers to ward off sick fortune, while other pieces could bring good luck.

Certain batik designs are reserved for brides and bridegrooms likewise as their families. Other designs are reserved for the Sultan and his family unit or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.

In general, in that location are two categories of batik design: geometric motifs (which tend to be the earlier designs) and gratuitous form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.

Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north declension of Java, virtually Pekalongan and Cirebon, take been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and deject designs.

High manner designs drawn on silk are very popular with wealthy Indonesians. These uncommonly high-quality pieces can accept months to create and costs hundreds of dollars.

Kawung

Kawung is another very sometime blueprint consisting of intersecting circles, known in Java since at least the thirteenth century. This pattern has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in Eastward Java. For many years, this pattern was reserved for the regal court of the Sultan of Jogjakarta. The circles are sometimes embellished within with two or more small-scale crosses or other ornaments such every bit intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (saccharide palm).

Ceplok

Ceplok is a general proper name for a whole serial of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok tin can as well correspond abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall upshot is non unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of beast and human forms in a realistic style. To get effectually this prohibition, the batik worker does not attempt to express this matter in a realistic class. A single chemical element of the form is chosen and and then that element is repeated again and again in the design.

Parang

Parang was one time used exclusively by the royal courts of Central Java. Information technology has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-similar segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands comprise some other design element, a line of lozenge-shaped motifs telephone call mlinjon. In that location are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its nigh classical form consisting of rows of softly folded parang. This motif too appears in media other than batik, including woodcarving and every bit ornamentation on gamelan musical instruments.

Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such every bit Woolite, Silky or Halus. Fine batik in Republic of indonesia is washed with the lerak fruit which can exist purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry out batik in a shady surface area and not in direct sunlight.

Modernistic Batik

Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of colour that modern designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes tin can produce any colour that they wish to achieve. Mod batik still utilizes canting and cap to create intricate designs.

Fashion designers such as Iwan Tirta have aggressively introduced batik into the globe manner scene. They take done much to promote the Indonesian fine art of batik wearing apparel, in its traditional and mod forms.

The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in ii 1/four meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses as well include furnishing fabrics, heavy sail wall hangings, tablecloths and household accessories. Batik techniques are used past famous artists to create batik paintings which grace many homes and offices.

Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is 1 of these materials.

During your stay in Indonesia, take reward of your time here to learn more about the fascinating world of batik. Take a batik wearing apparel or men's business organisation shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to run into for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You volition come away with sense of wonder over the fourth dimension, endeavour and patience put into the creation of each batik cloth. You too may soon grow to beloved the distinctive waxy aroma of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry volition likewise ensure that this fine art form grows to even greater peaks.

Batik Domicile Furnishings

I of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent habitation furnishings made of batik. Equally the material is truly unique to Indonesia, this is definitely the all-time place to buy authentic batik! Batik factories can product batik to your guild, with custom colors and designs in large rolls, ready to use for your dwelling house decoration projects. The 100% cotton material is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops as well have design consultants who tin can assist yous with the layout of the room you are planning to design with your batik cloth and piece of work with you on additional effects (pillows, bed covers, and cushions) to complete your color scheme.

If y'all are unable to visit Indonesia, but are however interested in batik cloth, the best place to start is past looking for batik prints in major fabric stores, or shop online for batik material. With the beautiful batik designs bachelor, y'all will be on your way to creating your ain batik creations for your home. The timeless designs of beautiful batik motifs have been utilized by skilled fabric designers around the world who want to share the dazzler of batik with an even wider audience beyond the globe. You'll soon be getting compliments from visitors to your home most the cute dwelling house furnishings fabricated of batik, or your new wardrobe pieces!

Tailored Batik Clothing

Tailors and Dressmakers throughout Republic of indonesia can custom tailor wear made from batik for office wear, daily wearable or elegant occasions. See Men'due south and Women's Tailoring in Indonesia for more information.

Additional information on Batik in Indonesia

Batik Designs: A Cultural Development Influenced by Changes in Time & Environs
Batik Canting - cute wall hangings from antique batik
Canting Batik - traditional manus batiking tool from Republic of indonesia

Kebaya - Indonesian Traditional Apparel for Women - read about the blouse that is worn with the batik kain (sarong) in much of Indonesian traditional apparel.

Picket a YouTube video past Piet Verboven of the batik making process!

Hand Dying - tips for dying batik

This page was awarded the Gold Crane Creativity award for its contributions towards providing instructional information on batik.

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Source: https://www.expat.or.id/info/batik.html