Batik

An Indonesian batik

Batik[n 1] is a technique of wax-resist

dyeing applied to whole cloth, or cloth
made using this technique, originated
from Indonesia, [1] Batik is made either
by drawing dots and lines of the resist
with a spouted tool called a tjanting,[n 2]
or by printing the resist with a copper
stamp called a cap.[n 3][2] The applied
wax resists dyes and therefore allows the
artisan to colour selectively by soaking
the cloth in one colour, removing the wax
with boiling water, and repeating if
multiple colours are desired.[1]

A tradition of making batik is found in

various countries; the batik of Indonesia,
however, may be the best-known.[3][4]
Indonesian batik made in the island of
Java has a long history of acculturation,
with diverse patterns influenced by a
variety of cultures, and is the most
developed in terms of pattern, technique,
and the quality of workmanship.[5] In
October 2009, UNESCO designated
Indonesian batik as a Masterpiece of
Oral and Intangible Heritage of
Humanity.[6]

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-
Austronesian root *beCík ('to tattoo').
The word is first recorded in English in
the Encyclopædia 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.[7][8][9]

History

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

China
Pattern of clothes of 13th century East Javanese
Prajnaparamita 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 practised 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 practised by the Yoruba
tribe in Nigeria, Soninke and Wolof in
Senegal.[10] These African version
however, uses cassava starch or rice
paste, or mud as a resist instead of
beeswax.[11]

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.[12] 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.[10]
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 other regions in Indonesia
such as Toraja, Flores, Halmahera, and
Papua, which were not directly
influenced by Hinduism, have an age-old
tradition of batik making.[13]

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 the canting was invented in Java
around that time.[13] 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
ceplok batik motif.[14] 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.[15]
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 Bengkulu, Sumatra. 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.[10]

In the 1920s, Javanese batik makers

migrating to Malaya (now Malaysia)
introduced the use of wax and copper
blocks to its east coast.[16]

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 colours. In the 1970s,
batik was introduced to Australia, where
aboriginal artists at Erna Bella have
developed it as their own craft.[17]

Technique

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 beeswax,
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
(Javanese pronunciation: [tʃantiŋ],
sometimes spelled with old Dutch
orthography tjanting) is the most
common. A tjanting 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.[18] Alternatively, a copper block
stamp called a cap (Javanese
pronunciation: [tʃap]; old spelling tjap) is
used to cover large areas more
efficiently.[19]

Applying wax using cap (copper plate stamps).

After the cloth is dry, the resist is

removed by boiling or scraping the cloth.
The areas treated with resist keep their
original colour; when the resist is
removed the contrast between the dyed
and undyed areas forms the pattern.[20]
This process is repeated as many times
as the number of colours desired.

The most traditional type of batik, called

batik tulis (written batik), is drawn using
only the canting. The cloth needs 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.[5]

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.[21]
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.[22][23]

Batik garments play a central role in

certain Javanese rituals, such as the
ceremonial casting of royal batik into a
volcano. In the Javanese naloni mitoni
ceremony, the mother-to-be is wrapped
in seven layers of batik, wishing her good
things. Batik is also prominent in the
tedak siten ceremony when a child
touches the earth for the first time.[24]

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.[21] The
day, October 2, 2009 has been stated by
Indonesian government as National Batik
Day,[25] as also at the time the map of
Indonesian batik diversity by Hokky
Situngkir was opened for public for the
first time by the Indonesian Ministry of
Research and Technology.[26]

Study of the geometry of Indonesian

batik has shown the applicability of
fractal geometry in traditional
designs.[27]

Popularity

The popularity of batik in Indonesia has

varied. Historically, it was essential for
ceremonial costumes and it was worn as
part of a kebaya dress, 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.
It is also believed the motif made the
batik famous.[28]
Examples of Cultural influences on Batik Patterns and Motifs[29]
Cultural Geographic
Batik Pattern Sample
Influence Location

kawung, ceplok, gringsing, parang, lereng,

Native truntum, sekar jagad (combination of various
Respective areas
Indonesian motifs) and other decorative motifs of Java,
Dayak, Batak, Papua, Riau, etc.

garuda, banji, cuwiri, kalpataru, meru or

Hindu-Buddhist gunungan, semen rama, pringgondani, sidha Java
asih, sidha mukti, sidha luhur

Bengkulu, Cirebon,
Islamic besurek or Arabic calligraphy, buraq
Jambi

burung hong (Chinese phoenix), liong/naga Lasem, Cirebon,

(Chinese dragon), qilin, wadasan, Pekalongan,
Chinese
megamendung (Chinese-style cloud), lok Tasikmalaya,
tjan Ciamis

Cirebon, Garut,
Indian jlamprang, peacock, elephant Pekalongan,
Madura

buketan (floral bouquet), European fairytale,

European
colonial images such as house, horses, Java
(colonial era)
bicycle and European-dressed people

Japanese sakura, hokokai, chrysanthemum, butterfly Java

The batik industry of Java flourished

from the late 1800s to early 1900s, but
declined during the Japanese
occupation of Indonesia.[5] With
increasing preference of western
clothing, the batik industry further
declined following the Indonesian
independence. Batik has somewhat
revived at the turn of the 21st century,
through the efforts of Indonesian fashion
designers to innovate batik by
incorporating new colours, 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.[29]
Contemporary men's batik shirt in Solo style, sogan
colour with lereng motif

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.[30] 2
October is also celebrated as National
Batik Day in Indonesia.[30] 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.[31]

Batik is also popular in the neighbouring

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.[32]

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
with parang gondosuli motifs.[33][34]

Terminology

Terminology of Indonesian batik

Batik is traditionally sold in 2.25-metre

lengths used for kain panjang 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.[5]
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 determine whether the
cloth is kain panjang or sarong.[5]
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 colours
called pagi-sore ('dawn-dusk').
Brighter pattern are shown during the
day, while darker pattern are shown in
the evening. The alternating colours
 give the impression of two batik
sets.[5]
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.[5]

Types

As each region has its own traditional

pattern, batiks are commonly
distinguished by the region they
originated in, such as batik Solo, batik
Yogyakarta, batik Pekalongan, and batik
Madura. Batiks from Java can be
distinguished by their general pattern
and colours 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. A mapping of batik
designs from all places in Indonesia
depicts the similarities and reflects
cultural assimilation within batik
designs.[35]

Javanese Batik

Inland Batik

A typical inland batik has deep earthy colours with

various indigenous patterns (contemporary kain
various indigenous patterns (contemporary kain
panjang 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 colour[36] such as black, indigo,
brown, and sogan (brown-yellow colour
made from the tree Peltophorum
pterocarpum), 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.[37] Noted inland batiks are
produced in Solo and Jogjakarta, cities
traditionally regarded as the centre of
Javanese culture. Batik Solo typically has
sogan background and is preserved by
the Susuhunan and Mangkunegaran
Court. Batik Jogja typically has white
background and is preserved by the
Yogyakarta Sultanate and Pakualaman
Court.[24]

Coastal Batik
In contrast, a typical coastal batik has vibrant
colours with patterns drawn from numerous

cultures (kain panjang 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 colours and patterns
inspired by a wide range of cultures as a
consequence of maritime trading.[36]
Recurring motifs include European
flower bouquets, Chinese phoenix, and
Persian peacocks.[21] Noted coastal
batiks are produced in Pekalongan,
Cirebon, Lasem, Tuban, and Madura.
Pekalongan has the most active batik
industry.[5]

A notable sub-type of coastal batik

called Jawa Hokokai 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 Jawa Hokokai.[5] Common motifs
of Hokokai includes Japanese cherry
blossoms, butterflies, and
chrysanthemums.
Another coastal batik called tiga negeri
(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 tiga negeri was only
produced in one city.[5]

Sundanese Batik

Sundanese or Priangan Batik is the term

for batik from the Priangan region of
West Java and Banten.[38] Although
Priangan batiks can use a wide range of
colours, a preference for indigo is 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 the Tarumanagara
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

colours and represents a revival of a lost
art from the Sultanate of Banten,
rediscovered through archaeological
work during 2002–2004. Twelve motifs
from locations such as Surosowan and
several other places have been
identified.[39]

Batik Baduy only employs indigo colour

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.[40]

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 Mudung Laut in Pelayangan
district is known for producing batik
Jambi. Batik Jambi, as well as Javanese
batik, influenced the Malaysian batik.[41]

The Minangkabau people also produce

batik called batiak tanah liek (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.[42] The Batik from
Bengkulu, a city on west coast of
Sumatra, is called Batik Besurek, which
literary means "batik with letters" as they
draw inspiration from Arabic calligraphy.

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 favoured by the
local Balinese and domestic tourists.[43]
Objects from nature such as frangipani
and hibiscus flowers, birds or fishes, and
daily activities such as Balinese dancer
and ngaben processions or religious and
mythological creatures such as barong,
kala and winged lion are common.
Modern batik artists express themselves
freely in a wide range of subjects.[44]

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.[44]

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.[45][46]

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
colours to fabrics. The colours also tend
to be lighter and more vibrant than deep
coloured 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.[47] 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.[20] 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.[48]

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.[49][50]
China

Batik is done by the ethnic people 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.[51]

Africa

Waxprints sold in a shop in West Africa

Lady selling colorful waxprint fabrics in Togo

Although modern history would suggest
that the Batik was introduced to Africa by
the Dutch, the batik making process has
been practiced in Africa long before the
arrival of the colonial powers. One of the
earlier sightings are to be found in Eygpt,
where batik was used in the embalming
of mummies. The most developed resist-
dyeing skills are to be found in Nigeria
where the Yoruba make adire cloths.
Two methods of resist are used: adire
eleso which involves tied and stitched
designs and adire eleko 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.[11]Batik was worn as a symbol of
status, ethnic origin, marriage, cultural
events, etc.

African wax prints (Dutch wax prints)

was introduced during the colonial era,
through Dutch's textile industry's effort to
imitate the batik making process. The
imitation wasn't successful in Europe,
but experienced a strong reception in
Africa instead.[52]{[53]:20. Today batik is
produced in many parts of Africa and it is
worn by many Africans as a symbol of
culture.

Gallery
Indonesian batik
Sidho Mukti pattern.

Parang klithik pattern from Solo.

Sidha Drajat pattern from Solo.

Typical bright red colour in batik Lasem

called abang getih pithik (chicken blood
red).
Head of a sarong from Banyumas, circa
1880s.

Pasung or pucuk rebung pattern, circa

1800s.
 Sarong from northern Java, circa 1900s.

Batik processing
Initial pattern drawn with a pencil.

Drawing patterns with wax using canting.

Various tools for making batik, canting is
shown in the top.

Printing wax-resin resist for Batik with a

cap
A cap for applying hot wax.

Selection of cap copper printing blocks

with traditional batik patterns
 Dyeing the cloth in colour.

Dyeing the cloth in colour.

People wearing batik

Bedhoyo dancers from Solo.

A group of women wearing colourful

batiks.
Servants in Kraton Yogyakarta.

A Javanese man wearing typical

contemporary batik shirt.
An elderly Sundanese woman wearing
batik sarong and headdress

Studio portrait from the court of

Yogyakarta.
Portrait of a woman in sarong and
kebaya with child.

Nelson Mandela wearing batik

 Man with batik trousers

See also
National costume of Indonesia
Thetis Blacker, English batik artist
Balinese textiles
Ikat
Madiba shirt
Malaysian batik
 Malong
Sarong
Songket
T'nalak
Bagh Print
Folk costume

Notes
ꦶ ꦏ꧀, Javanese
1. Javanese: ꦧꦠ
pronunciation: [ˈbaʈeʔ];
Indonesian: [ˈbatɪk]
2. Javanese: ꦕꦤ, Javanese
pronunciation: [ʈ͡ʂantiŋ], also spelled
tjanting
 3. Javanese: ꦕꦥ꧀, Javanese
pronunciation: [ʈ͡ʂap], also spelled
tjap

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External links

Look up batik in Wiktionary, the free

dictionary.
Wikimedia Commons has media
related to Batik.

Wikimedia Commons has media

related to Indonesian batik.

UNESCO: Indonesian Batik,

Representative of the Intangible
Cultural Heritage of Humanity - 2009
Video tutorial about African batik
Early Indonesian textiles from three
island cultures: Sumba, Toraja,
Lampung , exhibition catalogue from
Metropolitan Museum of Art Libraries
 Batik, the Traditional Fabric of
Indonesia an article about batik from
Living in Indonesia

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