Batik[b] is an Indonesian technique of wax-resist dyeing applied to the whole cloth.[1][4][2][5][6] This technique originated from the island of Java, Indonesia.[3] Batik is made either by drawing dots and lines of wax with a spouted tool called a canting,[c] or by printing the wax with a copper stamp called a cap.[d][7] The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired.[3]

Indonesian coastal batik (batik pesisir) made in the island of Java has a history of acculturation, a mixture of native and foreign cultures.[8] It is a newer model compared to inland batik, and it uses more colors, though the patterns are less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone.[citation needed]

Despite originating from the island of Java, batik has been generalised and nationalised by the general public and has become important to Indonesians who commonly wear it to formal or casual events. Batik is commonly used by Indonesians in various rituals, ceremonies, traditions, celebrations, and even in daily uses.[9]

On October 2, 2009, UNESCO officially recognized the batik—written batik (batik tulis) and stamped batik (batik cap)—as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik.[1]Since then, Indonesia celebrates "the National Batik Day" (Indonesian: Hari Batik Nasional) annually on October 2. Nowadays, Indonesians wear batik in honor of this ancient tradition.[9]

In the same year, UNESCO also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" as a Masterpiece of Oral and Intangible Heritage of Humanity in the Register of Good Safeguarding Practices List.[10]

The word batik is Javanese in origin. The word bathikan also means "drawing" or "writing" in Javanese.[11] When the word is absorbed to Indonesian, the "th-" sound is reduced to a "t-" sound more pronounceable to non-Javanese speakers.

The word batik is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled as battik. It is attested in the Indonesian Archipelago during the Dutchcolonial period in various forms such as mbatik, mbatek, batik and batek.[12][13][14] Batikknown as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).[15]

HISTORY OF BATIK

Batik is an ancient fabric wax-resist dyeing tradition of Java, Indonesia.[16] The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available—cotton and beeswax and plants from which different vegetable dyes are made.[17] Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.[18] On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since several regions in Indonesia such as Toraja, Flores, and Halmahera which were not directly influenced by Hinduism, have attested batik making tradition as well.[19]

The existence of the oldest Batik activities came from Ponorogo which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that the batik produced by Ponorogo is generally dark black or commonly called batik irengan because it is close to magical elements so that it was developed by the kingdoms in Central Java and Yogyakarta.[20]

Based on the contents of the Sundanese Manuscript, Sundanese people have known about Batik since the 12th century. Based on ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step.[21]

Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax invented in Java around that time.[19] The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif.[22][better source needed] The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier.[23] By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands, Siam, even as far as Mosul.[24][page needed]

In Europe, the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. Displayed at the Exposition Universelleat Paris in 1900, the Indonesian batik impressed the public and artists.[18]

The Dutch Indo Europeans and Chinese settlers were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap(copper block stamps) to mass-produce batiks. Between 1811 and 1946, there was a breed of batik known as Batik Belanda. Which was basically a batik industry ran by the Indo Europeans in the East Indies. The patterns and styles reflected European style and taste with a fusion of local indigenous culture. It was quite successful, as such several prominent batik ateliers appeared and was exported to Singapore, and the Netherlands. The industry itself collapsed after WW II and the Indonesian independence.[25]

In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.[26]

In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English merchants and batik makers. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. Locally it is known as African wax prints or Dutch wax prints. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.[27]

In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[18] This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.[28

Source: https://en.wikipedia.org/wiki/Batik 

Tie-dye is a term used to describe a number of resist dyeing techniques and the resulting dyed products of these processes. The process of tie-dye typically consists of folding, twisting, pleating, or crumpling fabric or a garment, before binding with string or rubber bands, followed by the application of dye or dyes.[1] The manipulations of the fabric before the application of dye are called resists, as they partially or completely prevent ('resist') the applied dye from coloring the fabric. More sophisticated tie-dye may involve additional steps, including an initial application of dye before the resist, multiple sequential dyeing and resist steps, and the use of other types of resists (stitching, stencils) and discharge.

Unlike regular resist-dyeing techniques, modern tie-dye is characterized by the use of bright, saturated primary colors and bold patterns. These patterns, including the spiral, mandala, and peace sign, and the use of multiple bold colors, have become clichéd to become symbols of the counterculture movement of the 1960s. However tie dye wasn't as pronounced in fashion even among the counterculture as it would be in later years and the present day. The vast majority of tie-dye garments and objects produced for wholesale distribution use these designs, with many being mass-produced.

In the 21st century, a revived interest in more 'sophisticated' tie-dye techniques emerged in the fashion and hobby industry, characterized by simple motifs, monochromatic color schemes, a focus on fashionable garments and fabrics other than cotton,[2] and the pursuit of tie-dye as an art form, rather than a commodity.

Tie-dye can be used to create a wide variety of designs on fabric, from standard patterns such as the spiral, peace sign, diamond, and the marble effect to beautiful works of art. Using techniques such as stencils (as in screen printing using dyes or discharge pastes), clamped-on shaped blocks, and tritik (stitching and gathering), tie-dye can produce almost any design desired. If a modern kit is used, then it is easier to accomplish a spiral or circle.

Source: https://en.wikipedia.org/wiki/Tie-dye