Brief history of cold batik. Batik in Europe and America. The history of the development of batik

22.04.2020

See eternity in one moment
A huge world - in a grain of sand,
In a single handful - infinity
And the sky - in a cup of a flower.

William Blake, translated by S. Y. Marshak

Cubic heel. Fragment. Linen. 19th century Russia. St. Petersburg, Ethnographic Museum

The word batik (Malay batek) is derived from the Malay-Indonesian word titik (titek) - dot, drop. This is the only thing that is known about the term reliably. The word "batik" in Indonesia appeared quite late, perhaps after the 16th century. Over time, the process of creating a pattern using molten wax and the finished fabric began to be called batik. The same term in our time has moved to printed factory fabric, and made with the help of modern digital printing (print).

The word "batik" has become synonymous with patterned fabric in Indonesia. In addition, wax reservation techniques are used on any surface. For example, in Malaysia, Indonesia, this is done on fabric, paper, wood, bamboo, coconut, leather, copper, glass, mirror, ceramics. And all this is called batik. Formally, it can be considered that only the traditional technique of creating a pattern on fabric using wax or similar compounds should be called batik.

The oldest method of decorating fabrics by reserving a pattern with heated wax, paraffin, resin or other substances was known in many countries, starting from Sumer. Egyptian Coptic fabrics made of linen and wool from the 3rd-8th centuries with a white pattern on a blue and red background have survived.

In Japan, Sri Lanka, Peru, Iran, Armenia, Azerbaijan, African countries, there were also hot batik techniques.

It is known that in the VI century in Malaysia they made material from the bark of a tree. The pattern was applied with wax collected from wild bees, and painted with red stone paint (ocher) or soot. This is an ancient method of dyeing fabric in China. Written sources report that as early as the 3rd century BC. e. the Miao people and some others began to use the wax technique to create not only indigo, but also multi-colored fabrics and achieved perfection.

This is how chanting is applied to wax patterns in Indonesia

It is believed that in Indonesia, batik began to develop at the beginning of our era. It is difficult to say whether Indonesia is the birthplace of batik, or whether it came here under the influence of Indian and Chinese traditions. It is known that in the isolated highlands of South Sulawesi, fabrics were created, first with the help of rice paste, and later with wax. Most likely, the development of batik went from different directions.

The world fame of Indonesian batik is the result of a combination of unique technique and artistic skill, with which the most ancient patterns are embodied, carefully preserved to this day. There are several thousand of them, but it is impossible to take into account all the emerging options. It was in Indonesia that the batik technique was brought to perfection due to the fact that it became a court art in the palaces of Central Java. And now, first of all, the island of Java is famous for its batiks. These are traditional fabrics that are still used in the country as everyday and festive clothes by the majority of the Indonesian population, both men and women. In the traditional way, pieces of fabric made of cotton or linen were prepared for painting for several days: they were softened, washed, kept in various solutions, beaten with mallets.

After a long preparation, the drawing was applied with wax. There are many options for wax reserve. In addition to beeswax, the composition includes paraffin, fat, coconut oil, resin and rosin to thicken the composition and other components, which, at times, are a family secret. As a result, the reserve on the fabric looks like a relief pattern of different tones - from bright yellow to brown. The reserve was once applied with a bamboo stick, later with a brush.

The importation of fine cotton fabrics into the country - Indian, then Dutch and the need of the upper strata of society for exquisite clothing led in the 17th century to the invention of metal chanting with a bamboo handle. Thanks to him, wax drawing flourished in this era. The next step in creating batik is dyeing the fabric. Initially, vegetable dyes were used - roots, leaves, bark.

In the traditional version, indigo is taken for the first dyeing. The fabric is dipped in cold dye many times over a week and a half or more. It takes on an increasingly dark blue color. Antique batiks were dyed in one color. Around 1700, additional dyeing brown with the bark of the soga tree was invented. Each stage of dyeing is completed by rinsing the fabric in running water and drying. After each dyeing, the wax is removed very simply - the fabric is “boiled” a little in boiling water and the wax melts. Then the next reserve is applied.

In conclusion, despite the strength of vegetable dyes, they are fixed in a solution of borax, alum, sugar and lemon juice. And finally, the fabric is washed. This is how real batik is born.

Indonesian batik painted with chanting is called "tulis", which literally means "written". In the middle of the 19th century in Java they began to apply a wax pattern using copper stamps - chaps. Most batiks self made this is how it is made today. And the fabric is called kain chap. The pattern with the help of a stamp is more accurate, and each fragment is the same. This helps to distinguish chap batik from tulis batik. At the same time, chap-batik loses its spirituality, the charm of a man-made line, in which both thought and feeling are embedded.

Modern batik. Indonesia, about. Bali. Photo by M. Tsyganov

In the 1960s, apparently under the influence of European and American culture, Indonesia began to create batik paintings, panels, curtains with subjects close to Western painting and unusual for traditional batik: landscapes, figures of people, everyday scenes, abstract compositions. Over time, fabrics began to be used for cut clothes, furniture and other purposes. Fabrics created using traditional technology are expensive and their production is not profitable. Therefore, the ancient complex long-term technology for creating batik is now preserved only in individual workshops. A simplified version is usually used, and more often a stamp. Today, when batik is made everywhere on the islands, you can also find modern techniques similar to our hot batik. The colonization of Indonesia and India contributed to the development of batik and its penetration into Europe.

The European (including ours) way of working with wax has a very distant relation to traditional batik.

Indonesian batik became known to Europeans through Holland in the late 19th and early 20th centuries, and possibly earlier. But the attitude towards him was rather dismissive. In the opinion of a European, these products seemed "little and anti-artistic", although their "characteristic" was nevertheless appreciated.

Since 1835, several factories have been opened in Holland, where masters brought from Java taught batik. By the early 1900s, batik was being mass-produced in Germany. Much has been done here to develop and popularize handmade wax batik in our time. At the beginning of the 20th century, a batik pin was created in Germany for applying wax, later a battery was attached to it. Techniques of multiple overlaps with wax or, conversely, surface application of dyes have appeared. At the end of the 20th century, the popularity of batik in Europe reached its peak.

In Russia, a technique similar to wax batik has been used since ancient times. In the XVI-XVII centuries, it reached perfection. For the reserve (vapa), in addition to wax, clay, buckwheat paste with alum were used. The composition was applied with brushes. If the pattern was made with carved boards, then the fabric was called wax embossing. They dyed the fabric by immersion in indigo - cube dyeing, so now they are called cube heel.

The appearance in Europe of oriental fabrics in the batik technique led at the beginning of the 20th century to a passion for hand-painted fabrics. In Russia in 1910-1911, manuals were published on painting on fabrics, painting on silk and cotton, wax batik technique on paper, linen, woolen and silk fabrics, paper, parchment, cardboard, intended for numerous industrial artels and housewives.

“Painting on fabrics belongs to the category of the best fine crafts and has such a variety of types that cannot be found in another area ...”, one of these manuals wrote. The 1916 edition was called Batik. The new kind painting on paper, linen, woolen and silk fabrics. Then there was no time for batik ... Hot batik reappeared already in Soviet times - in 1930, when the first workshop for painting fabrics was created in Leningrad in the "Association of Artists". In contrast to the stuffing known at that time, hot batik was called "a new method of painting." Having simplified it, they painted kerchiefs, scarves, shawls.

It was difficult for Europeans to reproduce the classic process of making wax batik. Therefore, a different, more accessible way of working appeared - cold reserve applied with a glass tube. He imitated hot batik.

In Russia, in 1936, it began to be used in the Tribuna artel. Perhaps the term "hot batik" appeared with us at the same time as "cold batik" in order to distinguish between them. The reserve composition, the tools for its application, the style and techniques of painting have changed. This method somewhat limits the freedom of the artist, since all the details of the drawing have a contour stroke with a reserve and are painted with paints inside the contour, and the drawing acquires a kind of graphic clarity and flatness. So they made scarves, scarves, ties, coupons for dresses, interior items: curtains, tablecloths, napkins, lampshades. At that time, painting was a means of agitation and the opportunity to make fabric with a pattern on your own.

After a period of avant-garde art, “... the Russian Silk Road was reliably paved. Enclosed with a fence. The era of Soviet “arts and crafts” began. And the work on silk - batik, if you like - both in practice and in the mind for a long time turned into scarves with roses, diamonds, fish, into decorative panels "Autumn", "Spring", "Sunset", "Dawn", into an element of costume , in gas scarves with stains ... ”, - the artist Marina Lukashevich succinctly characterized the Soviet period.

Our homeworkers in the 1940s and 50s painted scarves with the help of an electric pin and paraffin with additives. In the 60s they switched to glass tubes and a cold reserve. Cold batik became widespread in many countries in the 1970s and 80s. From the late 1930s to the late 1990s, all of our study guides, called "Painting of fabrics" described mainly these two techniques. Thus, the concept of "batik" has become synonymous with "painting fabrics." A shorter designation in Russian usually wins - since the beginning of the 21st century, more and more books about Batik began to appear.

Electric batik pin by Irina Trofimova against the background of Indian batik of the middle of the 20th century

Tatyana Shikhireva:

“I got carried away with hot batik and I try not to deviate ... Anyone who has worked in this technique knows that first you need to do the lightest, then darker and darker. And all the time you have to keep in mind what I had light, what was dark. It is so interesting and exciting that it is difficult to refuse such work.

Elena Dorozhkina:

: “The more I do batik, the further I go from its classical techniques (cold, hot). They limit my creative desires, do not allow me to make complex plot compositional ideas. Cold batik is a contour - a border, it does not allow you to create subtle, picturesque shades. Hot - completely with wax, where everything is very decorative, but monosyllabic and flat, these techniques, as a rule, involve decorating fabric for clothes, in fact, for which batik was invented. It's not enough for me. In the process of many years of work in batik, I discovered my own technique that allows me to realize my plots on silk. My technique is free painting. As a rule, according to a preliminary sketch. Silk allows the paint to flow beautifully, gently, and often suggests new effects itself, you just need to catch them, show them, and emphasize them. The process is complex, subtle, but interesting. We can say that we interact with this technique.

Dorozhkina Elena (city of Korolev). Summer. 2005. Silk. Free painting. 49x50 cm.

The founder of the Latvian school of tapestry, artist Rudolf Heimrat (1926-1992), began his career in the 1950s with batik and ceramics.

I found Heimrath's work in the tapestry technique. In the 1970s, Heimrat organically introduces a variety of techniques into smooth tapestry - flooring, upholstery, openwork weaves, pile knots, uses sisal, linen, and metal thread.

Rudolf Heimrath (1926-1992). "Fisherwomen". 1968 Latvian SSR, Riga. Wool, linen, basis density 2 threads per 1 cm. 200x250 cm.

fragment

In the early 1960s, Juozas Balchikonis (1924-2010), the founder of the Lithuanian school of artistic textiles, began his experiments in the hot batik technique. These were linen curtains and wall panels based on Lithuanian folk songs and legends. His experience is still interesting, in particular because he seems to be the only artist (in the USSR and present-day Russia) who used vegetable dyes in batik. For example, the artist obtained greenish and brown tones from tree bark, moss and rust.

Balchikonis Kestutis (Lithuania). Holiday on the Neman. 1978. Cotton. Hot batik. 230x304 cm. National Museum of Lithuania.

Monumental batiks, close to fresco painting, made a strong impression at exhibitions. It became clear that batik is quite worthy to take a place in the public interior.
The exhibition of Juozas Balchikonis in Moscow in the early 1970s made such a big impression on Irina Trofimova that she devoted her entire further creative life to this art form. The artist studied the technique of batik in Delhi. She visited many Asian republics and countries of Southeast Asia. For half a century of work (since 1962) in the author's batik, she has never betrayed the hot batik, her own style and the monumental size of the canvases (usually they are 265x100 cm in size). Irina Trofimova believes that the traditional ancient technique does not limit the possibilities of the author, but helps in creativity. Honored Artist of Russia, she worked in the association "Spring" for more than 30 years. She has created over 1,000 award-winning themed and souvenir designs for headscarves. More than 100 monumental panels, many of which are kept in the museums of the country and abroad. And every year there are new series dedicated to various topics. On the canvases there are usually large figures in costumes that exactly correspond to the era, objects that symbolize the chosen theme.

Trofimova Irina (Moscow). Egypt. China. Middle Ages. Triptych. 2010. Cotton. Hot batik. 265x100 cm.

For an artist working in textile industry(design of fabrics, headscarves, curtains), author's batik has become an outlet since the 70s, allowing free creativity.
During the period of perestroika, batik was a good help for those artists who were unclaimed. Many tapestry masters switched to painting.

Kosulnikova Elena (Moscow). Russian North. 2011. Hot batik.

Tatyana Shikhireva:

"I want to show the drama, the tragedy that develops in this image. I always go from some kind of intrigue. I really like to draw details, for example, a neck with a frill, a wedding with flowers. An appeal to some other era is interesting. I dig a lot in books on history, fashion of different eras, I find some kind of image for myself and create my own picture.

Shikhireva Tatiana (Moscow). Annunciation. The left side of the composition. 2000. Hot batik

Chagorova Tatiana (Penza). "Many girls - I'm alone." Polyptych. 2010. Cotton. Hot batik. 180x80cm. each part

Gamayunova Olga (Moscow). Winter. The central part of the triptych. 2006. Silk. Cold batik

Lukashevich Marina. Man and cat. Silk. double batik

Lozhkina O. (Izhevsk). Song of the ancestors. Cold batik. 145x60 cm.

Shikhova Svetlana (Uzbekistan, Fergana). Melon seller. 2010. Silk. 70x60 cm.

Shikhova S. "Chor-minor". Volumetric batik. Silk, excelsior. 60x80 cm. Uzbekistan, Fergana. 2010

Shikhova S. "Spring month of Ramadan". Volumetric batik. Silk, excelsior. 65x75 cm. Uzbekistan, Fergana. 2010

Talaev Alexander. Christmas night. 2009. Silk. free painting

The plots of Maria Kaminskaya are infinitely varied. These are field and garden flowers, Marine life and insects, real and fictional characters surrounded by realistic everyday details, landscapes, elegant decorative compositions, sometimes mysterious, sometimes poetic, sometimes bright, sometimes gloomy. In this artist's world, even fish have their own face and character. The interior is always with a window behind which the city is either real or invented. Multi-color or subtly monochrome panels, laconic or with details that can be looked at endlessly. Whatever is depicted in the work, it is always decorative, picturesque and realistic at the same time.

Kaminskaya Maria. Dragonflies. From the Silk Road series. 2009. Silk. Cold batik

Kaminskaya Maria. Scarf "Pomegranate", Silk/Batik 55cm x 55cm 2007

Kaminskaya Maria. Coast. crepe chiffon/batik 60cm x 60cm 2009

Kaminskaya Maria. Still life with teapots, textured silk/batik 63cm x 63cm 2010

Sergei Pushkarev (Sergiev Posad). Winter sun. 1985. Silk. Author's technique. 90x160 cm

Sergey Pushkarev. Ancient music. Part of a triptych. 1980. Silk. Author's technique. 90x110 cm. Moscow, Museum of Modern Art

Uzdenikova Elena. Illustration for the Persian fairy tale "The Golden Carp". 2002. Silk. Cold batik, painting. 15x25 cm.

Book graphics Elena Uzdenikova, working on batik at the same time, organically combined painting on silk with book illustrations to Persian tales. When published (unlike the ancient scrolls), the illustrations will be made in the usual printing way, but the miniatures will retain the unusual effect of drawing on the fabric.

Any living feelings and thoughts that excite the artist, no matter how strange it may seem to someone when talking about decorative art, can be conveyed in a painting on fabric. And if the author really has them, then it is easy to find a corresponding non-standard, natural compositional solution. Then there will be no need for formal methods of dividing the plane into squares, stripes and other geometric shapes, these "scaffolding" that do not carry any semantic load.

For the viewer, if he does not understand the techniques of painting, it does not matter in what technique the work is made. He perceives the image as a whole... Working with hot wax fascinates, it is akin to ancient magic. If an artist works in the "pure" technique of hot batik, this is of particular interest, but this does not mean that cold batik and other, author's, mixed techniques are "worse". They are just different ways of decorating fabric.

Kimono. Fragment. Japan

Painting on silk with mineral paints is traditional for China. Japanese artists have long used to create, for example, a kimono at the same time reserve, stencil, sophisticated painting, embroidery, gilding.

In our time, when they mix not only certain types art, but even art, technology and science, it is not surprising that an inquisitive artist combines different techniques in one work, although the purity of a certain type of painting has its own charm. New methods of working on fabric are constantly being invented.

Acrylic paints are a modern analogue of ancient mineral paints and previous methods of dealing with dye spreading, such as adding salt to paints, thickening from starch, tragacanth, gelatin, etc. Oil paint was actively used in Russian old prints, in creating theatrical costumes. A picture painted with oil paints on canvas is also painting on fabric. But painting on fabric in other techniques, which can be mistaken for oil painting, for example, can hardly be considered a positive phenomenon, as well as any imitation of one technique by means of another. Dense covering paints gave artists the opportunity to draw on the fabric freely, as on paper. The artist chooses technical means, which will help you express your intentions as much as possible.

Anna Miloserdova:

“A professional, it seems to me, is a person who is familiar with all known and owns all available technologies. I am for the experiment, as it gives rise to new effects, new techniques and technologies, often of the author's, and with them - new moods and sensations in the viewer, up to a new view of the world ...
I actively use acrylic, I think that good inventions should not be neglected. This is versatility, a wide, active palette, durability, long life, new effects. True, paints react differently to light, this must be taken into account ... Why acrylic on fabric, and not on paper? Because cloth is not paper. Acrylic does not equalize paper and textiles, and it does not determine the choice of technique. Different properties, different effects, hence different solutions, different result, different perception. If the work in textiles suggests why not on paper, then the author does not fully know and understand the material and does not know how to use its features.

Miloserdova Anna (Moscow). The course of things. Triptych. 2007. Silk. Cold batik, painting. 70x210 cm. Moscow, Darwin Museum

It happens that techniques are piled on top of each other, this is perceived as violence against the pattern and fabric. A laconic solution is usually the most optimal... The use of rollers, stamps or mechanized techniques reminiscent of them in easel batik seems meaningless. That's why it's author's, unique. The stamp is appropriate for the replicated production of fabrics or utilitarian products ... Bright colors do not yet guarantee a "bright" product. It is the personality of the artist that makes it so.

The works of contemporary artists show that everything is subject to batik. Any themes and scales: large-format, high-format, and even serial, thus overcoming the initial limitations of the width of the fabric. All genres are available to batik: landscape and portrait, abstract decorative compositions and genre scenes, still lifes and animalistics.

Godich Marina. Winter evening. 2010. Silk. Cold batik. 56x56cm.

Batik can impress the audience before the start of the performance with a large-scale curtain or grandiose sizes at an exhibition, in a museum or in a public interior. It can please with a small picture hanging at home above the sofa or in a strict director's office. Batik can turn into tablecloths, napkins, traditional national and European clothes.

He has only one weak spot - defenselessness against time. And yet, a short-lived fabric often outlasts its creators. If there were an archive of works of art, where they could find a haven for the work of any authors, we would be much richer. So far, to some extent, only museums have overcome this problem. It is time to create a museum in Russia, if not of batik, then of textiles in general. And one could start with a serious, large-scale exhibition dedicated to both history and modern batik.

diary entries and personal website of Irina Dvorkina

Half a century of author's batik

Half a century of author's batik. Part 2

Website of Irina Dvorkina

Shikhova S. "The seller of melons." Volumetric batik. Silk, excelsior. 70x60 cm. Uzbekistan, Fergana. 2010. Fragment

Since time immemorial, people have learned to paint and decorate fabrics, making this occupation one of the most important crafts. The first masters of dyeing and printing of fabrics lived in the territories of modern China and India. Scientists have established that natural dyes were discovered and began to be used several millennia BC. Many have heard of the Indonesian island of Java. This place is considered to be the world center of the birth of batik. The very word appeared there. Literally translated into Russian, it means a drawing procedure using hot wax. From the Javanese, this art was adopted by the Indians and the Chinese, the Egyptians and the inhabitants of ancient Peru.

Most historians agree that the origin of batik should be attributed to the XIII-XIV centuries. However, it reached wide distribution only after several centuries - by the 17th century. It was then that a special instrument was created, which in the local dialect was called "chan-ting". It was designed to apply patterns to the surface of the fabric using molten wax. Externally, the chan-ting was a small copper container equipped with a handle made of bamboo or wood, and also had several curved spouts. At present, the use of this tool has faded into the background, as the most popular in Java has become stamping "chap".

How is fabric painting done?

When designing fabrics, craftsmen use a reserve of various mixtures. They cover those parts of the fabric that remain unpainted. The composition of this reserve may include a variety of components: plant and wood resins, paraffin, beeswax. The reserve is designed to impregnate the matter and reliably protect it from the effects of paint.

When the fabric is prepared, it is dipped into the paint, and after some time the existing reserve is removed. A white drawing remains on the canvas, while the rest of the background is completely painted over.

Despite the fact that stamping has been widely used recently, fabrics are often hand-painted. There are several ways to hand-paint, and each has its own characteristics.

When the reserve has the appearance of being applied to the fabric closed circuit, and already inside it the product is subject to painting - this is a cold batik. Drawings in this technique are distinguished by clear graphics, and the number of colors used is not limited. If the reserve serves both to apply the contour and to cover individual sections of the fabric, such painting is called hot batik. With free painting, patterns are applied with free strokes. Finally, technique nodular batik involves not painting the fabric, but its exclusive coloring. Separate sections of the material can be tied with knots.

HISTORY OF THE ORIGIN AND DISTRIBUTION OF BATIK TECHNIQUE

Garifullina Lucia Ilfatovna

5th year student, Department of Technology and Design, Vyatka State University,
Russian Federation, Kirov

Kulyabina Svetlana Alekseevna

scientific adviser, associate professor of VSU,
Russian Federation, Kirov

Currently, handmade products are of particular value, and one of the most popular types of art, which involves making products by hand, is batik. Batik is a common name for a variety of ways and techniques of artistic painting on fabric. The art of batik manufacturing is based on the principle of applying a reserve. This principle lies in the fact that individual sections of the tissue are covered special composition, which does not pass paint. And then when paint is applied to the fabric, it is these unpainted areas that form the pattern. As a reserve, paraffin, beeswax or various resins are usually used. Also in some countries, for example, in Indonesia, ancient recipes for a reserve composition prepared on the basis of rice paste, which was applied with a bamboo stick, have been preserved. But the traditional and most common type of reserve remains a wax-based reserve. Thanks to the use of wax, batik got its name, which in Javanese means “drawing with hot wax”.

Scientists have not come to a unanimous opinion about the time of the emergence of the art of batik. Most believe that this method of decorating fabric appeared in the XIII-XIV century. The oldest fragments of batik-painted textiles, possibly of Indian or Persian origin, have been found in Egyptian tombs. And the earliest information about the coloring of fabrics in the world literature dates back to the 1st century AD. e. Pliny the Elder in one of his books described in detail the method of dyeing fabrics used in Egypt: “In Egypt, clothes are dyed in an amazing way: after the white cloth is drawn, it is impregnated not with paints, but with substances that absorb paints; when this is done, nothing is visible on the cloth, but, having lowered it into a cauldron of hot paint, at the appropriate time they take it out painted. The description is very similar to the modern definition of batik. Only now such solutions are called "reserve", as they protect the canvas from paint, reserving its original color. There is no doubt that the roots of this art form go back to ancient times.

There are several types of batik. One of the oldest and the most interesting species the design of the fabric can be considered knotted batik (Fig. 1). This art has thousands of years of tradition. Even the simplest and cheapest material, painted in this way, instantly becomes unique. The principle of its transformation is simple. According to a certain pattern of the pattern, very small knots are tied on an unpainted canvas, tightly twisting them with a thread. The fabric is then dyed, removing the threads, and the result is an amazing and unique pattern. Similarly, you can dye the fabric several times, removing old knots and adding new ones. The paint under the threads, where the fabric is twisted, is not painted over, retaining its color, and in other areas the fabric is dyed unevenly, thereby forming a color stretch.

In order to make the drawing more interesting and rich in color, it is recommended to repeat this dyeing 2-3 times with paints of other colors. After the first dyeing and washing of the fabric, the knots are not untied, but rather they are tied up new ones on other already painted areas of the fabric and again painted in a different color in the bathroom, thereby obtaining more tones and a more interesting pattern. This process can be repeated a third time, imposing new knots according to the color obtained after the second dyeing. This type of dyeing begins with a transition from a light color (first dyeing) to the darkest (third dyeing). But it is important to know the laws of mixing colors in order to get the final desired color. Knotted batik is made on various materials - cotton, viscose, linen, wool, natural silk, acetate, triacetate and nylon - with different classes of dyes.

But, despite the existence of traditional fabric dyeing technology, many countries can boast of their own special way. For example, in India, where this type of batik is called "bandana", there is additional effect in technology nodular technique. Indian craftswomen learned how to tie thousands of tiny knots by prying fabric with a long, sharp fingernail on their little finger and, thereby, create complex multi-color ornaments. In addition, each knot is tied with a common thread. Having made several turns with it on a piece of fabric raised with a nail, the next raised area is wrapped around it. After dyeing and drying the fabric, do not iron it. Thus, the canvas retains the effect of corrugation. This method allows you to create fabrics even with a complex floral or "cucumber" pattern. This painting technique is still used in India to create both additions to clothing and clothing itself. Usually festive clothes are decorated with knotted batik. West Africa has its own ideas about the technology of dyeing fabric, which consists in the fact that it is traditionally covered with large diamond-shaped patterns. The height of such rhombuses is great, it is equal to the average height of a person from the shoulder to the feet. Such a large ornament looks beautiful in the folds of clothing, which is a rectangular canvas the width of an arm span with a slit for the head.

Also, this technique was common in Japan, where it was called "shibari", which means "to tie a knot." This technique came to Japan from China and Indonesia and was already developing there in its own way, which was due to its peculiar culture, isolation and self-sufficiency. It is also interesting that another technique for creating a pattern was also widespread in the country at that time, which was formed at the stage of weaving. It was called - ikat.

In each country, knotted batik had its own characteristics. Often it was supplemented with details, for example, beads or embroidery, and somewhere with pieces of a mirror (in India), in Africa, products were decorated with pearls and shells.

Figure 1. Knotted batik

The next, one of the most popular types of batik is hot batik (Fig. 2). The technology lies in the fact that the molten reserve is applied to the outline of the pattern or covers individual sections of the canvas. This batik originated in Indonesia, having survived its heyday on the island of Java, where specialists in this matter have reached unprecedented heights of skill. There is a Javanese legend that says that one of the heavenly gods of Indonesia descended to the island, saw how bad life was for people there, and decided to help them. He scattered magnificent fabrics across the fields, thickened multi-colored clouds, collected a drop of wax from hundreds of bees and started dancing, generously spraying the wax and leaving intricate patterns of his footprints. And then multicolored rain poured down - green, yellow, blue - and painted the drawing with colorful multicolors. So people learned about batik and learned to dye fabrics in bright colors and create amazingly beautiful products.

But clothes made of fabrics with patterns made in this technique were at first allowed to be worn only by a select few - aristocrats. They devoted their free time to painting fabrics. Only over time, servants, and then the population of the island, began to be involved in this delicate and very laborious work. On the island of Java, traditional patterns and techniques for applying them have been passed down from generation to generation, with each family having a different name. For example, cheplokan, which means "with repeating patterns" or kawung - "with circular elements."

Prior to the production of the first fabrics, painting was applied to objects, in particular to the bark taken from a tree, with the help of melted wax of wild bees, and the remaining places were then dyed with vegetable dyes. With the advent of fabrics, this technology began to be used for their design. The fact is that the wax, when applied to the fabric, does not allow the dye to pass through itself, i.e. mechanically reserves the matter, which can then be dyed, so the area that is covered with wax will be lighter than the other, which makes it possible to create many different effects by removing wax or paste from dyed fabric.

Hot batik reached its greatest rise in the 14th century, when “chanting” was invented, special device for pouring wax, which is a metal tank with a curved spout, which was mounted on a bamboo or wooden handle. This device, due to the fact that the wax poured out in a thin stream, made it possible to apply thin strokes and create exquisite patterns.

Paint recipes were kept by masters in the strictest confidence. They were made from natural dyes: trees, minerals, spices, flowers, stones and applied only to natural fabrics.

A special type of hot batik has become widespread in China. There it was called "laze". The tradition of this technique was passed down in families from generation to generation. The peculiarity of this technique was the technology of painting fabric. The fabric was stretched and filled with hot wax, which was then scraped off, forming patterns. The space of patterns was filled with paint. The traditional method was also used, when the patterns were painted over with wax and, after drying, were immersed in a vat of paint, the paint covered the material, leaving areas with wax unpainted and thereby forming a pattern. Batik masters in China became famous for the Miao people in Guizhou province. In their works, they used various batik techniques and used a variety of subjects, including images of birds, animals, flowers, plants, as well as geometric patterns. The painting was predominantly done on silk.

Figure 2. Hot batik

The youngest, but no less common type of batik is cold batik (Fig. 3). This method involves applying a reserve in the form of a closed contour, creating a barrier within which painting is carried out. At the beginning of the 20th century, batik began to experience its rebirth, thanks to the appearance of oriental fabrics in Europe. But it was difficult for Europeans to reproduce the classical process of making wax batik, so another, more accessible and simple type of painting was created using a cold reserve and, accordingly, other painting techniques.

This technique differed from hot batik not only by the temperature of the reserve, its composition, tools for applying it, as well as the style of painting have changed. For painting on silk, white and colored lines are most often used, separating one color space from another, while all the details of the pattern have a clear border and are painted with paints only inside the reserve line. As a result, the drawing forms clear contours.

The paint behaves differently on different fabrics: it spreads better on thin silks, worse on denser ones, and as a rule, in cold batik paints are applied only superficially, with soft brushes, sponge or cotton swabs. In this case, the brush with paint must be brought close to the reserve line. This must be done so that the paint does not stain the separating barrier and does not move to the neighboring area. If this happens, it is necessary to moisten a cotton swab with water and try to remove paint stains, trying to do it quickly, before the paint dries. This method, due to the fact that the removal of the reserve after staining is not implied, it is considered the simplest and safest, which makes it affordable and popular.

In Russia, the cold batik method has been used since 1936, thanks to the invention of a reserve composition that did not require heating. This made it the birthplace of "cold batik". AT industrial enterprises in this way they made both wardrobe items: scarves, scarves, ties, coupons for dresses, and interior items: curtains, tablecloths, napkins, lampshades. Later, decorative and pictorial panels began to be created using this technique. In Europe, cold batik was widely used in the 70-80s.

Figure 3. Cold batik

The history associated with the art of batik is very long and detailed, it is passed down from generation to generation, thus being preserved. At the same time, batik does not have any rigid framework or traditions. Each artist can apply various painting options, introducing something new, constantly improving his technique.

The art of batik, which originated in ancient times, not only does not lose its relevance in our time, but is also experiencing a peak in popularity, especially in our country. This is not surprising, since the advantage of this type of art is that it is available not only for professional artists, but also for ordinary people who are interested in creativity and needlework, since the features of this technique allow you to create products that are wonderful in their beauty and amaze with their diversity. variability, brightness of colors, and are also a place for the embodiment of the author's creative fantasies and the creation of unique works.

Bibliography:

1. Goryushkina N.I. Needlework and decor // School of sewing [ Electronic resource] - Access mode. - URL: http://www.osinka.ru/Sewing/Dekor/About/Batik.html (date of access: 06/12/2015).

2. Demin L.R. Art of Indonesia. Moscow: Knowledge, 1965. - 210 p.

3.Zholobchuk A.Ya. Gifts from batik // Gallery of Nadezhda Shubina. [Electronic resource] - Access mode. - URL: http://www.fine-art-collection.com/library/batik/batik8.html (date of access: 06/12/2015).

4.Sineglazova M.O. Let's paint the fabric ourselves. Craft and needlework. M .: Profizdat, 2001. - 62 p.

5. Stock Susie. Batik. Practical guide. M .: Publishing house "Niola 21st century", 2005

The Dutch were the first to use batik for decorative fabrics in the first half of the 19th century. But by the middle of the century they had lost their influence on the European market and developed entrepreneurial activity in Java. Thus, entire manufactories for the production of batik were opened, which followed the prevailing trends and were able to please the most demanding customer.

At the same time, the British cotton industry, relying on the high technology of cotton prints, is gradually overtaking the Dutch one. This influenced the fact that the already developed technologies of batik were threatened with oblivion.

But at the beginning of the 20th century, batik came back into fashion in Europe, England and America. This happened thanks to the enthusiasm of a small number of artists who, fascinated by batik, went to distant lands and studied with Indian and Indonesian masters. unique technique batik. Thus, by the middle of the last century, the batik technique had a large army of its admirers and followers around the world. Painting batik is becoming not only fashionable, but also prestigious.

Batik in Russia

For most of the 20th century, Russia remained behind the Iron Curtain, so batik appeared in our country only at the beginning of the century. It was then that a reserve composition was invented that did not require heating - cold batik appeared. But despite the new discoveries, batik in Russia developed slowly. Artists more often had not to create, but to adapt.

During the NEP, there was a significant demand for dresses with asymmetrical designs, silk shawls with exquisite Oriental ornaments. This provided the artists with work for a while, but gradually the fashion passed and they had to look for new sources of orders.

Basically, batik was distributed in large cities such as Leningrad and Moscow. Despite the lack of experience, the artists were fond of painting shawls, curtains, scarves. To exchange at least some experience, artists united in artels.

The plots of the murals of that time were dictated by the difficult political situation in the country. Soviet symbols were encouraged.

The second wind to Russian batik was given by the now Honored Artist of Russia Irina Trofimova. She managed to go abroad to the homeland of batik. Thanks to her, the first detailed information about this technique appeared in Russia.

In the 1970s, a new generation of textile artists appeared who were educated at the Stroganov and Mukhinsky schools, in the textile or technological institutes. They consciously chose the path of the artist, dealing exclusively with "author's batik."

Gradually, batik became a full member of all art exhibitions both national and international scales.

Batik techniques

Cold batik. The technology of cold batik appeared not so long ago - with the development of chemical knowledge. This happened at the beginning of the 20th century. Home distinctive feature redundant composition is that it does not require heating. This makes cold batik very accessible to a wide range of artists and hobbyists.

Cold batik is based on the fact that with this method of painting fabrics, all forms of the pattern, as a rule, have a closed contour stroke (reserving composition), which gives a peculiar character to the pattern.

After the outline is drawn, the drawing is allowed to dry. It is not recommended to leave the induced pattern on the fabric unpainted for more than 24 hours, since in this case the reserve composition gives a halo due to the released fat and the paint does not come close to the contour guidance when poured.

Cold batik is represented by three techniques: classic, multi-layered, open graphics.

So, classic batik is created by the method of picking up reserving lines that limit closed planes. As a result of this, a drawing is obtained that resembles a stained-glass window and is painted in one layer (see pr.8).

Multilayer batik is also created according to the stained glass principle. But at the same time, several overlays of color tones are used on top of each other (see example 9).

Open graphics. Signed without the use of closed planes. In this technique, the redundant lines are broken. This allows the color of one plane to enter the color of another (see example 10).

Free painting. Free painting technique is perhaps the most fast way create interesting art work. Free painting differs from classic hot and cold batik in that it is more like painting than batik. On the primed fabric create a composition, as on paper. Thanks to the primer, the paints blur less and retain the shape of the stroke. Free painting with paints with the introduction of saline into them can be combined with ordinary painting with cold batik.

Free painting also includes three techniques: watercolor, stencil, free painting graphics.

Watercolor technique - the fabric is painted "raw" with drying in certain places and the use of an alcohol effect (see pr.11).

Stencil technique. The drawing is created using a stencil and special cans for spraying the dye (see pr.12).

Freehand graphics. It is created using salt technology and aiming with a reserve (see pr.13).

Hot batik. Hot batik is the most ancient type of painting on fabric. It is called the hot method because the reserving substance that is used in painting is applied to the fabric only when it is hot. Paraffin, wax, stearin or their mixture is used as a reserve substance. It is applied to the fabric with a brush or a special copper ruler.

In hot batik, the following main methods of work are distinguished:

1. Simple batik (in one overlap).

2. Complex batik (in two or more overlaps. See pr.14).

3. Work from the stain (see pr.15).

Simple batik. The drawing according to the template is applied to the fabric with the help of brushes, stamps, knives, funnels or gurneys with a heated reserve compound. It turns out a contour drawing, a geometric or floral ornament.

Painting by the method of complex batik consists of several stages, each of which, as it were, repeats the painting by the method of simple batik: after the first overlapping of the background and its drying, the drawing is again applied with a reserve compound and again the entire surface of the fabric stretched over the frame is covered. Such overlaps can be repeated up to four times. Overlaps go sequentially from light to dark.

Before each new overcoating with paint, it is necessary to check the quality of the coating with a reserve composition and make sure that the entire pattern, in accordance with the template, is transferred to the fabric.

Spot painting is the most difficult and interesting job for fabric design. In this way, products decorated with floral ornaments are usually made. The principle of operation is the same as in complex batik, but instead of continuous successive overlaps of the entire fabric, blurry spots of different colors are applied to the canvas in accordance with the sketch. For each of these spots, the initial drawing of the ornament corresponding to the sketch is carried out by the reserve composition, then the same spots or adjacent areas of the background are covered with a different color, and the further drawing of the ornament again takes place. This procedure can be repeated no more than three times. Before the last overlap, the ornament is finally drawn and, in conclusion, the entire canvas is covered with some dark color. As a rule, such drawings always have a dark background, as it is necessary that it overlap the paint that has spread outside the drawing. There is a kind of work with complex batik on separate sections of the decorated fabric. This makes it possible, with a small number of overlaps, to achieve the finest transitions of colors and their shades.

When painting, it is necessary to ensure that each layer of paint applied to the fabric dries completely, and the reserve composition hardens.

In hot batik, color modeling of volumes is based on both contrasting and subtle combinations. As a rule, the viewer's imagination is struck by this specific feature of batik - multiple layers seem to shine through each other.

Knotted batik. Knotted batik can rightfully be considered one of the oldest types of fabric design. This art has thousands of years of tradition.

According to a certain pattern of the pattern, very small knots are tied on an unpainted canvas, tightly tied with a thread. Then the fabric is dyed, the threads are removed. The result is an amazing and unique pattern. Similarly, you can dye the fabric several times, removing old knots and adding new ones.

Many countries can boast a special way of dyeing fabric using this technique.

For example, in India, knotted batik is called a "bandana". They came up with an additional effect in technology. Indian craftswomen learned how to tie thousands of tiny knots by prying fabric with a long, sharp fingernail on their little finger. And thus create complex multi-color ornaments. In addition, each knot is tied not with a separate, but with a common thread. Having made several turns with it on a piece of fabric raised with a nail, the next raised area is wrapped around it. After dyeing and drying, the fabric does not smooth it. Thus, the material retains the corrugated effect. This method allows you to create fabrics even with a complex floral or "cucumber" pattern (see ex. 16).

West Africa has its own ideas about the technology of dyeing fabric, which is traditionally covered here with large diamond-shaped patterns. The height of such rhombuses is great - equal to the average height of a person from the shoulder to the feet. Such a large ornament looks beautiful in the folds of clothing, which is a rectangular panel the width of the arms with a slit for the head.

It is very difficult for a modern person to find time to tie a thousand knots on fabric. Therefore, we will focus on the main and simpler methods of coloring.

"Shibori". The word "shibori" is of Japanese origin and means "twist", "rotate", "press". It is not surprising that this technique appeared in Japan, the birthplace of origami.

If you fold and strongly compress the fabric, and then paint the bulk bundle, then the surface of the bundle will be painted in the appropriate color. Depending on the density of the fabric, the time of dyeing, as well as pressing, the dye may penetrate deeper into the fabric. In this way, different shades of color are achieved, while the base of the fabric folds remains undyed. The pattern depends on the different ways of folding the fabric (see pr. 17).

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MOSCOW HUMANITARIAN UNIVERSITY

Department of Design

Test

by discipline: Arts and Crafts

HISTORY OF BATIK

Performed:

Balasheva Natalia Anatolievna

Kaluga, 2017

Introduction

1. The concept of painting on fabric

2. The history of the development of batik

Conclusion

Bibliography

Application

Introduction

Today, painting on fabric (batik) is gaining more and more popularity, but few people know its history, its origins, the technique that was used in many countries.

But history originates in the mists of time in the countries of the ancient East. And you just have to immerse yourself a little in this special world of colors and materials, as it fascinates and captivates so much that you want to create and create. Painting and decorating fabric is an exciting activity that can fill life with the joy of creativity.

Working with silk and paints gives incomparable pleasure, satisfaction from the implementation of the most daring ideas with your own hands. A product made in the batik technique can reveal the talent of an artist, fashion designer or interior designer. And this is connected, on the one hand, with a wonderful material - silk, calico, chintz, etc., on the other hand, with beautiful bright colors with which you can decorate the interior.

The pattern on the fabric can be obtained by interlacing the warp and weft threads or by applying patterns, drawings of animals and birds to the surface of the fabric with paint. Only one hundred and fifty - two hundred years ago, a pattern was printed or "stuffed" on fabric using special wooden planks with an ornament carved on them and a silhouette of an animal or bird. Fabrics obtained in this way are called "heels".

India is considered the birthplace of this ancient art. By the end of the 17th century, Indian colored printed fabric (chintz) revolutionized European fashion, and later European textiles were only weak imitations of Indian designs.

In the history of world culture, not a single epoch, not a single nation has bypassed animals, namely birds, in their art. From the ritual-magical image of the beast in prehistoric times to the monumental and decorative works of the second half of the 20th century, a continuous line of development of the animalistic theme can be traced. Diverse animal world- this is a significant part of the nature around us, with which human life is closely connected. From ancient times BC, among the images of man's eternal companions - horses, dogs, cats, bulls (cows), an expressive image of amazing, graceful and in its own way beautiful creatures of soaring birds is often found.

Since ancient times, the bird has been a symbol or amulet of dexterity, cunning, a talisman of love in marriage; in some traditions, the bird also acts as a herald of fertility, bringing rain. Some peoples are most partial to this symbol, others prefer the dragon, leopard, tiger, snake, dolphin. Everything depends on national traditions, folk beliefs, customs and reverence.

1. The concept of painting on fabric

Fabric painting (batik "batik" is translated from Indonesian as "a drop of wax") is an ancient art.

And to be more precise, batik is a generalized name for various ways of hand-painting fabric.

All these techniques are based on the principle of reservation, that is, covering with a paint-resistant composition those parts of the fabric that should remain unpainted and form a pattern. This method for obtaining a pattern on fabric has been used since time immemorial in ancient Sumer, Peru, Japan, Sri Lanka, Indochina, and African countries. The island of Java in Indonesia is considered the birthplace of batik, where to this day clothing made from hand-painted fabrics is very popular.

Painting on silk has a wide field of activity - from realism, where painting begins to argue with painting and graphics, to ornament, where it becomes a fabric. In different countries, the technique of batik, or drawing a pattern on fabric, has its own characteristics, but in any case, water and wax are used. Areas of fabric coated with wax do not absorb paint. Wax is also combined with rice paste and clay.

They are applied manually, using paper cone-shaped bags, by chanting, and wooden or copper stamps, stencils made of wood or high-quality paper are used to repeat the pattern.

2. The history of the development of batik

There is actual historical evidence that fabric decorated with this technique was used in Egypt, Persia, India, China, Japan, Indonesia, and other parts of the Southeast region long before our era. In Egypt, mummies were wrapped in linen soaked in wax, on which drawings were scratched with a sharp instrument, as early as the fourth century BC.

In China, the technique of batik was known during the Tang Dynasty (618-907), and in Japan during the Nara era (645-794).

Batik was found in Africa, painted with tribal totems of the peoples speaking the Yoruba language.

In India with samples of the "traditional cucumber" paisley. In China and Japan with elegant native motifs. Historians suggest that the technique, having appeared in Egypt or Sumeria, spread to Africa, Persia, and from there, ultimately, came to Asia.

2.1 History of the development of batik in Indonesia

In Indonesia, in some areas of Central Java and the islands adjacent to it, the oldest form of reservation has been preserved, which is still used to create a special ceremonial fabric. The reserve here is a specially prepared rice paste, which is applied with a bamboo stick.

The fabric is taken only by hand spinning, the dye is prepared from the root of the Morinda citrifolia plant, the dyeing takes place in several stages and lasts for several days. After removing the paste, simple, mostly geometric, less often figurative images remain.

According to the well-known researcher of Indonesia G.P. Rofier, "...relatively unbelievable is the origin of today's advanced batik art from a simple way of reserving rice paste." He believes that batik as a method was brought from India.

Batik gained particular popularity on about. Java, where experts in this field have reached unprecedented heights of skill. At first, only aristocrats wore clothes made of fabrics with patterns made using the batik technique. They devoted their free time to painting fabrics. Gradually, servants began to be connected to this delicate and very laborious work.

On about. Java traditional patterns and the technique of applying them were passed down from generation to generation, and in each family they were called differently. For example, kawung (with circular elements).

The Russian ethnographer Igor Kammadze, who studies the material and spiritual culture of Java, pays close attention to the art of batik: “... For a long time, batik has become an integral part of the ritual of the generation of gods, rajas, etc., and each pattern is full of symbolism and endowed with magical powers. One of the significant symbols of Indonesian culture is the "kris" - the oldest weapon of the Javanese - it is also one of the favorite motifs depicted in batik. Unlike kris, batik making is an exclusively female craft.”

The symbolic meaning of batik is evident in its traditional blue-brown color scheme, in the depiction of ancient ornamental motifs and, especially, in the fact that not a single rite life cycle not complete without kris and batik. “Kris, wrapped in cloth, embodies the unity of the cosmos in its entirety, while separately kris and batik are the embodiment of the male and female aspects of the worldview.”

The philosophical and symbolic correlation of objects of material culture and the spiritual life of the people has very ancient roots. The world and the myth are a single whole. We can talk not about direct borrowing from India, but rather about the improvement of technology that has long been familiar to Indonesians. It is known through many commercial and economic records that Indian printed fabrics were the subject of active export to Sumatra and Java in the Middle Ages. From the desire to reproduce the patterns you like in your own technique, a typically Javanese device arose - tyanting (janting) - a small copper vessel that is filled with molten wax and can be heated over a fire if the wax begins to solidify. The vessel is equipped with a thin bent tube, from which a thin stream of wax flows, and it is this device that allows you to apply fine strokes, lines and dots that make up a complex pattern - salient feature Indonesian batik.

And freehand drawing transforms the simple dyeing of fabric, so necessary into Everyday life, into a highly developed art.

The next prerequisite for the development of patterned fabric decoration was especially thin smooth cotton, again brought from India. This expensive material could only afford the women of the rich cities of the coast and the inhabitants of the Crotons - the princely houses of patriarchal Java. Of the thousands of different ornaments passed down from generation to generation, many were banned for use by commoners at the end of the 18th century, and only members of the princely family and persons especially close to the Sultan were allowed to wear them.

These were primarily traditional ritual, symbolic ornaments. Such ornaments included, for example, images of a mythical bird with an open webbed tail, a schematic image of an ancient sword, a spiral stripe, a tongue of flame that complements the spiral, strokes resembling rain, the motif of the image of a sacred mountain on a white background. These prohibitions and prescriptions were strictly observed in the 18th century, and even today appearing in Jakarta cardboard in a forbidden pattern is considered indecent for the locals. The symbolic meaning of the patterns exalted and magically protected their bearers. A true textile artist is deeply rooted in his own cultural tradition. In addition, the practice of batik required a lot of time, improving skills, creating a special atmosphere of spiritual harmony and concentration. All this led to the flourishing of the art of batik. When the British occupied Java in 1811, they decided to distribute English cotton calico throughout the South Asian region, but ran into an insurmountable obstacle, which was the quality of the dyeing of local batik.

It was much higher than European, vegetable dyes did not fade when washed, as happened with chintz dyed with aniline. So the local tradition strengthened its position, and perhaps this factor influenced the further course of events.

Small traders supplied those who wanted to work with imported batik fabric and obtained dyes prepared according to traditional technology. At the same time, the “monopoly” transition of women in batik is destroyed. A transition is made to the technique of tjap-batik, i.e., applying a pattern with a copper stamp, and men employed in workshops take over the production of stamps. It was quite expensive and even risky business. A new Indian or European pattern did not always immediately find its consumer, and the cost of making a whole batch of identical batiks could lead to both unexpected wealth and complete ruin. Therefore, the workshops never completely switched to the production of tjap - batik, continuing to paint the fabric by hand. This ensured the preservation of the artistic skills of the performers, the richness of variations in ornamentation, the originality and high quality of products.

2.2 History of the development of batik in China

China is called not only the country of porcelain, but also the country of silk. The beginning of silk production - one of the remarkable cultural achievements of the Chinese people, which has become the property of all mankind - is attributed to the 2nd millennium BC. e. silk fabrics for a long time were one of the main items of Chinese exports.

The "Great Silk Road" was the name given to the trade route that in ancient times connected China with Western countries.

The art of decorating Chinese fabrics is very original, revealing the subtle artistic taste of the masters. The pattern on fabrics can be not only woven and embroidered, but also printed, applied using a stencil. Printed are usually cotton fabrics, the production of which is the oldest branch of the economy in China.

The simplest and most common decoration of printed fabrics are images of flowers and birds, the favorite motifs of Chinese art masters. The rich decorative motifs for printed fabrics are inspired by the environment. The won of fabrics is made smooth, monophonic, or covered with small dots (mainly in the products of Zhejiang province). Very beautiful stuffed blue bedspreads, which are usually given to newlyweds.

Printers work together with artists in the field of woodcuts, popular prints, but their collaboration with paper-cutting masters is especially fruitful. The latter art form provides an inexhaustible source of themes for decorating printed fabrics.

The art of printed fabrics is widespread throughout the country. It is especially developed in Shanghai, as well as in Suzhou, in the provinces of Zhejiang and Jiangsu. Products from the Hunan province are distinguished by the dynamism of the ornament, and the fabrics from the Zhejiang province are distinguished by the elegance of the pattern.

Printed fabrics are made in two ways. The first method is using a stencil made of pressed paper soaked in tung oil. Having covered the stencil drawing with a glue mixture consisting of lime and bean flour, the master lowers the fabric several times, and the vat of paint.

When the dyed fabric dries, the paste from the pattern is peeled off and a clear white pattern remains on the fabric. The second method of stuffing, or batiking fabric, is with the help of wax. This method is widespread mainly among the national minorities of China. The Miao people in Guizhou province are especially famous for the art of batiking, where it is passed down in families from generation to generation. Patterned fabrics made with wax are called lazhan. They are made as follows: the fabric is stretched horizontally and covered with a layer of wax melted in a vessel with hot ash. Wax is leveled on the fabric with a special spoon made of a round copper plate. When the wax hardens, patterns are scraped out with a heated knife, and then the entire surface is covered with hot water. Ornamental compositions on Miao fabrics are very diverse and include images of flowers, trees, birds, butterflies, fish, animals, animals, and geometric figures. Very ancient is the ornament in the form of spirals, waves, clouds, meander, eight-pointed stars, crosses, stylized flowers and trees. Printed fabric craftsmen create new patterns based on traditional ornamental art.

2.3 History of the development of batik in Japan

Of course, in Japan, as in all countries of the world, the period of domination of hand weaving and hand dyeing of fabrics has passed forever. However, the handicraft labor of Japanese textile workers persists and, apparently, will continue in the future, since only it can fully satisfy the demand for unique fabrics of that High Quality, which is unattainable in standard machine production.

Hand-loomed fabrics dyed with vegetable dyes are made in many parts of the country. Both the fiber and the colors of folk fabrics are different in different areas. They also depend on the purpose of the clothes. The most traditional are linen (in hot weather), cotton fabrics (for everyday wear), silk (for special occasions), banana fiber fabrics (mainly on the island of Okinawa). Delicate shades of colors, which can only be achieved with the use of natural dyes, make up the charm of national clothes with their various patterns - from simple stripes and checks to exquisite animal ornaments borrowed from the court craftsmen of antiquity.

Along with woven color patterns, various methods staining. In some cases, either the drawing or the background is covered by applying rice glue or soft wax and painting the remaining free surface.

In other cases, staining is done using a paper stencil. These methods have been known since the 8th century. Court craftsmen dyed patterned silk in this way. Stencil coloring also applies to products made of paper (lanterns, fan-fans).

Batik was widespread in Japan in the 8th century. Everyone knows that this country has always been famous for its beautifully finished kimonos. In addition, in this country, as, indeed, everywhere in the East, it was not customary to demonstrate one's figure.

But the social status had to be somehow marked, so the decoration of clothes became a common thing for the Japanese.

Painting on fabric using wax in Japan was often combined with other dyeing techniques - for example, with nodular technique that allows you to create very complex patterns. Knots are tied on the fabric in a certain order. Then they are dipped into a dye solution and, pulling out, untie the knots. It turns out a pattern of concentric circles.

2.4 History of the development of batik in Russia

In Russia, batik appeared around the 20s along with the general enthusiasm for the Art Nouveau style and developed mainly in such large cities as Moscow, Leningrad, Ivanovo, Kyiv, Odessa, Tbilisi. Russian artists adopted European technique and style, but did not know the origins and, naturally, did not rely on any tradition. The lack of technologically developed and proven techniques, lack of experience and misunderstood functionality, led to significant fluctuations in the artistic level of products. Artists united in artels and were engaged in the production of scarves, shawls, very rarely received a large order - theatrical and stage curtains or curtains for cafes.

On the one hand, the fashion of the NEP period led to a significant demand, which means constant orders for chic silk shawls with exquisite whimsical Oriental-style ornaments, dresses with an asymmetrical pattern, which spurred the imagination and fantasy of artists who own the technique of hand-painted fabric. Over time, the passion for painted hats faded away, it was declared philistine, "not corresponding to the image of a Soviet woman."

On the other hand, in the works of the workshop of N. Lamanova, theater artists E.E. Lansere, M.V. Libakova, A.G. Tyshler, V.A. Shchuko clearly manifested revolutionary constructivism. Constructivism determined the form, and the political situation dictated the plots, including in the fabrics of that time. There was a great need for flags, pennants, a new theme gave rise to many ornaments with Soviet symbols, theatrical curtains painted with sickles and hammers accompanied any propaganda team. Where there was a natural batik, and where - an oil stencil, now you can’t figure it out. Unique works found their owners, not leaving Russia in art history.

In the 1930s, the occupation of batik was noticed and supported at the government level: several manuals on technology were published, several artels were organized, which later turned into factories. Vsekokhudozhnik, the Moscow Association of Artists, the Leningrad Association of Artists and others brought up a whole generation of batist artists. But historical and economic conditions, the general "equalization" did not contribute to the development of highly artistic batik, its inherent individual taste. And only the 50s, after the release of the party resolution "On the general improvement of the quality and artistic level of the product of textile and light industry“The situation has changed radically. There was a motto - the slogan: "To every Soviet woman - a beautiful headscarf."

A workshop was organized at the NIIHP, several haberdashery factories in Moscow and Leningrad, where they invited already well-known artists to work and recruited apprentices - painters.

Thanks to the research of S. Temerin in the 50s in the field of batik, the names of such artists as A. Alekseeva, T. Aleksakhina, N. Vakhmistrov, K. Malinovskaya, S. Margolin, I. Inozemtsev and others remained known. the origins of the development of batik in our country. They, working at NIIHP, created the first compositions in batik, which were based on a strictly classical understanding of geometric and floral ornament and served as models for the production of scarves, the first plot panels on the themes "Moscow", "Labor", "Spring".

At first, the activities of artists were mainly subordinated to the production of kerchiefs. But over time, more and more often there was a need for large panels for decorating cafes, cinema foyers, concert halls and theater stages.

3. Modern fabric painting technique

Modern fabric painting techniques are very diverse. Batik has absorbed the features and artistic techniques of many fine arts- watercolors, pastels, drawings, stained-glass windows, mosaics. Significant simplification of painting techniques compared to traditional techniques and diversity special means allows you to paint various details of clothing, interior items, paintings on silk, even for those who have never dealt with fabric design before.

Using the nodular batik method, you can create a beautiful composition. First, pieces of fabric are reserved from paint, for which various ropes, threads, and harnesses are used.

The material is tightly wrapped with improvised means, knots are tied on it. And only then paint is applied with a brush.

As a result, the places wrapped with threads are not stained. The pattern on the fabric depends on the methods of tying, wrapping, folding and stitching its individual fragments. Another type of batik is classic. This is a method of decorating fabric with a reserve compound, that is, molten wax, paraffin, resin, or other similar substances.

Although this method has been known since the time of Ancient Egypt, Indonesia is considered its birthplace. It is the prototype of modern hot batik. The process begins with drawing an outline on a piece of canvas, that is, the outline of the future drawing. Areas that need to be left unpainted are covered with a layer of melted wax, after which the fabric is painted. At the next stage, the canvas is waxed and painted again. This procedure is repeated no more than four times, since with frequent mixing of colors, the fabric begins to lose the quality and intensity of color. On the final stage the wax applied to the fabric is broken, as a result of which cracks are formed, into which dyes of different colors are added. Then the excess paint is removed, and the wax is evaporated with an iron. As a result, a pattern of cracks remains on the canvas. This technique is called crackle. Cold batik differs from hot batik in that the reservation is carried out in a cold way.

The reserve composition can be either colorless or have any color. The artistic feature of this method of painting is that the obligatory color outline gives the drawings a clear, graphic character. The method of free painting resembles watercolor painting. Soft transitions without sharp outlines are possible here.

You can depict anything: a summer morning, fog, forest or seascape. To work in the marbling style, you will need a special component "Thickener" in the form of a powder, which is used to create the basis of the pattern. Dilute the composition in the proportions of 1 teaspoon per 1 liter of water in a flat bath 2-4 centimeters high. After an hour, apply paint to the gel-like mass. Then, on this surface with a stick or needle, create a pattern. Lay the fabric on the resulting pattern.

After 20 seconds, remove and quickly rinse the cloth under running water. This technique allows you to imitate marble stains.

The monotype technique is quite simple to perform, but it can also be used to get interesting effects. You will need a sheet of glass or plastic. On its surface, apply paint in a free manner.

You can use the entire palette, imitating a rainbow. Place the fabric on the composition and press firmly.

The simplest and most accessible method of painting even for children is airbrushing. It is a kind of intermediate link between manual and machine methods. The dyes are sprayed onto the fabric with a spray gun, and a variety of dyes in an aerosol can be used. In those cases when it is necessary to obtain an evenly painted surface, an airbrush is a must. Thanks to the spray technique, images are created with a soft, as if melting, indistinct contour. In airbrushing, it is possible to achieve an almost infinite variety of colors and shades. The composition can be decorated using stencil masks, as well as dry plants, lace, buttons, beads, all kinds of nets, sheets of paper, etc.

On the basis of the path traveled, a whole generation of artists involved in painting fabrics was created. These are A. Talaev, L. Grass, I. Trofimova, V. Kravchenko, etc. (Sergey Davydov (“philosophical” batik, creator of the “Davydov Technique” batik technique, unique tools and technologies). Initially, the artists were engaged only in the production of scarves , but after a while, cafes, cinemas and theaters began to order large panels for the interior.It should be emphasized that fashion brands also use in their collections the painting of fabrics, which are extremely popular. art artistic batik

Conclusion

After studying the history of batik, I came to the conclusion that batik is nothing more than a painting technique, as well as a multi-color fabric decorated with it. When painting fabric with wax and paint, the result is often completely unpredictable. The product turns out to be unique in its kind, and it is simply impossible to copy it exactly. That is why the art of painting on fabric continues to win hearts for many centuries.

Hand-painted art fabrics - a kind of design textile products, which has its roots in ancient times. The most famous are the methods of painting fabrics using various reserving compositions.

Painting on fabric is very popular in our time. Every person wants to be different from others. Batik makes the outfit stylish and original. Fantasy combined with individuality will help to create an original work. Drawings on the fabric can be a gift, for mood, for updating a boring or saving a stained thing. Everyone will be pleased to wear clothes with an image made by himself or specially for him. It doesn't matter - clothes, shoes, bag or headgear. Such works - if done correctly and fixed, and then washed correctly, do not crumble in pieces, do not shed, but fade very slowly. It should also be emphasized that applied art is colorful, cheerful, and most importantly, it shows a combination of color and shape, various materials. Bright and whimsical prints on fabric are now popular again, moreover, fashion trends are increasingly favoring painted fabrics.

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