Sabtu, 20 November 2010

BATIK MOTIF ANCIENT PHILOSOPHY SPECIAL BETAWI


Batik betawi is not a solo batik, batik Cirebon, or batik lasem because betawi not produce batik.Betawi not like the cities in Java, which produces batik with a certain style so that in those cities could be identified through the batik motifs and corak.Kalaupun in Betawi batik ever growing business, entrepreneurs and craftsmen come from cities in Java, which is famous as a producer of batik. Betawi batik batik is unique among other local specialty. The uniqueness that is present in striking colors, as well as with his motive.



As a result, if anyone asks, typical of batik betawi like what ..? Certainly no one can answer with certainty. If you see some batik collections at the Museum of Textiles, textile motifs and patterns called Batik Batavia matching batik-batik coastal usually brightly colored. This was corroborated by a statement Suwati Kartiwa, author of many books on Indonesian culture, especially textiles, in the "Batik Betawi: The Cultural Perspective Creative" that elements of the natural environment Betawi same coastal area coastal batik so much favored in Batavia. Possible origin of users also come from a variety of batik-producing areas, they come together and stay long in Batavia spread their culture in the form of textiles.



Typical betawi batik cloth that is woven sarong by accentuating Tumpal, which form a triangular geometric motifs as the fence line of the head cloth and cloth body. When worn, Tumpal must be on the front. Phoenix motif also included in the characteristic of batik betawi as a symbol of happiness. Betawi batik motives are more focused on the artistic culture of the Betawi culture is influenced by Arab, Indian, Dutch, and Chinese. Judging from his motives, batik betawi split of some kind, namely Ondel-ondel, Nusa coconut, Ciliwung, Rasamala, and Salakanegara.

From : Banget Batik Indonesia (KBBI)

BATIK SOLO AND YOGYAKARTA




From work-in Solo and Yogyakarta royal surroundings 17.18 and 19 centuries, batik and widespread, especially in the area of Java Island. Batik initially just a hobby of the royal family in the ornate through clothing. But subsequent developments, pleh society developed into a commodity perdagamgan batik.

Solo Batik is famous for its style and its traditional batik pattern in the stamp and in the process of batik he wrote. The materials used for staining still remains a lot of use of domestic materials such as Java soga already known since the first. The pattern remained among others, famous for "Sidomukti" and "Sidoluruh".

While the origins of batik of Yogyakarta region known since the kingdom of Mataram into any raj-I with a Panembahan Senopati. The first area is the village of batik Plered. Batik work at that time confined within the royal family is done by the queen's ladies auxiliary. From here batik work extends to the first trap on the other the wife of the royal family of courtiers and soldiers. At the official ceremony the royal family empire both men and women wearing clothes with kombonasi batik and striated. Therefore, this kingdom received a visit from the people and the people interested in the clothes worn by the royal family and imitated by the people and finally meluaslah batik out of the palace walls.

As a result of good old time of war between the families of the kings as well as between the Dutch colonial past, so many families of the king who fled and settled in the area of new areas, among others, to Banyumas, Pekalongan, and East kedaerah Ponorogo, Tulungagung and sebagainy a. Meluasny a local batik to areas stricken area, according to the historical development of Indonesian struggle began the 18th century. Families who fled the palace this is developing all over the island of Java, batik is now and grow according to nature and the new area.

Diponegoro's war against the Netherlands, urged the prince and his family and his followers had to leave the kingdom. They then spread towards the East and West. Then in the new areas that the family and followers of Prince Diponegoro to develop batik.

Go to Solo and Yogyakarta Batik East refine existing style batik in Mojokerto and Tulung Court. It also spread to Gresik, Surabaya and Madura. Medium westward batik growing in Banyumas, Pekalongan, Tegal, Cirebon.

(from: www.batikalhadi.com)

Three Influential Religion On Batik Art


Three Influential Religion On Batik Art
Since the days of the Majapahit Kingdom, batik art is influenced by three religions, namely, Hinduism, Buddhism, and Islam. Most of the Surakarta palace batik collection, Mangkunegaran, Yogyakarta, and Pakualaman get the effect of these three religions.

More or less similar pattern created from the fourth this palace, only differ in the modification. The influence of Hindu motifs seen in the picture eagle, flame, bird or tree death. Meanwhile, more swastika motifs derived from Buddhist influence.

Abstract motifs are present when the influence of Islam. Prohibition of religion in drawing living things in one piece, making batik artists deal with the form of abstract animal images.
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The Beauty of Indonesian Culture in Batik



Indonesia is an archipelago country has many ethnic groups. Effect of geographic and ethnic diversity makes Indonesia is rich in cultural diversity. However, lately one of Indonesia's intellectual property such as traditional batik motifs, many plagiarized and stolen by the craftsmen from other countries.



So, what can we do? There are many ways to be able to believe is owned by Indonesian batik. One way is an event held by the magazine PRODO in collaboration with Yayasan Batik Indonesia, the Batik Fashion Design Competition (LRBB) 2008. In particular, as reported in its release, Alberthiene Endah, the magazine's editor PRODO, hopes to inspire people LRBB lovers of fashion, be it creative ideas in modern batik display from the designers and for consumers, able to foster a love to wear batik.

LRBB open to the public with participants from all over Indonesia. With a team of judges, among others Guruh Soekarno Putra, Martha Tilaar, Yultin Ginanjar Kartasasmita, Samuel Wattimena, Barli Asmara, Okky Asokawati, and Alberthiene Endah himself as Chairman of the jury.


Mengulik little about batik, batik originated from the Javanese, the "amba", or wrote, and "point". The word itself refers batik cloth with a pattern generated by the materials 'night' (wax) is applied onto the fabric, so that resist the entry of dye. History records that the activity of batik has become a skill that can become a livelihood by the women of the past. Therefore, women batik became the exclusive job until the discovery of 'Batik Cap'.

from: http//conectique.com

History of Indonesian Batik From Around the Javanese kingdom of Majapahit Up

History of Indonesian Batik From Around the Javanese kingdom of Majapahit Up
Batik is used by people of Indonesia now, and even exported abroad, actually has a long history. The origins of Indonesian batik was strongly associated with the development of the kingdom of Majapahit and the spread of Islam in Java. This happened around the end of the 18th century. Beginning batik clothing made of the kings in the Kingdom of Majapahit, and increasingly extends into the kingdom of Mataram, Yogyakarta and Solo. When in Kerajaam Majapahit, the servants make batik to be worn by kings, family members and followers of the king. Where the followers of many who live outside the kingdom. Therefore, this batik culture gradually spread to ordinary people in their homes. At that time, batik became part of the work of the women to fill spare time and earn a living. So batik clothes are no longer limited to the king and his family, but become people's everyday clothing, both for women and men. After the 20th century, around 1920, which became known batik broad and growing popularity of Islam in Indonesia, many students in central Java, which makes the production of batik as the economic motor of society. Staining materials to batik when it was still very traditional and natural, that is using the color of processed Morinda citrifolia tree, indigo, height, soga. Used was salt and soda ash soil sludge used as raw soda.

Batik art in the area of Mojokerto and Tulung the Great, has an origin of the Majapahit kingdom. Antiquity, in Tulung Agung which is still part of the Majapahit Kingdom territory controlled by the Duke of Kalang who defected from the Kingdom Mahapahit. However, batik culture is still carried by the community. And it spread to the Mojokerto area. So until now known all kinds of batik Mojokerto. At that time white cloth woven batik used alone. With the influx of Chinese traders who bring drugs and stamp techniques, batik finally started in mass production with engineering stamp. Culture baitk batik or batik stamp is continues to spread to other areas such as Psychology, and Kediri.

History of Batik Indonesia extends to the East Java area, namely Ponorogo, Pekalongan and Banyumas. For the purpose of spreading the teachings of Islam to the region of East Java by one of the king of Majapahit, the culture was also deployed there batik. With the onset of Dutch colonial rule was finally the royal family in Central Java, many who fled to the west and east Java wilaya, to batik continued to expand into other areas such as: Cirebon, Ciamis, Tegal, Kebumen, Holy, and finally almost complete throughout the city in the and outside the island of Java.

from:http//batikdamayanti.com/

BATIK KAULA MUDA



batik is contested by neighboring countries and could be used by a number of international students every Monday at one private university in Bandung even Foreign Affairs Ambassador in Indonesia, but there's nothing wrong when batik comes with a different look such as young children currently use. Batik Kimono simple model but it looks beautiful and elegant ... Everytime, Every Moment We Can use Batik ... Starting as a gift as a stylish and trendy young people. Not just a regular batik but made special Indonesian batik print and survive long enough though continues to be worn. The colors do not fade away. The more used the more interesting. Especially when I take a walk while wearing the modern batik. As if I was the center of attention, they say "Nice model and good Colour." Even my Contacts from Chinesy, USA says that he likes Batista. Makes me look different and be a young Indonesian woman who really is. Beautiful and charming with the feel of Indonesia yamg adapted to environmental conditions

Keeping Batik Just For Not So Trends



Have you opened the cupboard and count the number of batik clothes there? Or just sit in a coffee shop and count the number of people dressed in batik in front of you?

Since the recognition of batik as a cultural heritage objects not humans Indonesia by UNESCO one year ago, followed by determination of October 2 as the Day of National Batik by President Susilo Bambang Yudhoyono, the Indonesian community enthusiasm soared to wear batik.

If 10 years ago may only parents who wear batik cloth-it was as long or formal shirt, then now teenagers and young age were more comfortable on the move berbusanakan batik.

Batik no longer appear in official events are boring, but also in casual styles `nan` chic and fresh.
Batik evolved in all forms of clothing along with the imagination and creativity of renowned Indonesian fashion designers.

In addition to a row of luxury high fashion design, batik has also appeared in various desains relaxed a much simpler with much cheaper price.

From the President, professionals, famous artists, school children, to the pedicab driver on a street corner, batik wear it because it knows no social status.

But the euphoria did not seem enough for an Edward Hutabarat. This prestigious national fashion designers like to invite the people of Indonesia are not only familiar with sheet after sheet of batik physically, but also know the story behind the making of batik.

"Someone may have tens of batik fashion collections and is able to mention the differences of each pattern with a fluent, but not everyone knows" backstage "(the story behind) every kind of batik," Edward said in launching the campaign "Love On Batik Never never fade" in National Museum, Jakarta, on Friday.

Shown in batik shirt short sleeve blue patterned with white ground, the man born Tarutung, North Sumatra, had expressed concern when batik only a momentary trend is missing so the movement of the time.

Therefore, he stressed the need to build awareness in Indonesian society for batik is not only a momentary trend. "In order for identity and love of batik in modern life does not fade," he said.

Indonesian society, he said, carry a great responsibility to preserve batik as the nation's cultural heritage.

For that, he recommends everyone knows "backstage" every kind of batik in Indonesia, batik is a minimal collection.

"Do not just batik, but a culinary example of the area, how the life of society, or other art," said the man who claimed to have traveled to Cirebon, Pekalongan, Yogya, Solo and some other batik-producing city.

He proudly showed a collection of photographs into evidence part of his journey to find the root of each piece of batik cloth that is characteristic of regions that make them.

"Batik is not just the physical appearance of a typical Indonesian fashion, but there is a long process, taste and aesthetics are wrapped with a feeling in the making," he said.

Edward the evening featuring some of his latest collection confirms that any scratches in the process of making batik canting involve emotion and book the many aspects of life surrounding environment.

Indonesian Tradition

Indonesian people to know exactly when and origin of the word batik batik into the debate until now although some parties mentioned batik has become part of the Indonesian people's life since the era of Majapahit.

But a family photo of RA Kartini is older than 100 years ago showed that more than 100 years ago the people of Indonesia, especially Java, have been very familiar with batik.

In Indonesia, batik tradition handed down from generation to generation, from mother to son, from grandmother to granddaughter.

Therefore, in the ancient times of origin motif can be recognized from certain family and shows the status of a person.

According to Edward, setihehdaknya need 20-25 years until someone recognized eminent batik artists.

"It takes 20-25 years to be able to draw all kinds of batik, because batik is more than just drawing on fabric, this is the work done with heart," he said.

A number of cities in Java to Madura Island known for their style batik cloth that is very typical.

Batik-batik from coast-Pekalongan, Cirebon, Tuban, has a style and color that is more diverse because the interaction of local residents with the settlers.

Foreign influences that enrich the creations of batik, to the point that in the era of European colonization appear tulip motif and horse-drawn carriage in batik.

Meanwhile, batik-batik from Yogyakarta and Solo tend to take the color of the soil with complex motives and small.

Edward and share tips on caring for fabric or batik fashion for color remains bright, not faded and durable.

He says, to wash a piece of batik fabric collection which was about an 50-year needs special treatments.

"I use hot water and set up four buckets of water to wash one sheet of ancient batik cloth," she said, accompanied by the Senior Manager of Product Development PT KAO Indonesia Seiji Kikuta.

Men born August 31, said one bucket of hot water while the other three buckets of cold water.

"Dishwashing soap dissolved in hot water, then soaked cloth. Then the cloth was moved to another bucket three turns, "he said.

Then, he said, batik cloth stacked with dry towel and dried by using peralon (plastic pipe) or bamboo.

While Kikuta that afternoon wearing a red colored long-sleeve batik mengakubahwa OBC understands the difficulties and concerns of consumers Indonesian batik while washing her favorite.

And that's what inspires a global company that has more than 25 years in Indonesia is to offer new innovations; laundering modern, practical and gentle to keep the batik color does not fade.

"We want to give a special innovation for the Indonesian people," he said in Bahasa Indonesian and English.

Launching the campaign "Love On Batik Never never fade" that closed the fashion show 17 works of Edward the entirety is a woman's clothing.

The designer who has been in the fashion world for 30 years this time using batik patterned mega overcast and the morning-afternoon in a variety of casual clothing, ranging from short jackets, babydoll-style skirts, long jackets, wide-cut dress at the bottom and tank top dresses newfangled .

Through this show, Edwards seems to want to set an example of how we should enforce batik, for culture of a nation that has been recognized in the international arena.
FROM:ANTARANEWS.COM

BATIK FABRIC

Batik Fabric




Batik is commonly made from a base material of cotton, linen, rayon or silk. The choice of fabrics are largely a function of its purpose (e.g. to be made into a shiny gown, silk would be an excellent material for its shimmering qualities), its intended wearer (such as the local climate which may or may not induce more perspiration), and the different effects of batik on the various cloth bases.

During the creation process, the batik fabrics undergoes a metamorphosis from an empty canvas where the artisan plans and executes the motifs onto the cloth, and transforming it into a piece batik.

Batik in the form of "tulis" or hand-drawn is regarded as a fine art and often commands much admiration. Stamped batik also has its appeal, and often is used together with hand-drawn batik. Human imagination and creativity when poured into batik, have produced outstanding signature pieces.

Batik fabrics extend its use from the body to the home, from colourful yet comfortable footwear to elegant avant garde wedding robes, or as a base material for luxuriant curtain drapes to the humble coaster mats on the dinner table, the potential use of batik in our daily life is tremendous. The batik fabric serves to adorn, dress, wrap, cover, hold and inspire us.

To know more of the work involved in batik-making, the book "Batik Inspirations" also covers the different batik-making processes and dyes used in batik.

Batik fabrics can be found worldwide, and "Batik Malaysia" is one modern branch of this wonderful textile. The batik fabrics from Malaysian designers often convey a fusion of a sense of modernity and the traditional, the abstract and the natural.

Batik fabrics can also be combined with laces, beadwork, embroidery, stitching, etc to produce creatively fresh fabrics. Batik fabrics also goes well with many accesories such as neck pieces, belts, shoes, bands etc.

If there is a lesson we can take from the batik fabrics, one of its most meaningful would be that a humble cloth, when imbued with passion, creativity and dedicated work can produce stunning results.

In the Batik Inspirations book, the visuals of the batik in fashion will allow the reader to note the different types of fabrics that can be used with batik. This is especially handy with the free magnifying glass that comes along with it, where the fine details of the batik fabrics can be clearly seen.

BATIK ART


Batik Art

The beauty of batik is that there is no geographical or cultural barrier to batik appreciation. Batik connoiseurs and admirers come from all walks of life, hence the pleasant diversity of batik today. And today's batik designers form an impressively diverse profile too, from the modern, upmarket designer in Kuala Lumpur, the traditional batik master for the royal courts of Solo, the happy-go-lucky batik T-shirt small factory owner in Bali or Langkawi, the batik prints designer in SoHO, Manhattan or the hippie designer from Amsterdam or Mumbai or Shanghai.

Batik as an art is highly associated with hand-drawn pieces (batik tulis), though batik ikat and stamped batik are also remarkable avenues of artistic expressions.





Batik today is more than a wearable fashion statement. Art galleries in private collections and museums frame unique pieces which are of high artistic or historical and cultural values. Some dedicate batik art from renowned designers of the past and present, while some are platforms for the budding designers to display their works.


We find batik art gracing the art displays in public and private buildings such as hotels, museums, libraries, and even airports. Like all forms of art, the prices of excellent pieces of batik tend to appreciate in value with time. That is why well preserved and some rare antique batik from old Java can fetch good prices in private and public auctions and galleries.

Throughout the world, including in Indonesia and Malaysia, batik classes and lessons are seeing new interests in students who are drawn to batik. And those who find it engaging and rewarding (or addictive) continue sometimes continue their passions into their careers or hobbies as designers, retailers, artists, gurus, hobbyists or collectors and consumers.

Fashion shows of international prestige also feature batik designs being paraded, while top batik designers are gaining publicity and establishing brand names for themselves in the fashion world. There is also a resurgence and renewed interests in heritage and many are looking back at batik as part of their country's and peoples' legacy. Batik is also seen as an excellent choice for official occasions especially in Indonesia, Malaysia, Singapore and Brunei Darussalam. New innovations in materials, ideas and technologies have continued to push batik production and appreciation.

All signs showing that batik art is growing...


Inspired by the beauty of batik art, we have compiled a list of top designer who uses this tradition in their fashion. The combination of batik art and fashion is the highlight of this batik book, where pages of beautfiul batik art pieces are shown.

Batik Inspirations


Batik Design

Batik design or the creation of batik, can be divided into the three main types of batik, namely "batik tulis", "batik cap" and "batik ikat". Each has variations in techniques and the level of expertise needed, and thus reflect a different kind of design creativity.

Batik design centres of the past include the cities of Lasem, Cirebon, Solo, Banyumas and Pekalongan on Java, and the states of Kelantan and Terengganu in the Malay Peninsular. The batik from different cities usually carry with it their own distinct identity and style and are often easily recognizable. These days, Kuala Lumpur and Kuala Terengganu in Malaysia and the capital of Jakarta are also important sources of batik designs.

Batik design draw from a huge variety of motifs culled from both the old and new ideas. The rich, old motifs of batik are an incredible archive of cultural expressions, while new motifs are unrestrained, stretches creativity and has a higher inclination to the artisan's own individuality.

Speaking of traditional batik designs found in Malaysian and Indonesian batik, here's a list of some of the popular motifs:
pucuk rebung (bamboo shoots), bunga raya (hibiscus), daun sirih (betelnut leaves), sirih mas (golden betelnut), bunga tanjung (cape flower), parang rusak (damaged blade or knife, this pattern was once exclusive to Javanese royal families), mega mendung (a type of cloud pattern).

In traditional Malay batik, human and fauna depictions are rare since Islamic traditions do not encourage this. Thus, the richness and ornate Malay batik draws a lot of ideas from geometrical and flora patterns. In traditional Indonesian batik, however, there is a lot of instances of usage of both flora and fauna (and even human) motifs.

Some designs are unique to the intended communities such as the peony flower, phoenixes, mythical qilins which can be found in some batiks produced by and for the Peranakan or the localized Chinese communities of Java which was exported to Malaya and Singapore.

Localized European such as people of Dutch ancestry in Java also admire batiks which depict stories and objects that reflect their heritage. Examples of motifs are sailing ships, Western flowers such as the rose, and even stories of popular children stories of Europe.

In contemporary Malaysia, Indonesia and Singapore there are several schools or classes conducted to teach interested students to create batik, although this was not commonly so in the past, where batik design was regarded as insider knowledge and a trade secret. In the olden days, batik producers sometimes jealously guarded the knowledge of various tips and finer points of batik creation and design, such as the "secret" combination and proportion of ingredients used in the molten wax, and the traditional sources of plant and mineral-based dyes to produce various hues of colours of batik.

Sometimes, the batik designer is not the artisan who actually transfers the designs onto the fabric. This kind of arrangement allows the designers to concentrate on what they do best - to conceptualize the batik patterns. Today's batik team is all likely to be more a combination of expertise, ranging from the batik designers, to fabric sales shops, batik stamp makers, dye-producers, boutique and batik retailers.

The beauty of batik is that whatever the motifs on batik, they often serve a dual purpose to catch the eyes with a deep seated meaning or expression behind it.


Inspired by the beauty of the Batik fabric and the creative spirit of batik designers, we are proud to present you the batik book, Batik Inspirations.

This book feature contemporary & modern batik designs from Malaysia, designed by both the artisan & the fashion

BATIK



BATIK

Indonesian batikBatik (Javanese pronunciation: [ˈbateʔ]; Indonesian: [ˈbatɪʔ]; English: /ˈbætɪk/ or /bəˈtiːk/) is a cloth that traditionally uses a manual wax-resist dyeing technique.

Javanese traditional batik, especially from Yogyakarta and Surakarta, has special 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, Visnu, 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 culture. In the colonial times pesisir batik was a favorite 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.[1]

Batik or fabrics with the traditional batik patterns are also found in several countries such as Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.[2]


[edit] 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.[3][4][5]

[edit] History

Wax-resist dyed textile from Niya (Tarim Basin), China
The carving details of clothes wore 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.[6]

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.[6] 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.[7]

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.[7] 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.

Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Sultan Mahmud to sail to India to get 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.[8][9]

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.[6] 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, Indonesian immigrants to Malaysia and Singapore brought Indonesian batik with them.

[edit] 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.

[edit] 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 blangkonDepending on the quality of the art work, dyes, and fabric, the finest batik tulis halus cloth can fetch several thousand dollars and it probably took several months to make. Batik tulis has both sides of the cloth ornamented.

In Indonesia, traditionally, batik was sold in 2.25-meter 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.[1] 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.


Sacred Dance of Bedhoyo Ketawang. The batik is wrapped around the bodyFor 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.[10]

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. The wide diversity of patterns reflects a variety of influences, ranging from Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks.[1]

In Indonesia, batik popularity has had its up and downs. 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.[11] It waned from the 1960s onwards, because more and more women chose western clothes. However, batik clothing has revived somewhat in the 21st century, due to the effort of Indonesian fashion designers to innovate the kebaya 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. For a formal occasion, a kebaya is standard 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.

[edit] Malaysia, Singapore, Brunei, and Thailand
Batik is often worn in Malaysia, Singapore, Brunei, and southern Thailand brought there by Indonesian immigrants or merchants in the 19th century. 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 never depicts humans or animals because Islamic norms forbid anthropomorphic and animal images as decoration. 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 also quite different from those of Indonesian Javanese batik, the pattern is larger and simpler, it seldom or never uses canting to create intricate patterns and rely heavily on brush painting method to apply colors on fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik.

The flight attendants of Indonesian, Singaporean, and Malaysian national airlines all wear batik in their uniform. 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.

[edit] 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.[12]

[edit] 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.[13]

[edit] Types and Variations of Batik
[edit] 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.
[edit] Pesisir Batik (Coastal Batik)

Cirebon batik depicting sea creaturesPesisir 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.
[edit] Indonesian Batik from other areas
[edit] 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).[14] 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.[15]
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.
[edit] Bali
Balinese Batik. 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.
[edit] 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.[16]
Aceh Batik.
Palembang Batik.
Riau Batik.
[edit] Modern
Out of its traditional context, batik can also be as a medium for artists to make modern paintings or art. Such arts can be categorized in the normal categorization of arts of the west.

Sydney Opera House (Artist - Arman Mamyan)
Smithsonian Institution.


[edit] Batik Collectors
Santosa Doellah has been recognised by The Indonesian Museum of Records as having the world’s largest collector of ancient Chinese-influenced Indonesian batik textiles. In total his collection are about 10,000 batik pieces.[17]
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.[18]
Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.
[edit] Technique
Batik painting in Java during colonial period. Observe many different varieties of patterns used.
Dipping cloth in dye.
Production of batik cloth in Java, Dutch East Indies, 1912.
A Batik Tulis maker applying melted wax following pattern on fabric using canting, Yogyakarta (city), Indonesia.


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 canting, 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.

[edit] Industrialization of Technique
The application of wax with a canting 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 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 canting.

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.

[edit] Maintaining batik
For both batik tulis and batik cap, the following rules apply:

Hand wash, or best just soak the cloth
Use very little detergent, best to use lerak
Hang the batik directly, do not squeeze the cloth
Do not hang in direct sunlight
The iron should not directly touch the cloth, best to use a steam iron
Silk batik is best dry-cleaned
Do not spray perfume onto the cloth directly

from "http://en.wikipedia.org/wiki/Batik"