VCS 155 : INTRODUCTION OF ISLAMIC ART IN THE

MALAY WORLD
Topic : Textile & Costume [Batik]
Name :
MOHAMAD ZAHRUL AKMAL BIN KAMARUZAMAN
KHAIRUNNISA BINTI ABDUL RAHMAN
ATHIRAH BINTI HAMZAH
FD A
NURFARHANA DAUD
IZZATUL HUSNA BINTI HARUN

FD A
FD A
FD A
FD 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 children
prefer 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 Technique

This is the simplest technique for beginners to get started creating pieces with multiple colors and
detailed designs
without 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 room
temperature 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 you
want.**
9. Remove the wax the same way as above; by soaking it in hot soapy water, then machine washing it
according 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, waterbased 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 dyebath.
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 prewash 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 between
layers of absorbent paper and heat is applied by iron, to melt the wax out. This process often leaves a
wax residue (looks like a grease spot) that is very difficult to remove, so it is not recommended. This
method is often used for complex wall hangings that end up with so much wax on them that the whole
thing 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 your
water heater up all the way and gently run a slow stream of hot water over the piece to melt the wax
off. Do this to all surfaces. A collection tub should be placed under the fabric to catch the wax and
water. Best done outside!
5. If you are working on silk, and are going to steam set a silk dye, roll your piece in extra absorbent
paper. It will absorb a lot of the wax while the piece is steaming. Any leftover can be removed by one
of 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 can
cause the fabric to dye unevenly.**

Other things that you might want to knowThere 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 word batik is Javanese in origin. It may either come from the Javanese word amba ('to write')
and titik ('dot'), or may derive from a hypothetical Proto-Austronesianroot *beCk ('to tattoo'). The word is
first recorded in English in the Encyclopdia 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

History

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

Pattern of clothes of 13th century East JavanesePrajnaparamita statue resembles batik.

Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in 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 the Tang Dynasty (618-907 AD), and in India and Japan
during the Nara Period (645-794 AD). In Africa it was originally practiced by the Yoruba tribe in
Nigeria,Soninke and Wolof in Senegal. These African version however, uses cassava starch or rice paste,
or mud as a resist instead ofbeeswax.
The art of batik is most highly developed in the island of Java in 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 as Toraja, Flores, Halmahera, and Papua, which
were not directly influenced by Hinduism, have an age-old tradition of batik making.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East
Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool
that holds a small reservoir of hot wax, and proposed that thecanting was invented in Java around that
time.[8] The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th
century show intricate floral patterns within rounded margins, similar to today's traditional
Javanese jlamprang or ceplokbatik motif.The motif is thought to represent the lotus, a sacred flower in
Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with
the canting existed in 13th-century Java or even earlier.
In Europe, the technique was described for the first time in the History of Java, published in
London in 1817 by 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 the Tropenmuseum houses 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 the cap (copper block stamps) to
mass-produce batiks. Displayed at the Exposition Universelle at 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. In Subsaharan 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 of cap copper printing blocks with traditional batik patterns

Batik craftswomen in Java drawing intricate patterns using canting and 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 of paraffin or bees 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 a canting (IPA: sometimes spelled with old Dutch orthography tjanting) is the most
common. A canting is 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 a cap ( old spelling tjap) 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 batik tulis (written batik), is drawn using only the canting. 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 Javanese nalonimitoni ceremony, the mother-to-be is wrapped in seven layers of
batik, wishing her good things. Batik is also prominent in the tedaksiten ceremony when a child touches
the earth for the first time.
In October 2009, UNESCO designated Indonesian batik as a Masterpiece 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 in Solo style, sogan color with lereng motif

The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and
it was worn as part of a kebayadress, 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.

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
the Japanese 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 batik sarongs are 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 the small business local 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 the 2009 Pendet controversy, Indonesia and Malaysia disputed the
ownership of batik culture. However, Dr Fiona Kerlogue of the Horniman museum argued 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 of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The
female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini
style kebaya withparanggondosuli motifs.

Terminology

Terminology of Indonesian batik

Batik is traditionally sold in 2.25-metre lengths used for kainpanjang or sarong. It is worn by
wrapping it around the hip, or made into a hat known as blangkon. 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 of isosceles
triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly
used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs
such as buketan (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. The papan inside of the head can be used
to determined whether the cloth is kainpanjang or 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 called pagi-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 beside seret.

Types

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

Javanese Batik
Inland Batik

A typical inland batik has deep earth colors with various indigenous patterns (contemporary kainpanjang with sidha pattern
from Solo).

Inland batik or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java.
Inland batik has earthy colorsuch as black, indigo, brown, and sogan (brown-yellow color made from
the tree Peltophorumpterocarpum), 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 in Solo and Jogjakarta, cities
traditionally regarded as the center of Javanese culture. Batik Solo typically has sogan background
and is preserved by the Susuhunanand Mangkunegaran Court. Batik Jogja typically has white
background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.

Coastal Batik

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

Coastal batik is produced in several areas of northern Java and Madura. 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

In Pekalongan,Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik
industry.A notable sub-type of coastal batik called JawaHokokai is not attributed to a particular
region. During the Japanese occupation of Indonesia in 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 called JawaHokokai.Common motifs of Hokokaiincludes Japanese cherry
blossoms, butterflies, and chrysanthemums.

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

Sundanese Batik

Sundanese or Priangan Batik is the term for batik from the Priangan region of West
Java and Banten. Although Priangan batiks can use a wide range of colors, a preference for indigois
seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes
in Java, and its local name tarum has lent its name to the Citarum river and
theTarumanagara kingdom, which suggests that ancient West Java was once a major producer of
natural indigo. Noted Priangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions
include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite
independently, and an older tradition of batik Baduy.

Batik Banten employs bright pastel colors and represents a revival of a lost art from
the Sultanate of Banten, rediscovered through archaeological work during 20022004. Twelve motifs
from locations such as Surosowan and several other places have been identified.

Batik Baduy only employs indigo color in shades ranged from bluish black to deep blue. It is
traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy
people of Lebak Regency, Banten.

Sumatran Batik

Trade relations between the Melayu Kingdom in Jambi and 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 the Malaysian batik.

The Minangkabau people also produce batik called batiaktanahliek (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 of Bali is relatively new, but a fast-growing industry. Many
patterns are inspired by local designs, which are favored by the local Balinese and domestic
tourists. Objects from nature such as birds or fish, and daily activities such as ngaben processions 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 made batik tulis, can show social status.

Malaysia

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

Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana
Hang Nadim was ordered by Malacca King, Sultan Mahmud, to sail to India to buy 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.

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 the canting to create intricate patterns. It
relies heavily on brush painting 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 of Delhi,
these women are fluent in Indian Sign Language and also work in other vocational programs.

Sri Lanka
Main article: Batik industry in Sri Lanka

A batik craftswoman brush painting with wax in Kandy, 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 along Hikkaduwa'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.
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.

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 the Yoruba make adire cloths. Two
methods of resist are used adireeleso which involves tied and stitched and adireeleko that 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
the Soninke and Wolof people 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.com
Pro 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 and

online courses for sale.