Roojen (1993) also revealed that a generally accepted theory is that it was introduced by people from the Indian Sub-continents, which are known to have travelled to Southeast Asia as early as 1000 AD. Indian trade textiles exported during the second millennium were very popular in Southeast Asia, and some of these were decorated using a wax resist technique. Moreover Roojen (1993), he further declared that it was in java that resist dye methods of decorating fabric was developed to unprecedented heights and into unique art for. However, Dunsmore (1996) substantiated the claims that in West Africa resist is an ancient tradition that it is practiced with the main centers of production in West Africa, in Nigeria, Senegal, Sierra-leone and the Gambia. Kerlogue (2007) also came into conclusion that the earliest known written reference to is almost certainly in the Dutch bill of landing of 1641 connected with a shipmecel “batik” of cargo from Bataria in Java to Bengkuluos the West coast of Samatra. However it is the researcher’s opinion that whether the word was used to refer to precisely we call “batik” today is uncertain. Due to many years of practical experience Quick (1977) came to the conclusion that batik is a resist technique for applying colour and design to fabric and that each colour dye protected by wax coating before the next colour is applied. Furthermore, Dunsmore (1996) attested to this evidence that resist dyeing technique patterns are created on ( usually on dyed cotton or silk) by painting or stenciling design in wax, rice or cassava paste, mud or some other dye assistance substance on the area intended to retain their original colour after dyeing. Patterns are applied in hot wax into a piece of un-dyed cloth, usually cotton. Colour plays an important role in batik making and a result informed (Bochlke, (2005) to come up with the claims that on achromatic patters, white (cloth colour) and dark brown
Roojen (1993) also revealed that a generally accepted theory is that it was introduced by people from the Indian Sub-continents, which are known to have travelled to Southeast Asia as early as 1000 AD. Indian trade textiles exported during the second millennium were very popular in Southeast Asia, and some of these were decorated using a wax resist technique. Moreover Roojen (1993), he further declared that it was in java that resist dye methods of decorating fabric was developed to unprecedented heights and into unique art for. However, Dunsmore (1996) substantiated the claims that in West Africa resist is an ancient tradition that it is practiced with the main centers of production in West Africa, in Nigeria, Senegal, Sierra-leone and the Gambia. Kerlogue (2007) also came into conclusion that the earliest known written reference to “batik” is almost certainly in the Dutch bill of landing of 1641 connected with a shipmecel of cargo from Bataria in Java to Bengkuluos the West coast of Samatra. However it is the researcher’s opinion that whether the word was used to refer to precisely we call “batik” today is uncertain. Due to many years of practical experience Quick (1977) came to the conclusion that batik is a resist technique for applying colour and design to fabric and that each colour dye protected by wax coating before the next colour is applied. Furthermore, Dunsmore (1996) attested to this evidence that resist dyeing technique patterns are created on ( usually on dyed cotton or silk) by painting or stenciling design in wax, rice or cassava paste, mud or some other dye assistance substance on the area intended to retain their original colour after dyeing. Patterns are applied in hot wax into a piece of un-dyed cloth, usually cotton. Colour plays an important role in batik making and a result informed (Bochlke, (2005) to come up with the claims that on achromatic patters, white (cloth colour) and dark brown
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