The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with littledots'. 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”. Selection and Preparation of the Cloth Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained. The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process. Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco. Design Tools Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth. Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be Cap Creating batik is a very time consuming craft. Resins can be added to increase adhesiveness and animal fats create greater liquidity. Wax Different kinds and qualities of wax are used in batik.drawn with canting that have up to 9 spouts. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. in the mid-19th century the . Wajan The wajan is the container that holds the melted wax. The amounts mixed are measured in grams and vary according to the design. used for its malleability. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. A wax that is too cool will clog the spout of the canting. and paraffin. used for its friability. three types of petroleum-based paraffin (white.pronounced chop) was developed. The wax is kept in a melted state while the artisan is applying the wax to the cloth. The best waxes are from the Indonesian islands of Timor. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas. Wax recipes can be very closely guarded secrets. The wax must be kept at the proper temperature. yellow and black) are used. It looks like a small wok. Sumbawa and Sumatra. Normally it is made of iron or earthenware. cap. Common waxes used for batik consist of a mixture of beeswax. For close-up pictures of canting. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design. To meet growing demands and make the fabric more affordable to the masses. (copper stamp . This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand . A wax that is too hot will flow too quickly and be uncontrollable. Cap vary in size and shape depending on the pattern they are needed for. Smaller pieces of wire are used for the dots. This dye was created from the leaves of the Morinda Citrifolia. as this would make the handling too difficult. to apply the wax has reduced the amount of time to make a cloth. Aside from blue. Dyes Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige.with a canting. A piece of cloth that involves a complicated design could require as many as ten sets of cap. For darker colors. It is imperative that both sides of the cap are identical so that pattern will be consistent. This is especially true if the pattern is to be stamped on both sides of the fabric. When complete. Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the bottom. or kombinasi. Skilled artisans can create many variations of these traditional colors. Each cap is a copper block that makes up a design unit.10 times a day. It is seldom that a cap will exceed 24 cm in diameter. the second meaning hand-drawn designs which use a canting. The color was made from the leaves of the Indigo plant. Cap are made of 1. Another color that was traditionally used was a dark red color called mengkuda. The dye came from the bark of the Soga tree.5 cm wide copper stripes that are bent into the shape of the design. as opposed to canting. the pattern of copper strips is attached to the handle. purple . In traditional batik. The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. brown and black. Today. The leaves were mixed with molasses sugar and lime and left to stand overnight. The usage of cap. the second color applied was a brown color called soga. batik quality is defined by cap or tulis. blue. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. the cloth would be left in the dye bath for days and may have been submerged up to 8 . The cap must be precisely made. The oldest color that was used in traditional batik making was blue. The color could range from light yellow to a dark brown. green would be achieved by mixing blue with yellow. Men usually handle the application of wax using cap. a combination of the two techniques. The block is cut in half at the center so the pattern on each half is identical. The artisan then dips her canting into the wax to fill the bowl of the canting. In large batik factories today. Mistakes are very difficult to correct. Often designs are traced from stencils or patterns called pola. the artisan will try to remove the unwanted wax by sponging it with hot water. True tulis batik is reversible. The left hand is placed behind the fabric for support. The soga brown color mixed with indigo would produce a dark blue-black color. The most experienced artisans normally do first waxings. To ensure the pattern is well defined. as the pattern should be identical on both sides. men usually are in charge of drawing the patterns onto the cloth.was obtained by mixing blue and red. Filling in of large areas may be entrusted to less experienced artisans. s lap to protect her from hot dripping wax. Normally this is white or cream. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The shadow is then traced with a pencil. batik is waxed on both sides. Traditional batik designs utilize patterns handed down over the generations. Click here to see the step-by-step process of making batik. Design Process The outline of the pattern is blocked out onto the cloth. The wax is heated in the wajan until it is of the desired consistency. Waxing Once the design is drawn out onto the cloth it is then ready to be waxed. . Female workers sit on a low stool or on a mat to apply the wax with a canting. which greatly reduces the value of the final cloth. A small drop cloth is kept on the woman. The spout does not touch the fabric. but it held just above the area the artisan is working on. If wax is accidentally spilt on the cloth. Artisans use the wax to retrace the pencil outline on the fabric. traditionally with charcoal or graphite. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage. Often cap and canting methods are combined on the same piece of cloth. the fabric is ready for the first dye bath. The fabric is then put into a cold water bath to harden the wax. On brown batik. Traditionally. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly. The cap are dipped into melted wax. leaving the design of the cap. the applied wax is scraped away with a small knife. Dyeing After the initial wax has been applied. The amount of time it is left in the bath determines the hue of the color. This process is repeated until the entire cloth is covered. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath. Today most batik factories use large concrete vats. The waxed fabric is immersed in the dye bath of the first color. Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. When an area that has been covered with wax previously needs to be exposed so that it can be dyed. the marble effect was accepted. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. however.If the cap method is utilized. this procedure is normally done by men. Traditionally dying was done in earthenware tubs. wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process. The saturated cap is then stamped onto the fabric. The cap is pressed into the fabric until the design side of the cap is coated with wax. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath. On better quality cap fabric great care is taken to match the pattern exactly. cracks were a sign of inferior cloth especially on indigo color batik. darker colors require longer periods or numerous immersions. When the desired color has been achieved and the fabric has dried. the wax is intentionally cracked before being placed in the dye bath. If a marble effect is desired. . The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. When this cloth is saturated with wax it acts like a stamp pad. High fashion designs drawn on silk are very popular with wealthy Indonesians. have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs. however. Nitik is the most famous design illustrating this effect. Nowadays. Gold leaf was used in the Jogjakarta and Surakarta area. A person's rank could be determined by the pattern of the batik he/she wore. near Pekalongan and Cirebon. so colors are endless and much more liberally used. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. Gold decorated cloth is still made today. . Numerous dye processes are usually reflected in the price of the cloth. Central Javanese designs are influenced by traditional patterns and colors. while other pieces could bring good luck. there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs. Special Treatments Prada or Gold Cloth For special occasions. which are based on stylized patterns of natural forms or imitations of a woven texture. particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. In general. gold paint has replaced gold dust and leaf. it was thought that certain cloth had mystical powers to ward off ill fortune. The gold could follow the design of the cloth or could take on its own design. Batik from the north coast of Java. batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. chemical dyes have pretty much replaced traditional dyes. The gold would remain on the cloth even after it had been washed. Other designs are reserved for the Sultan and his family or their attendants. Previously. The Central Javanese used gold dust to decorate their Prada cloth. Batik Designs Although there are thousands of different batik designs. A multicolored batik represents a lot more work that a single or two-color piece. Certain areas are known for a predominance of certain designs. Certain batik designs are reserved for brides and bridegrooms as well as their families. Older batiks could be given a new look by applying gold to them. this pattern was reserved for the royal court of the Sultan of Jogjakarta. This motif also appears in media other than batik. Although fundamentally geometric. Parang Parang was once used exclusively by the royal courts of Central Java. including woodcarving and as ornamentation on gamelan musical instruments. These darker bands contain another design element. For many years. a line of lozenge-shaped motifs call mlinjon. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. 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). seeds and even animals. Parang usually alternated with narrower bands in a darker contrasting color. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. the batik worker does not attempt to express this matter in a realistic form. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. rhombs. . stars. Ceplok Ceplok is a general name for a whole series of geometric designs based on squares. A single element of the form is chosen and then that element is repeated again and again in the pattern. 'knife pattern' or 'broken blade'. It has several suggested meanings such as 'rugged rock'. buds. ceplok can also represent abstractions and stylization of flowers. circles. etc. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang.Kawung Kawung is another very old design consisting of intersecting circles. a religion that forbids the portrayal of animal and human forms in a realistic manner. known in Java since at least the thirteenth century. The Indonesian population is largely Muslim. with over forty parang designs recorded. To get around this prohibition. There are many variations of this basic striped pattern with its elegant sweeping lines. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Silky or Halus. dryers and drying of fabrics in the sun may fade the colors in batik.Washing Batik Harsh chemical detergents. a collection of batik sarongs from Malaysia Factories are very humble places. such as Woolite. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. . Traditionally dyed batiks should be washed in soap for sensitive fabrics. Workers stand next to open-flame stoves that keep the wax liquid. A bottled version of this detergent is also available at batik stores. In a climate that is frequently over 100° F (37°C) in the hot season. Be sure to line dry batik in a shady area and not in direct sunlight. the factories do not have fans or air conditioning. Batik factories can be free-standing sheds or.Usually the applied spot color (in contrast to the immersion dye bath) is farmed out to women who work at home and who are paid by the piece. . at ground level beneath traditional Malay houses built on stilts. as shown here. usually.Usually the only outside evidence of a batik factory is the end-of-day output hanging up to dry. Click on links for more information about individual batikers and to see larger views. For a better appreciation. the vast majority of sarongs in the marketplace are.. These images represent some of the finest quality batikers in the area around Kuala Terengganu on the east coast of Malaysia.... the sarongs Batikers have an identifiable style. Or enter the world of batik-o-rama! Or cheat and skip to "My Favorite Sarongs". and the scent of hot wax in the air... . not as vibrant. This diagram identifies the different parts of a sarong. . However. these examples are hand-stamped. crisp colors. a well-known producer of traditional--in style and in method--batik is at the forefront of the silk-screen transformation. Haji Wan Ismail.Wan Azhar is a hightly respected batiker in the village of Seberang Takir. They produced batik with a bright modern look which appeals to tourists. Hazwani is a small factory in Hileran named after the owner's daughter. His elegant designs are noted for their clarity and cool. It was during those times that this most complex handicraft was handwoven by court artisan for the exclusive use of the local royalty. the decorative kain songket is a member of the brocade family of textiles. The fascinating art of songket-making came about as a consequence of the region's early trade with China (for the silk) and India (for the gold and silver threads). the kain songket is intricately patterned in gold or sometimes silver threads. It is actually a piece of fabric which has been woven using what is commonly known as the weft technique. But strictly speaking however. When in the process of songket weaving. of gold or silver. It is an extremely rich and lustrous ceremonial fabric.SONGKET (The exacting process of traditional songket weaving) Very appropriately dubbed Malaysia's 'Cloth Of Gold'. It was during those times that this most complex handicraft was handwoven by court artisan for the exclusive use of the local royalty. The term 'songket' comes from the Malay word 'menyongket' which means 'to embroider with gold or silver threads'. the songket is not a piece of embroidered work. the extra or supplementary threads. .The fascinating art of songket-making came about as a consequence of the region's early trade with China (for the silk) and India (for the gold and silver threads). are inserted in special lengths in between the silk weft (latitudinal) threads of the main background cloth. Handwoven in silk or cotton. Outstanding pieces of songket like this are typically woven on a deep red silky background which effectively highlights the complexity of the gold patterning.Certain pieces of kain songket are totally covered with painstakingly elaborate designs. and the rites performed for a woman who is seven months with child. the usage and wearing of the kain songket is nowadays most obviously apparent at formal and ceremonial occasions like weddings. Ordinary pieces of work have relatively little gold songket decoration. convocations and state functions. as if having a life of thier own. and trousers. which consists of a long silk blouse fastened with gold brooches worn over the ankle-length sarong. Once reserved for royalty. Close inspection of some antique pieces of kain songket will reveal that the contrast in texture between the background cloth of silk and the songket weaves was often more pronounced in the past. interlace to form magnificent intricate motifs in the smooth silken fabric. or in the baju kebaya style. a long-sleeved tunic (baju) with a stand-collar. the amount of gold or silver patterning in each length of cloth varies for each design. The was brought about because the strands of gold threa used for the weaves were rounded and made by winding the gold filament round a thick core thread. investitures. religious celebrations. which consists of a long tunic worn over an ankle-length sarong. is then deftly transferred to the loom and then stretched till taut. The finalout come is a delightful piece of kain songket. A man's songket outfit normally consists of a stiffened kerchief or head-wrapper (tengkolok). Triangular pucuk rebong (bamboo shoot patterns) on a deep maroon silk background Traditionally. a tasseled waistcloth.Bunga kota raja (sultan's fortness motif) enclosed by corak telok berantai (chained bay rhomboid patterns) The warp that provides the coloured silk background for the cloth is set up on a hardwood warping frame (anian). perhaps only a sprinkling of motifs on the main body of the fabric but with more heavily decorated borders. the golden and silver threads. and weddings. The songket outfit worn by a woman can either be in the baju kurung style. as well as ceremonies marking the circumcision of young boys. At Kampong Penambang. Moreover. a knee-length sarong (samping). the observance of shaving the hair of a newborn baby. This warp. costumes made of songket are worn by the Malays during ceremonial functions such as installations. the ear-piercing of young girls. In the masterful hands of a seasoned songket weaver. These are known as kain songket penuh which literally means 'full og gold thread'. . It is noted that the royal court clothed in textiles were very much influenced by Indian weaving and design methods. this gave other trading ports the opportunity to divert merchant ships with promises of trade opportunities. Although the term menyongket means ‘to embroider with gold or silver threads'. sugar. One such port was Melaka. a fine comb where the warps could be passed through and separated but kept evenly spaced. somewhere in the Cambodia-Siam region and expanded south into Pattani and finally to Kelantan and Terengganu.the songket. Malaysia can further bask in the glory of its legacy -. Textiles were brought in to trade or as gifts for the Sultan and his entourage. However.lured merchants from the east and the west to trade under well-organized and protected conditions. shipping basic necessities such as rice. there several famous silk-weaving workshops managed by royal weavers. spices and other jungle products abound in the region's rainforest. The songket utilizes an intricate . Much documentation is sketchy about the origins of the songket but it is most likely that songket weaving was brought to Peninsular Malaysia through intermarriages between royal families. waxes. pottery and luxury items such as silk yarns. one of the world's loveliest textile traditions. Vague evidence seems to suggest that Srivijaya's rule began to crumble in the 13 th century. The frame loom was probably introduced from West Europe. http://www. Terengganu weavers believe that Indian traders brought songket weaving to Palembang and Jambi where it probably originated during the time of Srivijaya. Melaka was trading in a variety of luxurious textiles including fine silks.com/songketweaving. the use of fine silk threads required greater control. Workshops on songket weaving are often held at Pantai Cahaya Bulan or 'Moonlight Beach' (formerly known as Pantai Cinta Berahi or 'Beach of Passionate Love'). the weaving of the songket never ceases to captivate its audiences. tortoiseshell. gold threads and brocade. which swiftly took charge of the trading route down the Straits of Melaka. This modified method meant that it was much easier to set up a plain silk warp and create patterns with the weft threads. Traders exchanged goods at the port.thepareoshop.about 4km (2 miles) from Kota Bharu. It is not certain as to the songket's place of origin but the Kelatanese believe that this weaving technique came from the North. gold and silver for ivory. sandalwood.htm Songket Weaving Srivijaya governed the Southeast Asian sea route from the 7 th century . It must have encouraged the creation of the songket especially in decorating the fabric with gold threading. By the 16 th century. Although the back-strap loom was capable of producing intricate designs and motifs. This was a common occurrence in the 15 th century for sealing strategic alliances. the Europeans had colonized many parts of Southeast Asia including Melaka. resin.As enchanting as always. the Malay songket is not embroidered. These royal women would bring along their personal weavers with their entourage. The adoption of silk led to many changes to the local weaving technology. The Malay weavers added to the frame loom. thus so. The courts' controlled the textile trade and by the 15 th century. Weavers were no longer restricted to the use of local materials. yellow for the crown prince. Sejarah Melayu). kain songket has been introduced into a wider audience of culturally conscious wearers. With the gradual reintroduction of songket into the Malay Culture. . The royal cour t weavers would produce individualized motifs often created by the wearers themselves. blue or violet for the prime minister and so on. there seems to be a stronger reason for the locals to take up weaving as a profession. and was regarded as a symbol of prestige not only within the court arena but on an international stage. The symbolism of thread colors to signify the status and title of the Court has been in use since the period of the Melaka Sultanate during the reign of Sultan Muhammad Shah (1426 – 1446. In the past two decades. personal triumphant. White gold thread was the color of the ruler. Terengganu has the highest concentration of songket weavers in Malaysia. Sultan Muhammad Shah himself preferred to be dressed in ‘Malay Attire' as he refused to emulate foreign clothing. This rich textile was transformed from a mere form of attire into a canvas for individuality. This rich and luxurious fabric demonstrated the social structure of the Malay elite.supplementary weft technique where gold threads are woven in between the longitudinal silk threads of the background cloth. As skills developed.Mengkuang Mengkuang (screwpine leaves) or pandanus weaving is one of the traditional arts still very much alive and its products are still in demand. bamboo as well as other rural elements or pursuits The numerous items made are both unique and eye-catching. The process requires patience. it is boiled and dyed with vegetable colours. Today. souvenirs and ornamental hand-outs . The design of motifs or kelarai is usually based on plant. Skill is needed to make kelarai and the experts in this art have begun to realize the concept of beauty and aesthetics. Once dried. Being decorative as well as useful. and slippers Mengkuang weaving usually practiced by womenfolk in the rural kampung areas. are first are split into long strands. where several types of kelarai are made into decorative pieces. dyed and made into colourful gift boxes. and leaves may be used to weaving Weaving used to be a leisurely pastime of coastal village women in the east coast states of Peninsular Malaysia during the rainy months. fans. hats. boiled. The fruits can be eaten. thorny leaves of the pandanus or mengkuang are collected. the items are excellent purchase be it for self or as gifts for weddings. beach bags. is a huge pandan-like plant that grows along the back mangroves and also found in the local jungles. The leaves after having stripped of its thorns. The tall. mats. especially the art of weaving mats. soaked and dried in the sun. this concept has changed. it is a thriving cottage industry. Kelarai or ragi are named and shaped after flowers. purses. skill and dedication. Mengkuang (Pandanus odoratissimus).Malaysia Handicrafts . initially the craft is created with emphasis is on usage more than anything else. It is then woven according to the required designs. flora and fauna and even animals Looking at the material and shape of the woven products.