Download Batik: Fabled Cloth of Java by Inger McCabe Elliot, Brian Brake PDF

By Inger McCabe Elliot, Brian Brake

First released in 1984; this electronic version published in 2013

Batik: Fabled fabric of Java is a luxurious, vintage booklet, richly illustrated with colour plates of the best old and modern batik from thirty museums and personal collections all over the world. It contains historic pictures, etchings, engravings, maps and pictures of contemporary Java.

Reviews

"This is THE e-book on batik, a useful appreciation of a vanishing artwork, vital for a person drawn to textiles."—Diane von Furstenberg

"I first chanced on batik again within the past due sixties in the course of the eyes of Inger McCabe Elliott. through the years I've revisited this remarkable paintings in all its richness and creativity. it's going to constantly be an excellent resource of suggestion to me."—Oscar de los angeles Renta

"A e-book for students and architects alike. With its appealing images and wealthy old textual content, Batik: Fabled fabric of Java conveys the magic of a different and unique art."—Arthur M. Schlesinger Jr.

"I depart the publication open on a desk to show each day to a different web page, to be absorbed within the visible delights of colour and layout, and to find an strength that in basic terms good looks may give. This e-book is a part of my life."—Gloria Vanderbilt

Inger McCabe Elliott is a student, photographer, fashion designer and entrepreneur. Her photos are in New York's Museum of recent paintings and her fabric assortment, textile of appeal was once nationally exhibited.

Brian Brake's pictures were featured in magazines and museums around the world.

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Additional info for Batik: Fabled Cloth of Java

Sample text

In fact, the ruler of Mataram encouraged his people to grow cotton in a vain attempt to free his people from the yoke of Holland. By the end of the eighteenth century, the common people of Java were wearing plaid cloth (called lurik); others, more exalted, "preferred batek, or painted cloth," which came in a hundred different patterns. Not all these patterns were available to everyone, however. Certain designs, especially those used in the courts of central Java, were "forbidden" to commoners. But the freewheeling people of the north coast generally ignored such strictures.

In both, the ancient art of batik making survives. The sultans still reign, and at the center of Yogyakarta and Surakarta the old courts, or kratons, still stand. Surrounded by high white walls and graced at the entrance by banyan trees, each kraton overlooks a square common called the alun-alun. Every day at eleven and four o'clock, ladies of the court, carrying bronze pots and yellow umbrellas, parade to the center of the kraton s dirt courtyard for the traditional tea ceremony. And in a dozen or so low buildings, work and prayer go on as they have for centuries.

The smoother, mill-made textiles from Europe became the groundcloth of most nineteenthcentury batik: it was possible for wax to be drawn in more detailed designs on these finer fabrics, and the motifs themselves began to change accordingly. The subsequent hundred years witnessed a great flowering of batik, particularly on the north coast with its cosmopolitan exposure. Whereas Raffles had recognized a mere hundred designs, a century later the batik scholar G. P. Rouffaer described more than a thousand.

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