www.batikreview.com

There is the desire of former State Minister for Women Affairs Meutia Hatta that have not been submitted to the late maestro Iwan Tirta batik. Meutia still find out the philosophy Batik Iwan Tirta’s mother.

“There’s one thing I have not had time to do, which asked Mr. Sam to write his own philosophy of batik collections that my mother had,” said Meutia Hatta at the residence of Iwan Tirta, Panarukan Road, Menteng, Central Jakarta, Saturday, July 31, 2010.

Meutia know Iwan Tirta creativity since the 1970s. Meutia and family, including parents, is an admirer and collector of works of batik-batik Nusjirwan Tirtaatmadja maestro’s full name.

Meutia sure, Iwan Tirta batik given to her mother’s philosophy and it has its own story. Because, each work must have a special message.

“Every existing design philosophies. There are provisions, messages and expectations. He is a man who never get out of it. He also poured it works in porcelain, the dishes,” explained Meutia.

The last meeting with designers birth Meutia Blora, East Java, 18 April 1935 occurred at about five days ago. Meutia visiting Iwan Tirta who is still being treated in hospital Abdi Waluyo, Menteng.
“I also collector, but my mother who is more loyal. From the first to make batik, my mother would be given. My mother I have a collection very much and now falls to us. Incidentally my mother had three children including me,” Meutia said.

Meutia hope the younger generation can go on and do not leave the personality and loss of identity batik itself. Because batik is a national identity.

“So there are messages in the batik was maintained. Preserved but also developed,” he said.

Iwan Tirta died at around 8:40 pm at the RS Abdi Waluyo, Menteng, Central Jakarta. Designers who have undergone treatment for 10 days in the hospital it will be buried this evening bivouac TPU Rubber

source:vivanews.com

Wax resist dyeing technique in fabric is an ancient art form. Discoveries show it already existed in Egypt in the 4th century BCE, where it was used to wrap mummies; linen was soaked in wax, and scratched using a sharp tool. In Asia, the technique was practiced in China during the T’ang dynasty (618-907 CE), and in India and Japan during the Nara period (645-794 CE). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[6]

In Java, Indonesia, batik predates written records. GP. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.[6] On the other hand, JLA. Brandes (a Dutch archeologist) and F.A. Sutjipto (an Indonesian archeologist) believe Indonesian batik is a native tradition, regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism and have an old age tradition of batik making.[7]

GP. Rouffaer also reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that such a delicate pattern could only be created by means of the canting (also spelled tjanting or tjunting; IPA: [tʃantɪŋ]) tool. He proposed that the canting was invented in Java around that time.[7]

Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Sultan Mahmud to sail to India to get 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.[8][9]

In Europe, the technique is described for the first time in the History of Java, published in London in 1817 by Sir Thomas Stamford Raffles who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today Tropenmuseum housed the biggest collection of Indonesian batik in the Netherlands. The Dutch were active in developing batik in the colonial era, they introduced new innovations and prints. And it was indeed starting from the early 19th century that the art of batik really grew finer and reached its golden period. Exposed to the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans.[6] After the independence of Indonesia and the decline of the Dutch textile industry, the Dutch batik production was lost, the Gemeentemuseum, Den Haag contains artifacts from that era.

Due globalization and industrialization, which introduced automated techniques, new breeds of batik, known as batik cap (IPA: [tʃap]) and batik print emerged, and the traditional batik, which incorporates the hand written wax-resist dyeing technique is known now as batik tulis (lit: ‘Written Batik’). At the same time Indonesian immigrants to Malaysia and Singapore brought Indonesian batik with them

source;wikipedia.org

Java
Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the “Priangan” region, a cultural region in West Java and Northwest Java (Banten).[14] Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan Batik which demonstrate Cirebon Batik influences, and also Banten Batik that developed quite independently and have its own unique motifs. The motifs of Priangan batik are visually naturalistic and strongly inspired by flora (flowers and swirling plants) and fauna (birds especially peacock and butterfly). The variants and production centers of Priangan Batik are:
Ciamis Batik. Ciamis used to rival other leading batik industry centers in Java during early 20th century. Compared to other regions, Ciamis batik is stylistically less complex. The flora and fauna motifs known as ciamisan are drawn in black, white, and yellowish brown. Motifs are similar to coastal Cirebon Batik, but the thickness of coloring share the same styles as inland batik. The thick coloring of Ciamis batik is called sarian.
Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading (yellowish ivory), indigo, dark red, dark green, yellowish brown, and purple. Ivory stays dominant in the background. Despite applying traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
Tasikmalaya Batik. This type of batik is produced in the Tasikmalaya district, West Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
Kuningan Batik.
Banten Batik. This type of batik employs bright and soft pastel colors. It 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.[15]
Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s.
[edit]
Bali
Balinese Batik. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.
[edit]
Sumatra
Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. 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 Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay peninsula.[16]
Riau Batik.
Palembang Batik.
Aceh Batik.

source: wikipedia.org

JAKARTA — Indonesia’s president is pressing the country’s 234 million people to wear batik clothes to celebrate a triumph over neighbour Malaysia in a poisonous feud over cultural heritage.

The UN cultural organisation UNESCO is set this week to add Indonesia’s method of making the cloth — through a laborious process of wax-dipping and dying — to its list of the world’s Intangible Cultural Heritage.

President Susilo Bambang Yudhoyono has instructed Indonesians to celebrate the day the decision becomes official, Friday, by donning their best shirts, dresses, blouses and sarongs made from the material.

“I urge Indonesians wherever they are to wear batik on October 2,” Yudhoyono was quoted as saying this week by state news agency Antara while in the United States for the G20 meeting of world leaders.

Yudhoyono said the country should have a “batik party” to let the world know that the art form comes from Indonesia.

Media here have been in triumphal mode over the impending UNESCO decision, which is the latest chapter in a spat that has seen protests over Malaysia’s alleged “theft” of everything from batik to dances and songs.

Many Indonesians say the use of batik techniques and motifs by Malaysians is outright plagiarism.

But Indonesian Heritage Society batik expert Judi Achjadi said UNESCO’s recognition of Indonesian batik doesn’t mean Malaysia, which has its own tradition of making the cloth, has no right to the art form, which is spread across Asia, the Middle East and Africa.

“The focus of this achievement shouldn’t be on Malaysia,” Achjadi said. “They have their own batik and this doesn’t stop them from promoting theirs.”

UNESCO culture specialist Masanori Nagaoka said the recognition for Indonesia’s cloth does not mean other countries cannot claim batik, but simply that Indonesia’s government went to the trouble to submit a nomination.

The dispute between the two nations came to a head in August when it was misreported that Malaysia had screened tourism advertisements featuring the traditional “pendet” dance of Indonesia’s Hindu-majority Bali island.

Outrage over the “theft” has continued to circulate in Indonesia, despite the fact that the ad in the end turned out to be a promotion for a Discovery Channel programme.

While the recognition of batik has been broadly welcomed, fashion designer Edward Hutabarat said the actual enthusiasm for Indonesians to wear the cloth has been on the wane.

“Batik clothing and couture was booming here in 2007. Everyone was wearing it at the malls all of a sudden, but it cooled down the year after,” Hutabarat said.

“As cultural heritage, batik needs to be more than just a trend.

“Consumers still think a six million rupiah (600 dollar) piece of batik is very expensive but it can take up to six people over a whole year to create a piece of batik.”

source: google.com

You can batik silk, cotton, and rayon with the same easy fiber reactive dye and soda ash recipe that is so popular in other forms of hand dyeing. The advantage of this type of dye is that with it, unlike all purpose dye, you can use cool water (that won’t melt wax!), while unlike naphthol dye, fiber reactive dye is reasonably non-toxic, and unlike vat dye, the method is very simple and easy.

For pictures of successful batik – essential in helping you decide what you want to create – see my gallery and some of the sites on my links to other galleries page.

Getting Started

This is just as in the How to Tie Dye page: study the how to dye basic recipe first. Make sure you have all the chemicals and supplies you need for dyeing: Procion MX dyes, urea, sodium carbonate (soda ash), thin rubber or plastic gloves, measuring cups and spoons, squirt bottles to put the dye solution into for application, dust mask for measuring out dyes, and a bucket for pre-soaking the fabric in sodium carbonate solution. Be sure to pre-wash all clothing to remove invisible finishes that can prevent the dye from getting to the fabric. (In place of the Procion MX dye, you can substitute any type of fibred reactive dye that can use temperatures below the softening point of wax, such as Cibacron F/Sabracron F or Drimarene K dye; Dylon Cold Water Dye is an example of the latter, but avoid Dylon Multi Purpose dye, which is a hot water dye.)

Additional Supplies for Batik

You’ll need to buy both beeswax and paraffin to mix together; some cheap paintbrushes for covering large sections (don’t waste good ones on this); a tjanting, or several, with which to apply the wax; and some way to keep the wax at a constant temperature. I failed at batik until I acquired an electric skillet for the sole purpose of melting the wax. I’d been using wax that was melted, in a double boiler, but not hot enough to penetrate the fabric. Batik instantly changed from impossibly difficult to easily manageable the day I bought an electric skillet.

You can substitute synthetic “sticky wax” or “microcrystalline wax” for beeswax, if you prefer. It is best to use a mixture of beeswax (or its substitutes) and paraffin, because parafin alone crackles too much, while beeswax alone doesn’t crackle at all. (If you don’t like the crackle effect, use pure beeswax, or its substitutes, without paraffin.)

Each of your tools needs a ridge on it to prevent it from sliding down into the scalding hot melted wax. If they do not already have a ridge of some sort, you can make one by wrapping many layers of tape at just one place on the handle of the tool.

Tjantings for drawing with melted wax are available from Dick Blick, PRO Chemical & Dye, Dharma Trading, and other dye suppliers. (See the Sources for Dyeing Supplies page for contact information.)

Instructions

Draw with melted wax wherever you want the fabric to remain a lighter color. If the wax does not seem to penetrate the fabric, it is probably not hot enough; check the temperature. Use an electric skillet to maintain the wax at the correct temperature. (Beware of dangerous overheating; wax can burn, causing a dangerous house fire, or just smoke that can cause lung damage.) It’s best if your design can tolerate a few random light spots from accidental drips of wax. Hold a rag in your other hand, ready to catch unwanted drips before they fall.

I usually stretch the garment over a cookie sheet or other baking implement, depending on the size of the garment; this prevents the wax from getting through to the other side of the garment, and makes it easier to control the fabric, as well. I have used a wooden stretcher bar frame, such as is used for mounting canvases for paintings, attaching a silk garment by means of wire clips strung on rubber bands that wrapped around the frame–it’s certainly a lot more trouble that way, but the tension is sometimes useful for painting woven silks. I like to use a pencil to mark out my design on the cloth beforehand.

source: www.pburch.net

Blue Bird transport companies will replace their driver’s uniform with batik. During this time, the driver’s uniform group “blue bird” was a blue shirt with the logo of the Blue Bird. With this new uniform, are expected to Blue Bird driver may act as an ambassador of tourism.

Thus expressed Vice President of Business Development Noni Purnomo Blue Bird Group at the signing ceremony of cooperation agreement with Blue Bird Danar Hadi Batik company, in Jakarta, Tuesday (05/04/2010).

According to Noni, taxi drivers are parties that interact directly with local and foreign tourists. By wearing batik drivers are expected to reflect the richness and diversity of character and culture of Indonesia. “In addition to ordinary passengers who requested transfer to a different place, drivers often take Blue Bird also foreign tourists,” explained Noni.

Batik is one of the unique heritage of Indonesia, which gained recognition in the year 2009 UNICEF. Besides a positive impact on the continuity of cultural heritage of Indonesia, Blue Bird and cooperation Danar Hadi Batik company also useful for the craftsmen.

Danar Hadi will supply 50 thousand uniforms batik to Blue Bird. “With that much earlier figures, can be seen that this cooperation is financially provide input to the craftsmen,” said Representative Diana Danar Hadi Santoso.

source: kompas.com

Batik designs or the creation of batiks, can be divided into the three main types of batik, namely “batik tulis”, “batik cap” and “batik ikat”. Each has variations in techniques and the level of expertise needed, and thus reflect a different kind of design creativity. Batik-designs centres of the past include the cities of Lasem, Cirebon, Solo, Banyumas and Pekalongan on Java, and the states of Kelantan and Terengganu in the Malay Peninsular. The batik from different cities usually carry with it their own distinct identity and style and are often easily recognizable. These days, Kuala Lumpur and Kuala Terengganu in Malaysia and the capital of Jakarta are also important sources of batik designs.

Batik designs draw from a huge variety of motifs culled from both the old and new ideas. The rich, old motifs of batik are an incredible archive of cultural expressions, while new motifs are unrestrained, stretches creativity and has a higher inclination to the artisan’s own individuality.

Speaking of traditional batik designs found in Malaysian and Indonesian batik, here’s a list of some of the popular motifs:
pucuk rebung (bamboo shoots), bunga raya (hibiscus), daun sirih (betelnut leaves), sirih mas (golden betelnut), bunga tanjung (cape flower), parang rusak (damaged blade or knife, this pattern was once exclusive to Javanese royal families), mega mendung (a type of cloud pattern). In traditional Malay batik, human and fauna depictions are rare since Islamic traditions do not encourage this. Thus, the richness and ornate Malay batik draws a lot of ideas from geometrical and flora patterns. In traditional Indonesian batik, however, there is a lot of instances of usage of both flora and fauna (and even human) motifs.

Some designs are unique to the intended communities such as the peony flower, phoenixes, mythical qilins which can be found in some batiks produced by and for the Peranakan or the localized Chinese communities of Java which was exported to Malaya and Singapore. Localized European such as people of Dutch ancestry in Java also admire batiks which depict stories and objects that reflect their heritage. Examples of motifs are sailing ships, Western flowers such as the rose, and even stories of popular children stories of Europe.

In contemporary Malaysia, Indonesia and Singapore there are several schools or classes conducted to teach interested students to create batik, although this was not commonly so in the past, where batik designs were regarded as insider knowledge and a trade secret. In the olden days, batik producers sometimes jealously guarded the knowledge of various tips and finer points of batik creation and design, such as the “secret” combination and proportion of ingredients used in the molten wax, and the traditional sources of plant and mineral-based dyes to produce various hues of colours of batiks.

Sometimes, the batik designers are not the artisans who actually transfers the batik designs onto the fabric. This kind of arrangement allows the designers to concentrate on what they do best – to conceptualize the batik patterns. Today’s batik team is all likely to be more a combination of expertise, ranging from the batik designers, to fabric sales shops, batik stamp makers, dye-producers, boutique and batik retailers.

The beauty of batik is that whatever the motifs on batik, the batik designs often serve a dual purpose to catch the eyes with a deep seated meaning or expression behind it.

Inspired by the beauty of the Batik fabric and the creative spirit of batik designers & their beautiflu designs, we are proud to present you the batik book, Batik Inspirations.

As much as it was a labour of love and passion to produce it, we hope you would enjoy this piece of art, fashion and culture encapsulated in this beautiful batik book.

source: batikinpirations.com

Batik is currently widely used in the form of clothes. Widely used by everyone even outside of Indonesia, this is one example.

Batik in Papua during this most famous of Asmat batik motifs. Color is brown with the collaboration of the land and terracotta colors. Problem selection of batik Papua many uses simbol Papua sacred and unique carvings. Lizard or crocodile is one of them and of course great circles.