First Lessons in Batik: A Handbook in Batik, Tie-Dyeing, and All Pattern Dyeing

FIRST LESSONS IN BATIK

CHAPTER I

THE HISTORY OF BATIK

The word Batik is Javanese, and means to paint or draw or design with wax on textiles so that when placed in the dye the wax prevents the part covered from taking the color. The wax is then removed by hot water or gasoline, leaving the parts thus covered of the original color.

From early times and in many places designs have been made in this manner on various kinds of objects, but the process reached its highest development in its application to woven fabrics. Wax seems to have been used in this manner in southern India and probably in some other parts of southeastern Asia for centuries. Early Buddhistic books of the ninth or tenth century refer to a wax painting process, and there are preserved in Japan ancient Indian cloths which have been colored in this manner.

This process of wax painting, however, reached its highest development in Java, where it was probably introduced about the twelfth century. The earliest written record we have states that in 1518, there was a flourishing industry of this sort at Cheribon, Java, which showed certain remarkable resemblances to the processes employed on the Coromandel coast of southern India. The work was done by men, and plant and animal motives were largely used in the designs. At that time, that portion of the island had not yet been Mohammedanized, as we see by the designs used.

After Mohammedanism spread over the island, the industry developed rapidly, and many new and original patterns were added to those formerly used. The highest development was in central Java, where Batik flourished especially during the seventeenth and eighteenth centuries. Here the work was carried on by women, especially by those of the leisure class, who could give the time and care necessary to the production of the finest work. Some designs were so elaborate and difficult that only the nobility could afford them and a few designs were reserved for the use of royalty. In these designs, indigoes or browns are the predominating colors.

The first detailed account of Batik making was by Raffles in 1817. At that time the tjanting, an instrument which will be explained later, was in universal use. How long it had been used and when it superseded the brush, which was doubtless used earlier, as it was in India, is not known. About 1860, a new process was introduced by means of which the wax was transferred to the cloth by a metal stamp dipped in the melted wax and then pressed on the cloth. This stamping process is known as tjap and is done by men, while in Batik work the designing and painting are always done by women. It is doubtless an adaptation of the color printing process of India to the wax process. In some cases after stamping, the opposite side is Batiked, but this is not common. These tjap cloths are, of course, much cheaper than true Batiks.

The designs used in Javanese Batik work show much variation in different parts of the island, and certain designs are characteristic of particular regions. The motives are of various origins. Some are old weaving patterns, or adapted from basket or plaited designs. Some are evidently of Indian origin, similar to those on the cotton prints of southern India. It is interesting to find the same designs on some of the old Buddhistic sculptures that are found on certain Batik pieces. Other designs are of Chinese origin, and recently modern European designs are being adopted. Most of the designs, however, are either modifications of the old Indian plant and flower motives or geometric figures developed by the Javanese themselves.

The Javanese women employ the Batik process largely for the decorations of textiles used in their personal costume. This costume is simple, consisting of an oblong piece of cloth about three to four and one-half yards long by forty-two inches wide, generally called a sarong. It is worn wrapped around the waist and tucked in the belt. This costume is worn by both men and women.

A cotton scarf, generally about three yards long by eighteen inches, is also worn, and is used by the women as a carry-all. Silk is occasionally used by the nobility for scarfs.

The turban is made of a square piece of cloth twisted around the head in a different fashion in each district.

Each district has its own characteristic color schemes. Djokjakarta and Surakarta, which are semi-independent principalities in the interior, do the