Sarong, Batik

Sarung

Peranakan sarong with a European-influenced pattern. A triangular tumpal pattern, called kepala pasung, on the kepala (headboard). The lower edge of the kepala is decorated with a gandawari pattern. The badan (body part) is adorned with lotus blossoms, which symbolize purity. The papan between the kepala and badan is decorated with crabs, octopus and seaweed, indicating that it was made for someone from the north coast of Java. The dark red color is typical of Lasem.

Batik is art. Instead of canvas, the artwork is drawn on fabric. When synthetic dyes were introduced to Indonesia from Europe at the end of the 19th century, many artists felt inspired to play with the colors and develop new motifs. On the north coast of Java, Chinese, Dutch and Arab immigrants established new batik production facilities along the port cities. The patterns were influenced and supplemented by motifs from their culture of origin. This resulted in fresh motifs and color styles typical of the region and new dyeing methods. The names of the batik patterns correspond to the places where they were produced, such as Pekalongan, Kedungwuni, Lasem and Cirebon. Batik is constantly changing. Creativity knows no bounds. Many motifs were also influenced by Europe through European magazines or postcards. Another new development was that individual batiks were signed by the manufacturers. The “pesisiran style” emerged in contrast to the traditional “kraton style” (palace style) from the interior of the country.

This batik comes from the collection of the Austrian composer with the artist's name Linda Bandara-Hofland. The real name of this almost forgotten Austrian - but Java-born - composer was Sieglinde Leber. She was the daughter of Dr. med. Johann Leber and Maria Antonie, née Teutschmann, and was born on 15.5.1881 in Kendal, Semarang (Indonesia) and died on 20.6.1960 in Vienna.

Her relationships with the Sultan of Yogyakarta and the aristocracy of Java gave her access to the orchestras employed at the various Central Javanese courts, which had previously been reserved exclusively for members of the court. Thanks to her good connections, she obtained extravagant batik fabrics, some of which were only worn at court.

Between 1929 and 1942, Linda Bandara lived in Wassenaar (Netherlands), Vienna and Yogyakarta. In 1936 and 1937, her composition “Ländlichen Stimmungsbilder”, characterized by Javanese influence, was often heard on the radio (ORF) in an interpretation by the Vienna Philharmonic Orchestra. After the death of her husband in 1942, she moved permanently to Vienna, where she lived through the Second World War.