Batik as a technique for decorating fabric. Applied arts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Roller painting with molten wax;

- “Stamp” with molten wax;

- “Pouring” with molten wax;

- “Shibori.”

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

Artists working in the hot batik technique.

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

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

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

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

1. Western artists:

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

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

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

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

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

2. Russian artists.

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

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

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

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

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

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MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

Federal state budget educational institution

higher professional education

"KUBAN STATE UNIVERSITY"

(FSBEI HPE "KubSU")

Department of Defectology and Special Psychology

GRADUATE WORK

Decorative and applied arts using the batik technique as an example

I've done the work

MM. Lysenko

Faculty of Pedagogy, Psychology and Communication Studies

course 4 Western Federal District

Specialty: 050715-Speech therapy

Scientific director

Teacher A.I. Bushueva

Standard controller

Art. teacher I.V. Lavrentieva

Krasnodar 2013

INTRODUCTION

The thesis work is a wooden screen with textile inserts painted using the cold batik technique.

When choosing a topic for a diploma, firstly, the task was to find for myself that type of fine art that would be close in spirit, would become an exciting activity and would bring pleasure from the implementation of plans. This would help when creating a work to achieve expressiveness and individuality of performance.

Secondly, the relevance of the topic and the significance of the work were important.

After a long search, the choice settled on painting on fabric or batik. Batik is a completely unique and inimitable form in art. It amazes with its picturesque diversity and originality. When working in the batik technique, great attention is paid to the shape, proportions and beauty of the material.

There are many techniques for painting on fabric. Batik has incorporated the features and techniques of many fine arts: watercolors, graphics, stained glass, mosaics, etc.

In addition to the charming artistic effects, the reason for the choice was that decorative fabrics play an important role in the aesthetic environment of a person, be it a painting, a panel, textile interior elements or wardrobe attributes. The relevance of the chosen topic is determined by the fact that this type of art is in great demand in our time. On the practical side, products made using the batik technique are used as clothing decorations and are widely used in interior design (curtains, tablecloths, pastels, etc.). In the historical aspect, batik, as a very interesting technique for painting fabrics, has been the subject of many publications.

After the main part of the theme was determined, the question arose about its implementation. I was attracted by such a decorative element as a screen. In addition to the fact that it has a functional role, dividing the space of the room, the screen is a kind of portable picture. This forgotten piece of furniture provides many opportunities for realizing ideas in fabric painting.

So, the main goal of the work was formed: to study material on a given topic; deepen your knowledge in the history of the development of painting on fabric and screens as a subject of study, the transfer of color effects and color saturation; systematize your knowledge to create original creative work.

Based on this, the main tasks can be identified:

Collect text and illustration material to study the topic;

Master the basic techniques of painting fabrics;

Perform a creative composition.

Having started work, the main features of batik were identified. Theoretical material was studied, many search work, for the purpose of final selection of technique and immediate theme for the composition.

The choice settled on plant motifs using the cold batik technique. In particular, the theme of the creative work is “Flower Stylization”. Cold batik attracted me with the opportunity to achieve bright decorativeness and expressive plasticity, as well as the effect of lightness and airiness that can be achieved when working in this technique.

Theoretical part graduation project set out in this explanatory note, the practical part is presented in the appendix to it.

The explanatory note includes: introduction, four chapters, conclusion and sources used.

The first chapter presents information from history.

The second chapter talks about the practical use of decorative fabrics in the interior and the peculiarities of their perception that need to be taken into account when creating them.

The third chapter discusses the main types of batik, techniques, materials and tools for its implementation. Information useful and interesting for everyone starting to work with decorative textiles.

The fourth chapter describes the main course of practical work.

Chapter 1. Brief information from history

1.1 History of silk

“The pearl among fabrics” with its inimitable brilliance and unique qualities is constantly surrounded by a slight aura of luxury. A special atmosphere is created by the secrets and legends associated with the discovery and production of silk fabric. The art of creating silk originated in China, and there are many stories and myths about how silkworm breeding began and how the first silk came to be. One version of the most widespread legend in China says that the secret of silk was discovered in 111 millennium BC. Xi Ling Shi, wife of the Yellow Emperor Huangtsi. During one of the walks, small mulberry fruits allegedly fell at Xi Ling Shi’s feet. When the empress picked up one fruit, a butterfly hatched from it. Having become interested in this, the empress began to observe the entire development cycle of silkworm caterpillars, and the idea occurred to her that the thread with which the caterpillar wraps itself could again be unwound and weaved into fabric.

The name "silk" is assigned, in accordance with the law on the naming of fabrics, only to those fibers that are produced from the cocoons of silkworms. The share of silk in global fiber production is less than 0.5%. Despite all the scientific and technological progress of our time, silk threads are still obtained only by breeding silkworms. The life of a silkworm lasts 28 days; during its life, each silkworm produces approximately 1000 meters of silk thread. The ancients loved to repeat: “From small things great things are built.” A little butterfly gave silk to humanity. This is an unusual raw material, not of plant or animal origin. Silk products have always been a symbol of aristocracy and sophistication. In Japan, the most magnificent and expensive clothing is considered to be a silk kimono. In Europe, they believed that silk grew on trees, and that only the Chinese knew the secret of this culture.

The unique properties of silk and the legends surrounding its origin made the flowing, soft-to-touch fabric an expression of power, luxury and, perhaps, the most coveted product in Rome at the turn of the old and new eras. Silk was so expensive that it was worth its weight in gold. So, for example, Caesar demonstrated his power, among other things, by the fact that upon entering Rome he ordered precious silk fabric to be stretched over the awnings. Silk soon captivated the Romans to such an extent that concerns arose about the economic power of the great state. At the same time, they feared that the luxury that reigned with silk would lead to decline and decay. So, in 14 AD. Tiberius forbade the Romans from wearing silk clothes - although, to tell the truth, this ban was never followed by anyone. The secret of making silk to the delight of the Chinese merchants of the Silk Road, into whose pockets, first of all, all the profits flowed, remained unsolved for a long time. Allegedly, even Nero himself assumed that silk was combed from the bark of a mulberry tree or obtained from some desert flower. Meanwhile, the Romans had already learned to weave delicate silk. Relatively thick Chinese silk fabric, under the vigilant supervision of the Romans, was carefully divided into threads in the manufactories of the Middle East, after which they were again woven into weightless fabric, decorated with various ornaments and patterns. These precious fabrics, skillfully woven and beautifully dyed with dye obtained from purple snails, traveled along the silk road back to China, the ancient homeland of silk. When did the Roman merchants, around 150-200 B.C. AD During one of the trips to distant China, they managed to learn the secret of silk and get acquainted with its production with the help of silkworm caterpillars; they did everything in order to breed amazing butterflies themselves. However, this was achieved only in 532 after the emergence of a unified Chinese empire. Perhaps, like this magnificent variegated jacquard silk, the banners of the Parthians shone in the dazzling rays of the sun. On behalf of Emperor Justinian, two Byzantine Nestorian monks smuggled caterpillar larvae from China in hollow staves. In 533, in Syria, the first silkworm caterpillars emerged from their cocoons. For more than three thousand years, China managed to maintain the secret of silkworm breeding, and several more centuries had to pass before China had to cede its dominant position in this market to the Arabs. Now silk production began to spread along with Islam to North Africa, Sicily, and Spain. Damascus became the center of silk production. When in the 13th century silk production in the territory of modern Italy reached significant volumes, the “victorious march” of silk could no longer be stopped in the rest of Europe. Silk began to be traded almost everywhere. In 1522, Cortez reached the shores of what is now Mexico. Among other things, he brought with him mulberry trees and silkworm caterpillars. Thus, silk production has now begun in the New World, and the Chinese monopoly on silk is a thing of the past.

In Britain, silk production did not play any noticeable role until the end of the 16th - beginning of the 17th centuries, it was at this time that weavers from the Netherlands and France, where a stable silk weaving industry already existed, moved to England. These visiting craftsmen initially settled in London, in the Spitefields area, and then gradually settled throughout all areas of the country. Silk production became an important and specialized trade, leading to the founding of the Silk Weaving Guild in 1629.

Once seen, this fabric plunged Europe into a real “silk fever” in subsequent centuries. The cool fabric, “light as a cloud” and “transparent as ice,” was called “Chinese veil” by Europeans. During the reign of Augustus of Rome, Chinese silk was of equal value to gold and spices. Currently, 4/5 of silk is produced in China.

Real silk is light and pleasant to the body, has a beneficial effect on the human magnetic field, normalizes blood pressure, heat exchange, relieves fatigue, breathes and absorbs moisture well. Silk raw materials contain over eighteen useful biological microelements. If you put the thinnest silk napkin on your palm, after a few seconds you can feel how your hand under this unusually light translucent fabric becomes warm: when it’s cold, silk warms, when it’s hot, it creates coolness. Tops, T-shirts, shirts made of real 100% silk - all this makes you want to try on and buy something from all this silk splendor. The history of silk goes back thousands of years, but this fabric is still a leader in fashion. Silk has unique properties - it is hygroscopic, easily dyed, lightweight, and in addition, very durable. It produces equally high-quality light fabrics: muslin, voile, organza, various crepes, chiffons, and dense fabrics: moire, taffeta, velvet, satin, brocade, damask. Silk is used for the production of linen and scarf fabrics, as well as curtain, decorative and furniture fabrics. The strength of silk is even used in parachutes and body armor.

1.2 History of the development of batik

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

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

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

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

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

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

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

From the desire to reproduce the patterns he liked using his own technique, a typical Javanese device arose - tianting (janting) - a small copper vessel that is filled with molten wax and can be heated over a fire if the wax begins to harden. The vessel is equipped with a thin curved tube from which a thin stream of wax flows, and it is this device that allows you to apply thin strokes, lines and dots that make up a complex pattern - characteristic feature Indonesian batik. And freehand drawing turns simple fabric dyeing, 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 imported from India. Only women in rich coastal cities and residents of crotons, the princely houses of patriarchal Java, could afford this expensive material.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Modern techniques for painting fabric are very diverse. Batik has incorporated the features and artistic techniques of many fine arts - watercolors, pastels, graphics, stained glass, mosaics. 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 worked on fabric design before.

1.3 History of the screen

The screen, a Chinese invention, is first known from literary sources dating from the late Zhou dynasty (4th-3rd centuries BC), and from depictions in Heng tomb paintings and stone reliefs (200 BC - 200 AD), which are two- and three-leaf screens. The earliest surviving screens, dating from the 8th century, are in the Shoso-in repository in Nara, Japan, having arrived via Korea. A 756 AD inventory listing Emperor Shomu's property mentions several hundred screens. They are made of silk or paper, painted with secular subjects, such as landscapes, flowers, poems, people, animals, birds and palaces. All Shoso-in screens contain on each panel an independent composition of related subjects, are bordered with brocade and inserted into a frame, which emphasizes their verticality and individuality. Decorative effect great, but the technical skill is quite low. The panels are fastened with leather straps or fabric threaded through holes at the edges.

The heaviness of the Chinese screen and its rough fastening are partly due to the way it is used. Unlike Japanese houses, Chinese houses had permanent walls, often decorated with frescoes, and the screens often did not move. The screen was viewed from an aesthetic point of view, as a source of beauty, inspiration or intellectual activity, while less importance was attached to its flexibility and mobility.

Until the Song Dynasty (960-1279), screen painting remained a serious art form, but then degenerated into a purely decorative art. The gap between “learned” artists and professional artisans, who gave gilding and carving, inlay with semi-precious stones, ivory and mother-of-pearl is more important than the content.

Soon after its introduction in Japan, the screen reached its peak and acquired additional forms and functions. Japanese houses may have three types of screens: placed at the entrance to ward off evil spirits, a sliding inner wall panel called fusuma, and a byobu, a folding screen made of several panels that stands on the floor without any support. Byobu literally means "protects from the wind." This screen made its way into English diaries and inventories as "beoubus" (or some other similar spelling variation). The advantages of byobu include its mobility and adaptability, protective properties, diverse functioning in everyday life and life. Small screens were part of tea ceremony rooms, while larger ones were used on stage or as a backdrop for concerts or dances. Byobu were an indispensable attribute of imperial coronations, used in street processions and formed fences for Buddhist rituals. In addition to this, they served as a place for conversations between family members and as a kind of stimulus for literary and poetic disputes.

Since the Japanese screen had to be moved very often, its lightness became not only desirable, but also a necessary requirement. As the screens increased in size, they became even more significant. While the frames of Chinese screens were made of fairly heavy wood, the Japanese were able to use lighter wood due to the structural strength of their screens, due to the properties of the paper itself. It was made by hand from plant fibers, its quality and strength were excellent. Today, several screens of a similar design still exist, dating back 500-800 years.

The real victory of the Japanese was the mastery of composition and the quality of the painting itself. In a culture where neither wall paintings nor paintings existed, screens were an example of fine art. As all but the poorest houses had screens, it was quite common for there to be a huge difference in quality found in all household furnishings and decorative arts.

Unfortunately, there are big problems with the history of the screen. Screens from the Shoso-in repository date from the 8th century, but no screens have survived for the next three hundred years, and very few exist that date back to the 1450s.

The art of screen painting reached its highest development in Japan, at the time when the Western world first invaded there. The zenith was reached during the Momoyama period (1573-1615), with the art of namban representing one aspect of the style.

While painted screens were being created in Japan, another type was being made in China, the lacquer screen, a type that was destined to have much greater influence in Europe over the next two centuries.

Chinese lacquer began to arrive in Europe in the early years of the 17th century, and in 1614 the first English ship returned from Japan with “Japanese goods, manuscripts..., beoubus and all kinds of utensils of excellent lacquer.” From this point on, numerous records of screens can be found.

Lacquer first became known to the Chinese more than three thousand years ago and entered Japan in the 6th century. AD By the 15th century The Japanese developed the art of lacquer technology to such an extent that even the Chinese emperor recognized the superiority of their products. Varnish could only be made in the East, since the raw material for it is the resin of the Rhusvernicifera tree.

As the demand for imports from the East increased, the Chinese, while continuing to make traditional screens, expanded their production, intended specifically for the European market. Already in 1670, Europeans interested in commercial development went to the East to introduce models according to which products for the Western market were to be produced in China.

Europeans immediately saw not only decorative effects, but also opportunities for very elegant spatial games. Screens gained particular popularity in the 19th and 20th centuries. The layout of apartments at that time required dividing the living space into zones, and screens easily coped with this task, covering what should not be seen by outsiders.

In modern screens, little has been preserved from the historical prototype. Produced by well-known furniture companies, they amaze with their variety: the wooden or metal frame can be of the most bizarre silhouettes, covered with fabric, paper, leather or filled with glass. Even Kevlar mesh is used, a high-tech material used in the space industry.

Chapter 2. Features of creating decorative textiles in the interior

2.1. Features of using textiles in the interior

Decorative fabrics occupy an important place in modern interiors and are often the fundamental defining artistic element. Both in housing and in public buildings, they can create a fascinating and memorable interior, if the selection takes into account functional purpose the fabric itself, as well as the premises. For example, hotel rooms, a sanatorium or a holiday home are close in purpose to housing; the selection of decorative fabrics for these rooms is different: a short stay in a hotel allows you to use products that are more saturated in color and fabrics with a larger scale of design; for housing you need to take into account the conditions of daily stay. For the interiors of administrative buildings, fabrics should be restrained in color and pattern, taking into account working atmosphere premises, while in a cafe or restaurant a variety of products can be used in terms of decor and richness.

In modern practice of using decorative fabrics for interiors for various purposes, three main techniques have emerged:

1) Fabrics play a leading role in the development of the artistic appearance of the interior;

2) Fabrics complement other elements of interior decoration in color and pattern;

3) Fabrics provide a neutral background for other artistic pieces.

The first technique involves decorating the interior, mainly with decorative textiles and is more applicable to the interiors of public buildings. A variety of products can be used here: tapestry, curtain, furniture fabric, carpeting, etc. combining contrast or tone with other types of fabrics or elements of equipment, any textile can become the leading element of the entire interior composition.

In residential interiors, this technique is also very common: in the design of a particular room, the accent of the composition can be a carpet, fabric, or curtains.

The second technique of using decorative fabrics is that they are additional element The interior ensemble, in color or pattern, is complemented by the main more expressive elements (decorative panels, stained glass, painting, etc.).

The third technique involves the introduction of textiles as a neutral background for various works of art that are stronger in their qualities and expressiveness. In most cases, works of monumental art - mosaics, paintings, stained glass windows require a neutral background, and in this case, textiles for curtains, carpets, furniture fabrics must be selected in color and pattern taking into account this requirement. In housing, this technique reveals more the functional purpose of the room: for example, neutral fabrics are needed for a bedroom or office.

Decorative panels, paintings, draperies made using the batik technique greatly decorate the living space of the house.

As a rule, a canvas made using the batik technique and, above all, its fabric nature, has a number of properties that help it blend harmoniously into any interior and create home comfort. After all, people have been using textiles for centuries to improve and decorate their homes. These are, of course, carpets, tapestries, curtains - everything that gives the living space a special warmth and softness.

The batik technique in the interior is a continuation of these traditions and decoration possibilities. This design technique is not intended to surprise anyone with an extra-fashionable color combination and an avant-garde solution.

Being an applied art in its essence, it has a calming effect and helps to immerse oneself in a state of contemplation, reflection and peace. All this is so often lacking for a modern person living in a metropolis with its super-fast rhythm of life.

A marine theme in the interior will help you find balance and peace of mind. Still life will give the room a special charm. Plant motifs and nature are the most universal subjects that easily fit into most interiors and encourage reflection on life and contemplation.

2.2 Color and composition in textiles

Color in a decorative textile product is an integral part of the decor. A thing that is beautiful in design can be ruined by colors that do not correspond to the overall artistic design, or by incorrect color distribution. Color can be combined individual elements into a single whole and you can crush them so that nothing remains of the carefully thought-out composition. In order to competently solve color issues, you need to know the elementary laws of color combinations. The influence of colors and their combinations on humans. The color of a textile product is determined by the combination of colors used and the harmony of their combinations.

The color of a textile product is determined by the combination of colors used and the harmony of their combinations. Depending on the predominance of certain colors, the color can be dark or light, cold or warm, it can be based on a combination of large planes of saturated colors or on subtle tonal combinations, it can be calm or tense. However, first of all, the color is characterized by the predominant color in it - blue or yellow, purple or green, etc.

The choice of the main gamut and the subordination of the overall color scheme to this gamut allows you to approach the issue meaningfully color scheme works. It is not enough to distribute the colors across the plane of the product. You need to learn to manage the possibilities provided by the paints or yarn at hand. A coloristically harmoniously solved piece is similar to a piece of music in which the main melody is clearly heard against the background of musical accompaniment, which does not drown out this melody, but only emphasizes and enriches it.

Color is one of the means of creating a certain image, the mood of a work. It is no coincidence that when considering a work of textile art, they use such epithets as sunny, spring, restrained, joyful, gloomy, etc. They are born as a result of the visual and emotional sensation that arises upon first acquaintance with the thing. The basis of this feeling is a deep internal connection that exists in every complete work of art between the general compositional concept, ornamental rhythm and coloristic solution. But only with rich experience in creating works of art, knowledge of the patterns of color relationships, can you analyze visual sensations, say why this or that work, its coloring is good or bad, how fully they reveal the artistic idea of the work.

Complex issues related to color solutions are not limited to the information given here. They acquire value in the hands of a thoughtful artist when they are used meaningfully in the process of creating works of art.

The composition of a decorative textile work is a rhythmic and organized division of its plane, when all ornamental or pictorial elements are made in uniform artistic and technical techniques and are subordinated to a general artistic and decorative plan. In other words, this is an internal connection between material, artistic means and ideological – approximate content. Work on composition consists of consciously finding compositional solutions in each individual case, depending on the tasks set by the artist, on his entire creative work for the world. To a significant extent, the nature of the composition is determined by rhythm - one of the important artistic means of creating a work of decorative and applied art.

Rhythm is a natural alternation of commensurate parts of a drawing, helping to achieve clarity and expressiveness of the composition, clarity of its perception. Consecutive dispersal of parts of the composition of a work of art - increasing or decreasing the distance between them, changing the filling of the pattern to the edges or middle of the product - also varying the movement at a certain pace. Rhythmic construction in a textile design is achieved by various techniques: repetition of the pattern, symmetrical construction of the pattern, free dispersion of the ornament.

A technique of repeat repetition of a pattern, in which the elements of the composition alternate moderately on the plane of the product, based on different types of meshes. The grid can be constructed from squares, triangles, rhombuses or rectangles located in in a certain order.

Technique for symmetrical drawing. Symmetry should be understood not only as a mirror repetition of a pattern relative to a vertical or horizontal axis. It can have a diagonal direction or a random slope.

In the case of free distribution of the ornament over the entire plane of the thing being decorated, the elements are placed on the reverse edges of the product, balanced - they are similar in size and general silhouette. It is possible that only one corner or one side of the textile is filled. The balance of the composition in this case is achieved by color scheme. The master’s work on a new work begins with choosing a theme, according to the purpose of the product. At this step, it is especially important not only certain information contained in the depicted elements, but also the decorative image and emotional mood that the painter strives to convey with his help. Various artistic media. A well-formed and thoughtful compositional scheme is the basis for the creation of a work of art. You should start with a sketch of the compositional scheme in true size or on a reduced scale. When developing the decor, you should find which part of the composition will carry the main ornamental and color load. According to the construction scheme and the nature of the interpretation of the ornament, compositional solutions are of two types: static and animated. Static compositional schemes are in most cases symmetrical and require serious interpretation of the ornament. This usually includes linear pictures, compositions with geometric patterns, and some works with floral patterns. Static compositions convey states of peace and balance. In compositions animated by decisions, the elements of the pattern are placed along diagonal axes or freely distributed along the plane. Movement is more clearly expressed in them, the patterns are more diverse, and there can be a bold violation of symmetry. The color scheme in dynamic compositions can be more intense.

A very important point is the choice of the scale of the drawing according to the size and purpose of the product. An important artistic measure of textile art can be a well-thought-out spectrum. A coherent solution can only be achieved if the forms are generalized; fragmentation leads to a variegated color scheme. In addition, the modern style of art is characterized by a careful attitude to the beauty of the processed material, and the generality of forms makes it possible to more clearly reveal its natural properties. Spectrum in a decorative textile product is an integral part of the composition. A thing that is beautiful in design can be ruined by colors that do not suit the overall artistic plan, or by incorrect distribution of color. With color you can connect individual elements into a single whole, and you can crush them so that nothing remains of a painstakingly thought-out composition. In order to solve color issues well, you should know the simple laws of color combinations. The impact of colors and their combinations on humans.

The spectrum of a textile product is determined by the combination of colors used and the harmony of their combinations. Depending on the dominance of certain colors, the spectrum can be dark or light, cool or warm, it can be built on a combination of huge planes of saturated colors or on subtle tonal combinations, it can be measured and intense. But, at first, the spectrum is characterized by the dominance of colors in it - blue or yellowish, violet or greenish, etc. The choice of the main palette and the subordination of the overall coloristic solution to this palette allows you to meaningfully approach the issue of the color scheme of the work. It is not enough to distribute the colors on the plane of the product. It is necessary to learn to control the abilities that the paint and yarn at hand provide. A coloristically harmonically resolved piece is similar to a piece of music in which the main melody is clearly heard against the background of musical accompaniment. Spectrum is one of the means of creating a certain type, mood of a work.

It is no coincidence that when considering works of textile art, they use such etiquettes as sunny, spring, restrained, cheerful, etc. They appear as a result of the visual and sensory feeling that appeared during the first acquaintance with the thing. The basis of this feeling is the deepest internal connection that exists in every finished work of art between the general compositional plan, ornamental rhythm and color scheme. The shape and color of textured products reveal the features of the multifunctional purpose of the products, immediately simplify the visual perception of the interior and establish interaction between architecture and people. Color is an important means of ornamental composition of fabrics. It has a great power of sensual influence on a person. When choosing the color palette of interior fabrics, the emotional impact is taken into account. The color and pattern of decorative fabrics is important not only for artistic interior design.

By skillfully selecting and combining the color of a fabric, carpet, or panel, you can optically change the proportions and dimensions of a room: conditionally increase or decrease it, make the room feel cramped and low, or, on the contrary, more spacious and lofty. Thus, artistic textiles play an important role in the modern interior of residential and public buildings. Any type of fabric or artistic textile product, performing the desired function, creates certain emotions and, together with other elements of the interior, determines its image.

knotted paint screen fabric

Chapter 3. Technology and materials

3.1 Core technologies

Hot batik technique.

When painting textiles using the “hot batik” method, enormous opportunities are opened for the manifestation of the author’s handwriting, which is especially valued in the decorative arts. The artist easily responds to decorative searches, to a variety of pictorial and graphic styles. The classic hot-head technique is to repeatedly coat fabric with melted wax and dip it in paint.

Basically, figurative expressiveness in textile products painted using the “hot batik” method is achieved through color harmony. At the same time, color development is infinitely diverse in structure, shades, and color combinations, achievable only in this technique.

The methods of painting fabric with hot batik, like no other, mobilize the artist’s creative imagination, his professional thinking and will, and provide great opportunities for his self-expression.

The reservation of individual sections of fabric in hot batik is carried out using a hot reserve, which is based on wax and paraffin. Due to the fact that contour lines are not necessary here, soft transitions of tones are possible in the drawing. The combination of various techniques for applying a reserve composition allows for more subtle and varied developments of ornamental forms. When making hot reserves, in addition to paraffin and wax, Vaseline is also added, since paraffin, when cooled, hardens and forms a fragile film through which paint can penetrate. Adding Vaseline makes the protective film soft and elastic. After finishing work, the reserve is removed from the surface using an iron.

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

1. Simple batik (one overlap).

2. Complex batik (two or more overlaps).

3. Work from stains.

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

Batik as a technique for decorating fabric. Applied arts – 'Batik'

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