Batik Essay Research Paper Johari RahimJavanese BatikOne

Batik Essay, Research Paper

Johari Rahim

Javanese Batik

One of the major art forms in Southeast Asia is a type of dyed cloth called batik. The word batik is thought to be derived from the word ambatik which means a cloth with little dots in Indonesian. The suffix tik means little dot, drop, point or to make dots. Batik may also originate from the Javanese (a dialect of Indonesian native to the island of Java) word tritik which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques implemented in western textile design.

Although experts disagree about the origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration on cloth, none have developed batik to the art form that is highly developed on the island of Java in Indonesia.

Although there is mention of fabrics highly decorated in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. This finely woven cloth allowed for the intricate patterns that developed on the island of Java. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples, however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced weaving techniques and not dying. Nonetheless, these traditional woven patterns influenced the styles that are prevalent in the region.

Some experts feel that batik was originally reserved as an art form for Javanese royalty. Princesses and noble women may have provided the inspiration for the highly refined traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.

Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. These puppets were assembled with moving arms and sometimes mouths. These parts were controlled by bamboo sticks that are handled from below the puppet. A pupeteer then would perform a show with the puppets behind a cloth screen, illuminated from behind the puppet by a lamp. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.

The population of western Indonesia is predominantly Muslim. Islamic art forbids the representation of natural elements, and is predominantly based on geometric patterns. These patterns translated well into the styles and methods of batik production. Influence from chinese art, imported by immigrants moving south from china, introduced flower patterns as well as figurative and animistic features which influenced the batik styles of the region.

Batik is made through a process of applying a wax resist and then dying the cloth. Intricate colors and patterns are achieved by repeated waxing and dyeing of the cloth. 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.

Traditionally, wax is applied to the cloth using a canting (pronounced janting). A canting is a tool with small spout that protrudes downwards copper attached to a resovouir with a wood handle . 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 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. High demand for fine batik patterns led to the development of the cap (pronounced