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2007-09-28T07:46:00.001-07:00

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History of Batik

2007-05-09T21:51:00.001-07:00

Evidence of early examples of batik have been found in the Far East, Middle East, Central Asia and India from over 2000 years ago. It is conceivable that these areas developed independently, without the influence from trade or cultural exchanges. However, it is more likely that the craft spread from Asia to the islands of the Malay Archipelago and west to the Middle East through the caravan route. Batik was practised in China as early as the Sui Dynasty (AD 581-618). These were silk batiks and these have also been discovered in Nara, Japan in the form of screens and ascribed to the Nara period (AD 710-794). It is probable that these were made by Chinese artists. They are decorated with trees, animals, flute players, hunting scenes and stylised mountains.

No evidence of very old cotton batiks have been found in India but frescoes in the Ajunta caves depict head wraps and garments which could well have been batiks. In Java and Bali temple ruins contain figures whose garments are patterned in a manner suggestive of batik. By 1677 there is evidence of a considerable export trade, mostly on silk from China to Java, Sumatra, Persia and Hindustan. In Egypt linen and occasionally woollen fabrics have been excavated bearing white patterns on a blue ground and are the oldest known and date from the 5th century A.D. They were made in Egypt, possibly Syria. In central Africa resist dyeing using cassava and rice paste has existed for centuries in the Yoruba tribe of Southern Nigeria and Senegal.

Indonesia, most particularly the island of Java, is the area where batik has reached the greatest peak of accomplishment. The Dutch brought Indonesian craftsmen to teach the craft to Dutch warders in several factories in Holland from 1835. The Swiss produced imitation batik in the early 1940s. A wax block form of printing was developed in Java using a cap.

By the early 1900s the Germans had developed mass production of batiks. There are many examples of this form of batik as well as hand-produced work in many parts of the world today. Computerisation of batik techniques is a very recent development.

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Batik in China

2007-05-08T06:52:00.001-07:00

Batik in China

China has a long history of batik production dating back to the sixth century. Today you can still find batik being done by the ethnic people in Guizhou Province, in the South-West of China. Here the Miao, Bouyei and Gejia people use a dye resist method that is different from the Han Chinese. There are also many different sub groups within the Miao minority. The Miao place great emphasis on their costumes which are made up of decorative fabrics which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton (not silk) by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers.

Indigo is used chiefly for the basic cloth throughout Guizo to give dark blues. A paste is made from the harvested plants which have been soaked in a wooden barrel.

Wax resisted fabric was probably one of the earliest forms of decoration in Guizhou as all the materials were at hand. Beeswax is the main ingredient but other resins or wax are possibly added. The wax resist never exploits crackle, the aim is to produce a clear image and beeswax is both tenacious and flexible. The wax is often heated in a little pot, resting in hot embers.

Once applied the wax appears black on the fabric but at the end of the process the wax is removed from the fabric. The fabric is then rinsed in cool water and air dried. The beeswax can be reused.

The usual tools for applying wax are of copper and brass with bamboo handles. They are made from 2 small triangular pieces of metal, their apexes bound to a bamboo holder by copper wire. It is held like a pen either upright or at a slant to the cloth which is laid flat on a board. This tool lends itself to the drawing of straight or slightly curving lines.

The Miao, Gejia and Bouyei girls are highly skilled at batik. They use very finely drawn circular and double spiral designs representing the horns of the water buffalo, symbolising their ancestor's life and death. Girls start learning to produce batik from the age of 6 and 7 years. The finest work is found on baby carriers, sleeves of their jackets and skirts. The more traditional designs are geometric, where the most skilled wax resist reads as a fine blue line on a white ground. With the influence of the Han Chinese more figurative designs like flowers, birds, fish have been introduced over the centuries.

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What is Batik?

2007-05-08T02:26:00.001-07:00

Batik is both an art and a craft, which is becoming more popular and well known in the west as a wonderfully creative medium. The art of decorating cloth in this way, using wax and dye, has been practised for centuries. In Java, Indonesia, batik is part of an ancient tradition, and some of the finest batik cloth in the world is still made there. The word batik originates from the Javanese tik and means to dot.

To make a batik, selected areas of the cloth are blocked out by brushing or drawing hot wax over them, and the cloth is then dyed. The parts covered in wax resist the dye and remain the original colour. This process of waxing and dyeing can be repeated to create more elaborate and colourful designs. After the final dyeing the wax is removed and the cloth is ready for wearing or showing.

Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics.

Batik is historically the most expressive and subtle of the resist methods. The ever widening range of techniques available offers the artist the opportunity to explore a unique process in a flexible and exciting way.

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Silver Ornaments of the Miao Ethnic Group

2007-04-12T02:44:00.000-07:00

Miao ethnic minority Headwear

The Miao ethnic minority mainly lives in the border areas of provinces in southwest China where they speak their own language. Farming is their main source of income supplemented by hunting. Their cross-stitch work, embroidery, brocade, batik, paper cutouts and handmade ornaments, etc are world-famous for their elegant techniques. The headwear of the Miao ethnic minority is made entirely of silver, with many varieties.

Their headwear includes silver horns, fans, caps, kerchiefs, silver hairpins, pins flowers, chains, combs, earrings, and bonnet ornaments.

Silver Horns

Silver horns are usually decorated with a raised pattern of two dragons playing with a ball. Girls put chicken feathers on the two ends of the silver horns which look beautiful blowing in the wind and increase the height of the wearers.

Silver Caps

Elegant silver caps are used by the Miao ethnic minority for dressing up. They are made from numerous silver flowers and silver bells with various patterns such as birds, butterflies and animals, giving an impression of pearls and jade all over the head.

Silver Kerchiefs

The Miao sew five hollow silver flowers onto red and green striped kerchiefs. The middle one is bigger and placed on the forehead; the other four are smaller and placed in front of and behind the ears. The flickering silver and the flowery colors of the cloth complement each other beautifully.

Silver Clasps

The Miao ethnic minority's silver hair clasps have many different designs although most of them feature flowers, birds or butterflies. Their themes are very varied; for example flowers may be single or double-lobed, in bunches or bundles, dense or sparse, and in various designs and sizes. The style may be fine, slim and delicately beautiful, or more classically simple and heavy.

Silver Pins

The Miao people wear silver pins in various ways. The Miao who live in Longli City wear pins made of three silver balls, with three silver bells hanging off each ball. The whole pin is inserted behind the bun. In Shidong City their pins are shaped like dragonheads in various sizes. Big pins are worn during festivals, and small ones are used in daily life. They are inserted horizontally right through the top bun, with a section of the clasp protruding sideways.

Silver Chains

The Miao people's silver chains are a kind of hair clasp. Typically, they are made of a five-stranded net chain, fixed by pins. The five silver chains spread out like a net, covering the bun.

Silver Combs

Silver combs are both a tool to comb and flatten the hair and an adornment. They are usually wooden and covered with silver - except for the comb prongs - with various decorative silver patterns on the back. The style may be complex or simple with elegant patterns such as flowers, birds, dragon, and deer.

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Cloth-Piecing art

2006-08-29T04:23:00.000-07:00

Cloth-Piecing art

Cloth art contains almost all living arts forms and has close ties with our daily lives. If cloth art creates a natural beauty of life, cloth-piecing art creates the most appealing artworks .

Cloth-piecing art is said to be rooted in folk crafts in India. Artworks then mostly consisted of apparel and scarves, where patterns and color matching were formed in accordance with local religious customs. In the 12th and 13th centuries, when Europe fell prey to frequent cold snaps, people began making bedclothes by cloth piecing to stay warm. At the time, cloth-piecing techniques were more decorative rather than practical.

In the 17th century, as a result of the discovery of the New World, many European puritans immigrated to America, bringing with them the art of cloth piecing. From then on, the art has spread throughout the world.

By the middle of the 19th century, cloth-piecing art had become an international trend. Although the materials consisted of scraps of cloth, the art had developed form a utility to a handicraft art.

The basic tools for cloth piecing are: a canvas and palette, scissors, pen, bead needle, ruler, needle, thread, thimble, seam ripper, embroidery border, awl, gyro wheel and paper . The basic materials include thin silk, velour, fine knops, cloth of various kinds, fasteners, etc. To master the art of cloth piecing, one has to acquaint him/herself with drawing basic pictures, color-matching, types and characteristics of cloth, tools and cloth clipping, etc. Cloth-piecing works can be used as cushions, frescos, pillows, baskets, furniture and ornaments.

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Batik Fabric Paintings

2006-07-26T21:38:00.000-07:00

Batik Fabric Paintings

Making Batik fabric paintings is a traditional Chinese art that combines painting and dyeing. Batik fabric paintings are designed by applying beeswax to cotton cloth in creative shapes. The art of making batik fabric paintings can be traced back to the Western Han dynasty (206 BC-24 AD). Although batik is virtually extinct in eastern and middle China, it can still be found in Western China where minority tribes such as Miao and Gejia tribes keep it alive. In these tribes girls learn to paint batik fabric when they are six or seven years old, and continue to practice throughout their lives.

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2006-06-21T06:41:00.000-07:00

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2006-06-07T21:05:00.000-07:00

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About Batik Designs

2006-06-06T23:15:00.000-07:00

Batik Designs

Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.

Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.

In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.

Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.

High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

Kawung

Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Ceplok

Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Parang

Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.

Modern Batik

Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.

Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.

The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.

Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.

During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.

Batik Designs

2006-06-06T23:12:00.000-07:00

Batik Designs

One of the fascinating characteristics of Indonesian batik is the changes in style, motif and color which have come about through exposure to various foreign cultures. Throughout Indonesian history, each time the rich batik tradition has come into contact with foreigner traders or colonial rulers, they have influenced the development of batik. Some of the more famous results are described below:
Batik Kraton
Batik Kraton is regarded as the basic batik of Java. It is rich in Hindu-influenced motifs that have influenced the courts of Java since the 5th century, and later on influenced by the culture of Islam. The Hindus introduced the sacred bird - Garuda, the sacred flower - lotus, the dragon - Naga and the tree of life. Islam, since it forbids the depiction of humans or animals, brought stylized and modified ornaments as symbols, i.e., flowers and geometric designs.
As a specific attire in the dress code of the courts of Java, Batik Kraton is easily recognized through its sub-divisions, Batik Kasunanan Surakarta, Batik Kasultanan Yogyakarta, Batik Pura Mangkunegaran and Batik Pura Pakualaman. Over time, changes and modifications distinguished Batik Mangkunegaran from Batik Kasunanan, even though both originated from the same source. Batik Pakualaman, from the city of Yogyakarta, originated from both Kasunan and Kasultanan design traditions and is more unique because the whole process was completed in Surakarta.

Batik Belanda
Even though Chinese traders arrived earlier in Java than the Europeans, their influence on batik was evident in a later period. Batik Belanda, literally Dutch Batik, appeared as early as 1840, decades before the appearance of Batik Cina, Chinese Batik. Records show that European settlers on the northern coast of Java started their batik producing activities in the mid-19th century. They pioneered a new era of international enrichment which is still visible in modern day Indonesian batik. Reaching its peak of creativity in 1890-1910, Batik Belanda is clearly recognized through various works of arts named after the great designers. Amongst the most famous of these are Batik Van Zuylen from Elize Charlotte van Zuylen, Batik Van Oosterom from Catharina Carolina van Oosterom, Batik Prankemon from Carolina Josephina von Franquemont, Batik Metz from Lies Metzlar, Batik Yans from A.J.F. Yans, and Batik Coenrad from Coenrad of Pacitan, East Java.
Batik Cina
Highly influenced by the Chinese culture, emerging decades after Batik Belanda, Batik Cina is easily recognized by the vast range of uniquely Chinese motifs including, dragons, phoenix, snakes, lions, traditional Chinese flowers and designs taken from chinaware. It is also easily recognized through its bright as well as pastel colors. In its effort to penetrate the Surakarta and Yogyakarta markets, Batik Cina appeared in two derivatives, Batik Dua Negri and Batik Tiga Negri, processed in the north coastal Pesisiran, Surakarta and Yogyakarta in Central Java. Batik Cina is still in production in the coastal cities of Pekalongan (Oey Soe Tjoen in Kedungwuni), Cirebon, Kudus and Demak. Batik Hokokai
Especially designed for the Japanese during the period that the Japanese occupied Indonesia (1942-1945) the specific designs of Batik Hokokai, which appealed to Japanese tastes, attracted Chinese consumers in Java and Malaya as well. Highly influenced by Japanese design in motifs and coloring, fine intricate backgrounds enhanced the appearance of beautifully designed flowers. Batik Hokokai was mostly styled as Kain Pagi Sore batik with the colors and patterns different on each half of the fabric length. Favorite motifs included Parang and Lereng.

Batik Indonesia
Freedom from Dutch colonial rule introduced new designs to Indonesian batik. In the early 50s, President Soekarno encouraged the creation of a new style of batik, popularly called Batik Indonesia. A symbiosis between various styles of batik, especially of the principalities of Yogyakarta and Surakarta and the north coast of Java, which still utilized soga brown as the basic color, Batik Indonesia was developed utilizing bright colors. Some appeared in a totally new design, i.e., Cendrawasih, Sruni, Sandang Pangan, Udang, while still using the traditional processing system. Batik Indonesia is also called Batik Modern.
Batik Sudagaran
An important genre in the development of batik, Batik Sudagaran emerged as early as the end of the 19th century in the principalities of Surakarta and Yogyakarta. Produced by sudagar or batik merchants, it is easily recognized through the modified classic ornaments styled to the taste of the merchants. Some of the popular creations are the patchwork style Tambal, Parang with the insertion of snail-like motifs, Lereng filled with extra fine spirals called Ukel and Semen that shows high quality workmanship.
Batik Pesisir

The distinctive designs of batik pesisir are those from the northern coastal cities of Java, including Pekalongan and Cirebon. The designs show Chinese influence through their use of brighter colors, flowers and cloud motifs.

About Batik

2006-06-06T23:10:00.000-07:00

About Batik

The basic process of Chinese batik, which is nearly 1000 years old, is that patterns or designs are painted on white cloth with warm beeswax, using a special knife. When the artist finishes the painting, the cloth is dyed. The wax protects the cloth so that when the artist removes the wax, the white design or painting is exposed. The original dye was indigo, which is made from a type of grass, and the original batik folkart was white designs on indigo.

In the batik process, cracks form patterns not controlled by the artisan. Cracks, according to Jun Ye, are the soul and life of batik art. Cracks play an important role in batik, just like cracks in murals. Thus the batik process is an ideal form to express ancient murals.

Many of the designs by Jun Ye are based on figures and stories of Chinese mythology and of Buddhism of China and Tibet. "The Bright Pearl in the Silk Road" and "Beast Pattern of Western Han Dynasty" wall hangings shown on our website are exquisite examples of his contemporary expression of this ancient folkart.

Modern Chinese batik art wall hangings incorporate a number of colors, and can be compared with oil paintings and wall murals. The modern batik process uses more colorfast dyes and the cloth used for the artwork on this website is closely woven 100% cotton, making possible many practical uses in daily life.

Besides using a batik wall hanging as an exciting focal point for a room, this handcrafted batik artwork may be used for tablecloths, placemats, table runners, curtain and valence panels, and similar uses. Some designs may lend themselves to wearable artwork such as shawls, kimono and sheath dresses, cardigan or bolero jackets, decorative aprons, and so on.

Care of your Jun Ye Batik

The batik artworks of Jun Ye are made of 100% cotton and the dyes used are colorfast in cold water.

If you are using the batik as a stole, table cloth, or couch throw, occasionally hand wash using a mild detergent (such as Woolite) in cold water. Rinse well and line dry. Iron while slightly damp at the cotton setting. It will iron wrinkle-free.

If your batik artwork gets stained, use cold water to remove stains right away. Don't let the stain set. Wash as directed above after stain is removed.

If you are using the batik as a wall hanging, occasionally shake it to remove any dust that may accumulate.

Batik (Wax Paintings)

2006-06-06T22:59:00.000-07:00

Batik (Wax Paintings)

Batik, as one of the most ancient handworks, has been appreciated as a part of ancient Chinese civilization since the foundation of dyeing and weaving technology in China. It is a traditional Chinese folk art which combines painting and dyeing.

The history of batik can be traced back to the Western Han Dynasty (206 BC-24 AD). Batik used to be popular both in Central and Southwest China. Somehow the batik technique was lost in Central China, but it has been handed down from generation to generation among the ethnic people in Guizhou, a province in Southwest China. Nobody knows how batik was invented, but there are batiks based on the finds in the Mawangdui tomb, which belonged to a noblewoman called Xing Zhui of the Western Han Dynasty (206 BC-AD 24), which was excavated in Changsha, capital of Central China's Hunan Province, in 1972. Today, a large number of artists have used the traditional art of batik-making in innovative and modern works. They have introduced new themes and have included more cultural and social messages - adding issues and concepts from the modern era to the long line of batik storytelling.

Batik, also known as laran or wax printing, is a form of dyeing or printing folk art made by applying beeswax to create different shapes. The cloth is generally dyed with indigo, and when the wax is removed with hot water, the images appear. Indigo is used chiefly for the basic cloth throughout Guizhou to give dark blues. A paste is made from the harvested plants which have been soaked in a wooden barrel.

Today you can still find batik being done by the ethnic people in Guizhou Province, in the South-West of China. Here the Miao, Gejia and Bouyei girls are highly skilled at batik. They use very finely drawn circular and double spiral designs representing the horns of the water buffalo, symbolizing their ancestor's life and death. Girls start learning to produce batik from the age of 6 and 7 years. The finest work is found on baby carriers, sleeves of their jackets and skirts. The more traditional designs are geometric, where the most skilled wax resist reads as a fine blue line on a white ground. With the influence of the Han Chinese more figurative designs like flowers, birds, fish have been introduced over the centuries.

Batik cloth can be made into garments, scarves, bags, table-cloths, bedspreads, curtains, and other decorative items. However, because the raw material for batik is pure cotton cloth, care must be taken in maintenance to prevent moisture and erosion of the batik cloth in case of mildew-caused worm. Were it bought for use of collection (not for decoration), timely regular exposure to sun is requested. Batik may be washed with water at any time, but do remember not to use cleanser during the washing process in case of depigmentation, nor use washer in case of damage to the edges because many dyeing paintings are made with edges as their outstanding superficial effects. Ironing may be permissible after washing. After buying the batik products, you may then begin to arrange mounting. At the same time, since batik is made from 100% pure cotton, it is the best choice for making clothes, quilt cover and bed-sheet. If used properly, batik can make your house or office unique and inviting. Batik shall be kept in clean, tidy, neat, dustless and regularly swept environment in the process of collection and maintenance.

Miao Ethnic Minority

2006-06-06T05:31:00.000-07:00

Miao Ethnic Minority

The Miao ethnic minority has a population of more than 7.39 million (by 1990), mainly scattered in Guizhou, Hunan, Yunnan, Sichuan, Guangxi, Hubei and Guangdong provinces, forming one of the largest ethnic minorities in southwest China.

The Miao language belongs to the Miao-Yao Austronesian of the Chinese-Tibetan Phylum. It has three main dialects in China -- one based in west Hunan, one in east Guizhou and the other in Sichuan, Yunnan and part of Guizhou. The Miao people used to have their own characters which have long lost. After 1956, the Miao people invented a kind of phonetics characters. Due to their centuries of contacts with the Hans, many Miaos can also speak Chinese.

The Miao's ancestry can be traced back to the "Chiyou" tribe, a tribe in the primitive society in the Central Plains. During the Shang and Zhou dynasties (17 century-256BC), the Miao's ancestors began to construct their kingdom in the lower reaches of the Yangtze River. Since the Han Dynasty (206BC-220AD), they gradually migrated to the southern part of China (today's Hunan, Guizhou, Yunnan, Hainan, Guangxi and other provinces).

Such a wide distribution and the influence of different environments have resulted in marked differences in dialect, names and clothes. Because of the different costumes, the miaos can be divided into Long Skirt Miao, Short Skirt Miao, Red Miao, Black Miao, etc.

The Miaos are engaged in agriculture, with hunting as their sideline. Major crops include paddy rice, maize, rape, ramie, oil-tea camellia and tung tree, etc. The weather is mild with a generous rainfall, and the area is rich in precious medical herbs, such as Tian Qi, Gastrodia elata, etc.

The Miaos have created a variety of colorful arts and crafts, including cross-stitch work, embroidery, weaving, batik, and paper-cut. Their batik technique dates back to 1,000 years ago. A pattern is first drawn on white cloth with a knife dipped in hot wax. Then the cloth is boiled in dye. The wax melts to leave a white pattern on a blue background. In recent years, improved technology has made it possible to print more colorful designs, and many Miao handicrafts are now exported.

The Miaos are fond of singing and dancing, especially famous for their love songs and wine songs. Lusheng is their favorite musical instrument. In addition, flutes, copper drum, mouth organs, Xiao (a vertical bamboo flute) and Suona horn are also very popular.

The Miao people used to believe in Animism and worship their ancestors or dragons. Now some of them believe in the Catholicism or Christianity.

The Miaos have the New Year Festival, the Flower Mountain Festival (May 5th), the Tasting New Rice Festival (between June and July), and the Tea Picking Festivals, etc.

Indonesian and Malaysian Batik

2006-05-19T21:50:00.000-07:00

THE HISTORY AND TECHNIQUE OF BATIK

The term "Batik" is an Indonesian-Malay word (Bahasa Indonesia and Bahasa Malay are the official languages of Indonesia and Malaysia and are linguistically similar). Batik has come to be used as a generic term which refers to the process of dyeing fabric by making use of a resist technique; covering areas of cloth with a dye-resistant substance to prevent them absorbing colors. The technique is thought to be over a thousand years old and historical evidence demonstrates that cloth decorated with this resist technique was in use in the early centuries AD in Africa, the Middle East and in several places in Asia. Although there is no sure explanation as to where batik first was "invented", many observers believe that it was brought to Asia by travelers from the Indian subcontinent.

Despite the fact that batik may have originated elsewhere, most observers believe that batik has reached its highest artistic expression in Indonesia, particularly in Java. The art of Batik was later spread to the rest of the Indonesian archipelago and to the Malay Peninsula where the popularity of the cloth led to the establishment of many other production centers. Batik has become a very central means of artistic expression for many of the areas of Asia and a deeply integrated facet of Asian culture.

Much of the popularity of Batik can be tied to the fact that the batik technique offers immense possibilities for artistic freedom as patterns are applied by actual drawing rather than by weaving with thread. Another factor in its popularity is the fact that it is so durable. The colors in Batik are much more resistant to wear than those of painted or printed fabrics because the cloth is completely immersed in dye and the areas not protected by resist are allowed to absorb hues to the extent that the colors will not easily fade.

As we noted at the first, batik is now a generic term. Because of the popularity of batik designs, many batik patterns are used in a wide variety of fabrics. Many fabrics are called batik although they were not made in the resist method. Most purists believe that such cloth has a batik like design but is not true batik which is confined to fabrics made through the application of the originally conceived Javanese methods of resist dyeing. Modern designers in Indonesia, Malaysia and to a lesser extent Thailand, the Philippines and elsewhere often use batik design elements and often the actual batik clothe in their clothing and accessories. Although most batik fabric is now decorated and tailored by machine, there still remains a considerable market for high-quality, hand-made batik.

Su Embroidery

2006-03-24T19:24:00.000-08:00

Su Embroidery

Suzhou or "Su" embroidery is one of the oldest embroidery techniques in the world, with origins stretching back more than 2,000 years. Suzhou embroidery was one of the first embroidery styles to be developed in China, but its detailed needlework and intricate images are still produced today. It is a style characterized by brightly colored silk embroidered with well-proportioned and uncluttered representations of almost any pastoral scene, person, animal, or object. Examples of Suzhou embroidery were so detailed and intricate that many people used the pieces as artwork, and some of the oldest pieces still in existence date back hundreds of years.
There are records of detailed embroidered pieces being produced in the Suzhou area around 200 BC, and of embroidered silk being used as maps in the second and third century AD. But it was during the Song Dynasty (960-1279) that the Suzhou style became prominent. With finely spun silk thread embroiders from the Suzhou area were able to create images that were said to have "rivaled nature," and it became very stylish to have Suzhou embroidery in the home. Embroidery spread to other provinces throughout China, and soon embroiderers all over the country were working were working in the Suzhou style. Although other techniques of Chinese embroidery have appeared over the years, it is the Suzhou style that has set the standard for other styles.

Suzhou embroidery consists of very detailed representations of almost any subject embroidered onto fine silk with silk thread. One of the distinctive features of Suzhou embroidery is that some pieces two-sided; that is, the picture is repeated on both sides of the embroidered piece. The stitching on Suzhou embroidered pieces is done with silk threads that have been divided until the actual thread is almost impossible to see. Through the repetition of stitches a very dense embroidering occurs. Suzhou embroidery has been used in clothing, wall hangings, and even intricate book covers dating back almost 1,000 years.

Suzhou embroidery as a technique has continued to grow and develop. In the years since its first appearance, many crafting schools have taught the technique, and an entire industry has developed to produce Suzhou embroidery pieces for sale both in China and on world markets. However, Suzhou embroidery is not just a commercial enterprise; master Suzhou embroiderers have practiced their craft for hundreds of years, creating some of the most detailed and beautiful pieces.

Whether you buy a Suzhou embroidered piece made recently or search for a piece with more history, Suzhou embroidery remains one of the world's finest techniques. Many people around the world are now discovering the beauty and artistry inherent in these pieces, and it seems clear that the market for Suzhou embroidery will remain strong for years to come.

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2006-03-22T01:11:00.000-08:00

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2006-03-20T21:54:00.000-08:00

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eyongs tibetan jewelry

2006-03-16T04:17:00.000-08:00

  Pendants (131)
  Bracelets (40)
  Rings (14)
   Earrings (12)
  Amulets (15)
   Necklace (7)

Origin:	Tibet,China
Dimensions:	Width: 0.6 cm, Diameter: adjustable

Origin:	Tibet,China
Dimensions:	Width: 1.2 cm, Diameter: adjustable

Origin:	Tibet,China
Dimensions:	Width: 1.2 cm, Diameter: adjustable

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Blue Calico

2006-03-13T03:08:00.000-08:00

Blue Calico

　
The fact that Chinese used cotton to weave cloth can date back to the beginning of the Christian ear. In the late thirteenth century,Huang Daopo,the lady from Songjiang country of Shanghai learned the technology cotton spinning in Hainan and then spread it in the Jiangnan area. Meanwhile,the dyeing technology of blue cloth with desin in white, was developed,know as "Blue Calico". It was widely used bu the common people in China. But, due to its singularity in colour, the cloth maker paid more attention to the pattern design. With the characteristic of the single colour and varied patterns,it is by no means inferior to the colourful damasse brocade.
Though blue calico is not as nauble as silk, form the artistic perspective, they could match each other. By comparison with the blue and white porcelains since the Song dynasty, the similarity between them in charm and style is obvious. But blue calico has its firm fold roots and gives off the fragrance of simplicity.
Main process
1 Cut wood blocks ---> 2 Starching ------> 3 Dye ------> 4 Dry in the sun ------> 5 products

Cotton Textiles

2006-03-02T05:29:00.000-08:00

Cotton Textiles
Cotton textiles take cotton as material. In the southwest of China the minority nationalities had cotton textiles early in the Eastern Han Dynasty. They called it "white folded cloth. " In Fujian Province of the Han Dynasty, they grew cotton. In the northwest of China of the Three Kingdom Period they also had cotton textiles. The cotton textiles have been produced in the south of the Changjiang River since the Tang Dynasty, especially since the Yuan Dynasty. In the areas populated by the minor nationalities the cotton used to serve as the material which was made into cotton textiles of various colours called brocades. The term "brocade" here refers to textile fabric and textile variety made with different weaving skills. There are silk- knit goods and cotton goods. Some textiles are woven with the blending of silk and cotton.

THE HISTORY AND TECHNIQUE OF BATIK

2006-02-27T06:25:00.000-08:00

THE HISTORY AND TECHNIQUE OF BATIK
The term 'Batik' is an Indonesian-Malay word (Bahasa Indonesia and Bahasa Malay are the official languages of Indonesia and Malaysia and are linguistically similar). Batik has come to be used as a generic term which refers to the process of dyeing fabric by making use of a resist technique; covering areas of cloth with a dye-resistant substance to prevent them absorbing colors. The technique is thought to be over a thousand years old and historical evidence demonstrates that cloth decorated with this resist technique was in use in the early centuries AD in Africa, the Middle East and in several places in Asia. Although there is no sure explanation as to where batik first was "invented", many observers believe that it was brought to Asia by travelers from the Indian subcontinent.

Costumes of Ethnic Minorities in China

2006-02-24T08:09:00.000-08:00

Clothes of Chinese ethnic minorities are flowery and colorful, extremely exquisite, and highly distinctive. They constitute an important part of the rich history and culture of the ethnic groups.

A pleated skirt
Every aspect of their garments, such as raw materials, textile technology, fashion and decoration, retains a distinct characteristic of the ethnic group and the locality. The Hezhen ethnic minority people, who mainly make a living on fishing, used to make clothes with fishskin. The hunting ethnic groups, such as Oroqen and Ewenki, used roe skin and animal tendon to stitch up their clothes. The Mongolians, Tibetans, Kazakstans, Khalkhases, Yugurs, etc., who are mainly engaged in stockbreeding, make their apparel mostly from animal skin and hair. And, farming ethnic minorities usually take the locally produced cotton or hemp thread as raw materials to spin cloth and silk and make clothes.

Ethnic minorities' spinning and weaving, tanning and felting techniques boast a long history. For example, bombax cloth of the Li ethnic minority, woolen fabric of the Tibetan, Adelis silk of the Uygur, fur products of the Oroqen have enjoyed a worldwide reputation all along.

There are numerous clothing designs and forms in Chinese ethnic minorities. Generally speaking, they can be classified into two types: long gowns and short clothes. People usually wear a hat and boots to match long gowns, and headcloth and shoes to match short clothes. The gowns take various forms: the high-collar and big-front type worn by the Mongolian, the Manchu, the Tu and so on; the collarless tilted-front type worn by the Tibetan, the Moinba and so on; the tilted-front type worn by the Uygur and other ethnic minorities; and so on. As for short clothes, they fall into two types: trousers and skirts.

In terms of fashion of skirts, there are pleated skirts, tube skirts, short skirts, one-piece dress and so on. In any kind of clothes, no matter it is the gown, the coat, the skirt, or the trousers, different ethnic minority groups employ different structures, techniques and styles. Take high-collared big gowns for example. Some of them have kick pleat, some don't have any kick pleat, some have kick pleat both in front and on the back, and some have front and back kick pleat and edging all around. Women of the Li, the Dai, the Jingpo, the De'ang ethnic minorities and so on all wear tube skirts, but those tube skirts worn by the Li are brocade skirts made of cotton, those worn by the Jingpo are woolen multicolored skirts, those worn by the De'ang are skirts with horizontal stripes, and those worn by the Dai are usually skirts made of common cloth.

Costumes of ethnic minorities vary greatly not only with different nationalities, but also with different branches and different regions within the same ethnic group. Difference can be seen from province to province, from county to county, and even from village to village. Costume is the most obvious symbol of an ethnic group, and in the history, many ethnic groups were named just according to their garments.

In a vast country like China, with so many ethnic groups and an unbalanced social development, styles of clothes vary a lot due to different economic lives, cultural levels, natural environments and geographical conditions and climatic conditions. This is one of the characteristics of folk garments.

Some techniques of Chinese ethnic minorities such as embroidery and batik are much developed, and are widely used in making clothing adornments. This is another feature of their costumes.

Embroidery is a technique generally favored by all ethnic groups, and it is usually used in the headband, the waistband, the apron, and some rapid-wearing parts such as the border of the front, the round shoulder, the lower hem, the wristband, the bottom of trouser legs, the edge of the skirt, etc., being both decorative and practical. Embroidery techniques include cross-stitch work, applique, embroidering and so on; methods include surface, twine, chain, net, stab and stack embroidery, etc; patterns include natural scenes, auspicious patterns and geometric patterns and so on.

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