JUST FOR SHARING

Just for sharing 

Batik (Javanese pronunciation: [ˈbateʔ]; Indonesian: [ˈbatɪʔ]; English: /ˈbætɪk/ or /bəˈtiːk/) is a cloth that traditionally uses a manual wax-resist dyeing technique. Batik or fabrics with the traditional batik patterns are found in 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, 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 cultures. In the colonial times pesisir batik was a favourite of the PeranakanChinese, 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

BATIK DESIGN

One of the fascinating characteristics of Indonesian batik is the changes in style, motif and color which have come about through exposure to various foreign cultures. Throughout Indonesian history, each time the rich batik tradition has come into contact with foreigner traders or colonial rulers, they have influenced the development of batik. Some of the more famous results are described below:


Batik Kraton

Batik Kraton is regarded as the basic batik of Java. It is rich in Hindu-influenced motifs that have influenced the courts of Java since the 5th century, and later on influenced by the culture of Islam. The Hindus introduced the sacred bird - Garuda, the sacred flower - lotus, the dragon - Naga and the tree of life. Islam, since it forbids the depiction of humans or animals, brought stylized and modified ornaments as symbols, i.e., flowers and geometric designs.

As a specific attire in the dress code of the courts of Java, Batik Kraton is easily recognized through its sub-divisions, Batik Kasunanan Surakarta, Batik KasultananYogyakarta, Batik Pura Mangkunegaran and Batik Pura Pakualaman. Over time, changes and modifications distinguished Batik Mangkunegaran from Batik Kasunanan, even though both originated from the same source. Batik Pakualaman, from the city of Yogyakarta, originated from both Kasunan and Kasultanan design traditions and is more unique because the whole process was completed in Surakarta.

Batik Belanda

Even though Chinese traders arrived earlier in Java than the Europeans, their influence on batik was evident in a later period. Batik Belanda, literally Dutch Batik, appeared as early as 1840, decades before the appearance of Batik Cina, Chinese Batik. Records show that European settlers on the northern coast of Java started their batik producing activities in the mid-19th century. They pioneered a new era of international enrichment which is still visible in modern day Indonesian batik. Reaching its peak of creativity in 1890-1910, Batik Belanda is clearly recognized through various works of arts named after the great designers. Amongst the most famous of these are Batik Van Zuylen from Elize Charlotte van Zuylen, Batik Van Oosterom from Catharina Carolina van Oosterom, Batik Prankemon from Carolina Josephina von Franquemont, Batik Metz from Lies Metzlar, Batik Yans from A.J.F. Yans, and Batik Coenrad from Coenrad of Pacitan, East Java.

Batik Cina

Highly influenced by the Chinese culture, emerging decades after Batik Belanda, Batik Cina is easily recognized by the vast range of uniquely Chinese motifs including, dragons, phoenix, snakes, lions, traditional Chinese flowers and designs taken from chinaware. It is also easily recognized through its bright as well as pastel colors. In its effort to penetrate the Surakarta and Yogyakarta markets, Batik Cina appeared in two derivatives, Batik Dua Negri and Batik Tiga Negri, processed in the north coastal Pesisiran, Surakarta and Yogyakarta in Central Java. Batik Cina is still in production in the coastal cities of Pekalongan (Oey Soe Tjoen in Kedungwuni), Cirebon, Kudus andDemak. Batik Hokokai

Especially designed for the Japanese during the period that the Japanese occupied Indonesia (1942-1945) the specific designs of Batik Hokokai, which appealed to Japanese tastes, attracted Chinese consumers in Java and Malaya as well. Highly influenced by Japanese design in motifs and coloring, fine intricate backgrounds enhanced the appearance of beautifully designed flowers. Batik Hokokai was mostly styled as Kain Pagi Sore batik with the colors and patterns different on each half of the fabric length. Favorite motifs included Parang and Lereng.

Batik Indonesia

Freedom from Dutch colonial rule introduced new designs to Indonesian batik. In the early 50s, President Soekarno encouraged the creation of a new style of batik, popularly called Batik Indonesia. A symbiosis between various styles of batik, especially of the principalities of Yogyakarta and Surakarta and the north coast of Java, which still utilized soga brown as the basic color, Batik Indonesia was developed utilizing bright colors. Some appeared in a totally new design, i.e., Cendrawasih, Sruni, Sandang Pangan, Udang, while still using the traditional processing system. Batik Indonesia is also called Batik Modern.

Batik Sudagaran

An important genre in the development of batik, Batik Sudagaran emerged as early as the end of the 19th century in the principalities of Surakarta and Yogyakarta. Produced by sudagar or batik merchants, it is easily recognized through the modified classic ornaments styled to the taste of the merchants. Some of the popular creations are the patchwork style Tambal, Parang with the insertion of snail-like motifs, Lereng filled with extra fine spirals called Ukel and Semen that shows high quality workmanship.

Batik Pesisir

The distinctive designs of batik pesisir are those from the northern coastal cities of Java, including Pekalongan and Cirebon. The designs show Chinese influence through their use of brighter colors, flowers and cloud motifs.

This article was developed from information provided by Batik Danar Hadi.

Return to the Batik in Indonesia article

CANTING

The canting points to the curvy lines which it created in this finished piece of batik.

The canting points to the curvy lines which it created in this finished piece of batik.

Batik Canting Sample

Batik Canting

Batik Canting

Batik Canting Bags

CANTING

CANTING


Canting Batik - A traditional batik hand tool from Indonesia

In response to a request from a visitor to this site .. we've put together this page on the Canting Batik ... the traditional Indonesian tool that is used to apply wax in fine dots and lines on a cloth. Wherever the wax is applied, the cloth resists the next dye bath that it is put in .. leaving the white dot/line (or another color if the cloth has already been dyed).

Though the size of most canting are similar .. the difference is in the "tip" that allows the wax to flow from the "bowl". Bigger holes in the tip allow wider lines and bigger dots.

Looking down on the top of the "bowl" where the wax is held prior to application to the cloth.

This closeup shows the various sizes of opening holes in the tips.

DESIGN NAME

Ceplok

Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Parang

Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There 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 most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Certain batik designs are reserved for brides and bridegrooms as well as their families. 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/she wore.

In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free 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 coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.

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

Javanese batik with bird and floral motifs

Batik Buketan Pekalongan shows European flower bouquet

PRADA or GOLD CLOTH

Special Treatments to the Batik Cloth

Prada or Gold Cloth

For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakartaarea. 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. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.

DYEING

Dyeing

After the initial wax has been applied, the fabric is ready for the first dye bath. 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 amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.

When the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another 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 can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.

If a marble effect 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 especially on indigo color batik. On brown batik, however, the marble effect was accepted.

The number of colors in batik represents how many times it 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 usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberall

WAXING

Waxing

Once the design is drawn out onto the cloth it is then ready 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 cloth. Normally this is white or cream.

Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow 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 small drop cloth 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 prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.

The most experienced artisans normally do first 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. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.

If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric 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 cloth.

Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.

WAX

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 can be added to increase adhesiveness and animal fats create greater liquidity.

The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three 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 be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.

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

Each wax dot is applied one by one by the canting.

BATIK DESIGN TOOLS

Batik Design Tools

Although the art form 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 connected 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 cloth.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.

Wajan

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

Cap

Creating batik is a very time consuming craft. To meet growing demands and make 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 volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.

Each cap is a copper block that makes up a design unit. 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 especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.

Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and thebottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.

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

Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.

SELECTION & PREPARATION

Selection and Preparation of the Cloth for Batik

Natural materials such as cotton 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 be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.

The cloth that is used for batik is washed 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 day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be 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 cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.