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 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
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