This is the original artwork Indonesia.
The diverse of batiks divided in two groups, the classical Batik and the Modern Batik. The classical batik, has the high value anda having hingh art savior vivre by weeks at time. The traditional batik has the basic patterns with various motifs such as kawung, parang, nitik, truntum, ceplok, tambal, etc. Basic material for batik is the white cotton best quality or silk. Material abtik use silk was going to result the clear and life colours.
The Classical Batik Processing
Almost everyone has seen a batik at one time or another. Many have even witnessed their manufacture at least many people think so, if they have through Jogja, with women drawing pattern on a white piece of kain with a canting. This process, by means of which some wax is applied, is, however, only one of numerous operations the kain has to undergo before it become proper batik.
Prepation
A white cotton or silk kain with a width of some 110cm and a length of 240 cm receives an initial treatment to render it if for further processing. This initial treatment involves washing, starching, dying and beating and can take several days.
Pattern
Onece the material is ready for further processing, the pattern are applied by one ore more motif or draw the pattern straight from the land. Once the design has been drawn on kain, it is copied in the separate colors. It’s also possible to just mark the outline of design, thereby making it possible to cover the surface afterward. The copying is done by means of a thin trickle of fluid malam (=wax) from the spout of the canting. These canting exist in different sizes. They can best be compared to small brass teapots the sizes of a tobacco pipe, with the wooden handle. The thinner the spout, the smaller the flow of wax.
The wax is first heated to render it fluid. It’s essential that it has the correct temperature. The batik technique involves application of the same place on both sides oh\f the kain, so that technique there is no difference between the two sides. The part that are to be dyed brown are initially also covered in wax. As a rule different types of wax are used that can be removed independently from each other.
Dyeing
The kain is now ready to be submaerged in the blue dye. This prosses is frequently repeated until the desired result has been achieved, sometimes no fewer than 30 times for a top-quality product. Traditionally the dyeing agent was indigo. The remarkable thing about indigo is that it’s characteristic color does not become apparent until it is left to dry and comes into contact with oxygen. When the kain still wide , the wax is scraped off the parts of the pattern that are to become brown. Subsequently the parts that have been dyed blue and are to remain blue are also covered in wax. Now the kain is submerged in the brown dye.
The traditioanal brown dye is soga, a special kind of tree bark. For a good result no fewer than 15 days of dyeing with 3 immersions each day maybe necessary. The areas that at first were dyed blue and have been treated with brown dye as well have by now acquired black color. This implies that the use of two types of dye has resulted in three colors.
Removing the wax
After the layers of dye have been applied, the dye is fixed. After that all the wax can be removed, this is done by melting it in hot water, the fluid wax will float on the surface. Subsequently the kain is washed.
Applying the batik to silk simply necessitates different techniques, because different waxes and dyes are required to protect the tender silk against possible damage.
The batik production process mentin above is called batik tulis (tulis=write, draw), handwrite batik. Other type is batik cap (=stamp), stamp batik, this cap was used to stamp the wax onto the kain. The batik dye process as same as with the batik tulis.
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| pembuatan batik |
The diverse of batiks divided in two groups, the classical Batik and the Modern Batik. The classical batik, has the high value anda having hingh art savior vivre by weeks at time. The traditional batik has the basic patterns with various motifs such as kawung, parang, nitik, truntum, ceplok, tambal, etc. Basic material for batik is the white cotton best quality or silk. Material abtik use silk was going to result the clear and life colours.
The Classical Batik Processing
Almost everyone has seen a batik at one time or another. Many have even witnessed their manufacture at least many people think so, if they have through Jogja, with women drawing pattern on a white piece of kain with a canting. This process, by means of which some wax is applied, is, however, only one of numerous operations the kain has to undergo before it become proper batik.
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| batik |
A white cotton or silk kain with a width of some 110cm and a length of 240 cm receives an initial treatment to render it if for further processing. This initial treatment involves washing, starching, dying and beating and can take several days.
Pattern
Onece the material is ready for further processing, the pattern are applied by one ore more motif or draw the pattern straight from the land. Once the design has been drawn on kain, it is copied in the separate colors. It’s also possible to just mark the outline of design, thereby making it possible to cover the surface afterward. The copying is done by means of a thin trickle of fluid malam (=wax) from the spout of the canting. These canting exist in different sizes. They can best be compared to small brass teapots the sizes of a tobacco pipe, with the wooden handle. The thinner the spout, the smaller the flow of wax.
The wax is first heated to render it fluid. It’s essential that it has the correct temperature. The batik technique involves application of the same place on both sides oh\f the kain, so that technique there is no difference between the two sides. The part that are to be dyed brown are initially also covered in wax. As a rule different types of wax are used that can be removed independently from each other.
Dyeing
The kain is now ready to be submaerged in the blue dye. This prosses is frequently repeated until the desired result has been achieved, sometimes no fewer than 30 times for a top-quality product. Traditionally the dyeing agent was indigo. The remarkable thing about indigo is that it’s characteristic color does not become apparent until it is left to dry and comes into contact with oxygen. When the kain still wide , the wax is scraped off the parts of the pattern that are to become brown. Subsequently the parts that have been dyed blue and are to remain blue are also covered in wax. Now the kain is submerged in the brown dye.
The traditioanal brown dye is soga, a special kind of tree bark. For a good result no fewer than 15 days of dyeing with 3 immersions each day maybe necessary. The areas that at first were dyed blue and have been treated with brown dye as well have by now acquired black color. This implies that the use of two types of dye has resulted in three colors.
Removing the wax
After the layers of dye have been applied, the dye is fixed. After that all the wax can be removed, this is done by melting it in hot water, the fluid wax will float on the surface. Subsequently the kain is washed.
Applying the batik to silk simply necessitates different techniques, because different waxes and dyes are required to protect the tender silk against possible damage.
The batik production process mentin above is called batik tulis (tulis=write, draw), handwrite batik. Other type is batik cap (=stamp), stamp batik, this cap was used to stamp the wax onto the kain. The batik dye process as same as with the batik tulis.
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