Sarong, Batik

Sarung Tiga Negeri

Sarung Tiga Negeri states that the fabric was produced in three different cities: Pekalongan for the pattern and blue color, Solo for the brown natural color (soga), Lasem for the special red color. The kepala (head part) shows a triangular tumpal pattern with celuki (carnation flowers), the badan (body part) is decorated with buketan motif (bouquet of flowers), a butterfly and a bird. 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, Batang. The “pesisiran style” (north coast of Java) emerged in contrast to the traditional “kraton style” (palace style) from the interior of the country, such as Solo and Yogyakarta.

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 - 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.