VCS 155 : INTRODUCTION OF ISLAMIC ART IN THE MALAY WORLD

Topic : Textile & Costume [Batik]

Name :MOHAMAD ZAHRUL AKMAL BIN KAMARUZAMANFD AKHAIRUNNISA BINTI ABDUL RAHMANFD AATHIRAH BINTI HAMZAHFD ANURFARHANA DAUDFD AIZZATUL HUSNA BINTI HARUNFD A

Batik

Batik is one of the "resist" processes for making designs on fabric, like Tie Dye, Shibori, Serti technique, etc., usingwax on fabric to prevent dye from penetrating the cloth. Wax is applied to fabric, followed by dye, perhaps inmany successive layers in complex Batiks. Batik is especially unique because the wax will crackle during handling,either intentionally or not. On subsequent dye baths, the crackles in the wax fill in with darker colors. Batik can bedone with many types of dye or fabric paints & waxes on cottons, silks and other natural fabrics, particularly thefiner weaves for detail work. "Faux" batik employs types of water soluble resists that are easier to remove thanwax (and safer to work with for children), but never quite achieve that beautiful crackling. In this example we willbe using Dharma Pigment Dyes and Soy Wax, on cotton, but can be adapted to other fabrics or dyes. The basicprinciples remain the same.

Introduction

Batik masters employ a process of repeated waxing and tub dyeing to achieve the final result. This methodrequires mastery of color mixing and over dyeing, as each layer of dye is applied over the last, producing a mixedcolor. After many different applications, the background usually comes out dark brown, black, or gray. The waxedareas remain the lighter shades produced by each individual application and combinations thereof. The Tub Dyetechnique is described below in more detail.An easier method of batik, especially for beginners, is the Paint-on method. This method has fewer steps andallows for great variations of color and shade without having to master the complicated blending of successivelayers of color. Wax is applied to outlines and other portions of the design that are to remain white later. Dye isthen painted on in many colors to areas inside the waxed lines, allowed to set and the fabric is washed and dried.The whole design can then be waxed over and the background is dyed by either painting or immersing the fabricin a dye solution (the tub dye method). The simpler Paint-on technique is discussed below.A third method is so called "Faux" batik, mentioned above, which we will discuss last. Teachers of young childrenprefer this method because it employs other types of resists instead of hot wax. Not only are the resists easy andsafe to work with, but they wash out with plain water. Because of that, they may not be submersed in a dye bath.Instead, dye or thin Fabric Paints can be applied with brushes, or sprayed on, etc., fixed according to theirdirections, and the whole thing washed out. If paints are used, they are totally non-toxic, and there are noassociated chemicals (except perhaps Versatex No Heat Fixative if you don't want to heat set the paint).When choosing a Dye or Fabric Paint, the first and most important piece of info rmation you must know is whattype of fabric or surface you will be working on. The second is what kind of technique you want to do. Sometechniques you can only use dyes, some only paints, but on certain fabrics you can use dyes or paints for atechnique, depending on whether you want a professional job and don't mind working with dye chemicals, orworking with small children and need something completely non-toxic with easy cleanup, do or do not want a"feel" on the fabric, prefer to work with liquids over powders, don't mind heat setting paint, etc.

The Step Making Batik

The steps for this process are few and relatively easy, but care must be used to ensure consistent and predictableresults.

1. Pre-washing your fabric, ideally with a professional dyer's product called Dharma Professional TextileDetergent and/or an enzyme detergent. This removes most oils, sizing, and pre-shrinks the fabric allowingthe dyes will adhere better. It also gets out excess dye better and faster than normal household detergentsso that items are safe to wash with others in the future and is non-toxic and has no fumes. Regular detergentwill work if you arent working on a critical piece of artwork.

2. Stretching the fabric - this is easiest on a Stretcher Frame that will keep the fabric flat, horizontal, andsuspended. Use stainless steel push pins or silk thumbtacks to stretch the fabric. You can also use cardboardthat is large enough for your fabric and ideally, has been waxed. When you wax your fabric, it will stick, butyou peel it off later. This wax layer keeps the dye from going into the cardboard and getting on your piecewhere you don't want it. Though a layer of newsprint will soak up excess dye, you do risk transfer. If doingclothing, you must make sure you have something between the layers so that the wax and dye doesnt bleed.

3. Melting your wax- premixed Batik Wax, Soy Wax, or your own combinations of Beeswax, Sticky wax, andParaffin waxes. The more paraffin, the more the wax will crackle. Beeswax and Sticky wax don't crackle bythemselves, and Paraffin crackles too much. The wax mixture should be melted in a double boiler, electricwax pot, or old electric frying pan set at about 220-240 (CAREFUL! If you heat the wax over 240, it cangive off toxic smoke or burst into flames!) Work with these kinds of hot waxes in a well ventilated area (theygive off toxic fumes), and never leave hot wax unattended!! In case of emergency, you can douse the flamesto control the temperature of the wax safely. Never use pots directly on the stove! Soy wax is what we use,which can be melted in a double boiler and at a much lower temperature than the other waxes. It is not assturdy, but worth working with its limitations because it is a renewable resource and totally non-toxic,including the fumes. It is also water soluble and can be completely removed with just soapy hot water,without causing damage to your plumbing.

4. Apply the wax, using tools like the Tjanting (also known as canting) to make outlines. You can also use apaint brush with natural bristles to produce painted strokes, metal cookie cutters to stamp designs, oranything else that you can think of to produce an interesting pattern (remember, soy wax is water based andwill wash off easily). Thin layers of very hot wax will often allow some dye to stain the fabric under the wax,whereas a thick buildup will keep the wax off. You can use this knowledge to apply your wax creatively forshading effects. When applying wax, no matter what method you are using, regulate the temperature so thatit penetrates the fabric, not so cool that it sits on top, and not so hot that all of your lines spread out . Thewax should have a clear appearance, indicating it has penetrated to the other side. When done, check theback of the piece and apply a little wax anywhere it didn't penetrate. If you do not insure that it has gonethrough the fabric, it will bleed when you paint it, and you will lose the detail of your design.

Cold Batch TechniqueThis is the simplest technique for beginners to get started creating pieces with multiple colors and detailed designswithout advanced techniques and knowledge of how color works.

5. Mix up your dye solutions; we recommend 1 part pigment to 2-4 parts water using Dharma Pigment Dyes. This will prepare a dye paint which can be directly applied to the fabric. Paint the dye on the fabric with a brush or foam applicator where your design will be, using the wax lines to hold the dye within each area. If you wet the area that you are working with first the dye will flow easier and blend evenly. Thickening the dyes per the instructions helps them not to break through the wax outlines, which can develop cracks, as per the nature of wax! Curing should be done horizontally to avoid streaking and running. This dye recommends a 24 hour air-cure time; though this process can be sped up with a hair drier.

6. Washing your piece after the dye has cured, make sure to clean off as much wax as you can and soak it in hot soapy water, then fabric must be machine washed using the hot setting (140 degrees) to remove excess dye and wax. Soy wax is plant based product and will not damage your plumbing, though you have already removed the bulk of it anyway. And if you have pre-washed your fabric and cured your dye properly, it will not bleed. You can also use Professional Textile Detergent to help protect your piece. It is the nature of these particular dyes to have a stonewashed look, so it will look a little faded. If you like, heat setting your piece for 1-3 minutes with an iron (set to the proper setting for the material you are using) will produce stronger colors, before your final wash.

If a colored background is desired, wax can be used as a cover for the entire design. After step 5 above, when the fabric is completely dry, re-stretch if necessary and paint wax over any areas which you wish to remain the current color, making sure to fully penetrate the fabric or it will bleed. Then follow the instructions for tub dyeing (or tie dyeing, for a more interesting background).

**Allow fabric to soak in the cold dye bath for no more than 30 minutes if you are using a dye that requires soda ash or your wax will start to erode.**

Remove the additional wax by soaking it in hot soapy water, then washing it again according to the tub dye instructions. The original design was already cured in step 5 and should not be affected if cured properly. You can add Professional Textile Detergent to your load, to hold the dye in suspension so that it doesn't re-depsit where isn't wanted.

Wax and Tub Dye Method

This method requires a great deal more confidence in color mixing theory. Layers of wax and dye are repeatedly applied to the fabric, producing an overlapping color design that goes from light to dark, bright to dull. We suggest using Dharma Fiber Reactive Dyes because they are brilliant, vibrant, and permanent and far more superior to supermarket dyes in every way! They don't fade, even after repeated washings. They are economical, safe, and easy to use, and are color fast on all natural fibers. Ever see those commercially tie dyed shirts and think Man the shirt I made at summer camp looked washed out and faded... how do they get the colors so bright? well, these are the dyes they used.

5. Mix up your dye solution as instructed for tub dyeing.

6. Tub dye the fabric, first using the lightest or brightest color that will be on the piece and will mix well with successive colors, i.e. like a yellow, then the next dye bath could be turquoise, which would actually mix with the yellow to dye the fabric green in all the unwaxed areas. Remember - after Soda Ash has been added to the dye bath, don't leave your waxed fabric in for more than 30 minutes, as soda ash eats away the wax eventually, exposing areas to unwanted dye.

7. Rinse and gently hand wash the fabric in Professional Textile Detergent and allow to dry. Use roomtemperature water so as not to melt your wax!

8. Repeats steps 2-6 above for each color you plan for your batik, waxing areas after each dye bath that you want to remain that most recent color, and re-waxing any areas that look eroded from the Soda Ash. Tub dye your darkest areas last.

**The final mix of colors at the end will be a brown, grey or black, combining all of the colors used on the piece.

Hint - Do a test strip 1st with all of the colors you are planning to use to make sure they are combining like youwant.**

9. Remove the wax the same way as above; by soaking it in hot soapy water, then machine washing itaccording to the tub dye instructions. You can add Professional Textile Detergent to your load, to hold the dye in suspension so that it doesn't re-deposit where it isn't wanted.

"Faux" Batik

Great for classroom situations and teaching young children because you can use non-toxic, water-based resists which are easy to clean up. They also dont require the use of heat, making for a safer work environment. The down side to this is that they will not crackle like traditional wax and you can nottub dye them because the resist will wash off.

3. Apply a water based resist such as water-based Elmers Blue School Glue, Inko Resist or Presist, using Guttaapplicators with tips for outlining. For covering large areas, you can paint it on, stencil it, block print, roll, or screen print it. Rubber stamps also work very well and can add great detail easily.

4. If using Dharma Fiber Reactive Dyes for cotton, follow instructions above for painting it on. Remember, these resists are water soluble, so you can't submerse your projects in any kind of a dye-bath.

5. For a hassle free project that is less time consuming, you can use a totally non-toxic thin fabric paint instead of dye. Examples are Dynaflow, Setasilk and Jacquard Marbling(Airbrush) Ink. For synthetic fabrics, you can use Pigment Dye also. After the resist is applied, you can apply the paints with foam or natural brushes, or even spray it on.

6. After the paint is dry, heat set it with an iron according to the directions of the paint you chose.

7. Wash the piece out with warm water and Professional Textile Detergent or any other gentle soap to remove the resist.

Trouble shooting common problems:When you paint color the dye bleeds through to the other side of the line...When you applied your wax it didnt fully penetrate the fabric, either your wax wasnt hot enough and cooled on the surface, there is a crack in the wax line, or your line is too thin and you didnt use enough wax. Turn your piece over and make sure the wax has penetrated the fabric, if not you can add more hot wax to the backside. You cant fix it after it bleeds; it becomes the character of your piece.

You are trying to paint a thin line and the wax spreads into the fabric...Your wax is too hot, turn it down. Your color fades too much when you washed your piece...You might have used too much water to thin your dye, or didnt let it cure long enough or didnt pre-wash your fabric before starting. Also remember that you need to work wet on wet to get a smooth and evencolorblend.

You are using metal cookie cutters to stamp designs and the wax isnt penetrating the fabric...Let the stamp sit in the hot wax for a couple of minutes so that heats up, otherwise it cools on the metal before you can get it to your fabric. Keep in mind that the metal gets very hot, use a paper towel to push it down on your fabric to get an even impression.

Wax removal can be accomplished in one of five ways:

1. Take it to the dry cleaners and let them get it out. (Many won't do it for you, and some have said that the new more environmentally friendly chemicals are not working so well for this)

2. Boil the wax out. This is the oldest form of batik wax removal. Choose a pot that will comfortably hold your fabric and fill with water and a dash of Professional Textile Detergent or other liquid detergent to get the wax and any remaining excess dye away from the fabric. Bring to a simmer and add fabric. Use something to stir the fabric around in the boiling water and keep it submerged. After a few minutes, the wax will melt out of the fabric and float to the top. When the wax seems completely removed from the fabric, remove from heat, and allow the water to cool. Be sure that the fabric sits on the bottom of the pan, avoiding the floating wax residue. You can weight it down with rocks or something. Allow to cool, then peel the hardened wax off the surface and remove the fabric. In Indonesia , people skim the hot melted wax off the boiling vats with big perforated ladles. Whatever works!!

3. Iron the wax out. This is also a traditional wax removal process. The fabric is sandwiched betweenlayers of absorbent paper and heat is applied by iron, to melt the wax out. This process often leaves awax residue (looks like a grease spot) that is very difficult to remove, so it is not recommended. Thismethod is often used for complex wall hangings that end up with so much wax on them that the wholething gets a translucent appearance after ironing.

4. Use hot tap water. Hang the finished piece on a line. Attach a hose to a hot water spigot, turn yourwater heater up all the way and gently run a slow stream of hot water over the piece to melt the waxoff. Do this to all surfaces. A collection tub should be placed under the fabric to catch the wax andwater. Best done outside!

5. If you are working on silk, and are going to steam set a silk dye, roll your piece in extra absorbentpaper. It will absorb a lot of the wax while the piece is steaming. Any leftover can be removed by oneof the steps above. If your piece has a stiff feel to it, you can use a professional softener like Milsoft to restore the soft feel or hand of the fabric. It is much more concentrated than conventional fabric softeners. After dyeing, washing, and rinsing, add 1/4 cup to a washing machine load, (or 1 teaspoon per gallon). Agitate 10 minutes in hottest water and rinse in warm water.

**Caution, never use a fabric softener on the fabric before it is dyed, as it leaves a residue that cancause the fabric to dye unevenly.**

Other things that you might want to know-

There are two basic categories of colorants for fabrics: dyes and paints.

Fabric dyes are for natural fibers (cellulose and proteins such as cottons, rayons, hemps, tencels, silks, wools, feathers, etc.) and some that will actually dye nylon, as well. Dyes produce more brilliant colors than paints and require chemicals and/or steaming to set. They actually chemically bond with the fibers and, as a result, leave no stiffness whatsoever on the fabric. They are more complex to work with than fabric paints and call for more caution in handling (like a dust mask, rubber gloves, and proper ventilation).

Fabric paints are pigments suspended in an acrylic medium. They can be used on all natural fibers and most synthetics. They are heat-set with an iron to make them permanent. You can also use a no-heat fixative by Versatex which eliminates the need for iron heat-setting, but requires 4-6 days for curing. Fabric paints actually lay on top of the fibers and as a result, they do stiffen the fabric somewhat but it is less noticeable on heavier fabrics than on lighter ones. When you place a paintbrush loaded with dye or flowable/diluted paint onto fabric, you will see the color move and spread on the fabric. It spreads more on lighter fabrics such as silk than on heavier fabrics like cotton duck. Sometimes this might not be the effect youre looking for! There are a variety of ways to control the flow of color:

1. Guttas, water-soluble resists, or wax: these are used when distinct graphics or designs are desired.They can be painted, stamped, or applied with an applicator bottle and thin tip. The resist, once dry, creates a barrier which contains and blocks the color. The resist is then removed after the piece has been painted with color and properly set. The area where the resist was will be the originalcolor of the fabric (white, if you started with a white piece). Resist techniques are often used when painting on silk

2. Stop-flow, No flow primers, and anti-fusants: if you want the dye or paint to stay exactly where youput it and not spread or move, you can coat your fabric with a primer, let it dry, and then paint your design. Essentially, youre making your surface behave more like paper than fabric. You then set your dyes or paints appropriately, and then wash the primer out. There are stop-flow products to be used with dyes, and others to be used with paints. Be sure you use the appropriate one.

3. Thickened dyes: You can thicken dyes to make them behave like paints. Thickened dyes are the ideal consistency for direct application techniques such as stamping, printing, and silk screening. Dharma carries two thickener products for fabric dyes: Sodium Alginate, a natural product derived from seaweed, and Superclear, a synthetic thickener. You can also thicken fabric paint, if necessary, with Setacolor thickener. Dharmas Pigment Dye can be thickened with the Pigment Dye Thickener. Its important to use the thickenerappropriate to the dye or paint you are using.

Techniques & Materials

We recommend starting simple! The basic supplies that you will need are the dye or paint, some fabric or clothing/accessory to paint on, and some brushes, sponges, or stamps to apply your color with. Working with fabric paints, rather than dyes, is a good place for beginners to start. A nice fabric to practice on would be the Cotton Print Cloth or some bleached muslin; a great first project might be decorating a T-Shirt, painting a scarf, or stamping on a tote bag. Wonderful pieces can be created with simply a paintbrush and a jar of paint but you may want to explore some other ways of patterning and coloring your fabric.

Batiking is a technique where melted wax is applied with a brush or applicator on fabric to act as a resist to the dyes or paints that are applied after the wax. The dyes or paints seep into the cracked wax resulting in beautiful crackled effects.

Silk Painting is a technique where dyes or paints are applied to stretched silk, often after guttas or resists have been applied. Beautiful water-color-like effects can be achieved and enhanced with sprinkled salt, watermarks and alcohol.

Marbling is a technique where paints are dropped onto a prepared bath that allows the colors to float on the surface. The colors are moved around into swirls and patterns and then the fabric is laid onto the surface of the bath to pick up the patterns.

Stamping is a printing technique and involves applying paint to a carved or cut shape and impressing the image onto a surface.Silk Screening is a printing technique using a fine mesh screen held in a wooden frame. Ink or resist is pressed through a stencil on the screen mesh using a squeegee to print onto the fabric.

Sunpainting is a technique done with Setacolor or Dye-Na-Flow paints where a wash of diluted paints is applied to fabric, an object (leaf, lace, etc.) is placed on top of the wet paint, and the piece is placed in direct sunlight or under a lamp. When dry, the object is removed and the area underneath will be white!

Tie Dyeing is a resist technique where fabric is tied with cord or bands before dye or paint is applied. The banded areas resist the color, resulting in interesting patterns.

Salting is the use of salts or sugars to create brilliant bursts of color in the dye or paint. It is sprinkled onto wet dye and acts as a drying agent, to pull the color to each granule. The finer the salt the finer the detail, the coarser the salt the larger the effect. Coarse Sea Salt, Kosher Salt, or Rock Salt works very well for this. Sugar offers a less dramatic effect than salt, but can be used.

Rubbing Alcohol will wick into the fabric when used with water; creating a soft puddle shaped texture with a darker edge. It can be applied by dripping, spraying, or painting.

Content of Batik

Etymology

The wordbatikisJavanesein origin. It may either come from the Javanese wordamba('to write') andtitik('dot'), or may derive from a hypotheticalProto-Austronesianroot*beCk('to tattoo'). The word is first recorded in English in theEncyclopdia Britannicaof 1880, in which it is spelledbattik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms:mbatek,mbatik,batekandbatik

History

Wax-resist dyed textile fromNiya (Tarim Basin), China.

Pattern of clothes of 13th century East JavanesePrajnaparamitastatue resembles batik.

Wax resist dyeing of fabric is an ancient art form. It already existed inEgyptin the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practiced in China during theTang Dynasty(618-907 AD), and in India and Japan during theNara Period(645-794 AD). In Africa it was originally practiced by theYorubatribe in Nigeria,SoninkeandWolofin Senegal.These African version however, usescassavastarch or rice paste, or mud as a resist instead ofbeeswax.

The art of batik is most highly developed in the island ofJavain Indonesia. In Java, all the materials for the process are readily available cotton and beeswax and plants from which different vegetable dyes are made.Indonesian 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.[5]On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since regions such asToraja,Flores,Halmahera, andPapua, which were not directly influenced by Hinduism, have an age-old tradition of batik making.

Rouffaer reported that thegringsingpattern was already known by the 12th century inKediri,East Java. He concluded that this delicate pattern could be created only by using thecanting, an etching tool that holds a small reservoir of hot wax, and proposed that thecantingwas invented in Java around that time.[8]The carving details of clothes worn by East JavanesePrajnaparamitastatues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanesejlamprangorceplokbatik motif.The motif is thought to represent thelotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with thecantingexisted in 13th-century Java or even earlier.

In Europe, the technique was described for the first time in theHistory of Java, published in London in 1817 byStamford Raffles, who had been a British governor for the island. In 1873 the Dutch merchantVan Rijckevorselgave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today theTropenmuseumhouses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of thecap(copper block stamps) to mass-produce batiks. Displayed at theExposition Universelleat Paris in 1900, the Indonesian batik impressed the public and artists.

In the 1920s, Javanese batik makers migrating to Malaya (now Malaysia) introduced the use of wax and copper blocks to its east coast. InSubsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colors. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.

Technique

Selection ofcapcopper printing blocks with traditional batik patterns

Batik craftswomen in Java drawing intricate patterns usingcantingand wax that are kept hot and liquid in a heated small pan.

Firstly, a cloth is washed, soaked and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture ofparaffinorbees wax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called acanting(IPA: sometimes spelled withold Dutch orthographytjanting) is the most common. Acantingis made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used.Alternatively, a copper block stamp called acap( old spellingtjap) is used to cover large areas more efficiently.

After the cloth is dry, the resist is removed by scraping or boiling the cloth. The areas treated with resist keep their original color; when the resist is removed the contrast between the dyed and undyed areas forms the pattern.This process is repeated as many times as the number of colors desired.The most traditional type of batik, called batiktulis(written batik), is drawn using only thecanting. The cloth need to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik.

Culture

Indonesia

Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families.[16]Some designs are reserved for royalties, and even banned to be worn by commoners. Consequently, a person's rank could be determined by the pattern of the batik he or she wore.Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanesenalonimitoniceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in thetedaksitenceremony when a child touches the earth for the first time.In October 2009,UNESCOdesignated Indonesian batik as aMasterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage.

Popularity

Contemporary men's batik shirt inSolostyle,sogancolor withlerengmotif

The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of akebayadress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial and cultural boundaries.

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Examples of Cultural influences on Batik Patterns and Motifs

The batik industry of Java flourished from the late 1800s to early 1900s, but declined during theJapanese occupation of Indonesia.It further declined after the Indonesian independence, as people chose western clothes, decimating the batik industry. However, batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batiksarongsare still used in many occasions.

After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since.2 October is also celebrated as National Batik Day in Indonesia.[22]Batik had helped improve thesmall businesslocal economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.

Batik is also popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Prior to UNESCO's recognition and following the2009 Pendet controversy, Indonesia and Malaysia disputed the ownership of batik culture. However, Dr Fiona Kerlogue of theHorniman museumargued that the Malaysian printed wax textiles, made for about a century, were quite a different tradition from the "very fine" traditional Indonesian batiks produced for many centuries.

Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants ofSingapore Airlines,Garuda IndonesiaandMalaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini stylekebayawithparanggondosulimotifs.

Terminology

Terminology of Indonesian batik

Batik is traditionally sold in 2.25-metre lengths used forkainpanjangorsarong. It is worn by wrapping it around the hip, or made into a hat known asblangkon. The cloth can be filled continuously with a single pattern or divided into several sections.

Certain patterns are only used in certain sections of the cloth. For example, a row ofisosceles triangles, forming thepasungmotif, as well as diagonal floral motifs calleddhlorong, are commonly used for the head. However,pasunganddhlorongare occasionally found in the body. Other motifs such asbuketan(flower bouquet) and birds are commonly used in either the head or the body.

The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. Thepapaninside of the head can be used to determined whether the cloth iskainpanjangor sarong. The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colors calledpagi-sore('dawn-dusk'). Brighter pattern are shown during the day, while darker pattern are shown in the evening. The alternating colors give the impression of two batik sets. Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon are common in the area besideseret.

Types

As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batikSolo, batikPekalongan, and batikMadura. Batiks from Java can be distinguished by their general pattern and colors intobatik pedalaman(inland batik) orbatik pesisir(coastal batik). Batiks which do not fall neatly into one of these two categories are only referred to by their region.

Javanese BatikInland Batik

A typical inland batik has deep earth colors with various indigenous patterns (contemporarykainpanjangwithsidhapattern from Solo).Inland batik orbatik kraton(Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colorsuch as black, indigo, brown, andsogan(brown-yellow color made from the treePeltophorumpterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are reserved for royalty, while other are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony.[28]Noted inland batiks are produced inSoloandJogjakarta, cities traditionally regarded as the center ofJavanese culture.Batik Solotypically hassoganbackground and is preserved by theSusuhunanandMangkunegaran Court.Batik Jogjatypically has white background and is preserved by theYogyakarta SultanateandPakualaman Court.

Coastal Batik

In contrast, a typical coastal batik has vibrant colors with patterns drawn from numerous cultures (kainpanjangwith lotus motifs from Semarang, 1880).

Coastal batik is produced in several areas of northernJavaandMadura. In contrast to inland batik, coastal batiks have vibrant colors and patterns inspired by a wide range of cultures as a consequence of maritime trading.Recurring motifs include European flower bouquets,Chinese phoenix, and Persian peacocks.Noted coastal batiks are produced

InPekalongan,Cirebon,Lasem,Tuban, andMadura. Pekalongan has the most active batik industry.A notable sub-type of coastal batik calledJawaHokokaiis not attributed to a particular region. During theJapanese occupation of Indonesiain early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks calledJawaHokokai.Common motifs ofHokokaiincludes Japanesecherry blossoms, butterflies, and chrysanthemums.

Another coastal batik calledtiganegeri(batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, andsogandyes respectively. As of 1980, batiktiganegeriwas only produced in one city.

Sundanese Batik

Sundaneseor Priangan Batik is the term for batik from thePrianganregion ofWest JavaandBanten.Although Priangan batiks can use a wide range of colors, a preference forindigois seen in some of its variants. Naturalindigo dyemade fromIndigoferais among the oldest known dyes in Java, and its local nametarumhas lent its name to theCitarum riverand theTarumanagarakingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Priangan batik is produced inCiamis,Garut, andTasikmalaya. Other traditions include BatikKuninganinfluenced by batik Cirebon, batikBantenthat developed quite independently, and an older tradition of batikBaduy.

BatikBantenemploys brightpastel colorsand represents a revival of a lost art from theSultanate of Banten, rediscovered through archaeological work during 20022004. Twelve motifs from locations such as Surosowan and several other places have been identified.BatikBaduyonly employsindigocolor in shades ranged from bluish black to deep blue. It is traditionally worn asiket, a type ofSundaneseheadress similar toBalineseudeng, by Outer Baduy people ofLebak Regency,Banten.

Sumatran Batik

Trade relations between theMelayu KingdominJambiand Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of MudungLaut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced theMalaysian batik.

TheMinangkabaupeople also produce batik calledbatiaktanahliek(clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than 1 day and later designed with motifs of animal and flora.

Balinese Batik

Batik making in the island ofBaliis relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favored by the localBalineseand domestic tourists.Objects from nature such as birds or fish, and daily activities such asngabenprocessions or religious and mythological stories are common. Modern batik artists express themselves freely in a wide range of subjects.

Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote batik Bali as elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand madebatik tulis, can show social status.

Malaysia

A batik craftsman making batik.Malaysian batikare usually patterned with floral motifs with light colouring.

Batik was mentioned in the 17th centuryMalay Annals. The legend goes whenLaksamana Hang Nadimwas ordered byMalaccaKing, Sultan Mahmud, to sail to India to buy 140 pieces ofserasahcloth (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.The method of Malaysian batik making is different from those of Indonesian Javanese batik, the pattern being larger and simpler with only occasional use of thecantingto create intricate patterns. It relies heavily onbrushpainting to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine. However, the butterfly theme is a common exception.

India

Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2000 years. Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns.Contemporary batik making in India is also done by the Deaf women ofDelhi, these women are fluent inIndian Sign Languageand also work in other vocational programs.

Sri LankaMain article:Batik industry in Sri Lanka

A batik craftswoman brush painting with wax inKandy, Sri Lanka.

Over the past century, batik making in Sri Lanka has become firmly established. The Sri Lankan batik industry is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all alongHikkaduwa's Galle Road strip.Mahawewa, on the other hand, is famous for its batik factories.

China

Batik is done by the ethnic people in Guizhou Province, in the South-West of China. TheMiao,BouyeiandGejia peopleuse 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.

Africa

In Africa, paste made from starch or mud is used as a resist instead of wax. The most developed resist-dyeing skills are to be found in Nigeria where theYorubamakeadirecloths. Two methods of resist are usedadireelesowhich involves tied and stitched andadireelekothat uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while theSoninkeandWolofpeople in Senegal uses rice paste. The Bamana people of Mali use mud as a resist

Refference

1. http://www.dharmatrading.com/For complete instructions on a variety of techniques and everything else you will need for producing them.Including silk scarves and cotton tote bags.

2. http://www.misterart.com/Mister Art offers a large variety of reasonably priced batik supplies. Including silk scarves and cotton tote bags.

3. http://www.dickblick.com/Dick Blick, art materials offers a large variety of reasonably priced batik supplies.http://www.prochemicalanddye.comPro Chemical & Dye has everything that you could ever want or need to batik with. It is also a very good sourcefor Soy Wax in a variety of sizes.

4. http://cheaptotes.com/Cheap Totes is a great source for tote bags of all shapes and sizes.

5. http://www.jillkennedy.com/Jill Kennedy is a textile artist from the UK . There are several of her videos on YouTube and she offers DVDs andonline courses for sale.