Comparative study of the Iranian and Indian batik printing motifs

The “Batik” printing means resistance or reserve, reserves the color on the fabric surface with resistant materials in which part of the scheme is stored on fabric and prevent influences of color on part of the scheme which was fixed on fabric. The “Batik” is a Javanese word but rooted in Chinese art. This kind of printing is called “Klaqhi” in Iranians’ art which have been popular since Safavid period. It can be noted to old Fresco in Ajanta Caves displayed about background of this type of printing in India. Since the historical and cultural relationship between Iran and India is rooted in in ancient time, and there is not such a historical, cultural and art antiquity between two countries in the world, the aim of this study was to investigate the characteristics of Iranian and Indian Batik printed visual motifs, their commonalities and differences over the role of visual and influence of culture and beliefs on them. The Analytic-Descriptive method used in this study and data has collected based on library research. Investigating visual characteristics, comparative comparison between motifs and the impact of culture and beliefs in formation of it, is an important question in this regard. Based on the results obtained in this study, the scope of Iranian Batik printed motifs is mostly in form of vertical rectangle and directed vertical while the scope of motifs is in square form and undirected in Indian ones. The most dominant category of motif and line in batik print is dedicated to herbal design and curved lines in both countries. Also, the kind of motifs composition in Iranian batik print is in vertical symmetry form but unsymmetrical in Indian ones’. Most of the motifs used in Indian batik prints are drawn from their ritual beliefs, myth and gods.