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Sarong, Batik

Sarung

Ende des 19. Jh. | James Camille Samson

A Peranakan sarong with the triangular tumpal motifs in kepala, filled with floral motifs. Such a row of tumpal is called a kepala pasung. In the papan (the area between kepala and badan) you can see phoenixes. The badan is decorated with twining plants and flowers. Birds sit on the flowers.Batik is art. Instead of canvas, the artwork is drawn on fabric. When synthetic dyes were introduced to Indonesia from Europe at the end of the 19th century, many artists felt inspired to play with the colors and develop new motifs. On the north coast of Java, Chinese, Dutch and Arab immigrants established new batik production facilities along the port cities. The patterns were influenced and supplemented by motifs from their culture of origin. This resulted in fresh motifs and color styles typical of the region and new dyeing methods. The names of the batik patterns correspond to the places where they were produced, such as Pekalongan, Kedungwuni, Lasem and Cirebon.Batik is constantly changing. Creativity knows no bounds. Many motifs were also influenced by Europe through European magazines or postcards. Another new development was that individual batiks were signed by the manufacturers. The “pesisiran style” emerged in contrast to the traditional “kraton style” (palace style) from the interior of the country.

A Peranakan sarong with the triangular tumpal motifs in kepala, filled with floral motifs. Such a row of tumpal is called a kepala pasung. In the papan (the area between kepala and badan) you can see phoenixes. The badan is decorated with twining plants and flowers. Birds sit on the flowers.Batik is art. Instead of canvas, the artwork is drawn on fabric. When synthetic dyes were introduced to Indonesia from Europe at the end of the 19th century, many artists felt inspired to play with the colors and develop new motifs. On the north coast of Java, Chinese, Dutch and Arab immigrants established new batik production facilities along the port cities. The patterns were influenced and supplemented by motifs from their culture of origin. This resulted in fresh motifs and color styles typical of the region and new dyeing methods. The names of the batik patterns correspond to the places where they were produced, such as Pekalongan, Kedungwuni, Lasem and Cirebon.Batik is constantly changing. Creativity knows no bounds. Many motifs were also influenced by Europe through European magazines or postcards. Another new development was that individual batiks were signed by the manufacturers. The “pesisiran style” emerged in contrast to the traditional “kraton style” (palace style) from the interior of the country.

Collector:
James Camille Samson (1856 New York - 1896 Wien) DNB

Time:
Ende des 19. Jh.

Object Name
Sarong, Batik

Material/technology:
Maschinell gefertigte Baumwolle, Leinwandbindung, Naturfarben, Handbatik (batik tulis)

Copyright
Weltmuseum Wien

Collection area
Insular Southeast Asia

Invs.
120482

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