The Kingdom of Pajang (1568–1586) was founded a short-lived Muslim state in Java. It was established by Hadiwijaya or Jaka Tingkir, Lord of Boyolali, after ending civil war in and as successor to Sultanate of Demak. Hadiwijaya was a descendant of Brawijaya V, the last king of Majapahit, and Trenggana, the Sultan of Demak.
In the last battle against the last claimant of Demak, the vicious Arya Penangsang, Jaka Tingkir commissioned his greatest vassal: Ki Ageng Pamanahan and his son, Sutawijaya to destroy Arya Penangsang's army. The two managed to defeat and kill Arya Penangsang and were thus awarded a fief in a forest called Alas Mentaok, now Kotagede, on which they founded their base for the future capital of Mataram Kingdom. (1)
Legend said that the King Hadiwijaya was very fond of Sutawijaya that he adopted Sutawijaya as the play-mate of his heir, Prince Banawa. Hadiwijaya's rule was supposed to be succeeded by this weak-minded heir, but a rebellion by a vassal named Ario Pangiri forced the heir of King to seek asylum to his childhood friend, Sutawijaya.
Pledged to help, Sutawijaya gathered his army and defeated Ario Pangiri and seized the Pajang Palace. The Prince Banawa then submitted his crown to Sutawijaya and thus ended the history of Kingdom of Pajang in 1586, when Sutawijaya founded the greatest Islamic kingdom in Java: Mataram Sultanate.
Source:http://medlibrary.org/medwiki/Pajang
Batik Indonesia
Batik Indonesia
Sabtu, 18 September 2010
The Origin of Batik
Batik (Javanese, “wax painting”), technique of textile design by negative, or resist, dyeing and the resulting fabric. Designs are first painted in melted wax on both sides of a cloth. The cloth is then dipped in dye, which is absorbed by the uncovered areas but resisted by the waxed areas, thus creating a light pattern on a dark ground. After the wax is removed (by boiling or dissolving), the process may be repeated many times to achieve great intricacy of design and richness of colour.
Batik, known to the ancient Sumerians, was developed into an art of great beauty by the Javanese and other Indonesian peoples. The wax was originally applied by a piece of bamboo. From the 17th century it was poured from a tjanting, a copper pot with several spouts, and this led to refinements of technique. The earliest designs were in white against an indigo background. Multicoloured designs developed during the 18th century, when Muslim Indians introduced new dyeing techniques. Traditional Indonesian batik features, geometric or floral motifs, are often status symbols or have religious significance. Batik was introduced to Europe by Dutch merchants in the 17th century. The batik process has become commercialized in Indonesia, and a decline in craftsmanship and loss of symbolic meaning have resulted.
Source:Microsoft® Encarta® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.
Batik, known to the ancient Sumerians, was developed into an art of great beauty by the Javanese and other Indonesian peoples. The wax was originally applied by a piece of bamboo. From the 17th century it was poured from a tjanting, a copper pot with several spouts, and this led to refinements of technique. The earliest designs were in white against an indigo background. Multicoloured designs developed during the 18th century, when Muslim Indians introduced new dyeing techniques. Traditional Indonesian batik features, geometric or floral motifs, are often status symbols or have religious significance. Batik was introduced to Europe by Dutch merchants in the 17th century. The batik process has become commercialized in Indonesia, and a decline in craftsmanship and loss of symbolic meaning have resulted.
Source:Microsoft® Encarta® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.
Jumat, 17 September 2010
Types of Batik
Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.
Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.
In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.
High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.
Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).
Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.
Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.
longer dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.
Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.
The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.
Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a
world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.
During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.
http://www.expat.or.id/info/batik.html
Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.
High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.
Kawung
Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).Ceplok
Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.Parang
Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.Washing Batik
Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.Modern Batik
Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are nolonger dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.
The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.
Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a
world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.
Batik Home Furnishings
One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent home furnishings made of batik. As the fabric is truly unique to Indonesia... this is definitely the best place to purchase batik! Batik factories can product batik to your order, with custom colors and designs in large rolls, ready to use for your home decoration projects. The 100% cotton fabric is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops also have design consultants who can help you with the layout of the room you are planning to design with your batik fabric and work with you on additional furnishings (pillows, bed covers, and cushions) to complete your color scheme.http://www.expat.or.id/info/batik.html
The History of Kampoeng Laweyan
Kampung Batik Laweyan actually been famous since the beginning of the independence of this republic. Even long before that villagers Laweyan already made history with the emergence of Islamic Trade Unions (SDI) which was formed by KH Samanhudi, one of the leading batik merchant. Through SDI is the breath of Islam became an important part in the trade in Indonesia. In this region also stands a building that supposedly Laweyan Mosque was built in 1546.
Geographically Laweyan Kampung Batik in the South and West Solo Solo City. This area had always been known as a batik industrial center. Existence has existed since the time of the Pajang kingdom in 1546. Because batik is famous for the production of this village soon became an icon of batik interior especially in Java on the production side of coastal batik Pekalongan, Lasem, Cirebon and Indramayu. Ward quickly became legendary icons and establish itself as the center of the triumph of the development of batik art in the city of Solo.
Location Laweyan Kampung Batik in the east by Kampong Jagalan Bumi Laweyan. Time is limited to the south and the west Jenes Village Kwanggan. There north street Dr. Rajiman which stretches from Market to Market Sapecada Jongke. In the main segment of the village there is a way Batik Laweyan flanked Sidoluhur legendary walled buildings owned batik merchants who had earned the nickname Mbok Mase and Ndoro Kakung Nganten.
Merchants had to make batik batik using canting as stamp or work equipment. In the manufacturing process uses wax painted on white cloth. Carved candles or night using a copper cap or canting. Because it is made with a stamp printed batik is called while the use is called batik canting strips or batik. This evening or a candle stick and a white dikain workmanship included in the process to beautify the complexion color motif.
During the period of manufacture to finished marketable involves the employment of people around Laweyan. Labor is called batik workers. Further promotion through the sticker affixed to the cloth a finished batik. Next batik batik shop marketed or sold in bulk in the Pasar Klewer. Promotional efforts are also made to lift the image of batik including through brochures and now the Internet media so that citizens of other countries will know the existence of batik as a valuable work of the Indonesian people, especially Javanese culture.
This was not in vain when UNESCO recognized batik as Indonesia’s cultural heritage. Through the existence of batik Unesco has got a place internationally. This recognition means that batik has a proven overseas market with many foreign or domestic tourists who visited the Kampung Batik Laweyan to shop and see batik production processes.
From this recognition businessmen should the government responded by immediately issuing laws that protect batik entrepreneurs. “For instance needs to be shown the actual definition of batik. If the process does not use candles not included batik, “said Widiarso, Management Forum Kampoeng Batik Laweyan as quoted Joglosemar some time ago.
If it is done will appear creative industries particularly in the manufacture of new batik.
In Kampung Klaseman with reiki healthy place to spend a little time until the high school population had mostly worked as laborers batik. There is worked as a cap batik, artisans tolet, nglorot, laundry workers and batik cloth batik writing usually done by mothers. They work in batik factory and there is also carrying material for the work of batik in their homes. These workers generally work from 8 am to 5 pm. Sometimes at night there are also working overtime.
In 1968 when production increases there is a batik batik merchant generous enough to allow the population of black and white television every week night at his home on the condition that the marquee was willing to help fold batik cloth that has not been so. Once a job finished batik cloth folded before the plane the size of black and white 20 inch started. Population busy-busy movie weekend that if it was broadcast TVRI Daktari, Flipper, Bonanza and broadcast commercial advertisements. In the village there was only 1 black and white television set and batik merchant’s the only weekend of entertainment for residents around the factory batik.
Well if want to know more batik-making process, you do not need help folding the cloth of batik, as illustrated above. You can just come while trying to make batik using canting. At this year’s Lebaran tourists visit both foreign and domestic tourists are expected to increase to Kampung Batik Laweyan. In the village of batik Laweyan all been available both batik or batik cap. Please select a batik shop and taste all of you.
Geographically Laweyan Kampung Batik in the South and West Solo Solo City. This area had always been known as a batik industrial center. Existence has existed since the time of the Pajang kingdom in 1546. Because batik is famous for the production of this village soon became an icon of batik interior especially in Java on the production side of coastal batik Pekalongan, Lasem, Cirebon and Indramayu. Ward quickly became legendary icons and establish itself as the center of the triumph of the development of batik art in the city of Solo.
Location Laweyan Kampung Batik in the east by Kampong Jagalan Bumi Laweyan. Time is limited to the south and the west Jenes Village Kwanggan. There north street Dr. Rajiman which stretches from Market to Market Sapecada Jongke. In the main segment of the village there is a way Batik Laweyan flanked Sidoluhur legendary walled buildings owned batik merchants who had earned the nickname Mbok Mase and Ndoro Kakung Nganten.
Merchants had to make batik batik using canting as stamp or work equipment. In the manufacturing process uses wax painted on white cloth. Carved candles or night using a copper cap or canting. Because it is made with a stamp printed batik is called while the use is called batik canting strips or batik. This evening or a candle stick and a white dikain workmanship included in the process to beautify the complexion color motif.
During the period of manufacture to finished marketable involves the employment of people around Laweyan. Labor is called batik workers. Further promotion through the sticker affixed to the cloth a finished batik. Next batik batik shop marketed or sold in bulk in the Pasar Klewer. Promotional efforts are also made to lift the image of batik including through brochures and now the Internet media so that citizens of other countries will know the existence of batik as a valuable work of the Indonesian people, especially Javanese culture.
This was not in vain when UNESCO recognized batik as Indonesia’s cultural heritage. Through the existence of batik Unesco has got a place internationally. This recognition means that batik has a proven overseas market with many foreign or domestic tourists who visited the Kampung Batik Laweyan to shop and see batik production processes.
From this recognition businessmen should the government responded by immediately issuing laws that protect batik entrepreneurs. “For instance needs to be shown the actual definition of batik. If the process does not use candles not included batik, “said Widiarso, Management Forum Kampoeng Batik Laweyan as quoted Joglosemar some time ago.
If it is done will appear creative industries particularly in the manufacture of new batik.
In Kampung Klaseman with reiki healthy place to spend a little time until the high school population had mostly worked as laborers batik. There is worked as a cap batik, artisans tolet, nglorot, laundry workers and batik cloth batik writing usually done by mothers. They work in batik factory and there is also carrying material for the work of batik in their homes. These workers generally work from 8 am to 5 pm. Sometimes at night there are also working overtime.
In 1968 when production increases there is a batik batik merchant generous enough to allow the population of black and white television every week night at his home on the condition that the marquee was willing to help fold batik cloth that has not been so. Once a job finished batik cloth folded before the plane the size of black and white 20 inch started. Population busy-busy movie weekend that if it was broadcast TVRI Daktari, Flipper, Bonanza and broadcast commercial advertisements. In the village there was only 1 black and white television set and batik merchant’s the only weekend of entertainment for residents around the factory batik.
Well if want to know more batik-making process, you do not need help folding the cloth of batik, as illustrated above. You can just come while trying to make batik using canting. At this year’s Lebaran tourists visit both foreign and domestic tourists are expected to increase to Kampung Batik Laweyan. In the village of batik Laweyan all been available both batik or batik cap. Please select a batik shop and taste all of you.
The History of Batik
Javanese traditional batik, especially from Yogyakarta and Surakarta, has special meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are most commonly available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch culture. In the colonial times pesisir batik was a favorite of the Peranakan Chinese, Dutch and Eurasians.
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.[1]
Batik is an artistic technique of dyeing a cloth by using a wax-resist method. Wax-resist method is the most traditional way to dye or color a cloth. This method prevents the dye from spreading on the entire cloth and so as to give a beautiful pattern or design on the cloth. Batik is regarded as the cultural and traditional art in Indonesia. The traditional colors used for Batik are deep shades of indigo, dark brown and white which symbolize the three main Hindu Gods. Javanese Batik, from Jog Jakarta with some particular meaning is found in countries of West Africa like Nigeria, Ghana, Cameroon, Uganda and Mali with the true Javanese idea, and in Asia like India, Sri Lanka, Bangladesh, Iran, Philippines, Malaysia, Thailand and Burma.
Long ago, in the ancient period around 1500 years ago, the dye resist designs on the cloth were found in Egypt and the Middle East along with the two major countries, samples are also found in Turkey, India, China, Japan and West Africa around hundreds of years ago. In the present date, Batik is highly developed form of art found on the island of Java, Indonesia. In the 17th century, the fabrics were highly decorated with Dutch transcripts, by it is often believed that complicated designs in Java were possible when the finely woven imported cloth that was from India to Indonesia in 1800s and then from Europe in 1815. The similar Batik designs that were done on textiles earlier are noticed on stone statues that are beautifully sculptured on the walls of Javanese temples like Prambanan AD 800, but then it is not yet confirmed that the cloth was Batik. These designs could be produced by weaving techniques too. However, by the 19th century became greatly developed form of art in the cultural life of the Javanese.
There were some specific Batik designs worn by the Javanese royalty and thus it was felt that Batik was originally meant to be worn by the monarchs of the royal Sultan's palace. The Princesses and royal women might have encouraged the finest designs of Batik that reflect the traditional patters. Well, the untidy dyeing work with consequent waxing was done by the court artisans who worked under their direction.
Known as the great fans of art, Javanese royalty supported the development of traditional art form like silver embellishment, leather puppets known as wayang kulit in java and gamelan orchestra. The Javanese dalang (puppeteer) was a major source for the Batik patterns too. Wayang puppets are made from goat skin which was treated and colored to build false impression on the puppet, were usually sold to women who could get the necessary idea of batik designs from these puppets. The used charcoal and blew it through the holes that describe the design of puppet clothing, so that they could copy complicated patterns onto the cloth.
However, some scholars deny the fact that Batik was originally meant for royalty as they feel that it is meant for the rakyat, the people too. It was considered as a significant job for young women of the Central Java, revealing the fact that they are capable enough to handle a canting (an instrument shaped like pen to apply wax to the cloth) with enough tact and skill just like skills used in cookery or other household arts.
Article Source: http://EzineArticles.com/?expert=Jamie_Hanson
^ a b c Indonesian Batik Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch culture. In the colonial times pesisir batik was a favorite of the Peranakan Chinese, Dutch and Eurasians.
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.[1]
Batik is an artistic technique of dyeing a cloth by using a wax-resist method. Wax-resist method is the most traditional way to dye or color a cloth. This method prevents the dye from spreading on the entire cloth and so as to give a beautiful pattern or design on the cloth. Batik is regarded as the cultural and traditional art in Indonesia. The traditional colors used for Batik are deep shades of indigo, dark brown and white which symbolize the three main Hindu Gods. Javanese Batik, from Jog Jakarta with some particular meaning is found in countries of West Africa like Nigeria, Ghana, Cameroon, Uganda and Mali with the true Javanese idea, and in Asia like India, Sri Lanka, Bangladesh, Iran, Philippines, Malaysia, Thailand and Burma.
Long ago, in the ancient period around 1500 years ago, the dye resist designs on the cloth were found in Egypt and the Middle East along with the two major countries, samples are also found in Turkey, India, China, Japan and West Africa around hundreds of years ago. In the present date, Batik is highly developed form of art found on the island of Java, Indonesia. In the 17th century, the fabrics were highly decorated with Dutch transcripts, by it is often believed that complicated designs in Java were possible when the finely woven imported cloth that was from India to Indonesia in 1800s and then from Europe in 1815. The similar Batik designs that were done on textiles earlier are noticed on stone statues that are beautifully sculptured on the walls of Javanese temples like Prambanan AD 800, but then it is not yet confirmed that the cloth was Batik. These designs could be produced by weaving techniques too. However, by the 19th century became greatly developed form of art in the cultural life of the Javanese.
There were some specific Batik designs worn by the Javanese royalty and thus it was felt that Batik was originally meant to be worn by the monarchs of the royal Sultan's palace. The Princesses and royal women might have encouraged the finest designs of Batik that reflect the traditional patters. Well, the untidy dyeing work with consequent waxing was done by the court artisans who worked under their direction.
Known as the great fans of art, Javanese royalty supported the development of traditional art form like silver embellishment, leather puppets known as wayang kulit in java and gamelan orchestra. The Javanese dalang (puppeteer) was a major source for the Batik patterns too. Wayang puppets are made from goat skin which was treated and colored to build false impression on the puppet, were usually sold to women who could get the necessary idea of batik designs from these puppets. The used charcoal and blew it through the holes that describe the design of puppet clothing, so that they could copy complicated patterns onto the cloth.
However, some scholars deny the fact that Batik was originally meant for royalty as they feel that it is meant for the rakyat, the people too. It was considered as a significant job for young women of the Central Java, revealing the fact that they are capable enough to handle a canting (an instrument shaped like pen to apply wax to the cloth) with enough tact and skill just like skills used in cookery or other household arts.
Article Source: http://EzineArticles.com/?expert=Jamie_Hanson
^ a b c Indonesian Batik Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity
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