When one thinks of Indonesia one word immediately springs to mind — batik — the country’s most significant indigenous art form, often imitated but never equalled. Batik is a fabric that is traditionally made using a manual wax-resisting dyeing technique and if one studies the word in its historical context batik has profound meanings rooted in the Javanese conceptualisation of the universe.

The word ‘batik’ is derived from the Javanese word Mbatik which means a cloth with little dots. Initially costumes featuring this special design were worn only by members of royalty.Indonesian president Susilo Bambang Yudhoyono asked his countrymen and women to patronise batik after Unesco described the technique as part of World Heritage. And one of the globe’s most famous patrons of this fabric is Nelson Mandela who has been collecting batik shirts for years and regularly wears them. On the two occasions when I visited Jakarta I was absolutely astonished at the beauty of this art form.

Traditional colours that are employed are indigo, dark brown and white, the most commonly available natural dyes. According to one authority these hues represent the Hindu deities Brahma, Vishnu and Sita. Experts disagree as to the precise origins of batik as samples of dye-resistant patterns on cloth have been traced to ancient Egypt and other parts of the Middle East and stretch back to the fourth century BC. It was also found in China during the Tang dynasty and in Japan during the Nara period.

Industrialisation brought with it automated techniques, quicker production time and cheaper prices. Foreign connoisseurs, however, stick to the genuine article which might take many months to produce and which could at times cost thousands of dollars. On special occasions, the design was decorated with gold leaf or gold dust but in recent times gold paint has proved to be a less expensive alternative.

To introduce this highly intricate medium to a Pakistani audience the genial Indonesian consul general in Karachi, Rosalis Adenan and his wife recently invited the wives of other consuls general, a few female artists, fashion designers and a clutch of male guests to the consulate general. The demonstration and workshop was conducted by Venny Alamsyah of Batik House in Jakarta.

In Rosalis’ introductory speech the audience learnt a number of interesting details. Indonesia has more than 17,000 islands. Population-wise it is the biggest Islamic state. There are 34 provinces in the country and each province has its unique batik pattern. The Japanese style employs darker colours such as black and grey, while the coastal area goes in for brighter hues.

A conversation with one of the Indonesian ladies at the function elicited the information that the pattern used is often determined by the source of the motif. It could be Arabic calligraphy, French bouquets, Chinese phoenixes, Persian peacocks, Japanese cherry blossoms or the traditional Javanese themes like leaves and flowers. The variety is endless and offers great scope to the artist to exploit her skill. The function was well organised on the spacious lawn and the weather was pleasantly balmy.

For many members of the audience it was a rich cultural experience. For those who had prior knowledge of batik it was a wonderful way to rekindle an interest in a unique art form. For those who went beyond the glitter and the glamour it was a wonderful way to strengthen the cordial relations that exist between Indonesia and Pakistan.