The Glory of Indonesian Batik in Canberra
In connection to my
current PhD study, I recently made a trip to the state-of-the-art National
Gallery Australia/NGA (http://nga.gov.au) in Canberra. Previously
I have read a number of sources which acknowledge that the NGA has a rich and
spectacular collection on Indonesian textiles, including Batik.
As I stepped inside the majestic
compound of NGA, accompanied by Ms Melanie Eastburn (Asian Curator) and Ms
Micheline Ford (Senior Textile Conservator), I was simply in awe with the
Gallery’s commendable and historical collection which amounted to more than 1200
creations of Indonesian textile. All these textiles, particularly Batik, which
are collected by the NGA represent significant stages of development of not
only the textile but also of my beloved motherland, Indonesia.
The collection, regardless
of the amazing items, is not the only commendable issue. The conservation of
Indonesian textiles is also being taken seriously as most of these textiles
dated from as early of 18th century. Textiles that are not on show
would be safeguarded in a regulated temperature rooms to keep these textiles
from humidity and sudden change of weather.
Further, the NGA went for
a major undertaking to create a modernized cataloguing system to digitized all
these textiles. In a nutshell, the NGA has an impeccable database on Indonesian
textiles which is categorized by region, cultural group, medium, technique and
subject.
The wonderful thing about
this database is that it is publicly accessible, meaning the history and
diversity of Indonesian textile is only a click away to not only scholars but
also any Indonesian, Australian and other nationalities who is interested to
learn more about Indonesian textiles ((http://nga.gov.au/indonesiantextiles/Code/Default.cfm).
Oh, and it did not stop
there. As a fashion aficionado, I was ecstatic to see the world’s most
celebrated designers creation on display such as the original haute couture
dress by the impeccable French couturier, Madame Madeleine Vionnet (1876-1975).
The green and pink taffeta ballgown was crafted in 1934. Known as the
“Architect among Designers”, the cut and silhouette of each Vionnet’s dress,
including this one is beyond comparison. Similar to her compatriot, Coco
Chanel, Vionnet liberated women’s body from stays and corsets. One of her
famous words were “when a woman smiles, then her dress should smile too”.
In line with the NGA’s
oh-so-amazing-collections, another display which caught my fashion lover eyes
was a dress designed by Australian designers namely Peter Boyd and Denise
Sprynskyj for the Six fashion house in Melbourne back in 1999. The dress
features modernity, wearability and indeed an ode to Australian fashion.
Overall, I must say that I
had not just a thoroughly enjoyable visit but also an illuminating discussion
with knowledgeable officers of NGA which are important sources for my research.
My heartfelt appreciation
goes to NGA and its able officers, particularly to Melanie and Micheline who
have taken quite a time from their hectic schedule in accompanying me during my
visit as well as granting me a substantive discussion afterwards.
Anyone in Australia,
Indonesia and abroad who wishes to glance the glory of Indonesian textiles,
particularly Batik, from a close proximity, head to NGA in Canberra. You will
surely have an enjoyable and knowledgeable trip!
Fashionistas, make sure to
follow my Instagram (@JETJAKARTA)
and Facebook page (JET Fashion Diplomacy)
for more fashionable updates as well rare and previously unpublished photos of
JET and the fab fashion people!
Ps. While I linger on the
joyful fact that Indonesians are quite fortunate to be endowed with our State-run
Textile Museum in Jakarta and the National Museum in Jakarta which creates a
specific wing for Indonesian textiles, as well as the privately-owned Danar
Hadi Batik Museum in Solo and Bin House Museum Kain (Cloth) in Bali, it is my
one true hope that Indonesia would have an internationally acclaimed National Gallery
on Fashion which is specifically aimed to display each textile from the
Indonesian archipelago and also a hint of foreign textiles. This artistic
Museum or Gallery should not only house the most exotic traditional textiles
but also proudly features the very best creations of most famous Indonesian
designers whose designs have been worn by the leading fashion figures in the
world, among others Iwan Tirta’s Batik shirt which was worn by President Bill
Clinton and Tex Saverio’s edgy gown which was elegantly worn by Lady Gaga. In
addition, a 21st century modernized and publicly accessible database
system to catalogue each Batik and Ikat and Kain Karawang and Songket and Tapis
and Tenun as well as other Indonesian textiles would for sure attract our
younger generations to learn more about the richness of Indonesian textiles! Not
to mention that such database system can serve as a testimony on the vast
collection of Indonesian textiles. Now, that’s what I call a truly savvy Indonesian
National Gallery of Fashion. When can Indonesia experience a state-of-the-art
Fashion Gallery with a publicly accessible database in our own courtyard? Well,
the answer lies upon ourselves, Indonesian fashionista! Feel free to drop me a
line for further idea and recommendation.
Source: National Gallery
of Australia (http://nga.gov.au), Vionnet Homepage (http://www.vionnet.com/).
#jetfashiondiplomacy, #indonesianfashiondiplomacy,
#nationalgalleryofaustralia, #indonesiantextile, #indonesianbatik,
#madeleinevionnet, #hautecouture, #proudindonesian, #ngacanberra, #iwantirta,
#gotikswan, #indonesianbatikmaestro, #tenunimam
As I closely observed the
splendid Batik collection of NGA, I listened carefully to the comprehensive
explanation by Ms Micheline Ford and Ms Melanie Eastburn about the late 19th-early
20th century hand-painted Batik sarong which was made in Batavia
(Jakarta) (the photo of Batik on the higher panel) (http://artsearch.nga.gov.au/Detail.cfm?IRN=35518), as well as hand-painted
Batik cloth which features the battle scene with figures from Mahabharata as
told in a shadow puppet (wayang) (the
photo of Batik on the lower panel) (http://artsearch.nga.gov.au/Detail.cfm?IRN=96249).
To add an ethnic as well
as artsy touch on my classy black-on-black look, I put on my black and white
furry hand-woven shawl with Rang Rang pattern. The silk shawl is elegantly
designed by Imam Budiono for Tenun Imam in Bali (http://www.tenunimam.com/).
Gazing at the masterpiece
Batik cloth which was designed by KRT Hardjonagoro (Mr Go Tik Swan) (1931-2008)
who was one of the most well known Indonesian Batik maestros. The pattern of
the cloth is titled Nagaraja Bledak
(Serpent King). In the early days of Indonesian independence, Mr Hardjonagoro
was mandated by then President Sukarno to execute Batik cloths which carry the
Indonesian personality and not representing certain ideology or specific tribe.
His most sought after grand creations are examples of his answer to the
President’s requests. (http://artsearch.nga.gov.au/Detail.cfm?IRN=96131)
Interactive discussion
with Ms Eastburn and Ms Ford on the 19th century hand-painted Batik
which features the Islamic calligraphy. This type of Batik was known as Basurek (http://artsearch.nga.gov.au/Detail.cfm?IRN=140722).
Ms Eastburn and Ms Ford
explaining the highly intricate late 19th century Khmer people Buddhist
canopy (pidan) which features the
scenes of the earthly life of Buddha Shakyamuni. The canopy which was crafted
from Ikat technology was made in Cambodia. (http://artsearch.nga.gov.au/Detail.cfm?IRN=168365)
Notable discussion and
substantive exchange of views followed afterwards between the well-respected
officers with me.
Type of intricately made
Aboriginal Batik which possess symbolic meaning and vibrant colors.
Type of Aboriginal Batik
in monochrome tone.
Orange and red are united
in this Aboriginal Batik as a colorful work of art.
The romantic pattern of
leaves are the center point on this Aboriginal Batik.
The splendor of Aboriginal
Batik. All these Aboriginal Batik cloths were designed and made by Aboriginal
artists.
Madeleine Vionnet’s green
and pink taffeta ballgown made from silk for Autumn 1934. Take a closer
observation to this intricately made dress, indeed Vionnet was called “the
Architect of Designers” because of her precision of designs and cuttings. Photo
source: NGA (http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=8289)
In 1999, Peter Boyd and
Denise Sprynskyj created the Lattice dress for Six fashion house in Melbourne.
The whole dress is cut and constructed from one quadrant of cream silk. Photo
source: NGA (http://artsearch.nga.gov.au/Detail.cfm?IMG=134506_a&IRN=134506&vID=2)
One of the most important
Indonesian textiles which is collected by the NGA is a gift from Dr Mochtar
Kusumaatmadja, in his capacity as the Indonesian Minister of Foreign Affairs.
In 1986, Batik served as a tool of cultural diplomacy between
Indonesian-Australia when Dr Kusumaatmadja presented a hand-painted Indonesian
Batik with Islamic calligraphy in the form of a figure to the NGA. The Batik
banner was designed by Iwan Tirta, one of Indonesian most famous Batik maestro,
and crafted in Cirebon. Closely observe the wadasan pattern, which is a
signature pattern of Cirebonese Batik, at the bottom of the banner. This
admirable work of art can be witnessed online in the Indonesian textile
database which is maintained by the NGA (http://nga.gov.au/indonesiantextiles/Code/Detail.cfm?IRN=54042&BioArtistIRN=17361&MnuID=4).
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