The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little
dots'. The suffix 'tik' means little dot, drop,
point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying
where the patterns are reserved on the textiles by tying and sewing areas prior
to dying, similar to tie dye techniques. Another Javanese phase for the
mystical experience of making batik is “mbatik manah” which means
“drawing a batik design on the heart”
Until today, the batik’s true origin is still a mystery but what is sure is that batik is a very old form of art. Evidence of early batik has been found in the Middle East, Egypt, Peru, Japan, East Turkistan, Europe as well as India and China (Central Asia) 2000 years ago. Despite its ambiguous origins, batik reached its highest artistic expression in South East Asia, particularly in Indonesia and Malaysia. In the 17th century, Batik made its debut in Europe when the Dutch who colonized Java, Indonesia, introduced this art for and to that part of the world. On October 2, 2009, UNESCO awarded Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgement, UNESCO insisted that Indonesia preserve their heritage.
The intricately designed batik cloths have become
synonymous with Javanese culture and tradition. While beautiful fabrics have a
practical everyday use for the Javanese people, the batik patterns reflect a
long and complex Javanese history. Since early Buddhist and Hindu cultural
traditions in Java, textile designs have been carefully regulated to indicate
social status. Various prohibitions have been placed on design. Each new sultan
who came to reign over the kingdoms of Java, made rules and forbade the
inhabitants from wearing particular batik designs. They also issued decrees on
who in the kingdom was to wear particular designs to denote their rank in
society. For example, Sri Paduka Sultan (Glorious Sultan) HB VIII, who
ruled Yogyakarta Sultanate from 1921 to 1939, prohibited many designs, such as
the Parang Rusak, the Semen Agung Sawat Garuda, the Semen
Agung Sawat Lar, and the Udan Liris. Cloths with these designs were
to be used only by the royal family. He further decreed that members of the
family of certain ranks were only allowed to wear cloths with particular
forbidden designs. For instance, the Parang Rusak (‘broken knife’)
design, which resembles a twisted oval shape, could only be worn by those in
the Yogyakarta Kraton (the Court) – the royal family. He also decreed that the
higher the rank of the wearer the larger the motifs in the pattern could be
used, indicating social status by the size of the design.
Malaysian batik on one hand can be found on the east coast of Malaysia
such as Kelantan, Terengganu and Pahang while the batik in Johor and Selangor show Javanese
and Sumatran influences. Malaysian batik usually does not display other motifs
except plants, flowers and butterflies themes, to avoid the interpretation
of human and animal images as idolatry, in accordance with local Islamic
doctrine. Malaysian batik is famous for its geometrical designs and different
from Indonesian Javanese batik in the sense that the pattern is larger and
simpler relying heavily on the brush painting method instead of canting to
apply colour to fabric. Compared to the deep coloured Javanese batik, Malaysian
batik is lighter and more vibrant. There is also batik from Thailand,
Azerbaijan and China.
Contrary to being just a handicraft, batik has acquired the status of an art, a versatile medium that can be treated as an ideal hobby for an amateur or a medium of expression for an artist. Rather than used for just dresses and tailored garments, modern batik is livelier and brighter in the form of murals, wall hangings, paintings, household linen and scarves. In the hands of a professional, batik can also make your house or office unique and inviting. Batik should also always be kept in clean, tidy, neat and regularly swept environment.
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