Monday 16 May 2011

Komodo dragon

From Wikipedia, the free encyclopedia
Komodo dragon[1]
Conservation status
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Reptilia
Order: Squamata
Suborder: Lacertilia
Family: Varanidae
Genus: Varanus
Subgenus: V. (Varanus)
Species: V. komodoensis
Binomial name
Varanus komodoensis
Ouwens, 1912[2]
Komodo dragon distribution

The Komodo dragon (Varanus komodoensis) is a large species of lizard found in the Indonesian islands of Komodo, Rinca, Flores, Gili Motang and Gili Dasami.[3] A member of the monitor lizard family (Varanidae), it is the largest living species of lizard, growing to a maximum of length 3 metres (9.8 ft) in rare cases and weighing up to around 70 kilograms (150 lb).[3] Their unusual size has been attributed to island gigantism, since there are no other carnivorous animals to fill the niche on the islands where they live.[4][5] However, recent research suggests that the large size of komodo dragons may be better understood as representative of a relict population of very large varanid lizards that once lived across Indonesia and Australia, most of which, along with other megafauna,[6] died out after the Pleistocene. Fossils very similar to V. komodoensis have been found in Australia dating to greater than 3.8 million years ago, and its body size remained stable on Flores, one of the handful of Indonesian islands where it is currently found, ever since Flores (along with neighboring islands) were isolated by rising sea levels approximately 900,000 years ago.[6] As a result of their size, these lizards dominate the ecosystems in which they live.[7] Komodo dragons hunt and ambush prey including invertebrates, birds, and mammals. The diet of big Komodo dragons mainly consists of deer, though they also eat considerable amounts of carrion.[3]

Mating begins between May and August, and the eggs are laid in September. About twenty eggs are deposited in abandoned megapode nests or in a self-dug nesting hole.[3] The eggs are incubated for seven to eight months, hatching in April, when insects are most plentiful. Young Komodo dragons are vulnerable and therefore dwell in trees, safe from predators and cannibalistic adults. They take about eight to nine years to mature, and are estimated to live for up to 30 years.[3]

Komodo dragons were first recorded by Western scientists in 1910.[8] Their large size and fearsome reputation make them popular zoo exhibits. In the wild their range has contracted due to human activities and they are listed as vulnerable by the IUCN. They are protected under Indonesian law, and a national park, Komodo National Park, was founded to aid protection efforts.

Contents

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Etymology

The Komodo dragon is also known as the Komodo monitor or the Komodo Island monitor in scientific literature, although this is not very common.[1] To the natives of Komodo Island, it is referred to as ora, buaya darat (land crocodile) or biawak raksasa (giant monitor).[9][10]

Evolutionary history

The evolutionary development of the Komodo dragon started with the Varanus genus, which originated in Asia about 40 million years ago and migrated to Australia. Around 15 million years ago, a collision between Australia and Southeast Asia allowed the varanids to move into what is now the Indonesian archipelago, extending their range as far east as the island of Timor. The Komodo dragon was believed to have differentiated from its Australian ancestors 4 million years ago. However, recent fossil evidence from Queensland suggests that the Komodo dragon evolved in Australia before spreading to Indonesia.[6][11] Dramatic lowering of sea level during the last glacial period uncovered extensive stretches of continental shelf that the Komodo dragon colonized, becoming isolated in their present island range as sea levels rose afterwards.[6][10]

Description

Closeup of a Komodo dragon's skin

In the wild, an adult Komodo dragon usually weighs around 70 kilograms (150 lb),[12] although captive specimens often weigh more. The largest verified wild specimen was 3.13 metres (10.3 ft) long and weighed 166 kilograms (370 lb), including undigested food.[10] The Komodo dragon has a tail as long as its body, as well as about 60 frequently replaced serrated teeth that can measure up to 2.5 cm (1 inch) in length. Its saliva is frequently blood-tinged, because its teeth are almost completely covered by gingival tissue that is naturally lacerated during feeding.[13] This creates an ideal culture for the virulent bacteria that live in its mouth.[14] It also has a long, yellow, deeply forked tongue.[10]

Senses

The Komodo dragon does not have an acute sense of hearing, despite its visible earholes, and is only able to hear sounds between 400 and 2000 hertz.[10][15] It is able to see as far away as 300 metres (980 ft), but because its retinas only contain cones, it is thought to have poor night vision. The Komodo dragon is able to see in color, but has poor visual discrimination of stationary objects.[16]

Komodo dragons video.wmv.OGG
A Komodo dragon on Komodo Island uses its tongue to sample the air

The Komodo dragon uses its tongue to detect, taste, and smell stimuli, as with many other reptiles, with the vomeronasal sense using the Jacobson's organ.[14] With the help of a favorable wind and its habit of swinging its head from side to side as it walks, Komodo dragons may be able to detect carrion from 4–9.5 kilometres (2.5–6 mi) away.[13][16] The dragon's nostrils are not of great use for smelling, as the animal does not have a diaphragm.[13][17] It only has a few taste buds in the back of its throat.[14] Its scales, some of which are reinforced with bone, have sensory plaques connected to nerves that facilitate its sense of touch. The scales around the ears, lips, chin, and soles of the feet may have three or more sensory plaques.[13]

The Komodo dragon was formerly thought to be deaf when a study reported no agitation in wild Komodo dragons in response to whispers, raised voices, or shouts. This was disputed when London Zoological Garden employee Joan Proctor trained a captive specimen to come out to feed at the sound of her voice, even when she could not be seen.[18]

Ecology

Close-up of a Komodo dragon's foot and tail

The Komodo dragon prefers hot and dry places, and typically lives in dry open grassland, savanna, and tropical forest at low elevations. As an ectotherm, it is most active in the day, although it exhibits some nocturnal activity. Komodo dragons are solitary, coming together only to breed and eat. They are capable of running rapidly in brief sprints up to 20 kilometres per hour (12.4 mph), diving up to 4.5 metres (15 ft), and climbing trees proficiently when young through use of their strong claws.[12] To catch prey that is out of reach, the Komodo dragon may stand on its hind legs and use its tail as a support.[18] As the Komodo dragon matures, its claws are used primarily as weapons, as its great size makes climbing impractical.[13]

For shelter, the Komodo dragon digs holes that can measure from 1–3 metres (3–10 ft) wide with its powerful forelimbs and claws.[19] Because of its large size and habit of sleeping in these burrows, it is able to conserve body heat throughout the night and minimize its basking period the morning after.[20] The Komodo dragon hunts in the afternoon, but stays in the shade during the hottest part of the day.[21] These special resting places, usually located on ridges with a cool sea breeze, are marked with droppings and are cleared of vegetation. They serve as a strategic location from which to ambush deer.[22]

Diet

Komodo dragons on Rinca

Komodo dragons are carnivores. Although they eat mostly carrion,[4] they will also ambush live prey with a stealthy approach. When suitable prey arrives near a dragon's ambush site, it will suddenly charge at the animal and go for the underside or the throat.[13] It is able to locate its prey using its keen sense of smell, which can locate a dead or dying animal from a range of up to 9.5 km (6 miles).[13] Komodo dragons have been observed knocking down large pigs and deer with their strong tail.[23][24]

Komodo dragons eat by tearing large chunks of flesh and swallowing them whole while holding the carcass down with their forelegs. For smaller prey up to the size of a goat, their loosely articulated jaws, flexible skull, and expandable stomach allow it to swallow its prey whole. The vegetable contents of the stomach and intestines are typically avoided.[22] Copious amounts of red saliva that the Komodo dragons produce help to lubricate the food, but swallowing is still a long process (15–20 minutes to swallow a goat). A Komodo dragon may attempt to speed up the process by ramming the carcass against a tree to force it down its throat, sometimes ramming so forcefully that the tree is knocked down.[22] To prevent itself from suffocating while swallowing, it breathes using a small tube under the tongue that connects to the lungs.[13] After eating up to 80 percent of its body weight in one meal,[7] it drags itself to a sunny location to speed digestion, as the food could rot and poison the dragon if left undigested for too long. Because of their slow metabolism, large dragons can survive on as little as 12 meals a year.[13] After digestion, the Komodo dragon regurgitates a mass of horns, hair, and teeth known as the gastric pellet, which is covered in malodorous mucus. After regurgitating the gastric pellet, it rubs its face in the dirt or on bushes to get rid of the mucus, suggesting that it, like humans, does not relish the scent of its own excretions.[13]

A young Komodo dragon photographed on Rinca feeding on a water buffalo carcass

The largest animals eat first, while the smaller ones follow a hierarchy. The largest male asserts his dominance and the smaller males show their submission by use of body language and rumbling hisses. Dragons of equal size may resort to "wrestling". Losers usually retreat though they have been known to be killed and eaten by victors.[13]

Komodo excrement is mostly white as the stomach is not capable of digesting the calcium found in the bones of the animals they eat.

The Komodo dragon's diet is wide-ranging, and includes invertebrates, other reptiles (including smaller Komodo dragons), birds, bird eggs, small mammals, monkeys, wild boar, goats, deer, horses, and water buffalo.[25] Young Komodos will eat insects, eggs, geckos, and small mammals.[4] Occasionally they consume humans and human corpses, digging up bodies from shallow graves.[18] This habit of raiding graves caused the villagers of Komodo to move their graves from sandy to clay ground and pile rocks on top of them to deter the lizards.[22] The Komodo dragon may have evolved to feed on the extinct dwarf elephant Stegodon that once lived on Flores, according to evolutionary biologist Jared Diamond.[26]

Because the Komodo dragon does not have a diaphragm, it cannot suck water when drinking, nor can it lap water with its tongue. Instead, it drinks by taking a mouthful of water, lifting its head, and letting the water run down its throat.[13]

Saliva

A sleeping Komodo dragon. Its large, curved claws are used in fighting and eating.

Auffenberg described the Komodo dragon as having septic pathogens in its saliva (he described the saliva as "reddish and copious"), specifically the bacteria: E. coli, Staphylococcus sp., Providencia sp., Proteus morgani and P. mirabilis.[27] He noted that while these pathogens can be found in the mouths of wild Komodo dragons, they disappear from the mouths of captive animals, due to a cleaner diet and the use of antibiotics.[27][28] This was verified by taking mucous samples from the external gum surface of the upper jaw of two freshly captured individuals.[27][28] Saliva samples were analyzed by researchers at the University of Texas who found 57 different strains of bacteria growing in the mouths of three wild Komodo dragons including Pasteurella multocida.[10][29] The rapid growth of these bacteria was noted by Fredeking: "Normally it takes about three days for a sample of P. multocida to cover a petri dish; ours took eight hours. We were very taken aback by how virulent these strains were".[30] This study supported the observation that wounds inflicted by the Komodo dragon are often associated with sepsis and subsequent infections in prey animals.[29] How the Komodo dragon is unaffected by these virulent bacteria remains a mystery.[30]

In late 2005, researchers at the University of Melbourne speculated that the perentie (Varanus giganteus), other species of monitor, and agamids may be somewhat venomous. The team believes that the immediate effects of bites from these lizards were caused by mild envenomation. Bites on human digits by a lace monitor (V. varius), a Komodo dragon, and a spotted tree monitor (V. scalaris) all produced similar effects: rapid swelling, localized disruption of blood clotting, and shooting pain up to the elbow, with some symptoms lasting for several hours.[31]

In 2009, the same researchers published further evidence demonstrating that Komodo dragons possess a venomous bite. MRI scans of a preserved skull showed the presence of two venom glands in the lower jaw. They extracted one of these glands from the head of a terminally ill specimen in the Singapore Zoological Gardens, and found that it secreted a venom containing several different toxic proteins. The known functions of these proteins include inhibition of blood clotting, lowering of blood pressure, muscle paralysis, and the induction of hypothermia, leading to shock and loss of consciousness in envenomated prey.[32][33] As a result of the discovery, the previous theory that bacteria were responsible for the deaths of komodo victims was disputed.[34]

Kurt Schwenk, an evolutionary biologist at the University of Connecticut finds the discovery of these glands intriguing, but considers most of the evidence for venom in the study to be "meaningless, irrelevant, incorrect or falsely misleading". Even if the lizards have venomlike proteins in their mouths, Schwenk argues, they may be using them for a different function, and he doubts that venom is necessary to explain the effect of a Komodo dragon bite, arguing that shock and blood loss are the primary factors.[35][36]

Reproduction

Mating occurs between May and August, with the eggs laid in September.[10] During this period, males fight over females and territory by grappling with one another upon their hind legs with the loser eventually being pinned to the ground. These males may vomit or defecate when preparing for the fight.[18] The winner of the fight will then flick his long tongue at the female to gain information about her receptivity.[7] Females are antagonistic and resist with their claws and teeth during the early phases of courtship. Therefore, the male must fully restrain the female during coitus to avoid being hurt. Other courtship displays include males rubbing their chins on the female, hard scratches to the back, and licking.[37] Copulation occurs when the male inserts one of his hemipenes into the female's cloaca.[16] Komodo dragons may be monogamous and form "pair bonds", a rare behavior for lizards.[18]

A Komodo dragon with its long tail and claws fully visible

The female lays her eggs in burrows cut into the side of a hill or in the abandoned nesting mounds of the Orange-footed Scrubfowl (a moundbuilder or megapode), with a preference for the abandoned mounds.[38] Clutches contain an average of 20 eggs which have an incubation period of 7–8 months.[18] Hatching is an exhausting effort for the neonates, who break out of their eggshells with an egg tooth that falls off soon after. After cutting out the hatchlings may lie in their eggshells for hours before starting to dig out of the nest. They are born quite defenseless, and many are eaten by predators.[13]

Young Komodo dragons spend much of their first few years in trees, where they are relatively safe from predators, including cannibalistic adults, who make juvenile dragons 10% of their diet.[18] According to David Attenborough, the habit of cannibalism may be advantageous in sustaining the large size of adults, as medium-sized prey on the islands is rare.[23] When the young must approach a kill, they roll around in fecal matter and rest in the intestines of eviscerated animals to deter these hungry adults.[18] Komodo dragons take about three to five years to mature, and may live for up to 50 years.[19]

Parthenogenesis

A parthenogenetic baby Komodo dragon, Chester Zoo, England

A Komodo dragon at London Zoo named Sungai laid a clutch of eggs in late 2005 after being separated from male company for more than two years. Scientists initially assumed that she had been able to store sperm from her earlier encounter with a male, an adaptation known as superfecundation.[39] On December 20, 2006, it was reported that Flora, a captive Komodo dragon living in the Chester Zoo in England, was the second known Komodo dragon to have laid unfertilized eggs: she laid 11 eggs, and 7 of them hatched, all of them male.[40] Scientists at Liverpool University in England performed genetic tests on three eggs that collapsed after being moved to an incubator, and verified that Flora had never been in physical contact with a male dragon. After Flora's eggs' condition had been discovered, testing showed that Sungai's eggs were also produced without outside fertilization.[41] On January 31, 2008, the Sedgwick County Zoo in Wichita, Kansas became the first zoo in the Americas to document parthenogenesis in Komodo dragons. The zoo has two adult female Komodo dragons, one of which laid about 17 eggs on May 19–20, 2007. Only two eggs were incubated and hatched due to space issues; the first hatched on January 31, 2008 while the second hatched on February 1. Both hatchlings were males.[42][43]

Komodo dragons have the ZW chromosomal sex-determination system, as opposed to the mammalian XY system. Male progeny prove that Flora's unfertilized eggs were haploid (n) and doubled their chromosomes later to become diploid (2n) (by being fertilized by a polar body, or by chromosome duplication without cell division), rather than by her laying diploid eggs by one of the meiosis reduction-divisions in her ovaries failing. When a female Komodo dragon (with ZW sex chromosomes) reproduces in this manner, she provides her progeny with only one chromosome from each of her pairs of chromosomes, including only one of her two sex chromosomes. This single set of chromosomes is duplicated in the egg, which develops parthenogenetically. Eggs receiving a Z chromosome become ZZ (male); those receiving a W chromosome become WW and fail to develop.[44][45]

It has been hypothesized that this reproductive adaptation allows a single female to enter an isolated ecological niche (such as an island) and by parthenogenesis produce male offspring, thereby establishing a sexually reproducing population (via reproduction with her offspring that can result in both male and female young).[44] Despite the advantages of such an adaptation, zoos are cautioned that parthenogenesis may be detrimental to genetic diversity.[46]

History

Discovery by the Western world

Komodo dragon coin, issued by Indonesia

Komodo dragons were first documented by Europeans in 1910, when rumors of a "land crocodile" reached Lieutenant van Steyn van Hensbroek of the Dutch colonial administration.[47] Widespread notoriety came after 1912, when Peter Ouwens, the director of the Zoological Museum at Bogor, Java, published a paper on the topic after receiving a photo and a skin from the lieutenant, as well as two other specimens from a collector.[2] Later, the Komodo dragon was the driving factor for an expedition to Komodo Island by W. Douglas Burden in 1926. After returning with 12 preserved specimens and 2 live ones, this expedition provided the inspiration for the 1933 movie King Kong.[48] It was also Burden who coined the common name "Komodo dragon."[21] Three of his specimens were stuffed and are still on display in the American Museum of Natural History.[49]

Studies

Komodo in the emblem of East Nusa Tenggara province

The Dutch, realizing the limited number of individuals in the wild, outlawed sport hunting and heavily limited the number of individuals taken for scientific study. Collecting expeditions ground to a halt with the occurrence of World War II, not resuming until the 1950s and 1960s, when studies examined the Komodo dragon's feeding behavior, reproduction, and body temperature. At around this time, an expedition was planned in which a long-term study of the Komodo dragon would be undertaken. This task was given to the Auffenberg family, who stayed on Komodo Island for 11 months in 1969. During their stay, Walter Auffenberg and his assistant Putra Sastrawan captured and tagged more than 50 Komodo dragons.[30] The research from the Auffenberg expedition would prove to be enormously influential in raising Komodo dragons in captivity.[50] Research after the Auffenberg family has shed more light on the nature of the Komodo dragon, with biologists such as Claudio Ciofi continuing to study the creatures.[51]

Conservation

A basking Komodo dragon photographed at Disney's Animal Kingdom.

The Komodo dragon is a vulnerable species and is found on the IUCN Red List.[52] There are approximately 4,000 to 5,000 living Komodo dragons in the wild. Their populations are restricted to the islands of Gili Motang (100), Gili Dasami (100), Rinca (1,300), Komodo (1,700), and Flores (perhaps 2,000).[50] However, there are concerns that there may presently be only 350 breeding females.[9] To address these concerns, the Komodo National Park was founded in 1980 to protect Komodo dragon populations on islands including Komodo, Rinca, and Padar.[53] Later, the Wae Wuul and Wolo Tado Reserves were opened on Flores to aid with Komodo dragon conservation.[51]

Komodo dragons avoid encounters with humans. Juveniles are very shy and will flee quickly into a hideout if a human comes closer than about 100 metres (330 ft). Older animals will also retreat from humans from a shorter distance away. If cornered, they will react aggressively by gaping their mouth, hissing, and swinging their tail. If they are disturbed further, they may start an attack and bite. Although there are anecdotes of unprovoked Komodo dragons attacking or preying on humans, most of these reports are either not reputable or caused by defensive bites. Only a very few cases are truly the result of unprovoked attacks by abnormal individuals which lost their fear towards humans.[27]

Volcanic activity, earthquakes, loss of habitat, fire,[13][51] loss of prey due to poaching, tourism, and illegal poaching of the dragons themselves have all contributed to the vulnerable status of the Komodo dragon. Under Appendix I of CITES (the Convention on International Trade in Endangered Species), commercial trade of skins or specimens is illegal.[17][54]

On Padar, a former population of the Komodo Dragon became extinct, of which the last individuals were seen in 1975.[55] It is widely assumed that the Komodo dragon died out on Padar after a strong decline of the populations of large ungulate prey, for which poaching was most likely responsible.[56]

In captivity

A Komodo dragon at Smithsonian National Zoological Park. Despite the visible earholes, Komodo dragons cannot hear very well.

Komodo dragons have long been great zoo attractions, where their size and reputation make them popular exhibits. They are, however, rare in zoos because they are susceptible to infection and parasitic disease if captured from the wild, and do not readily reproduce.[9] In May 2009, there were 13 European, 2 African, 35 North American, 1 Singaporean, and 2 Australian institutions that keep Komodo dragons.[57]

The first Komodo dragon was exhibited in 1934 at the Smithsonian National Zoological Park, but it lived for only two years. More attempts to exhibit Komodo dragons were made, but the lifespan of these creatures was very short, averaging five years in the National Zoological Park. Studies done by Walter Auffenberg, which were documented in his book The Behavioral Ecology of the Komodo Monitor, eventually allowed for more successful managing and reproducing of the dragons in captivity.[50]

A variety of different behaviors have been observed from captive specimens. Most individuals are relatively tame within a short period of time,[58][59] and are capable of recognizing individual humans and discriminating between more familiar keepers.[60] Komodo dragons have also been observed to engage in play with a variety of objects, including shovels, cans, plastic rings, and shoes. This behavior does not seem to be "food-motivated predatory behavior."[7][10][61]

Even seemingly docile dragons may become aggressive unpredictably, especially when the animal's territory is invaded by someone unfamiliar. In June 2001, a Komodo dragon seriously injured Phil Bronstein—executive editor of the San Francisco Chronicle—when he entered its enclosure at the Los Angeles Zoo after being invited in by its keeper. Bronstein was bitten on his bare foot, as the keeper had told him to take off his white shoes, which could have potentially excited the Komodo dragon.[62][63] Although he escaped, he needed to have several tendons in his foot reattached surgically.[64]

See also

  • Dragon
  • Papua monitor (Varanus salvadorii) – A monitor lizard often asserted to be the longest lizard
  • Toxicofera – A hypothetical clade encompassing all venomous reptiles, including the Komodo dragon
  • Varanus priscus (formerly known as Megalania prisca) – A huge extinct varanid lizard of Pleistocene Australia
  • Whiptail lizards – Lizards widely studied for their parthenogenesis

Tuesday 3 May 2011

Batik, the Traditional Fabric of Indonesia

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It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent.

The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

A Brief History

Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia.

King Kertajasa East Java 1294-1309Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.

Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.

Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also Tambil Miring Designan important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.

Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women.

Selection and Preparation of the Cloth for Batik

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.

Applying wax with a canting to create BatikThe cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.

Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.

Batik Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.

For close-up pictures of canting.

Wajan

Wajan is used to melt the waxThe wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.

Blowing into the Canting keeps the wax flowing freelyThe best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.

The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.

Cap

Cap utilize copper string to make various designsCreating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.

Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.

The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.

Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and theApplying wax with cap bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.

Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.

Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.

Dyes

Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.

The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.

In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.

The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.

Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas Applying wax with a Cantingof the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.

Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.

Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.

The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.

Applying wax with a copper capIf the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth.

Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.

Dyeing

After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.

The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.

Dye BathWhen the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.

When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.

If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted.

The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used.

Special Treatments to the Batik Cloth

Prada or Gold Cloth

For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.

Batik Designs

Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.

Wedding Batik

Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.

In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.

Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.

High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

Kawung

Kawung DesignKawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Ceplok

Ceplok DesignCeplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Parang

Parang DesignParang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.

Modern Batik

Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no Modern Batiklonger dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.

Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.

The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.

Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a Modern Batikworld that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.

During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.

Batik Home Furnishings

One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent home furnishings made of batik. As the fabric is truly unique to Indonesia... this is definitely the best place to purchase batik! Batik factories can product batik to your order, with custom colors and designs in large rolls, ready to use for your home decoration projects. The 100% cotton fabric is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops also have design consultants who can help you with the layout of the room you are planning to design with your batik fabric and work with you on additional furnishings (pillows, bed covers, and cushions) to complete your color scheme.

Additional informaiton on Batik in Indonesia

Batik Designs: A Cultural Development Influenced by Changes in Time & Environment
Batik Canting - beautiful wall hangings from antique batik
Canting Batik - traditional hand batiking tool from Indonesia

Kebaya - Indonesian Traditional Dress for Women - read about the blouse that is worn with the batik kain (sarong) in much of Indonesian traditional dress.

Charles van Santen - photo collection of Batik Tulis and information on the production process

Click here to see a You Tube video by Piet Verboven of the batik making process!

Links to other sites with good info on Indonesian batik

Golden Crane Award
This page was awarded the Golden Crane Creativity award for its contributions towards providing instructional information on batik.

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