Batik for mystical use, Cirebon, West Java, early to mid-20th century, hand-drawn batik on imported cotton, natural and aniline dyes.
This cloth was used by a shamanic healer to induce the proper state of mind for mystical practices, and proabably also to impress the people who came to him for assistance. The motifs include kris (magical daggers), and talismanic ciphers. Traditions of mysticism are strong throughout Java, blending Sufism with indigenous folk beliefs. At left is a talismanic drawing in which kris and magical inscriptions also figure prominently.
Sarong batik pasisir, woman’s skirt cloth, North Coast of Java, early to mid-20th century, hand-drawn batik on imported cotton, natural and aniline dyes.
The composition, as was traditional in this area, drew inspiration from Dutch botanical illustrations. They strange hybrid tulips on the body of the cloth are quintessentially Dutch, and interestingly, are drawn on a traditional Javanese background pattern called geringsing, which is associated with fish scales, and was reputed to have the power to ward off illness during epidemics. At left, an early 20th centur photograph of a Balinese woman in a skirtcloth of similar style. North Coast batiks were traded extensively throughout Java, Bali and Sumatra.
Batik Wayang, wall hanging, North Central Java, mid-20th century, hand-drawn batik patterning on imported cotton, natural dyes.
A scene from the Mahabharata. The Pandawa clan at left, are led by Krishna, with Bima at the far left, in his signature black-and-white checked cloth. The Korawa clan at right. This configuration reflects the way one would see and actual performance of wayang kulit in Java and Bali, where the puppetmaster operates the Pandawa (“good guys”) with his right arm, and the Korawa (“bad guys”) with the left.
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Simbeut, ceremonial wrapper or hanging, Badui people, Banten, West Java, first quarter 20th century or earlier, rice-paste resist patterning on woven bark cloth, natural dye.
The Badui can perhaps be called “the Amish of Indonesia.” They live in isolation in the mountains of West Java, and adhere strictly to a code of conduct which disavows all modern technology, formal education, currency, and abuse of the natural surroundings. Their religion, an archaic belief system blending animism and Hindusim is called Sunda Wiwitan, meaning “the pure root”. Travellers from outside of the Badui community are not allowed into the inner region of the Badui lands, and can only visit the outer Badui villages by invitation and with various conditions on entry. They may not sleep in Badui lands.
Kudhung woman’s head covering, Jambi, Sumatra, early to mid-20th century, hand-drawn batik on imported cotton, natural and aniline dyes.
The composition is stronly influenced by Indian trade textiles found in Sumatra, and resembles highly prestigious sarasa (Sumatran colloquial term) trade textiles found in Jambi and elsewhere in Sumatra. Sarasa were produced in workshops on the Coromandel Coast, with a large central round or diamond-shaped motif. At left is a 17th or 18th century example found in Sumatra.
Sarong Batik, skirt cloths, made on the North Coast of Java for the Sumatran market, mid-20th century, hand-drawn batik on imported cotton, sewn into a tube form, natural and aniline dyes.
The tumpal (isosceles triangle motifs) on the kepala (“head”) of these batiks have a strong graphic impact. The overall composition of these cloths was highly influenced by sembagi Indian trade textiles. The illustration at left is a detail of a political cartoon from the early 20th century, representing the persecution of the common Javanese woman under Dutch colonial policies.
Kain Panjang Batik Soga, Central Java, mid-20th century, hand-drawn batik on imported cotton, natural dyes (indigo and soga, which is a dye from the root-bark of morinda citrifolia, known as “Noni” in the South Pacific).
Early 19th century illustration, showing various ways batik kain panjang was worn in Java (fig. 1, 3, 4).
Kain Panjang Batik Soga, Central Java, mid-20th century, hand-drawn batik on imported cotton, natural dyes (indigo and soga, which is a dye from the root-bark of morinda citrifolia, known as “Noni” in the South Pacific).
This batik is filled with paired creatures of the sea and sky: hammerhead sharks (shown), jellyfish, reef fish, crustaceans and all manner of birds. In Javanese batik tradition, the joining of the worlds of water and air symbolises the union of masculine and feminine and therefore fertility. Pairing of the creatures underlines this theme.
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