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An Indonesian batik

Batik^{[n 1]} is a technique of wax-resistdyeing 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]

The tradition of batik making 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]

4Culture
- 4.1Indonesia
  - 4.1.3Types
    - 4.1.3.1Javanese Batik
5Gallery

Etymology[edit]

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[edit]

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]

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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[edit]

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 orthographytjanting) 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

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