The art of Santiniketan batik: Crafting identity through wax and dye

Culture has one special legacy: it can find methods to express through various ways, whether from a small commodity or from an expensive one. This cultural expression holds long stories that could be interpreted by many scholars and historians. Cultural expression connects us with distinct cultures of the world that contribute to shaping social history, economic history, as well as political history. Today, we will explore how one culture connects with another through experimentation by examining the minute details of the Batik craft of Santiniketan. This craft shows artistic innovation, cultural amalgamation, and adaptation of the traditions that have been passed from generation to generation in search of identity. The remarkable example of this expression is Santiniketan Batik, which shows the creative vision and philosophy of Rabindranath Tagore.

BATIK AND ITS GLOBAL CONTEXT 

The term Batik is an ancient one that talks about the wax-dyeing process. This term has been derived from the ‘Ambatik’, a Japanese word which refers to ‘Amba’ as to write and ‘Tikik’ as dots. The proper yet generizable definition of Batik is that it is an artistic expression that involves the process of the usage of molten wax on fabric, just as to create designs, patterns, and paintings, and then these fabrics are washed off by the dye baths to prevent it from penetrating the areas that are covered and it helps in preserving the fabric color. 

One of the interesting points to note down is that the usage of wax is being intentionally done to create unique designs through the cracks of the wax, and allowing the cloth to create different lines itself. 

From the sources, it is found that the use of the Batik method could be traced from the 4th century CE in Southeast Asian regions such as Java, Indonesia, Malaysia, and many more. As we look back on the history of Indian maritime trade, the Batik cloths were in high demand between India and Southeast Asia, but gained popularity through the Kala Bhavan of Visva Bharati, founded by Gururdev Rabindranath Tagore. The exact origin of Batik print is still unknown, but based on popular history, it is said that Batik print was popular and widely used in Indonesia. 

By the foundation of Kala Bhavan under the support of Nandala Bose and Rabindranath, Batik found its shape, identity, and promotion of culture in the Indian subcontinent through experimentation and courses on Batik by the textile department of Kala Bhavan. The most unique feature of Santiniketan Batik is that it promotes the Bengali ethos through various motifs, designs, and patterns. It feels like the textile is speaking the culture and tradition of Bengalis. 

THE GENESIS OF SANTINIKETAN BATIK 

The introduction of Batik in Santiniketan traces the history from the legacy of Tagore’s family. It is said that the daughter-in-law of Rabindranath Tagore, Pratima Devi, was the first personality to learn this Batik technique from a French artist named Mon Mieux when she was in Paris. By 1922, to popularize and to make it into mainstream design, she started collaborating with a French artist, Andre Karples, and as a result, she successfully established a handicraft sector with the name “Bichitra”, which would promote local artisans and indigenous craftsmanship. 

The most important motive of Pratima Devi was to create an artistic relationship between the artisans and the craftsman, where craft and art both become inseparable. Though Bichitra’s presence didn’t last long but it inspired the philosophy and artistic vision of the artisans. Batik experienced a renewal surge in popularity in 1927, following a period of decline. The revival gained considerable momentum after Rabindranath Tagore visited Java, Indonesia, during which he discovered and was inspired by the traditional art forms. When he reached Java, he was inspired by the Batik style designs, which he observed mainly in the Kain Panjang, it’s a kind of skirt that was worn by the women of the royal court. 

During this period of travel, Rabindranath was not alone; he was accompanied by an artist named Surendranath Kar, who took the initiative to learn Batik technique from local practitioners. Upon Rabindranath’s return to India, he received a piece of Batik fabric as a gift from the King of Java. Rabindranath brought many pieces of Batik to Santiniketan and thought to revive this wax-dying process in India too. Thus, the Kala Bhavana of Visva Bharati gave it a final shape. 

Not only Kala Bhavan, but the Batik style printing got significant refinement and polishing under the Rural Reconstruction program of Visva Bharati in the 1930s. Later on, the Batik style got infused in leather works too under Shilpa Sadan, Visva Bharati. Under the guidance of a few eminent personalities such as Gauri Bhanja, Kshoma Ghosh, Haimanti Chakravarty, Jamuna Sen, and Ila Ghosh, the Santiniketan Batik got its uniqueness.  

TOOLS, MATERIALS, METHODS, AND THE MOTIFS

 One of the main primary tools that are used in Batik is the fabrics, particularly cotton and silk, which have a high capacity for resisting heat and are excellent materials for absorbing and penetration of the wax used in this process. In modern times, georgette fabrics have also become the current trend. 

Another important material used is the different kinds of waxes, such as beeswax and paraffin wax. The application of wax varies based on the texture of the fabric, the intricacy of the designs, and the overall pattern being created. It creates a resistant layer on the fabric’s surface, keeping the dye from soaking into the areas where wax has been applied. It acts as a shield on the fabric, ensuring that the dye does not absorb into the areas covered by wax. On the other hand, paraffin wax is hard and brittle. This one helps in making cracking designs in the Batik, so if there is more puffin wax, the cracking design will be more detailed and perfect. 

Dyestuffs play an important role, but choosing them wisely matters the most. As in Batik printing, wax is used; it is often important to choose those dyestuffs that work well at both cold and room temperature. The best dyestuffs are the Naphthol colors, Solubilized vat dyes, Remazol-class reactive dyes, and many more. 

A pen-like tool that has a small metal cup is used as it can hold molten wax. This process is called canting. It drips the wax onto the fabric wisely, and artists use this method to create a draft of the design over the fabric. This is also called ‘Batik. Tulis’. 

After that, brushes are used that coat a protective layer on the final artwork, which helps the colors from being messy while removing the wax.

While on the process of creating Batik design, at the initial stage, the fabric is coated with molten wax. This wax acts as a resistant, preventing the dye from absorbing into the covered areas and preserving the original fabric color. The next step is to dip the fabric in the lightest colour and then put wax on the specific areas. This process goes on until all the colours are applied properly, which lastly takes a proper design or pattern. To make the best out of this process, it is said that 70% of the paraffin wax and 30% of the beeswax are mixed and used. Temperature plays a vital role; the more suitable the room temperature, the more perfect the designs will be. In Santiniketan, this method is locally known as ‘shoru tuli Santiniketan Batik’, meaning ‘thin brush Batik’ for its use of fine, delicate strokes in wax application.

The primary feature of Santiniketan Batik print is its use of ornamental motifs, which effortlessly and smoothly blend with Santiniketan traditions. Alpona is one of the most cherished traditional designs, typically created on floors, especially in the Birbhum district of West Bengal. This design shows the amalgamation, integration, and formulation of patterns, and from this, creates new ones. The list of popular Batik prints in Santiniketan is as follows: 

 

LOTUS– It depicts purity and beauty.                                                                                                                                                                                                               

HIBISCUS– It shows the vibrancy of colours and sacredness. 

MARIGOLD– It is often considered the auspicious flower in the Batik among all. 

CONCH SHELL– It is one of the sacred symbols that depicts prosperity and wealth. 

PEACOCK– It is a common motif that shows beauty, grace, and royalty. 

FISH– Its depictions usually refer to the welcoming of abundance, fertility, and positivity. 

GEOMETRIC DESIGNS– It is used to make border lines on the fabrics. 

ALPONA– It is traditionally a floor design that shows domestic creativity, fluidity, and cultural connection. 

CULTURAL, SOCIO-ECONOMIC IMPACT, AND THE CURRENT SITUATION

In the Indian subcontinent and abroad, the Santiniketan Batik has become an important creative identity and expression of the artisans that not only gave popularity to the subject of Fine arts, but it became a voice of those unspoken artisans whose creativity had never been encouraged. It showed the sensibilities of an artist and their art. The profound influence of Santiniketan Batik gave a shape to Santiniketan and the artistic philosophy of Rabindranath Tagore, which made Santiniketan a very popular and impressive tourist destination among Indians in particular and Foreigners in general. 

As a student of Visva Bharati, I saw the importance of Santiniketan Uttariyo ( a piece of cotton or silk cloth worn in the form of a stole ) among everyone, from professors to students, from faculty members to the vice chancellor. This piece is actually in a Santiniketan Batik style that holds cultural importance and respect. When any guest arrives in Visva Bharati, they are welcomed with this Uttariyo that depicts Santiniketan and Rabindranath itself. Even on occasions, everyone wears this Uttariyo not as a form of style but to represent the craftsmanship and the legacy of Santiniketan. In Rabindra Nitya, this Santiniketan Uttariyo has special importance and value. 

It is hard to reflect the importance of Batik in words. It can be correctly said that Batik is itself a storyteller, that tells various unsung voices of the historical past and important contributor in establishing the legacy of oral tradition and leveling up the grassroots history. It tells us that history is not a mere combination of facts but also an amalgamation of various stories that remained unheard and neglected from mainstream history. 

This style has heavily impacted the lives of women and promoted the Cottage industry. It gave an identity and respect to those women who haven’t had access to the formal education system, and as well as it also shaped the creativity of craft among the women who used their styles of weaving and decorating for commercial purposes. This context could be understood through Alpona making, among the many Bengali women, they were very much known for the idea of creating Alpona on the floor, which became their main ingredient of craft on the Batik fabric. 

From rural to tribal areas, women come to Santiniketan to learn the Batik style from the cottage industries such as the Amar Kutir Society of Rural Development. Irrespective of gender, caste, and sexuality, many students from India and abroad take admission to the department of Shilpa Sadana of Visva Bharati to learn crafts such as Santiniketan Batik print. These platforms gave a sense of independence and shape to creativity that made the livelihoods of artisans better. 

But this Santiniketan style Batik is currently facing challenges, such as the traditional Batik making being slowly replaced by readymade blocks, which make it much cheaper and more affordable. On the other hand, it is heavily impacting the lives of artisans. The traditional Batik system was time-consuming, required proper detailing, and many more factors, which made it quite expensive, but the introduction of machine-made Batik became a burden among the crafts as it created a form of economic tension. But to preserve this traditional style, Visva Bharati has a separate commercial department called Visva Bharati Samabay Samiti, which promotes and helps the artisans by selling traditional Batik style Uttariyo and many more. This is open for everyone, and the students of Visva Bharati get a 5 to 10% discount on every product. 

      

CONCLUSION 

Samtiniketan Batik shows the depiction of cultural synthesis by intermixing the ancient dye-waxing tradition from Java and creating a unique indigenous style that speaks of history, unsung voices, and the reflections of creativity. This vision of style shows the induced philosophy and respect for the artisanal community in the mind of Gurudev Rabindranath Tagore. It speaks to the idea of Pratima Devi and Rabindranath’s final vision board, which served as a cultural expression that depicts local narratives and the foundation of craftsmanship. Thus,  Batik is itself the artistic expression of Santiniketan.  

WORKS CITED 

My own living experiences from the past four years as a History student at Visva Bharati.

V I S U A L M A G I C O N F A B R I C, https://www.ezcc-india.org/pdf/brochure/batik.pdf. Accessed 18 June 2025.

“Batik in Santiniketan.” Selvdge, 21 March 2024, https://www.selvedge.org/blogs/selvedge/batik-in-santiniketan-west-bengal?srsltid=AfmBOoppdO4Q7PsZ-kxKgIarh-XUc6EUfFqcKo2-Vcy77iMNhy_UKeex. Accessed 18 June 2025.

Maulik, Sankar Roy, et al. “Batik-A traditional surface ornamentation technique for textiles.” Asian Dyer, 2021, pp. 1-6. VBLibrary Network, https://dspace.vblibrarynetwork.in/bitstream/handle/123456789/5722/Batik_Asian%20Dyer_Jue-July_2021_Batik.pdf?sequence=1&isAllowed=y. Accessed 18 June 2025.