tag:blogger.com,1999:blog-83408150498017525642024-03-13T13:36:34.011+10:00North Coast Javanese BatikThis is an ongoing story of our journeys along the north coast of Java and the development of our collection of old and new batiks from this region, the Pasisir.
A key objective is to highlight the batik workshops operating today and profile emerging batikkers and their work. We want to encourage you to take a car or train journey along the north coast and experience first-hand, batik making and the region's warmth of hospitality- you will want to return.Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-8340815049801752564.post-20780347620760748602023-12-31T17:48:00.012+10:002024-02-16T14:06:08.348+10:00OEY SOE TJOEN BATIK<h1 style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div></h1><h1 style="text-align: center;"><span style="color: #ea9999;"><br /></span></h1><h1 style="text-align: center;"><span style="color: #ea9999;">-OEY SOE TJOEN BATIK-</span></h1><h1 style="text-align: center;"><span style="color: #ea9999;"> KEDUNGWUNI near PEKALONGAN</span></h1><h1 style="text-align: center;"><span style="font-size: medium;"><br /></span></h1><h1 style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: medium;">The finest and most technically intricate examples of the batik process have been made on the north coast of Java in workshops operated by Peranakan Chinese. Some of the most notable examples of this type of batik have come from the workshop of <i>Oey Soe Tjoen</i> and his wife Kwee Nettie at Kedungwuni. </span></h1><h1 style="text-align: center;"><span style="font-size: large;"><span>Batiks from the <i>Oey Soe Tjoen</i> workshop were and still are, often masterpieces and represent some of the finest and most</span><span> technically elaborate examples in the history of batik. </span></span></h1><h1 style="text-align: center;"><br /></h1><h1 style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAm49LE1nT26CZI1xMS127meCBa3IfQ9x31MhyBbaT3lfbTdS0Cx0yfTLuNuMVLeQfzQk84E3b8NOETqBmXSeptPiI5POCHsaY9tDYGxe7v5yzGPV4lHqAG7ye7N_FxatpsPU5wSM_l2_7YcZhgn7zWwl8vnhjig_mV6CCYpWWXUfuS-LQGcxNH1jbsBkQ/s4032/F2A2AACA-3074-4C02-8212-5385681E9F2F.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAm49LE1nT26CZI1xMS127meCBa3IfQ9x31MhyBbaT3lfbTdS0Cx0yfTLuNuMVLeQfzQk84E3b8NOETqBmXSeptPiI5POCHsaY9tDYGxe7v5yzGPV4lHqAG7ye7N_FxatpsPU5wSM_l2_7YcZhgn7zWwl8vnhjig_mV6CCYpWWXUfuS-LQGcxNH1jbsBkQ/w300-h400/F2A2AACA-3074-4C02-8212-5385681E9F2F.JPG" width="300" /></a></div><div><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span></div><div><span style="font-size: small;"><span>(Detail 1)</span><span style="font-weight: normal;">.</span></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div></h1><p style="text-align: center;"><b>We first visited the <span style="font-size: medium;"><i>Oey Soe Tjoen</i></span> workshop in Kedungwuni in May 2007. After much discussion with Oey Soe Tjoen's granddaughter and the third generation successor, <span style="font-size: medium;"><i>Widianti Widjaja</i> (Oey Kiem Lian)</span>,<i> </i>we purchased this extremely beautiful cloth from her (Satu <i>sarung </i>No. 31, <i>tanahan soga - merah</i>). Central to our discussions was the two generations of the Oey Soe Tjoen family who had preceded her in the workshop. We meet up with <i>Widianti</i> once again in 2011 when we visited her along with our dear friend <i>Zahir</i> <i>Widadi</i>. She discussed at length the central utilisation of <i>tanahan </i>by the workshop. She identified with her hand drawings, the five key <i>tanahan </i>designs utilised by the workshop as: <i>pentoel, angkop, semanggen, pentoel limo, </i>and <i>cakar ayam. Widianti </i>shared her enthusiastic passion and knowledge of batik so freely with us, rich memories indeed. </b></p><p style="text-align: center;"> </p><p style="text-align: center;">Harmen C. Veldhuisen writes: In 1925 he (Oey Soe Tjoen, Java, 1901 - 1975), married Kwee Tjoen Giok (Java, 1905 - 1996), a school teacher, whose parents also owned a workshop for stamped batiks, in nearby Batang. (Kwee assumed a European-style name, Nettie Kwee). Oey and Kwee started a workshop for hand-drawn batiks, for which both created designs and colour schemes, though they signed their designs individually: he as Oey Soe Tjoen Kedoengwoeni and she as Kwee Nettie Kedoengwoeni, inverting her name in the Chinese manner. (1)</p><p style="text-align: center;">With the passing of Oey Soe Tjoen in 1975, his son Muljadi Widjaya and his wife Istianti Setiono, ran the workshop along with his widow Kwee Nettie. Muljadi Widjaya and Istianti Setiono had three children. Their daughter <i>Widianti Widjaja </i>(b. 23/11/1976) was taught dyeing techniques by her father. Muljadi Widjaja passed away in 2002 with the business being carried on by his widow Istianti Setiono. Since 2006 the workshop has been run by the third generation of Oey's family, his granddaughter <i>Widianti Widjaja.</i></p><p style="text-align: center;">Harmen C. Veldhuisen further writes: When they (Oey Soe Tjoen and his wife Kwee Nettie), determined that his batiks sold far better than hers, she decided to stop designing and devote herself to assisting him by assuming supervision of production. There is some doubt about this information because the batiks signed by Oey later on have far more in common with his wife's designs and the quality of her work than with the earlier batiks signed by him. The result of their collaboration was the best Peranakan-made batiks. While Oey started by imitating Lies van Zuylen's bouquets, he is the one who created a unique three-dimensional effect, which was perfectly copied by other Peranakan entrepreneurs. Even with a bouquet designed by Lies van Zuylen and copied, the batik is unmistakably a Oey Soe Tjoen based on the effect, obtained with rows of dots as filler motifs in the flowers and the diverse shades of each colour within a flower, as well as the colour scheme. Van Zuylen herself tried to imitate the effect after 1935 for a Peranakan customer but did not succeed. (2) </p><p style="text-align: center;">Under their joint leadership the Oey Soe Tjoen workshop reached its peak, employing at least 150 <i>pembatiks </i>(waxes) at any one time. In the 1920s and 1930s, the <i>buket </i>motif is produced on an extensive scale by Chinese-owned workshops. With the introduction of synthetic dyes , the colours become more vivid and assisted with the creation of brightly coloured batiks. With the application of these materials, batik-makers were able to achieve the bright colour combinations that had always been a prominent feature of the Chinese silk tradition. Peranakan Chinese and Eurasian batik both became famous for their remarkable range of colours, including shades of orange, pink, mauve, green and yellow. Colour has symbolic meaning in Asia. Amongst the Javanese-Chinese community, for example, turquoise-blue and coral-pink are the colours of happiness and prosperity. </p><p style="text-align: center;">Robyn Maxwell writes: Batik-makers overcame the problem of the large number of colours on a single batik by a simple technical adaption to the resist-dyeing technique. Small areas of the cloth were encircled and effectively dammed off by the wax-resist, enabling the batik-makers to apply the rainbow hues by a delicate process of hand-colouring or hand-painting. These technical innovations in no way diminished the quality of hand-drawn batik work. These workshops were renowned for their masterful refinement of the batik technique. The women employed to execute the patterns were trained in intricate and precise application of wax, and an extraordinarily delicate stippling and dotting technique was used, especially with some of the wonderfully ornate floral designs of certain batik producers. (3) </p><p style="text-align: center;">Java's Chinese-descended residents were the greatest users of coastal batik since at least the 19th century, which is why there are so many Peranakan Chinese involved in the trade. They appreciated the finest work and would almost do anything to have the very best in-house waxes. In the middle of the 19th century, they began to open their own batik businesses to produce batik in the European style, introducing, amongst others, the floral bouquet (the <i>buket </i>motif), made so famous by Mrs. Van Zuylen. They were noted for their attention to detail and a passion for perfection. A batik made by and for this community could never be mistaken for a traditional Javanese textile. </p><p style="text-align: center;"> </p><div><span style="color: #ea9999;"><br /></span></div><div><span style="color: #ea9999;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small; text-align: left;">CLICK TO ENLARGE IMAGES</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXFUvSQs_sayJS6J8OLlmAF-AFhUOghgBEcSo6GOiqCaNdCjLu0K5FXczklLF0DZsusQsEStbVISArBPPDZUKUdHlspONdpos0mfRzfToPeEfXcsPgqe5kvsW2j57Vs4mIh6dqtYlJbNqIkf7C5QlF1snc8b0b4zIIcmRthZELzd5EGq00kNiRTto3s_jF/s830/BEABAABC-44DB-4E33-8965-9003A22BC76F_1_201_a.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="415" data-original-width="830" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXFUvSQs_sayJS6J8OLlmAF-AFhUOghgBEcSo6GOiqCaNdCjLu0K5FXczklLF0DZsusQsEStbVISArBPPDZUKUdHlspONdpos0mfRzfToPeEfXcsPgqe5kvsW2j57Vs4mIh6dqtYlJbNqIkf7C5QlF1snc8b0b4zIIcmRthZELzd5EGq00kNiRTto3s_jF/w400-h200/BEABAABC-44DB-4E33-8965-9003A22BC76F_1_201_a.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br />Hip wrapper, <i>sarung</i><br />Java, Kedungwuni, c. 2000<br />Signed<b> Oey Soe Tjoen<br />Kedoengwoeni 104<br />Java</b><br />Hand-drawn wax resist, <i>batik tulis</i>, on cotton: synthetic dyes<br />105.0 X210.0 cm<br /><span style="font-size: x-small;">Photography: Mick Richards Photography</span><span style="text-align: left;"> </span><span style="font-size: x-small; text-align: left;"> </span></td></tr></tbody></table><br /></div></div><p style="text-align: left;"> </p><p style="text-align: left;">This beautiful <i>sarung </i>is made up of a large bouquet, repeated three times in the <i>badan </i>and once in the <i>kepala. </i>In the <i>kepala </i>to the top left of the bouquet a butterfly flutters it wings in flight and this is balanced by a bird in flight to the top right of the bouquet. The butterfly and bird motifs are repeated in the <i>badan, </i>butterfly - bird - butterfly - bird, on the same horizontal line as those in the <i>kepala.</i> Two butterflies and a central bird are also repeated in a small vertical space to the left of the <i>kepala. </i>These repeated elements are certainly central to the cloth's sense of harmony and continuity. Although the arrangement of the bouquets is rather stiff, the flowers themselves, embellished with the perfect three-dimensional shading for which Oey Soe Tjoen's designs are universally recognised for, certainly possess a wonderful fluidity. The bouquets are set against a ground filled with numerous small dots along with thriving and curling fern shoots in the <i>tanahan </i>style. The crowded filler motifs in the leaves were first created during the Japanese occupation, 1942 - 1945. The colours are made up of blues, shades of orange, pinks and cream. </p><p style="text-align: left;"><br /></p><p style="text-align: left;">Fusami Ito writes: The earlier works of the Oey workshop have simple <i>isen </i>and <i>tanahan</i> motifs aimed to enhance the main motif. As competition increased with a lot of imitations going around, the <i>isen</i> and <i>tanahan</i> became more and more complicated. Instead of employing the more traditional motifs of <i>parang</i> and <i>kawung</i> for the background, original designs measuring about 5mm or so were created, combined with arabesque or dotted patterns which required more and more refined wax-drawing technique. This is not unique to the Oey workshop . From the 1930s to the beginning of the WW2, Chinese workshops on the north coast unfolded a heated competition for sophistication in wax-drawn lines. As a result, waxing technique reached a high stage of perfection and the <i>isen </i>and <i>tanahan</i> motifs became multi-coloured, refined works of originality. (4) </p><p style="text-align: left;"><br /></p><p style="text-align: left;"> <i> </i> </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: center;"><br /></div></blockquote><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuUIZmCkR8OD6y7zybkdCYAh1KihbiHZYAH-zRiTYEJq5fzflfqPUYV3EF5CaXuWh_vbGYByIPrnbeL33F9MTuYakqmmjdjh5ovt-zvjViQ9qhSp8xO2zQDcvyvmiGfcOJFKsEY-QIkvCYhPiYGAugh4C1wvNdghYn9H0_W2uWQuZwRKxLHG_yoCxmuWGF/s4032/B0858BED-7FEF-48EB-826F-52A680AE2828.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuUIZmCkR8OD6y7zybkdCYAh1KihbiHZYAH-zRiTYEJq5fzflfqPUYV3EF5CaXuWh_vbGYByIPrnbeL33F9MTuYakqmmjdjh5ovt-zvjViQ9qhSp8xO2zQDcvyvmiGfcOJFKsEY-QIkvCYhPiYGAugh4C1wvNdghYn9H0_W2uWQuZwRKxLHG_yoCxmuWGF/w300-h400/B0858BED-7FEF-48EB-826F-52A680AE2828.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><b>(Detail 2)</b>. Highlighting the exceptional <i>canting </i>skills of the waxers where <br />both sides of the cloth are identically hand-waxed making it fully reversible.</td></tr></tbody></table><div><br /></div><div><br /></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEUZRaM250XRM0bjVmvTdH-BT6LPm4VDFWNie9GZfPHLgPQ9uSF-R2Qq9XEg0Iwi1Ufzbp6mfdVhxf5CHZ5inAtd_2GPV1rmGcITVlqxQ9LpfiWiOwimTMJRs_Je-aAu7tq6Vb6Gw4iD_jqclAZ-2kRYyn7mFj5dIbmmdiGKZyzbPuY08y9KFC1bcGHSPF/s543/C273BF6E-DACA-4435-A66E-DF1513F9641D_1_201_a.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="543" data-original-width="399" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEUZRaM250XRM0bjVmvTdH-BT6LPm4VDFWNie9GZfPHLgPQ9uSF-R2Qq9XEg0Iwi1Ufzbp6mfdVhxf5CHZ5inAtd_2GPV1rmGcITVlqxQ9LpfiWiOwimTMJRs_Je-aAu7tq6Vb6Gw4iD_jqclAZ-2kRYyn7mFj5dIbmmdiGKZyzbPuY08y9KFC1bcGHSPF/w294-h400/C273BF6E-DACA-4435-A66E-DF1513F9641D_1_201_a.jpeg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><b>(Detail 3).</b> This very fine and beautiful cotton <i>sarung </i>bearing the characteristic <br />Oey Soe Tjoen signature <br />(top right hand corner of the head-panel), <br />demonstrates the superb technique that makes this workshop famous. </td></tr></tbody></table><br /></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkj-l73gDtzzZZhFfnrea2Ai6stigBXlvq-eaYhJCTfiviwaJf6FUd9Ph-G_J2gA6cFhyphenhyphen1_FrT9dLRk5dZvd3ryBLA2TZJqYRi7p-Onj-Uvje_-4KmO6nS6473dTRMMv8NIC1yvd8MZSLapo1bUimLCcGEIlrqELeIyhOxBtNOkm7czxCJpsigFu2QQAL/s4032/86E1E495-DEB8-4CF8-9F84-2EFD0836439F.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkj-l73gDtzzZZhFfnrea2Ai6stigBXlvq-eaYhJCTfiviwaJf6FUd9Ph-G_J2gA6cFhyphenhyphen1_FrT9dLRk5dZvd3ryBLA2TZJqYRi7p-Onj-Uvje_-4KmO6nS6473dTRMMv8NIC1yvd8MZSLapo1bUimLCcGEIlrqELeIyhOxBtNOkm7czxCJpsigFu2QQAL/w300-h400/86E1E495-DEB8-4CF8-9F84-2EFD0836439F.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><b>(Detail 4). </b>Rens Heringa writes:<b> </b>After 1950 Oey adopted the town's modern spelling, <br />Kedungwuni. <br />104 is not the number of the design, but the number of his house and workshop. <br /><br /></td></tr></tbody></table></div><div><br /></div><div><br /></div><div><b>One of the extraordinary characteristics of the batiks of Oey Soe Tjoen, was the colour graduations in the flowers depicted (Details 5 & 6). This was obtained in a labour-intensive process. The tints of the colour nuances demanded that for every lighter tint, the dyeing process had to be stopped so as to cover the obtained lighter tint with wax. Oey Soe Tjoen had reached the highest degree of perfection in the bouquets he depicted on his batiks. </b></div><div><p><b>In the flowers there are parallel stippled lines of tiny white dots as <i>isen pola </i>which have been applied in a very painstaking manner. In every flower, the form of the stipple lines are different. The resulting effect is that the flowers look three-dimensional. Extremely fine <i>isen pola </i>are applied in the leaves which gives the effect of fern leaves. (5) </b> </p></div><br /><br /><span style="color: #ea9999;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD4kUTecfl8EHcCRGnv2aVKjCMRfxhYK1YnquI2bepBxxEBtR3m-dxr3oIE_sNVb9Odpf71QGOj1mZs6eQ8H3Md6c6gfl5e3Dk_DSYUqerH4V26h8ibHryjvuih1LteYS8UiNb-Fm1uknUmqHFeu-byTd2Ub9eLBRLnYhkiCe_pFAKvKp6Gq9OmccXMj-X/s4032/2E99CF66-78C4-4737-A01D-98DCE16D165A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="2817" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD4kUTecfl8EHcCRGnv2aVKjCMRfxhYK1YnquI2bepBxxEBtR3m-dxr3oIE_sNVb9Odpf71QGOj1mZs6eQ8H3Md6c6gfl5e3Dk_DSYUqerH4V26h8ibHryjvuih1LteYS8UiNb-Fm1uknUmqHFeu-byTd2Ub9eLBRLnYhkiCe_pFAKvKp6Gq9OmccXMj-X/w280-h400/2E99CF66-78C4-4737-A01D-98DCE16D165A.JPG" width="280" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><b>(Detail 5). </b>The petals of the flowers are carefully shaded in the typical Kedungwuni way <br />with white dotting: the more dense the dots the lighter the colour becomes. <br /><br /><br /><br /></td></tr></tbody></table></div><br /><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJH_AEW-G4c5IbZS2kWYtomXBFNCWTQUz2VJxJ8JK2EZm8FqpFGu0VXWXWiImgA1teAtO5HVaL1hrDlUlnRMWMCVtRcs5nYP46GM1u3T1kYRpWf-jb1NDUUemcctIGTFxYKmGVDqHLut2l06s2_lH2rr4PSdyO-DHfoKhQhxTAZcmZDxHO6wm4Y0hW4j8W/s4032/1B4E89A8-2595-460A-B95E-AEF569DDB900.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJH_AEW-G4c5IbZS2kWYtomXBFNCWTQUz2VJxJ8JK2EZm8FqpFGu0VXWXWiImgA1teAtO5HVaL1hrDlUlnRMWMCVtRcs5nYP46GM1u3T1kYRpWf-jb1NDUUemcctIGTFxYKmGVDqHLut2l06s2_lH2rr4PSdyO-DHfoKhQhxTAZcmZDxHO6wm4Y0hW4j8W/w300-h400/1B4E89A8-2595-460A-B95E-AEF569DDB900.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><b>(Detail 6). </b>With great attention paid to tiny details such as the fine white dotting <br />on the flowers that create the effect of shading, and the direct application of <br />small areas of colour before the cloth is immersed into the final dye vat <br />(known variously as <i>colet </i>or <i>dulit, </i>depending on local terminology). <br />Filling the background are millions of small dots and and a busy ground of plant life, <br />all most delicately worked.<br /><br /><br /><p><b>I wish to conclude with Sabine Bolk's wonderfully joyous Blogpost title's definition,<br /> </b><b><i>Fangirling over............<br /></i></b><b>- a girl or woman who is an extremely or overly enthusiastic fan of someone or something, in this case,<br /> </b><b>the beautiful batik from the Oey Soe Tjoen workshop, both past and present. </b></p><p><b><br /></b>I am absolutely positive Sabine that like you, we all experience this state of euphoria<br />on seeing and experiencing the magical beauty and excellence of Oey Soe Tjoen batiks! </p><p> <b><br /></b><span style="font-size: medium;"><b>Sabine's Blog, <i>The Journey to Batik/De reis naar Batik</i>, is a must to follow - full of passion, </b><b>research and knowledge. </b> </span></p><br /><span style="font-size: large;"><b><br />THANK YOU.</b></span><br /><br /><br /><b>Wishing you all a very special Happy New Year for 2024. May it be filled with <br />much grace, peace, understanding, belonging, good health and beauty galore.</b> <br /><br /><br /><br /><div><span style="font-size: large;">NOTES</span></div><div><span style="font-size: large;"><br /></span></div><div>(1). Heringa, Rens and Veldhuisen, Harmen C: <i>Fabric of Enchanment</i>: <i>Batik from the North Coast of Java, </i>Co-published<i> </i>by the<i> </i>Los Angeles County Museum of Art, Los Angeles, California and Weatherhill, Inc., New York City, New York, 1996, p80.</div><div><i><br /></i></div><div>(2). As Above, p80 & 81</div><div><br /></div><div>(3). Maxwell, Robyn: <i>Textiles of Southeast Asia</i>: <i>Tradition, Trade and Transformation,</i> Periplus Editions, Hong Kong, Ltd., 2003, p265.</div><div><br /></div><div>(4). Ito, Fusami: <i>Javanese Batik</i>: <i>Changing Motifs and Techniques</i>, Institute of Oriental Culture, Tokyo University, Tokyo.</div><div><br /></div><div>(5). Veldhuisen, Harmen C: <i>Batik Belanda 1840 - 1940: Dutch Influence in Batik from Java</i>, </div><div>PT. Gaya Favorit Press, Jakarta, 2007, p142 & 144<span style="font-size: medium;">. </span></div><div><br /></div><div><br /></div><div><span style="font-size: large;">BIBLIOGRAPHY</span></div><div><span style="font-size: large;"><br /></span></div><div>Heringa, Rens & Veldhuisen C.: <i>Fabric of Enchantment</i>: <i>Batik from the North Coast of Java. </i>USA: </div><div>LA County Museum of Art & Weatherhill Inc. 1996.</div><div><br /></div><div>Veldhuisen, Harmen C.: <i>Batik Belanda 1840 - 1940</i>: <i>Dutch Influence in Batik from Java, </i></div><div>PT. Gaya Favorit Press, Jakarta, 2007. </div><div><br /></div><div>Achjadi, Judi: <i>The Glory of Batik - The Danar Collection</i>, BAB Publishing, Indonesia, 2011.</div><div><br /></div><div>Maxwell, Robyn J. <i>Textiles of South East Asia</i>: <i>Tradition, Trade and Transformation, </i>Periplus Editions (HK) Ltd, Hong Kong, 2003.</div><div><br /></div><div>Wronska-Friend, Maria: <i>SZTUKA WOSKIEM PISANA</i> (<i>Art Drawn with Wax</i>: <i>Batik in Indonesia and Poland</i>), Gondwana, Warszawa, 2008.</div><div><br /></div><div>Ito, Fusami. <i>Javanese Batik</i>: <i>Changing Motifs and Techniques. </i>Tokyo: Institute of Oriental Culture, Tokyo University. http://fusami.com/newpage14.html</div><div><br /></div><div>Tirta, Iwan. <i>Batik - A Play of Light and Shades. </i>Gaya Favorit Press, Jakarta, 1996.</div><div><br /></div><div>Bolk, Sabine. Blog - <i>The Journey to Batik / De reis naar Batik. </i>March 5, 2021 - <i>Fangirling over Oey Soe Tjoen. </i>https://www.journeytobatik.org/search?q=Oey+soe+tjoen</div><div><br /></div><div>Sugiarta, Tony. Blog - aNERDgallery. Feb 17, 2021 - a<i>NERDspective 30 - Widianti Widjaja </i></div><div>(<i>Oey Soe Tjoen</i>), https:www.anerdgallery.com/blog/2021/02/17/widianti-oey-soe-tjoen/<i> </i></div><div><i><span style="font-size: medium;"><br /></span></i></div><div><b><span style="font-size: medium;">******************</span></b></div><div><br /></div><div><br /></div><div><br /></div><div> <i> </i></div></td></tr></tbody></table></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-51360661402191218912022-01-10T18:09:00.000+10:002022-01-10T18:09:51.792+10:00PEKALONGAN BATIK - JAPANESE OCCUPATION of JAVA 1942 - 1945 - BATIK DJAWA HOKOKAI <p style="text-align: center;"><br /></p><h1 style="text-align: center;"><span style="color: #fcff01;">PEKALONGAN BATIK </span></h1><h1 style="text-align: center;"><span style="color: #fcff01; font-size: large;">JAPANESE OCCUPATION of JAVA</span></h1><h1 style="text-align: center;"><span style="color: #fcff01; font-size: large;">1942 - 1945 </span></h1><h1 style="text-align: center;"><span style="color: #fcff01;">BATIK<i> DJAWA HOKOKAI</i> </span> </h1><div><br /></div><p style="text-align: center;"><span style="font-size: large;"><b>This magnificent <i>kain panjang pagi-sore </i>is a wonderful example of the style, batik<i> Djawa Hokokai</i>,<i> </i>produced in Pekalongan especially by Chinese entrepreneurs but also by Indo-European and Indo-Arab business people who were known for the finesse of their work. The style emerged in response to the aesthetic preferences of Japanese clients during the 1942-1945 occupation of Java. The filler motifs on the background are extremely complex, delicate and very crowded - <i>tanahan Semarangan </i>style. The work is executed in a remarkable range of colours including shades of orange, pink, mauve, violet, green, turquoise, red and yellow, colours in favour with the Japanese.</b></span></p><p style="text-align: center;"><span style="font-size: large;"><i><br /></i></span></p><p style="text-align: center;"><span style="font-size: medium;">During the Japanese occupation of Java (1942-1945) a short-lived although a distinctively new style of cloth, batik <i>Djawa Hokokai, </i>emerged, in response to the aesthetic preferences of Japanese clients. This new style emerged out of a form of batik already being produced in Pekalongan. Alongside Javanese-style background patterns, like the <i>kawon</i></span><span style="font-size: medium;"><i>g </i>and<i> parang </i>motifs, and Chinese flowers one would discover cherry blossom and chrysanthemum. These extremely beautiful and ornate cloths were made during very difficult economic times. The most distinctive quality of this new style of coastal batik was its utilization of exuberant colours in daring combinations like pink and green. The richness in the colours was achieved by repeated immersion in the various dye baths which also required the wax to be repeatedly removed (<i>plorodan</i>) and then reapplied.</span></p><p style="text-align: center;"><span style="font-size: medium;"><br /></span></p><p style="text-align: center;"><span style="font-size: medium;">According to Eiko Adnan Kusuma, a batik collector, the technique that was used resembled <i>yuzen, </i>a dyeing technique popular in Japan since 1700. The result: clear bright colours, motifs emerging in true colours, and a three-dimensional effect that was obtained through effective colour play. But whereas the three-dimensional effect in <i>yuzen </i>was obtained by the artisan's dexterity in using the brush, in batik<i> Djawa Hokokai </i>it was achieved by the<i> </i>batikker's meticulousness in applying the wax and by adding the finest of fillings (<i>isen-isen</i>). </span><span>[1]</span></p><p style="text-align: center;"><span style="font-size: large;"> </span></p><p style="text-align: center;"><span style="font-size: large;"></span></p><p style="text-align: center;"><span style="font-size: medium;">As cotton cloth suitable for batik making particularly very fine <i>batik tulis,</i> was in short supply during the war, the composition of batik<i> Djawa Hokokai </i>skirts feature extremely dense and detailed patterns<i>, </i>usually filling two diagonal fields. Each half carried a different pattern that was arranged in the opposite direction to the other, enabling the cloth to be worn with either end exposed, providing the appearance that the wearer owned two different cloths. This composition is known as <i>pagi-sore </i>(morning and late afternoon). This was not a new concept having been in existence since the beginning of the 20th century but it was given prominence in batik<i> Djawa Hokokai. </i></span></p><p style="text-align: center;"><span style="font-size: large;"><i><br /></i></span></p><p style="text-align: center;"><span style="font-size: small;">[CLICK on IMAGES to ENLARGE] </span></p><p style="text-align: center;"><span style="font-size: small;"><br /></span></p><p style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: x-large; font-style: italic; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvwBkQieRQf2-Pxj26v8j600avUZJy7abaBhPwvytgOioJQtkd1THBuOGxyB2CB6fKdGKXKek3tpM4_KTEfmgSjgR0hMC0qJwvucGCRwTMxm4HZNDZczDxLLg8eceRcAz04f5r4ABR0-kUAfrC_NMKy8WJOLyuVTAal6sd0iLOr0CDFwVrwaZvS2cIrA=s5120" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3401" data-original-width="5120" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvwBkQieRQf2-Pxj26v8j600avUZJy7abaBhPwvytgOioJQtkd1THBuOGxyB2CB6fKdGKXKek3tpM4_KTEfmgSjgR0hMC0qJwvucGCRwTMxm4HZNDZczDxLLg8eceRcAz04f5r4ABR0-kUAfrC_NMKy8WJOLyuVTAal6sd0iLOr0CDFwVrwaZvS2cIrA=w400-h266" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-style: normal;"><b>Detail (a)</b></span></span><br /><span style="font-size: small;"><span style="font-style: normal;">Long</span> Djawa <i>Hokokai </i><span style="font-style: normal;">cloth</span><i> </i><span style="font-style: normal;">made for the Japanese market (detail)<br />Pekalongan, ca. 1942-1945<br /></span><b><span style="font-style: normal;">Skirt cloth</span> </b><i style="font-weight: bold;">kain panjang </i><br /><span style="font-style: normal;">Cotton, synthetic dyes; batik tulis<br />110.0 x 248.0 cm<br />Greg Roberts & Ian Reed Collection<br />Photo: Mick Richards</span></span><br /><br /><br /></td></tr></tbody></table><p></p><p style="text-align: center;"><span style="font-size: medium;">Before discussing this beautiful <i>Djawa Hokokai </i>batik in detail, it will be helpful to revisit the utilisation of the intricate <i>isen-isen </i>and <i>tananah </i>motifs as they are key to this style of batik. </span><span style="font-size: medium;"> Batik from the <i>Pasisir </i>(north coast of Java),<i> </i>was and still is, famous for the finest and most technically intricate examples of the batik process and for its exquisite use of colours. Central to the achievement of these qualities is the incorporation of <i>isen-isen </i>and <i>tanahan </i>motifs. <i>Isen-isen </i>are the tiny motifs used to fill-in within the outlines of the key motifs while the tiny <i>tananah </i>motifs fill-in the spaces outside the main motifs, on the background. It is the <i>isen-isen </i>and<i> tananah </i>motifs that distinguish Indonesian batik from that of other countries, where they are not used.</span><span style="font-size: large;"> </span><span style="font-size: medium;"><b><span>In each region the </span><i>pengobeng </i><span>(batikkers or waxers), consider their own version of </span><i>isen-isen</i><span> and </span><i>tananah</i><span> motifs a condition for what is regarded a superior work. </span></b></span></p><p style="text-align: center;"><span style="font-size: medium;"><span><br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;">A full appreciation of this <i>kain panjang </i>is achieved by first referencing the emergence of <i>Batik Belanda</i> in the 1840s, where <i>isen-isen</i> and <i>tananah</i> motifs were employed to enhance the main motif. This enabled the creation of not just the illusion of a colour change, but also the introduction of actual shades of colour, by intensifying or dispersing the <i>isen-isen </i>dots. Also the illusion of depth and form is achieved by the use of dots that from a distance, appear like fine lines. To serve this purpose, filler motifs that were once of uniform size and distribution were now dispersed at random, sometimes in sparse spacing, and others more concentrated, and they varied in size.<i> </i></span></p><p style="text-align: center;"><span style="font-size: medium;"><i><br /></i></span></p><p style="text-align: center;"><span style="font-size: medium;"><b>Pak Iwan Tirta wrote, "In my opinion, it is the <i>isen-isen </i>and<i> tanahan </i>motifs which add to the beauty and mystery of Indonesian batiks. By breaking and dividing space delineated by the lines of the main motif, the <i>isen-isen </i>provide the subtle shading of colours and softening of lines that make true Indonesian batiks a play of light and shade." </b> </span><span>[2]</span></p><p style="text-align: center;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjFQcHc9FEvpE_hu_Pcu-Wl_gMQkDHPUPcYkzJO5BjqFdmmm166TUnKjXXQBZhaMfYR9l8na0n7J72ad0kJYK6WbBUVvsi3ZNjAr0TVJhPiECrG8u9Lb0k8rAeSGtF6oLeXkLL2j2kKJD8pygoKT4a88Am_B7pa4_kw8SuCZ5SrpOuiVZW8vw3FdBO5kQ=s859" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="385" data-original-width="859" height="179" src="https://blogger.googleusercontent.com/img/a/AVvXsEjFQcHc9FEvpE_hu_Pcu-Wl_gMQkDHPUPcYkzJO5BjqFdmmm166TUnKjXXQBZhaMfYR9l8na0n7J72ad0kJYK6WbBUVvsi3ZNjAr0TVJhPiECrG8u9Lb0k8rAeSGtF6oLeXkLL2j2kKJD8pygoKT4a88Am_B7pa4_kw8SuCZ5SrpOuiVZW8vw3FdBO5kQ=w400-h179" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Full cloth (b)</b><br />Long<i> Djawa</i><span style="font-style: italic;"> </span><i>Hokokai </i>cloth<i> </i><span>made for the Japanese market<br />Pekalongan, ca. 1942-1945<br /></span><b style="font-style: italic;"><span style="font-style: normal;">Skirt cloth</span> </b><i style="font-weight: bold;">kain panjang </i><br style="font-style: italic;" /><span>Cotton, synthetic dyes; batik tulis<br />110.0 x 248.0 cm<br />Greg Roberts & Ian Reed Collection<br />Photo: Mick Richards</span></td></tr></tbody></table><br /><p style="text-align: center;"><span style="font-size: medium;"><b>Rens Heringa</b> writes: The <i>kain panjang</i>, worn in the more elegant central Javanese style, gained popularity throughout the 20th century. Its designs, however, changed and became a fusion of the Europeanized florals with the intricate backgrounds and specific colour combinations that were consistent with Peranakan or Indo-Arabian tastes. The most complex and vibrant examples of these elaborate styles are the cloths designated <i>Djawa Hokokai, </i>an organisation established by the Japanese as a tool for indoctrinating every Indonesian over </span><span style="font-size: medium;">fourteen years of age; it ultimately became the cradle of the nationalist movement. [3] </span><span style="font-size: large;"> </span></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg0cmtDFl2rfradPigRlr4gMS4UZ9uGy26tHzB0VT3PlFFn6qzB2BvSZJe4EmRCpq8bcn2ZO9mMSJ8XfSzCQcadbz1EJUjw8avDBJHeh_4qeeCK4Bw2KkRQIN8XyHAatE8ZG9Pp7zT-clkSzjya-W49LPP4vqCCaV2M_IJaSiH3iWMMPLNkdlj1G0-ksg=s5120" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5120" data-original-width="3401" height="580" src="https://blogger.googleusercontent.com/img/a/AVvXsEg0cmtDFl2rfradPigRlr4gMS4UZ9uGy26tHzB0VT3PlFFn6qzB2BvSZJe4EmRCpq8bcn2ZO9mMSJ8XfSzCQcadbz1EJUjw8avDBJHeh_4qeeCK4Bw2KkRQIN8XyHAatE8ZG9Pp7zT-clkSzjya-W49LPP4vqCCaV2M_IJaSiH3iWMMPLNkdlj1G0-ksg=w332-h580" width="332" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span><b>Full cloth (c)<br /></b><br /><br /><b><><><><><><><></b><br /></span><p><span><span style="font-size: medium;"><b><u>The cloth illustrated above & below</u>, typical of a <i>Djawa Hokokai </i>batik</b>, is divided diagonally into two parts distinguished, not by colour, but by background motif. The butterflies flutter above a stylised <b><i>kawong </i>motif</b> and the lotus blooms float upon a <b><i>parang </i>motif</b>. Both motifs had once been restricted to usage only in the Javanese royal courts. These motifs were designated as <i>larangan </i>(forbidden, restricted to be used only by the central Javanese courts).<i> </i>The <i>kawong </i>is an extremely old geometric motif. It is thought to be derived from an abstraction of the halved fruits of the sugar palm. The <i>parang </i>is a traditional Javanese court motif of slanting bands or stripes filled with stylised daggers. <br /></span></span></p><p><span><span style="font-size: medium;"><b><br /></b></span></span><span><span style="font-size: medium;"><b> </b>On first sight it is the colours, the bold composition, and the key motifs of the butterflies and lotus blooms that attract attention.<br /></span></span><span><span style="font-size: medium;">On closer observation your gaze turns in awe to the brilliant <i>canting </i>skills of the batikkers waxing the D<i>jawa Hokokai </i>cloths, as it is extremely fine and very technically elaborate. The women batikkers employed to execute the patterns were trained in the intricate and precise application of wax, and an extraordinary delicate stippling and dotting technique was used, especially with some of the wonderfully ornate floral designs. <i>Djawa Hokokai </i>batik's making required highly skilled hands accustomed to drawing extremely intricate background fillings, as with <i>batik Belanda </i>and<i> batik Cina.</i> </span></span></p><p><span><span style="font-size: medium;"><br /></span></span><span><span style="font-size: medium;">Within a flower or a leaf it is the <i>isen-isen</i> that create the illusion of colour change. It is the <i>isen-isen</i> that also creates shades of colour by intensifying or dispersing the fine dots. This use of a myriad of fine dots enhances the impact of each of the key motifs.</span></span><span><span style="font-size: medium;"><br /></span></span><span><span style="font-size: medium;">These exuberant cloths, masterpieces, always had a wide floral border, <i>terang bulan</i>, and at least a pair of exquisitely drawn butterflies. Butterflies are now the main motifs unlike prior to the Japanese occupation and d<i>jawa hokokai</i> batik, when they were only used to fill empty spaces. The <i>terang bulan </i>border, as seen in <b>Full cloth (b)</b> above, travels in both directions from the top right corner and is delineated by its deep purple background. It embraces the lotus blooms floating across the right half of the cloth. These sumptuous blooms are also repeated in the embellishment of the <i>terang bulan </i>border itself and across other elements of the cloth. For example, in the green coloured border running across the base on the left half of the cloth (the butterfly half), also seen in <b>Detail (d)</b> below. </span></span></p><p><span><span style="font-size: medium;"> </span></span><span><span style="font-size: medium;"><br /></span></span><span><span style="font-size: medium;"><b>According to Chinese tradition, a pair of butterflies which appear on this cloth represent two lovers of different social status, whose love was opposed by their parents. Finally, the lovers decided to die together and to be buried in one grave. Later they turned into butterflies and flew away together, proclaiming their love. </b></span></span></p><span><span style="font-size: medium;"><b><><><><><><><> <br /></b></span><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhTSzqtg8zGOPChRjRDafQEvk2h3D4Imy_lAieWR4UJ5Ifhmaoo5c66B611RwCbhlVacprUheHZrVaAxj8wrhfyodvxyMMnCdFtS47Www1dVHFPwwcnVfu9EerKTjRjG0VPls-e1mQ-hPyGw--5RTQACqsu-_8JIfkchPBQQGhIHJHEg2F7ZwJ7EcQJng=s903" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="539" data-original-width="903" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEhTSzqtg8zGOPChRjRDafQEvk2h3D4Imy_lAieWR4UJ5Ifhmaoo5c66B611RwCbhlVacprUheHZrVaAxj8wrhfyodvxyMMnCdFtS47Www1dVHFPwwcnVfu9EerKTjRjG0VPls-e1mQ-hPyGw--5RTQACqsu-_8JIfkchPBQQGhIHJHEg2F7ZwJ7EcQJng=w400-h239" width="400" /></a></div><b>Detail (d)</b><br /><span style="font-size: medium;">A sense of depth is added to all flowers by the use of darker central areas and shaded filler motifs. The beautifully executed green border at the base of the left half of the cloth, as seen in <b>Detail (d)</b> above, may not only resembles a <i>booh </i>(bow or wave border), but also may represent the grave from which the two lovers emerged as butterflies. </span><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjYDvg3l-7wRrDasjr0ec8SrwmJrFWn0yTs5cn1TUB5ZfybDyfwaUswWT5KE_tLq_bOJmi7iWRtdbciw_0ndQH8TQy4y9YVXOA3zLqk1t6ohPNHLO46TUo_xsd1pHAEf_E5dAlfZmSbaioGStpo0-ejBfg60KxBgEyrdfsngZ3TIxmyrvVwGjy0s8LtHA=s3831" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2896" data-original-width="3831" height="303" src="https://blogger.googleusercontent.com/img/a/AVvXsEjYDvg3l-7wRrDasjr0ec8SrwmJrFWn0yTs5cn1TUB5ZfybDyfwaUswWT5KE_tLq_bOJmi7iWRtdbciw_0ndQH8TQy4y9YVXOA3zLqk1t6ohPNHLO46TUo_xsd1pHAEf_E5dAlfZmSbaioGStpo0-ejBfg60KxBgEyrdfsngZ3TIxmyrvVwGjy0s8LtHA=w400-h303" width="400" /></a></div><b>Detail (e)</b><br /><br /><span style="font-size: medium;">Batik <i>Djawa Hokokai </i>cloths have a <b>head</b>, a body, side motifs (<i>motif pinger</i>), and a <i>seret </i>at the outer side of the head. These batiks combined the characteristics of <i>pagi sore </i>(morning/late afternoon), <i>terang bulan</i>, and <i>tanahan Semarangan (</i>a style of intricately layered backgrounds). <br />In <b>Full cloth (b)</b> above, it is the <i>terang bulan </i>border that dominates the short end, at right. The short end at left, reveals an intriguing <b>head</b> design- a double row of trees. As in <b>Detail (e)</b> above, the front row of trees are a much deeper green than those behind enabling a visual sense of depth to be achieved. <br /><br />On a quick glance at the cloth this double row of trees may initally appear like a <i>tumpul </i>within a <i>kepala, </i>as would've been the case with a <i style="font-weight: bold;">kain panjang kepala tumpal</i>, <b>traditional style</b>, <i><b>Pasisir</b></i>. <b> </b><i> </i> <br /></span><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhNSGLGeOLo99IqxlabpoYF29hCV4ipu4Z3QZjwiSnb7kIqbXqwbFXtn7lu_p6uQlVRmJf_IBn08qIc0O1zDuv20_dt7Rm8NlZVyfhH6fqzp9dhbj2R-X9nwFcsm-dnLVNFEyKas43r7uF8Ec5vWNhUjLK7VOcplaVrgSqszrtkJNnlVPyis602Z-BatQ=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="399" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhNSGLGeOLo99IqxlabpoYF29hCV4ipu4Z3QZjwiSnb7kIqbXqwbFXtn7lu_p6uQlVRmJf_IBn08qIc0O1zDuv20_dt7Rm8NlZVyfhH6fqzp9dhbj2R-X9nwFcsm-dnLVNFEyKas43r7uF8Ec5vWNhUjLK7VOcplaVrgSqszrtkJNnlVPyis602Z-BatQ=w266-h400" width="266" /></a></div><b>Detail (f)<br /></b><br /><div><span style="font-size: medium;">The negative spaces occurring between each of the <i>kawong </i>motifs, (series of repeated dark crosses occurring on the diagonal), as in <b>Detail (f)</b> above and <b>Detail (g)</b> below, are amplified by the decision to repeat the use of the dark purple colour which is also the background colour of the <i>terang bulan </i>border. This colour's repeated use across the surface of the cloth provides a strong sense of visual unity and harmony while at the same time, makes for an extremely bold design. </span></div><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhQ_DZTPlE8dvzsSDHgynz_kt22JYxslXJdkmsWuf3y8YwsFsJa-Ct4mBd6OgTdsjWGehh-d3u96ZZ7M2cAGl9J9L6Vo6pTehPIwQHeh_0_8-2BBqRV2VzzHFd27LOka9HeeSyhhKcI4Ngt2PssTplxF5SVnJHunT28VpXlILvZ6e5J_EKmDs77edIX-A=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="399" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhQ_DZTPlE8dvzsSDHgynz_kt22JYxslXJdkmsWuf3y8YwsFsJa-Ct4mBd6OgTdsjWGehh-d3u96ZZ7M2cAGl9J9L6Vo6pTehPIwQHeh_0_8-2BBqRV2VzzHFd27LOka9HeeSyhhKcI4Ngt2PssTplxF5SVnJHunT28VpXlILvZ6e5J_EKmDs77edIX-A=w266-h400" width="266" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>Detail (g)</b></div><p><span style="font-size: medium;">An additional common factor of all batik <i>Djawa Hokokai </i>cloths is that one half of the background is decorated with a <i>garis miring </i>motif. This group of motifs covers a number of various patterns, the only common factor being that they run diagonally. As can be seen in <b>Detail (g)</b> above and <b>Detail (h)</b> below, as the background to the lotus blooms to the right of the butterflies, are the best known of the <i>garis miring </i>designs, the <i>parang </i>designs. Like the <i>kawong </i>motif, the <i>parang</i> motif has long been the preserve of Javanese royalty. It certainly is a motif that possesses a strong rhythm. </span></p><p><span style="font-size: medium;">Interestingly, the dark purple crosses which occur as the negative space between the <i>kawong </i>motif, also run on the diagonal. This design element reinforces the the diagonal rhythm of the neighbouring <i>parang </i>motif. This is further enhanced by every third space between the parallel running rows of <i>parang, </i>being of the deep purple shade, like the crosses. This is the maker ensuring the overall design is visually balanced, unified and harmonious. </span></p><p><span style="font-size: medium;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjqdh0qAzqDhZtIcTVzaUB-bZJHCnIL7dV1nhR0j1HkTuuBQVwPPpZGJhZx1NyhRVDr0YWRE5LUSQ51uzscJY-LR_sLN0RGWUmgVj5nU5yDRAUAhWlMwfXgWyVT2TWa87ZK1JUvL5stivW9wuWmCpAbNN7erQiPcA8E_xoEy29eG5vRnEwyyWUpdfba5Q=s574" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="376" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjqdh0qAzqDhZtIcTVzaUB-bZJHCnIL7dV1nhR0j1HkTuuBQVwPPpZGJhZx1NyhRVDr0YWRE5LUSQ51uzscJY-LR_sLN0RGWUmgVj5nU5yDRAUAhWlMwfXgWyVT2TWa87ZK1JUvL5stivW9wuWmCpAbNN7erQiPcA8E_xoEy29eG5vRnEwyyWUpdfba5Q=w263-h400" width="263" /></a></div><b>Detail (h)</b><br /><br /><br /><br /><br /><span><b><span style="font-size: large;">Batik </span><i style="font-size: x-large;">Djawa Hokokai</i><span style="font-size: large;"> cloths certainly are an exuberant burst of colour, vitality, full of life's energy, symbolism and they highlight the brilliant skills of the women batikkers/waxers working in or around Pekalongan located on the </span><i style="font-size: x-large;">Pasisir, </i><span style="font-size: large;">the north coast of Java, during the period of the Japanese occupation 1942 - 1945.</span><br /><br /><span style="color: #fcff01; font-size: x-large;">Thank you and please keep extremely well.<br /></span></b></span><br /><br /><h2><span style="font-size: medium;">NOTES</span></h2><div><span style="font-size: medium;">[1] Ishwara, Helen; Supriyapto Yahya, L.R.; Moeis, Xenia. <i>BATIK PESISIR</i>:<i> An Indonesian Heritage - Collection of Hartono Sumarsono</i>, Jakarta: KPG (Kepustakaan Populer Gramedia), 2012, p94.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">[2] Tirta, Iwan. <i>Batik: A Play of Light and Shades</i>, Jakarta, Gaya Favorit Press, 1996, p106.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">[3] Heringa, Rens. <i>Fabric of Enchanment, </i>Los Angeles County Museum of Art, Los Angeles, California and Weatherhill, Inc., New York City, New York, 1996, p67.</span></div><p><span style="font-size: medium;"><i><br /></i></span></p><p><span style="font-size: medium;"></span></p><h2><span style="font-size: medium;">BIBLIOGRAPHY</span></h2><div><span style="font-size: medium;">Achjadi, Judi: <i>The GLORY of BATIK - The Danar Hadi Collection, </i>BAB Publishing Indonesia, 2011.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Djoemena, Nian S.: <i>Batik dan Mitra/Batik and its Kind, </i>Jakarta: Penerbit Djambatan, 1986.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Djoemena, Nian S.: <i>Ungkapan Sehelai Batik/Its Mystery and Meanin</i>g. Jakarta, 1986.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Doellah, H. Santosa: <i>Batik: The Impact of Time and Environment</i>, Jakarta, Dana Hadi, 2002.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Heringa, Rens & Veldhuisen, Harmen C.: <i>Fabric of Enchantment: Batik from the North Coast of Java</i>. USA: LA County Museum of Art & Weatherhill Inc. 1996.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Tirta, Iwan: <i>Batik: A Play of Light and Shades</i>. Jakarta: PT Gaya Favorit Press. 2009.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Ishwara, Helen; Supriyapto Yahya, L.R.; Moeis, Xenia. <i>BATIK PESISIR: An Indonesian Heritage - Collection of Hartono Sumarsono, </i>Jakarta: KPG, 2014.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">van Roojen, Pipin. <i>BATIK DESIGN</i>, Amsterdam - Singapore: The Pipin Press, 2001.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Khan Majlis, Brigitte. <i>The Art of Indonesian Textiles: The E. M. Bakwin Collection at the Art Institute of Chicago</i>, The Art Institute of Chicago/Yale University Press, New Haven and London, 2007.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Tumbu Ramelan Collections. <i>The 20th Century Batik Masterpieces</i>, KR Communications. </span></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"> </div><br /><i><br /></i></span><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><p><br /></p><p><span style="font-size: medium;"><i><br /></i></span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"> <i> </i></span></p></td></tr></tbody></table><br /><br /><p></p>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-90424898659427325372021-11-26T14:08:00.000+10:002021-11-26T14:08:36.305+10:00BANYUMAS<p style="text-align: center;"> </p><h1 style="text-align: center;"><span style="font-weight: normal;"><span style="color: #fcff01;">BANYUMAS</span></span></h1><div><br /></div><div><br /></div><div style="text-align: center;"><span style="font-size: large;"><span>People of the Banyumas regency are considered descendants from the royal families of Yogyakarta and also the Kingdom of Pajajaran in West Java. Banyumas was considered the outermost township of the Mataram Kingdom. Their culture was identical to that of the Principalities. Batik is initially thought to have been an aristocratic occupation in Banyumas to fill personal requirements for this cloth. Compared to the batiks from other coastal areas/styles, batik Banyumas blended Principality/classical designs with the coastal style including European motifs and colours. It must be remembered that Banyumas located in western Central Java, is not a coastal town.</span></span><span> <span style="font-size: large;"><b>Batik Banyumas is commonly known as </b><i><b>banyumasan.</b> </i><b>It is characterised by its reddish yellow <i>sogan </i>base colour, with golden ivory yellows and very dark blackish blue</b>. <b>The <i>sogan </i>base colour</b></span></span><b><span style="font-size: large;"><i> </i><span>is</span><i> </i><span>similar to the colour produced earlier by Jonas, a batik maker of Dutch parentage in Solo. </span><span>The ivory yellow is a tint lighter than that used in Solo.</span></span></b></div><div style="text-align: center;"><br /></div><p style="text-align: center;"><span style="font-size: medium;"><span><b>Harmen C. Veldhuisen</b> wrote about a very similar <i>kain panjang</i> in the <b>Rudolf G. Smend Collection</b>, to the cloth being discussed below, (the only difference between the two cloths appears to be their border variation): <b>The first impression is that of a batik from the <i>Principalities. </i>The imitation lace border along the right and lower edge indicates however, that this batik was made in an Indo-European batik workshop or copied an Indo-Chinese batik maker. A second look confirms this opinion. The bird g<i>aruda is </i>drawn in a non-Javanese way.</b></span><span> <b>*</b></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><b>* </b>[<i>BATIK - Javanese and Sumatran Batiks from Courts and Palaces, Rudolf G. Smend Collection. </i>Insider Information, Harmen C. Veldhuisen, page 93, 19. The cloth from the Rudolf G. Smend Collection, also a <i>kain panjang</i>, is illustrated across </span><span style="font-size: medium;">pages 32 & 33 of this publication]. </span><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: medium;"><i> </i> <i> </i> </span><span style="font-size: large;"> <i> </i> </span></p><div style="text-align: left;"><span><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://1.bp.blogspot.com/-_LYXd-efPZw/YZmgktGBBQI/AAAAAAAAYsU/6rM6WS99fyU0vFctB025wxFPUcEbLfhxQCLcBGAsYHQ/s722/AB5804AF-C340-4D15-8E57-868DC102A267_1_201_a.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="722" data-original-width="533" height="640" src="https://1.bp.blogspot.com/-_LYXd-efPZw/YZmgktGBBQI/AAAAAAAAYsU/6rM6WS99fyU0vFctB025wxFPUcEbLfhxQCLcBGAsYHQ/w472-h640/AB5804AF-C340-4D15-8E57-868DC102A267_1_201_a.jpeg" width="472" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><div><span>Batik cloth with a combination of motifs: <i>mirong </i>(a pair of wings); <i>sawat gurdo </i>(a pair of wings with extended fan-like tail feathers); surrounded by animals on a <i>semen </i>background</span></div><div><span>Banyumas, ca. 1920</span></div><div><span><b>Matheros Skirt cloth </b><i style="font-weight: bold;">kain panjang </i>(detail)</span></div><div><span>Cotton, natural dyes; <i>batik tulis</i></span></div><div><span>105.0 X 264.0 cm</span></div><div><span>Photo: Mick Richards</span></div><div><span>Greg Roberts & Ian Reed Collection</span></div><div><span style="font-size: medium;"><br /></span></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><p style="text-align: center;"><span style="font-size: medium;">The motifs on this cloth (above and below), belong to the group of patterns/motifs/designs known as the <b>Non-Geometric Free-Form designs. </b>The most common type of non-geometric motifs, known as <b><i>s</i></b><i style="font-weight: bold;">emen </i>(from <i>semi, </i>buds or sprouting leaves), covers a huge variety of different patterns which the waxer has great freedom to interpret, provided certain traditional rules are observed. The common element is the use of leaf-like tendrils for the background. </span></p><p style="text-align: center;"><span style="font-size: medium;"><b>There are three main types of</b> <b><i>s</i></b><b style="font-style: italic;">emen </b><b>patterns</b>:</span></p><div style="text-align: left;"><div style="text-align: center;"><span style="font-size: medium;"><span>1.</span></span><span> </span><b><i>Semen</i></b><span> or 'sprouting life' pattern consisting only of leaves or buds, is an old Central Javanese court pattern;</span></div><div style="text-align: center;"><i><span style="font-size: medium;"> </span></i></div><span style="font-size: medium;"><span style="text-align: left;"><div style="text-align: center;">2. As can be seen on this Banyumas <i>kain panjang, </i>motifs depicting <b>animals on a</b> <b><i>s</i></b><i><b>emen</b></i> <b>background </b>including <b><i>m</i></b><i style="font-weight: bold;">eru</i><span>,</span><i style="font-weight: bold;"> </i>a batik ornament shaped like a mountain always found in <i><b>semen </b></i>designs;<i> </i>and</div><div style="text-align: center;"> </div></span><span><div style="text-align: center;"><span><span> </span></span>3. As with this Banyumas <i>kain panjang</i>,<b> motifs in which animals and leaves are combined with </b><i style="font-weight: bold;">lar </i>(wings of the mythical <i>Garuda</i>). </div></span></span></div><p style="text-align: left;"><span style="font-size: medium;"><span><b><br /></b></span></span></p><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span><b>In addition, there are three variations on the</b> </span><i style="font-weight: bold;">lar </i><span><b>motif:</b></span><b> </b></span></p><div style="text-align: center;"><span style="font-size: medium;"><b><br /></b></span></div><span style="font-size: medium;"><div style="text-align: center;"><span>(a)</span><span> </span><i style="font-weight: bold;">lar </i>(a single wing of the <i>Garuda </i>bird)<b>;</b></div><div style="text-align: center;"><b> </b></div><span><div style="text-align: center;"><span> (b)</span><span> the</span><b> </b><i style="font-weight: bold;">mirong </i>(a pair of wings)<span>, and, </span></div><div style="text-align: center;"><span><br /></span></div></span><span><div style="text-align: center;"><span>(c) the</span><i style="font-weight: bold;"> sawat gurdo </i>(a pair of wings with extended fan-like tail feathers)<i>.</i></div></span><span><div style="text-align: center;"><i style="font-weight: bold;"> </i></div></span></span><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: left;"></p></span><span><p style="text-align: center;"><span style="font-size: large;"> </span><span style="font-size: medium;"><span>Traditionally the </span><b><i><span>sawat</span></i></b><span> is one of the ornaments reserved for the highest nobility. Rouffaer believes it was originally a kind of crest or symbolic talisman of the 17th century Central Javanese Kingdom of Mataram under the great Sultan Agung.</span></span></p><p></p><p style="text-align: center;"><span style="font-size: medium;"><br /></span></p><br /><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://1.bp.blogspot.com/-UQsZFHqiiBA/YZmgeKrFvRI/AAAAAAAAYsQ/HKD80AX8cX8YdhnmQXh2yz3GXTubYe21gCLcBGAsYHQ/s697/2FDBB987-4A0D-4598-9C67-196F2A5D7F1D_1_201_a.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="514" height="400" src="https://1.bp.blogspot.com/-UQsZFHqiiBA/YZmgeKrFvRI/AAAAAAAAYsQ/HKD80AX8cX8YdhnmQXh2yz3GXTubYe21gCLcBGAsYHQ/w295-h400/2FDBB987-4A0D-4598-9C67-196F2A5D7F1D_1_201_a.jpeg" width="295" /></a></div><div style="text-align: center;"><span>(detail including right-edge border)</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><b><span>The overall style of this Banyumas </span><i>kain panjang</i><span> is known as</span></b><span> <b><i>m</i></b></span><b><i>ateros</i></b><span> </span><b>*</b><span>, with its red, blue, and black colours on an ivory background, inspired by Dutch taste. The various components of the pattern are partially framed in an L-shaped border made up of repeated bunches of three small white blossoms on a red wave-shaped ground. It is the lines, that make up the border, that have been waxed and the background dyed: conversely, the motifs on the central field are waxed in the negative, which requires a certain skill when drawing without the aid of a paper pattern. <b>The red and white wavelike <i>materos</i> border, up the right edge and along the long lower edge, is a signature element of batiks from Banyumas.</b></span></span></p><div style="text-align: center;"><span style="font-size: large;"> </span></div><span><div style="text-align: center;"><span><b>* Note</b>: The batiks of a niece of Mrs. Catharina Carolina van Oosterom (nee Philips) 1816 - 1900, Mrs. Matheron (nee Willemse), were known as <i>batik matheron </i>or<i> m</i></span><span><i>atheros. </i>The batiks of the other niece of Mrs. Van Oosterom, Miss Willemse, were known under the name <i>batik Wileman. </i>Many of Miss. Willemse's patterns were derived from European magazines. These two nieces inherited the batik workshop of their childless aunt, Mrs. van Oosterom.</span></div><div style="font-size: large; text-align: center;"><br /></div></span><span style="font-size: medium;"><p style="text-align: left;"></p><p style="text-align: center;"><b>Harmen C Veldhuisen </b>writes<b>*</b>: Around 1910, via the batik trade in Bandung, batik Banyumas became very popular in Java. In Banyumas, there were numerous small Javanese batik workshops, imitating the style of van Oosterom-Willemse, co-locating next to the large Intro-Europen batik workshops. Traders from Bandung placed orders with these Javanese batik workshops, but they also let the van Oosterom-Willemse style be imitated in nearby Ciamis and Tasikmalaya. Along with Garut these three towns were the batik centres in the Preanger. Batik workshops from these three centres brought waxers/batikkers from the Javanese and Indo-European batik workshops in Banyumas. These waxers/batikkers introduced the drawing style and specific <i>isen </i>Banyumas into these batik workshops.<i> </i></p><p style="text-align: center;"><b>*</b>(Veldhuisen, Harmen C. <i>Batik Belanda 1840-1940</i>, p. 123). </p><div style="text-align: center;"><br /></div><p style="text-align: center;"><i style="font-style: italic;"><b>Batik Panastroman</b>, </i>as Mrs. van Ossterom batiks were called in Java, were well known in West Java. The typical batik style of Banyumas was inspired by the style of Solo and Yogyakarta. In Banyumas, however, Mrs. van Ossterom introduced the North Coast red and European motifs on the selendang (shoulder cloth for women) and on the ikat kepala (head cloth for men). Mrs. van Ossterom was one of the foremost pioneers of Dutch Batik of the time. She originally opened a batik workshop in Ungaran (Semarang), around 1845 and moved to Banyumas in 1855. <i> </i></p><p></p></span><p></p><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="font-size: x-large; text-align: left;"><br /></div><div style="text-align: center;"><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://1.bp.blogspot.com/-uHlo9jmjMHM/YZrR4p3B1tI/AAAAAAAAZSY/rAS4kHhDcpAF7lv45nQ0DURg0kWt6IXRgCLcBGAsYHQ/s2048/62F24C15-6AF7-40D6-A0F7-9A04CA827802_1_201_a.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1646" data-original-width="2048" height="321" src="https://1.bp.blogspot.com/-uHlo9jmjMHM/YZrR4p3B1tI/AAAAAAAAZSY/rAS4kHhDcpAF7lv45nQ0DURg0kWt6IXRgCLcBGAsYHQ/w400-h321/62F24C15-6AF7-40D6-A0F7-9A04CA827802_1_201_a.jpeg" width="400" /></a></div><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><i>Semen Gendong</i> motif (Jogya)</b></span></div><div class="separator" style="clear: both; text-align: center;"><span>After their wedding both husband and wife hoped that their union would be blessed with offspring. This wish is reflected in batik with the <i>semen gendong </i>motif (above), which expresses their wish for a baby to <i>gendong</i> (carry around in a sarong used as a sling).<i> </i> </span></div><div style="text-align: center;"><br /></div><p><span style="font-size: medium;"><span>From the publication,</span><span> </span><i><span>BATIK, Pola & Tjorak - Pattern & Motif</span></i><span>, Penerbit Djambatan 1966, plate 62 (above) is an example of the Jogja motif, </span><i><span><b>s</b></span></i><i><span><b>emen gendong</b>. </span></i><span> On first impressions, it bears a strong visual resemblance to the Banyumas <i>kain panjang</i>,<i> </i>under discussion. While it too consists of both, the </span><i><b>mirong</b> </i><span>(a pair of wings) and the</span><span> </span><i><b>sawat gurdo</b> </i><span>(a pair of wings with extended fan-like tail feathers), surrounded by animals on a</span><span> </span><i><b>semen</b> </i><span>background, the wings and tail feathers differ in their drawn appearance (drawn in a non-Javanese way), and the animals are more abstracted in their appearance compared to those on the Banyumas <i>kain panjang</i> (below). </span></span></p><p><span style="font-size: medium;"><span> </span></span></p><p><span style="font-size: large;"><b><span>While the influences in this <i>kain panjang</i> are Javanese (accentuated by the <i>sawat </i>[or Garuda], the emblem of the court of Yogyakarta), the cloth has been most likely executed in an Indo-European workshop in Banyumas. </span><i> </i></b></span></p></div><div style="font-size: x-large; text-align: left;"><br /></div><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://1.bp.blogspot.com/-6j61lOdCntw/YZmgX0TYNBI/AAAAAAAAYsM/OkWa89s58G8Dr2gYYy8eJKiAb5BxdfxCQCLcBGAsYHQ/s1160/5B886196-831D-4829-AFFA-95DC5066CF7F_1_201_a.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="1160" height="165" src="https://1.bp.blogspot.com/-6j61lOdCntw/YZmgX0TYNBI/AAAAAAAAYsM/OkWa89s58G8Dr2gYYy8eJKiAb5BxdfxCQCLcBGAsYHQ/w400-h165/5B886196-831D-4829-AFFA-95DC5066CF7F_1_201_a.jpeg" width="400" /></a></div><br /></span></div><div style="text-align: center;"><span>Batik cloth with a combination of motifs: <i>mirong </i>(a pair of wings); <i>sawat gurdo </i>(a pair of wings with extended fan-like tail feathers); surrounded by animals on a <i>semen </i>background</span></div><div style="text-align: center;"><span>Banyumas, ca. 1920</span></div><div style="text-align: center;"><span><b>Matheros Skirt cloth <i>kain panjang</i></b></span></div><div style="text-align: center;"><span>Cotton, natural dyes; <i>batik tulis</i></span></div><div style="text-align: center;"><span>105.0 X 264.0 cm</span></div><div style="text-align: center;"><span>Photo: Mick Richards</span></div><div style="text-align: center;"><span>Greg Roberts & Ian Reed Collection</span></div><div style="text-align: center;"><span><br /></span></div><div style="text-align: center;"><span><br /></span></div><h3 style="text-align: left;"><span style="font-size: medium;"><b>Acknowledgement</b></span></h3><p style="text-align: center;"><span>I<span style="font-size: medium;"> wish to gratefully acknowledge Tina Tabone [<b>TINA TABONE TEXTILE ART</b>] from whom we purchased this beautiful cloth. I so appreciated our correspondence relating to our shared passion for Javanese batik and also, your total trustworthiness, a plus for anyone when like us, making our/their first batik purchase online.......thank you Tina. </span></span></p><div style="text-align: center;"><span><span style="font-size: medium;"><span style="font-size: large;"><b>http://www.tinatabone.com</b></span><span style="font-size: medium;"> </span></span></span></div><div style="text-align: center;"><span><span style="font-size: medium;"><span style="font-size: medium;"><br /></span></span></span></div><div style="text-align: center;"><span><span style="font-size: medium;"><br /></span></span></div><div style="text-align: center;"><span><span>Personal Note: This year has been life-changing for me with at last, a line in the sand drawn under 20 odd years of very poor health/pain. Three new & brilliant medical specialists looked at my chronic head pain with fresh and inspired eyes and as a result, I have been pain-free for the last seven months and now back on my Blog, just wonderful.......Life Number Two!</span></span></div><div style="text-align: center;"> </div><div style="text-align: center;"><span style="color: #fcff01; font-size: x-large;"><b>...Thank You and Stay Well Always...</b></span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><b><span style="font-size: medium;">Please, I always greatly appreciate any comments/feedback/insights readers and textile enthusiasts may have as I firmly believe learning, appreciating and understanding is very much, an ongoing and shared process.</span></b></div><div style="text-align: center;"><span><br /></span></div><div style="text-align: center;"><span><br /></span></div><h1 style="text-align: center;"><span style="font-size: large;">Bibliography</span></h1><div><span>DJOEMENA, NIAN S. <i>Ungkapan Sehelai BATIK Its Mystery and Meaning</i> (bilingual). Jakarta: Penerbit Djambatan, 1990.</span></div><div><span><br /></span></div><div><span>ELLIOTT, INGER MCCABE. <i>Batik: Fabled Cloth of Java. </i>New York: Clarkson N. Potter, 1984.</span></div><div><span><br /></span></div><div><span>VELDHUISEN, HARMEN C. <i>Batik Belanda 1840 - 1940</i>: <i>Dutch Influence in Batik from Java: Histories and Stories. </i>Jakarta: Gaya Favorit, 1993.</span></div><div><span><br /></span></div><div><span>SMEND, RUDOLF G. (Editor). <i>Javanese and Sumatran Batiks from Courts and Palaces, Rudolf G. Smend Collection. </i>Koln: Galerie Smend, 2000.</span></div><div><span><br /></span></div><div><span>ACHJADI, JUDI (Text by). <i>The GLORY of BATIK, The Danar Hadi Collection. </i>Jakarta: BAB PUBLISHING INDONESIA, 2011.</span></div><div><span><br /></span></div><div><span>ISHWARA, HELEN; SUPRIYAPTO YAHYA, L.R. & MOEIS, XENIA. <i>BATIK PESISIR, AN INDONESIAN HERITAGE, COLLECTION of HARTONO SUMARSONO. </i>Jakarta: KPG (Kepustakaan Populer Gramedia), 2012.</span></div><div><span><br /></span></div><div><span>ANDERSON, B. R. O. G. (English Text). <i>BATIK, Pola & Tjorak - Pattern & Motif. </i>Djakarta: Penerbit Djambatan, 1966.</span></div><div><span><br /></span></div><div><span>FRASER-LU, SYLVIA. <i>Indonesian Batik, Processes, Patterns and Places. </i>Singapore: Oxford University Press, 1991.</span></div><div><span><br /></span></div><div><span>ACHJADI, JUDI (Editor). <i>BATIK: Spirit of Indonesia. </i>Yayasan Batik Indonesia, 1999.<i> </i></span></div><div><span><i><br /></i></span></div><div><span>HERINGA, RENS; VELDHUISEN, HARMEN C. <i>Fabric of Enchantment</i>:<i> Batik from the North Coast of Java. </i>Los Angeles, Los Angeles Country Museum of Art, 1996.</span></div><div><span><br /></span></div><div><span>LIN, LEE CHOR. <i>BATIK; Creating an Identity. </i>Singapore: National Museum of Singapore and Editions Didier Millet, 2007.</span></div><div><span><br /></span></div><div><span>DOELLAH, H. SANTOSA. <i>BATIK: The Impact of Time and </i></span><i>Environment. Danar Hadi.</i></div><div><span><br /></span></div><div style="text-align: center;"><b><><><><><><><></b></div><div><span><br /></span></div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-10587054682421647662021-11-18T20:31:00.001+10:002021-11-18T20:48:24.441+10:00INDRAMAYU - BATIK POAMAN ART WORKSHOP<p style="text-align: center;"><br /></p><h1 style="text-align: center;"><span style="color: #01ffff; font-family: arial; font-size: x-large;">INDRAMAYU</span></h1><h1 style="text-align: center;"><span style="color: #01ffff;">BATIK PAOMAN ART WORKSHOP </span></h1><div><span style="color: #fcff01;"><br /></span></div><div><span style="color: #fcff01;"><br /></span></div><p style="text-align: center;"><span style="font-size: large;">Fishing villages in the vicinity of the town of Indramayu developed a bold, decorative style of batik with motifs depicting local flora and fauna. The motifs/designs represented in the following three cloths from the <b>Batik Paoman Art</b> <b>workshop</b>, are:</span></p><p style="text-align: center;"><span style="font-size: large;"><i style="font-weight: bold;"><span><span style="background-color: white; color: #01ffff;">Jarot asem</span></span> </i>or Javanese tamarind motif,</span></p><p style="text-align: center;"><span style="font-size: large;"><i style="font-weight: bold;"><span style="color: #01ffff;">Iwak etong</span> </i>or trubus fish motif, &</span></p><p style="text-align: center;"><span style="font-size: large;"><i style="font-weight: bold;"><span style="color: #01ffff;">Kapal laju</span> </i>or fast sailing ship motif. </span></p><p style="text-align: center;"><span style="font-size: medium;">(In Cirebon this motif is called <i>Kapal kandas </i>or the heavily laden 'ship aground' motif, symbolising maturity).</span></p><p style="text-align: center;"><span style="font-size: medium;"><b>The Batik Paoman Art workshop was founded by Mrs. Hj. Siti Ruminah Sudiono.</b></span></p><p style="text-align: center;"><span style="font-size: large;">Indramayu, like Cirebon, was once an important harbour for the inter-island and international trade. The two towns have close cultural relationships and family ties, a result of being in close reach of each other. As a result some of their batiks are similar both in appearance and interpretation, like </span><i>Kapal kandas </i><span style="font-size: large;">and</span><i> Kapal laju. </i><span style="font-size: large;">Simple batik is made for local consumption by fishermen's wives with designs influenced by the sea life that gives them sustenance.</span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><h2 style="text-align: center;"><span style="font-size: medium;"><i>(a) JAROT ASEM </i>or JAVANESE TAMARIND MOTIF</span></h2><div><span style="font-size: medium;"><b>(Please click on images to enlarge)</b></span></div><div><span style="font-size: medium;"><br /></span></div><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vgSDlEr6O3k/YZSyMhldFYI/AAAAAAAAYh8/cqBmbxyqrsYD2TZWdq0VBfwbue9RjO7mQCLcBGAsYHQ/s2048/MDR_9887.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1360" height="400" src="https://1.bp.blogspot.com/-vgSDlEr6O3k/YZSyMhldFYI/AAAAAAAAYh8/cqBmbxyqrsYD2TZWdq0VBfwbue9RjO7mQCLcBGAsYHQ/w266-h400/MDR_9887.jpg" width="266" /></a></div><div><span style="font-size: x-small;"><br /></span></div><div style="text-align: center;">Batik with J<i>arot asem </i>or Javanese tamarind motif</div><div style="text-align: center;">Paoman near Indramayu</div><div style="text-align: center;">Batik Paoman Art workshop, 2000</div><div style="text-align: center;"><b>Skirt cloth </b><i style="font-weight: bold;">kain sarong </i>(detail)</div><div style="text-align: center;">Cotton, synthetic dyes, <i>batik tulis</i></div><div style="text-align: center;">103.0 X 191.0 cm</div><div style="text-align: center;">(Waxer - Tarsini)</div><div style="text-align: center;">Photo: Mick Richards</div><div style="text-align: center;">Greg Roberts & Ian Reed Collection</div><p style="text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4aeoau5I8ho/YZSxx7WH9FI/AAAAAAAAYhw/bLi2j4AyRjwJRBJ7Hhi76SvjYt9dLw5lgCLcBGAsYHQ/s600/MDR_9886-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="399" data-original-width="600" height="266" src="https://1.bp.blogspot.com/-4aeoau5I8ho/YZSxx7WH9FI/AAAAAAAAYhw/bLi2j4AyRjwJRBJ7Hhi76SvjYt9dLw5lgCLcBGAsYHQ/w400-h266/MDR_9886-3.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;">(Detail)</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-DZjy7S5mucg/YZSw-GMUHtI/AAAAAAAAYhk/1hOimuh7Mj0Zf4fKIxVkqkDfGMTqnZi6QCLcBGAsYHQ/s2048/MDR_9882-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1360" height="400" src="https://1.bp.blogspot.com/-DZjy7S5mucg/YZSw-GMUHtI/AAAAAAAAYhk/1hOimuh7Mj0Zf4fKIxVkqkDfGMTqnZi6QCLcBGAsYHQ/w266-h400/MDR_9882-2.jpg" width="266" /></a></div><p></p><div style="text-align: center;">Batik with <i>jarot asem </i>or Javanese tamarind motif</div><div><div style="text-align: center;">Paoman near Indramayu</div><div style="text-align: center;">Batik Paoman Art workshop, around 2000</div><div style="text-align: center;"><b>Skirt cloth </b><i style="font-weight: bold;">kain sarong </i></div><div style="text-align: center;">Cotton, synthetic dyes, <i>batik tulis</i></div><div style="text-align: center;">103.0 X 191.0 cm</div><div style="text-align: center;">Photo: Mick Richards</div><div style="text-align: center;">Greg Roberts & Ian Reed Collection</div></div><div style="text-align: center;"><br /></div><p style="text-align: center;"></p><p style="text-align: center;"><span style="font-size: large;">This motif is called <i>Jarot asem </i>(Javanese tamarind motif</span><span style="font-size: large;">) as it depicts the leaves and pods of this plant. The tamarind has both culinary and medicinal applications and is commonly grown in many parts of Java.</span></p><p style="text-align: center;"><span style="font-size: large;"><br /></span></p><h2 style="text-align: left;"></h2><p></p><h2 style="text-align: center;"><span style="font-size: medium;"><span style="text-align: left;">(b) </span><i style="text-align: left;">IWAK ETONG </i><span style="text-align: left;">or TRUBUS FISH MOTIF</span></span></h2><p style="text-align: center;"></p><p style="text-align: center;"></p><p><span style="font-size: medium;">A coastal town not far west of Cirebon, Indramayu has a strong Chinese input. The waxes are women whose family's livelihood is derived from the ocean. The trubos fish was found in the past in great quantities, in the ocean around Indramayu. <b>Thus, the ocean is evident in many of its motifs/patterns,</b> l<b>ike this one with trubus fish amongst the waterweed and the occasional, very large centipede. In Chinese iconography the fish stands for wealth, while the poisonous centipedes protects against misfortune. </b></span></p><p><br /></p><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-e8zHiNoDyL0/YZWFBwTioCI/AAAAAAAAYiU/P-9pabe-Vw0L7YO7JNDVgBfLNm-lwmgTACLcBGAsYHQ/s2048/MDR_9877.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1360" height="400" src="https://1.bp.blogspot.com/-e8zHiNoDyL0/YZWFBwTioCI/AAAAAAAAYiU/P-9pabe-Vw0L7YO7JNDVgBfLNm-lwmgTACLcBGAsYHQ/w266-h400/MDR_9877.jpg" width="266" /></a></div><div><br /></div></span><p></p><div style="text-align: center;">Batik with design featuring sea-creatures and poisonous centipedes</div><div style="text-align: center;">Paoman village near Indramayu</div><div style="text-align: center;">Batik Paoman Art workshop, around 2000</div><div style="text-align: center;"><b>Skirt cloth <i>kain panjang</i></b><i style="font-weight: bold;"> </i>(detail)</div><div style="text-align: center;">Cotton, synthetic dyes; batik tulis</div><div style="text-align: center;">104.5 X 252.0 cm</div><div style="text-align: center;">(Waxer - Cinayan)</div><div style="text-align: center;">Photo: Mick Richards</div><div style="text-align: center;">Greg Roberts & Ian Reed Collection.</div><p></p><p style="text-align: center;"><span style="font-size: medium;"></span></p><div><span style="font-size: medium;"><br /></span></div><p></p><p style="text-align: center;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://1.bp.blogspot.com/-O5akegyk8Ss/YZWEso6iGqI/AAAAAAAAYiM/tLo8mbq42I8ycHy6EForI3MJzpJvtRT3wCLcBGAsYHQ/s903/MDR_9876-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="903" data-original-width="600" height="400" src="https://1.bp.blogspot.com/-O5akegyk8Ss/YZWEso6iGqI/AAAAAAAAYiM/tLo8mbq42I8ycHy6EForI3MJzpJvtRT3wCLcBGAsYHQ/w266-h400/MDR_9876-3.jpg" width="266" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">(Detail)</span></div><span style="font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-2hYxfIaDj8E/YZWEZziENMI/AAAAAAAAYiE/BN2Z2SApENAWCogv0ES7AUHnJr6jO2T9gCLcBGAsYHQ/s2048/MDR_9874-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1372" height="400" src="https://1.bp.blogspot.com/-2hYxfIaDj8E/YZWEZziENMI/AAAAAAAAYiE/BN2Z2SApENAWCogv0ES7AUHnJr6jO2T9gCLcBGAsYHQ/w268-h400/MDR_9874-2.jpg" width="268" /></a></div></span><div><br /></div><div style="text-align: center;">Batik with design featuring sea-creatures and poisonous centipedes</div><div style="text-align: center;">Paoman village near Indramayu</div><div style="text-align: center;">Batik Paoman Art workshop, around 2000</div><div style="text-align: center;"><b>Skirt cloth <i>kain panjang</i></b></div><div style="text-align: center;">Cotton, synthetic dyes; batik tulis</div><div style="text-align: center;">104.5 X 252.0 cm</div><div style="text-align: center;">Photo: Mick Richards</div><div style="text-align: center;">Greg Roberts & Ian Reed Collection</div><p></p><p style="text-align: center;"></p><h2 style="text-align: left;"><br /></h2><h2 style="text-align: center;"><span style="font-size: medium;">(c) <i>KAPAL LAJU </i>or FAST SAILING SHIP MOTIF</span></h2><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: large;">The design Kapal laju ('fast sailing ship') expresses the hope that everything in a person's life will run smoothly and without hindrance. Initially this motif was associated with the palace traditions of the nearby town of Cirebon.</span></div><p><span style="font-size: medium;">The patterns have been executed in thin lines against white background. Large sections of the cloth had to be covered with wax, leaving only narrow openings for the dye to penetrate fibres and to create the contours of the designs. <b>The workmanship is significant when one remembers that it is the background that is drawn in wax, and not the individual lines of each of the figures.</b></span></p><div><span style="font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SkiZalS4aCk/YZXXB_E_iKI/AAAAAAAAYic/qXtqnG5k09AJqE7A_mgAs5LXQksTNkJfQCLcBGAsYHQ/s903/MDR_9860-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="903" height="266" src="https://1.bp.blogspot.com/-SkiZalS4aCk/YZXXB_E_iKI/AAAAAAAAYic/qXtqnG5k09AJqE7A_mgAs5LXQksTNkJfQCLcBGAsYHQ/w400-h266/MDR_9860-3.jpg" width="400" /></a></div><div><br /></div><div style="text-align: center;">Batik with <i>Kapal laju </i>motif meaning 'fast sailing ship'</div><div style="text-align: center;">Paoman near Indramayu</div><div style="text-align: center;">Batik Paoman Art workshop, around 2000</div><div style="text-align: center;"><b>Skirt cloth <i>kain panjang</i></b><i style="font-weight: bold;"> </i>(detail)</div><div style="text-align: center;">Cotton, synthetic dyes; batik tulis</div><div style="text-align: center;">105.0 X 241.0 cm</div><div style="text-align: center;">(Waxer - Jamiah)</div><div style="text-align: center;">Photo: Mick Richards</div><div style="text-align: center;">Greg Roberts & Ian Reed Collection</div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5gxtFVVQwmY/YZXXaBVUArI/AAAAAAAAYik/jrm42dKQUEwF3DuaqB7B17Px2m09HDQPACLcBGAsYHQ/s903/MDR_9863-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="903" height="266" src="https://1.bp.blogspot.com/-5gxtFVVQwmY/YZXXaBVUArI/AAAAAAAAYik/jrm42dKQUEwF3DuaqB7B17Px2m09HDQPACLcBGAsYHQ/w400-h266/MDR_9863-3.jpg" width="400" /></a></div><div><br /></div><div style="text-align: center;"><span style="font-size: medium;">(Detail)</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ktuNAzpvulA/YZXXnvu-vcI/AAAAAAAAYio/x9bOKUt9K68l3_mdG-XOsHUuguCsQta8gCLcBGAsYHQ/s890/MDR_9864-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="890" height="270" src="https://1.bp.blogspot.com/-ktuNAzpvulA/YZXXnvu-vcI/AAAAAAAAYio/x9bOKUt9K68l3_mdG-XOsHUuguCsQta8gCLcBGAsYHQ/w400-h270/MDR_9864-3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">Batik with <i>Kapal laju </i>motif meaning 'fast sailing ship'</div><div class="separator" style="clear: both; text-align: center;">Paoman near Indramayu</div><div class="separator" style="clear: both; text-align: center;">Batik Paoman Art workshop, around 2000</div><div class="separator" style="clear: both; text-align: center;"><b>Skirt cloth <i>kain panjang</i></b></div><div class="separator" style="clear: both; text-align: center;">Cotton, synthetic dyes; batik tulis</div><div class="separator" style="clear: both; text-align: center;">105.0 X 241.0 cm</div><div class="separator" style="clear: both; text-align: center;">Photo: Mick Richards</div><div class="separator" style="clear: both; text-align: center;">Greg Roberts & Ian Reed Collection</div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: center;"><span style="font-size: large;">When you set out on your journey along the very beautiful north coast of Java, the <i>Pasisir,</i> I would highly recommend you include dropping into and staying a while in Indramayu. Its people and batik will not disappoint and you will receive a very warm welcome indeed just as we did.</span></p><p style="text-align: center;"><span style="font-size: x-large;"><span style="color: #01ffff;">...THANK YOU...</span></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2 style="text-align: center;">BIBLIOGRAPHY</h2><div><br /></div><div style="text-align: center;"><span style="font-size: medium;">Achjadi, Judi (text by)</span></div><div style="text-align: center;"><span style="font-size: medium;"><i>The GLORY of BATIK</i></span></div><div style="text-align: center;"><span style="font-size: medium;"><i>The Danar Hadi Collection.</i></span></div><div style="text-align: center;"><span style="font-size: medium;">PT. BATIK DANAR HADI, 2011.</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;">Achjadi, Judi (editor)</span></div><div style="text-align: center;"><span style="font-size: medium;"><i>BATIK</i></span></div><div style="text-align: center;"><span style="font-size: medium;"><i>Spirit of Indonesia.</i></span></div><div style="text-align: center;"><span style="font-size: medium;">PT. FREEPORT INDONESIA, 1999.</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;">Elliot, Enger McCabe</span></div><div style="text-align: center;"><span style="font-size: medium;"><i>Batik: Fabled Cloth of Java.</i></span></div><div style="text-align: center;"><span style="font-size: medium;">Clarkson N. Potter, Inc. /Publishers, 1984.</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;">Djoemena, Nian S.</span></div><div style="text-align: center;"><span style="font-size: medium;"><i>BATIK</i></span></div><div style="text-align: center;"><span style="font-size: medium;"><i>Its Mystery and Meaning.</i></span></div><div style="text-align: center;"><span style="font-size: medium;">Penerbit Djambatan, 1990.</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;">Wronska-Friend, Maria</span></div><div style="text-align: center;"><span style="font-size: medium;"><i>BATIK of JAVA</i></span></div><div style="text-align: center;"><span style="font-size: medium;"><i>poetics & politics.</i></span></div><div style="text-align: center;"><span style="font-size: medium;">Caloundra Regional Gallery, 2010.</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="color: #01ffff; font-size: medium;">*********</span></div><div style="text-align: center;"><br /></div><p></p>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0Sunshine Coast, QLD, Australia-28.0302295 153.1049375-55.936846392984918 117.9486875 -0.1236126070150867 -171.7388125tag:blogger.com,1999:blog-8340815049801752564.post-37860108256121820622021-11-14T10:56:00.000+10:002021-11-14T10:56:42.568+10:00INDRAMAYU - ANTIKA MUKTI WORKSHOP<h1 style="text-align: center;"> </h1><h1 style="text-align: center;"><span style="color: #2b00fe;">INDRAMAYU </span></h1><h2 style="text-align: center;"><span style="color: #2b00fe; font-size: x-large;">ANTIKA MUKTI WORKSHOP</span></h2><div><br /></div><p style="text-align: center;"><span style="color: #2b00fe; font-size: medium;">FISHING VILLAGES IN THE VICINITY OF THE TOWN OF INDRAMAYU ON THE NORTH COAST OF WEST JAVA DEVELOPED A BOLD, DECORATIVE STYLE OF BATIK WITH MOTIFS DEPICTING LOCAL FLORA AND FAUNA POSITIONED ON A WHITE, UNDYED BACKGROUND. INDRAMAYU IS A SMALL SUNDANESE TOWN SITUATED ON THE WESTERN PART OF THE <i>PASISIR </i>(north coast of Java). IT IS SLIGHTLY WEST OF CIREBON. WOMEN IN NEARBY FISHING VILLAGES SUCH AS PAOMAN, DEVELOPED A DISTINCTIVE STYLE OF TEXTILE DECORATION WHICH IS A FOLK INTERPRETATION OF THE OLD, ELABORATE <i>PASISIR </i>STYLE.</span></p><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4TFQ8MMOPTA/YY9JgNLSR6I/AAAAAAAAYgM/0R-PpkaZOnA2H1BAtsPiC10hWf43KKXfwCLcBGAsYHQ/s2048/MDR_9868.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1360" height="594" src="https://1.bp.blogspot.com/-4TFQ8MMOPTA/YY9JgNLSR6I/AAAAAAAAYgM/0R-PpkaZOnA2H1BAtsPiC10hWf43KKXfwCLcBGAsYHQ/w337-h594/MDR_9868.jpg" width="337" /></a></div><div style="text-align: center;">Batik <i>kelengan</i>, used as a mourning garment</div><div style="text-align: center;">Paoman village near Indramayu</div><div style="text-align: center;">Antika Mukti workshop, 2000</div><div style="text-align: center;"><b>Skirt cloth </b><i style="font-weight: bold;">kain panjang </i>(detail)</div><div style="text-align: center;">Cotton, synthetic dyes; <i>batik tulis</i></div><div style="text-align: center;"><i>104.5 X 242.0 cm</i></div><div style="text-align: center;"><span style="font-size: x-small;">Photo: Mick Richards</span></div><div style="text-align: center;"><span style="font-size: x-small;">Greg Roberts & Ian Reed Collection</span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><p><span style="font-size: medium;">Monochrome, dark coloured cloth is known as <i><b>batik kelengen</b> </i>and worn as a mourning garment. Flying phoenixes placed among flowers and vines replicate on cotton the <i>lok can </i>design of the silks favoured by the Chinese community of Java.</span></p><p><span style="font-size: medium;"> </span></p><p><span style="color: #2b00fe;"><span style="font-size: large;"><b>The motif on this cloth is known as <i>burung Huong </i>(Phoenix) motif which proudly exhibits its Chinese influence.</b> <b>Perhaps the repeated use of red and in the case of this illustrated batik, blue, in batik from Indramayu was encouraged by the Chinese, for whom red </b></span><span style="font-size: large;"><b>symbolised fertility, happiness, good luck; blue meant sadness, mourning, and death. In the Qing dynasty a flying phoenix became the emblem of the empress, thus a symbol of femininity and fertility. </b></span></span></p><p><span style="font-size: medium;"><b><br /></b></span></p><p><span style="font-size: medium;">The batik of Indramayu is often referred to as <i>Dermayon. </i></span><span style="font-size: medium;">The fishermen's wives batiked while their husbands were away at sea, sometimes for as long as three or four months, in order to supplement their incomes. For this reason they did not wish to make batiks that would take too much time to complete. They would use a large </span><i style="font-size: large;">canting </i><span style="font-size: medium;">on plain cloth and had very little filling of either the motifs or the background, on their batiks. To fill the empty spaces they made <i>cocohan </i>(tiny dark dots) with a utensil called the <i>complongan, </i>shaped like a comb of sharp needles<i> </i>used to prick a layer of wax that covers the whole cloth, prior to the dyeing of it. The dye penetrates the small holes and these dots take on the colour of the dye. This myriad of small dots enhances the cloth's overall sense of detail and level of complexity. </span></p><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-e8DPBvwxO5M/YY9JIF0PU0I/AAAAAAAAYgE/vxx4xfnqTU8YOnOC1z4W6rc5C0EGukWdQCLcBGAsYHQ/s2048/MDR_9867.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1360" height="633" src="https://1.bp.blogspot.com/-e8DPBvwxO5M/YY9JIF0PU0I/AAAAAAAAYgE/vxx4xfnqTU8YOnOC1z4W6rc5C0EGukWdQCLcBGAsYHQ/w376-h633/MDR_9867.jpg" width="376" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X5AlrJPIKTQ/YY9IoXnc73I/AAAAAAAAYf8/YmTAsnyEt4oSS7nJdNf9NMYgf12lZH_SACLcBGAsYHQ/s2048/MDR_9870.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1360" height="640" src="https://1.bp.blogspot.com/-X5AlrJPIKTQ/YY9IoXnc73I/AAAAAAAAYf8/YmTAsnyEt4oSS7nJdNf9NMYgf12lZH_SACLcBGAsYHQ/w426-h640/MDR_9870.jpg" width="426" /></a></div><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><p style="text-align: center;"><span style="font-size: medium;">Court-influenced batik evolved in regions especially touched by or involved in the history of the Mataram kingdom in the 17th century, among others Indramayu, Cirebon, Garut and Banyumas. The batik styles of Indramayu do include court-influenced batik. In these times, this region, which is also called Dermayu, was a part of the kingdom of Galuh. The batik-making culture was already an established part of of life in Dermayu, generated by merchants from Lasem trading in natural indigo, <i>nila</i>/<i>tom. </i></span></p><p style="text-align: center;"><span style="font-size: medium;"><i> </i></span></p><p style="text-align: center;"><span style="color: #2b00fe; font-size: large;"><b>Hence, <i>batik Dermayon</i><i> </i>is similar to Lasem batik in both design and production technique. Not only is the <i>cocohan </i>technique also used as background filling but also the dyeing process is the same, utilising natural indigo, <i>nila, </i>giving <i>batik Dermayon </i>a unique character: batik with the application of a single colour only (<i>kelengan</i>).</b></span></p><p style="text-align: center;"><span style="font-size: medium;"><br /></span></p><p style="text-align: center;"><span style="font-size: medium;">(It is truly wonderful to be back on my Blog. After many many years now good health has been returned. I hope all is terrific for each and everyone of you. I am so looking forward to returning to magnificent Java and visiting friends and batik workshops along the <i>Pasisir</i>.)</span></p><p style="text-align: center;"><span style="font-size: medium;"><br /></span></p><p style="text-align: center;"><span style="color: #2b00fe; font-size: large;">THANK YOU</span></p><p style="text-align: center;"><span style="font-size: medium;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;">BIBLIOGRAPHY</span></p><div style="text-align: center;">Elliot, Inger McCabe</div><div style="text-align: center;"><i>Batik: Fable Cloth of Java.</i></div><div style="text-align: center;"><i>ClarksonN. Potter, Inc./Publishers,1984</i></div><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;">Wronska-Friend, Maria</div><div style="text-align: center;"><i>Batik of Java: poetics & politics.</i></div><div style="text-align: center;">Caloundra Regional Gallery 2010.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><i>Heringa, Rens; Veldhuisen, Harmen; Carey, Peter</i></div><div style="text-align: center;"><i>Fabric of Enchantment: Batik from the North Coast of Java.</i></div><div style="text-align: center;">Los Angeles County Museum of Art, 1996.</div><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;">Nian S. Djoemena</div><div style="text-align: center;">Ungkapan Sehelai</div><div style="text-align: center;"><i>BATIK Its Mystery and Meaning.</i></div><div style="text-align: center;">Penerbit Djambatan, 1986.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Doellah, H. Santosa</div><div style="text-align: center;"><i>BATIK</i></div><div style="text-align: center;"><i>The Impact of Time and Environment.</i></div><div style="text-align: center;">Headline Creative Communications 2002.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Titra, Iwan</div><div style="text-align: center;"><i>Batik, A Play of Light and Shades.</i></div><div style="text-align: center;">PT. Gaya Favourite Press, Jakarta, 1997.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">van Hout, Itie (ed)</div><div style="text-align: center;"><i>BATIK - Drawn in wax.</i></div><div style="text-align: center;">Royal Tropical Institute - Amsterdam / KIT Publishers - Amsterdam. </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div><span style="font-size: medium;"><br /></span></div><h3 style="text-align: left;"><span style="font-size: medium;"> </span></h3>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com1tag:blogger.com,1999:blog-8340815049801752564.post-25445600491858381102019-02-12T16:08:00.002+10:002024-01-25T09:56:05.707+10:00IBU MILLAR SUNGKAR<div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""arial" , "helvetica" , sans-serif">We cannot begin to truly appreciate this magnificent <i>story telling</i> batik made by <span style="color: cyan; font-size: large;"><span style="caret-color: rgb(255, 0, 255);">Ibu Millar Sungkar </span></span>from Yogyakarta, until we appreciate the role of <i>isen-isen </i>and<i> tanahan </i>motifs.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="text-align: center;"><span style="color: magenta; font-size: large;"><span style="color: magenta;"> </span><span style="color: cyan;">Batik from the Pasisir</span></span><span style="color: magenta;"> </span>was and still is, famous for the finest and most technically intricate examples of the batik process and for its exquisite use of colours. Central to the achievement of these qualities is the incorporation of <span style="color: magenta;"><i><span style="color: cyan;">isen</span></i><span style="color: cyan;">-<i>isen</i></span></span> and <i><span style="color: cyan;">t</span><span style="color: cyan;">anahan</span></i><i><span style="color: magenta;"> </span></i>motifs. <i>Isen-isen </i>are tiny motifs used to fill in within the outlines of the key motifs while the tiny <i>tanahan </i>motifs fill in the spaces outside the main motifs, on the background. It is the <i>isen-isen </i>and <i>tanahan </i>motifs that distinguish Indonesian batik from that of other countries, where they are not used.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="text-align: center;"><i> Isen-isen </i>and <i>tanahan </i>are not contrasting motifs but rather have much in common. </span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="text-align: center;">an </span><i style="font-family: arial, helvetica, sans-serif; text-align: center;">isen-isen </i><span face=""arial" , "helvetica" , sans-serif" style="text-align: center;">motif</span><i style="font-family: arial, helvetica, sans-serif; text-align: center;"> </i><span face=""arial" , "helvetica" , sans-serif" style="text-align: center;">or as a </span><i style="font-family: arial, helvetica, sans-serif; text-align: center;">tanahan </i><span face=""arial" , "helvetica" , sans-serif" style="text-align: center;">motif. In each region the batikkers/<i>Pengobeng </i>(hired women who waxed the batik), <i> </i>consider their own version of </span><i style="font-family: arial, helvetica, sans-serif; text-align: center;">isen-isen </i><span face=""arial" , "helvetica" , sans-serif" style="text-align: center;">and </span><i style="font-family: arial, helvetica, sans-serif; text-align: center;">tanahan </i><span face=""arial" , "helvetica" , sans-serif" style="text-align: center;">motifs a condition for what is regarded a superior work.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Ibu Millar Sungkar - Rumah Batik dia-dio, Yogyakarta<br />
Batik Workshop - Pekalongan<br />
Pekalongan (north coast of Java), 2010<br />
<b>Skirt cloth <i>k</i></b><i><b>ain sarong and selendang</b> </i>(a shawl)<br />
Handwoven silk, synthetic dyes; <i>batik tulis</i><br />
Photo: Mick Richards</td></tr>
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<span style="text-align: center;"><span face=""arial" , "helvetica" , sans-serif"> With the emergence of </span><i style="font-family: Arial, Helvetica, sans-serif;"><span style="color: cyan;">batik Belanda in the 1840s</span> isen-isen </i><span face=""arial" , "helvetica" , sans-serif">and </span><i style="font-family: Arial, Helvetica, sans-serif;">tanahan </i><span face=""arial" , "helvetica" , sans-serif">motifs were employed to strongly enhance the main motif and the overall visual and technical sophistication of the batik cloth. This enabled the creation of not just the illusion of a colour change, but also the introduction of actual shades of colour, by intensifying or dispersing the <i>isen-isen </i>dots and/or lines. Also the illusion of depth and form is achieved by the use of dots that from a distance appear like fine lines. To serve this purpose, filler motifs that were once of uniform size and distribution were now dispersed at random, sometimes in sparse spacing, and others more concentrated, and they varied in size. These two filler motifs are still used extensively today.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Examples of <i>isen-isen </i>motifs, their names and interpretation.<br />
APPENDICES, page 214, Index of Principality <i>Isen </i>Motifs -<br />
Batik - <i>Spirit of Indonesia, </i>YAYASAN BATIK INDONESIA,1999,<br />
ISBN 979- 95801-0-2</td></tr>
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<span style="text-align: center;"><span face=""arial" , "helvetica" , sans-serif"> My appreciation of <i>isen-isen </i>and <i>tanahan </i>motifs is totally encapsulated in the following cloth that speaks volumes about the utilisation of these two types of filler motifs by leading contemporary Javanese batik artist, <span style="color: cyan; font-size: large;">Ibu Millar Sungkar of </span><i><span style="color: cyan; font-size: large;">Rumah Batik dia - dio</span>. </i></span></span><br />
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<span style="text-align: center;"><span face=""arial" , "helvetica" , sans-serif"> While Millar’s retail outlet is located in Yogyakarta, her batik is made at varying workshops in Pekalongan. Her work is exceptional in both its creativity and its craftsmanship. The following hand-woven silk <i>sarung </i>and <i>selendang </i>(shawl), tells the story of Yogyakarta’s famous war hero, Diponegono, a Javanese prince. He fought the Dutch colonials in the Java War of 1825-1830. It is him on the horse-back.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">As this cloth is a <i>sarung </i>it contains a <i>kepala, </i>the dark coloured rectangle with the hero on horse back motif. The <i>kepala </i>is surrounded by a floral border, a continuation of the same floral border <i>pinggir, running along the complete top and bottom of the cloth.</i> <i> </i> </td></tr>
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<span face=""arial" , "helvetica" , sans-serif">In addition to the prolific incorporation of <i>tanahan</i> and <i>isen-isen</i> motifs, Millar's lead batikkers/<i>Pengobeng</i> possess extraordinary <i>canting (wax pen), </i>skills. With agile hands, a highly developed eye, breathing control, and immense patience, the batikker is able to produce a myriad of lines, dots and shapes by the application of flowing hot wax onto the cloth. Like the ink painter's brush, the <i>canting </i>is intrinsically suited for linear expression, responding to the subtle shifts in the flow or motion of the batikker's hand and <i>canting.</i> The highly skilled batikker with a single glide of the <i>canting, </i>can translate the outline of the desired motif into flowing line, conceiving it simultaneously as a single gesture of life. This approach is less concerned about repressing given appearances accurately and more a response to the spirit of living things- birds, butterflies, trees, tulips, lilies, horses, etc. Like the ink painter the batikker only has one chance to harmoniously apply the wax outlines to the cloth as the medium does not allow for a "second chance". A batik hand-waxed with a <i>canting</i> is known as <i>batik tulis, </i>the most expensive form of batik to purchase.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">This detail enables you to more clearly see the outstanding use of line to capture the sense of battle and action and pattern to provide you insights into the terrain on which the battle is taking place, the various uniforms worked by the soldiers, both dead and alive, along with clouds, birds, sky, etc. I love the decision to leave the gorgeous flow of the cloud outlines, above in centre sky, as lines! We see this use of dark coloured outlines on other parts of the surface. </td></tr>
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<span face=""arial" , "helvetica" , sans-serif">I hope you have enjoyed being introduced to this very much 'alive' cloth. It is always a favourite with friends when looking through the collection cabinet housing the batiks, folded on their individual roles. On opening the doors you are always met by the rich fragrance of cloves, a good protector. The cloves are accompanied by a small bowl of white pepper- corns.</span><span face="arial, helvetica, sans-serif"> I would so appreciate any comments you may have about this cloth, a cloth you have, or batik in general. It is always great to hear the stories of others who have been captured by the beauty and the stories of and attached to, Javanese batik.</span><br />
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<span face="arial, helvetica, sans-serif" style="color: cyan; font-size: large;">Appreciation: </span><span face="arial, helvetica, sans-serif">Followers who have received this Post would be amazed that it is the first since May 30, 2013, nearly six years. I now hope this is not going to repeat itself but I do feel I am more able for that not to occur. Extremely poor health has been and sadly remains, the </span><span face="arial, helvetica, sans-serif">culprit. Passion, p</span><span face="arial, helvetica, sans-serif">erseverance, curiosity, and love of life has to remain at the centre of each day. </span><br />
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<span face="arial, helvetica, sans-serif">I would love to express my gratitude and thanks to two wonders of the batik world, for their support and generosity of spirit, such powerful motivators. If you are an enthusiast of Javanese batik you will certainly know the names of <span style="color: blue; font-size: large;">Maria </span></span><span face="arial, helvetica, sans-serif"><span style="color: blue; font-size: large;">Wronska-Friend and Rens Heringa</span>. They have both made a significant contribution to knowledge, understanding and appreciation of batik from Indonesia via their teaching, writing, exhibition development, conference presentations and numerous other face to face interactions.</span><br />
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<span face="arial, helvetica, sans-serif">THANK YOU. </span><br />
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com8tag:blogger.com,1999:blog-8340815049801752564.post-61693945884182793672013-03-30T16:10:00.000+10:002013-03-31T10:49:39.429+10:00Pekalongan - Oey Djien Nio - Liem Siek Hien - Jane Hendromartono<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #b45f06; font-size: large;">Oey Djien Nio (1924 - 1986),was a third generation batik-maker in Pekalongan. She signed her earlier works with her husband's name, Liem Siek Hien. Post 1965 she used her new Indonesian family name, Hendromartono, adopted by her husband (Peranakan citizens were advised by the government to adopt Indonesian names as a demonstration of their loyalty, post Independence. She combined this family name with the name people used to address her by, Jane - </span></h3>
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<span style="color: #b45f06; font-size: large;">Jane Hendromartono.</span></h3>
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Judi Achjadi wrote: Pekalongan's batik industry thrived on catering to the diverse tastes of clients from all over Indonesia. The batik of Demak and Kudus on Central Java's north coast was so well-known for its fine detailing that the Pekalongan enterprises often wrote 'Kudus' or 'Demak'on the cloths (see below), so that they would be recognised by people who wanted one of these famed cloths but did not have access to Kudus or Demak batik-makers. <span style="font-size: x-small;">[Judi Achjadi & H. Santosa Doellah. <em>The Glory of Batik- The Danar Hadi Collection. </em>Solo, Pt. Batik Danar Hadi<em> </em>, 2011]</span> </div>
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Detail 1<br />
Java, Pekalongan, c. 1950<br />
Liem Siek Hien ( post 1965, Jane Hendromartono), 1924 - 1986<br />
<b>Skirt cloth<i> </i></b><i style="font-weight: bold;">kain panjang pagi-sore </i>(detail)<br />
Cotton, synthetic dyes; <i>batik tulis</i><br />
104.0 x 259.5.0 cm </td></tr>
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This opulent batik was made by Liem Siek Hien in Pekalongan but in addition to her signature she has included the name of the town Kudus, which is further east along the coast from Pekalongan. While she lived and worked in Pekalongan, the batik was executed in the Kudus-style. The art work's colourful floral motifs along with a family of small exotic birds (Details 2,4 and 6), are set against - the most intricate backgrounds to be found on the entire north coast - (Inger McCabe Elliott. Batik- Fabled Cloth of Java, p.144). The three generations of this important family of Pekalongan batik makers were: Oey Soen Khing (Java,1861 - 1942), who was the mother-in-law of Mrs. Oey Kok Sing née Kho Tjing Nio ( Java, d. 1966), who was the mother of Oey Djien Nio [Liem Siek Hien and post 1965 Jane Hendromartono], (Java, 1924 - 1986). <br />
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While the work has a <i>pagi-sore </i>structure the diagonal divisdion can be seen above in Detail 1. The two halves have a common background made up of an overall shade of brown that was widely used in Kudus. The background has been broken-up by the repetition of small white dots and multicoloured flower petals. Perhaps these petal shapes also resemble the clover leaf shapes known as <i>tanahan Semarangan </i>motifs. <i>Tanahan </i>motifs fill-in the spaces outside the main motifs, on the background. <i>Batik Pasisir </i>is renowned for the finest and most technically intricate examples of the batik process. Central to the achievement of these qualities is the incorporation of <i>tanahan</i> and <i>isen-isen </i>motifs by highly skilled batikkers with extraordinary <em>canting</em> skills. <i>Isen-isen </i>are the tiny filler motifs used within the outlines of the key motifs. Together these tiny motifs are what distinguishes Indonesian batik from that of other countries, where they are not used.<br />
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Detail 3</div>
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This extremely beautiful art work has a complete <em>terang bulan </em>border in both halves. A section of the left side border can be seen above, in Detail 3. The borders are so saturated with very fine <em>isen-isen </em>motifs, they appear as if in a light haze or perhaps like the transparent veils shielding the <em>Milky Way</em>. The amazing number of minutely detailed <em>isen-isen </em>and<em> tanahan </em>motifs would indicate the wearer was from a wealthy background.<em> </em> This intricate work is a variation of the Kudus batiks made before the occupation of the Japanese, and is known as <em>buketan Semarangan.</em> These even more densely detailed works were produced by Peranakan owned workshops for Peranakan customers after Independence. The <em>terang bulan </em>border was a key characteristic of <em>Djawa Hokokai </em>batiks which were developed in response to the aesthetic preferences of Japanese clients during the 1943 - 1945 occupation of Java.<br />
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Detail 4</div>
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Liem Siek Hien's attention to variations in surface detail is highlighted by her exquisite treatment of the birds' feathers, as in Detail 4 above. The exotic plumage of each of the four birds utilises an array of combinations of intricately developed decorative approaches and colours . The birds are placed against an equally intricate but darker in colour background. The delicate water-colour treatment of each birds' heads has most likely been achieved by the batikker first encircling the shape with wax-resist, followed by hand-colouring. This is a process known variously as <em>colet, besut, </em>and <em>dulit, </em>depending on local terminology.</div>
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Detail 5</div>
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All of the various flower and bird arrangements in this inspired work are flexible and flowing. All elements possess the spirit of life. As in Detail 5 above, a sense of depth is added to the flowers by the use of darker central areas and shaded filler motifs. The extreme finest of the linear use of white dots (that appear like lines), flowing from the tips of each bloom back down into the centre, are extraordinary! The more dense the dots, the lighter the colour becomes. This is an excellent example of the use of <em>isen-isen </em>motifs to enhance the main motif The delicate pink of the blooms lights up against the darker background. </div>
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<span style="font-size: small;">This is an art work I become absorbed in every time I remove it from the safety of its storage cabinet and unroll it across the work table. Its richness is adored by all and it is with astonishment they survey the intricate <em>canting </em>work. It is made from the finest cotton and now with age, it feels like sensuous silk. In the image above of the full work, it is easy to decipher the two halves of the work's <em>pagi-sore </em>structure. The key motif on the left side consists of various groupings of a family of birds which are balanced on the right side by the random placement of bouquets of heavenly pink blooms. Each of these key motifs are also interwoven into their respective <em>terang bulan </em>borders. Additionally, each half of the <em>pagi-sore </em>has motifs in common including blue/mauve chrysanthemums, blue/mauve and orange orchids/daffodils and floral sprigs in blue and pink. The motifs in common with each half contribute to the work's overall sense of balance and harmony. Both of the short ends have a <em>kepala </em>consisting of multi-coloured small triangles against a background of the brown shade covered in white dots. Both long sides are edged by a finely striped <em>secret.</em></span><br />
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<span style="font-size: large;">Other images of art work by Liem Siek Hien (Jane Hendromartono) can be found in the following publications:</span><br />
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<span style="font-size: small;">Djoemena, Nian S. <em>Batik dan Mitra </em>(<em>Batik and its Kind</em>), Jakarta, Djambatan, 1990. page 20.</span></div>
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<span style="font-size: small;">Knight-Achjadi, Judi & Damas, Asmoro. <em>Butterflies and Phoenixes- Chinese Inspirations in Indonesian Textile Arts. </em>Singapore, Marshall Cavendish Editions, 2006. page 160.</span></div>
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<span style="font-size: small;">Kerlogue, Fiona. <em>Batik- Design, Style & History.</em> London, Thames & Hudson, 2004. </span></div>
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<span style="font-size: small;">pages 68 & 69. </span></div>
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<span style="font-size: small;">McCabe Elliott, Inger. <em>Batik- Fabled Cloth of Java. </em>Singapore, Periplus Editions, 2004. </span></div>
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<span style="font-size: small;">pages 126, 127 & 148.</span></div>
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<span style="font-size: large;">Bibliography</span></h3>
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<span style="font-size: small;">In addition to the four publications listed above:</span></div>
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<span style="font-size: small;">Judi Achjadi & H. Santosa Doellah. <em>The Glory of Batik- The Danar Hadi Collection. </em>Solo, </span></div>
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<span style="font-size: small;">PT. BATIK DANAR HADI, 2011.</span></div>
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<span style="font-size: small;">I have an article which includes Liem Siek Hien, in the latest edition of: <em>ASIAN TEXTILES- Magazine of the Oxford Asian Textile Group, </em>Number 54, February 2013, pages 18 - 26 inclusive. This edition of <em>Asian Textiles </em>is available online in full colour in a pdf file to download, view and/or print. Access to the pdf file is either via <a href="http://www.oatg.org.uk/magazine.htm">http://www.oatg.org.uk/magazine.htm</a> whilst it is the current issue or always via the back issues page <a href="http://www.oatg.org.uk/magazine-backissues.html">http://www.oatg.org.uk/magazine-backissues.html</a> by first clicking on the cover image thumbnail.</span></div>
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<span style="font-size: small;">I hope you enjoy this truly wonderful art work and I would greatly appreciate receiving your thoughts about it and/or the artist, Liem Siek Hien. Sourcing information about individual batik artists is difficult so all feed-back is greatly appreciated. It is marvellous to be back sharing my passion for batik with you, after such a long absence.......for those of you with good health, embrace and hold onto it, so you can spend much more time travelling Indonesia and enjoy the great experience of visiting the batik workshops along the north coast of Java!</span></h3>
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com7tag:blogger.com,1999:blog-8340815049801752564.post-50221189257731613972012-08-09T17:31:00.001+10:002023-09-03T21:05:06.623+10:00Pekalongan - European Fairy Tales<div dir="ltr" style="text-align: left;" trbidi="on">
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<h3><br /></h3><h1 style="text-align: left;"><span style="color: red;">PEKALONGAN - EUROPEAN FAIRY TALES</span></h1><div><span style="color: red;"><br /></span></div><h3>
Towards the end of the 19th century with the expansion of Dutch colonial power, completely new batik designs with naturalistic images began to appear. The themes of these batik designs included boats, trains, card games, fans, bicycles, bank-notes and coins, and European fairy-tales. The European fairy-tales which were popular as themes for batik designs included <span style="color: red;">Red Riding Hood</span>, Snow White and the Seven Dwarfs and Sleeping Beauty but <span style="color: red;">Red Riding Hood</span> was especially popular. Fairy- tales were popular as batik designs from around 1900 until 1920. The Indo-European made versions of these themes were also made in Javanese and Chinese workshops, with interesting variations occurring.</h3>
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Detail 1- Red Riding Hood (<em>Roodkapje</em>) theme was very popular as a theme for European and Indo-European batik-makers from about 1900 to 1920. These themes were also adopted by the Javanese and Chinese batik-makers with some very interesting variations in interpretation occurring. The Chinese maker of this cloth has chosen to supplement this design with the integration of fish and prawns into the borders of the work as well as two lobsters into the <i>kepala</i>!<br />
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The variations that occur in the batik designs with the Red Riding Hood (<em>Roodkapji</em>) theme are many. This does not depend on the maker being Indo-European or Chinese or Javanese. Eliza van Zuylen produced works with a particular theme that differed from others she had produced with that theme and differed again to others executed by her colleagues, with the same theme. Perhaps this may have been an attempt by each batik-maker to personalise the design as many batik workshops including van Zuylen's, worked from large drawings purchased from freelance artists. Hence all workshops who purchased the large drawings began with identical patterns. The large drawings were used as the support for the wax tracings.<br />
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The background of this cloth is decorated with a classic Javanese motif, the <em>banji </em>(Detail 1). The basis of this motif is the swastika. The word 'banji' is of Chinese origin and carries symbolic meaning for the Chinese of happiness, wealth and prosperity. There is certainly a feeling of happiness as the wolf strides along-side Little Red Riding Hood who is carrying a bunch of flowers. <br />
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The format of <em>kain</em> s<em>arungs </em>had gradually changed over time. Initially the <em>kepala</em> bisected the<em> badan</em> then later it was placed at one end of the cloth and finally in Indo-European designed cloths the <em>kepala</em> was placed at one hand's width from the end of the cloth. The Chinese batik-maker of this cloth has adopted the Indo-European format as seen below and in Detail 2. <br />
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The borders at the top and bottom of this cloth are symmetrical. The same design is used in the outer edges of the <em>kepala</em>. The bow border consists of unrecognisable flowering creepers which have been interwoven with fish and prawns. The drawing style of the large lobsters in the<em> kepala</em> and the fish and prawns in the borders reminds me of the Indramayu style except in this work, the flow of line is not as free. There is an outer edge of small vertical lines at both the top and bottom. These vertical lines appear to be further apart then seen in earlier examples.<br />
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<tr><td class="tr-caption" style="text-align: center;">Pekalongan, 1900 - 1920<br />
Skirt cloth <em>kain sarung</em><br />
Cotton, synthetic dyes; <em>batik tulis</em><br />
Greg Roberts & Ian Reed Collection<br />
[Photo Mick Richards]<br />
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Note the variations in the colour of each wolf with the left and right wolf being blue and the wolf in the middle is red. Also the batik-maker has varied the colours used in the hem line of Red Riding Hood's dress: again the left and right are the same colours and the middle one is different. An aubergine colour applied by hand over red, has also been used sparingly and with no consistency- on the odd flower or leaf, and all prawn heads. It is as if it was a new colour that had to be utilised by the batik-maker!<br />
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Detail 2- <em>kepala</em> with diagonal bands- the use of diagonal bands, <em>dlorong</em>, in the <em>kepala</em> was one of the decorative innovations introduced by the Indo-European designers at the turn of the 19th century. The central panel within the diagonal band of the <em>kepala</em> consists of only plant forms- creepers with cream stems and tendrils, blue leaves and red flower buds all placed on a green background. The large central band has three smaller diagonal bands on each side. The centre band of these three smaller diagonal bands are the more dominate because of the use of the cream colour and its width being double that of the other two. <br />
Intriguingly, the design of the two red triangle shapes each side of the central diagonal band, consists of a large lobster interwoven with flowering creepers. For me, this combination of marine and plant forms is very unusual! The design and use of colour and line in both the <em>kepala</em> and borders almost disguises the marine forms. <br />
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Detail 3- apart from the wolf displaying his vicious teeth the scene seems one of happiness. Birds and butterflies flutter above her amongst the flowering trees. In Eliza van Zuylen, Liem Metzelaar and other Indo-European batik-makers' versions of this theme the trees were usually more European in style and rarely were flowering. The slender roots of each tree reach down into the soil unlike many of the European designs where the roots were thick and heavy. Her clothing and the basket she carries on her left arm, are European in style. The Peranakan Chinese batik-maker of this cloth has combined both Chinese and European design elements. The actual design of the tree that is, the placement of branches and leaves, does have similarities to one produced by Lies van Zuylen on a <em>kain panjang </em>in 1900<span style="font-size: x-small;"> (<em>Batik from the north coast of Java- Fabric of Enchantment</em>, Catalogue<em> </em>no. 34, p. 140).</span><br />
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It is interesting to compare the design of the flowering tree in this batik with those in the two earlier posts. All three batiks were produced by Peranakan Chinese batik-makers and have been influenced by the <em>buketan </em>style.<br />
[Photo Mick Richards]</td></tr>
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Detail 4- highlights the use of the <em>banji</em> pattern as background. The <em>banji</em> pattern (its basis is the swastika) is the oldest type of ornamental motif used for batik. Red Riding Hood is dressed in European designed clothes and carries a basket over her left arm, which is also European influenced in designed. This section of the border highlights the incorporation of sea-creatures including fish and prawns, into the floral border. The fish and prawns are not immediately recognisable as they have been cleverly interwoven with the floral elements.<br />
[Photo Mick Richards] </td></tr>
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Detail 5- this cloth could be given as a present to a young woman expressing the hope that she will be happy in marriage. The tree is certainly full of life, the birds are singing, the butterflies flutter freely and it is a rich red that holds the work together.<br />
[Photo Mick Richards] </td></tr>
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Bibliography</h3>
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<span style="font-size: x-small;">Maxwell, Robyn J. <em>Textiles of Southeast Asia: Tradition, Trade, and Transformation</em>. Periplus Editions (HK) Ltd, 2003 design and National Gallery of Australia and Robyn Maxwell, 2003 text.</span></div>
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<span style="font-size: x-small;">Heringa, Rens and Veldhuisen, Harmen C. <em>Fabric of Enchantment- Batik from the North Coast of Java. </em>Los Angeles County Museum of Art and Weatherhill, Inc.,1996.</span></div>
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<span style="font-size: x-small;">Van Roojen, Pepin. <em>Batik Design. </em>Amsterdam: The Pepin Press, 2001.</span></div>
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<span style="font-size: large;">See you again soon and as always, I would love to hear your comments, thank you.</span></div>
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com8tag:blogger.com,1999:blog-8340815049801752564.post-82793048956278545572012-07-19T16:56:00.000+10:002012-07-21T14:31:43.753+10:00Pekalongan - Batik Belanda - Buketan Design Style<div dir="ltr" style="text-align: left;" trbidi="on">
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When the Dutch came to Indonesia, first as traders of the Dutch East India Company in the 17th century and two centuries later as rulers, their presence rapidly became visible in new batik motifs and colours. Floral decoration, for example, became very popular, and old motifs were mixed with new ones to create a new style of batik: <em>batik Belanda</em>, Dutch batik.</h3>
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<span style="font-size: large;">I have structured my analysis of this intriguing work into three sections:</span></div>
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<span style="font-size: large;">(a) European and Indo-European Influences- what were the key influences of these batik entrepreneurs on Pekalongan batik design style from around 1840?</span><br />
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<span style="font-size: large;">(b) Analysis of the Work- what are the European design influences adopted by its Peranakan Chinese makers, in this work and when was it made?</span><br />
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<span style="font-size: large;">(c) The Response of the Peranakan Chinese batik entrepreneurs to <em>batik Belanda</em> and how their responses were incorporated into this work. </span><br />
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<span style="font-size: large;"><strong>(a) European and Indo-European Influences</strong></span><br />
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<span style="font-size: small;">In the second half of 19th century Pekalongan emerged as the most important production centre of European and Indo-European batiks, known as <em>batik Belanda</em>. There were a number of important changes initiated by these designers which resulted in an uniquely new Pekalongan design format, the <em>buketan</em>- large and elaborate bouquets of European stemmed flowers in the <em>badan</em> (the body or main field of a batik cloth) and for a <em>surung</em>, a floral <em>kepala</em>. The bouquet design (<em>buketan</em>), has been celebrated as being distinctively <em>batik Pasisir</em> ever sense. Around 1900, the design of large bouquets of flowers surrounded by butterflies and birds was often depicted on a plain background. This style became the most important fashion for Europeans and Indo-Europeans. These <em>batik tulis</em> works were of exceptional workmanship displaying an astounding palette of up to seven colours and <em>canting</em> work of intensely fine detail. These works were highly prized by the wealthy and the possession of such communicated one's Dutch links.</span></div>
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<span style="font-size: small;">In 1845 the first European batik workshop was opened by Carolina von Franquemont, at the age of 23. Her workshop was on the slopes of volcanic Mount Ungaran near the Ungaran River in Semarang.<br />
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In the 1870s when the colonial economy became accessible for non-governmental commercial initiatives, other Dutch and Indo-European batik workshops followed.<br />
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Highly successful <span style="font-size: large;">Indo-European</span> designers in Pekalongan included Lien Metzelaar, A.J.F. Jans and the best known and most influential,<span style="font-size: large;"> Lies van Zuylen</span> who worked from the late 19th century until the 1940s. The practice of signing <em>batik tulis</em> became fashionable among the Indo-Europeans during the 1860s in Pekalongan. A signature indicated the origin of the workshop and emphasised the quality and originality of the work.<br />
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<strong><span style="font-size: large;">(b) Analysis of the Work </span></strong></div>
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<span style="font-size: x-small;">[Please click on all images to enlarge]</span></div>
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Detail 1. The <em>buketan</em> style was soon adopted by the Peranakan Chiniese entrepreneurs. In this work, instead of a large bouquet of European flowers surrounded by birds and butterflies as seen in the work of Indo-Europeans, the Peranakan Chinese entrepreneur and waxer of this work, have been extremely free and fluid in their interpretation of the <em>buketan motif</em>. The large bouquet of flowers has been replaced by a very sturdy flowering plant growing in a marsh, surrounded by a smaller version of the plant, grasses and gaily depicted birds and butterflies. This work is a celebration and what it lacks in intricate craftsmanship, is made up by its joyous spirit.<br />
[Photo Mick Richards]</td></tr>
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Detail 2. This image highlights the range of borders used in the work. The wavy <em>booh</em> (bow) inner border that completely surrounds the <em>badan</em> is not symmetrical. The motif of freely drawn red and cream flowers in the booh which runs along the lower edge and at the two short ends differ to that in the border along the top edge. The motif of small flowers and leaves in this border are more compressed and finer in its detail. Along the upper and lower long edges, there is an outer edge (<em>seret</em>) consisting of small vertical stripes, which depict a fence. At each of the two shorter ends of the cloth there are four borders. The outer border is made up of small triangles (said to depict arrow heads) which are similar to to those in a <em>kepala</em>. The 'verticle fence' and the 'arror heads' are said to protect the wearer from unwanted influences while the <em>booh</em> borders are said to provide protection to the <em>badan</em>- the garden of paradise- from outside inferior influences.<br />
[Photo Mick Richards]</td></tr>
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This striking and beautiful work, a <em>kain panjang</em> from our collection, has intrigued and amazed us from the moment we first saw it. It was not only its visual strength of both the motifs and the colours but also it sense of joyous celebration, that caught our attention. The decision of the waxer (<em>pembatik</em>) to enhance and give all major and minor motifs in the <em>badan</em> a 'halo' effect also struck an accord with us. This effect has been achieved by continuous mark-making around the outline of each motif (details 3 & 5 highlight the use of this technique). We had not first hand, seen this technique utilised before. As a result the cloth displays a wonderful exuberance as well as a sense of drama. There is nothing dainty about the work and it certainly does not display the technical intricacy the Indo-European and Peranakan Chinese are famous for. </div>
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While the composition references the bouquet design (<em>buketan</em>),<em> </em>the drama and boldness of the motifs as well as the sense of freedom in the placement and depiction of the plants (growing in marshy land), their flowers, birds, and butterflies suggests to me there are other influences at play here. Perhaps it was not made in a Peranakan Chinese workshop! The outline-shape of the flowers suggests they may be carnations but these strong-stemmed plants may represent the 'tree-of-life' motif. The motifs are awkwardly drawn and placed against a rich red coloured background that is sparsely dotted with outlines of small leaf shapes. This style of drawing certainly has not been influenced by the flowing and curving lines of Art Nouveu which had been introduced to the north coast by the Europeans but it certainly signifies happiness, joy, and flourishing life. The limited use of <em>tananah</em> motifs (filler motifs for the background), may reference the use of clear backgrounds introduced by the Indo-Europeans.<br />
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Detail 3. Around 1900 the European and Indo-European entrepreneurs often depicted the buketan motif on a plain background. The Peranakan Chinese maker of this cloth may have been influenced by this development, leaving much of the rich red background free of filler motifs (<em>tanahan</em>). <br />
[Photo Ian Reed]</td></tr>
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The designer along with the batikker, has made little use of <em>isen</em> (filler motifs within each motif) except for various combinations of dots including clusters of seven dots within the body of the flowers, birds and butterflies. There is scarce use of <em>tanahan </em>(the small motifs used to fill the background). While there is an overall sense of simplicity to the development of each element, for example, the stylisation in the drawing of the flowers, the work still has a strong sense of originality and inventiveness.</div>
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The colours and forms of the batik are very cheerful. The design is composed of seven colours: two tones of red; two of blue; one ochre (sometimes referred to as <em>soga Pekalongan</em>); one cream; and the very unusual taupe colour of the feathery fern-like veins in the leaves on the four large plants. The waxing of this fern-like effect along with some of that in the borders, is the most intricate in the work.<br />
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Detail 4. This is an unusual use of a taupe colour set against the dark blue ground of the leaf. The feathery fern-like veins heightens the sense of energy in this work. The use of the mark-making process as an outline of each motif is clearly visible. The batikker rather then apply a wax outline as part of the first waxing, has adopted the technique illustrated here. The batikker has been given much freedom by the workshop owner, to express her own creativity as there are many variations in the waxing process. This in itself, creates a mystique around the origins of this batik. <br />
[Photo Ian Reed]</td></tr>
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Another indication of the cloth's age can be determined by its border designs. The <em>badan</em> of this cloth is surrounded by a <em>booh</em> (bow) which is not symmetrical: the same design exists on the lower edge of the cloth as well as its two ends. Across the top edge the floral design of the <em>booh</em> is finer and more dense. The<em> booh </em>appeared around 1900 and it was about this time that the second inner border, the <em>pinggir</em>, disappeared. The small vertical stripes (the <em>seret</em>) remain on the outer edge of both the top and lower edges of the cloth. </div>
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In the years between 1840 and 1940, <em>batik Belanda </em>underwent many changes in colour and style. The Chinese operated workshops in Pekalongan in turn, also made major changes, and went onto influence batik making in near-by centres.</div>
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<span style="font-size: large;"><strong>(c) Response of the Peranakan Chinese </strong> </span></div>
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The new styles, decorative innovations and customs were soon adopted by <span style="font-size: large;">Peranakan Chinese</span> entrepreneurs as seen in the work, above and below. The Peranakan adopted and popularised the bouquet design (<em>buketan</em>) of stemmed flowers with butterflies and birds against a clear background that was developed by the Indo-European batik makers, and adapted them with different colours and more complex <em>isen</em> and <em>tananah</em> (filler) motifs.(3) These works utilised rich colours including red and blue. In the late 19th century and early 20th century some of the finest and most technically intricate examples of the batik process have been made in workshops operated by Peranakan Chinese. Their work was considered superlative for its intense detail, rich colours, and fine workmanship.The Chinese made many contributions but an important one was the use of colours found in Chinese decorative arts, which is dominated by bright colours and to a lesser extent, pastel tints. Pastel tints were made possible by the introduction of synthetic dyes and it was the Chinese workshops who were the first to use them.<br />
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A Peranakan Chinese inspired bouquet design (<em>buketan</em>) of four large flowering plants along-side four smaller versions of the plants surrounded by butterflies and birds which are set against a strong red background dotted randomly with small leaf shapes.<br />
Pekalongan, late 19th century/early 20th century<br />
<strong>Skirt cloth <em>kain panjang</em></strong><br />
Cotton, natural dyes?, <em>batik tulis</em><br />
106.0 x 255.0 cm<br />
Greg Roberts & Ian Reed Collection<br />
[Photo Mick Richards]<br />
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Detail 5 [Photo Ian Reed]<br />
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Detail6 [Photo Ian Reed]<br />
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<span style="font-size: large;">Bibliography</span><br />
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<span style="font-size: x-small;">Djoemena, Nian S. <em>Ungkapan Sehelai. Batik - Its Mystery and Meaning. </em>Jakarta: Djambatan, 1986.</span><br />
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<span style="font-size: x-small;">Heringa, Rens and Veldhuisen Harmen C. <em>Fabric of Enchantment. Batik from the North Coast of Java. </em>Los Angeles: County Museum of Arts, 1996. </span><span style="font-size: x-small;">(Rens Heringa. <em>Batik Pasisir as Mestizo Costume. </em>46 - 69. I highly recommend this essay for anyone wishing to develop their knowledge and appreciation of the appearance and meaning of batik Pasisir).</span><br />
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<span style="font-size: x-small;">Van Dartel, Daan. <em>Collectors Collected - Exploring Dutch colonial culture through the study of batik. </em>Tropenmuseum Bulletin 369. Amsterdam: KIT Publishers, 2005.</span><br />
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<span style="font-size: x-small;">Ito, Fusami. <em>Javanese Batik: Changing motifs and Techniques. </em>Tokyo: Institute of Oriental Culture, Tokyo University. </span><br />
<span style="font-size: x-small;"><a href="http://fusami.com/newpage14.html">http://fusami.com/newpage14.html</a></span><br />
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<span style="font-size: x-small;">Van Roojen, Pepin. <em>Batik Design. </em>Amsterdam: The Pipin Press, 2001.</span><br />
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<span style="font-size: x-small;">Chor Lin, Lee. <em>Batik - Creating an Identity</em>. Singapore: National Museum of Singapore and Editions Didier Millet, 2007.</span><br />
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<span style="font-size: x-small;">Knight-Achjadi, Judi & Damais, Asmoro. <em>Butterflies and Phoenixes - Chinese Inspirations in Indonesian Textile Arts.Singapore: Marshall Cavendish Editions, 2006.</em></span><br />
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<span style="font-size: x-small;"><em>Tirta, Iwan. Batik - A Play of Light and Shades. Jakarta: Gaya Favorit Press, 1996.</em> <em> </em> </span><br />
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Detail 7. Despite its many variations in style and waxing this cloth must have held great significance for the owner in order for it to still be in the excellent condition it is, after some 110 years.<br />
[Photo Ian Reed]<br />
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<span style="font-size: large;">After 110 years this beautiful batik is still cherished, loved and admired and it will live on to intrigue many, for centuries to come.</span><br />
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<span style="font-size: large;">Please Comment - I would love to know your thoughts about this work so in turn, we all can enrich our knowledge and appreciation of this intriguing work . Where does this work belong in the development of Pekalongan's rich batik tradition?</span></h3>
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<span style="font-size: large;"><thank you=""></thank></span></h3>
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com12tag:blogger.com,1999:blog-8340815049801752564.post-10659461630263500452012-05-09T16:22:00.000+10:002012-05-29T12:48:22.544+10:00The Batik Road - Pekalongan - The Batik City<div dir="ltr" style="text-align: left;" trbidi="on">
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Firstly and importantly I wish to apologise to all those regular visitors to my Blog, for this being the first Post since 17 February, 2012. Perhaps like some of you, I live with chronic pain, the result of occipital neuralgia to the left side of my head. As I say to my friends, on the good days I Post and on the bad days I go to bed! <br />
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My ongoing passion for batik from the north coast of Java, the Pasisir, is one of the things that brings balance to my life - thank you for returning.<br />
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<span style="font-size: large;">Pekalongan</span> has become one of our favourite batik destinations. It certainly lives up to its name, Kota Batik, the Batik City of Indonesia. By 1850 this port city was already an important batik centre and around 1860 Indo-European women began establishing batik workshops here. More about this later but today it is the people we know like Zahir Widadi the former director of the Pekalongan Batik Museum and batik artists like Dudung Alie Syahbana, Sapuan and Liem Poo Hien and batik workshops like Wirokuto Batik, that make Pekalongan special for us. Also it is Pekalongan's distinctive batik style and motifs that keeps drawing us back to this delightful city. It was also here that the Japanese-inspired batik style known as <em>Batik Djawa Hokokai</em> developed during World War II. These highly complex and extremely detailed designs were executed in an unusual range of colours.<br />
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Over the coming Posts we will meet these people and visit their workshops and see their work. The initial Posts will highlight a number of antique works from Pekalongan, that are new additions to our collection. I would be most grateful if you have any insights into any of these works, to please leave your comments. Your knowledge will benefit many of us who are still developing our own understanding and appreciation of these magical cloths. <br />
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Pekalongan, Java, cc. 1890s</div>
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<strong>Skirt cloth </strong><em>kain panjang</em></div>
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Cotton, natural dyes;<em> batik tulis</em></div>
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2011.38</div>
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[Mick Richards Photography]</div>
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(Detail of above - click to enlarge)</div>
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This exquisite batik with its perfect repetition of the tableau, closely resembles batik with the <em>Taman Terate</em> or lotus garden theme. This theme was introduced through European magazines when Japanese art was in fashion in Europe. Mrs. Lien Metzelaar was the first to introduce the theme into her work. The theme was adopted by many manufactures including makers of Chinese origin, as with this batik. Instead of egrets or cranes standing in ponds or swamps here we have five cheerful ducks parading across the landscape. Separating each bird are free flowing plant forms topped with cascades of flowers, perhaps wisteria. The cascading flowers are interspersed with flying swallows and butterflies.The white ground is embellished with wavy lines running diagonally from left to right. In the foreground beneath the tufts of grass and flowers are lines running horizontally across these wavy lines of the back ground, giving the work depth. A sense of depth is also achieved by placing the base of each plant behind the ducks. The use of the darker blue in the border also gives the work a sense of enclosure.<br />
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The outer border on the top and bottom horizontals consist of: a <em>secret</em>, the rows of small vertical lines; and the wider border that surrounds the central field, <em>the badan</em>, is decorated with flowers leaves. Each end consists of three borders (from inner to outer): the inner border of flowers and leaves; the centre border, the <em>pingger</em>, which is the same width as the secret, contains repeated small diamond shapes and; the outer border consisting of small repeated triangles, not unlike the triangles found in <em>kepalas</em>. The vertical lines and the triangles are said to represent a fence or a row of arrowheads which provide protection for the wearer.<br />
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This is a work that exudes an overwhelming feeling of joy and has a strong sense of prosperity. The ducks in this work carry the message of marriage happiness. The butterfly motif with its flowing lines and graceful curves, was introduced by the Chinese.<br />
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(Detail of signature - click to enlarge)</div>
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The signature, running vertically, is in the top right corner. It appears to be: KWEE G_ _ _ PN? <br />
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The only Kwee I could identify were: married in 1924, Oey Soe Tjoen's wife was Kwee Tjoen Giok. She assumed a European-style name , Nettie Kwee; and from the same family as Nettie Kwee there was a batik maker in Pekalongan Kwee Kwie Nio (1910 - 1986), who started a workshop in 1934 and signed Netty Kwee. This family took over the rights of The Tie Siet in 1970. Both of these batik makers were producing work later then when this cloth was made. <br />
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If you can recognise who the batik maker of this exquisite cloth is please could you share your knowledge with us all - many thanks.<br />
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<span style="font-size: x-small;">Acknowledgement:</span><br />
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<span style="font-size: x-small;">Rens Heringa's two essays in the catalogue <em>Fabric of Enchantment: Batik from the North Coast of Java</em>, The Historical Background of Batik on Java and Batik Pasisir as Mestizo Costume, are a rich and wonderful source for anyone wishing to expand their appreciation, knowledge and understanding of <em>batik Pasisir</em>.</span><br />
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<span style="font-size: x-small;">Rens Heringa, Harmen C. Veldhuisen, Dale Carolyn Gluckman, Peter Cole.<em> </em></span><br />
<em><span style="font-size: x-small;">Fabric of Enchantment: Batik from the North Coast of Java.</span></em><br />
<span style="font-size: x-small;">Los Angeles County Museum of Art and Weatherhill, Inc., New York City,</span><br />
<span style="font-size: x-small;">1996.</span><br />
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<span style="font-size: large;">See you again soon.</span></div>
</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com9tag:blogger.com,1999:blog-8340815049801752564.post-14117904704590386872012-02-17T15:43:00.000+10:002012-02-17T15:43:19.045+10:00The Batik Road - H. Mohammed Masina - Cirebon<div dir="ltr" style="text-align: left;" trbidi="on">
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Cirebon was founded in 1378 by the Muslim ruler Walangsungsang. It was the only city on the Pasisir in which court life played a significant role, inspiring the rich development of spiritual and artistic expression. As a result of the city being a vital sea port with links to the east and west, it became a melting pot of the ancient cultures in Indonesia. Enclaves of Chinese, Arabs and Indians were established, each group adding their own beliefs and local customs. Cirebon became and still is today, a vibrant multinational community.<br />
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Today a visit to the palaces, or <em>keratons, </em>built in the Hindu-Javanese style will provide you a glimpse into this exotic lost world. The two main palaces are Keraton Kesepuhan and Keraton Kanoman, the sultanates date back to the 17th century.<br />
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Iwan Tirta writes that from a sociological point of view, the batiks of Cirebon can be divided into two categories: those for the royal families, <em>batik keratonan</em>, and those for people outside the palace walls, <em>batik kenduruan </em><span style="font-size: x-small;">[Iwan Tirta, <em>BATIK: A Play of Light and Shades,</em> p99, Jakarta: Gaya Favorit Press, 1996].</span><br />
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<span style="font-size: x-small;"><span style="font-size: small;">With the decline of the sultans many of the <em>keraton </em>batik have been lost. As mentioned in an earlier Post, H. Mohammed Masina and his wife revived some of the sacred royal patterns of the courts of Cirebon. It actually was the Madmil family who initally recovered some of court patterns but because of the excellent craftsmanship of the Masina workshop, it is given the credit for the recovery.</span></span><br />
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The 12 different motifs making up the sampler below, are drawn in a rich Chinese blue on a warm cream background. The line work is very fine and of great clarity. The figures also possess a sense of movement and rhythm. In Cirebon, even daily scenes from the court became a motif depicted on a cream background. There are a range of <em>keraton</em> motifs here that you will recognize: the <em>megamendung</em>, or stormy cloud design; <em>wadas</em>, patterns of layered rock or coral; the fragrant garden motifs, <em>taman arum</em>, which echoed the medative landscape retreats of Cirebon's rulers; and there are also shapes similar to the <em>gunungang </em>or<em> kayon, </em>a tree of life motif.<em> </em> <br />
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Trusmi near Cirebon</div>
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Batik Masina workshop </div>
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(H. Mohammed Masina), 1950s</div>
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Sampler,<em> Keraton macam </em></div>
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(Top: complete work made up of 12 patterns;</div>
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Cotton, synthetic dyes; <em>batik tulis</em></div>
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103.0 x 260.0 cm</div>
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[Photos: Mick Richards]</div>
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Kereta Singa Barong (detail), a i6th century gilded chariot with a trunk of an elephant (Hindu), the head and body of a dragon (Chinese-Buddhist), golden wings (Egyptian-Islamic), and the paws of a tiger. When being pulled by four white buffaloes, the wings would flap and the tongue would move about. This is a must see at Keraton Kesepuhan which is Cirebon's oldest <em>kraton</em>, built in 1527 [Photo: Ian Reed].</td></tr>
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-72565817639528415892012-02-04T15:48:00.000+10:002012-02-06T11:36:26.326+10:00The Batik Road - Ibu Masina - Trusmi, Cirebon<div dir="ltr" style="text-align: left;" trbidi="on">
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IBU MASINA<br />
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<tr><td class="tr-caption" style="text-align: center;">Ibu Masina - Trusmi - Cirebon, 1960s<br />
Skirt cloth <em>kain panjang</em><br />
<em>Lenggang kangkung </em>motif<br />
Cotton, synthetic dyes, <em>batik tulis</em><br />
103.0 x 241.5 cm [Photo: Mick Richards]<br />
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The work above (and detail below), was made in the workshop of Hajj Masina by his wife Ibu Masina in the early 1960s. They were the parents of Budi Masina who has been highlighted in earlier posts. Hajj and Ibu were the 4th generation of this renowned batik family in Trusmi, Cirebon. The name of the motif <em>lenggang kangkung </em>was the inspiration of Hajj's father H. Mohammed Masina, the 3rd generation of the family. He was also a farmer and gained inspiration for this motif from the fresh looking and verdant growth of his kangkung (water spinach) plants. If you have visited Indonesia you would certainly have enjoyed kangkung as one of your vegetables.<br />
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The resulting motif <em>lenggang kangkung </em>certainly depicts all the characteristics of verdant growth. These dark and mysterious forms, full of energy, are the embodiment of the sense of freedom obtained when suspended in water. The irregularity of the placement of these forms across the surface of the <em>kain panjang, </em>amplified by the energy-rich flora motif <em>(tanahan)</em> on the background, add to this overall sense of dynamism. The whole pictorial surface is alive and there appears to be nothing routine or simplistic in the bold artwork.<br />
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<tr><td class="tr-caption" style="text-align: center;">Detail of <em>kain panjang </em>with <em>lenggang kangkung </em>motif<br />
[Photo: Mick Richards]</td></tr>
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<br />In contrast with this work by Ibu Masina from the 1960s is a <em>kain panjang </em>below made some ten years later by her. It is far more subtle in both its colours and motif. What heightens its appeal is that the motif is depicted within diagonal bands or <em>dlorong. </em>These bands along with the tonal variation of the colours within each of these bands establishes a strong sense of optical repetition. As always with batik made by any of the five generations of the Masina family, this work is of excellent craftsmanship. In this work Ibu has made use of the combination of traditional browns on a tan background that was typical of the work of H. Mohammed Masina and his wife Bi Masio Narsibo.<br />
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Thank you to Budi and Ida Masina and their daughter Dwie for their generous assistance identifying the motifs and the stories behind each of the batiks illustrated. Thank you also for providing me with the list of names of the five generations of the Masina family and the approximate time each generation operated the workshop in Trusmi. It all began in 1829 with AP. Adam and Mbok Rad.<br />
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<tr><td class="tr-caption" style="text-align: center;">Ibu Masina - Trusmi - Cirebon, 1970s<br />
Skirt cloth <em>kain panjang </em><br />
<em>Patran kembang </em>(many flower tentacles), <em>Babarmas </em>(colour)<br />
Cotton, synthetic dyes, batik tulis<br />
105.0 x 236.0 cm [Photo: Mick Richards]</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Detail of <em>kain panjang </em>with <em>patran</em> <em>kembang </em>motif<br />
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<tr><td class="tr-caption" style="text-align: center;">Detail of <em>kain panjang </em>with <em>patran kembang </em>motif<br />
[Photo: Mick Richards]<br />
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-2899924737959053922012-01-30T12:18:00.000+10:002012-01-30T12:18:17.660+10:00The Batik Road - Masina Batik - Cirebon<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">Masina Batik - Trusmi - Cirebon</span></div>
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<span style="font-size: large;"><em>Wayang Cirebon</em> Motif - Ragam hias <em>Wayang Cirebon</em></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Detail: <strong>Skirt cloth <em>kain panjang</em></strong>, Masina workshop, <em>Wayang</em> <em>Cirebon</em> motif, 2010; <br />
Cotton, synthetic dyes, batik tulis; 103.0 x 286.0 cm [Photo: Mick Richards]</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Detail as above [Photo: Mick Richards]</td></tr>
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Scenes from the <em>wayang kulit</em> shadow theatre performance are replicated here in this traditional design depicting a contest between <em>Ksatria</em>, or members of the warrior class.</div>
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The ivory background while not evident in this photograph, is a distinctive feature of Cirebon batik. The ivory colour is also called <em>kuning Cirebon </em>(<em>kuning </em>= yellow). This work has a wonderful sense of rhythm established by the movement of the figures and landscape features, all within the dense complexity of the surface. The figures are anchored to the surface by referencing them to landscape features like the trees, birds, clouds and plants and built structures like entry gates and shrines. The drawing is lyrical and in much detail. Like much of the work from the Masina workshop the background is keep totally clear of any dye flow. This is achieved by building up the wax surface over these areas to prevent penetration by other colours into the rich ivory background. </div>
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<br />A visit to Budi and Ida Masina's Batik & Antique Shop is a must when you are next visiting Cirebon:</div>
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H. BUDI MASINA</div>
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Jl. Trusmi Kulon, Cirebon Jabar - Indonesia</div>
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(0231) 321700</div>
</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com1tag:blogger.com,1999:blog-8340815049801752564.post-69872588792674115262012-01-29T14:40:00.000+10:002012-01-29T14:40:24.797+10:00The Batik Road - Tiga Negeri<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">The<em> tiga negeri </em>batik developed in response to a change in fashion trends which required increasingly intricate designs.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Detail of the <em>tiga negeri</em> batik illustrated below and in my previous Post. <br />
[Photo: Mick Richards].</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Batik <em>tiga negeri-</em> to enable full appreciation of this exquisite batik I have included a number of details. <br />
[Photo: Mick Richards].<br />
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This detail allows you to observe the various small motifs within the alternating dianogal bands or <em>dlorong </em>(a variation of the central Javanese <em>geblak</em>). The flowers are depicted rather vaguely.<br />
[Photo: Mick Richards].<br />
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com2tag:blogger.com,1999:blog-8340815049801752564.post-60027894398695465092012-01-29T12:40:00.001+10:002012-01-29T12:40:41.594+10:00The Batik Road - Combining Pasisir and Central Javanese Colours & Motifs<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Batik <i>tiga negeri - </i><b>Skirt cloth </b><i style="font-weight: bold;">kain panjang </i><br />
Cirebon , c. 1920 - 106.0 x 258.0 cm<br />
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<span style="font-size: small;">Batik <i>tiga negeri </i>refers to batik cloth that combines the filler motifs and colour styles of three different batik making regions. The production centers included one of the Principalities, usually Solo for its rich <i>soga</i> brown, and the other two from the Pasisir. Depending on the region in which the <i>soga</i> is made, it may occur in various shades.</span></div>
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<span style="font-size: small;"><i>Tiga neger</i>i cloth was an outcome of changes in fashion tastes post the 1870s and continued on into the twentieth century. These trends dictated a preference for extremely intricate designs. They were very expensive cloths that also epitomised the Javanese desire for perfection by ensuring each cloth utilised only the best qualities from each region. By combining the motifs from the Pasisir and central Java, the wearer was highlighting connections with groups in both regions. Later on these beautiful batiks became a display of the wearer's affluence.</span></div>
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<span style="font-size: small;">I also believe that the development of <i>tiga negeri</i> cloths, is another example of batik being a living tradition where existing motifs continue to be modified and new motifs evolve, all of which add to its rich vocabulary. </span></div>
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<span style="font-size: small;">This exquisite work is made up of four floral bouquets and rather then being arranged on a plain background, they are integrated into the background. This <i>buketan</i> style is considered to be typical of <i>batik Pasisir, </i>and was the fashion for Europeans and Indo-Europeans. The <i>buketan</i> style also soon became the choice of Peranakan Chinese wanting their social position to be seen as being equal to the Dutch. Their cloths as seen above, were very elaborate and the bouquets were difficult to distinguish from the background. The background is made up of slanting bands or <i>dlorong</i> containing a number of filler motifs. The colour combinations are very complex. </span></div>
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com2tag:blogger.com,1999:blog-8340815049801752564.post-35333018764021265252012-01-19T14:16:00.000+10:002012-01-19T14:16:09.727+10:00Pasisir Batik Road - Cirebon - Madmil Workshop<div dir="ltr" style="text-align: left;" trbidi="on">
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BATIK MADMIL - TRUSMI - CIREBON</div>
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<tr><td class="tr-caption" style="text-align: center;">Renowned 10th generation batik-maker, Ega Sugeng and her son Arief Nurochmat of Batik Madmil. Their home and workshop compound is in Trusmi, Cirebon. They are standing in front of one of Ega's magnificent works, a<br />
<em>tiga negeri kupu-kupu beras tabur. </em>It is a 15-colour <em>kain panjang</em> and is 2.6 meters long. [Photo: Ian Reed]<br />
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<tr><td class="tr-caption" style="text-align: center;">When we last visited Ega in 2008 we commissioned a 12-colour <em>kain sarong</em> featuring the <em>kembang rangdu negerian</em> motif (detail above). This cloth took one year to complete and for a work of such complexity, it is flawless in its making. The <em>kepala </em>is made up of slanting bands or <em>dhorong </em>(as above). Each band varies in colour, the type of flower and the very intricate filler patterning found within a motif, <em>isen-isen.</em> The border around the whole work as well as that of the main body of the <em>sarong</em>, the <em>badan, </em>is a repetition of one of the <em>dhorong </em>making up the <em>kepala. </em>[Photo: Mick Richards]<em> </em> </td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><em>Tiga negeri kupu-kupu beras tabar </em>as seen in the background of the first image above. The butterflies are drawn with a great sense of freedom and the dancing peacocks (as per the final image below), celebrate beauty and boldness. [Photo: Ian Reed]<br />
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<tr><td class="tr-caption" style="text-align: center;">This detail and the one below illustrate Ega's use of a wide variety of background filler motifs, the areas outside the main motifs, called <em>tanahan. </em>Reference has been already made to<em> isen-isen</em>, the intricate filling motifs used to fill in the primary motifs.</td></tr>
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When you are next in Cirebon a visit to Batik Madmil to meet Ega and Arief is a must do. They are very generous with their time and only to happy to share with you examples of Ega's work. All of Ega's work is by commission- from the various examples you are shown, you choose a work you would like to commission to be made. This will take at least one year. Many commissions are received from overseas museums and galleries.<br />
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Contact details:<br />
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BATIK MADMIL<br />
Trusmi Kulon 388<br />
Weru Plered Cirebon 45154<br />
Tel: +62 231 321045<br />
Email Arief Nurochmat: <a href="mailto:arief_388@yahoo.com">arief_388@yahoo.com</a> </div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com1tag:blogger.com,1999:blog-8340815049801752564.post-76368447714944223432012-01-17T10:54:00.000+10:002012-01-17T10:54:11.521+10:00The Batik Road - Travel Recommendations for Java<div dir="ltr" style="text-align: left;" trbidi="on">
Taking the <em>Batik Road </em>along the north coast of Java is a wonderful way to visit the batik workshops, gain a real appreciation of the natural and built environments of this region and most importantly, build a stronger understanding of and connection with the people. In the larger towns or cities or at the road-side stalls we were very quickly welcomed and engaged in conservation. Being able to pull over at any time allows you to experience a whole range of daily life activities including: fishing; planting rice; local markets; wedding processions; delicious food preparation; identifying various plants and trees; spotting birds; looking at batik drying on lines in home gardens; and so many other activities all of which, enriches your cultural understandings.<br />
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As Henry Miller said: 'One's destination is never a place, but a new way of seeing things'.<br />
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This unbelievable journey that began at Jakarta and concluded at Ubud, Bali, would not have been possible without the guidance and recommendations of Udhi Sudiyanto, Director of Antar Anda Tour and Travel, Yogyakarta. After a Google search I emailed five Javanese Tour and Travel agencies. Udhi replied immediately and his response corresponded to our requests rather then attempting to change our travel plans. After we indicated the towns and cities we wished to visit Udhi finalised all travel aspects of the journey including the car and English speaking driver, all of the accommodation including breakfast, all parking and toll fees and the car ferry to Bali. He understood us as travellers and ensured we had a variety of accommodation that meet our interests.<br />
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The whole experience was made so much the better because of our driver, Sugiyono (Sugi). Sugi took his care and responsibility for us very seriously and ensured that at all times we were safe, comfortable, understood and maximising our enjoyment. He also enjoyed being introduced to batik and batik makers and visiting locations that he had not been to before. Sugi's contribution to the success of the trip was immense.<br />
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<tr><td class="tr-caption" style="text-align: center;">Our driver Sugi outside the Antar Anda office in Yogya [Photo: Ian Reed]</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sugi (on right) enjoyed the opportunity to meet the many batik makers along the north coast of Java. Here we are all enjoying a wonderful morning with Budi and Ida Masina of the renowned Masina Batik Workshop in Trusmi, Cirebon [Photo: David Hill] </td></tr>
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We highly recommend Udhi Sudiyanto, Director of Antar Anda Tour & Travel to you and if you are travelling by car please ask for Sugi to be your driver, you will not be disappointed.<br />
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ANTAR ANDA TOUR AND TRAVEL<br />
Udhi Sudiyanto, Director<br />
+62 8122962693<br />
Jalan Kledokan B 20 E <br />
Yogyakarta<br />
E-mail: <a href="mailto:antaranda@indo.net.id">antaranda@indo.net.id</a><br />
Web: <a href="http://www.antaranda.com/">www.antaranda.com</a><br />
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Some of the hotels we enjoyed and would recommend are: <br />
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<tr><td class="tr-caption" style="text-align: center;">Our room at the d'Omah Hotel in the village of Tembi, 20 minutes from central Yogya. Rooms are meticulously restored old Javanese houses with all of the modern additions like the Internet. Each room in the hotel is filled with antiques, artifacts and contemporary Indonesian paintings and sculpture. You can truly relax here and the restaurant food is excellent <br />
[Photo: Ian Reed]</td></tr>
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The Guest House GG House, Happy Valley outside Bogor; Hotel Sare Sae, Cirebon; Nirwana Hotel, Pekalongan; two outstanding hotels in Yogyakarta- d'Omah tucked away in the famous craft village of Tembi, with its resident designer Warwick Purser, the Director of Out of Asia, is 20 minutes south of Yogya <a href="http://www.domahyogya.com/">www.domahyogya.com</a> and in central Yogya, the historic Phoenix Hotel which was originally built in 1918 and since beautifully adapted to incorporate contemporary features has great colonial charm <a href="mailto:info@thephoenixyogya.com">info@thephoenixyogya.com</a> ; Lor In with its expansive and lush tropical gardens in Solo; while we did not stay at the Hotel Tugu in Malang we would highly recommend it to you. It is an outstanding example of a hotel museum with every room filled with Javanese antiques and artifacts.; and the Margo Utomo located in the small hill-country town of Kalibaru, our last stop in east Java before catching the ferry to Bali. This is a delightful Resort to relax in after a long journey. Very comfortable cottages, lush botanic like gardens to become lost in and very warm hospitality <a href="http://www.margoutomo.com/">www.margoutomo.com</a> <br />
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com15Australia-29.5328037 145.491477-57.0770087 105.0617895 -1.9885986999999972 -174.07883549999997tag:blogger.com,1999:blog-8340815049801752564.post-25446528678555242011-10-25T14:34:00.000+10:002011-10-26T09:03:49.917+10:00Pasisir Batik Road - Cirebon - Masina Workshop<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Outside H. Budiarno Masina's Batik & Antique Shop in Trusmi- Ian Reed, Ida Masina, Budi Masina & Self <br />
[Photo-Anne Burgess]<br />
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H. Budiarno Masina (Budi), is the 5th generation of this famous batik family from the village of Trusmi, Cirebon. Budi commenced batiking in 1980. The workshop dates back to 1829. Budi's mother was Ibu Masina who was an acclaimed batik artist. The family's third generation batik makers were H. Mohammed Masina and his wife Bi Masio Narsibo. The family received some of the sacred royal patterns of the court of Cirebon.<br />
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In <em>BATIK- Fabled Cloth of Java</em> published in 1984 by Clarkson N. Potter, Inc., New York, Inger McCabe Elliott wrote- there are few north coast batikers these days who produce Cirebon batiks in <em>tulis</em> as well as the Masinas. <br />
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<tr><td class="tr-caption" style="text-align: center;">Budi Masina with his son Hadiyono [Photo-Ian Reed]</td></tr>
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Cirebon is situated on the north coast of Java, on the border between West and Central Java. It was formerly a busy harbour visited by vessels from abroad as well as other parts of the Indonesian archipelago. Cirebon had two royal courts: <em>Kasepuhan</em> and <em>Kanoman</em>. It is also one of the nine centres from which Islam was spread throughout Indonesia. It was one of the earliest Islamic states in Java and concentrated on the development of the arts and the spreading of the faith by peaceful means rather then military expansion. There has been a rich fusion of religious faiths and cultures and it is easy to find the combination of Chinese, Arab and Hindu features with those of Cirebon. An example of this fusion is the imaginary beast called the <em>Peksi Naga Liman</em> or the <em>Singa Barong</em>.<br />
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Cirebon batiks are the only textiles on Java which depict landscapes.These are usually representations of rock gardens and grottoes surrounding the palace of the local ruler, featuring fantastic animals borrowed from Hindu and Arab mythology (refer to an earlier posting of a work from the Masina workshop with the design known as <em>Nagashebha</em> ('seated serpent'), which features fantastic animals from Hindu mythology.<br />
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The works that have been sourced from Budi and Ida on this visit, will be illustrated in future postings once they have been professionally photographed. They include a number of works by Ibu Masina and antique works from Pekalongan; a wonderful <em>tiga negri</em> (a cloth made in three different production centres on the <em>Pasisir</em> and central Java, combining the motifs and colours of all three) from Cirebon; a <em>pagi-sore</em> ('morning-afternoon') from Indramayu; and Tegal.<br />
<br />When you are next in Cirebon a visit to Budi and Ida Masina's shop is a must. It will be an experience you will never forget. Apart from the magnificent batik that will take days to go through, the walls of the shop are adorned with brilliant Indonesian paintings by major artists. Sit down on the floor with Budi and Ida and enjoy being shown exquisite batik both old and new. <br />
<br />Budi and Ida are two very kind, special and generous people who love to share their knowledge and passion for batik with you. Hadiyono also shares with much enthusiasm his knowledge of batik and ensures your visit is an enjoyable and memorable one.<br />
<br />After visiting Budi, Ida and Hadiyono take a stroll across the street to Anggon, Wediyanto Masina's shop and workshop, it is also a must do. Here you can watch in awe the batiking skills of the women who will each be working on cloths at various stages of the batik process.<br />
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<strong>Contact Details:</strong><br />
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<strong>H. BUDIARNO MASINA (Budi, Ida & Hadiyono)</strong><br />
<strong>Batik and Antique Shop</strong><br />
<strong>Trusmi - Plered - Cirebon</strong><br />
<strong>Telephone: (0231) 321700</strong><br />
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<strong>ANGGON</strong><br />
<strong>Wediyanto Masina (Budi's younger brother)</strong><br />
<strong>Trusmi Kulon No. 381</strong><br />
<strong>Plered - Cirebon</strong><br />
<strong>Telephone: (0231) 320300 - 320707</strong><br />
<strong>Hp: (0231) 3315015</strong><br />
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<tr><td class="tr-caption" style="text-align: center;">Four extraordinary hours were spent with Budi, Ida and Hadiyono looking at exquisite antique batik cloths from their collection. Works ranged from a 130 year old batik in the European style from Pekalongan to a 50 year old work by Budi's mother Ibu, that has the appearance of a contemporary art work, the motif being, <em>Lenggang Kangkung.</em><br />
<em></em> [Photo-Anne Burgess].<br />
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<tr><td class="tr-caption" style="text-align: center;">Batik artists at work in Wediyanto Masina's (Budi's younger brother), workshop, Anggon, across the street from Budi and Ida. Hand-drawn batik is called<em> tulis</em> after the Javanese word for "writing". <em>Tulis</em> is the most time- consuming, expensive and highly prized batik. The canting has a bamboo handle about six inches long, with a small, thin copper cup from which a tiny pipe protrudes. The liquid wax flows through the the tiny pipe and is drawn onto the cloth. [Photo-Anne Burgess].</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The first waxing taking place- the waxed areas will remain the colour of the cloth after the first dye bath. Here the cloth is draped over a bamboo frame called <em>gawungan</em> while the waxing takes place. The batiker sits between the cloth and the pan of wax and begins her work with the <em>canting</em>. Her free hand supports the underside of the cloth. She covers her lap with a napkin or<em> taplak</em> to protect herself from dripping wax.<br />
[Photo-Anne Burgess].</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The thickness of the wax application will ensure the background remains clear of dye. This is a key characteristic of the excellent craftsmanship at the Masina workshop [Photo-Ian Reed].</td></tr>
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This first waxing, or <em>ngrengren</em>, highlights the batik artist's amazing control and skill in the execution of this dynamic motif. It is the workshop's skilled batikers who are choosen to apply the first wax outline to the cloth because this will largely determine the quality of the batik.<br />
[Photo-Ian Reed].<br />
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<tr><td class="tr-caption" style="text-align: center;">Several women share a pan of heated wax around which the batik artists work. Each worker sits on a stool with the wax and <em>canting</em> close at hand.<br />
[Photo-Ian Reed].</td></tr>
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com2tag:blogger.com,1999:blog-8340815049801752564.post-65370068048747176512011-10-19T18:26:00.000+10:002011-10-21T14:34:27.739+10:00Travel on the Pasisir Batik Road - The National Museum of Indonesia<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Nandi, the bull, is the mount of the Hindu god, Shiva the Destroyer. From 13th - 14th c. it was found in Malang, East Java. It exudes an impression of peace and tranquillity. [Photo- Ian Reed]<br />
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The Museum Nasional (the National Museum of Indonesia), has endeavoured to preserve Indonesia's heritage for two centuries and will continue to do so. It has a broad and fascinating collection which covers all of Indonesia's territory and almost all of its history. The Age of Enlightenment in mid 18th century Europe lead to European settlers in Indonesia to follow suit. In April 1778, the Governor General of the Netherlands East-Indies Council, Reinier de Klerk, gave his permission to establish <em>Bataviaasch Genootschap van Kunsten en Wetenschappen</em> (The Batavian Society of Arts and Sciences), the first society of its kind in Asia <span style="font-size: x-small;">[The Museum Nasional Guidebook].</span><br />
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The Collections are immense and include excellent Textile and Ceramic collections. There are clear connections between the motifs and colours found on some of the ceramic objects and those on various batik cloths especially those of Chinese origin. We spent much time also in the outstanding Ethnography collection comprising a wide variety of objects that are part of Indonesian daily life as well as objects used in ceremonies and rituals. It is important to remember that Indonesia has the fourth largest population in the world which consists of over 300 ethnic groups. The Museum has a wealth of stone statues relating to ancestral worship, Hindu gods and goddesses, kings and animals.<br />
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It was extremely encouraging to note that the Museum is in the process of upgrading the exhibition experience being provided for their visitors. Outstanding objects are being given a curatorial context and supported by good exhibition design, interpretative and educational planning and an awareness of the conservation needs for each object. While collections and exhibitions are central to the present museum experience, the objects are with the changes taking place, surrounded more and more by contextual and interpretive materials, storytelling, and an exploration of the meaning of the objects. As a result visitors feel more informed and connected to the objects and the exhibition as well as, to the Museum. An example of these changes can be seen in the ongoing development of the Indonesian Gold exhibition. <br />
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The <strong>Indonesian Heritage Society</strong> organises free English tours of the museum at 10:30am every Tuesday and Thursday, every second Saturday and the last Sunday in the month. There are tours for a number of other languages as well. <br />
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We were given an outstanding tour by Terry Melendez, Vice-Chairman Operations, Indonesian Heritage Society- sincere thanks Terry. <br />
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<strong>The Museum Nasional </strong>is on the western side of Merdeka Square:<br />
<strong>Jl. Merdeka Barat 12, Jakarta Pusat, Indonesia</strong><br />
<strong>Telephone: +62(21) 381 1551</strong><br />
<strong>Website: </strong><strong><a href="http://www.museumnasional.or.id/">www.museumnasional.or.id/</a> </strong><br />
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<strong>Indonesian Heritage Society Library and Office:</strong><br />
<strong>17th Floor, Sentral Senayan 1</strong><br />
<strong>(adjacent to Plaza Senayan)</strong><br />
<strong>Jakarta</strong><br />
<strong>Telephone: +62(21) 572 5870</strong><br />
<strong>E-Mail: </strong><a href="mailto:info@heritagejkt.org"><strong>info@heritagejkt.org</strong></a><br />
<strong>Website: </strong><a href="http://www.heritagejkt.org/"><strong>www.heritagejkt.org</strong></a> <br />
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<br /></div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-42644959684889744212011-09-29T16:50:00.000+10:002011-09-30T11:32:53.543+10:00The Pasisir Batik Road- a detour to Bogor Botanic Garden and Cibodas Botanic Garden<div dir="ltr" style="text-align: left;" trbidi="on">
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Entry to the <strong>Tree Fern Forest</strong> at Cibodas Botanic Garden. These very beautiful plants can grow up to 10 to 15 meters on a thick trunk, with huge, lacy green fronds emerging from the top (Photo by Anne Burgess). </td></tr>
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<br />[Please click on images to enlarge]<br />
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Before travelling onto the batik workshops of Cirebon it is essential to take a small detour and immerse yourself in the splendor of Bogor Botanic Garden and Cibodas Botanic Garden. The 87 hectare site is located in the heart of Bogor, about 60 km southeast of Jakarta. The vivid range of colours found in the flowers and foliage of the enormous variety of tropical plants can also be seen in many of the batiks from the Pasisir. While Bogor has plants from all over the world, Cibodas is notable in having a spectacular collection of plants found in cool, high altitude environments.<br />
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Cibodas is reached by taking the Bogor - Bandung Highway. This journey takes you over the spectacular scenery of the 1500 meter high Puncak Pass. Cibodas is the next village over the Pass. The gardens are spread over the lower slopes of Gunung Gede and Gunung Pangrango. The gardens are extremely lush as this is one of Java's wettest areas. The Tree Fern forest is sensational to stroll through, don't miss it. <br />
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The water lily, <em><strong>Nymphaea lotus</strong></em>, from Egypt, comes in two colours, rosy pink and white.</td></tr>
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The largest water lily in the world, <em><strong>Victoria amazonica</strong></em>, named after Queen Victoria of England, is from the Brazilian Amazon. It has leaves that are at least 2 meters in diameter, turned up at the edges and covered with sharp spines on the underside. The protruding ribs that give stability to the leaf supposedly inspired the glasshouse designs of Joseph Paxton at Kew. The fragrant flowers are white when they open at dusk and reddish-pink when they close in the morning.<br />
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-77982572622145142272011-09-20T19:53:00.000+10:002011-09-20T19:57:12.496+10:00Journey on the Batik Road- Adiwastra Nusantara 2011<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-small;"><strong>Top</strong>: An outstanding Pekalongan batik (detail), which was part of a display of rare treasures from <strong>Hartono Sumarsono's batik collection</strong> (photo by Anne Burgess)</span><br />
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<span style="font-size: x-small;"><strong>Bottom</strong>: Demonstrations and display courtesy of the <strong>Textile Museum of Jakarta</strong> (photo by Ian Reed)</span><br />
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Friday 17 June was significant as a result of our visit to <strong>Adiwastra Nusantara 2011</strong> at the Jakarta Convention Centre. This major textile exhibition in its fourth year was themed <em>Wastra Adati</em> which translates to traditional fabric. Traditional fabrics are surviving against a flood of imports and as the chairman of the <strong>Indonesian Traditional Textile Society</strong> (<strong>Himpunan Wastraprema</strong>) <strong>Adiati Arifin</strong> said, "This proves people's appreciation of traditional fabrics is growing." (Jakarta Post 20/09/2011). This year there were 400 participants celebrating their contribution to Indonesia's rich textile traditions.<br />
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We were fortunate to meet <strong>Benny Gratha</strong> while appreciating the displays and demonstrations presented by the Jakarta Textile Museum. Benny is a volunteer at the Textile Museum and is very passionate about batik. He shares his knowledge with much enthusiasm.<br />
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After discussing his role at the Textile Museum Benny guided us to the front section of the hall occupied by a breath-taking exhibition of works taken from <strong>Hartono Sumarsono's collection of Pesisir batiks</strong>. The batiks were beautifully displayed and were accompanied by extensive information labels. Benny introduced us to Hartono and we had an unique opportunity to discuss some of his treasures with him.<br />
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Thank you Benny for sharing your passion for batik with us and best wishes for your ongoing studies.<br />
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Also on display was a newly published book of Hartono's collection titled <strong><em>Batik Pesisir Pusaka Indonesia </em></strong>(ISBN: 978 - 979 - 91 - 0338 - 3). This is a very fine text with excellent illustrations. The author is <strong>Helen Ishwara</strong>.<br />
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In my previous Blog I wanted to also thank <strong>Mis Ari, S.Pd</strong>, the curator at the Jakarta Textile Museum. We enjoyed discussing the exhibition with you and in particular, the various display techniques that were inventive and informative.<br />
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com2tag:blogger.com,1999:blog-8340815049801752564.post-65072664723460619232011-09-17T17:59:00.000+10:002011-10-19T11:31:20.320+10:00Journey on the Batik Road - Jakarta Textile Museum<div dir="ltr" style="text-align: left;" trbidi="on">
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Self i<span style="font-size: x-small;">n front of the Museum Tekstil (Textile Museum, Jakarta), 16 June, 2011</span><br />
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Our journey on the Batik Road began in Jakarta on 15 June, 2011. We fondly call the highway east from Jakarta along the north coast of Java the Batik Road, as it connects the towns and cities of the <em>Pasisir.</em> Our batik collection focuses on works from this region. In these towns and cities you will find superb batik workshops many of which have been operating for generations. I need to note that <em>Pasisir </em>batik also comes from non-coastal towns in Java like Garut, Banyumas, Ponorogo, and Tasikmalaya because of the similarities in the motifs and colours used in these locations. <br />
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I highly recommend a visit to the Textile Museum Jakarta. The exhibitions are very well curated and innovative display techniques are employed to maximise the visitor experience. We were very fortunate that a large survey exhibition by two of Java's batik greats, Hardjono Go Tik Swan and Iwan Tirta, was on display. The 150 works were not only drawn from the museum's collection but also from the collections of respected batik aficionados. The aim of the exhibition was to raise the awareness of younger generations of the role and history of batik in Indonesia's rich culture. <br />
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The museum has close to 2,00 works in its collection and approximately 700 of these are batik. The museum which opened in June 1976, is housed in a charming early 19th century building surrounded by well maintained gardens. There are also workshop facilities, a reference library and a small shop. I was hoping the shop may have had a more extensive range of textile publications for sale. Sadly the shop did not stock the Jurnal Wastra, an excellent journal published twice yearly, for lovers of textiles.<br />
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We proudly came home with a copy of the Museum's collection catalogue <em>the Jakarta Textile Museum</em>, which is a fine publication of 118 pages and with full colour plates of works representing a cross-section of the Collection (ISBN 979 - 95306 - 1 - X). The text is by Judi Achjadi, an internationally respected expert on Indonesian textiles.<br />
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It was wonderful for us to meet the museum's Director Indra Riawan. Indra is highly committed to enhancing the role of the Museum and to making its collections very accessible to all Indonesians. He recognises the significant role the Museum can play in celebrating and building knowledge and appreciation of batik, Indonesia's cultural treasure.<br />
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<strong>The Jakarta Textile Museum</strong><br />
<strong>Jalan Karel Sasuit Tubun No. 2 - 4</strong><br />
<strong>Jakarta Barat 11420 INDONESIA</strong><br />
<strong>Telephone: (62.21) 5606613</strong><br />
<strong>Email: </strong><strong><a href="mailto:mus_tekstil@yahoo.co.id">mus_tekstil@yahoo.co.id</a> </strong><strong> and Website: </strong><a href="http://www.museumtekstiljakarta.com/"><strong>www.museumtekstiljakarta.com</strong></a> <br />
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com2tag:blogger.com,1999:blog-8340815049801752564.post-61317992805487913822011-09-13T18:16:00.000+10:002011-09-13T18:16:34.722+10:00Journey on the Batik Road - Java<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://3.bp.blogspot.com/-WJvXXGD7WbA/Tm8C5lrp1nI/AAAAAAAAAGk/G-oH7oIExwk/s1600/MDR_9757-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-WJvXXGD7WbA/Tm8C5lrp1nI/AAAAAAAAAGk/G-oH7oIExwk/s320/MDR_9757-1.jpg" width="212" /></a></div>
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<span style="font-family: Arial; font-size: x-small;">Pekalongan, </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">1930s</span><br />
<span style="font-family: Arial; font-size: x-small;"> <strong>Head and shou</strong><strong>lder cover <em>kudhung</em></strong></span><br />
<span style="font-family: Arial; font-size: x-small;"><strong><em> </em></strong>Cotton, natural dyes; <em>batik tulis and cap</em></span><br />
<span style="font-family: Arial; font-size: x-small;"><em> </em>84.5 X 205.0 cm</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">On 18 June 2011 we started our journey on the Batik Road, following the north coast of Java. Our journey began in Jakarta and ended in Solo and Yogya before we drove onto Ubud in beautiful Bali. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In coming Blogs I will take you on this journey and discuss: the batik workshops we visited and the batik artists we meet; buying old and new batik for your collection; batik museums that must not be missed when you get the chance to travel the Batik Road; the hotels and restaurants we enjoyed along the way; the travel argent and driver who not only made it possible but highly successful and enjoyable; the outstanding tailor in Ubud who will make-up your fabric you have purchased along the way; the drivers in Bali you can trust; etc. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The art work above comes from Pekalongan which is one of the towns we visited and it is known to all in Indonesia as <em>Batik City</em>.</span><br />
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<span style="font-family: Arial;">The method of production of the above cloth is known as<em> batik</em> <em>kombinasi</em>, as it combined a hand-drawn design (<em>batik tulis</em>) with a stamped one (<em>batik cap</em>). It was worn as a head and shoulder cover by Muslim women in Sumatra.</span><br />
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<span style="font-family: Arial;">I look forward to starting the journey with you in my next Blog, see you then.</span><br />
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-68148910613890086812010-11-09T14:12:00.000+10:002010-11-09T14:27:00.475+10:00Batik - Batik of Java - North coast of Java batik - Batik tiga negeri textiles<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_Ig2L5y6cIyE/TNipo5uaCqI/AAAAAAAAAEs/-lmmguVLocI/s1600/MDR_9834-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" px="true" src="http://3.bp.blogspot.com/_Ig2L5y6cIyE/TNipo5uaCqI/AAAAAAAAAEs/-lmmguVLocI/s320/MDR_9834-1.jpg" width="212" /></a></div><div style="text-align: left;"> (Click on image to enlarge)<br />
</div><div style="text-align: left;"><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Batik <em>tiga negeri </em>(detail)</span></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: x-small;">Probably Lasem, Pekalongan/Kudus and Surakarta</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: x-small;">Tjoa Siang Hing workshop, 1930s</span></div><div style="text-align: left;"><span style="font-family: Arial;"><strong><span style="font-size: x-small;">Skirt cloth <em>kain panjang</em></span></strong></span></div><div style="text-align: left;"><span style="font-family: Arial;"><span style="font-size: x-small;">Cotton, natural dyes; <em>batik tulis</em></span></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: x-small;">104.4 X 253.0 cm</span><br />
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<span style="font-family: Arial;"><strong>This page is devoted to a batik <em>tiga negeri</em> work or 'three countries' batik where the cloth is dyed in three towns.</strong> </span><br />
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<span style="font-family: Arial;">My apologies for the lack of postings in recent times but I look forward to continuing to share my passion for north coast of Java (<em>Pasisir)</em> batik with you<em>.</em> In upcoming postings I will share with you some of the new batiks that have come into the collection. These include a magnificent art work done in the Kudus style by Mrs. Jane Hendromartono (nêe Oey Djien Nio). She signed her batiks with her husband's name, Liem Siek Hien. She is a third generation batik artist following in the tradition of her mother (Oey Kok Sing), and grandmother (Oey Soen Khing). </span><br />
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<span style="font-family: Arial;">I really appreciate any comments or insights to <em>Pasisir</em> batik you may wish to share. In particular, I would like to hear from anyone who can tell me more about the Tjoa Siang Hing workshop where this beautiful work above, was produced. </span></div><div style="text-align: left;"><br />
</div><blockquote><div style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">The name <em>tiga negeri</em>- 'three countries' indicates that this fabric was dyed in three towns, each of them famous for producing a particular type of colour with natural dyes. For example, following the first dyeing in Lasem in red (<em>mengkudu</em>), the fabric was sent to Kudus to be dyed in blue (<em>indigo</em>) and then to Surakarta to be dyed in brown (<em>soga</em>). Each time new wax designs had to be drawn</span>.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">Fabrics of this kind became popular in the 1920s and 1930s. The production was usually coordinated by Chinese businessmen. The label on this cloth names the workshop of Tjoa Siang Hing as the producer of this cloth.</span></div><div style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">The complex, eclectic style of this cloth reflects the diversity of local traditions which contributed to its execution. While the brown trellis motif of the background is typical of the wedding cloths of central Java, the flowers- chrysanthemums and peonies- were favoured by Chinese clients from the north coast of the island.</span></div><div style="text-align: left;"><strong><span style="font-size: x-small;">(Dr Maria Wronska-Friend- from the extended label for the work in the exhibition, <em>Batik of Java: poetics and politics</em>, organised by Caloundra Regional Gallery: </span><a href="http://www.caloundraregionalgallery.org.au/"><span style="font-size: x-small;">www.caloundraregionalgallery.org.au</span></a><span style="font-size: x-small;">).</span></strong></div></blockquote><div style="text-align: left;"></div><blockquote></blockquote><br />
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</div>Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com0tag:blogger.com,1999:blog-8340815049801752564.post-74582420037379058702010-09-01T18:23:00.000+10:002010-09-01T18:23:01.814+10:00Batik of Java: poetics and politics<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Ig2L5y6cIyE/TH4Dod_HP1I/AAAAAAAAAEk/bDfi-zw1uaQ/s1600/MDR_9705.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ox="true" src="http://1.bp.blogspot.com/_Ig2L5y6cIyE/TH4Dod_HP1I/AAAAAAAAAEk/bDfi-zw1uaQ/s320/MDR_9705.jpg" /></a></div><span style="font-size: x-small;">Batik with<em> lokcan</em>-influenced design</span><br />
<span style="font-size: x-small;">Trusmi near Cirebon</span><br />
<span style="font-size: x-small;">Batik Masina workshop, c 2000</span><br />
<span style="font-size: x-small;"><strong>Shawl </strong><em><strong>selendang</strong> (detail)</em></span><br />
<span style="font-size: x-small;">Cotton, synthetic dyes; <em>batik tulis</em></span><br />
<span style="font-size: x-small;">52.5 x 210.0 cm</span><br />
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Birds of paradise set among lotus flowers and vines are a favourite decorative style of north Java textiles. Chinese silk batik<em> lokcan</em> and Indian chintz cloths have inspired this design.<br />
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The design of this cloth has been influenced by silk batiks of the Chinese community of Java (<em>lokcan</em> fabrics) as well as by Indian <em>chintz</em> fabrics of flowering trees and fantastic birds.<br />
<span style="font-size: x-small;">(Maria Wronska-Friend, from the exhibition<em> Batik of Java: poetics and politics</em>, organised by Caloundra Regional Gallery, Queensland, Australia).</span><br />
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We purchased this beautiful <em>selendang</em> from the Masina workshop located in Trusmi outside Cirebon, in 2007. Batiking has been done in the Masina family for generations.<br />
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In my previous Blog I did not mention meeting at the opening of the exhibition, Heda Bailey. Heda is passionate about batik, its rich cultural heritage and its future. You can experience her passion at: <a href="http://www.lovebatik.com/">www.lovebatik.com</a> and: <a href="http://www.myindoconnect.com/batikconnection">www.myindoconnect.com/batikconnection</a> .<br />
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Greg Robertshttp://www.blogger.com/profile/10874515349041191539noreply@blogger.com6