An exceptionally fine cotton breastcloth (kemben) hand-drawn in Solo, Lasem, and Kudus to create a rich, dramatic design that contrasts their 3 distinct styles. The ceremonial format juxtaposes the cream elongated diamond (tengahan) reserved in the center with an elaborate surrounding design of poppies in lacquer red and indigo blue. The red leaves are detailed with the signature cream foliated motifs of Lasem, creating sharp, graphic keynotes in the pattern. In contrast, the blue motifs drawn in Kudus present incredibly minute filler motifs in many different variations, contributing great richness, refinement and interest to its overall effect. This example has especially beautiful motifs that make similar blossoms look quite different, and lead the eye forward through the design. The background of soft cream dots (cocohan) on warm, golden soga brown drawn in Solo represent rice seedlings, thus making the whole design a metaphor for padi. The diagonal flames (cimukirran) forming the inner border of the central diamond, as well as the outermost border along the edges, are defined by an irregular shading of brown created by crackling (a technique for cracking the wax during the batik process), that gives a glowing effect of dappled light. In one corner the signature of the Peranakan Chinese batik maker, �Tjoa Tjoen Tiang, Solo� has been drawn in wax. A breathtaking example of one of the most highly prized types of batik.Tiga negeri batik evolved from dua negeri (2 states) batik, which often organized a more simple division of styles between the borders or the head panel (kepala) and the centerfield. Whereas dua negeri could be copied in one workshop, it was extremely difficult to simulate the expertise required for 3 different styles. A tiga negeri batik was usually begun by Peranakan Chinese batik entrepreneurs, in Pekalongan, Lasem, where the principal pattern was waxed and partially dyed. The cloth was then taken to another north coast town where a new color and part of the main as well as background pattern was added, in this case Kudus, which was known for its exceptionally fine blue filler motifs. Lastly, it was brought to Solo or Yogyakarta where the background was completed in traditional central Javanese motifs and colors. The batikers in central Java had considerable freedom with the background and final design of the textile, and in this case commissioned and owned the piece (as indicated by the signature). The lovely cocohan on this batik is now a lost technique. The intention of the genre was to combine the best of the different regional styles of batik. Tiga negeri batik was the most expensive batik of its time: whilst the entrepreneurs may have saved costs by getting the background made in central Java, where batik labor was cheaper, the coordination and transport required also multiplied costs. As a luxury item that declared one's status, tiga negeri batik was worn by wealthy Peranakans who wished to show their affiliations with traditional Javanese culture, and was also favored as informal private wear in the central Javanese courts. Its cosmopolitanism actually had the inadvertent effect of making the batik styles of one region familiar in another, leading to the greater sharing of motifs.The textile is in perfect condition, with vivid, glowing colors. The cotton is of the highest grade, heavy, smooth, quite crisp, and cool to the touch. 101" x 20".