BATIK IN JAVA
Investigation shows that there never was a time when the art of batik did not flourish in Java. The robes of idols worshipped in prehistoric days were decorated very much in the same way as those of today, and apparently the modern native method of doing the work differs little from that employed so many hundreds of years ago. The literal translation from a Javanese paper on the batik art, which concludes this chapter, shows something of the confusingly elaborate process used in the East, while the description of the modern American way of working explains how comparatively simply, effective and beautiful results can be obtained.
DIFFERENCE IN METHODS
The chief difference between the occidental and the native way of batiking is, that the occidental starts his dyeing with the lightest colour and dyes his tones over each other, whilst the native dips his fabric in the darkest colour first and removes the wax each time that he needs a lighter shade and he only uses dyes that set by oxidation. Of course their batiks have to stand very much rougher treatment than the textiles decorated here and to make the dyes stand the terrific glare of the sun, the innumerable washings, and the regular dips taken by their wearers who are tremendously fond of bathing, it is necessary for them to take every precaution to produce fast colours. Their methods may seem complicated, but it would not be amiss if American batikers were to use a little more of the patience and craft that the native exercises, instead of eternally seeking short cuts to superficially beautiful effects.
Batiks are chiefly used in Java for wearing apparel and as a rule are made of calico which is imported from Holland and England, although homespun cotton is occasionally found and was used, of course, before trading with Europe developed almost “Mail Order” facilities.
JAVANESE KAIN KAPALA
JAVANESE COSTUME
KAINS
The costume is similar for men and women and consists of the “sarong,” the “slendang” and the “sarong kapala.” There are two types of sarong or loin-cloth worn, which are known as the “kain pandjang” and the “kain kapala”; the former is decorated with an all-over pattern and is used for “every-day” wear, whilst the “kain kapala” is a more expensive form, which besides the all-over pattern, has at one end, from selvedge to selvedge, an elaborate design. There is no intricacy of cutting in a sarong as it consists merely of a piece of material from three to four-and-a-half yards long and about forty-two inches wide. The material used for this garment is almost always cotton of varying grades.