Batik in Santiniketan, West Bengal
Batik originates from the Javanese word Ambatik (Amba means to write, and Titik means dots). An ancient wax-resist dyeing tradition with highly sophisticated artistic skills involves creating patterns and designs on fabric using molten wax and immersion in sequential dye baths. Batik was developed in Indonesia and on the island of Java. Although the place of origin of batik is still debated, evidence of some wax-resist dyed fabric has been widely found over the last two millennia in Indonesia, Japan, Egypt, Malaysia, and India.
Pratima Tagore, the daughter-in-law of poet Rabindranath Tagore, first learnt the batik technique in Paris from a French artist, Mon Mieux, who brought a set of instruments with her to Santiniketan. The methods were known through translations from Rouffaer and Joynboll’s book. In 1922, Bichitra, a handicraft sector, was established by Pratima Devi and French artist Andre Karples to promote indigenous craft practices in India. Andree Karpeles wrote about the practical aim of Bichitra: “To establish permanent co-operation between the artisans and craftsmen. . . . To keep the love of beauty in the simplest objects of daily use which were so characteristic of Indian life and provided the artists and craftsmen with such a wide field of creative expression.” This organisation was primarily concerned with reviving and promoting local arts and crafts. Bichitra did not last long, but its spirit continued to inspire.
In 1927, Tagore went to Java and was deeply impressed by the batik designs he saw there. Surendranath Kar, the well-known artist and architect of Santiniketan, who accompanied Tagore on this trip, learned batik’s technique there. Tagore received a piece of batik from his host, the Rajah of Java and became aware of the exclusiveness of the Javanese batik. In a letter written to his daughter-in-law, Pratima Devi, he mentioned the batik fabrics in the costumes of Javanese dance, dance dramas, stage decorations, and home decor. So, to introduce the tradition of this wax-resist dye textile to India, he brought a few pieces of fabric from Java to Santiniketan, West Bengal.
While Javanese batik is mainly done by a spouted tool called “canting,” Surendranath and Pratima Devi in Santiniketan used a brush (Tuli) to simplify its making process. It is the reason why Santiniketan batik is known as Tuli batik.
Batik gradually became a part of the academic curriculum in Kala Bhavana (Institute of Fine Arts), the fine arts faculty of Visva-Bharati University, and the skill development study of Shilpa-Bhavana. Rabindranath Tagore, the poet’s son, learned leatherwork in Europe and introduced leather batik in Santiniketan. One of the pioneers who explored batik design in Santiniketan was Gauri Bhanja, the elder daughter of Nandalal Bose, the renowned artist and then principal of Kala Bhavana. The other prominent artists of Santiniketan who enriched the batik design were Jamuna Sen, Kshoma Ghosh, Ila Ghosh, Arundhuti Thakur, Haimanti Chakravarty, Rani Chanda, Indusudha Ghosh, Abani Sinha, and Bani Bose, to name a few.
Batik was widely practised at Karu Sangha, the organisation in Santiniketan devoted to functional art. The aim was to improve the economic life of the artists and artisans. Members of Karu Sangha mainly did commission works and produced sarees, scarves, dupattas, wall hangings with batik, tie-dye, and Kantha embroidery.
Batik in Santiniketan is mainly associated with ornamental designs and motifs. Design motifs like lotus, hibiscus, marigold, conch, peacock, fish, and geometric tassels are widely used in Santiniketan Batik. Two or three colours are used primarily in batik design.
Batik has always been an integral part of Santiniketan’s cultural life. Batik “Uttariyo,” a piece of cotton or silk fabric folded in a specific manner and hung from the shoulder like a long stole, holds a high cultural value as it is given while welcoming eminent guests to the university and several events and festivals at the Ashram and also in costumes in Tagore’s dance dramas. Krishnendu Bag and Sakshi Gopal Das are refined batik artists and academicians who teach traditional and experimental batik designs. Batik, holding immense attraction to the visitors to the art and craft fairs in and around Santiniketan, has become an integral part of the artistic heritage and identity of the place.
Artisans in the Amar Kutir Society of Rural Development, a non-government organisation, produce many sarees, stoles, kurtas, and leather goods in batik. Bhaktopada Dolui, an elderly employee of Amar Kutir, has shared his experience of how many women from different communities have collaborated and developed batik designs in the last few decades. They earn a living from it to support their families.
Batik has become significant in the discourse of art and craft in India. Along with the traditional motifs used in functional textiles, it has become a medium of Individual creative expression. While artisans and craftsmen continue to develop traditional motifs, the fine arts students in Santiniketan use batik as a powerful technique and explore it differently. They rethink design making, colour application and composition according to their artistic understanding and the contemporary demands of the art world.
On the other hand, batik can be seen as an essential female craft in Santiniketan, maintained and sustained mainly by women. Where “textile” only meant sewing and mending, batik made a revolution and gave them the scope and platform to paint and explore their inner strength. It encouraged women practitioners from different social backgrounds to come forward and express their visions. Their involvement made a mark in the whole textile and design scenario. Even women not privileged to attend art school got the courage to practice this craft, showed interest in it, and used their creative knowledge to make designs with minimum affordable materials. It bridged the gap between the elite and subalterns as educated urban artists and village women worked together, exchanging their creative knowledge and expressions. It has, therefore, become more of a communitarian practice. Connecting culture to region and gender, the batik craft has travelled a long way.
Guest Edited by Esha Mukherjee
Images courtesy of Esha Mukherjee
On Saturday 8 June 2024 at 14:00 BST, we will be holding an Online Symposium inspired by issue 117: Irresistible of Selvedge Magazine inviting a discussion around the irresistible nature of resist-dyeing techniques around the world. Join us to discuss batik and its history and legacy. Book your tickets now: www.selvedge.org/products/-online-symposium-irresistible
Pratima Tagore, the daughter-in-law of poet Rabindranath Tagore, first learnt the batik technique in Paris from a French artist, Mon Mieux, who brought a set of instruments with her to Santiniketan. The methods were known through translations from Rouffaer and Joynboll’s book. In 1922, Bichitra, a handicraft sector, was established by Pratima Devi and French artist Andre Karples to promote indigenous craft practices in India. Andree Karpeles wrote about the practical aim of Bichitra: “To establish permanent co-operation between the artisans and craftsmen. . . . To keep the love of beauty in the simplest objects of daily use which were so characteristic of Indian life and provided the artists and craftsmen with such a wide field of creative expression.” This organisation was primarily concerned with reviving and promoting local arts and crafts. Bichitra did not last long, but its spirit continued to inspire.
In 1927, Tagore went to Java and was deeply impressed by the batik designs he saw there. Surendranath Kar, the well-known artist and architect of Santiniketan, who accompanied Tagore on this trip, learned batik’s technique there. Tagore received a piece of batik from his host, the Rajah of Java and became aware of the exclusiveness of the Javanese batik. In a letter written to his daughter-in-law, Pratima Devi, he mentioned the batik fabrics in the costumes of Javanese dance, dance dramas, stage decorations, and home decor. So, to introduce the tradition of this wax-resist dye textile to India, he brought a few pieces of fabric from Java to Santiniketan, West Bengal.
While Javanese batik is mainly done by a spouted tool called “canting,” Surendranath and Pratima Devi in Santiniketan used a brush (Tuli) to simplify its making process. It is the reason why Santiniketan batik is known as Tuli batik.
Batik gradually became a part of the academic curriculum in Kala Bhavana (Institute of Fine Arts), the fine arts faculty of Visva-Bharati University, and the skill development study of Shilpa-Bhavana. Rabindranath Tagore, the poet’s son, learned leatherwork in Europe and introduced leather batik in Santiniketan. One of the pioneers who explored batik design in Santiniketan was Gauri Bhanja, the elder daughter of Nandalal Bose, the renowned artist and then principal of Kala Bhavana. The other prominent artists of Santiniketan who enriched the batik design were Jamuna Sen, Kshoma Ghosh, Ila Ghosh, Arundhuti Thakur, Haimanti Chakravarty, Rani Chanda, Indusudha Ghosh, Abani Sinha, and Bani Bose, to name a few.
Batik was widely practised at Karu Sangha, the organisation in Santiniketan devoted to functional art. The aim was to improve the economic life of the artists and artisans. Members of Karu Sangha mainly did commission works and produced sarees, scarves, dupattas, wall hangings with batik, tie-dye, and Kantha embroidery.
Batik in Santiniketan is mainly associated with ornamental designs and motifs. Design motifs like lotus, hibiscus, marigold, conch, peacock, fish, and geometric tassels are widely used in Santiniketan Batik. Two or three colours are used primarily in batik design.
Batik has always been an integral part of Santiniketan’s cultural life. Batik “Uttariyo,” a piece of cotton or silk fabric folded in a specific manner and hung from the shoulder like a long stole, holds a high cultural value as it is given while welcoming eminent guests to the university and several events and festivals at the Ashram and also in costumes in Tagore’s dance dramas. Krishnendu Bag and Sakshi Gopal Das are refined batik artists and academicians who teach traditional and experimental batik designs. Batik, holding immense attraction to the visitors to the art and craft fairs in and around Santiniketan, has become an integral part of the artistic heritage and identity of the place.
Artisans in the Amar Kutir Society of Rural Development, a non-government organisation, produce many sarees, stoles, kurtas, and leather goods in batik. Bhaktopada Dolui, an elderly employee of Amar Kutir, has shared his experience of how many women from different communities have collaborated and developed batik designs in the last few decades. They earn a living from it to support their families.
Batik has become significant in the discourse of art and craft in India. Along with the traditional motifs used in functional textiles, it has become a medium of Individual creative expression. While artisans and craftsmen continue to develop traditional motifs, the fine arts students in Santiniketan use batik as a powerful technique and explore it differently. They rethink design making, colour application and composition according to their artistic understanding and the contemporary demands of the art world.
On the other hand, batik can be seen as an essential female craft in Santiniketan, maintained and sustained mainly by women. Where “textile” only meant sewing and mending, batik made a revolution and gave them the scope and platform to paint and explore their inner strength. It encouraged women practitioners from different social backgrounds to come forward and express their visions. Their involvement made a mark in the whole textile and design scenario. Even women not privileged to attend art school got the courage to practice this craft, showed interest in it, and used their creative knowledge to make designs with minimum affordable materials. It bridged the gap between the elite and subalterns as educated urban artists and village women worked together, exchanging their creative knowledge and expressions. It has, therefore, become more of a communitarian practice. Connecting culture to region and gender, the batik craft has travelled a long way.
Guest Edited by Esha Mukherjee
Images courtesy of Esha Mukherjee
On Saturday 8 June 2024 at 14:00 BST, we will be holding an Online Symposium inspired by issue 117: Irresistible of Selvedge Magazine inviting a discussion around the irresistible nature of resist-dyeing techniques around the world. Join us to discuss batik and its history and legacy. Book your tickets now: www.selvedge.org/products/-online-symposium-irresistible