-
The Equipment of Batik Canting Process
1. The Equipment of Batik Canting Process
From time to time the process of making batik traditionally
hasnt changed much up to now. Looking at the forms and functions of
batik equipments are very
traditional and unique, suitable with the ways which are still
traditional. The traditional batik equipment is a part of the
traditional batik itself, because if the change
is done by using modern machines, it will change the name of
traditional batik into batik motive cloth. It shows that the way to
make batik has a special
characteristic with the result of the traditional batik art. If
we see from the time and amounts produced, they are quite limited
and the art creation from the canting
drawing onto mori cloth which will produce the relatively
expensive and valuable batik art.
A. Bandul
Bandul is made from tin, or wood, or stone which is put in a
pocket. the main function of bandul is to hold back the white cloth
(mori) in which
batik is being made in order not to move blown by the wind, or
the pulling of batik maker by accident. But without bandul, the
making of batik
can be done.
C. Dingklik
Dingklik is the seat of batik maker,the height is adjusted with
the height of person sitting when making batik.
D. Gawangan
Gawangan is made from wood or bamboo which is movable and
strong. The function is to hang
and spread out the mori cloth when batik will be made by using
canting.
Ba tik - Th e Equ ipm en t of Ba t ik Ca n tin g Pr ocess
ok
Home
About Us
Contact
Categories
Description
-
E. Wajan
Wajan (frying pan) the equipment to melt malam (candle to make
batik). Wajan is made from steel or loam. Its better
to have a handle in order to be easy to lift up or get down from
the fire without using another equipment. Therefore wajan
that is made from loam is better than that of from metal because
the handle is not hot easily. But wajan from the loam is
slower to heat malam.
F. Anglo (STOVE)
Anglo is made from the loam, or another material. Anglo is fire
equipment to melt malam. Stove is made from iron in which the wick
is
given. If using anglo,so the material to make the fire is
charcoal from wood. If using fire wood, anglo is changed with keren
: this keren is
much used in the villages. Basically keren is the same with
anglo, but it doesnt have the upper layer.
G. Tepas (FAN)
Tepas is not used if the fire uses a stove. Tepas is a tool to
make the fire bigger depending on the need ; and is
made from bamboo. Besides tepas, ilir is also used. Basically
tepas and ilir are the same, only the form is
different. Tepas form is square and pointed at one of the width
and the handle is at the pointed part.
H. Taplak(TABLE CLOTH)
Its function is to cover and protect the batik makers tigh from
the drop of malam (candle) from canting.
I. Kemplongan
Kemplongan is a tool made from wood of which form is like table
and hammer and its used to soften the mori cloth before its
given
batik motive pattern and made.
J. Canting
Canting is a tool to draw or paint with malam candle drawing
onto the mori. Canting determines the
name of batik that will be produced to become drawing batik.
This tool is made from the mixture of
copper and wood or bamboo which is flexible and light.
Canting Can Be Differentiated Into Some Kinds :
a. According to the function
- Canting Reng-rengan
Canting reng-rengan is used to make batik reng-rengan.
Reng-rengan (ngengrengan) is first drawing according to the pattern
before its done further. The person
who makes batik reng-rengan is called ngengreng. The pattern is
the drawing which is used as a model sample. Reng-rengan means
framework. Usually canting
reng-rengan is used especially to make its pattern framework,
while isen or the content of the part in which batik is made uses
canting isen according to the content
of the part wanted. Batik from the result of taking the sample
from the batik pattern framework or together with the content is
called Polan. Canting reng-rengan
has a singular and middle tip.
-.Canting Isen
Canting isen is canting to make the content, or to fill polan.
Canting isen has either singular or double small tip.
b. According to how big is the tip
Canting can be differentiated into :
-
- Small canting carat (tip)
- Middle canting carat
- Big canting carat
c. According to the number of carat (tip)
Canting can be differentiated into :
- Canting cecekan.
Canting cecekan has one tip, small, and is used to make small
dots (Javanese : cecek). A person who makes dots by using canting
cecekan is
called nyeceki. Besides to make small dots for the content,
canting cecekan is also used to make small lines.
- Canting loron.
Loron derives from the word loro which means two. This canting
has double tips, up and down to make double lines.
- Canting telon
- Canting prapatan
Prapatan is from the word four. So this canting has four tips,
used for making four dots forming a square as a content.
- Canting liman
Liman means five. This canting has five tips to make a small
rectangle which is made from four lines and one dot in the
middle.
-. Canting byok
Canting byok is canting that has seven tips or more, used for
forming a small circle containing dots ; a dot or more, according
to the amounts of the tips, or how
small or big the circle is. Canting byok usually has odd tips.
-Canting renteng or galaran
Galaran derives from the word galar, a bed made from bamboo
which is formed horizontal. Renteng is a set of things in lines ;
the way to arrange is by pricking.
Canting galaran or renteng always has even tips ; four tips or
more : maximally six tips, arranged from the bottom and up. Telon
is from the word three. It has
three tips with the form triangle. If canting telon is used for
making batik, so it will be seen triangle which is formed from
three dots as a content.
The Pictures of Canting Form
-
2. MORI CLOTHI
Mori is the main material of batik from cotton. The qualities of
mori are various, and the kinds will determine the result of batik
painting. Because the need of mori
from some cloth is not the same, the following information might
be useful :
1.The size of mori
Mori which is needed is related to the length of cloth wanted.
There is also a certain need like udheng or head cover. Udhengs
size can be more or less than the
need ; therefore it cannot be used suitable with the common use.
But cloths size is not certain. If short, it will influence the
perfection of its usage ; if its longer, it
will add the perfection in the usage.
The way to measure is only to hold both corners of mori on the
wide side and attach one of the corner to the length
side across the width of mori. If you will take some kacu , so
hold the corner of mori by using right and left hand by
turns, attach the same length side by folding the mori.
2. The need of mori
Dodot cloth (batik wraparound worn by courtiers and bridegrooms)
needs 7 kacu of mori. Dodot cloth is usually used
by the Royal family or the classic dancers. But because the
price is expensive, so the function of dodot cloth is
replaced with the common and long cloth. The side cloth needs 2
or 2,5 kacu, according to the desire or the size of
the user. Udheng needs one kacu of mori. There are two kinds of
udheng; udheng lembaran ( head cover cloth in
sheet form) and udheng jadi ( finished head cover). The finished
head cover (udheng jadi) is already formed, so
the person uses it directly. Actually it just needs a half kacu
of cloth, and cuts it diagonally.
While udheng lembaran ( head cover in a sheet form) is formed
when using it on the head of the user. After he
-
finishes, it is taken off again. The last udheng needs one kacu
of mori ; but practically it can be just a half kacu, another half
is
folded inside only as a thickness. Therefore udheng lembarans
batik can be made based on two kinds of batik motive with one
of
the edges is diagonal. In term of udheng , the user is free to
choose which motives will be put outside.
3. Processing mori before being made into batik
Before being made into batik, mori has to be processed first.
The good
processing will determine the good cloth. The processing of mori
is as follow :
Mori that has been cut is folded. Folded here means sewn at the
cutting in order
that pakan thread doesnt lose. Benang pakan (pakan thread) is
thread that
crosses on the weaving. After being folded , then it is washed
with water until
clean. If mori is dirty, so the dirt will retain the absorption
of candle liquid (malam
material to make batik) and retain the colour liquid in the
process of washing. In
Yogyakarta and Surakarta mori is sun-dried until its dry after
being washed. But
in Blora (Central Java), after being washed, then mori is
boiled.
After wantu is hot, clean mori is put
inside. The way to put mori inside
wantu, starts from the edge up to the
end in order. The boiling takes a few
minutes. Then mori is lifted and washed
to release the dirt when it is boiled.
After being washed, then it needs to be
dried. Mori gets soft; then it is hardened
with kanji. The material of kanji is from
rice. In Blora, any rice is used as long as
it is white. Rice is put in the water for a
few minutes ; then rice together with its
water are boiled. Its water is taken and
called tajin. The dry mori is put inside
tajin all over ; without being pressed, it
is directly dried, and finally becomes stiff.
After mori is damp, then it is hit on the certain place with a
certain way , in order that the thread becomes loose and limp, so
the candle liquid can be absorbed.
The hitting is called dikemplong.
-
After being hit (dikemplong), we can determine the batik motive
wanted. If we want parang-parangan motive, or another
motive that needs a certain shape, so lines must be made on mori
first. The function of puting lines is to determine the
motive place in order to be tidy. An expert batik maker doesnt
use the lining. The small or big of the line isnt same,
depending on the batik motive planning. Usually the wood ruler
shapes rectangle.
The way to move the wood ruler after the first to the second
line is by turning around, without
lifting it. So the width of the space between the lines is
determined by the amounts of the wood
ruler turning. Mori in which semen motive batik will be made,
doesnt needs to be lined, directly
doubled with the pattern on the mori face vice versa. After all
finish, so the batik making process can be started.
3. CANDLE (MALAM)
Candle or malam is the material used to make batik. Actually
malam isnt used up (lost), because finally it will taken back in
the washing process,the making
process till becoming batik cloth. In term of malam, it can be
explained as follows :
1. The Kinds of Malam and Its Mixture
Malam that is used for making batik has various types. The
quality affects on the absorption power, color that can affect mori
color , the
softnes of the liquid, etc.
Therefore, its prices are different one another. But in our
usage, it depends on the need.
The types of malam are :
Malam Tawon (bee) is malam that is taken from bee nest (tolo
tawon). Tolo tawon is separated from the eggs by boiling them.
Malam Klanceng is malam from the nest of Klanceng bee, and taken
by the same way above.
Malam Timur is the best malam. This type hasnt been known about
the material.
Malam Sedang(middle malam) the material and origin hasnt been
known.
Malam Putih (white malam) taken from latung oil made in
factory.
Malam Kuning (yellow malam) taken from latung oil made in
factory.
Malam Songkal taken from latung oil made in factory. Its color
is black and only for mixture.
Keplak is the mixture material.
Gandarukem is the mixture material.
2. The Mixing Way of Malam
The rule to mix malam is as follows:
White malam as many as 100 pieces of cent coins (cent money in
Dutch period) with black malam (sangkal) 50 pieces of
cent coins, and Malam Klanceng
50 pieces of cent coins. or Malam Timur 100 pieces of cent coins
with
malam from the used batik that has got wedelan as many as 50
pieces of cent coins, and malam klanceng 50 pieces of
cent coins.
-
4. THE BATIK PROCESS
Mori that has been hit (dikemplongi) and lined, if it will be
made in parang-parangan batik motive or the other motives which
need a certain shape and straight, it is
usually made without using the pattern (dirujak). The person who
makes this batikan is called ngrujak. She is already an expert. But
for the beginner or learner
usually just nerusi or ngisen-ngiseni (to continue or to fill).
While making batik by using pattern has been explained before. Both
making batik rujak and making
batik using the pattern are usually done by the experts, because
the beginning level is the determination how good the batik form as
the whole is.
1. The Preparation of Making Batik
a. Keren, or anglo (fire tool) and frying pan containing malam
must be prepared to start making batik. Malam must be in good
liquid. In order to get out
through canting tip well; besides that malam can be absorbed
well into mori. The fire in the anglo or keren should be kept
burning, but cannot flame, because
it is dangerous iflicking malam inside the frying pan.
b. Mori that has been prepared must be on gawangan near anglo or
keren. The maker sits between gawangan and keren or anglo. Gawangan
stands the left
side and keren on the right side of the maker. The person whose
job is making batik is called pengobeng.
c. After all are ready, the maker starts her work. First holding
canting. The way to hold canting is different from holding a pen,
or pencil to write. The
difference is caused by the top of canting tip has curve form
and big pipe, while pen or pencil are straight. Holding canting is
with top thumb, pointed finger,
and middle finger like holding a pencil to write, but the
canting handle is horizontal while pencil to write is leaning.That
position of canting like that is to keep
malam in the container not to be spilled.
d. With the canting, the maker (pengobeng) takes the boiling
malam in the frying pan, then making batik on the mori. Before it
is made, canting is blown first,
the way to blow also uses a certain rule, in order that malam
inside the container/nyamplungan not to be spilled on the makers
lips.
Canting which is blown is meant:
To return malam liquid back to the tip inside container
(nyamplungan), in order not to drop before the tip of canting is
attached on the mori.
To vanish malam liquid that wets the canting tip ; because the
canting tip that smeared with malam liquid will reduce the quality
of scratch, especially when
canting is first processed on the mori.
To control the canting tip from the possibility of being clogged
up by the dirt of malam. If it is clogged up, so the liquid inside
the container
(nyamplungan) doesnt sound, because the air cannot enter. So the
hole of the point tip is pricked using ijuk, or coconut coarse till
it enters
along the tip. Usually after being pricked, its blown again, or
directly made on the mori. The specialty of pricking is using the
left hand with
a certain way quickly.
Canting in a good condition is then, scratched on the mori. The
left hand is on the other side of mori, as a basis of mori that is
being
scratched by canting. If malam liquid inside the container is
used up, or doesnt run well, perhaps because of the coldness, so
malam should put back into the
frying pan ; canting is dipped up to malam liquid in the frying
pan. The return of
cold malam liquid doesnt have a big effect to malam in the
frying pan. It is done till the end, and includes covering the
certain parts with malam.(nemboki).
2. The Steps of Making Batik
The steps of making batik on the mori must be done step by step.
Each step can be done by different person but a piece of mori
cannot be done by different
person in the same time.
Those steps are:
Making the framework
Making the framework by using the pattern is called mola, while
without the pattern is called ngrujak. Mori in which batik is
already made in the form of
framework, either after using the pattern or ngrujak is called
batik kosongan, or klowongan. Canting that is used is middle tip
canting (canting cucuk
sedang), that is also called canting klowongan.
-
ngisen-iseni
Ngisen-iseni is from the word isi (content). So it means to give
content or to fill.Ngisen-iseni by using small tip canting is
also called canting isen which is various. But a piece of mori
doesnt always use all kinds of canting isen, but depending on
the motive that will be made. For instance it needs various
kinds of canting isen because of the variety. But making batik
must be one by one, and each part must be finished before
another part is done with another canting, for example nyeceki
(making motive consisting of dots), this part should be finished
all.
The activity of doing the parts has its own name ; the name is
based on the canting name used. The process of giving the
name is by changing the canting name into verb, while the result
of the work is taken from the name of canting used. The names are:
nyeceki, that is using
canting cecekan, the result is cecekan. Neloni is using canting
talon, the result is called telon. Mrapati is using canting
prapatan, etc. But using canting galaran
or canting renteng, is always called ngalari, and never called
ngrentengi; while the result is always called galaran, never
calledrentengan.
The way to use canting from one type to another has many
advantages. The first is canting can be used in turn for a group of
pengobeng (makers of
different work), they have different step of work. The second
advantage is to reduce the numbersof canting in the same type,
although the members of
makers are many. If twopersons want to use the same canting at
the same time, while there is only one canting, so one of them can
delay it and change
another work with differentcanting.Batik with complete content
is called reng-rengan. Because the name isreng-rengan so the maker
who makes since the
first time till the end is called ngengreng. Songengrengan is
the unity of motive from the whole wanted. Thats the first
finishing.
Nerusi
Nerusi is the second finishing. Batikan in the form of
ngengrengan is then, turned the surface, and made again on the
second surface. Making nerusi is making
batik which follows the first batikan motive on the track of
pricking. Nerusi is the same with mola and the first batikan
process functions as pattern. Its canting
is used the same with that of for ngengreng nerusi especially to
thicken the pricking of the first batikan making process and also
to clear the finish batikan at
this stage. It is still called ngengrengan. The maker
(pengobeng) who makes from the first till finishes nerusi is called
ngengreng.
Nembok
A batik is not all given color, or will be given various colors
at the finishing to be cloth. So, the parts that
will not be given color, or will be given color after other
parts must be covered with malam. The way to
cover it is the same with making batikan at other parts by using
canting tembokan. Canting tembokan
has a big tip.
The doer is called Nembok or Nemboki and the result is called
tembokan. The parts that will be
covered with malam usually among the main motives. Nembok
usually uses the low quality of malam.
Although malam is full with dirt, but canting that has big tip
doesnt have a problem. Besides that,
covered parts are big and thick enough, so the bad malam used to
cover can be overcome.
Basically, malam functions are toform motives, to cover the
stages of giving color into the cloth, in which
actually color is to form batik motive. Nembok is only in the
front face of mori.
Bliriki
Bliriki is to continue the covering (nemboki) so that the some
certain parts are really covered. Bliriki uses canting tembokan and
the way is the same as
nemboki.
If the last stage has finished, it means that the process
finishes as well. The result of bliriki is called blirikan, but it
is rarely called like that, usually called
tembokan. Actually making batik is called finish if the last
process finishes; or if the batik doesnt need covering, so batik
finishes before covering. Long time
ago in Surakarta, after the stages finish, batikan was dried
till malam almost melt.
Drying was meant in order that candle in mori wasnt easily lost.
Because malam (boiled) when it was used to make batik and stick
with cold mori would
freeze suddenly because of the quick process. The freezing of
malam like this is not good, because batikan is sometimes broken,
and malam is lost easily.
-
But if it is dried, the heating process will happen throughout,
and mori is
also heated. Mori that gets sunlight will expand and can absorb.
The
expanding process strengthen the sticking of malam that starts
to melt;
before it is melt, batikan should be lifted carefully in the
cool place. In
the cool place, batikan will freeze throughout.
This cooling process has an advantage, because between mori
and
malam strengthen the sticking each other. Then the batikan work
is done.
5. MBABAR
Mbabar is the finishing process from batikan to be cloth. After
batikan is really covered, we come to the next work, that is to
process it to be cloth. In some areas,
the way to do mbabar is basically the same.
The difference is only the comparison of the material used.
There is one area in which the comparison of the mixed material has
been
fixed suitable with the cloth wanted. But there is also an area
that doesnt use the fixed comparison and only uses estimation based
on
the experience. Besides that, the difference is also on the
duration needed for each mbabar stage. There are some persons using
the
certain duration, but some others only use the estimation. The
differences influence the quality of cloth produced by every area.
It is
possible because on the mbabar stage, there is a chemical
process; while time has a big effect on the chemical process. But
this
process hadnt been known deeply by the persons who did mbabar
long time ago.
1. The Material for Mbabar
Generally to process batikan to be cloth (mbabar), we use the
natural material with simple process. Indonesia is rich with the
natural
resources.
The materials for mbabar are :
a. NILA
Nila is from tarum plant. (Java tom). Since the ancient period,
tarum was used to make the clothes color. Nila was used to make
batikan with other
materials.
b. TEBU(sugar cane)
Sugar cane is taken from the sugar or its drops, for the
mixture.
c. ENJET(lime for chewing with betel leaves/ kapur sirih)
It is used for the mixture.
d. TAJIN
It is boiling water when cooking rice.
e. SOGA
Soga is the name of plant from papilionaceae family and has a
yellow color.
f. SAREN
Saren is from the word sari which means core or essence. In Java
there is a word saren which means the cow blood that is cut and
cooked. Here,
saren is a materialor mixture from several materials to dip
batikan after soga. And this stage is to releasemalam, or or get
close to the finishing.
-
2. The Process of Batikan into Cloth
This process is devided into several stages and must be finished
in order. If batikan has been covered completely, the work improves
to the first step of changing
batikan into cloth.
The steps are s follows:
A. Medel And Mbironi
The main material for medel is nila (tarum). First, prepare
water 24 pikul, one pikul is about 40 liters. A container is filled
with 21
pikul and another is empty. A container that contains water is
then given latak. Latak is the sediment of nila liquid. The amounts
of
latak are 3 pikul, steered in the morning and afternoon for 2 or
3 days. In the morning of the third or fourth day, if the condition
of
latak in the mixture has looked black, so the water above the
sediment is taken and moved to the empty container.
The sediment of mixtured latak is added with new latak as many
as 2 pikul and sugar drop for one batok ( batok is meant
coconut
shell divided into two, and the flesh is taken). The color of
the mixture will get yellow. In the afternoon it is added with
black nila
for 1,5 big bowls (pinggan).
The next morning at about 6 am, batikan can already be entered
into the black nila in the container
(jambangan). Nila in such amount is for 30 pieces, each 2,5
kacu. The dyeing takes about 2 hours;
after that they are lifted from soaking and put on the hangers
without being spread, till there is no
water drop (atus). The lifting from the soaking and the
placement till subsiding (atus) is called
kasirep (kasirep is taken from the word sirep which means
subside). If it subsides (atus), then
it is entered into nila again for two hours, then lifted and
sun-dried until dry. The second lifting and
sun-drying is called kageblogi (it is from the word geblok which
means a way to hit, or a group
measurement).
After batikan is dry, it is entered again into nila. This work
is done several times, till batik gets
black. If batikan is already black, the work stops. Nila after
the dyeing is added with the sediment of nila 1,5 big bowls soon.
This addition is called nglawuhi
(it is from the word lawuh which means side-dish for eating).
But the meaning and function of nglawuhi in the process to change
batik into cloth (mbabar) is
as a perfection. Now nila is yellow. If it is too yellow, it
will be dangerous because it can drop off malam, while malam
function on mori hasnt finished. Being
too yellow is caused by the lack of enjet (lime for chewing with
betel leaves/kapur sirih). But if there are too many enjet, the
color will get green, cannot make
batikan black. To return the color to be yellow, it is enough to
be given Java vinegar or sugar drop.
If its not yellow, give sugar drop and vinegar till the color
becomes yellow according to the need. After that, enter batik into
nila mixture like mentioned above.
Now batik is completely black. After it is enough, batikan is
lifted and washed into plain water and dried in the cool place.
Batikan that has been dry is soaked in water till malam bluduk.
(bluduk is like a condition to drop off). malam in reng-rengan and
terusan batik are rubbed
down by using a special tool till clean: while malam in blirikan
and tembok arent rubbed. Batik that has been rubbed is
then washed again (dibilas) till the washing water is clean, and
dried again in the cool place.
After batikan is dry, then give kanji (layer) by using spoiled
tajin with cane sugar. The comparison of the mixture is 3
glasses of tajin and sugar as weight as 3 pieces of cent coin.
After being given kanji, batikan is dried again. After being
dry,
parts that need blue color are given blue (dibironi). Before it,
parts that dont need blue color are covered with malam.
The way to cover is the same with making tembokan and bliriki
batik. After it has finished, we come to the third stage that
is soga.
Then batikan is given blue color, Batik reng-rengan must be
rubbed till clean like the way above. After being rubbed, then
it
is washed and dried, or without being dried, but directly dipped
into tajin (disekuli),then dried. If it is dry, it is then
given
-
blue color. The difference from the previous way is without the
first drying. Besides that, the comparison of nila mixed with
other material isnt certain, but depending on the estimation of
the maker. That is perhaps the defeat in wedelan stage.
B. Nyoga
After being given blue color (mbironi) and dry, batikan is given
soga. The steps are:
batikan is folded spirally (diwiru). After that, enter into a
container which contains warm
soga, then press the whole. Then it is lifted, and spread on
that container in order that
soga can drop to that container again. If soga doesnt drop
again, then sun-dry till half
dry, moved to a cool place till completely dry. Up to here, this
is still the first step of giving
soga; the usage of each soga will be different on the level.
After finishing nyoga, batikan is given saren (nyareni).
Chalk
and sugar mix with water in a container, steer until shattered.
After settling, soaking water is poured into kenceng (a kind of
container). Batikan is entered into kenceng till the whole
parts; then lifted till subside. After subsiding, hit in hot water
in order that
malam will lose. Hitting in hot water is called nglorot or
nglungsur.
After batikan is hit in hot water, then washed and sun-dried.
The sun-drying of batikan is called dikemplang. Till this stage is
called
ambabar. Every morning batikan in the form of cloth is
condensed. Now, the process of mbabar batikan has finished.
DAFTAR PUSTAKA
Drs. Hamzuri, Batik Klasik , penerbit Djambatan, Jakarta
1981.
G.P. Rouffear En H.H. Juynboll, DE BATIKKUNST, Th.1914
J. E. Jasper en Mas Pirngadie, INLANDSCHE KUNSTNIJVERHEID
IN NEDERLANDSCH INDI, Gravenhage Door De Boek? &
Kunstdrukkerij, Mouton & Co.? 1916.
Rijksblad van Djokjakarta No 19. th 1927
TJOKROSUHARTO. Koleksi Pola Motif Batik,
Tim Pengabdian pada Masyarakat Jurusan Sastra Daerah Fakultas
Sastra Universitas Gadjah Mada, Pakaian Adat Jawa Gaya Yogyakarta,
1995
