Applied arts – 'Batik'. Project of the program "Fine and decorative arts"

Abstract on art.

Applied art - "Batik".

Performer: Nagumanov Renat Ilnurovich

Student 9 “B”; MBOU secondary school No. 43

Introduction

“In time immemorial, in the afternoon hour, Batar Guru descended to the top of Mount Alu-Alu on the island of Java in order to have fun after the deeds of the righteous in heaven. And he saw that the earth was plunged into silence and darkness, for there was no joy for its inhabitants without bright heavenly colors.

And Batar Guru decided: “Let me tell people art that pleases the eye and refreshes the soul!” And he stretched out his hand, and scrolls of the most exquisite fabrics were spread out in the fields, and he stretched out his other hand, and hosts of wild bees rushed towards him, obediently carrying their wax from the depths of the forest. Batar Guru melted that wax with lightning and sprinkled generous drops on the snow-white fabric. And he hit the drum, and multi-colored clouds thickened, and he began to dance on the silks, leaving a bizarre pattern of his traces - about the deeds of the past and the days to come.

The heavens opened and colors poured out - blue like the sky, green like foliage, red like a shining fire in the middle of the ocean. And the Guru flew up to Mount Batar to see the fruits of his deeds, and he was very pleased with the beauty that appeared.

And people gathered, and they marveled at the bright colors and magical designs - flying fast-winged birds, rich palaces and processions, crossed daggers and heavenly beauties.”

I chose the theme of batik because, having first encountered it several years ago, I was interested in its diversity. Since then I have been attracted by the opportunity to go deeper in this direction.

I also chose this topic because batik is a completely new art form for me. I almost never painted fabric before. This technique can be used by a person with any tastes and desires.

So, the place where batik originated is the island of Java, the time of its appearance in the first centuries of our era.

Batik - batik is an Indonesian word. The part of the word - tik - in all Indonesian languages ​​means "dot" or "drop"; -ba - cotton fabric. Ambatik - to draw, to cover with drops, to hatch.

In big Soviet Encyclopedia(ed. 1978) states that “batik is based on a combination of a pattern applied to the fabric with a paint-impermeable composition (for hot batik - heated wax, for cold batik - rubber glue), followed by dyeing...

The most characteristic feature of batik is the reservation, i.e. applying a certain composition to fabric in order to preserve and highlight the colors of a pattern or background. But now this term also means knot technology, and rope technology, and Japanese multi-color artistic painting on silk, and Chinese blue and white silk dyeing. And all this is batik - an ancient, amazingly diverse art.

Goal of the work:

Explore various methods of artistic processing of fabric.

Collect scientific material on this topic.

Systematize the information received.

Learn the basics of textile graphics.

Do creative work.

Batik in the countries of the East

Indonesia. The art of batik came to Europe from Indonesia, where in some areas of Central Java and the surrounding islands, fabric painting was an integral part of the ritual of worshiping the gods. Here reality and myth are united into a single whole. It is believed that every canvas of ancient Indonesian masters, and exclusively women, is endowed with magical powers, and the patterns on their canvases have their own symbolism. One of the main symbols of Indonesian culture, most often depicted in batik, is the kris (see example 1) - the oldest weapon of the Javanese.

The origin of batik in Indonesia is still a matter of debate. Some scientists attribute the emergence of this technique to the first centuries AD, others are inclined to a different date - the 14th century, the time of the emergence of a device with which a design is applied to fabric with melted wax (reserve). Since that time, the hot batik technique has become almost ubiquitous in Java. But the most ancient centers are located in the vicinity of Surakarta, where the most beautiful and expensive batiks are made. They are distinguished by a special coloristic nobility.

At the end of the 18th century, many traditional symbolic ornaments were prohibited from being depicted on the clothes of commoners, and only members of the princely family and persons especially close to the Sultan were allowed to wear clothes with such designs. Such ornaments included, for example, a tongue of flame, an image of a mythical bird with a fluffy tail, a spiral stripe, a schematic image of an ancient sword, strokes reminiscent of rain, and a motif of an image of a sacred mountain. Symbolic meaning patterns elevated and served magical amulet for carriers.

National clothes local residents there were sarongs - the prototype of a modern skirt (see Project 2). The painting on the robe, as a rule, depicted the surrounding nature.

The symbolic meaning of batik is not only in the form of patterns, but also in the traditional blue-brown color scheme, which conveys a special national flavor. Indonesian classic batik has little color. The range included ivory, all shades of brown and the brightest color - indigo. Recipes for making blue paint and the drawings themselves were an important secret of every family of craftsmen.

The reserve for creating patterns was specially prepared rice paste, which is still used to this day to create special ceremonial fabric.

Famous Indonesian researcher G.P. Rofayer believes that batik as a method of dyeing fabric originated in India, but one cannot speak of its direct borrowing from India. Rather, it is about parallel development and borrowing ideas from each other. The Javanese, in order to reproduce the patterns of Indian masters they liked in their own technique, came up with a small copper vessel with a thin curved tube - chanting (see example 3). The vessel was filled with molten wax and, as it solidified, it was heated again. This invention made it possible to apply thin lines, strokes and dots on fabric, which together formed a complex pattern - characteristic feature Indonesian batik. Another impetus for the development of batik was the appearance of thin, smooth cotton, again imported from India. Such material was expensive and only rich people had access to it.

In 1811, Java was occupied by the British. The British also brought their batik with them, but as it turned out, its quality was incomparable to the skill of the Javanese. Thus, the local tradition only strengthened its position.

The stereotype that only women can do batik has been destroyed. This was primarily due to the fact that there was a transition to the technique of applying a pattern with a copper stamp. The discovery of pattern repetition technology did not lead to the disappearance traditional ways painting: Making fabric using a copper stamp was an expensive and risky endeavor. Therefore, workshops continued to hand-paint fabrics to reduce risk. Which ultimately made it possible to preserve the artistic skills of the masters, the quality of work and the richness of ornaments.

India. In the Middle Ages, Indian craftsmen used two methods of painting fabric: using brushes and a wooden stamp. The process of painting with brushes was considered the most time-consuming and labor-intensive. Some Indian researchers argued that "painting fabric with brushes was much closer to art than to craft."

The techniques and technologies for painting fabrics in India were quite diverse. For example, a technique called “kalamkari” involved the making of canopies depicting mythological scenes and portraits, as well as curtains for temples. The demand for such things especially increased in the 17th century due to the colonization of India by the British.

Also in India, the technique of knotted fabric dyeing was developed - the so-called bandana (see Exhibit 4), in which the pattern on the fabric looks made up of small uneven spots.

Another ancient technique of painting fabric, which is common in Gujarat, is called “lakheria” (see Exhibit 5). It consists in the fact that the fabric is twisted, tightly wrapped with a tourniquet in the places where the stripes should be, then the material is immersed in paint.

Gradually, the methods of painting fabrics in India improved, and the printing method appeared. It not only became popular in India, but also conquered Europe at that time (XVII - XVIII centuries).

Europeans liked Indian calico so much that they quickly adopted its manufacturing technology. Gradually, due to greater demand, Indian printed fabrics completely replaced hand-made fabrics in India.

China. It was China that gave silk to the rest of the world. New material fits perfectly into the world of batik.

During the Tang period in China there were three various methods applying patterns with paint: wax, block and knot. The most ancient of them was considered to be lajie (translated as “patterns with wax”), in which liquid hot wax was applied to the fabric according to the pattern, and after cooling, the fabric was immersed in a dye vat. After the fabric was dyed, the wax was removed. The fabric was usually painted in two or three colors, since after applying the fourth layer the work became almost black.

Japan. Fabric decoration technologies most likely came to Japan from China or India. In Japanese, batik is called "rokechi". The Japanese found their own way to develop this art (see examples 6, 7)... for Japan the century became the golden age of weaving art. Many different techniques for painting fabric have appeared, such as wax printing - surimon, as well as the technique of stencil patterns - kok, etc.

By the 10th - 11th centuries, Japanese costume had become very spectacular. Despite this, the preferences of the Japanese have changed over time. Colors and designs changed, as did the position of the pattern on clothing. In the 13th century, ornamentation with coats of arms became popular in Japan.

At the end of the 16th century, the plot significance of the pattern came first. Very often, entire paintings were transferred to screens or kimonos.

At the end of the 17th century, a drawing technique using rice paste - yuzen - was developed. Most likely this method was brought from the Netherlands.

At the beginning of the 19th century, the production of fabrics and patterns reached enormous heights. During this period, the creativity of the masters fades into the background, and ornamentation begins to be replaced by stamping.

Batik in Europe and America

The Dutch were the first to use batik for making decorative fabrics in the first half of the 19th century. But by the middle of the century they had lost their influence on the European market and developed entrepreneurial activity in Java. Thus, entire manufactories for the production of batik were opened, which followed the prevailing trends and knew how to please the most demanding buyer.

At the same time, the English cotton industry, relying on the high technology of calico printing, is gradually overtaking the Dutch one. This influenced the fact that already established batik technologies began to be threatened with oblivion.

But at the beginning of the 20th century, batik came back into fashion in Europe, England and America. This happened thanks to the enthusiasm of a small number of artists who, fascinated by batik, went to distant countries and studied the unique batik technique from Indian and Indonesian masters. Thus, by the middle of the last century, the batik technique had a large army of admirers and followers around the world. Painting batik is becoming not only fashionable, but also prestigious.

Batik in Russia

Most In the 20th century, Russia remained behind the Iron Curtain, so batik appeared in our country only at the beginning of the century. It was then that a reserve composition was invented that did not require heating - cold batik appeared. But despite new discoveries, batik developed slowly in Russia. Artists often had to adapt rather than create.

During the NEP, there was a significant demand for dresses with asymmetrical patterns and silk shawls with exquisite patterns in oriental style. This provided artists with work for a while, but gradually the fashion passed and they had to look for new sources of orders.

Batik was mainly distributed in major cities such as Leningrad and Moscow. Despite the lack of experience, the artists were fond of painting shawls, curtains, and scarves. To exchange at least some experience, artists united in artels.

The subjects of the paintings of that time were dictated by the difficult political situation in the country. Soviet symbols were encouraged.

The second wind for Russian batik was given by the now Honored Artist of Russia Irina Trofimova. She managed to travel abroad to the homeland of batik. Thanks to her, the first detailed information about this technology appeared in Russia.

In the 1970s, a new generation of textile artists emerged, educated at the Stroganov and Mukhinsky schools, textile or technological institutes. They consciously chose the path of an artist, doing exclusively “author’s batik”.

Gradually, batik became a full participant in all art exhibitions, both all-Union and international.

Batik techniques

Cold batik. Cold batik technology appeared not so long ago - with the development of chemical knowledge. This happened at the beginning of the 20th century. The main distinctive feature of the reserve composition is that it does not require heating. This makes cold batik very accessible to a wide range of artists and hobbyists.

Cold batik is based on the fact that with this method of painting fabrics, all forms of the design, as a rule, have a closed contour outline (with a reserve composition), which gives a unique character to the design.

After the outline is drawn, the drawing is allowed to dry. It is not recommended to leave the drawn pattern on the fabric unpainted for more than 24 hours, since in this case the reserve composition gives a halo due to the released fat and the paint, when poured, does not fit closely to the contour tracing.

Cold batik is represented by three techniques: classic, multi-layered, open-ended graphics.

So, classic batik is created by drawing reservation lines that limit closed planes. The result is a drawing that resembles a stained glass window and is painted in one layer (see example 8).

Multilayer batik is also created using the stained glass principle. But in this case, several overlays of color tones are used on each other (see example 9).

Open graphics. Paints without using closed planes. In this technique, the reservation lines are broken. This allows the color of one plane to blend into the color of another (see example 10).

Free painting. The free-form painting technique is perhaps the fastest way to create an interesting painting. Free painting differs from classic hot and cold batik in that it is more like painting than batik. A composition is created on primed fabric, as on paper. Thanks to the primer, the paints spread less and retain the shape of the stroke. Free painting with paints with the introduction of a saline solution can be combined with regular painting with cold batik.

Freehand painting also includes three techniques: watercolor, stencil, and freehand painting.

Watercolor technique - the fabric is painted "raw" with drying in certain places and using the alcohol effect (see example 11).

Stencil technology. The design is created using a stencil and special cans for spraying dye (see example 12).

Free-painted graphics. It is created using salt technology and reserve guidance (see Project 13).

In hot batik, the following main methods of work are distinguished:

Simple batik (one overlap).

Complex batik (two or more overlaps. See example 14).

Work from stains (see pr. 15).

Simple batik. The pattern is applied to the fabric using brushes, stamps, knives, funnels or rollers using a heated reserve compound. The result is a contour drawing, geometric or floral ornament.

Painting using the complex batik method consists of several stages, each of which, as it were, repeats painting using the simple batik method: after the first covering of the background and its drying, the pattern is again applied with a reserve composition and the entire surface of the fabric stretched over the frame is again covered. Such overlaps can be repeated up to four times. The overlaps go sequentially from light to dark.

Before each new coating, it is necessary to check the quality of the coating with a reserve composition and ensure that the entire pattern is transferred to the fabric in accordance with the template.

Stain painting is the most difficult and interesting work on fabric design. This method is usually used to make products decorated with floral patterns. The principle of operation is the same as in complex batik, but instead of continuous sequential overlaps of the entire fabric, here vague spots are applied to the canvas in accordance with the sketch different colors. For each of these spots, the initial drawing of the ornament with a reserve composition corresponding to the sketch is carried out, then these same spots or adjacent areas of the background are covered with a different color, and again the further drawing of the ornament takes place. This procedure can be repeated no more than three times. Before the last overlap, the ornament is finally drawn and finally the entire canvas is covered with some kind of dark color. As a rule, this kind of drawings always have a dark background, since it is necessary that it covers the paint that has spread beyond the boundaries of the drawing. It's like working with complex batik on individual areas of the fabric being decorated. This makes it possible to achieve the finest transitions of colors and their shades with a small amount of overlap.

When painting, you must ensure that each layer of paint applied to the fabric dries completely and the reserve composition hardens.

In hot batik, the color modeling of volumes is based on both contrasting and subtle combinations. As a rule, it is this specific feature of batik that strikes the viewer’s imagination - multiple layers seem to be visible through each other.

Knot batik. Knotted batik can rightfully be considered one of the oldest types of fabric design. This art has thousands of years of tradition.

According to a certain pattern of the pattern, very small knots are tied on the undyed fabric, tying them tightly with thread. Then the fabric is dyed and the threads are removed. The result is an amazing and unique pattern. In a similar way, you can dye the fabric several times, removing old knots and adding new ones.

Many countries can boast of a special method of dyeing fabric using this technique.

For example, in India, knotted batik is called “bandana”. They came up with an additional effect in technology. Indian craftswomen learned to tie thousands of tiny knots by lifting fabric with a long, sharp nail on their little finger. And thus create complex multi-colored ornaments. In addition, each knot is tied not with a separate, but with a common thread. Having made several turns of it on a fragment of fabric raised with a fingernail, they wrap it around the next raised area. After dyeing and drying the fabric, it is not smoothed. This way the material retains the corrugated effect. This method allows you to create fabrics even with complex floral or “cucumber” patterns (see example 16).

IN West Africa their ideas about the technology of dyeing fabric, which is traditionally covered here with large diamond-shaped patterns. The height of such rhombuses is large - equal to the average height of a person from shoulder to feet. Such a large ornament looks beautiful in the folds of clothing, which is a rectangular panel the width of the armspan with a slot for the head.

It is very difficult for a modern person to find time to tie thousands of knots on fabric. Therefore, let’s focus on the main and more simple ways coloring.

"Shibori." The word "shibori" is of Japanese origin and means "twist", "rotate", "press". It is not surprising that this technique appeared in Japan, the birthplace of origami.

If you fold and strongly compress the fabric, and then paint a three-dimensional bundle, then mainly the surface of the bundle will be painted in the corresponding color. Depending on the density of the fabric, dyeing time, and pressing, the dye may penetrate deeper into the fabric. In this way, different shades of color are achieved, while the base of the folds of the fabric remains uncolored. The pattern depends on in various ways folding fabric (see example 17).

Basics of decorative composition and stylization

Composition is the basis of painting, and the final result depends on how well it is thought out.

The first thing we need to figure out is that the decorative composition in our case does not carry a plot load. Its main purpose is emotional impact. Also, the composition must be balanced. Various shapes, which need to be placed on a plane, should be located so that there is no feeling of inconvenience and desire to change something. If the main figure, according to the plan, should be greatly offset from the center of the sheet, it must be balanced by several small forms.

According to the canons of the European school, the compositional center is located slightly above the center of the sheet. Masters from Japan and China most often arrange it according to this scheme: each side of the sheet is divided into three parts through which lines are drawn. There are four places where the lines intersect on the sheet. The compositional center should be at one of the intersection points (see examples 18, 19).

Batik refers to decorative types art and has its own textile style. Regardless of what you want to depict, everything is built according to the laws of textile graphics:

Planar solution

Lack of plans

A combination of ornament and decorative painting,

Combination of graphic spot and line.

Batik has a wide field of activity - from painting to ornament. It is very important to find the line between realism and stylization. Each artist working in these techniques determines this line for himself.

Color and spectrum

Color (Italian colorito, from Latin color - color, coloring), in the fine arts (mainly in painting), a system of relationships between color tones that forms a certain unity and is an aesthetic translation of the colorful diversity of reality. Color serves as one of the most important means of emotional expressiveness, one of the components of the artistic image.

Color in a decorative textile product is an integral part of the composition. A thing that is beautiful in design can be completely ruined by colors that do not correspond to the overall artistic design, or by incorrect color distribution. With color you can combine individual elements into a single whole and you can crush them so that nothing remains of a carefully thought-out composition. In order to competently solve coloring issues, you need to know the elementary laws of color combinations. The influence of colors and their combinations on a person, on his emotional condition Physiologists, psychologists, and architects are involved. Artists of decorative and applied arts in their practice come to certain conclusions that help solve more competently the issues of coloring works of art...

So, a ray of light passed through a triangular glass prism is decomposed into its component colors. The colors of the linear spectrum: red, orange, yellow, green, blue, indigo, violet. If you add purple to the colors of the spectrum, a mixture of its extreme colors - red and violet, then you can close the linear spectrum into a color circle (see example 20). Using this color wheel, let's try to understand the patterns of color interaction.

Dividing the color wheel in half along the diameter of purple and green, we get a group of cold colors and a group of warm colors. Cold colors are usually called colors in which an admixture is felt blue color, and warm ones - an admixture of yellow. This definition is arbitrary, but when coloring and selecting paints it is of great importance. Many colors can be both cold and warm. This can be seen most clearly in the example of the color green: with an admixture of blue or blue it becomes bluish-green, i.e. cold, and with an admixture of yellow it becomes yellow-green, i.e. warm.

This example shows another interesting and useful property for the artist of colors adjacent to each other. color wheel. As is known from practice, when mixing them, more saturated tones are obtained. Conversely, the further the colors are separated from each other, the less saturated their mixtures are.

In addition, colors existing in nature and used in artistic practice are divided into two large groups- achromatic and chromatic (from Greek word“chromo” - color.) (See examples 21,22).

The group of achromatic colors includes white, black and intermediate pure gray colors, i.e. such grays that do not have any shade, any admixture (even the smallest) of any other color. Achromatic colors are distinguished from each other only by lightness. The group of chromatic colors includes all the colors of the spectrum, as well as colors that are not in the spectrum - brown, golden, terracotta, tobacco, etc. Any color in this group has three main characteristics: hue, lightness and saturation, each of which has its own parameters, for example, the color tone is determined by the wavelength. In artistic practice, other definitions of color are predominantly used, for example terms such as simplicity or openness, as well as color complexity. An open or simple color approximates the brightness and purity of color tone of a spectral color.

The nature of the color is associated with the content and general design of the works, with the era, style, and individuality of the master. Historically, two color trends have developed. The first is associated with the use of a system of more or less quantitatively limited local colors<#"justify">painted batik fabric

Conclusion

I fulfilled my goal - I got acquainted with batik. Working on this topic expanded my knowledge about world artistic culture; I understood from the history of batik how far this art form has already passed.

I had the opportunity to do creative work using a technique that inspired me. The knowledge, skills and abilities that I acquired while working on the project will help me on my creative path.

Batik combines the features and artistic techniques of many fine arts, such as graphics, watercolor, stained glass, pastel, and mosaic.

It is surprising that the art of painting fabrics, which is so popular these days, originated over two thousand years ago. Now batik is just gaining momentum. Due to its versatility, it becomes accessible to many modern people.

Modern batik, although preserving traditions, carries a linear image of leaves, flowers and birds. Such batik usually depends on the will of the designer, and not methodological recommendations for traditional batik artists. This is also noticeable in the color scheme used by modern designers. Craftsmen no longer depend on traditional paints, because chemical paints can give any color and shade that they need.

Fashion designers boldly introduced batik on the world's fashion catwalks. They have done a lot to promote batik in its traditional and modern forms.

While the process of developing batik has been maintained for a hundred years, the methods are still progressing, as shown in recent decades. Traditionally, the batik sold was 2.25 m in length and was used to make traditional clothes like kein, panjan and sarong. Currently, batik is used not only in the production of clothing, but also in the manufacture of furniture upholstery, canvas panels for walls, tablecloths and other interior accessories (see project 23-25). The batik technique is common among many famous artists making batik for home and offices.

Introduction:

Chapter I Brief information from the history of textile painting;

1.1 Development of the heel

1.2 Batik art

Chapter II Batik technology

2.1 Equipment, tools, materials

2.2 Basic methods of painting fabrics

2.2.1 Cold batik

2.2.2 Hot batik

2.2.3 Free painting

Chapter III Composition

3.1 Coloring

3.2 Spectrum Color circle

3.3 Additional colors

3.4 Color

Chapter IV Description of the creative part

4.1 Brief excursion to the Mayan world

4.1.1 Historical panorama

4.1.2 Gods, symbols and myths

4.1.3 Mayan art

4.1.4 Scientific knowledge

4.3 Sequence of work under the composition

Conclusion

Literature

INTRODUCTION

The topic of my thesis is “The Lost World of the Maya. Batik". In choosing the topic, I was guided by two motives.

Firstly, while getting acquainted with ancient civilizations, I discovered the amazing Mayan culture, which is a huge fusion of natural, ethnic, cult and aesthetic principles. The monuments of ancient art that have reached us (we can only guess about the semantic meaning of some) attract an original general solution, unusual types, bright decorativeness, and expressive plasticity. In modern art we observe the desire of artists to use the same principles in creating decorative compositions. The conventional language of sign systems and symbols is often found in various forms decorative arts: monumental, applied. Suffice it to recall Balchikonis’s compositions, made in batik style on the theme of “The Sun”. It seemed interesting to me to try to express my perception of Mayan culture in creative work through a system of cult signs and attributes.

Secondly, the batik technique, which fascinated me with its graphic and pictorial effects, was chosen as a method that allows me to most expressively realize my own idea.

Purpose of the work: to study material on a given technique, to deepen knowledge about decorative and applied art, systematize knowledge about fabric painting.

Main goals:

Collect text and illustrative material “The World of Myaia” and “Batik”;

Master the basic techniques of fabric painting;

Perform a creative composition.

Initial data: V.A. Baradulin "Fundamentals of artistic craft."

Work composition: The theoretical part is presented in the explanatory note, the practical part is presented in the appendices.

IN explanatory note included: introduction, four chapters, conclusion and references.

The first chapter covers the main types of painting and printed designs, and brief historical information about them.

The second chapter describes the technique of performing hand-made artistic painting.

First is a list necessary materials and tools. Among the methods of artistic processing of fabric, I choose cold and hot batik, free painting, because... It was initially assumed that these methods could be used in practical work.

In the third chapter I included recommendations from Baradulin and Tankus on composition and coloring when designing textiles. I find them useful and interesting for anyone starting to work with decorative textiles. The authors base their judgments on the practices that have developed in the work of folk craftsmen in lace making, carpet weaving, and patterned weaving.

In the fourth chapter, I base the practical part of my work: I attach a list of applications, the content of the creative composition with reference to information about the Mayan culture, which I relied on when making the panels. "The Lost World of the Mayans."

The novelty of the work lies in the presentation of one’s own version of a creative composition based on the book. “The Lost World of the Mayans” using batik technique.

Chapter I BRIEF INFORMATION FROM THE HISTORY OF FABRIC PAINTING

Hand-made artistic painting of fabrics is a unique type of design of textile products, rooted in ancient times. The first mentions of receiving colored decorative effects on fabrics are found already in Pliny’s Natural History. The most well-known methods for painting fabrics using various reserve compositions. The essence of these methods is that areas of fabric that are not subject to dyeing are coated with various resins or beeswax, the latter, being absorbed into the fabric, protect it from the effects of paint. The fabric prepared in this way is dipped into paint, then the reserve composition (reserve) is removed and as a result a white pattern is obtained on a painted background.

This method of decorating fabrics was known in Rus', Armenia, and Azerbaijan; in Indonesia it still exists. Chinese manuscript from the 8th century. tells us about painting fabrics using wax drawings.

All these methods are called batik. The origin and meaning of the word "batik" is unknown. In Java there is a common word “ambatik”, which translates as “engrave”, “write”, “draw”.

In addition to this method of applying a pattern to fabric, from time immemorial, printed patterns on fabrics have been known, obtained using carved boards, and now mesh templates - the so-called heelboards (from the word “stuff”, when a carved board moistened with paint was applied to the fabric, it was tapped with a wooden hammer to better print the design).

1.1. Development of printed heel.

The art of printed cloth was especially widely developed in Rus'. Russian printed cloth decorated peasant clothes, tablecloths, sundresses and shirts. The Historical Museum and the Museum of Folk Art (Moscow), the Hermitage and the Russian Museum (Leningrad), the museums of Ivanovo, Gorky, Yaroslavl, Zagorsk, Kostroma and other cities contain many beautiful examples of this type of folk art, dating from the 17th-19th centuries. There you can see fabrics, as well as the carved boards themselves from which the drawings were printed.

Both described methods of decorating fabrics still exist.

The ancient Russian printed material was very close to batik in its technical techniques - a heated reserve (various mixtures of beeswax, resins and other components) was applied manually to the fabric using so-called kvachas (tampons), stamps or carved boards. After the reserve had hardened, the fabric was dipped into a vat, usually with blue dye - indigo. At the end of the dyeing process, the fabric was dried, the reserve was removed, after which a white pattern remained on the blue background. The vat in which the fabric was dyed was called a cube; hence this method received the name cube heel.

Bright red polka dots were often applied with oil paint. These fabrics were used mainly for sewing sundresses, and often men's clothing.

Later, at the end of the 17th century, they learned to perform the so-called white earth heel. In this case, the design was printed using carved boards on undyed fabric. The number of boards corresponded to the number of colors forming the design. The carved pattern on the boards was often complemented by metal inserts in the form of nails without heads, which printed “small peas,” or metal strips, curved according to the pattern, with the help of which the pattern was enriched with a subtle contour pattern, giving grace to the fabric.

Canvases decorated in the manner described above were used not only in costume, but also in the interior.

At the end of the 19th - beginning of the 20th centuries. printed fabrics were produced in factories and were widely used not only in rural, but also in urban interiors. The drawings have become more varied and richer in color. The magnificent Ivanovo and Kostroma prints gained fame.

Over the course of the centuries-long development of printed matter, master draftsmen and engravers selected and polished patterns, the main decorative motifs of which were flowers and leaves. In each plant, these craftsmen were able to find the main decorative characteristic, draw and color the pattern in such a way that it merged with the fabric without destroying its plane.

Decorative prints often contained images of scenes of rural and city life, birds and animals. The skill of the draftsmen and engravers is amazing, as they created decorative compositions that were unusually harmonious and rhythmic, where even the background between the elements of the ornament was perceived as a pattern. Therefore, we strongly recommend studying

ancient samples of printed material, without understanding the decorative patterns of which, it is essentially impossible to master the art of decorating fabrics.

1.2. The art of batik.

In our country, artistic painting of fabrics has existed since about the 30s. XX century and during its existence has received widespread development and recognition. Artistic painting methods are used mainly to decorate items that complement a suit (headscarves, neckerchiefs, kerchiefs, scarves, ties), as well as coupons for women's and children's dresses, items for interior decoration - curtains (large and small), tablecloths, napkins, etc. .

While studying artistic painting fabrics, it must be remembered that this is one of the types of decorative and applied art, therefore teaching should not be limited to the development of technical techniques, the study of the subject should contribute to the development of taste.

Like all types of decorative and applied art, textiles have their own principles for the design of products, which are determined by the place of this art in human life, a certain range of artistic tasks, means and techniques that enable the artist to most fully express his idea in a thing for a specific purpose, to reveal the beauty and properties of the material.

The basic principle of textile design can be called the principle of a generalized solution of the ornament and its individual visual elements. A scarf or scarf, tied on the head, around the neck or draped over the shoulders, neither by its compositional division, nor by the interpretation of the design, should not violate the natural roundness of the head or the smooth lines of the neck and shoulders; in addition, the fabric can gather in folds, and the elements of the ornament are often not may be preserved in their original form. Thus, the passion for conveying space contradicts the tasks of creating a composition on a plane. An equally incorrect technique would be an illusory image of embroidery, weaving, or wood carving patterns on light transparent fabric, where the desire to convey the interweaving of threads and convexities of seams or the volume of wooden carvings is clearly visible. It will always look like a cheap and unnecessary fake.

In different countries, the technique of batik, or applying a design to fabric, has its own characteristics, but in any case they use water and wax.

Areas of fabric coated with wax do not absorb paint. Wax is also combined with rice paste and clay. They are applied manually, using cone-shaped paper bags, by chanting, and to repeat the design, wooden or copper stamps, stencils made of wood or high-quality paper are used.

The concept of "batik" first appears in Dutch texts of the 17th century. The Javanese call batik "ambatik", which means drawing and writing. Although artistic images from India show clothing with designs reminiscent of batik painting, no early examples of such fabrics have been found. The oldest examples were found in Egypt, they date back to the 5th century AD.

The art of batik is very ancient. The earliest references to the use of textile dyes can be found in Chinese texts dating back to around 2500 BC. BC. The invention of silk is also attributed to the Chinese (although it is believed that as early as the 1st millennium BC it could well have been produced in India). But the fact that batik was used in China during the Sui dynasties (710-794) is absolutely known. In any case, history firmly connects this art with China, because it was from there that it spread throughout the world - along with silk. Delicate, light material was then worth its weight in gold and was exported from China to Japan, Central Asia, and from there to the Middle East and India. That is why this trade route was called the Great Silk Road.

In Indonesia, in some areas of Central Java and the surrounding islands, the oldest form of reservation has been preserved, which is still used to create special ceremonial fabric. The reserve here is specially prepared rice paste, which is applied using bamboo stick. The fabric is hand-spun only, the dye is prepared from the root of the Morinda citrifolia plant, dyeing occurs in several stages and lasts several days. After removing the paste, simple, mostly geometric, and less often figurative images remain.

Russian ethnographer Igor Kammadze, who studied the material and spiritual culture of Java, pays close attention to the art of batik: “For a long time, batik has become an integral part of the ritual of worship of gods, rajahs, etc., and each pattern is full of symbolism and endowed with magical powers. One of the significant symbols of Indonesian culture is the “kris” - the oldest weapon of the Javanese - it is also one of the most beloved and symbolic motifs depicted in batik. Unlike kris, batik making is an exclusively female craft.”

The symbolic meaning of batik is manifested in its traditional blue-brown color scheme, in the depiction of ancient ornamental motifs and, especially, in the fact that not a single ritual life cycle Can't do without kris and batik. “Kris, wrapped in fabric, embodies the unity of the cosmos in its entirety, while kris and batik separately are the embodiment of the male and female aspects of the universe.” The philosophical and symbolic correlation between objects of material culture and the spiritual life of the people has very ancient roots.

From the desire to reproduce the patterns he liked using his own technique, a typical Javanese device arose - tianting (janting) - a small copper vessel that is filled with molten wax and can be heated over a fire if the wax begins to harden. The vessel is equipped with a thin curved tube from which a thin stream of wax flows, and it is this device that allows you to apply fine strokes, lines and dots that make up the complex pattern - a characteristic feature of Indonesian batik. And hand-drawing turns simple fabric dyeing into a much-needed Everyday life, into a highly developed art.

The next prerequisite for the development of patterned fabric decoration was especially thin, smooth cotton imported from India. Only women in rich coastal cities and residents of crotons, the princely houses of patriarchal Java, could afford this expensive material.

Of the thousands of different ornaments passed down from generation to generation, many were prohibited for use by commoners at the end of the 18th century, and only members of the princely family and persons especially close to the Sultan were allowed to wear them. These were primarily traditional ritual, symbolic ornaments. Such ornaments included, for example, images of a mythical bird with an open webbed tail, a schematic image of an ancient sword, a spiral stripe, a tongue of flame complementing the spiral, strokes reminiscent of rain, a motif of an image of a sacred mountain on a white background. These prohibitions and regulations were strictly observed in the 18th century, and even today it is considered indecent for local residents to appear in the Jakarta craton wearing a forbidden (lorangan) pattern. The symbolic meaning of the patterns elevated and magically protected their wearers.

A true textile artist is deeply rooted in his own cultural tradition. In addition, batik practice required a lot of time, improving skills, creating a special atmosphere of spiritual harmony and concentration. All this led to the flowering of the art of batik.

When the British occupied Java in 1811, they decided to distribute English cotton calicoes throughout the South Asian region, but encountered an insurmountable obstacle, which was the quality of dyeing of local batiks. It was much higher than the European one; vegetable dyes did not fade when washed, as happened with chintz dyed with aniline. Thus, the local tradition strengthened its position, and perhaps it was this factor that influenced the further course of events.

Small traders supplied imported batik fabric to those willing to work and obtained dyes prepared using traditional technology. At the same time, the “monopoly” of women in batik is being destroyed. A transition is being made to the tjap - batik technique, i.e. applying a pattern with a copper stamp, and men employed in workshops take upon themselves the making of stamps. It was quite expensive and even risky. A new Indian or European pattern did not always immediately find its consumer, and the cost of producing a whole batch of identical batiks could lead to either unexpected wealth or complete ruin. Therefore, the workshops never switched entirely to the production of tjap - batik, continuing to paint the fabrics by hand. This ensured the preservation of the artistic skills of the performers, the richness of variations in ornamentation, the uniqueness and high quality of the products.

How did the history of dyeing technology develop in India, China and Japan?

In India in the Middle Ages, designs were applied to fabric in two ways - with brushes and using a wooden stamp. The first method was very labor-intensive and time-consuming. Well-known researchers of Indian weaving J. Irwin and P. Schwartz claim that “painting fabric with brushes was much closer to art than to craft.” Among the hand-made technologies, the technique of knot-dyed fabric, the so-called bandhana, is still widely used, in which the pattern appears to be made up of small uneven spots. Images of people wearing clothes decorated with such dotted patterns can be seen in sculptures, reliefs and frescoes of ancient Hindu temples.

Another ancient technology is common in Gujarat. The fabric is twisted into a rope and tightly wrapped around the places where the stripes should be, then the fabric is immersed in paint. After untying, unpainted material remains at the place of the lay. This technique is called lacheriya. It is similar to batik, but the reservation method is different.

The technology associated with batik is known as kalamkari and survives mainly in Coromandel and Tamil Nadu among artisans who make temple curtains, curtains, canopies, often including mythological scenes and even portraits for local clients. It is clear that such technology does not produce a large number of products and cannot satisfy wide demand. And such a demand appeared in India in the 17th century, in connection with its colonization by the British.

The spread of the method of heeling, or stuffing, was an important improvement. Indian calicoes (Dutch chintz from Hindi "chhint") enjoyed enormous popularity in India itself and beyond its borders, especially in Europe in the 17th-18th centuries. For Moliere's Jourdain, acquiring a chintz robe meant joining aristocratic society. Europe was so captivated by Indian calicoes that it quickly adopted the technology of their manufacture. We can conclude that it was European demand that gave rise to the development of Indian printed cloth, which completely supplanted hand-made fabric production in India. Printed fabrics are mentioned in works fiction and the memories of travelers of the first decades of the 16th century as an already widespread type of textile products. Modern research is finding evidence from earlier and earlier periods of how highly advanced textile production and technology were in medieval India and China.

China gave the world such a wonderful material as silk. The technique of decorating silk fabric by printing in China was called zhangjie. This can be translated as paint patterns, an ornament obtained by immersion in a coloring liquid. Many written sources say that Zhangjie fabric was widely worn by both the nobility and the common people. During the Tang period, there were three different methods of applying paint patterns: wax, block and knot. Apparently, the most ancient and traditional of them is the lajie (wax patterns) method. Most often, two-color painting was used. The few samples that have come down to us are painted in three colors. They were called sanbaojie. Ethnographic researchers believe that triple dyeing was a technical limit, since when a fourth layer is applied, the fabric becomes almost black. The above method can be safely called batik. Only this is batik on silk.

In Japan, fabric decoration technologies developed in their own special way. Like many other things, this was due to its geographical isolation, self-sufficiency and cultural identity. It is believed that painting on fabric of the world culture called batik was brought to Japan from India or China. In Japanese it was called roketi and was used to decorate fabric for screens and clothing. The 8th century was the golden age of artistic weaving in Japan. At this time, many types of fabric already existed; In addition to batik, embroidery and wax print - surimon, as well as the techniques of koketi (stencil patterns) and yukhata, reminiscent of Indian laheriya, are developing. Since the 10th and 11th centuries, Japanese costume has become more luxurious than ever. The pursuit of complexity in attire gave rise to the art of alternating the colors of folds and garments and carefully placing patterns that should not be lost in the folds. Drawings obtained using the stencil technique are replaced by graduated hand painting. Over the centuries, preferences change: for example, in the 13th century, ornamentation with coats of arms came into fashion, and at the end of the 16th century, the significance of the plot pattern was fully appreciated, and entire paintings were transferred to the fabric for kimonos and screens. The technique of printed drawing continues to develop, and at the end of the 17th century - the Yuzen technique, developed by Miyazani Yuzen - drawing using rice paste! The question arises: did the Dutch bring this technology from Java? After all, it was in trade with Japan that the Netherlands achieved an almost monopoly position. At the beginning of the 19th century, the production of fabrics and patterns reached great perfection, but creativity in ornamentation began to be replaced by stamping, as happened much earlier in India and China, where connections with Europe were established from ancient times along the Silk Road, and then in the process of colonization.

Particularly noteworthy is the “European” factor in the development of tissue technologies. Many civilizational and cultural processes are associated with the penetration of Europeans (mainly the Dutch and English) into India and Indonesia. These include the development of weaving and dyeing production in connection with expanding demand, the spread of technology, the interpenetration of Eastern and European aesthetics in ornamentalism, its enrichment and at the same time some simplification necessary for widespread production.

From the middle of the 19th century, the Dutch, having lost their influence on the European market, developed entrepreneurial activity in Java. Entire manufactories for the production of batik were opened, the owners of which felt the spirit of the times, knew the prevailing trends and knew how to please the most demanding taste. But at this time, the English cotton industry, based on the high technology of calico printing, finally overtook the Dutch one, and the batik method moved into the sphere of handicraft and small-scale production. It is mainly the Germans who are interested in it, to whom we should be grateful for preserving batik as a technology in Europe and who today produce high-quality accessories for professionals and do everything possible to widely popularize batik among amateurs.

In Russia, batik appeared around the 20s along with the general passion for the Art Nouveau style and developed mainly in such large cities as Moscow, Leningrad, Ivanovo, Kyiv, Odessa, Tbilisi. Russian artists adopted European technique and style, but did not know the origins and, naturally, did not rely on any tradition. The lack of technologically developed and proven techniques, lack of experience and misunderstood functionality led to significant fluctuations in the artistic level of the products. Artists united in artels and were engaged in the production of scarves and shawls; very rarely we received a large order - theater and stage curtains or curtains for cafes.

On the one hand, the fashion of the NEP times led to significant demand, which means constant orders for luxurious silk shawls with exquisite whimsical patterns in oriental style, dresses with an asymmetrical pattern, which spurred the imagination and fantasy of artists who mastered the technique of hand-painting fabric. Over time, the passion for painted hats faded away and was declared bourgeois, “not in keeping with the image of a Soviet woman.”

On the other hand, in the works of the workshop of N. Lamanova, theater artists E.E. Lanceray, M.V. Libakova, A.G. Tyshlera, V.A. Shchuko clearly demonstrated revolutionary constructivism. Constructivism determined the form, and the political situation dictated the subjects, including in the fabrics of that time. There was a great need for flags and pennants; the new theme gave rise to many ornaments with Soviet symbols; theater curtains painted with hammers and sickles accompanied any propaganda team. It’s hard to figure out now where the natural batik was and where the oil stencil was. Unique works found their owners, leaving no documentary traces in Russian art history.

In the 30s, the practice of batik was noticed and supported at the government level: several manuals on technology were published, several artels were organized, which later turned into factories. “Vsekohudozhnik”, the Moscow Association of Artists, the Leningrad Association of Artists and others raised a whole generation of batic artists. But historical and economic conditions, the general “levelling” did not contribute to the development of highly artistic batik and its inherent individual taste. And only in the 50s, after the release of the party resolution “On the general improvement of the quality and artistic level of textile and light industry products,” the situation changed radically. A motto arose - the slogan: “Every Soviet woman has a beautiful scarf.” A workshop was organized at the NIIHP, several haberdashery factories in Moscow and Leningrad, where already famous artists were invited to work and apprentices were recruited - painters.

Thanks to the research of S. Temerin in the 50s, the names of such artists as A. Alekseeva, T. Aleksakhina, N. Vakhmistrov, K. Malinovskaya, S. Margolina, I. Inozemtsev and others remained known in the field of batik. the origins of the development of batik in our country. While working at the NIIHP, they created the first compositions in batik, which were based on a strictly classical understanding of geometric and floral patterns and served as models for the production of scarves; the first narrative panels on the themes “Moscow”, “Labor”, “Spring”. At first, the activities of artists were mainly subordinated to the production of scarves. But over time, the need for large panels for the decoration of cafes, cinema foyers, concert halls and theater stages increasingly appeared.

Unlike most other artistic crafts, there are no firmly established traditions and direct successive ties with peasant household art or with any specific artistic craft in Russia.

Modern techniques for painting fabric are very diverse. Batik has incorporated the features and artistic techniques of many fine arts - watercolors, pastels, graphics, stained glass, mosaics. A significant simplification of painting techniques compared to traditional techniques and a variety of special tools allows you to paint various details of clothing, interior items, and paintings on silk, even for those who have never worked on fabric design before.

Today batik in Russia is at a high professional level, with a clearly individual technical and artistic approach, which is reflected in regular exhibitions of this type of art, where Moscow artists are rightfully trendsetters.

Nowadays, batik occupies a leading place among the decorative arts. It combines the features of such traditional art technician like watercolor, graphics, stained glass, mosaic. Batik is widely used in interior design, combining perfectly with various stylistic and color schemes. Batik allows you to create exclusive fabrics that are in demand both by high fashion masters and by fashion designers who create more affordable clothing.

Although modern batik retains the patterns and designs of traditional Hawaiian art, it carries linear images of leaves, flowers and birds. Such batik usually depends on the will of the artist, and not on methodological recommendations. This is also noticeable in the range of colors used by modern craftsmen, who no longer depend on traditional, hand-made paints, because chemical dyes can give any color and shade that they need.

In Java, the oldest form of reservation has still been preserved, which is still used to create special ceremonial fabric. The reserve here is specially prepared rice paste, which is applied using a bamboo stick. The fabric is hand-spun only, the dye is prepared from the root of the Morinda citrifolia plant, dyeing occurs in several stages and lasts several days. After removing the paste, simple, mostly geometric, and less often figurative images remain.

Designers from the fashion world boldly presented hand-painted products to the audience. They have done a lot to promote Indonesian batik in its traditional and modern forms.

Traditionally, the batik sold was 2.25 m in length and was used to make traditional clothes like kein, panjan and sarong. A sarong is a rectangular piece of printed cotton fabric that is traditionally worn wrapped around the body. Today, very interesting clothes are created from it in the form of scarves, shawls, dresses and skirts, surprising in shape and style.

Currently, batik is used not only in the production of clothing, but also in the manufacture of furniture upholstery, heavy canvas wall panels, tablecloths and other interior accessories. The batik technique is common among many famous artists making batik for home and offices.

Hot batik is a very painstaking work that requires care and attention. But today, learning this art has become accessible thanks to master classes and video tutorials, which can easily be found on specialized handicraft websites.

High quality fabric painting is very expensive, and its production is very limited. However, in the world of machine technology, interest in handmade materials is growing.

One of the memorable qualities of this Indonesian art form is the style, decoration and color that has been incorporated into the cultures of many other countries. Tracing the history of this country, one can notice that contacts with foreign traders or colonial rulers influenced the history of textile painting and the technology of its creation.

In some countries, batik developed intensively and therefore became a national art, while in others it only retained the status of an ancient craft. IN Lately consumers increasingly understand the value self made. Fashion shows, seminars, exhibitions and conferences dedicated to this technique are held. The purpose of such meetings is to develop this ancient look art around the world and present new techniques to batik lovers, discover new talented artists and talk about the use of batik in everyday life.

In addition, batik has long been recognized as a very useful hobby: it is not just interesting, batik develops creative skills in children and people with disabilities. Therefore, batik is increasingly attracting people from such professions as teachers, artists and designers.

In Asian countries, batik is traditional clothing. It is worn on all special occasions, be it a wedding or a birthday. Nowadays batik in these countries is worn by older people, and young people are also getting involved. In Russia, batik is currently used only as accessories or paintings. However, trends from Europe and Asia are slowly being adopted in our country, and batik is becoming a pleasant addition at fashion shows.

At the moment, many people are wearing batik work. It's good that batik is becoming popular again, but the problem is who helps this art form develop. This is not the people of Indonesia or the government, this is the work of the Malays. Nowadays, Malays wear clothes created using the batik technique, in addition, all the shops and warehouses are filled with batik. Batik is widespread not only in Indonesia, but also abroad. However, such batik, purchased on the Malaysian market, is inferior in quality to the original, “piece” product.

“Hot batik” is mainly used to create custom panels and has unlimited pictorial and textural possibilities. Batik is cultural heritage, which the people of Indonesia and Malaysia have preserved for hundreds of years. There was an active struggle between these countries for the right to be considered the favorite in this art form.

Harper Bazaar Magazine shows that Indonesia dominates the world of batik development. Indonesians wear batik because it is breathable. Recently, you can notice an interesting trend: Indonesians have begun to support their products - first music, then films, and now batik.

If speak about latest news in the fashion world, it should be mentioned that Adidas has released a limited edition of clothing and accessories made using the batik technique. The collection was a great success and found its buyers.

There is a so-called “experimental” hot batik that includes a number of techniques:

Roller painting with molten wax;

- “Stamp” with molten wax;

- “Pouring” with molten wax;

- “Shibori.”

These techniques allow you to create unforgettable abstract compositions, especially when creating utilitarian products, designer fabrics, scarves, shawls, bed sheets, curtains.

Artists working in the hot batik technique.

A modern artist, using the language of artistic material, creates his own new forms filled with meaning. The works we see make us think and create our own works.

If earlier artists adhered to established traditional themes, then modern designers are trying to get away from stereotypes and create something completely new, thus, new technologies appear in this form of art.

The works of contemporary artists are works of art that can be seen at exhibitions and in art galleries. Exhibition activities are a kind of creative laboratory for the artist. It is associated with the search for new artistic ideas, a new plastic language with which the artist expresses his thoughts, feelings, ideas about beauty, and his attitude to the world.

Considering the work of artists, we divided them into two groups: Western and Russian.

1. Western artists:

– Sue Drown is a talented artist and batik teacher for 16 years. The story of her career is very interesting. She was an art therapist working with handicapped people at Laconia State School in New Hampshire. After receiving her master's degree in Art Therapy, she worked in children's and family psychologist to Combat Domestic Violence in Long Island. When her son was born, Sue and her husband moved to Maine, where they took up batik seriously. She decided to get a part-time job at school, and in her free time she was designing a clothing collection called “Alexander's Rags.” After several years of work, she began to bring her ideas to life, the collection was called “Sunfire batik.” Batik became very popular with her. popular. In particular, everyone liked the nature motifs and drawings for children.

– For many centuries, when making batik, craftsmen gave preference to beeswax, waxes of plant and animal origin, and only relatively recently began to use paraffin. All these compounds are easily removed from cotton fabric by boiling, but from silk dyed with acid dye, they can only be removed by dry dry cleaning using tetrachlorethylene - toxic substance, the use of which is strictly regulated by the Protection Agency environment USA. It is very likely that in the future the use of tetrachlorethylene will be banned and batik makers will either have to find another way to remove wax from silk or use an alternative material for backing. Artist Dorothy Bowen has been using soy wax for booking since 2002. This method has many advantages: the fumes are non-toxic, the melting point is lower and the wax is washed off from the fabric with warm water and synthrapol ( detergent). Soy wax may in the future become an alternative material for backing, however, it is not recommended for use when dyeing fabrics using the immersion method. Dorothy Bowen has written an excellent paper on formulations in which batik artists can use soy wax, which has unique properties, thereby protecting yourself from the harmful effects of paraffin and tetrachlorethylene vapors.

– We can highlight the works of an interesting contemporary artist from San Diego, Fox Baby. She created a new and rather original batik technique - “pancake batter batik”. She took flour as a basis, although this cannot be considered a new method, since African tribes used exactly this technique. But that's where the similarities end. It takes a lot of time to create and bind individual elements of the work; in addition, special office seals were used. Lisa creates amazing works of contemporary art, her works live a separate life.

– Susan Itkin is an artist who creates paintings and decorative elements using the batik technique. She has an amazing store that sells clothes decorated with batik techniques. According to her, each batik painting is unique, like a person's fingerprint or the shape of a tree leaf. Each time the paint can be applied differently, the final result is unexpected even for the artist himself. Susan lives in northern New Jersey with her husband and two children. She has been selling her work in New York since 2003. Most recently, her work was exhibited at the Belskie Museum of Art and Science in New Jersey.

– Khalid Shamsuddin Arshad began painting fabrics at the age of 19. He became interested in batik as an art form and never stopped practicing the craft. Even then he knew that batik was his future. In his twenties, Khalid became a batik designer, known for his style of hand-painted pareos. In 1988, batik began to grow in popularity in the country. Khalid and his wife opened a second and third boutique, this time in the capital Kuala Lumpur. Unfortunately, in 1993, batik production suffered a significant decline. One of the reasons was that Korean silk was of great interest in the fashion industry at that time. As a result, Khalid had to close his business in Kuala Lumpur. In 2003, the batik industry began to recover and the Malaysian Batik in the World Industry exhibition was held. Khalid benefited from his participation in batik events. Around the same time, some of the pareos he painted were worn by finalists in the Miss England competition in Leicester. These latest achievements have brought Khalid worldwide recognition of his talent.

2. Russian artists.

– Ksenia Efimova. Born March 4, 1982. She graduated from the Art and Industrial School (1998), the Academy of Architecture and Art with a degree in decorative and applied arts (2005), and the International School of Design (2008). Works as an interior designer and fabric painting artist.

- Irina Minaeva. Born in 1975. In 1997 she graduated from the South Ukrainian State Pedagogical University (Odessa). Main directions in creativity: graphics, batik. Since 2008, member of the International Batik Guild. Lately I've become interested in photography. The artist’s paintings are in private collections in Ukraine.

- Nikitina Galina Vladimirovna. Born in the city of Ufa. In 1979 she graduated from art. school, in 1982 art school in the class “lacquer miniature”. From 1987 to 1993 she studied at the Gorky Ural State University at the Faculty of Art History. Since 2008, he has been a member of the Moscow Union of Artists (section of decorative arts). All works are performed at a high technical level and have a unique color scheme; some of the works are in private collections in Russia, Canada, and Germany. Regular participant of exhibitions in Moscow.

– Samarinkina Alisa Valerievna. Born in 1977. Works in batik and ceramics techniques. In 1993, she entered the Samara Art School named after. Petrova-Vodkina. Since 1996, participant of all regional exhibitions. In 1998 - graduated from training. 2001 - worked in the creative group at ETPC (Experimental Creative Plant named after Vorontsovo). 2005 - graduated from Samara State University, Faculty of Fine Arts and DPI. Participant in many national and international exhibitions. Member of the Union of Designers and the Union of Artists of Russia, the international association AIAP UNESCO. Awarded a diploma from the Academy of Arts Russian Federation, medal-order of the second degree for services to the Fatherland.

Having studied the historical, cultural, artistic and expressive features of fabric painting, we focused on the picturesqueness of the hot batik technique, the nature of the expressive features and brightness of color, and the elegance of the work as a whole. We took these features, which will highlight the advantages of the product, as the basis for solving the design problem.

DPI

Arts and crafts (from Latin decoro - decorate) - a section of decorative art, covering the creation of artistic products that have utilitarian and non-utilitarian purposes.

Works of decorative and applied art meet several requirements: they have aesthetic quality; designed for artistic effect; used for home and interior decoration. Such products are: clothing, dress and decorative fabrics, carpets, furniture, art glass, porcelain, earthenware, jewelry and other artistic products. In the scientific literature, from the second half of the 19th century, a classification of branches of decorative and applied art was established by material (metal, ceramics, textiles, wood), by technique (carving, painting, embroidery, printed material, casting, embossing, intarsia, etc.) and according to the functional characteristics of the use of the item (furniture, dishes, toys). This classification is due to the important role of the constructive and technological principle in the decorative and applied arts and its direct connection with production.

One of the types of DPI is batik.

Batik

Batik - hand painting on fabric using reserve compounds.

On fabric - silk, cotton, wool, synthetics - paint corresponding to the fabric is applied. To obtain clear boundaries at the junction of paints, a special fixative is used, called reserve (reserve composition, paraffin-based, gasoline-based, water-based - depending on the chosen technique, fabric and paints). painting batik has long been known among the peoples of Indonesia, India, etc. In Europe - since the 20th century.

Origin

Batik - batik is an Indonesian word. Translated from Indonesian it means “drop of wax”. Membatik - to draw, to cover with drops, to hatch. The batik technique is based on the fact that paraffin, rubber glue, as well as some other resins and varnishes, when applied to the fabric, do not allow paint to pass through - or, as artists say, they “reserve” certain areas of the fabric from painting.

Geographical range

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