Print ISSN 1229-6880 Journal of the Korean Society of Costume Online ISSN 2287-7827 Vol. 67, No. 3 (April 2017) pp. 99-114 https://doi.org/10.7233/jksc.2017.67.3.099
An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’
Langi, Kezia-ClarissaㆍPark, Shinmi⁺ Master Candidate, Dept. of Clothing & Textiles, Andong National University Associate Professor, Dept. of Clothing & Textiles, Andong National University⁺ (received date: 2017. 1. 2, revised date: 2017. 3. 7, accepted date: 2017. 4. 11)
ABSTRACT1)
The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions ac- cording to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their tech- niques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization pe- riod by the Dutch in Bali during 1910-1942 added economic values to the textiles. The in- dependence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the iden- tity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are ‘fixed’ with the restriction of the colors red, black, and white. The colors of modern era are ‘festive’ with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is ‘royal statement’ and Songket cloth is a ‘cultural heritage.’ Nusa Penida Island produces Cepuk cloths and is a ‘protective guardian.’ Satria sub-district pro- duces Prada cloths and appears to be an ‘opulence charm.’ Lastly, Tenganan Village produces Geringsing cloth which possesses a ‘legendary legacy.’ To sum up, Balinese sacred cloth essence is a balance of tradition and modern.
Key words: aesthetic characteristics(미적 특성), Balinese sacred cloths(발리 신성직물), color(색깔), pattern(패턴), technique(테크닉)
This research is a part of the master's thesis. Corresponding author: Shinmi Park, e-mail: fashion@anu.ac.kr 服飾 第67卷 3號
Ⅰ. Introduction art is a devotional act”(Davies, 2007, p. 23). The entire act of art comes back to God. This chapter is the foundation of this paper. Culture contributes a huge part of Balinese It introduces the background information of Bali life and all of their art is intended to be given and its religious values that have influenced back to Tri Murti, the deity of Brahma, Vishnu, their textiles. It also consists of the literature re- and Shiva(Soedjatmoko et al., 1993). Balinese of view and research proposition. In addition, this all ages and social classes learn and produce art. chapter shows the aim and methodology of this In the textile making process, men and women paper. create textiles side by side. The essences of tra- ditional textiles are the value and high crafts- 1. Background Information manship of the weavers. This creates the differ- ence of traditional Balinese textiles from ma- Bali is the only Hindu island in Indonesia. chine-produced textiles. Based on the community structure, Balinese peo- ple are separated into the Bali Aga and Bali 2. Literature Review and Research Proposition Hindu. The Bali Aga, or the Mountain People, are the pure Balinese who migrated to the The literature review analyzed specific Balinese mountains during the occupation by the Hindu- textiles with case study approaches. This paper Javanese during the rule of the Majapahit examines the aesthetics of Balinese sacred cloth. Kingdom(circa 1500). During that time, Hindu The literature review studied in this paper fo- religion started in Bali. Bali Hindu is charac- cuses on Balinese textiles based on field research terized by the assimilation of Hindu religion and in Eastern Bali. This creates a new body of the local animist beliefs(Wrońska-Friend, 2015). study material. Due to its religion, the life of Balinese society is Widiawati and Rosandini(2012) did a case filled with custom laws and ceremonies that go study of natural dyeing in Geringsing woven along with everyday activities. From this influ- cloths. Natural dyeing in Indonesia has its own ence, from the day a Balinese is born until they characteristics and uniqueness. Focusing on the die, ceremonies are held in order to create a reli- natural dyeing of Geringsing woven cloths, this gious balance in their life. These ceremonies re- paper examined the relationship of color and quire special textiles to complete the rituals. philosophy of Bali. In addition their paper ob- Creating textiles is considered an act of art. served the process of dyeing from the locals. In Bali, the production of art is based on the Nabholz-Kartaschoff(2008) did a case research balance of Tri Hita Karana, or the three reasons on the so-called Kain Sembiran. However, the of happiness, which are the balance between textile did not come from the Sembiran area at human and God, between human and human, all. The case study was done by observing the and between humans and their surround- history of Bali and writings from traders. That ings(Soedjatmoko, Damais, & Saputra, 1993). In paper found that the original textile from fact “In Bali, the creation and presentation of Sembiran consists of simple lines and a cloth
- 100 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ called lamak. tion of Balinese textiles. Spirituality plays a huge Bjork(2013) examines the relationship between role in Balinese life, it determines why, when, mythology and weaving, studying the hospitality and how the textiles are created. The develop- of color healing presence in ceremonial Balinese ments of Balinese textiles portray the function textiles and the relationship between Balinese transition progress of the ancient era into the and Greek mythology. The sense of mythology modern era. This progress develops the charac- weaves through the textiles, creating myth fab- teristics and purpose of Balinese sacred cloths. rics for one’s life. That paper also shows how The design characteristics of Balinese sacred the dualism in Balinese myth and the combina- cloths are studied based on techniques, colors, tion of Balinese colors gives balance and healing. and patterns. Balinese sacred cloths were chosen by their function in ceremonies, as the medium 3. Research Aim and Methodologies of ancestors, healing purpose, evil-repellent, cere- monial costume, and temple decoration. This research aims to observe the aesthetics of Finally, this paper analyzes the design aes- Balinese sacred cloths. The paper addresses three thetics of Balinese textiles founded in both the fundamental questions. Firstly, what are the de- literature review and field research. velopments of Balinese textiles? Secondly, what are the design characteristics of Balinese sacred Ⅱ. Spirituality, Developments, and cloths? Lastly, what are the aesthetics of Balinese sacred cloths based on the field research? Functions of Balinese Textiles The paper observes the ancient Balinese sa- This chapter discusses the spirituality, devel- cred cloths based on literature research, while opments, and functions of Balinese textiles. modern Balinese sacred cloths are examined by Balinese textile developed their functions and the field research. Quantitative research included characteristics as a part of a spiritual medium. in this study reveals 261 images taken from the Museum of Bali and previous studies. Qualitative 1. Spirituality research has been done by the field re- search(from 3 to 11 July, 2015, and from 17 to Spirituality is a fundamental aspect in Bali. 23 January, 2016) in one dyeing production During the ancient era of Bali, Balinese practiced house in Klungkung Village and nine weaving their own animism in which they worshiped the production houses in Tanglad, Klungkung, and ancestors of the land and the sea(Wrońska- Tenganan Village as well as Satria Sub-district Friend, 2015). Later, this indigenous animism in the eastern part of Bali, as well as from the fused with Hinduism and created the religion of Museum of Bali, and Pekan Kebudayaan Bali Hindu Dharma. 2015, an annual art festival in Bali. Balinese society created the philosophy of de- The research determines the design character- sa-kala-patra, referring to orientation in space, istics and aesthetic in Balinese sacred cloths. It time, and social strata. They also created a cal- observes the spirituality, developments, and func- endar which determines the right time, the right
- 101 - 服飾 第67卷 3號 space, and the right social situation and stand- clothing for temples. In Balinese society, caste is ing(Daerdia, 2012). This system is believed to the basis of social status; therefore textiles also create a balance between sekala and niskala. played the role of status divider. Sekala is the secular, the visible forces, while niskala is the invisible force. The land and peo- ple maintain and balance this sacredness in Bali. This philosophy is applied in textile making and created sacred cloths that serve in maintaining the balance of sekala and niskala. Another philosophy is the nawasanga - 102 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ moment a material was chosen, deciding the the Dutch, the interest in Balinese textiles pattern, tying or drawing the textiles, and gained recognition by the international tourists. weaving, until the moment the cloth was cut. Businesses and new technologies changed Balinese The society believed it was necessary to pray textile production in that period. Because of the and to give offerings in order to avoid mistakes. high demand for the textiles, the Dutch provided Therefore, they were able to produce perfect sa- weaving machines that can produce meters of cred cloths worthy to god(Sumiartini, 2015). It is fabrics in a short time. Textiles have a new role known that a mother would start to create sa- as an economic commodity. Unfortunately, rather cred cloths for their children in the time be- than being blessed, textiles were sold to tourists tween their gestation until they turned ten years in order to pay taxes to the Dutch. old, in order to provide them with a costume for During this era, Balinese textiles experienced rituals(Sumiartini, 2015). The act of textile mak- innovation of new synthetic dyeing that cut the ing reflects the piety of the creator. time of the years it took for natural dyeing to In this era, Balinese textile were limited to absorb into only a few hours. In addition, bigger three colors, Created by natural materials with a patterns were created to save production small, complicated, and repetitive patterns, time (1) Colonization by the Dutch: 1910-1942 economic reasons. As a result, Balinese textile’s The colonial period of the Dutch created a pattern widely use contemporary or borrowed huge change in Balinese textiles. The Dutch patterns. In this era, the revival of natural ma- were captivated by the beauty of Bali and pro- terials and dyeing began to appear. Eco-friendly moted it as a tourist attraction(Covarrubias, issues also started to appear - 103 - 服飾 第67卷 3號 Balinese Textile Characteristics Era Endek Songket Prada Cepuk Geringsing Religious function: 1. Praying medium Ancient: to God Before 20th 2. Clothing for Century religious events (500 BC-AD Economic function: Modern: 1. Industrial Colonization by revolution the Dutch 2. Economic Independence of Indonesia Unity Function: (AD 1945- Textiles as one of Present) Indonesian identity (Table by researchers, 2017) Ⅲ. Design Characteristics of 1. Techniques : Hindu Dharma Dedication Balinese Textiles. The technique of creating Balinese textiles re- quires a special ritual of praying, fasting, and Design characteristics of Balinese textiles are offerings to the deities. These religious acts are studied based on their techniques, colors, and done in order to be blessed by the deities and to patterns. The characteristics are studied based avoid mistakes while creating the textiles. It is on the Balinese Hindu religion. - 104 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ believed that the true creators of a textile are is a technique adds additional weft yarns into the not solely the weavers, but the people respon- weaving to create a pattern. In Bali, it is called sible for the tying and dyeing process (Wrońska- Songket. The technique was bought by monks Friend, 2015). In Bali, the sacred cloths are only studying in Palembang(Sumatra) to Bali in the created on the “back strap loom” called cagcag. 7thcentury(Hauser-Schaublin et al., 1991). These The techniques of pattern making in Bali covers patterns are created directly on the cagcag loom. Weft Ikat, weave with Supple- mentary Weft, The designed patterns are first created by thin Double Ikat, and Prada. long sticks that are then removed one-by-one - 105 - 服飾 第67卷 3號 Era Ancient Modern Technique Natural Dyeing Synthetic Dyeing Interpretation Material Color Interpretation Material Color (No Interpretation) (Table by researchers, 2017) - 106 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ 4) Prada: Royal 19-4013 TP) is made from indigo leaves - 107 - 服飾 第67卷 3號 Textile/ Era Geometric Human Animal Nature Classification Ancient Modern Ancient Modern Ancient Modern Ancient Cepuk - 108 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ Modern Ancient Modern (Illustrated by researchers, 2017) tween patterns made in the ancient era(fixed) Each textile is famous for its own pattern. and modern era(complex) - 109 - 服飾 第67卷 3號 2) Modern Era: Complex dom, the cloths were made by princesses living Since the period of colonization by the Dutch, in local castles called puri and used by royal faster textile production was introduced. As families to distinguish their royal status. Nowa- small and complex patterns require a longer pro- days, the cloths are used for formal and cere- duction time, bigger patterns with simpler and monial costumes. Endek and Songket are a tra- diverse shapes of human, animal, and nature are ditional pride of Bali. made. Although modernization dominates in this era, religiously, the pattern maker continues to 1) Endek[eun-deuk]: Royal Statement give offerings. In addition, Endek and Songket Endek was worn by royalty as a statement of patterns are more diverse with cross-patterns their position. Earliest Endek dates from the late between other cloth’s patterns. These develop- 19th to early 20th centuries. Endek uses the weft ments are more creative and are only available Ikat technique created from cotton or silk. This for ceremonial and fashion purposes - 110 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ This research observes Astiti weaving house area with modern techniques. The opulent cloths and their home based weaving. Home weaving were made using gold leaf(Hauser-Schaublin et production of Songket is done at each weaver’s al., 1991). However, today, Prada is seen to be home since the back strap loom does not require made of gold foils. The Prada production house too much space and is portable. Only one that was researched is owned by Anak Agung Songket weaver produces the cloth at the weav- Widana. There, the Prada technique is used to ing production site. A piece of Songket is made create religious attributes such as textiles, um- in seven months due to its difficult pattern- brellas, temple decorations and banners. The ing Taglad Village produces cloths over one 2. Satria Sub-district, Prada[pra-deu]: month of process. The production of Cepuk is Opulence Charm personal and created in the citizens own home Satria sub-district at Klungkung village is - 111 - 服飾 第67卷 3號 the temple. Lastly, the gigi barong pattern refers 4. Tenganan Village, Geringsing[gring- to the strength of Barong. Created with Weft sing]: Legendary Legacy Ikat, Cepuk color consists of red, white, and The traditional village(Bali Aga) of Tenganan black. However, nowadays with the lack of created Geringsing cloths. Geringsing has magical weavers and interest in weaving, new creative qualities to protect and heal. Geringsing is used cepuk designs have started to appear. for purification, healing, exorcism rituals, shrine decoration, and fabric offering. The strict tradi- Klungkung – Endek Klungkung - Songket (Photographed by researcher, 2016: Table by researchers, 2017) - 112 - An Observation on the Characteristics of Design and Aesthetics of Balinese ‘Sacred Cloths’ tional making process surrounds the textile, from the material and spiritual in the medium of choosing the materials, weaving, colors, and textiles. Development of Balinese textiles oc- patterns. Geringsing is only made from cotton. curred from the ancient era(i.e., before the 20th As for dyeing materials, only ripened candlenut century) until the modern era, which consisted and indigo dyeing are used in the neighboring of the colonization period by the Dutch and the village of Bugbug. “Only in Geringsing water Indonesian independence period. The ancient era and oil come together”(Daredia, 2012, p. 20). was driven by religious values. The colonization The cloth is dyed in candlenut oil resulting in a period by the Dutch in the modern era was do- waxy cloth. Originally, the process of creating a minated by economic values, and the in- cloth took eight to 10 years in order to follow dependence of Indonesia consisted of ‘unity values.’ the tradition and rules of Geringsing making. Design characteristics of Balinese textile are However, now, the process is shortened. analyzed based on the manufacturing techniques, Geringsing cloths are produced with 14 pat- colors, and patterns. The techniques were classi- terns and three colors. Geringsing patterns are fied as Weft Ikat, Double Ikat, weave with categorized by their repetitive arrangement Supplementary Weft, and Prada. Based on their (Daredia, 2012). In modern era, Geringsing cloths characteristics, weft Ikat signified ‘worship,’ dou- are still used and produced based on funda- ble Ikat conveys ‘status,‘ weave with Supple- mental Hindu values until this day - 113 - 服飾 第67卷 3號 or ‘blue dazzle’ signified fertility; both colors and Festivals in Bali. Indonesia: BABBOOKS Davies, S. (2007). Balinese Aesthetics. The Journal of were representations of the god Vishnu. Lastly, Aesthetics and Art Criticism(21-29). 65(1), 21-29. purple, or ‘tillandsia purple,‘ signified no specific DOI: 10.1111/j.1540-594X.2007.00234.x Gillow, J & Dawson, B. (1995). Traditional Indonesian god, just signifying Balinese aesthetics. The Textiles. London, Singapore: Thames and Hudson characteristics of patterns were observed by its Ltd. structure of geometric, natural, animal, and hu- Hauser-Schaublin, B. Nabholz-Kartaschoff, M. Ramseyer, U. (1991). Balinese Textile. Hong Kong: Periplus man shapes. In the ancient era, the patterns Edition (HK) Ltd. were fixed with small repetitions. In the modern Indigo paste (2015). Retrieved from http://sloparker.blog spot.k kr/2015/01/thailandblues.html era, the patterns are more complex with bigger Nabholz-Kartaschoff, M-L(2008). The Textiles of Sem- and creative patterns. biran. In Brigitta Hauser-Schäublin and I Wayan Ardika(Eds). Burials, Texts and Rituals: Ethnoar- Klungkung Village produces Endek and chaeological Investigations in North Bali, Indonesia. Songket cloths. The aesthetic characteristics of Göttinger Beiträge zur Ethnologie Band 1, 69-117. Noni Roots (n-d). Retreived from http://www.lionhearth Endek cloths were a ‘royal statement’ and erbs.com/herbs-a-z/morinda-root/ Songket cloths were a ‘cultural heritage.’ Pantone (1992). Pantone Textiles Color Specifier. USA: Pantone, Inc. Tanglad Village produces cepuk cloths that ap- Soedjatmoko, R., Damais, S., Saputra, K. (1993). Bunga peared to be a ‘protective guardian.’ Satria Rampai Wastra Bali. Bali, Indonesia: Himpunan Wastraprema. Sub-district produces Prada cloths and signified Sumiartini, K. (2015, July 5). Oral Statement Interview ‘opulence charm.’ Tenganan Village produces by researcher. Wrońska-Friend, M. (2015). Balinese Textiles: For Gods Geringsing cloths and signified a ‘legendary legacy.’ and People. Łódź, Poland: Central Museum of Tex- This paper concludes that textiles serve as a tiles in Łódź, Poland. Widana, A. A. (2016, January 6). Oral Statement Inter- medium between humans and god, between hu- view by researcher. mans and ancestors, and between the living and Widiawati, D. & Rosandini, M. (2012). Natural Dyes on Indonesian Traditional Textiles – A Case Study: the dead. These functions are preserved from Geringsing Woven Fabric, In Tenganan Pengrisin- the ancient textiles until this day. Although the gan Village Bali. The Research Journal of the Cos- tume Culture. 20(1), 111-120. patterns and colors of Balinese textiles have de- veloped, the religious value of the cloths has persisted. Reference Bjork, P. (2013). Hospitality in Color: Healing Presence in Ceremonial Balinese Textiles (Dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 3551594) Covarrubias, M. (1937). Island of Bali. Singapore. Sin- gapore: Periplus Editions(HK) Ltd. Daredia, N. (2012). Negotiated Power of Sacred balinese Textiles: How Identity Animates the Inanimate (Bachelor Thesis), Maryland Institute College of Art, USA. Darta, I., Couteau, J., Bréguet, G. (2013). Time, Rites - 114 -. tion, there are sacred textiles for royalty and they are forbidden to be used by normal 1) Ancient Era: Before 20th Century citizens. This creates textiles as a medium of In this period, Balinese textiles were made praying, as clothing for religious events and as religiously. The spiritual act started from the
The Developments and Functions of Balinese Textiles by Era
The Color Characteristics of Balinese Textiles
, the color characteristics of Balinese the gods seen in their religion. The gods of the textiles in the modern era are yellow(in Pantone color are based on the nawasanga
. cred(tenget). Green(glistening green 14-5715 TP) is believe to be the source of everything and 1) Ancient Era: Warm Tone represents the god of Sangkara. Blue(blue dazzle th The ancient era, before the 20 Century, has 18-4223 TP) signifies fertility is representing the a warm tone. The color is restricted to three god Sambu
The Developments of Classification of Balinese Textile Patterns by Era
. Endek and Songket cloths use tumpal, lotus flower, fish, and Hindu mythology patterns
Observation of the Aesthetics of Balinese Textile