Batik is a traditional form of textile art that may have originated in Yunnan, China, but which achieved high refinement in Indonesia, particularly on the island of Java, where it was originally practised by women from royal families, or families of high position. It has since been adopted by textile artists around the world.
The major batik centres in Java are in Yogyakarta, Surakarta, Pekalongan and Cirebon. Batik is also produced in other regions in Indonesia, including Jambi, Palembang, Aceh, Riau and Bali. Each region has evolved its own unique patterns, incorporating themes from everyday life with imagery related to the flora, fauna, customs and folklore of that region. Certain patterns in the past probably had special meanings and may have been intended to bring the wearer good luck, wealth, prosperity and health. White, dark brown and indigo are traditional and common due to the availability of natural pigments, but colouristic variety can extend to the expressive vibrancy of pesisir batik, for example, made in the coastal cities of northern Java, which has absorbed influences from the Javanese, Arab, Chinese and Dutch cultures.
The process traditionally involves a wax-resist dyeing technique in which wax is applied to portions of the material, which is then dyed. The wax is dissolved with solvents or by ironing between paper layers to reveal elaborate designs, which often display the characteristic crinkle lines created by the use of paraffin combined with beeswax to create the resist.
Batik in Canada
Batik is popular worldwide, and used to create unique clothing, as well as artistic wall hangings, tablecloths and household accessories—essentially, for any decorative or utilitarian purpose to which fabric can be applied. In Canada, batik has been enjoyed for its versatility and potential for artistic expression. Free of any traditional constraints attached to its use, fabric artists in Canada have explored a range of artistic options.
The Canadian approach to subject-matter has much in common with traditional Asian batik artists in that artists use imagery from the everyday, but the subject-matter itself differs in that it reflects the artist’s own environment. Yukoner Lynn Blaikie, for example, uses batik combined with imagery from her everyday environment to depict life in Canada's North. Landscape figures predominantly for Canadian practitioners of this ancient craft, but for some, like Rita Sassani of Fredericton, NB, batik offers great potential for exploring abstract motifs. Many Canadian artists include batik as one part their art practice, which may include other fabric art, painting, sculpture, printmaking and photography. In addition, quite a few artists supplement sales of their work with income earned from teaching batik.
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The Mythical Monkey
Batik traditional fabric of Java