Print ISSN 1229-6880 Journal of the Korean Society of Costume Online ISSN 2287-7827 Vol. 66, No. 7 (November 2016) pp. 34-49 http://dx.doi.org/10.7233/jksc.2016.66.7.034

An Analysis on Characteristics of Ancient Indonesian Textiles (II) - Focus on the Techniques and the Patterns of the ‘Sacred Cloths’ -

Langi, Kezia-Clarissa․Park, Shinmi⁺ Master Candidate, Dept. of Clothing & Textiles, Andong National University Assistant Professor, Dept. of Clothing & Textiles, Andong National University⁺ (received date: 2016. 5. 31, revised date: 2016. 7. 20, accepted date: 2016. 8. 11)

ABSTRACT1)

The ancient ‘sacred cloths’ of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on ‘sacred cloths.’ The re- search is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the ‘sacred cloths.’ The second part focuses on the textile-making techniques and the ritual patterns of the ‘sacred cloths.’ This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their reli- gious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The ‘sacred cloth’-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile pro- duction determine what patterns show up on the cloths. Sumatran patterns are philosophical, lav- ish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are com- plex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural ob- jects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).

Key words: ancient indonesian textiles(고대 인도네시아 직물), characteristics(특징), patterns(패턴), sacred cloths(신성직물), techniques(테크닉)

This research is a part of the master's thesis Corresponding author: Park, Shinmi, e-mail: fashion@anu.ac.kr An Analysis on Characteristics of Ancient Indonesian Textiles (II) 

Ⅰ. Introduction gion affected the colors, production techniques, and patterns of the sacred cloths. Generally, to This chapter introduce the background in- be worthy of God, the more complex a textile formation, literature review and research proposi- is, the more it is appreciated. tion, and research aim and methodologies of this paper. 2. Literature Review and Research Proposition 1. Background Information A review of current literature shows that pre- Indonesian textiles developed over time. Since vious research examined ancient Indonesian tex- 2500 BC, Indonesia has created basic weaving tiles as one Southeast Asian country as well as by a plaiting technique that were used for daily modern Indonesian textiles. However, this paper storage instead of clothing(Kartiwa, 1987/1993). focuses on ancient Indonesian sacred cloths and However, the Dong Son era in 500 BC marks Indonesia as its own nation. Novellino(2006) the first important change in Indonesian textiles studied the influence of historical context and through cloths depicting distinctive geometric pat- ethnobotanical knowledge on weaving traditions terns, advanced warp techniques used, and their from Southeast Asia, especially in the Dong Son religious functions. Animism, Buddhist-Hinduism, era. The Thailand, Burma, Laos, Cambodia, Vietnam, and Islamic kingdoms influenced ancient Indonesian Peninsula Malaysia, Indonesia, and Philippines textiles, leading to broad textile diversity from regions shared the same natural resources during 500 BC until AD 1800. that period. The research also analyzed Indonesian Textile development was important to regional and Philippine basketry and pottery. inter-island and international trading(Kahdar et Aragon(1990) studied barkcloth production in al, 2010). The Sumatra, Borneo, Java, Celebes, Central Celebes. The people living in tropical re- Nusa Tenggara, and Bali regions participated in gions in the world used the barkcloth technique textile production. to make clothing before woven cloths replaced it. Indonesia is a religious country. Textiles in Barkcloths are believed to be the original Indonesia changed from solely utilitarian use to Indonesian clothing(Aragon, 1990). including bearing sacred meanings. Indonesian Anas(2007) examined the Hinggi textiles of textiles are divided into secular cloths and sacred the East Nusa Tenggara from 1970-2000. Tradi- cloths. Secular cloths are for daily wear, while tionally, Indonesian textiles were produced for sacred cloths possess a certain power. Despite religious and local custom demands. However, their contrasting functions, secular cloths and sa- modern textiles are made for economic reasons. cred cloths are both aesthetically exquisite. Anas’ research focused on design characteristics Indonesian textiles follow the journey of a hu- development like shape, style, arrangements, col- man’s life by its existence during important ors, and theme. phase in a man’s life, such as maternity, matri- mony, and mortality. The time period and reli-

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3. Research Aim and Methodologies “power”, “death”, “life”, “eternity”, “honoring a god or spirit”, and “heaven”. The color purple This research is divided into two parts. Its conveys “royalty”. Yellow represents “sacredness”, main purpose is to analyze the characteristics of blue signifies “the human world”, and green ancient Indonesian textiles and to focus on sa- represent “nobility.”(Langi & Park, 2016, p. 77) cred cloths. The first part of this research ana- Following these findings, this research, the lyzed ancient Indonesian textiles characteristics, second paper, analyzes the characteristics of sa- focusing on the period, religious meaning, region, cred cloths according to their techniques and and color of the sacred cloths. This second part patterns. of the research focuses on the production techni- This paper combines literature review and ques and patterns of the sacred cloths. The tex- field research. The author used research method- tile research shows that varied Indonesia ethnic ology including quantitative research by analyz- group identities have become a one true identity ing 225 Indonesian sacred cloths containing im- of the Archipelago of Indonesia. ages chosen based on their religious function in This paper asks first, what techniques produce ceremony. This paper includes research gleaned the sacred cloths? And second, what are the sa- from reviewing 10 books and eight research cred cloths pattern characteristics? Finally, what papers. Observations were made in the Indonesian are the other characteristics of the sacred cloths? Museum of Textiles and the Museum of Bali. The first paper illustrated the importance of The author conducted field research for over the time period and religion on the ancient 20 days in the eastern part of Bali, including in- Indonesian sacred cloths. It examined, from 500 terviewing weavers and local citizens originating BC until AD 1800, six regions of Indonesia group- from Nusa Penida, Klungkung, Gianyar villages, ed according to their ethnic groups: Sumatra, and the traditional village(Bali Aga) of Tenganan. Borneo, Java, Celebes, Nusa Tenggara, and Bali. These areas are the original producers of Balinese It also showed how different religions left differ- sacred cloths. ent traces on the textiles of different Indonesian regions. The previous research argued the im- Ⅱ. Analysis of the Production portance of religion that converted textiles to a Techniques Used for Ancient religious medium. And it also showed how other Indonesian Textiles cultures influenced ancient Indonesian sacred cloths. Indonesian textile techniques grew from sim- The first paper also analyzed the colors of the ple, functional weaving into displaying surface sacred cloths. The sacred cloths’ range of color and structural designs. The techniques used for developed based on their region, and the varied the sacred cloths are Batik, Prada, and Ikat. color had different meanings: These advanced techniques needed high crafts- Red, for example, can mean “bravery”, “royalty”, manship skills. The art of textile making is im- “earth”, and “youth.” White has the meaning of portant both physically and religiously, and the “purity”, “death”, and “life.” Black can signify

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Canting Batik pattern(wax) Batik textile (Photographed by (Gillow, & Dawson, 1995, p. 38) (Gillow. & Dawson, 1995, p. 38) Researcher, 2016)

Prada Making Batik with Prada Prada (Hauser-Schaublin et al, (Hauser-Schaublin et al, 1991, (Hauser-Schaublin et al, 1991, 1991, p. 54) p. 55) p. 55)

weaver appears to breathe life into every thread. difficult pattern-making techniques. It requires a high craftsmanship. The artist needs steady and 1. Batik : a Wax-Resistant Dye soft hand gestures while drawing patterns on the fabric with the canting. The Batik technique create a pattern in neg- ative that the weaver draws in resistant wax 2. Prada: Gold Flake Paint before dyeing(Gillow & Dawson, 1995). Batik wax is a mixture of beeswax and paraffin wax. Prada creates patterns by using special glue Early batik were drawn using the canting, a and gold flakes. The glue is made from mixture waxing instrument the Javanese created . The batik canting produces is called batik (ruddle)(Gillow & Dawson, 1995) to create an tulis(written batik). After drawing the patterns, illusion of a perfect pattern even when the gold the artist would dye the cloth in natural dyes flaked off, and gives an enchanting glow to the and perform the lorot(boiling the wax out) proc- pattern(Hauser-Schaublin et al, 1991). Prada ess by soaking the textile in boiling water , . bone, and brownish glue, obtained from buffalo Batik technique is considered one of the most skin .

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Prada, when complete, appears to be thick dye bath(Gillow & Dawson, 1995). To add more and stiff where the gold is applied. The result- color after the first dye, another binding would ing textiles are never washed, or the gold dust be done after rearranging the tied areas accord- would fall off (Hauser-Schaublin et al, 1991). ing to the expected pattern. After unbinding, Prada made in Java are applied on top of a the pattern appears as a photographic negative. piece of batik . Ikat characteristics show up as blurriness or Prada is a rare technique used for royal cos- feather-like patterns, mostly caused by the color tumes and important ceremonials such as tooth bleeding under the bindings . Ikat fillings for the higher caste in Bali. Unlike other is also divided into Wrap Ikat, Weft Ikat, and textiles types, men perform this technique, “mostly Double Ikat. since it is similar to painting(Widana, 2015).” 1) Wrap Ikat 3. Ikat: a Tie-Resistant Dye Wrap Ikat is the earliest pattern technique in Indonesian sacred cloths. It has been known Ikat is mainly Indonesian pattern technique. since the Dong Son Era, preserved by the people The word comes from the Malay word “mengikat”, in remote regions. This technique’s origin is un- meaning to tie or to bind(Bakwin, 2007). The known, but local ethnic groups believe the gods method uses the same theory as Batik technique. brought it. The technique consists of tying the The practitioner ties a bundle of yarns according wrap yarns according to a specific pattern and to a specific pattern and then immerses it into a

Tied Yarns Coloring Steps and Weaving Process (Photographed by Researcher, (Photographed by Researcher, 2016) 2016)

Techniques of Ikat (Illustrated by Researchers, 2016)

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Timeline of Indonesian Textiles (Langi & Park, 2016)

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An Analysis on Characteristics of Ancient Indonesian Textiles (II)  dyeing them in a certain color before weaving. region has its own unique pattern. By the period Warp Ikat technique is mostly used for mystical of 700 BC until AD 1800 , each pattern rituals related to animism. style is classified into four groups based on their pattern characteristics. The patterns shown in 2) Weft Ikat represents each region's pattern based Weft Ikat involves tying the weft yarns ac- on its classification as discussed below. cording to a pattern and placing them in dyeing extract before weaving. The Buddhist-Hindu re- 1. Classification of the Patterns of ligion, brought to Indonesia by Chinese and Indonesian Sacred Cloths by Region Indian merchants influenced the technique. This Indonesian sacred cloths are distinguished by binding technique was made as clothing for roy- their patterns. Each region produces their own alty or high-status citizens. Supplementary weft pattern based on their particular religion and is called Songket. It is mostly used during fes- special or memorable events that happened in tive ceremonies like engagement offers to ‘buy’ the area. Each region creates its own inter- the bride from her family, marriage costume, pretation for every design that appears on its and status giving as the cloths are accessible for sacred cloths. The Indonesian regions are Sumatra, the rich. Borneo, Bali, Java, Celebes, and Nusa Tenggara.

3) Double Ikat 1) Sumatra: Philosophical, Lavish, Prestigious Double Ikat is a unique technique that uses both Sumatran patterns are philosophical, lavish, Warp and Weft Ikat to create the pattern. This is and prestigious. Sumatra is known for its Ulos considered the most difficult Ikat technique. The (North Sumatra), Tapis(Lampung), and Songket yarns must be perfectly tied and matched be- (rest of Sumatra) cloth. Ulos and Tapis cloth tween the Warp and Weft to produce a visible were made during the Dong Son era. Both ap- pattern. Since the pattern cannot be seen prop- pear to have geometric forms with symmetrical erly until the yarns come together, weavers be- and repetitive designs creating symbolic and lieve they must pray and give offerings before meaningful patterns. The Batak ethnic group tying the yarns. Only India, Japan, and made Ulos cloth. For the Batak, there are three Indonesia use this technique. In Indonesia, this sources of warmth: sun, fire, and Ulos. Ulos is particular Ikat, called Geringsing, is made at the the symbol of warmth, prayer, and hope. The village of Tenganan, Bali. patterns are small, simple and have abstract forms. The Lampung people made Tapis to align Ⅲ. Analysis of the Patterns of their life to god and the environment. Tapis ap- Indonesian Sacred Cloths pear lavish, with bigger borders containing styl- ized objects and depictions of stories of their ev- Indonesian sacred cloths are rich in patterns eryday life. and take on their own special meaning. Each Songket was made during the Buddhist-Hindu

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5) Celebes: Artistic, Simple 2. Characteristics of the Ancient Indonesian The Torajan people’s animism, found in Celebes, Sacred Cloths Patterns is called aluk to dolo, or the way of the Indonesian sacred cloths patterns are catego- ancestors. Celebes is known for its artistic and rized by their shape, religion, and time era. Over simple patterns. Famous for its Torajan cloths more than 1500 years, Indonesian sacred cloths and sarong, the textiles show repeated geo- developed significantly due to their religions and metrical forms and hooks and diamond patterns memorable phenomenon, so every textile has its in artistic designs. Torajan patterns reflect the own meanings and tells its own story. Pattern weaver’s interpretation of local folklore and characteristics fall into four groups: geometric, beliefs. The Sarong, which Muslim traders in- human and animal, abstract, and natural objects troduced to Celebes, shows simple plaid and

. check patterns.

1) Geometric: Symmetric, Repetitiveness 6) Nusa Tenggara: Symbolic, Narrative Geometric patterns emerged in the Dong Son Nusa Tenggara pattern characteristics are era, approximately 500 BC. Dong Son, now symbolic and narrative. Western and Eastern known as Vietnam, has a nekara(type of ritual Nusa Tenggara sacred cloths reflect different drum) with geometric patterns drawn on it. The influences. patterns consist of hooks, spirals, meanders, Ancient Javanese, Hindu, and animism influ- straight lines, triangles, circles, and so on. These ence East Nusa Tenggara sacred cloths. These geometric shapes link to each other to create a textiles show geometric patterns that create hu- new form, such as human and animal patterns. man and animal forms. These strong, big pat- For example, the human sekong from Toraja terns tell a story about folklore or local beliefs consists of connected hooks. These patterns are and include expressions of personal feelings. considered sacred and have cultural meanings Each pattern forms its own meaning and influ- . ences the wearer by representing their character. West Nusa Tenggara people practice animism 2) Human and Animal: Silhouette, Outline that honors their ancestors. Their textile patterns Human and animal patterns have been used consist of geometric rosettes, zigzags, and floral since the Dong Son era. The ancestors of one’s patterns. Hindu patterns such as wayang(shadow culture inspired human forms in the Dong Son puppets) figures under an umbrella, which era. In addition, animism belief held that animal means harmony, or under a tree, which means patterns are symbolic, mimicking a human trait life, often also show up. of providing a mystical power. For example, rep- tiles are believed to be the symbol of the under- world, while birds represent the upper world. Each human and animal shown is considered a

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Classification and Characteristic of the Patterns of Indonesian Ancient Sacred Cloths

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(Illustrated by Researchers)

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Characteristics of Ancient Indonesian Sacred Cloths

(by Researchers)

- 47 - 服飾 第66卷 7號  techniques. The sacred cloths are shawl-sized or families. Double Ikat techniques were used for all a larger size made by joining the same sacred types of ceremonies in Tenganan, Bali. To ach- cloths together. Materials used in this period ex- ieve the finest sacred cloth worthy for God, pand to silk and cotton, while the bright colors weavers performed a ritual of fasting or offering improved with Supplementary Weft of gold or to the Gods. This was done to create clearance colored yarns. on their mind and purify oneself to avoid mis- During the Islamic period(AD 1200-1800), takes in the textile-making process. Islam assimilated traditional religions and anim- Indonesian textile patterns are classified first ism resulting in sacred cloths that are ceremonial by the region where the ethnic group that cre- and give status. During this period, human pat- ated is found and by that group’s cultural val- terns are prohibited and replaced by Arabic cal- ues, Sumatran patterns are philosophical, lavish, ligraphy and abstract patterns with moral and prestigious. Bornean patterns are barbaric meanings. Pattern groupings consist of geometric, and prestigious. Balinese patterns are complex, animal, and natural objects. New techniques in- decorative, warm, festive, calm, and aristocratic. troduced are Double Ikat, Batik, and plain weav- Javanese patterns are symbolic and repetitive. ing(Sarong). The sacred cloths sizes accom- Celebes patterns are artistic and simple. Nusa modate shawls, joint shawls, or big wraparounds. Tenggara patterns are symbolic and narrative. Cotton is the main material and earth tone is The patterns are grouped by their shapes, and the prime color. then characterized by the pattern details. Their characteristics include geometric patterns show- Ⅴ. Conclusion ing symmetry and repetition. Human and animal patterns show silhouette and outline. Natural ob- This research proposed to analyze the charac- ject patterns show simplicity and expressiveness. teristics of ancient Indonesian textiles focusing Lastly, abstract patterns show simplicity and on the sacred cloths. The first part of the re- outline. search results in dividing the Indonesian area Indonesian textiles are unique and portray based on regional contribution to textile making. narratives. The evolution of a textile also shows This second part of the main research proposed the history of Indonesia. Research on the ancient to analyze the characteristics of ancient Indonesian sacred cloths of Indonesia will preserve the his- textiles focusing on the techniques and patterns tory of religion and developments of colors, tech- of the sacred cloths. niques, and patterns. This paper shows that the The sacred cloths creation techniques include religion of Animism, Buddhism, Hinduism, and Batik, Prada, and Ikat. Ikat techniques are Islam gives function to the textiles as a medium grouped into Wrap Ikat, Weft Ikat, and Double for ritual. Ikat. Wrap Ikat technique specialized in religious In conclusion, these characteristics that differ ceremonial cloths. Weft Ikat technique cloths in each region combine to create the Indonesian were made for wedding ceremonies and royal identity based on Indonesian motto Bihnneka

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Tunggal Ika(Unity in Diversity). from Island Southeast Asia: Historical Context and Etnobotanical knowledge. Paper presented at the This present research invites opportunities for IVth International Congress of Etnobotanical (ICEB further research. Where this research analyzed 2005). Ethnobotany: At the Junction of the Continents and the Disciplines. Turkey: Istanbul ancient Indonesian sacred cloths as a whole, fu- (pp. 307-316). Turkey: Ayeditepe University. ture research conducted specifically in each re- Ritcher, A. & Carpenter, B. (2011). Gold Jewellery of gion is needed to obtain firsthand information Indonesian Archipelago. Singapore, Singapore: Star Standart. and directly experience the value sacred cloths Widana, A, A. (2016, January 6). Oral Statement have for each region. This paper is a part of the Interview by researcher. author’s master thesis; future research will focus on Balinese sacred cloths.

Reference

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