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

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An Analysis on Characteristics of Ancient Indonesian Textiles (II) - Focus on the Techniques and the Patterns of the ‘Sacred Cloths’ 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: [email protected] 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- - 35 - 服飾 第66卷 7號 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 - 36 - An Analysis on Characteristics of Ancient Indonesian Textiles (II) <Fig. 1> Canting <Fig. 2> Batik pattern(wax) <Fig. 3> Batik textile (Photographed by (Gillow, & Dawson, 1995, p. 38) (Gillow. & Dawson, 1995, p. 38) Researcher, 2016) <Fig. 4> Prada Making <Fig. 5> Batik with Prada <Fig. 6> 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.
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