AN EASTERN CRAFT

New Zealand Herald, Volume LXXIII, Issue 22543, 7 October 1936, Page 5

AN EASTERN CRAFT

THE BEAUTY OF BATIK SYMBOLISM AND ART BY CHRISTINE CAMERON Where little fißures wander in and out on tranced colour, Or strange bright birds, with fraßile wings on fabric fl.v. K. Mc.l. The most famous Batik workers in the world arc the Javanese. They have used this craft from time immemorial and their method of working is to-day the same as that employed hundreds of years ago. The Chinese used this art to a lesser extent and it is interesting to note in old work the characteristic and typical changes of the work in different countries. It is always worth while to study ancient craftwork, the evolution that takes place in its various branches, and the conditions of climate, religion and character. But truly, the .Javanese have excelled in their particular craft and though Batik dyeing is practised to-day by workers in many European lands, the subtle charm of their work is hard to imitate. Dutch colonists returning from Java first introduced the craft to us by founding a school in Holland. It proved such a success that the knowledge spread, the artistic French people especially executing some very beautiful examples. This lovely work is particularly successful in all house decoration and curtains, cushions and tablecovers all possess great charm. As a piece of Batik can never be copied exactly, the work finds favour with those who love individual things. The rather fantastic and quaint patterns employed, the crackle, the marbling effects, the soft tones, or the interplay of vivid colours, are something we grow to love and never tire of. No other textile craft gives us quite this elusive charm, beautiful though .so many of them are. Perhaps to some the work appears complicated and elaborate, but the process is really extremely simple and may easily be done at home by the amateur. Charm of Batik

The most successful designs are those based upon geometrical lines and it is surprising the extraordinary efiects and beautiful colouring which can be obtained. An uninteresting piece of material may be transformed into something original and precious which cannot fail to be admired. It is interesting to note that in all countries wax or mud was used to make the designs on the fabric, the whole being dyed later. 1 will try to give you a simple description of the process used. Any examples of Batik are worth examining, and it is well to study by books or museum pieces anything in this way that you can find. All our handcrafts have such interesting histories, and there is so much to say about each one, that it is always hard to get down to the practical part, which is of course what we want. Choosing a Design The first thing to decide upon is the design. Choose something simple until the hand becomes skilful, it is sure to. be unsteady at first. If you draw direct, all the better; if not, prepare a design and make a tracing. Prick this over 011 a piece of cloth (you can get a tool called a roulette wheel to do this if you wish). Place the pattern on a piece of crepe de chine, rough side down, and pounce, as we directed last week, in textile tapestry. The design will show on the silk, but you may fix it by going over the pounce with a warm iron. We have chosen a white or pale coloured silk, so you will understand that to keep our first colour, we must protect it with wax, to make the designs dyeproof. Stretch the material 011 a frame and go over the lines with hot wax (not boiling), using a brush or pipette. If you use the latter, do not let the spout touch the material. Be sure the wax penetrates to the other side of the fabric. By the way, use a sheet of stencil paper to stretch the silk on if you cannot have a frame. Owing to the slightly oily surface of this paper, the wax will not stick much. Do not use blotting paper. When you have protected all parts for recolouring with the wax, immerse the waxed material in a bowl of water. Leave a few minutes to soften the fabric and harden the wax. Put on your rubber gloves now, and place the work in the dye bath until you get the required tone. Stir all the time with a glass rod to get the dye into every part of the silk. Rinse in clean water and dry it carefully. When dry iron between newspaper to remove the wax, and change the paper frequently. Now, if you require other colours for a small design, paint in one or moro with a brush and cover this with wax before the second dye bath. You always cover a colour with wax to prevent any other colour running into it. Cover everything with wax except what you need' dyed in the final dye bath. The Crackle Effect To make the characteristic crackle, the stuff is just crushed or crinkled in the hand. This breaks the surface of the wax and, when put in the dye. allows the colour to penetrate between tho breaks in the wax, thus causing the desired effect. When tho colouring is finished, to remove any remaining wax and to soften tho material, place it in benzine and leave for a few minutes. You only need to remember to protect the desired colour with wax. Remember, however, that in all native work the signs, crude as they may seem, have meanings, which perhaps wo do not understand, and, as these are painted into the original batiks, we will do well to imitate them most carefully and with respect for an historical craft. Silk or Cotton Sometimes in cold weather wo slightly warm the water, as tho waxis apt to chip if the atmosphero is cold. All kinds of materials may bo treated in Batik wax pattern-dveing, but silk, crepo de chine, georgette, chiffon and satin are the easiest to dye. Cotton must have tho dressing washed out first. The Javanese used native cotton fabrics of natural colour, and sometimes in old examples we find that tho worker used the darkest colour first. We do not work now like this, as wo usually begin with protecting the lightest shade and superimposing tho colour as I have described. The acids used are sulphuric, acetic, tartaric and oxalic. All are useful, but rather dangerous in the hands of a beginner. A good book to get is " Batiks and How to Make Them," by Pieter Miger.