"An exceptionally pretty shouldercloth (selendang) hand-drawn in Pekalongan, Lasem, and Jogjakarta to create a rich, dramatic design that contrasts the distinct batik styles of these 3 areas. The graceful red flowering spray was drawn along the north coast, primarily in Lasem which was famous for its red, over a beautiful rendition of the central Javanese udan liris � �gentle rain� � design, consisting of diagonal lines of tiny geometric and abstract motifs drawn in Jogjakarta. Although the red spray is the primary motif, the showcase of the piece is obviously the background udan liris where an apparently endless array of different diminutive motifs are dramatically contrasted with each other in deep chocolate brown, indigo and white�several types of parang (knife) motifs, zigzags, beads, spirals and meanders. (The quality of an udan liris batik is judged by the number of different patterns incorporated, and their harmonious combination.) This stream of unbroken motifs is set off by the introduction of broader bands of blue and softer brown drawn in Pekalongan, containing a leafy garland with tiny flowers against a background of minute tendrils (a Pekalongan specialty). Framing the whole centerfield is a scalloped red �lace� border inset with sprigs, devised to match the lace blouses worn with batik sarongs, and an outer border of a narrow striped width. The total effect resembles a slice of opera cake overlaid with red icing! A stunning example of one of the most highly prized types of batik, with an unusual and very charming design. 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) of a sarong 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 or 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 were added. Lastly, it was brought to Solo or Jogjakarta 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. 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 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 except for a tiny hole along one border, and a truly invisible minute repair. The colors are vivid, deep and glowing, and the cotton is of a high grade, heavy, quite crisp, and cool to the touch. " 76" x 21"