Introduction
The word ‘Batik’ is Javanese which literally translates to paint, draw or create something with wax on textiles. The term ‘Batik’ is originated from the word ‘Ambatik’ which means to mark with dots or spots. Batik is an ancient form of textile art which is quite well known in West Bengal. It is a dyeing technique mainly practiced in the Shantiniketan district of West Bengal where it was first brought up by one of the greatest poets and scholars of all time Rabindranath Tagore in 1927 from Java, Indonesia. Since then, Shantiniketan has been an important hub for the production of Batik designed textiles. People from various regions of India and across the globe visit Shantiniketan just for the brilliant craftsmanship and purchasing of batik products.
Origin of Batik
The evidence of Batik textiles have been found from various parts of the world in Far East, Middle East, Central Asia and India. Some of these evidences are as old as 2000 years which shows that people in the ancient civilisations knew about wax and its usable techniques to create designs on cloth. Some of the early Buddhist texts belonging to 9th or 10th century talk about a painting process where wax is an essential component. Evidences in China show that during the rule of Sui Dynasty (581-614 CE) Batik was practiced in China. Japan also has produced evidences of this art from the city of Nara. Ajanta Caves in Maharashtra show head wraps and garments in the frescoes and it is believed that it could have been batik which has been depicted in those frescoes. In Egypt, linen burial clothes belonging to 4th century BC show white designs on an indigo coloured background most probably made by wax.
Although the history of Batik goes back to ancient times in various regions of the globe but it gained momentum in its truest sense when it reached the islands of Java, Indonesia. Batik reached Java in about 12th century. The mention of Batik can be found on a cargo bill in the mid 17th century. However a source from 1518 confirms the presence of a wax painting industry in Cheribon, Java which employed processes of wax painting similar to what was prevalent on the Coromandel Coast in the southern part of India and the profession was mostly pursued by men. Plant and animal motifs were more commonly used in the designs. Mohammedanism hasn’t spread over Java at that point in time, but after the emergence and spread of Mohameddanism the industry grew at a rapid manner. Many newer and unique designs were created and introduced.
During 17th and 18th centuries, central Java is where the highest level of development of Batik took place. In this time period women were also involved in the craft, especially those who could offer their leisure time left from their usual everyday jobs. There were a few designs which were very delicate and intricate and only the nobility could wear it. Some designs were reserved for royalty and people only from the royal class could wear them.
In 1927, Rabindranath Tagore visited Java to explore and promote Indian origin cultures there and he saw the art of Batik there in its peak. He brought back the art to Shantiniketan.
How it flourished
Rabindranath Tagore was accompanied in his tour to Java by Surendranath Kar who is a renowned artist and credited as the architect of Shantiniketan. Kar learned the technique of Batik in Java. Tagore was very much impressed and inspired by the textile art. He brought some of the batik fabrics from Java, one of those was gifted to him by the king of Java. But Kar and Pratima Devi, Tagore’s daughter-in-law introduced some changes to the making of the Batik. While Javanese Batik used ‘Tjanting’ (canting) as the primary instrument, Kar and Pratima Devi made Batik using a brush also known as Tuli. This is the reason that the Batik of Shantiniketan also came to be known as Tuli Batik.
Eventually the fine arts faculty of Visva Bharati University, Kala Bhavan incorporated the study of Batik in its curriculum. Batik was done mainly on leather and fabric in Shantiniketan. Gradually it spread to Kolkata and from there to other regions of India. Rabindranath Tagore’s son Rathindranath Tagore learned about leather and leatherwork in Europe and introduced the making of Batik on leather materials. Gauri Bhanja is often considered as one of the key figures who widely contributed to development and spreading of Batik art. She used to teach in the Kala Bhavan and gave her life to the artform. Tapati Mukherjee in her work Sharing the Dream- The Remarkable Women Artists of Santiniketan talks about the invaluable contribution of women artists to the flourishing nature of this textile art form. Jamuna Sen, Kshoma Ghosh, Ila Ghosh, Arundhuti Thakur, Haimanti Chakravarty, Rani Chanda, Indusudha Ghosh, and Bani Bose among others are some prominent names to had a huge role in this.
Apart from the Kala Bhavan. there are a few other institutions which are dedicated towards Batik. One of the key institutions was Karu Sangha which was established in 1930 with Nandalal Bose overseeing it with the help he got from his students such as Prabhatmohan Bandhopadhyay. Apart from making Batik textiles the institution was driven to other artforms such as kantha embroidery as well.
Designs and Motifs
The designs, patterns and motifs of Shantiniketan Batik is inspired by the art of ‘Alpona’ which is a floor painting art done famously done by the women in the Birbhum district of West Bengal. Motifs of lotus, hibiscus, marigold, conch, peacock, fish and geometric tassels are used hugely as batik designs.Designs are also influenced by cultural heritage and folklores . Batik doesn’t use a large number of colours at a time, just two or three at a time is alright to make it look attractive and beautiful. Initially only natural dyes were used but in the contemporary times synthetic dyes are also being used for the craft depending upon what colours does the artist wants to use. Natural fibres like cotton, linen and silk are more widely used for batik as those are more friendly to the process in which batik designs are made.
Culturally speaking, batik is an important part in the lives of the people of Shantiniketan. Various types of garments use batik designs in Shantiniketan but the significant ones are the dancers’ costumes and Uttariyo. Batik is used in dancers’ attires which are being used in Tagore’s dance dramas. Other than this ‘Uttariyo’ which is a piece of cloth typically made of cotton or silk also contains beautiful batik designs. It is hung from the shoulder in a specific manner and it’s being used as a felicitation gift to guests coming to Shantiniketan. In the current times, uttariyo is being gifted not just in programmes held in Shantiniketan but also in different parts of West Bengal and in Bengali cultural events in general as well.
The Process of Making
1.The process starts with selecting a natural fibre for example, cotton or silk of the highest quality possible. The material is then cleaned and then it is being made sure that the fabric is clean and ready for the process of making Batik.
2.Instead of directly started designing on the fabric, the design is first being drawn on a piece of paper and after that drawn on the fabric typically by a pencil or a chalk to create the outline of the design.
3.In case of the tuli or Shantiniketan batik, a brush is used to apply hot melted wax on the fabric along the outlines of the design drawn.
4.The waxed piece of fabric is then dipped into dye baths of different shades depending upon the colours the artisan wants to use. There is a certain skill of knowing when to dip it and how to dip it to achieve the desired result. It can take place in multiple rounds to get the complete design.
5.After that, the wet piece of fabric has to be dried out either by putting it in the sun or by using a dryer or a heater.
6.The dried wax then undergoes boiling or washing to remove the wax which was applied earlier. After the wax is separated the designs which were created emerge in beautiful colours and designs.
7. At last, after the boiling procedure the fabric may go for finishing touches such as washing and ironing and then the fabric is used to create various products such as clothing, decoration items, pieces of artwork etc.
Current Status
Batik is pretty famous amongst Bengali people as well as people from other communities. People love to buy and own batik products because of its attractiveness and uniqueness. Over many years, Amar Kutir which is a cooperative society has contributed immensely towards the growing of batik and other artforms as well. Women artisans from nearby tribal villages make the products that are being sold here since a century. It was founded and established by the freedom fighter Susen Mukhopadhyay in 1923.
Apart from the traditional symbols and motifs used for batik, contemporary artists use their modern understanding of art and culture to create newer designs and motifs on the pieces of clothing to make the art more modern yet keeping the decades old traditions alive.
Conclusion
Batik is an essential cultural symbol and stands as a testament to a centuries old artform. From the Javanese islands of Indonesia to Rabindranath Tagore’s Shantiniketan it’s technique has developed hugely over time and various people have contributed towards it.The technique has underwent . The method of making it involves skilled craftsmanship. It uses motifs and designs largely inspired by the art of alpona and various symbols from nature, art and cultural heritage.
Bibliography
1.Gertrude Clayton Lewis (1922). First Lessons in Batik: A handbook in Batik, Tie-Dying and all pattern dyeing: The Prang Company
2.https://www.batikguild.org.uk/batik/history
3.https://www.emamiart.com/blog/43-batik-in-santiniketan/
5.https://www.fibre2fashion.com/industry-article/7428/contemporary-designs-of-batik