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Batik, Traditional Textiles of Indonesia. Rudolf Smend
Читать онлайн.Название Batik, Traditional Textiles of Indonesia
Год выпуска 0
isbn 9781462918317
Автор произведения Rudolf Smend
Издательство Ingram
14 Sarong buketan, signed “M. Coenraad. Patjitan”, Pacitan, 1890–1900.
The Coenraad sisters opened a batik workshop in Pacitan in southwestern East Java around 1880. The characteristic feature of their work is a combination of Central Javanese colors (indigo blue and soga brown) with floral motifs of the Pesisir area. The large bouquets of chrysanthemums that decorate the badan of this sarong indicate that it was made for a Chinese customer.
15 Sarong buketan, signed “E Coenraad. Patjitan”, Pacitan, ca. 1900–1910.
Unusually for the Coenraad sisters, this batik was executed in the Pesisir colors of indigo blue and mengkudu red. The exaggerated lines of the stems of the poppies on the badan point to the influence of the Art Nouveau style. Also remarkable is the extremely fine net-like decoration on the background. The kepala features another large floral arrangement of orchids and poppies surrounded by butter-flies, bees, small birds and a horseshoe. It is possible that this sarong was commissioned as part of a bridal trousseau.
16 Sarong buketan, signed “The Tie Siet Pekalongan”, made in the The Tie Siet workshop, 1920–1930s.
The Tie Siet’s batik workshop in Pekalongan was recognized as one of the best in the Pesisir area, and one that clearly showed The Tie Siet’s Chinese heritage. This sarong illustrates the use of two non-traditional colors—orange and aqua—and simpler bouquets on a plain background. Four carefully executed bouquets of daffodils decorate the badan and kepala. Smaller renditions of the same flower run along the top and bottom of the sarong and also separate the badan from the kepala.
17 Sarong buketan kelengan, signed “The Tie Siet Pek”, made in the The Tie Siet workshop, Pekalongan, 1930s.
Kain kelengan, blue and white batik cloths, were worn by Sino- Indonesian residents of the Pesisir during times of mourning. While the kepala and badan of this sarong have been decorated with four large bouquets of peonies, the most remarkable feature is the very elaborate grid-like background pattern which this workshop was famous for in the 1930s.
18 Sarong dlorong buketan, synthetic dyes, signed “The Tie Siet Pekalongan”, made in the The Tie Siet workshop, Pekalongan, 1920–1930s.
Peonies are much loved by the Chinese for their bold size and colors. They are also associated with female beauty. Here, peonies dominate the diagonal bands (dlorong) on the badan as well as the large bouquet on the kepala.
19 Sarong dlorong, synthetic dyes, signed “Kwee Nettie”, made in the Oey Soe Tjoen workshop, Kedungwuni, near Pekalongan, 1930s.
In 1925, Kwee Nettie (1905–98; Chinese name Kwee Tjoen Giok), who came from a batik-making family in Batang, married the great master of Sino- Javanese batik, Oey Soe Tjoen. In the early years of their marriage, she signed her pieces with her European name, Kwee Nettie, but later used her husband’s name. She also managed their joint workshop. This nine-color sarong is testimony to her love of color as well as her mastery in handling synthetic dyes. The type of decoration, made of wide vertical and diagonal bands, is known as dlorong. In the badan, the vertical bands of leaves and lotus flowers alternate with bands of jasmine blossoms and forget-me-nots. The kepala features the floral bands in a diagonal arrangement, a common feature of Pesisir batik of the 1920s and 1930s.
20 Sarong buketan, signed “Oey Soe Tjoen Kedoengwoeni”, made in the Oey Soe Tjoen workshop, Kedungwuni, near Pekalongan, 1930s.
The workshop of Oey Soe Tjoen (1901–76) was famous for creating the finest batik in Java. Oey Soe Tjoen was known for his superb craftsmanship and attention to detail. The care with which the motifs, primarily flowers and leaves in bouquets, were drawn and shaded, such as the carnations on this sarong, produced a unique three-dimensional effect on his batik. Although such bouquets of flowers used to be a popular feature of Pekalongan batiks made in the Indo-European workshops, in the 1920s this style also became popular on Chinese batik from the north coast of Java.
21 Sarong, signed “Oey Soe Tjoen. Kedoengwoeni”, made in the Oey Soe Tjoen workshop, Kedungwuni, near Pekalongan, 1930s.
Cranes, Chinese symbol of immortality, are abundant on this sarong. While pairs of cranes feed among oversized plants and water lilies, other cranes fly overhead. The style of drawing and the colors of the motifs bear a resemblance to the gold-thread couched embroidery that is frequently found on Chinese ceremonial garments.
22 Sarong dlorong buketan, signed “Nja Lie Boen In Koedoes”, made by Njonja Lie Boen In, Kudus, 1920s.
Lie Boen In was born in Pekalongan, but in later years moved to Kudus. However, the iconography of her batik indicates the strong influence of Pekalongan textiles. Her batik production was rather limited and her clients were mainly members of her extended family. The badan on this sarong features three large floral bouquets composed of colorful poppies and blue and white forget-me-nots, while the diagonal bands (dlorong) on the kepala have been filled with birds and lily stems. The most striking feature of the sarong is its background, which is covered with extremely fine, densely worked diagonal lines, known as the galaran pattern.
Pages 50–63 Studio portraits of Chinese Peranakan women (except page 61) wearing fine north coast batik sarongs with lacy kebaya blouses.
23 Kain,