The Dutch were the first to use batik for 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 were able to please the most demanding customer.

At the same time, the British cotton industry, relying on high technology calico heel gradually overtakes the Dutch one. This influenced the fact that the already developed technologies of batik were 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 lands 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 its admirers and followers around the world. Painting batik is becoming not only fashionable, but also prestigious.

Batik in Russia

For most of 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 the new discoveries, batik in Russia developed slowly. Artists more often had not to create, but to adapt.

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

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

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

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

In the 1970s, a new generation of textile artists appeared who were educated at the Stroganov and Mukhinsky schools, at the textile or technological institutes. They consciously chose the path of the artist, dealing exclusively with "author's batik."

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

Batik techniques

Cold batik. The technology of cold batik appeared not so long ago - with the development of chemical knowledge. This happened at the beginning of the 20th century. Home distinctive feature redundant 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 pattern, as a rule, have a closed contour stroke (reserving composition), which gives a peculiar character to the pattern.

After the outline is drawn, the drawing is allowed to dry. It is not recommended to leave the induced 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 does not come close to the contour guidance when poured.

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

So, classic batik is created by the method of picking up reserving lines that limit closed planes. As a result of this, a drawing is obtained that resembles a stained-glass window and is painted in one layer (see pr.8).

Multilayer batik is also created according to the stained glass principle. But at the same time, several overlays of color tones are used on top of each other (see example 9).

Open graphics. Signed without the use of closed planes. In this technique, the redundant lines are broken. This allows the color of one plane to enter the color of another (see example 10).

Free painting. The free painting technique is perhaps the fastest way to create an interesting painting work. Free painting differs from classic hot and cold batik in that it is more like painting than batik. On the primed fabric create a composition, as on paper. Thanks to the primer, the paints blur less and retain the shape of the stroke. Free painting with paints with the introduction of saline into them can be combined with ordinary painting with cold batik.

Free painting also includes three techniques: watercolor, stencil, free painting graphics.

Watercolor technique - the fabric is painted "raw" with drying in certain places and the use of an alcohol effect (see pr.11).

Stencil technique. The drawing is created using a stencil and special cans for spraying the dye (see pr.12).

Freehand graphics. It is created using salt technology and aiming with a reserve (see pr.13).

Hot batik. Hot batik is the most ancient type of painting on fabric. It is called the hot method because the reserving substance that is used in painting is applied to the fabric only when it is hot. Paraffin, wax, stearin or their mixture is used as a reserve substance. It is applied to the fabric with a brush or a special copper ruler.

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

1. Simple batik (in one overlap).

2. Complex batik (in two or more overlaps. See pr.14).

3. Work from the stain (see pr.15).

Simple batik. The drawing according to the template is applied to the fabric with the help of brushes, stamps, knives, funnels or gurneys with a heated reserve compound. It turns out a contour drawing, a geometric or floral ornament.

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

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

Spot painting is the most complex and interesting work on fabric design. In this way, products decorated with floral ornaments are usually made. The principle of operation is the same as in complex batik, but instead of continuous successive overlaps of the entire fabric, blurry spots of different colors are applied to the canvas in accordance with the sketch. For each of these spots, the initial drawing of the ornament corresponding to the sketch is carried out by the reserve composition, then these same spots or adjacent areas of the background are covered with a different color, and the further drawing of the ornament again takes place. This procedure can be repeated no more than three times. Before the last overlap, the ornament is finally drawn and, in conclusion, the entire canvas is covered with some dark color. As a rule, such drawings always have a dark background, as it is necessary that it overlap the paint that has spread outside the drawing. There is a kind of work with complex batik on separate sections of the decorated fabric. This makes it possible, with a small number of overlaps, to achieve the finest transitions of colors and their shades.

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

In hot batik, color modeling of volumes is based on both contrasting and subtle combinations. As a rule, the viewer's imagination is struck by this specific feature of batik - multiple layers seem to shine through each other.

Knotted 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 an unpainted canvas, tightly tied with a thread. Then the fabric is dyed, the threads are removed. The result is an amazing and unique pattern. Similarly, you can dye the fabric several times, removing old knots and adding new ones.

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

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

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

It is very difficult for a modern person to find time to tie a thousand knots on fabric. Therefore, we will focus on the main and simpler methods of 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 the bulk bundle, then the surface of the bundle will be painted in the appropriate color. Depending on the density of the fabric, the time of dyeing, as well as pressing, the dye may penetrate deeper into the fabric. In this way, different shades of color are achieved, while the base of the fabric folds remains undyed. The pattern depends on the different ways of folding the fabric (see pr. 17).

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MOSCOW HUMANITARIAN UNIVERSITY

Department of Design

Test

by discipline: Arts and Crafts

HISTORY OF BATIK

Performed:

Balasheva Natalia Anatolievna

Kaluga, 2017

Introduction

1. The concept of painting on fabric

2. The history of the development of batik

Conclusion

Bibliography

Application

Introduction

Today, painting on fabric (batik) is gaining more and more popularity, but few people know its history, its origins, the technique that was used in many countries.

But history originates in the mists of time in the countries of the ancient East. And you just have to immerse yourself a little in this special world of colors and materials, as it fascinates and captivates so much that you want to create and create. Painting and decorating fabric is an exciting activity that can fill life with the joy of creativity.

Working with silk and paints gives incomparable pleasure, satisfaction from the implementation of the most daring ideas with your own hands. A product made in the batik technique can reveal the talent of an artist, fashion designer or interior designer. And this is connected, on the one hand, with a wonderful material - silk, calico, chintz, etc., on the other hand, with beautiful bright colors with which you can decorate the interior.

The design on the fabric can be obtained by interlacing the warp and weft threads or by applying patterns, drawings of animals and birds to the surface of the fabric with paint. Only one hundred and fifty - two hundred years ago, a drawing was printed or "stuffed" on fabric using special wooden boards with an ornament and a silhouette of an animal or bird carved on them. Fabrics obtained in this way are called "heels".

the birthplace of this ancient art considered to be India. By the end of the 17th century, Indian colored printed fabric (chintz) revolutionized European fashion, and later European textiles were only weak imitations of Indian designs.

In the history of world culture, not a single epoch, not a single nation has bypassed animals, namely birds, in their art. From the ritual-magical image of the beast in prehistoric times to the monumental and decorative works of the second half of the 20th century, a continuous line of development of the animalistic theme can be traced. Diverse animal world- this is a significant part of the nature around us, with which human life is closely connected. From ancient times BC, among the images of man's eternal companions - horses, dogs, cats, bulls (cows), an expressive image of amazing, graceful and in its own way beautiful creatures of soaring birds is often found.

Since ancient times, the bird has been a symbol or amulet of dexterity, cunning, a talisman of love in marriage; in some traditions, the bird also acts as a herald of fertility, bringing rain. Some peoples are most partial to this symbol, others prefer the dragon, leopard, tiger, snake, dolphin. Everything depends on national traditions, folk beliefs, customs and reverence.

1. The concept of painting on fabric

Fabric painting (batik "batik" is translated from Indonesian as "a drop of wax") is an ancient art.

And to be more precise, batik is a generalized name for various ways of hand-painting fabric.

All these techniques are based on the principle of reservation, that is, covering with a paint-resistant composition those places of the fabric that should remain unpainted and form a pattern. This method for obtaining a pattern on fabric has been used since time immemorial in ancient Sumer, Peru, Japan, Sri Lanka, Indochina, and African countries. The island of Java in Indonesia is considered the birthplace of batik, where to this day clothing made from hand-painted fabrics is very popular.

Painting on silk wide field activities - from realism, where the painting begins to argue with painting and graphics, - to the ornament, where it becomes a fabric. In different countries, the technique of batik, or drawing a pattern on fabric, has its own characteristics, but in any case, water and wax are used. Areas of fabric coated with wax do not absorb paint. Wax is also combined with rice paste and clay.

They are applied manually, using paper cone-shaped bags, by chanting, and wooden or copper stamps, stencils made of wood or high-quality paper are used to repeat the pattern.

2. The history of the development of batik

There is actual historical evidence that fabric decorated with this technique was used in Egypt, Persia, India, China, Japan, Indonesia, and other parts of the Southeast region long before our era. In Egypt, mummies were wrapped in linen soaked in wax, on which drawings were scratched with a sharp instrument, as early as the fourth century BC.

In China, the technique of batik was known during the Tang Dynasty (618-907), and in Japan during the Nara era (645-794).

Batik was found in Africa, painted with tribal totems of the peoples speaking the Yoruba language.

In India with samples of the "traditional cucumber" paisley. In China and Japan with elegant native motifs. Historians suggest that the technique, having appeared in Egypt or Sumeria, spread to Africa, Persia, and from there, ultimately, came to Asia.

2.1 History of the development of batik in Indonesia

In Indonesia, in some areas of Central Java and the islands adjacent to it, the oldest form of reservation has been preserved, which is still used to create a special ceremonial fabric. The reserve here is a specially prepared rice paste, which is applied with a bamboo stick.

The fabric is taken only by hand spinning, the dye is prepared from the root of the Morinda citrifolia plant, the dyeing takes place in several stages and lasts for several days. After removing the paste, simple, mostly geometric, less often figurative images remain.

According to the well-known researcher of Indonesia G.P. Rofier, "... the relatively unbelievable origin of today's developed art of batik from easy way rice paste reservation. He believes that batik as a method was brought from India.

Batik gained particular popularity on about. Java, where experts in this field have reached unprecedented heights of skill. At first, only aristocrats wore clothes made of fabrics with patterns made using the batik technique. They devoted their free time to painting fabrics. Gradually, servants began to be connected to this delicate and very laborious work.

On about. Java traditional patterns and the technique of applying them were passed down from generation to generation, and in each family they were called differently. For example, kawung (with circular elements).

The Russian ethnographer Igor Kammadze, who studies 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 generations to the gods, rajas, 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 favorite motifs depicted in batik. Unlike kris, batik making is an exclusively female craft.”

The symbolic meaning of batik is evident in its traditional blue-brown color scheme, in the depiction of ancient ornamental motifs and, especially, in the fact that not a single rite life cycle not complete without kris and batik. “Kris, wrapped in cloth, embodies the unity of the cosmos in its entirety, while separately kris and batik are the embodiment of the male and female aspects of the worldview.”

The philosophical and symbolic correlation of objects of material culture and the spiritual life of the people has very ancient roots. The world and the myth are a single whole. We can talk not about direct borrowing from India, but rather about the improvement of technology that has long been familiar to Indonesians. It is known through many commercial and economic records that Indian printed fabrics were the subject of active export to Sumatra and Java in the Middle Ages. From the desire to reproduce the patterns you like in your own technique, a typically Javanese device arose - tyanting (janting) - a small copper vessel that is filled with molten wax and can be heated over a fire if the wax begins to solidify. The vessel is equipped with a thin bent 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 a complex pattern - salient feature Indonesian batik.

And freehand drawing turns the simple dyeing of fabric, so necessary in everyday life, into a highly developed art.

The next prerequisite for the development of patterned fabric decoration was especially thin smooth cotton, again brought from India. This expensive material could only afford the women of the rich cities of the coast and the inhabitants of the Crotons - the princely houses of patriarchal Java. Of the thousands of different ornaments passed down from generation to generation, many were banned 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 that complements the spiral, strokes resembling rain, and the motif of the image of a sacred mountain on a white background. These prohibitions and prescriptions were strictly observed in the 18th century, and even today appearing in Jakarta cardboard in a forbidden pattern is considered indecent for the locals. The symbolic meaning of the patterns exalted and magically protected their bearers. A true textile artist is deeply rooted in his own cultural tradition. In addition, the practice of batik required a lot of time, improving skills, creating a special atmosphere of spiritual harmony and concentration. All this led to the flourishing of the art of batik. When the British occupied Java in 1811, they decided to distribute English cotton calico throughout the South Asian region, but ran into an insurmountable obstacle, which was the quality of the dyeing of local batik.

It was much higher than European, vegetable dyes did not fade when washed, as happened with chintz dyed with aniline. So the local tradition strengthened its position, and perhaps this factor influenced the further course of events.

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

2.2 History of the development of batik in China

China is called not only the country of porcelain, but also the country of silk. The beginning of silk production - one of the remarkable cultural achievements of the Chinese people, which has become the property of all mankind - is attributed to the 2nd millennium BC. e. silk fabrics for a long time were one of the main items of Chinese exports.

The "Great Silk Road" was the name given to the trade route that in ancient times connected China with Western countries.

The art of decorating Chinese fabrics is very original, revealing the subtle artistic taste of the masters. The pattern on fabrics can be not only woven and embroidered, but also printed, applied using a stencil. Printed are usually cotton fabrics, the production of which is the oldest branch of the economy in China.

The simplest and most common decoration of printed fabrics are images of flowers and birds, the favorite motifs of Chinese art masters. The rich decorative motifs for printed fabrics are inspired by the environment. The won of fabrics is made smooth, monophonic, or covered with small dots (mainly in the products of Zhejiang province). Very beautiful stuffed blue bedspreads, which are usually given to newlyweds.

Printers work together with artists in the field of woodcuts, popular prints, but their collaboration with paper-cutting masters is especially fruitful. The latter art form provides an inexhaustible source of themes for decorating printed fabrics.

The art of printed fabrics is widespread throughout the country. It is especially developed in Shanghai, as well as in Suzhou, in the provinces of Zhejiang and Jiangsu. Products from the Hunan province are distinguished by the dynamism of the ornament, and the fabrics from the Zhejiang province are distinguished by the elegance of the pattern.

Printed fabrics are made in two ways. The first method is using a stencil made of pressed paper soaked in tung oil. Having covered the stencil drawing with a glue mixture consisting of lime and bean flour, the master lowers the fabric several times, and the vat of paint.

When the dyed fabric dries, the paste from the pattern is peeled off and a clear white pattern remains on the fabric. The second method of stuffing, or batiking fabric, is with the help of wax. This method is mainly used among the national minorities in China. The Miao people in Guizhou province are especially famous for the art of batiking, where it is passed down in families from generation to generation. Patterned fabrics made with wax are called lazhan. They are made as follows: the fabric is stretched horizontally and covered with a layer of wax melted in a vessel with hot ash. Wax is leveled on the fabric with a special spoon made of a round copper plate. When the wax hardens, patterns are scraped out with a heated knife, and then the entire surface is covered with hot water. Ornamental compositions on Miao fabrics are very diverse and include images of flowers, trees, birds, butterflies, fish, animals, animals, and geometric figures. Very ancient is the ornament in the form of spirals, waves, clouds, meander, eight-pointed stars, crosses, stylized flowers and trees. Printed fabric craftsmen create new patterns based on traditional ornamental art.

2.3 History of the development of batik in Japan

Of course, in Japan, as in all countries of the world, the period of domination of hand weaving and hand dyeing of fabrics has passed forever. However, the handicraft labor of Japanese textile workers persists and, apparently, will continue in the future, since only it can fully satisfy the demand for unique fabrics of a high quality that is unattainable in standard machine production.

Hand-loomed fabrics dyed with vegetable dyes are made in many parts of the country. Both the fiber and the colors of folk fabrics are different in different areas. They also depend on the purpose of the clothes. The most traditional are linen (in hot weather), cotton fabrics (for everyday wear), silk (for special occasions), banana fiber fabrics (mainly on the island of Okinawa). Delicate shades of colors, which can only be achieved with the use of natural dyes, make up the charm of national clothes with their various patterns - from simple stripes and checks to exquisite animal ornaments borrowed from the court craftsmen of antiquity.

Along with woven color patterns, various dyeing methods are widespread in Japan. In some cases, either the drawing or the background is covered by applying rice glue or soft wax and painting the remaining free surface.

In other cases, staining is done using a paper stencil. These methods have been known since the 8th century. Court craftsmen dyed patterned silk in this way. Stencil coloring also applies to products made of paper (lanterns, fan-fans).

Batik was widespread in Japan in the 8th century. Everyone knows that this country has always been famous for its beautifully finished kimonos. In addition, in this country, as, indeed, everywhere in the East, it was not customary to demonstrate one's figure.

But the social status had to be somehow marked, so the decoration of clothes became a common thing for the Japanese.

Painting on fabric using wax in Japan was often combined with other dyeing techniques, such as the knotting technique, which made it possible to create very complex patterns. Knots are tied on the fabric in a certain order. Then they are dipped into a dye solution and, pulling out, untie the knots. It turns out a pattern of concentric circles.

2.4 History of the development of batik in Russia

In Russia, batik appeared around the 20s along with the general enthusiasm 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 products. Artists united in artels and were engaged in the production of scarves, shawls, very rarely received big order- theater and stage curtains or curtains for cafes.

On the one hand, the fashion of the NEP period led to a significant demand, which means constant orders for chic silk shawls with exquisite whimsical Oriental-style ornaments, dresses with an asymmetrical pattern, which spurred the imagination and fantasy of artists who own the technique of hand-painted fabric. Over time, the passion for painted hats faded away, it was declared philistine, "not corresponding to the image of a Soviet woman."

On the other hand, in the works of the workshop of N. Lamanova, theater artists E.E. Lansere, M.V. Libakova, A.G. Tyshler, V.A. Shchuko clearly manifested revolutionary constructivism. Constructivism determined the form, and the political situation dictated the plots, including in the fabrics of that time. There was a great need for flags, pennants, a new theme gave rise to many ornaments with Soviet symbols, theatrical curtains painted with sickles and hammers accompanied any propaganda team. Where there was a natural batik, and where - an oil stencil, now you can’t figure it out. Unique works have found their owners, not leaving Russia in art history.

In the 1930s, the occupation 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. Vsekokhudozhnik, the Moscow Association of Artists, the Leningrad Association of Artists and others brought up a whole generation of batist artists. But the historical and economic conditions, the general "equalization" did not contribute to the development of highly artistic batik, its inherent individual taste. And only the 50s, after the release of the party resolution "On the general improvement of the quality and artistic level of the product of textile and light industry“The situation has changed radically. There was a motto - the slogan: "To every Soviet woman - a beautiful headscarf."

A workshop was organized at the NIIHP, several haberdashery factories in Moscow and Leningrad, where they invited already well-known artists to work and recruited apprentices - painters.

Thanks to the research of S. Temerin in the 50s in the field of batik, the names of such artists as A. Alekseeva, T. Aleksakhina, N. Vakhmistrov, K. Malinovskaya, S. Margolin, I. Inozemtsev and others remained known. the origins of the development of batik in our country. They, working at NIIHP, created the first compositions in batik, which were based on a strictly classical understanding of geometric and floral ornament and served as models for the production of scarves, the first plot panels on the themes "Moscow", "Labor", "Spring".

At first, the activities of artists were mainly subordinated to the production of kerchiefs. But over time, more and more often there was a need for large panels for decorating cafes, cinema foyers, concert halls and theater stages.

3. Modern technology fabric painting

Modern fabric painting techniques are very diverse. Batik has absorbed the features and artistic techniques of many fine arts- watercolors, pastels, drawings, stained-glass windows, mosaics. Significant simplification of painting techniques compared to traditional techniques and diversity special means allows you to paint various details of clothing, interior items, paintings on silk, even for those who have never dealt with fabric design before.

Using the nodular batik method, you can create a beautiful composition. First, pieces of fabric are reserved from paint, for which various ropes, threads, and harnesses are used.

The material is tightly wrapped with improvised means, knots are tied on it. And only then paint is applied with a brush.

As a result, the places wrapped with threads are not stained. The pattern on the fabric depends on the methods of tying, wrapping, folding and stitching its individual fragments. Another type of batik is classic. This is a method of decorating fabric with a reserve compound, that is, molten wax, paraffin, resin, or other similar substances.

Although this method has been known since the time of Ancient Egypt, Indonesia is considered its birthplace. It is the prototype of modern hot batik. The process begins with drawing an outline on a piece of canvas, that is, the outline of the future drawing. Areas that need to be left unpainted are covered with a layer of melted wax, after which the fabric is painted. At the next stage, the canvas is waxed and painted again. This procedure is repeated no more than four times, since with frequent mixing of colors, the fabric begins to lose the quality and intensity of color. At the final stage, the wax applied to the fabric is broken, as a result of which cracks are formed, into which dyes of different colors are added. Then the excess paint is removed, and the wax is evaporated with an iron. As a result, a pattern of cracks remains on the canvas. This technique is called crackle. Cold batik differs from hot batik in that the reservation is carried out in a cold way.

The reserve composition can be either colorless or have any color. The artistic feature of this method of painting is that the obligatory color outline gives the drawings a clear, graphic character. The method of free painting resembles watercolor painting. Soft transitions without sharp outlines are possible here.

You can depict anything: a summer morning, fog, forest or seascape. To work in the marbling style, you will need a special component "Thickener" in the form of a powder, which is used to create the basis of the pattern. Dilute the composition in the proportions of 1 teaspoon per 1 liter of water in a flat bath 2-4 centimeters high. After an hour, apply paint to the gel-like mass. Then, on this surface with a stick or needle, create a pattern. Lay the fabric on the resulting pattern.

After 20 seconds, remove and quickly rinse the cloth under running water. This technique allows you to imitate marble stains.

The monotype technique is quite simple to perform, but it can also be used to get interesting effects. You will need a sheet of glass or plastic. On its surface, apply paint in a free manner.

You can use the entire palette, imitating a rainbow. Place the fabric on the composition and press firmly.

The simplest and most accessible method of painting even for children is airbrushing. It is a kind of intermediate link between manual and machine methods. The dyes are sprayed onto the fabric with a spray gun, and a variety of dyes in an aerosol can be used. In those cases when it is necessary to obtain an evenly painted surface, an airbrush is a must. Thanks to the spray technique, images are created with a soft, as if melting, indistinct contour. In airbrushing, it is possible to achieve an almost infinite variety of colors and shades. The composition can be decorated using stencil masks, as well as dry plants, lace, buttons, beads, all kinds of nets, sheets of paper, etc.

On the basis of the path traveled, a whole generation of artists involved in painting fabrics was created. These are A. Talaev, L. Grass, I. Trofimova, V. Kravchenko, etc. (Sergey Davydov (“philosophical” batik, creator of the “Davydov Technique” batik technique, unique tools and technologies). Initially, the artists were engaged only in the production of scarves , but after a while, cafes, cinemas and theaters began to order large panels for the interior.It should be emphasized that fashion brands also use fabric painting in their collections, which are extremely popular.

Conclusion

After studying the history of batik, I came to the conclusion that batik is nothing more than a painting technique, as well as a multi-color fabric decorated with it. When painting fabric with wax and paint, the result is often completely unpredictable. The product turns out to be unique in its kind, and it is simply impossible to copy it exactly. That is why the art of painting on fabric continues to win hearts for many centuries.

Manual artistic painting of fabrics is a kind of design of textile products, rooted in antiquity. The most famous are the methods of painting fabrics using various reserving compositions.

Painting on fabric is very popular in our time. Every person wants to be different from others. Batik makes the outfit stylish and original. Fantasy combined with individuality will help to create an original work. Drawings on the fabric can be a gift, for mood, for updating a boring or saving a stained thing. Everyone will be pleased to wear clothes with an image made by himself or specially for him. It doesn't matter - clothes, shoes, bag or headgear. Such works - if done correctly and fixed, and then washed correctly, do not crumble in pieces, do not shed, but fade very slowly. It should also be emphasized that applied art is colorful, cheerful, and most importantly, it shows a combination of color and shape, various materials. Bright and whimsical prints on fabric are now popular again, moreover, fashion trends are increasingly favoring painted fabrics.

Bibliography

1. Armand T. Textile painting guide. M.: 2002

2. Armand T. Fabric ornamentation. Textile painting guides. M.: 1931

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4. Baradulin. Basics artistic craft. M.: 1978

5. Gilman R., Artistic painting of fabrics. - M.: Vlados, 2003

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7. Dashkevich V., Art of modern Japan. - L.: Soviet artist, 1965

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Introduction

Painting is the most beautiful of all arts;

it unites all sensations,

at the sight of her, everyone can, at the behest of his imagination

create a novel with just a glance

fill the soul with the deepest memories;

and no effort on the part of memory

everything is captured in an instant.

The world around us lives its quiet life before a person turns to it. People have been creating things since ancient times, habitually do not notice them, using them daily. And only their hidden essence is revealed to the penetrating eye of the artist, only with him they enter into a silent dialogue, eloquently talking about habits, tastes and way of life, having achieved extraordinary perfection in conveying the diversity of objects of the material world.

And only their hidden essence is revealed to the penetrating eye of the artist, only with him they enter into a silent dialogue, eloquently talking about habits, tastes and way of life, having achieved extraordinary perfection in conveying the diversity of objects of the material world.

For many centuries, artists have been trying to express their opinion of the world, their thoughts and interests with the help of the things around them, and each creator does this in his own way, each work is individual.

It is impossible to write beauty, it is more important to catch its beauty, expressed in bizarre play of colors, changeable play of light. With the help of your work, try to draw the viewer's attention to the simple - the beautiful around us. To teach people to receive aesthetic pleasure from the world around them so that they appreciate this beauty.

This term paper is the study of batik technique and the creation of an original decorative composition.

Objectives of the course work:

1. To study the history of batik in decorative painting.

2. To study the types of artistic painting on fabric.

3. To study the features of the "cold".

4. The study of the creativity of artists in the technique of batik.

5. Make a conclusion on the work done.

The history of batik

Batik is a method of dyeing fabrics based on the use of a reserve, a special substance that does not allow paint to pass through. According to the classical technique, after a pattern is made on the fabric with a reserve, and the free areas are dyed, the reserve is removed, and an intricate pattern remains in its place.

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 there is an opinion 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 strongly links this art with China, because it was from there that it spread throughout the world - along with silk. Delicate, light matter 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.

But still, Southeast Asia is considered to be the birthplace of batik. Batik came to us from Indonesia ("anbatik" - to draw, write). In the manufacture of batik, in addition to dyes, special compositions were used - reserves, which make it possible to preserve the color of one or another piece of fabric during further dyeing. Hand-woven cotton fabrics served as the basis for painting. The fabric was soaked, bleached, boiled to give uniformity and the required density. After that, the process of painting began: applying hot wax, dyeing, drying. These actions were repeated as many times as there were different colors in the created drawing.

The recipe for making paints, as well as the patterns of painting, belonged to each family and were carefully guarded. Plots for painting were used very different: from abstract drawings to the most complex ornaments.

In India, this method of dyeing fabric was called "bandhana" and "lacheria". The Chinese gave the world silk and, as a result, the way it was dyed. Latze (wax patterns) is very similar to batik. A pattern was applied to the silk with melted wax, after which the fabric was dyed. When the wax was removed, patches of undyed fabric remained in its place. In Japan, where batik came from India or China, it was called "rokati". Such fabrics were used to make kimonos.

At the beginning of the 17th century, thanks to the enterprising Dutch, batik came to Europe, the Europeans modernized this art, turning it into a semi-industrial method of dyeing fabrics. In the middle of the 19th century, the dyeing of fabrics using the batik technique was supplanted by the English chintz heel, and batik became the lot of handicraftsmen.

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 lands 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 its admirers and followers around the world. Painting batik is becoming not only fashionable, but also prestigious. At the same time, the technique practically does not change, but is transferred to other countries and cultures, batik is mainly utilitarian in nature.

Similar information.

Bright and whimsical prints on fabric are now popular again, moreover, fashion trends are increasingly favoring painted fabrics. And if the drawing on these fabrics is made independently, then this is not only the realization of creative abilities, but also an exclusive thing!

Hand painting technique on fabric batik- received active development in Indonesia, on the island of Java. The word "batik" is translated from Indonesian as "a drop of wax". The specificity of such a painting lies in the fact that a dye is applied to the fabric - cotton, silk, synthetics or wool - using wax or gasoline to prevent it from spreading and to mark the boundaries of the pattern. There are various ways to perform batik painting:

Each type of painting has evolved, undergone changes, the application technique has been constantly improved (and continues to improve).

Despite the fact that batik was revived and actively used by the Indonesians, hand-painted fabric appeared in the Chinese Empire millennia ago. Famous Chinese silk was dyed using this technique, obtaining samples that excite the imagination with their beauty! And the famous Silk Road spread these works around the world. Painting on fabric was widely used in India and Japan. Each country depicted its own patterns on canvases: Japan was distinguished by the widespread use of batik knotting technique, India used stamps made of wood and brushes.

But the Indonesians have achieved unprecedented perfection in the performance of the batik technique. Local craftsmen created real works of art that could take years to complete. That is why the first clothes with batik painting were worn exclusively by people of aristocratic origin, who sometimes painted the fabric themselves, realizing their creative abilities.

The Indonesians put a deep meaning into painting on fabric, they believed that hand-made canvases had magical powers, and such a procedure was part of the rituals of worshiping the gods. Every Indonesian girl had to have a hand-painted item in her dowry. Today the inhabitants of The Java people wear clothes made in this technique, for them it is absolutely natural, but those who come to Indonesia do not cease to admire the things with skillful painting that the locals are wearing.

Batik (Indon. ba - cotton fabric, tik - dot, drop) is commonly called painting on fabric. Indonesia is considered the birthplace of this technique, although batik has also been practiced for a long time in Japan, India and China.

The batik technique is based on the fact that before dyeing the fabric, a pattern is applied to it with wax, paraffin or other special compounds. These compositions are called reserving, because they do not let the paint through (reserve individual sections of the fabric from the paint), and thanks to them, the pattern after dyeing the fabric has clear contours.

Types of batik

There are the following types of batik: hot, cold, salt effect, free painting, shibori technique and bandana. When using hot technology, mainly cotton fabric is used as a canvas. The reserve composition is applied to the fabric with a special tool called chanting.

It looks like a tiny copper watering can attached to a wooden handle. When the process of drawing a pattern is in progress, the reserve composition should always be in a separate container in a water bath in a melted form, since it must be periodically scooped up by chanting and then, with fairly fast and confident movements, apply a pattern to the fabric through the thin nose of the tool. After complete drying finished product the reserve composition can be easily removed by ironing the product with a hot iron through layers of newspapers.

Salt technology

Salt technique gives a very interesting and unusual effect of batik. Coarse and medium salt is mainly used (food or bath salt without dyes and additives). After the fabric has been dyed, it is immediately sprinkled with salt and allowed to dry, and the salt is simply shaken off. Salt absorbs paint, and depending on how much salt is scattered over the fabric, unusual and even unexpected effects are obtained, up to the complete bleaching of individual sections. Salt technique can be mixed with hot and cold.

The cold batik technique is similar to the hot batik technique, but it's a little easier and safer, as nothing needs to be melted. Reserving compositions for cold equipment are sold ready for use. The technique of cold batik is used mainly when applied to silk or chiffon.

Free painting technique

The technique of free painting resembles watercolor painting with virtually no reserve compositions. The fabric is dyed with aniline dyes or oil paints with solvents. Reserving compositions are used only if it is necessary to draw a line between colors somewhere.

Also, free painting can be done on a damp cloth, while forming a very smooth flow of one color into another.

Sibori

The shibori technique (or shibori) is also called the folding technique, since when dyed in this way, the fabric folds in a certain way. This is an ancient Japanese technique, so the ways of folding fabrics have something in common with the most beloved Japanese art form - origami. The folded fabric is dipped in a boiling dye solution and boiled for about half an hour.

After cooling, rinsing and drying, a pattern is obtained that looks like a picture from a kaleidoscope.

bandana

Indochina is considered the birthplace of bandana technology. The use of a bandana involves tying various knots on the fabric to be dyed, so this technique is also called knotting. Here, fantasy can not be limited, knots can be knitted anywhere and in any way, buttons, beads, pebbles can be placed under the fabric and then dyed.

To start painting fabric using the batik technique, you should, first of all, pick up the fabric and stretch it on a stretcher. Next, you need to decide what kind of drawing you want to see on this still clean “canvas”. If you are not very good at drawing or find it difficult to choose, you can use special batik pattern templates that can be found on the Internet.

Drawings for beginners

Drawings for beginners are very simple, but your first masterpiece will still be one and only, however, like all subsequent ones, because even with several identical pattern patterns, the color of the fabric will be completely different, because the paint cannot spread over the pattern.

And I would also like to add that batik is a very exciting activity not only for adults, but also for children. Give your child a few patterns for baby batik, all the necessary materials and accessories and scope for imagination - and his new hobby may grow into a wonderful hobby that brings incomparable pleasure.

Batik master class: