Sarong, Batik

Sarung

A Peranakan design with the motif parang rusak in badan and lung-lungan in kepala (abundance of vines, e.g. grapevines or climbing plants). It is a traditional pasisir motif associated with fertility and regeneration. The parang motif belongs to the “forbidden patterns”, i.e. only the closest members of the royal family were allowed to wear this batik. This is legitimized by a creation myth, namely the legend of Sultan Agung (a Javanese king from the 17th century), who received the wave-shaped pattern as an inspiration during a meditation. Each pattern can be extended by additional motifs, which are then given new names and ascribed further auspicious meanings.

The Parang Rusak motif in the badan (body) part, combined with western motifs such as vine leaves, pomegranates and butterflies in the kepala (head) part. These extended patterns reflect the multicultural influence. They are often supplemented by the kepala part and are therefore usually worn as a sarong. This extension means that they are no longer “forbidden patterns” and anyone can wear them and thus feel connected to the nobility. In the past, this was particularly important for migrants who had their roots in Holland, China and the Arab world. They were referred to as Peranakan, which originally meant “child of a foreigner with an Indonesian mother”. Today, the term describes migrants who have been living in Indonesia for two generations.

This batik comes from the collection of the Austrian composer with the artist name Linda Bandara-Hofland. The real name of this almost forgotten Austrian composer, who was born in Java, 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.