The History of Java, v. 1-2

by Sir Thomas Stamford Raffles

Besides what may be thus termed the ordinary dress, two grand distinctions are noticed in the costume of the Javans: these are the war dress and the court dress. The former consists of chelána or pantaloons, buttoned from the hip down to the ankles; the kátok, short kilt or petticoat of coloured silk or fine cotton, descending just below the knee; and the ámben or girth, rolled tightly round the body seven or eight times, like a military sash, and securing the whole body from below the arms to the hips: this is made either of silk or very fine cotton. Over this is drawn a tight vest without buttons, termed sángsang, and over this again the ordinary vest or kótan with buttons, buttoning close round the body and neck, the síkapan or jacket being worn over the whole. The túdung, or shade for the face, is usually worn on this occasion, as well as shoes or sandals. The ang'ger or sword belt, which goes round the waist, also forms an essential part of the war dress, in which the pedáng or sword is suspended on the left side. Three kríses are usually worn in the waist on these occasions, one on each side and the other behind. These consist of the krís which the wearer particularly calls his own, the krís which has descended to him from his ancestors, and the krís which he may have received on his marriage from his wife's father. The latter is often placed on the left side for immediate use. This dress is worn in going into the field of battle, on which occasion it is the custom to appear in the richest attire their means admit, and to wear the rings and the other valuable jewels or trinkets which they possess.

In the court or full dress, the shoulders, arms, and body, down to the waist, are entirely bare; the drapery descending from the loins downwards, chelána, and what may be worn on the head, being the only covering. When a subject, whatever be his rank or family, approaches his prince, he must wear chelána or pantaloons of coloured silk or of fine cotton, without buttons; and instead of the járit or ordinary cloth, he must wear the dódot, a cloth which is of nearly double the dimensions. This is put on, however, nearly in the same manner as the járit, but so as not to descend on the right side further than just below the knee, while on the left it falls in a rich drapery, until it touches the ground in a point. The sábuk or waistband must be of gold lace, the fringed ends of which usually hang down a few inches, and the party must only wear one krís, which is tucked in the waistband on the right side behind, while on the left he wears a weapon, or rather implement, called a wédung, in the shape of a chopper, together with a small knife, indicative of his readiness to cut down trees and grass at the order of his sovereign. On his head he must wear a peculiar kind of cap (kuluk), said to have been introduced by the Sultan Pájang in imitation of the scull-cap of the Arabs; it is made of cloth, and either white or light blue, stiffened with rich starch: on more ordinary occasions, and generally, except in full dress, the chiefs prefer a cap of the same form made of black velvet, ornamented with gold, and sometimes a diamond on the crown. The part of the body which is left uncovered is generally rubbed over with white or yellow powder. The sovereign himself is usually habited in the same manner on state occasions, his body and arms being covered with a bright yellow powder. When women approach the sovereign, besides having their hair ornamented with diamonds and flowers, they must wear a sémbong or sash round the waist, which generally is of yellow silk with red at the two ends. It is brought once round the body from behind, and the long ends are allowed to descend towards the ground, one over each hip.

Since the loss of the makóta, or golden crown of Majapáhit, which disappeared on the banishment of Susúnan Mangkúrat, both the Susúnan and Sultan, on public occasions, when they have to meet the European authorities, wear a velvet hat or cap of a particular fashion, somewhat different at each court; that of the Susúnan resembling what is distinguished by the term of the Madúra hat in consequence of its being still worn by the Madúra family, and that of the Sultan having a golden garúda affixed at the back, and two wings of gold extending from behind the ears. They both wear breeches, stockings, and buckles, after the European fashion.

The jámang or golden plate, which was worn over the forehead, as well as a variety of golden ornaments round the neck and arms, and which formerly formed the most splendid part of the costume, are now disused; except at marriages, or in dramatic or other entertainments, when the ancient costume of the country is exhibited in all its rich and gorgeous variety.

The following picture of a Javan beauty, taken from one of the most popular poems of the country, will serve better than any description of mine, to place before the reader the standard of female elegance and perfection in the island, and to convey an accurate idea of the personal decorations on nuptial occasions, in dances and dramatic exhibitions; it will at the same time afford a representation of what may be considered to have formed the full dress of a female of distinction, before the innovations of Mahometanism and the partial introduction of the European fashions. The extravagant genius of eastern poetry may perhaps be best employed in portraying such fantastic images, or celebrating such extraordinary tastes.

"Her face was fair and bright as the moon, and it expressed all that was lovely. The beauty of Ráden Pútri far excelled even that of the widadári Déwi Ráti: she shone bright even in the dark, and she was without defect or blemish.

"So clear and striking was her brightness, that it flashed to the sky as she was gazed at: the lustre of the sun was even dimmed in her presence, for she seemed to have stolen from him his refulgence. So much did she excel in beauty, that it is impossible to describe it.

"Her shape and form were nothing wanting, and her hair when loosened hung down to her feet, waving in dark curls: the short front hairs were turned with regularity as a fringe, her forehead resembling the chendána stone. Her eyebrows were like two leaves of the ímbo tree; the outer angle of the eye acute and slightly extended; the ball of the eye full, and the upper eyelash slightly curling upwards.

"Tears seemed floating in her eye, but started not. Her nose was sharp and pointed; her teeth black as the kómbang; her lips the colour of the newly cut mangústin shell. Her teeth regular and brilliant; her cheeks in shape like the fruit of the dúren; the lower part of the cheek slightly protruding. Her ears in beauty like the giánti flowers, and her neck like unto the young and graceful gádung leaf.

"Her shoulders even, like the balance of golden scales; her chest open and full; her breasts like ivory, perfectly round and inclining to each other. Her arms ductile as a bow; her fingers long and pliant, and tapering like thorns of the forest. Her nails like pearls; her skin bright yellow; her waist formed like the pátram when drawn from its sheath; her hips as the reversed límas leaf.