The term “Batik” is an Malay word. Batik has come to be used as a generic term which refers to the process of dyeing fabric by making use of a resist technique; covering areas of cloth with a dye-resistant substance to prevent them absorbing colors. The technique is thought to be over a thousand years old and historical evidence demonstrates that cloth decorated with this resist technique was in use in the early centuries AD in Africa, the Middle East and in several places in Asia. Although there is no sure explanation as to where batik first was “invented”, many observers believe that it was brought to Asia by travelers from the Indian subcontinent.

Despite the fact that batik may have originated elsewhere, most observers believe that batik has reached its highest artistic expression in Indonesia, particularly in Java. The art of Batik was later spread to the rest of the Indonesian archipelago and to the Peninsula Malaysia where the popularity of the cloth led to the establishment of many other production centers. Batik has become a very central means of artistic expression for many of the areas of Asia and a deeply integrated facet of Asian culture.

Much of the popularity of Batik can be tied to the fact that the batik technique offers immense possibilities for artistic freedom as patterns are applied by actual drawing rather than by weaving with thread. Another factor in its popularity is the fact that it is so durable. The colors in Batik are much more resistant to wear than those of painted or printed fabrics because the cloth is completely immersed in dye and the areas not protected by resist are allowed to absorb hues to the extent that the colors will not easily fade.

As we noted at the first, batik is now a generic term. Because of the popularity of batik designs, many batik patterns are used in a wide variety of fabrics. Many fabrics are called batik although they were not made in the resist method. Most purists believe that such cloth has batik like design but is not true batik which is confined to fabrics made through the application of the originally conceived Javanese methods of resist dyeing. Modern designers in Indonesia, Malaysia and to a lesser extent Thailand, the Philippines and elsewhere often use batik design elements and often the actual batik clothe in their clothing and accessories. Although most batik fabric is now decorated and tailored by machine, there still remains a considerable market for high-quality, hand-made batik. Since you are about visiting Langkawi, batik can be found at Atma Alam, Batik Art Village and Pisang Handicraft & Art Village as well. They are main producer of batik in Langkawi.

A Little Batik History

The ancient history of textiles tends to be sketchy because fabrics disintegrate in time and from weather. The exact origins of batik are uncertain. Fragments, probably of Indian origin, have been found in first century Egyptian tombs. One theory is that batik existed - and may have originated - in Asia and then spread to the Malaysian area. Examples of eighth century batik screens, probably Chinese, are preserved in Japan's Nara Museum.

Whatever its origin, batik was a highly accomplished art form in Java and Bali by the thirteenth century as a pastime for fine ladies. The hand decorated fabrics first appeared in costumes of the aristocracy and were soon used in clothing worn by the entire court.

Specific, readily recognizable motifs, patterns and colors developed. Often one design identified one family or an area. Javanese batiks were soon introduced to Europe where industrialists attempted to produce imitation batiks on a large scale, but found the cost prohibitive.

Today, the trend is to decorate the fabric any way the artist envisions; to apply design by any method, traditional or innovative, and even depart from standard procedures. Batik today is used for clothing, hangings, furnishings, relief and stuffed sculpture. It is no longer considered a "pure" art but one which can be combined with other media and methods. The driving force for the artist is to apply the technique for the end desired, rather than allowing the technique to control the artist as an end in itself.

The Batik Process

The technique of batik is a demanding one. In general, the final design must be conceived before the picture is begun. The batik artist works intimately with color; if he wishes parts of his design to be light yellow, for example, all these parts must be waxed at the same time before any subsequent dyeing. He cannot isolate one part of his design and complete it before moving on to the others as an artist in oils or watercolor may; he must create his design in stages, each of which encompasses the whole picture.

The basic process of batik is simple. It consists of permeating an area of fabric with hot wax so that the wax resists the penetration of dye.

If the cloth we begin with is white, such as bleached cotton, linen, or silk, then wherever we apply hot wax that area will remain white in the final design. After the first waxing the fabric is dipped into a dye bath whose color is the lightest tone of those to be used. When the piece has dried, we see an area of white and an area of cloth that is the color of the first dyeing. Wax is now applied to those parts in which we wish to retain the first color, and the entire fabric is immersed in the second dye bath whose color is darker in tone than the first. This process is repeated until the darkest tone required in the final design has been achieved. When the fabric, now almost wholly waxed, has dried it is placed between sheets of absorbent paper and a hot iron applied. As the sheets of paper absorb the wax they are replaced by fresh sheets until the wax is removed. At this point the final design is seen clearly for the first time.
Materials for Batik

The tools and materials used in batik are simple and readily available.

Any tool that can efficiently transfer hot wax from a container to the fabric will serve to produce a design on cloth when it is dyed. At the simplest level, a lighted candle can be used to distribute drops of melted wax on the fabric. A variety of objects such as bent wire or the rim of a tin can, can be dipped in melted wax and pressed onto the cloth to make a design. However the serious artist uses the brush. The best to use is about a Number Twelve water-color brush. The brush needs to have a large enough tip to retain a good quantity of wax. A larger brush for waxing out large areas of cloth is very useful as is a small brush-a Number Six is about as small as one can use-for delicate work.

The selection of waxes is important to the quality of the finished batik. Paraffin and beeswax are the two waxes most commonly used in batik and are usually combined in different proportions.

Because of its ready availability the best fabric for most batiks is cotton. The weave of the cloth should not be too close, and the fabric should be translucent when held in front of a light. For the best results, the fabric to be waxed should be stretched on a frame in a taut manner to prevent wrinkles which may cause the wax to run in an unpredictable way.

Wax is an inflammable substance, so the wax container should not be placed directly on the source of heat. It should sit in boiling water, and care should be taken to see that the water is replenished as it evaporates.

As with painting, color is an integral part of batik. A painter uses pigment; a batik artist uses dyes. The Painter can, if he chooses, completely obliterate an undesirable color by covering it with another color. Perhaps he must wait until the unwanted color is dry, but there is no doubt about it, he has another chance, he can cover up his mistake.

In batik the correction of mistakes, in most cases, is impossible. The Painter is not limited in any way in the variety of colors he uses and juxtaposes. In batik, however, each color used is significantly changed by the proceeding color; or at least it is certainly affected by the color "underneath". The only pure color is the first one, so all other colors used are mixtures, determined largely by the first color, or the first strong color.

Batik Art Village (Atma Alam)

Atma Alam, Langkawi's original Art Village in Padang Mat Sirat was made possible by a young couple set out to realize a long-time dream. Aza Osman, an oil painter and Roshadah Yusof, a batik artist, have created a wonderful heaven of art and culture, showcasing the creative energy of a generation.

Atma Alam welcomes the individual and group to take part in the village atmosphere and choose from a wide selection of regional mementos. Original oil and batik paintings are on sale and can be specially requested.

Langkawi Island : Batik Art Village / Atma Alam
Tel:	604-955 1227
Fax:	604-955 1227
Open Hour:	Daily: 9.00am - 6.00pm
Entrance Fee:	Free

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