The ‘lotus garden’ theme, featuring wading, swimming and flying birds on the badan of sarongs and a floral bouquet on a contrasting background on the kepala, was adapted by Indo-Chinese batik makers from Indo-European batik themes at the beginning of the twentieth century, specially for the Chinese communities in Java, Singapore and the Malay Peninsula.
A studio portrait of two Straits Chinese Nyonya wearing simple scalloped kebaya blouses fastened with brooches, and boldly patterned central Javanese batik sarongs, c. 1930s.
A Baba Nyonya couple, the man in Western dress, the woman in a floral front-opening tunic paired with a Pekalongan batik sarong and beaded slippers, c. 1930s.
Other women preferred imitations of the more brightly hued Indo-European or Pekalongan-style sarong, with a large, showy, multicoloured floral bouquet on the kepala and intricate Javanese-style geometric motifs on the badan. Unlike in Pekalongan where the bouquet was invariably hand drawn with wax, on the Malay Peninsula it was created with a series of carefully positioned metal stamps of flowers, leaves and buds connected to stems, while the various colours were applied by hand. Much of the intricate background detail and patterning found on the original Pekalongan sarongs was eliminated. However, the demand by Straits Chinese Nyonyas and wealthy Malay women for high-quality hand-drawn sarongs featuring the Pekalongan bouquet continued to be met by imports from the north coast Javanese ateliers, especially from those in Pekalongan.
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