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These Gritstone rock formations are towards the western edge of the Kinder Plateau in the Peak District National Park. Weathered and eroded by the elements over millennia they provide a fascinating moonscape with endless photo opportunities.
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I wouldn't normally take any medication, but the pain is agony.
None of these made the slightest difference to the pain. The Co-codamol did relax me and I was able to sleep for a couple of hours at a time.
And no I didn't take them all at the same time. I started with the Paracetamol Friday morning, went onto Ibuprofen Friday evening/Saturday morning and then finished with the Co-codamol Saturday evening through to Monday evening.
She met me at the RenFaire last Sunday, and requested I digitally enhance any pics I took. On the left is how I saw her; on the right is enhanced. As you can tell, there is hardly any difference.
Fred Olsen Cruise Lines MV BODUCCIA heading for Greenock's Ocean Terminal. She has classic lines, a difference from modern behemoths.
She was one of three near-identical ships ordered by different companies for Royal Viking Line service.
Vessel Details: Royal Viking Star-Class Cruise Ship
Vessel Name: MV BOUDICA
IMO: 7218395
MMSI: 30996400
Call Sign: C6VA3
Class: Det Norske Veritas
Length: 206.96m
Beam: 25.22m
Draught: 7.55m
Builder: Wärtsilä Hietalahti Shipyard at Helsinki Finland.
Gross Tonnage: 28,372gt
Previous names:
ROYAL VIKING SKY
SUNWARD
BIKA QUEEN
SUNWARD
GOLDEN PRINCESS
SUPERSTAR CAPRICORN
HYUNDAI KEUMGANG
SUPERSTAR CAPRICORN
GRAND LATINO
BOUDICCA
I have not done any land art for quite a while now so I was pleased to be able to get out and do some today in the lovely Forest of Bowland.
The weather was very murky with low cloud when I got up this morning, it did not look very inspiring but I hoped it would be like yesterday and we would see the sun around lunch time which we did.
I was only about a third of the way through this sculpture when Richard informed me that I had put it on the wrong side of the tree where there would be no sun! I immediately threw a land art wobbly and said I was not doing it any more, mainly because I was very cold and my hands were stiff from being so cold, I had already done the Stick V sculpture and had also collected mud from the river so being told it was in the wrong place did not go down too well!!
I was persuaded to carry on regardless and to learn from my mistake the next time! I did carry on with it and started to relax as it took shape. By the time I had finished the sun had disappeared again anyway, so it did not make any difference in this particular sculpture, but I will take note next time where the sun is as I would have been so cross if I had missed it!
I had a good day and now I am looking forward to dinner and a glass of wine or two. Looking forward to the next land art day! :)
The camera doesn't make a bit of difference. All of them can record what you are seeing. But, you have to SEE.
I am trying to "SEE" as you can understand from this photo ;p
Some experimentation with light and equipment... some photoshop and here it is! The photo of my eye was taken with a different lens in order to capture it as close as possible. As for the strobist info... again this is a weird setup!
This was taken with a single Nissin di866 on my left side through a reflective umbrella. It was in wireless "dump" mode at 1/4th power and was triggered by a small Casio point and shoot camera which was on my right side at 4 o'clock, 2 meters behind with its flash set at full power. The only problem was that I had to find the right timing for the second flash shot from the small Casio.
I am not sure if this counts as a single strobe or long exposure (0.5 sec) photo!
Studio like photography with whatever equipment available ;p
Best viewed large (Press "L")
35mm film, sooc
pentax k1000 for the first exposure, then ran through my pentax honeywell spotmatic for the second
I decided to take a picture of my Fokker T.V and the Fokker D.XXI.
You can see that the Fokker T.V Bomber on the left was actually quite small for a medium bomber of that period, especially when compared to the D.XXI Fighter.
This picture concludes my 2023 Dutch Air Force Early WW2 Display.
For more pictures of these two models, please visit my Instagram page:
Eínon
Three kinds of cherries at the farm market.
Here's Michigan Cherries from Taste the Local Difference to tell us more.
The Scriptures present us with a variety of visible images which signify the presence and action of the Holy Spirit. These signs include wind, fire, breath, and rivers of living waters. You and I have been called to experience the adventure of life in and with the Holy Spirit. We all need the Fire of the Holy Spirit in our lives. In fact, Ephesians 5:18 urges us to constantly be filled with the Spirit. If you are in a place of hunger for more, you will be blessed by this teaching entitled Fire of the Holy Spirit.
Signs of fire in Scripture signify in a special way God’s holy presence, power, and glory, as well as the purification and cleansing action of the Holy Spirit. Some examples include:
• The Burning Bush – Exodus 3
• The Pillar of Fire in the wilderness – Exodus 13:21-22
• The Consuming Fire on Mount Carmel – 1 Kings 18:17-40
• The Burning Coal that purified the lips of Isaiah the Prophet – Isaiah 6:6-7
• The Tongues of Fire at Pentecost – Acts 2:1-4
• God’s Consuming Fire in the new heavenly Jerusalem – Hebrews 12:22,28
The role of the Holy Spirit is not an ‘optional extra’ for Christians; He is the very essence of our relationship with the Father and the means to accomplish what we have been called to do. We have generations of people that don’t know what it means to experience the Holy Spirit, and that in itself is heart-breaking. However, ordinary people filled with Fire can make all the difference.
I feel it is right to show you this life changing teaching and pray that the principles expressed in the teaching will take root in your life. For over four decades we as a ministry have seen the Holy Spirit radically transform people’s lives, bodies, relationships and circumstances. We’ve seen millions set on Fire from above and we want to see that same Fire released in your life.
FIRE OF THE HOLY SPIRIT
Now Moses was tending the flock of Jethro his father-in-law, the priest of Midian, and he led the flock to the far side of the wilderness and came to Horeb, the mountain of God. There the angel of the Lord appeared to him in flames of fire from within a bush. Moses saw that though the bush was on fire it did not burn up. So Moses thought, “I will go over and see this strange sight—why the bush does not burn up.” When the Lord saw that he had gone over to look, God called to him from within the bush, “Moses! Moses!” And Moses said, “Here I am.”
So now, go. I am sending you to Pharaoh to bring my people the Israelites out of Egypt. ”But Moses said to God, “Who am I that I should go to Pharaoh and bring the Israelites out of Egypt?” And God said, “I will be with you. And this will be the sign to you that it is I who have sent you: When you have brought the people out of Egypt, you will worship God on this mountain.” Exodus 3:1-4 & 10-12
YOUR WILDERNESS IN LIFE – THE PERFECT CONDITIONS TO CATCH FIRE
The first thing I want you to notice is the location where Moses encountered the Fire of God. I want you to notice that it doesn’t say that when Moses encountered the Fire he was lying next to a lush green pasture next to a cool bubbling brook of water surrounded by lilies. It doesn’t say that he encountered the Fire of God sitting in a 5-star resort getting massages. The Bible says that when Moses encountered the Fire of God he was in the desert.
In fact, let me take it one step further, the Bible actually says that Moses was on the backside of the desert when he encountered the Fire of God. Now, how many of you know that the desert is a dry place, the desert is a thirsty place, the desert is a lonely place. Yet, this is the place where God chose to reveal himself to Moses through this burning bush of fire.
We all go through times of difficulty, we all face trials. Maybe as you sit and read this teaching you don’t feel the presence of God, maybe you’re going through the most challenging wilderness experience you’ve ever experienced. I have good news for you; the dryer a piece of wood is, the quicker it catches on fire.
When the Lord Jesus began his public ministry, the first thing that John the Baptist said about him was:
“He will baptize you with the Holy Spirit and with fire” (Matthew 3:11 and Luke 3:16).
What does it mean to be baptized with the fire of God's Spirit?
When the Holy Spirit comes he sets our hearts on fire with the love of Jesus Christ. Paul the Apostle tells us that,
“God’s love has been poured into our hearts through the Holy Spirit who has been given to us” (Romans 5:5).
When we surrender our lives to Jesus Christ, and pray for the Holy Spirit to be fully released in our lives, what happens – what does the Holy Spirit do?
• The Holy Spirit opens our ears to hear God’s voice – the Spirit enables God’s Word to come alive in us so that God’s word becomes a living and life-changing Word that is sharper than any two-edged sword – Paul the Apostle calls the Word of God the Sword of the Spirit (Ephesians 6).
• The Spirit opens our eyes to give us vision of what God is doing today in the Church, the world, and our personal lives. “Without vision the people perish” (Proverbs 29:18)
• The Spirit opens our minds to give us knowledge, wisdom, and understanding of God and his ways (Isaiah 11:2). Jesus said the Holy Spirit will teach us the truth and help us remember all that Christ has taught (John 14:26; 16:13).
• The Spirit opens our tongues to praise God and to speak his word with faith, conviction, and boldness and to encourage the fainthearted, the hopeless, and the weak.
• The Spirit anoints our hands to bring blessing, healing, comfort, and help to others.
• The Spirit equips our feet with speed and haste to bring the good news of the Gospel to every neighbor near and far.
• The Holy Spirit purifies our hearts and minds and sets us on fire with the love of Christ.
When Jesus began his ministry, he was led by the Holy Spirit to proclaim the good news of the kingdom to every village, town, and region of Israel. The Spirit gave force or power to every word Jesus spoke. The Spirit revealed the thoughts and intention s of people’s hearts to Jesus. The Spirit empowered Jesus to perform signs and wonders and miracles, and power to free people from Satan’s oppression in their lives.
We are Christ’s body – members of his church on the earth. Jesus calls us to do the same works he did and he equips us with spiritual gifts to carry on the work which he began.
Saint Theresa of Avila (1515-1582) wrote:
“Christ has no body now but yours. No hands, no feet on earth but yours. Yours are the eyes through which he looks compassion on this world. Yours are the feet with which he walks to do good. Yours are the hands through which he blesses all the world. Yours are the hands, yours are the feet, yours are the eyes, you are his body. Christ has no body now on earth but yours.”
Outpouring of the Holy Spirit today
Why is God pouring out his Holy Spirit today, with signs, healings, and spiritual gifts? I believe one reason is that the Gospel and the Christian people are under unprecedented attack today. We need spiritual power to counter this attack and to proclaim the Gospel in the joy and power of the Holy Spirit. The charismatic renewal is a key part of God’s work to renew, restore, and equip God’s people to stand strong in faith and courage, to persevere with unwavering hope, and to be on fire with the love of Christ. Our task is to make Jesus known and loved by all who will receive him and the good news of salvation he brings.
Our role in the charismatic renewal movement
We are first foremost disciples of Jesus – disciples who are personally committed to the Lord Jesus, to follow him and obey him and to submit to his word for our lives.
The Lord Jesus calls us to be servants just as he came "not to be served, but to serve." As his servants who use their gifts, talents, and time to generously and selflessly serve others to help them grow in faith, hope, and love. We use our gifts, not to build up ourselves, but to build up the body of Christ and to advance his mission in the world.
The charismatic renewal is a sign of what God is bringing about through the gift of being baptized in the Holy Spirit. It is a visible public sign of the Lord’s work of renewal in bringing people into a revitalized relationship with God and a sign of the unity he desires for all of his people. The Spirit unites, Satan divides. A true sign and fruit of charismatic renewal is love for our church – our church leaders and members, and for all believers who are brothers and sisters in Christ. A sign can’t do everything – but it can point to God and to the work of the Holy Spirit to renew the churches and to bring God’s people into greater unity and love for one another.
Some traps or pitfalls we must avoid
We don’t lead or serve to draw attention to ourselves, to gain esteem, praise, or applause. We serve in humility like John the Baptist who said, “He [Jesus] must increase, but I must decrease” (John 3:30). Our reward comes from our Master Jesus Christ. He suffered abuse, mistreatment, and even rejection, and yet he loved his own to the very end (John 13:1), even those who rejected him and those who nailed him to the cross. Paul the Apostle said, “It is no longer I who live, but Christ who lives in me” (Galatians 2:20).
THE FIRE COMES FIRST
The next thing I want you to notice about this story. This encounter Moses had was the precursor to Moses being sent to Pharaoh, and once Moses went to Pharaoh the greatest story of God’s deliverance and God’s supernatural power that has been recorded, possibly in history, began to unfold. It all started right there at that burning bush; and I see a principle here that is enduring. Before God sends you to Pharaoh, before God sends you to your destiny, before God sends you to do that thing that you were made to do, He is first going to send you to the Fire.
The Fire comes first, that encounter with the presence of God comes first. When Jesus was about to go to heaven He looked down at His disciples and He said I want you to go to Jerusalem, and what? Wait. I want you to go and wait. Now, think about this for a moment. These 12 men were the most experienced and educated and qualified men in things pertaining to Jesus Christ of anybody that has ever walked the earth. Who else got to spend 3 ½ years, every day and every night with Jesus? These men had a PhD in the Jesus Christ school of ministry. If they were alive today, I am sure that every denomination in the world would give them honorary credentials and I’m pretty sure that every Christian University would give them an honorary Doctorate. If ever anybody was qualified to go and preach about Jesus, it was those men. Yet, Jesus looked them square in the eye and said you’re not ready, go to Jerusalem and wait.
What did He say to wait for? It was the promise of the Father. Do you know what the promise of the Father was? It was the outpouring of the Holy Spirit. Jesus knew that those men, if they were really going to be able to make a difference in the world, they were going to need the power of the Holy Ghost.
I’m convinced that when it comes to the infilling of the Holy Spirit, one of the main ingredients, if not the main ingredient is hunger. Just hunger! You can have what you want, you can have as much of God as you desire. Do you want Him today? Are you hungry for Him today?
LASTING FIRE OF THE SPIRIT
In Exodus 3:3 when Moses saw the bush he turned aside to see why the bush wasn’t burnt. I want you to notice that it was not the fact that there was a burning bush that impressed Moses so much. A lot of people don’t understand this, they think that it was some unusual sight, some unusual phenomenon and that was the reason Moses thought it was so interesting.
The Bible doesn’t say that Moses was interested because a bush was burning. In fact, there are indeed bushes in the wilderness that spontaneously combust. I’m sure that Moses had seen plenty of them, he had lived there for 40 years. He was interested because a bush kept on burning. I imagine it happened like this. Maybe one day Moses was walking through the wilderness with his sheep, following behind him and he passed this particular spot and looked over to his left side and there he saw the burning bush and he thought to himself, very interesting, one of those burning bushes and he kept going. On his way home that night with the sheep still following behind, he passed that spot and he looked and he saw it was still burning, he said wow, that is the toughest wilderness bush I have ever seen in my whole life and he kept walking.
The next week, Moses was on his way back on that trail again and when he came to that spot he looked and he said I could have sworn that was the same tree that was burning this time last week, but that’s impossible all these bushes look the same, and he kept walking. That night on his way home he saw it again and it was still burning. By this point Moses was starting to get curious, maybe he took some rocks piled them on the path and he said next week when I come back on this way I’m going to check that bush and see what’s happened to it. So he went home.
The next week as he was passing he saw that pile of rocks on the path, it reminded him. Oh yes, that bush was burning here and when he approached it he looked to his left side. Surprise, surprise, the bush was still burning. Maybe, it was at that point that Moses decided to turn aside to see what was going on with this bush.
I remember, when I was first filled with the Holy Spirit as a teenager. Well my friend, that was over 20 years ago now, and I have good news for you. I’m burning brighter today than I was back then and I believe 20 years from now, I will be burning brighter than I am today. The Fire of the Holy Ghost never goes out! Somebody said, ‘How do you keep the Fire burning?’ That’s the wrong way round, the Fire keeps me burning.
The Lord saw that Moses turned aside, that’s when the Lord spoke to him. People ask me all the time about how I hear God’s voice? Notice that the burning bush didn’t start shouting to Moses as he was walking by on the path taking care of his sheep.
The Holy Spirit is patient; He can wait for a long time. What is He waiting for? He’s waiting for you to turn aside and listen. People ask me, why is it that I don’t hear the voice of God? I think most of the time the answer is very simple, you are not listening. If you don’t believe me, let me ask you a question, a little diagnostic. When was the last time you sat in a room for 20 minutes quietly, without the television on, without the radio on, without praise and worship music on, without your mobile phone, without Facebook, without e-mail, you turned everything off and you sat there and said Holy Spirit I have no other agenda, I’m just here to listen, I’m not even here to talk, I’m not here to fill your ears with all of my needs, I’m just here to listen? When was the last time you did that?
DISTINGUISHED BY THE SPIRIT
So Moses turned aside and the Lord spoke to him. Now, I don’t know how many bushes there are in the wilderness, I assume there are a lot. One thing I do know is that there was only one bush in the wilderness that caught Moses’ attention. It was the one bush that was burning with the presence of the living God.
What is the world looking for? Are they looking for us to build nicer buildings? Are they looking for us to have more eloquent preachers? Are they looking for us to have better music? Or better marketing programmes? What is it they want? What we think is relevant to the world is completely irrelevant. We have just begun to become like them, sound like them and act like them, we never confront them, we never offend them, we think that we will win them by looking like them. The church has thought that we can convince the world that they need what we have, by looking, just like they look.
I tell you what we need, Elijah the Prophet discovered it thousands of years ago, when the people of Israel were serving their false God named Baal. Elijah stood up and he said today we have got to make a choice. I say it to you, we have got to make a choice. If Baal is god serve him, if money is your god then serve it, if popularity and acceptance is your god give your life to that, if partying and pleasure is god then live for that, but if Jehovah is God, Elijah said, then serve Him! This was the test, Elijah knew his God and he knew that the authentic God would be able to demonstrate His power.
Elijah said, ‘meet me on top of the mountain, bring all of your 700 prophets and I will stand there as one lonely man representing Jehovah, and we will find out whose God is the true God. The prophets of Baal began to dance and sing, try to call down the fire, Elijah was falling asleep. Not even a puff of smoke from Baal’s alter. After a while Elijah stood up, he said, ‘guys I hate to interrupt it looks like you’re having lots of fun. Don’t worry, maybe Baal is locked in the bathroom - it’s okay. I understand how it is, these gods are unpredictable. Maybe he’s gone on vacation.’ Then Elijah said, ‘Gentlemen before it gets too late, before the sun goes down let me pray. I don’t need a long time, I don’t need to scream and shout, I don’t need to cut myself, all I need to do is speak to God because He’s living.’
Elijah prayed, ‘Lord hear me, let these people know that you are God and that You’ve turned their hearts back to you in the fire.’ The Bible says fire fell from heaven, it consumed the sacrifice and the wood and the stones, it even lit up the water in the trench. Our God is a consuming fire! The world is not looking for pyrotechnics, they are not looking for Rock-n-Roll music, they are not looking for great entertainment. What they are looking for is the reality, the demonstration of the power of God and when they see it they will fall on their faces as the children of Israel did and begin to declare the Lord, He is God.
WHAT ARE YOU BURNING FOR?
This burns in me, we need revival in this nation. We have generations of people that don’t know what it means to experience the Holy Ghost, and it breaks my heart.
Some of us are way too dignified. Often caring too much about what people think or about how we look. If you care more about how you look than receiving the Holy Ghost then you are not hungry, that’s all I can say. A hungry man doesn’t give a flying leap what anybody else thinks. A hungry man has one agenda, to get that food and when you’re hungry for the Holy Ghost everything else in your life will come second to that. You will desire Him more than the air you breathe, you will desire Him more than the food you eat, you will desire Him more than your dignity, you will desire Him more than your reputation, you will desire Him more than your ministry, you will desire Him more than anything!
It is true that people will look at you and look down their nose and say it’s one of those crazy Pentecostals. Oh my friend, don’t worry, I’ll tell you what you do, let that unbelieving sceptic go to a football game. You follow that unbelieving mocker down to the stadium and watch as their team score the goal that wins the game in overtime. Then you will make a discovery, everybody burns! Some people burn for sports, some people burn for money, some people burn for popularity and power and sex and style and fashion. But everybody burns for something. The difference between us and them is that we burn for something that matters!
Yours in the harvest,
Evangelist Daniel Kolenda
Ommited illustration for an article on similarities and differences between Artificial Image Generation and Concept Art on Screenpunk website
75x90 cm - Picture taken in my Art Gallery
What do we see here?
First of all: this art looks like ordinary painting done with a brush. It is not. It is a totaly different and complicate process. If you don´t know already how to make batik, please read the article below to understand the difference to our thinking about painting. The batik-artist doesn´t draw with colours, he draws with wax and the colouring is done by dipping the whole batik into the desired colour. Then removing the wax in boiling water and starting new for the next colour. And this so many times as the different colours in the finished batik. This takes month o finish. And you have to think opposit: you don´t draw the painting - you draw what will not be the painting!
That´s why this thousands of years old technic is declared as a
UNESCO Heritage Of Human Art.
You can see in his Batik Paintings elements of islamic art
____________________________________________
BATIK
Batik is a technique of wax-resist dyeing applied to the whole cloth. This technique originated from the island of Java, Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting, or by printing the resist with a copper stamp called a cap. The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired.
Batik is an ancient art form of Indonesia made with wax resistant dye on fabrics. Indonesian coastal batik (batik pesisir) made in the island of Java has a history of acculturation, a mixture of native and foreign cultures. It is a newer model compared to inland batik, and it uses more colors, though the patterns are a lot less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone.
Batik is very important to Indonesians and many people would wear it to formal or casual events. Batik is commonly used by Indonesians in various rituals, ceremonies, traditions, celebrations, and even in daily uses.
On October 2, 2009, UNESCO officially recognized the batik (written batik (batik tulis) and stamped batik (batik cap)) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik. Since then, Indonesia celebrates "the National Batik Day" (in Indonesian: Hari Batik Nasional) annually on October 2. Nowadays, Indonesians would wear batik in honor of this ancient tradition.
In the same year, UNESCO also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" as Masterpiece of Oral and Intangible Heritage of Humanity in Register of Good Safeguarding Practices List.
Batik is considered a cultural icon in modern Indonesia, where "National Batik Day" (in Indonesian: Hari Batik Nasional) is celebrated annually on October 2. Many Indonesians continue to wear batik on a daily basis for casual and formal occasions.
ETYMOLOY
The word batik is Javanese in origin. It comes from the Javanese ambatik that consist of amba means "wide" or "large", and tik or nitik means "dot" or "make a dot". The word bathikan also means "drawing" or "writing" in Javanese. When the word is absorbed to Malay (including both Indonesian and Malaysian standards), the "th-" sound is reduced to a "t-" sound more pronouncable to non-Javanese speakers.
The word batik is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled as battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms such as mbatik, mbatek, batik and batek. Batik known as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).
HISTORY
Batik is an ancient fabric wax-resist dyeing tradition of Java, Indonesia. The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available – cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since several regions in Indonesia such as Toraja, Flores, and Halmahera which were not directly influenced by Hinduism, have attested batik making tradition as well.
The existence of the oldest Batik activities came from Ponorogo which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that the batik produced by Ponorogo is generally dark black or commonly called batik irengan because it is close to magical elements. so that it was developed by the kingdoms in Central Java and Yogyakarta.
Based on the contents of the Sundanese Manuscript, Sundanese people have known about Batik since the 12th century. Based on ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier. By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands, Siam, even as far as Mosul.
In Europe, the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.
In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.
In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.
In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[20] This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.
TECHNIQUES
Initially, batik making techniques only used "written batik" (batik tulis) techniques. This batik tulis is known as the original batik from generation to generation from the Indonesian nation's ancestors because the process and workmanship are still very traditional and manual. Then the technique developed with the discovery of the stamped batik (batik cap) technique which made batik work faster. The batik tulis and batik cap techniques are recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia because it still uses waxes in the making process.
WRITTEN BATIK (BATIK TULIS)
Written batik or batik tulis (Javanese script: ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon: باتيق توليس) is made by writing wax liquid on the surface of the cloth with a tool called canting. Canting made of copper with a handle made of bamboo or wood. The making of hand-written batik takes approximately 1–3 months depending on the complexity and detail of batik. Because the working techniques are still traditional and manual, making hand-written batik takes longer and is more complicated than other batik techniques. In addition, the fundamental difference between written batik compared to other batik is that there are differences in each pattern, for example, a number of points or curved lines that are not the same because they are made manually by hand. This characteristic of hand-written batik makes hand-written batik more valuable and unique compared to other batiks.Written batik technique is the most complicated, smooth, and longest process to work with, so a piece of original batik tulis cloth is usually sold at a higher price. However, this is the advantage of batik with the written process, which is more exclusive because it is purely handmade. In Indonesia, premium hand-written batik clothes are usually only worn by certain people at special events, in the form of long-sleeved shirts or modern batik dresses. The batik motif in Indonesia has developed depending on its history and place of origin.
STAMPED BATIK (BATIK CAP)
Stamped batik or batik cap (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a stamp tool. This stamp tool is made of copper plates which form a batik motif on one of its surfaces. Stamp tool or canting cap is made by people who are experts in that field. Making batik with cap works the same way as using a stamp, but using waxes, not ink. This experience process is not easy to do. To make one piece of batik cloth, the process of deepening is carried out several times depending on the number of colors desired. Cap is used to replacing the canting function so that it can shorten the manufacturing time. Batik cap is produced from the process of dyeing a tool made of copper which has been shaped in such a way on the cloth. The batik cap motif is considered to have less artistic value because all the motifs are exactly the same. The price of printed batik is cheaper than written batik because it can be made en masse. The distinctive feature of batik cap can be seen from the repeating pattern and/or ornament motif. Historically, this batik cap process was discovered and popularized by the brethren as a solution to the limited capacity of batik production if it was only processed with hand-written techniques (batik tulis). The process of making this type of batik takes approximately 2–3 days. The advantages of batik cap are easier, faster batik processing, and the most striking of which is the more neat and repetitive motifs. While the drawbacks of batik cap include the mainstream design because it usually goes into mass production, in terms of art it looks stiffer and the motifs are not too detailed, and what is certain is the possibility of having the same batik as other people is greater.
PAINTED BATIK (BATIK TULIS)
Painted batik, batik painting, or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or a combined medium like canting, brush, banana stalk, broomsticks, cotton, toothpicks, patchwork, or other media depending on the expression of a painter. Batik painting is the result of the development of batik art. The essence of batik painting is the process of making batik that does not use traditional motifs that are commonly found. The resulting motifs are the creation of the maker, usually producing contemporary (free) motifs or patterns with brighter, more striking colors, and more diverse color variations. The coloring in painted batik tends to be free and plays with many colors that are not often found in written batik (batik tulis). There are also gradation effects and other painting effects. The drawings are made as if painted batik is an ordinary painting poured on cloth using wax as the medium.
In principle, painted batik is almost the same way with written batik in the making process. Because of the development of classic written batik, painted batik still contains the same elements as written batik in the aspects of materials, processing, coloring, and highlighting (removing the wax). But there are also many differences due to the influence of modern painting, such as in terms of appearance, especially in motifs and colors. The most important thing in making painted batik is the combination of the batik work and coloring depending on the taste of the batik maker. Painted batik is popular because it has a very affordable price and a very creative manufacturing process. Painted batik can be used as decoration or ready-to-wear clothing (fashion). Painted batik which has human objects, landscapes, still objects, and other objects, are in high demand for display paintings.
MAKING PROCESS
The making of Indonesian batik is a labor-intensive process. The following are the stages in the process of making the original batik tulis cloth from the first steps to the last process: nyungging, njaplak, nglowong, ngiseni, nyolet, mopok, nembok, ngelir, nembok, the first nglorod, ngrentesi, nyumri, nyoja, and the second nglorod.
Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (Javanese pronunciation: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used.[38] Alternatively, a copper block stamp called a cap (Javanese pronunciation: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.
After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colours desired.
The most traditional type of batik, called written batik (batik tulis), is drawn using only the canting. The cloth needs to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik (batik cap).
CULTURE
Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons. Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified. Basically, the use of batik should not be arbitrary for both men and women because every element in Javanese clothing, especially batik, is always full of symbols and meanings.
Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Specific pattern requirement are often reserved for traditional and ceremonial contexts.
TRADITIONAL COSTUME IN THE JAVANESE ROYAL PALACE
Batik is the traditional costume of the royal and aristocratic families in Java for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace. The motifs of the Parang Rusak, semen gedhe, kawung, and udan riris are the batik motifs used by the aristocrats and courtiers in garebeg ceremonies, pasowanan, and welcoming honor guests. During the colonial era, Javanese courts issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved several patterns such as the Parang Rusak and Semen Agung for members of the Yogyakartan royalties and restricted commoners from wearing them.
TRADITIONAL DANCE COSTUMES
Batik is used for traditional dance performances in Java. Costume is one of the main things in presenting traditional Javanese dance. Kemben is a piece of cloth worn from the chest to the waist. Tapih is used to fasten the jarit of the dancers, it is decorated with a distinctive batik motif, and fastened with a stagen belt. Sampur is used by wrapping them around the dancer's body. This cloth is also known as Kancrik Prade which is usually dominated by yellow or red. Jarit is a subordinate, uses a long batik cloth. Some examples of Javanese dances include Bedhaya, Srimpi, Golek, Beksan, wayang wong, gambyong, and so on.
BIRTH CEREMONIES
In Javanese tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a mitoni ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths. The batik used has rules and is not just any batik. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality.
Prospective mothers must alternate wearing 6 batik cloths and 1 striated batik cloth. This batik substitution has a rule, that the last batik to be worn is the one with a simple motif. The motif rulers include:
Wahyu tumurun motif – This motif contains the hope that the baby will have a good position.
Cakar motif – This motif is expected to make the child diligent in seeking sustenance.
Udan liris motif – It is hoped that the child will have a tough character.
Kesatrian motif – It is hoped the child has a chivalrous nature.
Sidomukti motif – It is hoped that the child's life will be good and honorable.
Babon angrem motif – Motif depicting a hatchling hen, symbolizes the mother's love for her child.
Lurik lasem motif – The simplest motif. It has a philosophy that human life should be simple. There is also another philosophy, there are two lines in lurik lasem batik, namely the vertical line indicating the relationship between humans and God and the horizontal line indicating the relationship between humans and fellow humans.
WEDDING CEREMONIES
Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families. Such as the truntum motif (flower motif in the shape of the sun) is used for midodareni ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the panggih ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The truntum motif means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends.
Some of the batik motifs that can be used for weddings are the grompol motif (hopefully the bride and groom will get a blessing and a bright future), Sidho asih motif (hopefully that the bride and groom will love each other), Sidho luhur motif (hopefully that the bride will have a noble and praiseworthy character), and ceker ayam motif (hopefully the bride and groom have the spirit of being married and given prosperity).
DEATH CEREMONIES (LURUB LAYON)
In Javanese society batik cloth is also used for death ceremonies, namely as a cover for the body or what is known as the lurub layon ceremony. The batik motif that symbolizes grief is the slobok motif. This batik motif symbolizes the hope that spirits will find it easy and smooth on their way to God. The word slobog is taken from the Javanese word lobok, which means loose. This motif is a geometric triangular shape that is usually black and white. The basic color of this batik is often black or brown with a natural dye which is often called soga.
In Madurese society, one of the batik motifs used for the cloth covering the corpse from generation to generation is the biren rice tompah motif. This biren leaf motif is filled with spilled rice using natural dyes. The washing also uses natural ingredients, squeezed papaya leaves.
FORMAL AND INFORMAL DAILY DRESS
Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Besides that, now batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to various designs of batik clothes that are very elegant and meet the demands of a modern lifestyle.
In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. The day, 2 October 2009 has been stated by Indonesian government as National Batik Day, as also at the time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by the Indonesian Ministry of Research and Technology.
Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.
PATTERNS AND MOTIVS
The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is also believed the motif made the batik famous.
KAWUNG
The kawung motif originated in the city of Yogyakarta and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to also be a representation of a lotus flower with four blooming crown petals, representing purity. The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of sedulur papat lima pancer. As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The color scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whomever uses this motif would have a positive influence on the environment. Furthermore, the kawung batik motif is seen as a sign of power and justice. Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family. Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public.
PARANG
The word Parang comes from the word coral or rock. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. The parang motif's oblique construction is also a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. The size of the parang motif also represents the wearer's position in the royal family's hierarchy.[68] The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. In general, the motif is meant to represent a person's strong will and determination. It also represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties. Since members of the royal family are the only ones who may wear the parang motif, the parang batik is often passed down among generations.
MEGA MENDUNG
The mega mendung pattern has become a symbol of the city of its origin, Cirebon, due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven color gradations. The motif's name means "the sky will rain", and the motif's seven color gradations are supposed to represent the seven layers of the sky. The term mendung, which means "cloudy", is used in the pattern's name to represent patience. This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should also be consistent, as the direction must be horizontal rather than vertical. The clouds must also be flat, as the cloud's purpose is to shield those beneath it from the scorching sun. As a result, the mega mendung design communicates that leaders must protect their people.
TUJUH RUPA
This pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. However, the embellishments on these motifs sometimes include brilliantly colored ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.
TRUNTUM
The Truntum pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion. The parents of the bride and groom usually use this motif on the wedding day. The hope is that the bride and groom would experience such steadfast love.
SOGAN
As the coloring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colors of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colors to represent the human nature: black, red, yellow, white, and green are the five colors. The color black is used to represent worldliness, while red represents anger, yellow represents desire, and white represents righteousness. Brown, on the other hand, is a hue associated with solemnity and the distinctiveness of the Javanese culture, which places a strong emphasis on the inner self as a means of expression and impression. Furthermore, the color brown can be viewed as a symbol of modesty and humility, signifying a closeness to nature, which in turn implies a connection to the people.
LASEM
Lasem batik is a form of coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'.[83] This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the color red in batik. As a result, the Lasem patterns and colors have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation.
SIDOMUKTI
The Sidomukti batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. On Sidomukti batik cloth, the color of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of various ornaments with different meanings and philosophies. A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana ornament, also known as the throne ornament, is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is also envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise.
SIDOMULYO
The Sidomulyo batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java.[90] Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future. Because the Sidomulyo and Sidolmukti batik motifs are essentially the same with the only difference being the minor color variations, the ornamentations and meanings of the two motifs are the same.
SEKAR JAGAD
The Sekar Jagad motif has been popular since the 18th century. The name Sekar Jagad is derived from the words kaart, meaning map in Dutch, and Jagad, meaning means world in Javanese, as the pattern resembles a map when viewed from above. As a result, Batik Sekar Jagad is intended to depict the beauty and diversity of the world's various ethnic groups. There are also others who claim that the Sekar Jagad motif is derived from the Javanese words sekar (flower) and jagad (world), as the motif could also symbolize the beauty of the flowers that are spread all over the world. The existence of curving lines matching the shape of islands that are adjacent to each other is one of the features of the Sekar Jagad motif, making it look like a map. This motif is distinct in that it is irregularly patterned, as opposed to other batik motifs that have a repeating pattern. The Sekar Jagad motif itself is also characterized by the presence of isen-isen in the island shaped lines of the motif that contains various motifs such as kawung, truntum, slopes, flora and fauna and others.
TERMINOLOGY
Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.
Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.
The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determine whether the cloth is kain panjang or sarong.
The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colours called pagi-sore ('dawn-dusk'). Brighter patterns are shown during the day, while darker pattern are shown in the evening. The alternating colours give the impression of two batik sets.
Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret.
TYPES
As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik).[9] Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs.
JAVANESE BATIK
INLAND BATIK (BATIK PEDALAMAN)
Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colour[96] such as black, indigo, brown, and sogan (brown-yellow colour made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.
COASTAL BATIK (BATIK PESISIRAN)
Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading.[96] Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.
A notable sub-type of coastal batik called Jawa Hokoka is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.
Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city.
BLACKSTYLE BATIK (BATIK IRENGAN)
"Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik.
SUNDANESE BATIK
There are several types of batik that come from Sundanese land.
PARAHYANGAN BATIK
Sundanese or Parahyangan Batik is the term for batik from the Parahyangan region of West Java and Banten. Although Parahyangan batiks can use a wide range of colours, a preference for indigo is seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Parahyangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.
BANTENESE BATIK
Bantenese batik employs bright pastel colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified. It is said that tribal people used to wear it.
BADUY BATIK
Baduy batik only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.
MALAY BATIK
Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.
The batik from Bengkulu, a city on west coast of Sumatra, is called batik besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.
MINANGKABAU BATIK
The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora.
BALINESE BATIK
Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.
Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social status.
POPULARITY
The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of Indonesia. With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.
After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.
Batik is popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.
BATIK MUSEUMS
Indonesia as the origin and paradise of batik has several museums that store various types of batik cloth that are hundreds of years old and a collection of equipment for batik that is still well preserved and maintained. Here are some museums in Indonesia that hold various types of batik collections:
MUSEUM BATIK KERATON YOGYAKARTA
Museum Batik Keraton Yogyakarta is located inside the Palace of Yogyakarta Sultanate, Yogyakarta. The museum which was inaugurated by Sultan Hamengku Buwono X on 31 October 2005 has thousands of batik collections. Some of batik collections here include kawung, semen, gringsing, nitik, cuwiri, parang, barong, grompol, and other motifs.
These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII to Sultan Hamengkubuwono X. The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Not only batik, visitors can also see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. Unlike other museums in the Yogyakarta Palace complex, the Batik Museum management does not allow visitors to bring in cameras. This is in order to protect the batik from being photographed by irresponsible people, to then imitate the motive. This museum is part of a tour package offered by the Yogyakarta Palace. Open every day from 08.00–13.30 WIB, on Fridays at 08.00–13.00 WIB, and closes at the palace ceremony day.
MUSEUM BATIK YOGYAKARTA
Museum Batik Yogyakarta is located at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta. This museum is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. This museum occupies an area of 400 m2 and is also used as the owner's residence. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia. This museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and coloring materials, including wax. Its excellent collection consists of various batik fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen, as well as batik made in the 1700s. Yogyakarta Batik Museum also provides batik training for visitors who want to learn to make batik, which results can be taken home. The museum is open every Monday to Saturday at 09.00–15.00.
MUSEUM BATIK PEKALONGAN
Museum Batik Pekalongan is located at Jalan Jetayu No.1, Pekalongan, Central Java. This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber, and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java, and batik from various regions in Nusantara such as from Sumatra, Kalimantan, Papua, and batik technique type fabrics from abroad.
Not only displaying batik collections, but Museum Batik Pekalongan is also a batik training center and a batik learning center. Students and general visitors can learn to make batik or do research on batik culture. The museum opens every day from 08.00 to 15.00.
Museum Batik Danar Hadi is located on Jalan Slamet Riyadi, Solo City (Surakarta), Central Java. The museum, which was founded in 1967, offers the best quality batik collections from various regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik (Kudus, Lasem, and Pekalongan), Sumatran batik, and various types of batik. This museum has a collection of batik cloth reaching 1000 pieces and has been recognized by MURI (Indonesian Record Museum) as the museum with the largest collection of batik. Visitors can see the process of making batik and can even take part in batik making workshop in person. Museum Batik Danar Hadi is open every day from 09:00 WIB in the morning to 16:30 WIB in the afternoon.
MUSEUM BATIK INDONESIA
Museum Batik Indonesia which is located in Taman Mini Indonesia Indah (TMII), Cipayung, Jakarta is divided into six areas, namely the area of introduction, treasures, batik techniques, forms, and types of decoration, development of the batik world and the gallery of fame. Visitors can also enjoy the hundreds of batik motifs available in this place. The museum opens every day at 07.00 AM–10.00 PM.
MUSEUM TEKSTIL JAKARTA
Museum Tekstil Jakarta is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta. On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta. The initial collections collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1.914 collections.
The batik gallery is designed to showcase a number of ancient batik and batik developments (contemporary) from time to time. The batik gallery itself is the embryo of the National Batik Museum which is managed by the Indonesian Batik Foundation and the Jakarta Textile Museum. The museum opens on Tuesday–Sunday at 09.00–15.00.
Batik outside Indonesia
MALAYSIA
The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay peninsula.
Dr. Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the canting for intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours also tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.
INDIA
Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2,000 years.[when?][citation needed] Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.
SRI LANKA
Over the past century, batik making in Sri Lanka has become firmly established. The batik industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.
CHINA
Batik is done by the ethnic people in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.
AFRICA
Although modern history would suggest that the batik was introduced to Africa by the Dutch (especially in South Africa), the batik making process has been practiced in Africa long before the arrival of the colonial powers.[citation needed] One of the earlier sightings are to be found in Egypt, where batik-like material used in the embalming of mummies. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are used: adire eleso which involves tied and stitched designs and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The Bamana people of Mali use mud as a resist. Batik was worn as a symbol of status, ethnic origin, marriage, cultural events, etc.
The African wax prints (Dutch wax prints) was introduced during the colonial era, through Dutch's textile industry's effort to imitate the batik making process. The imitation was not successful in Europe, but experienced a strong reception in Africa instead. Nowadays batik is produced in many parts of Africa and it is worn by many Africans as one of the symbols of culture.
Nelson Mandela was a noted wearer of batik during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa, subsequently dubbed as a Madiba shirt based on Mandela's Xhosa clan name. There are many who claim the Madiba shirt's invention. But in fact, according to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt similar to Indonesian president Suharto's batik attire.
WIKIPEDIA
THE BEATLES: ABRACADABRA 1966 VOL.10 2 DVD 2016 REMASTER
Remastered 2016 upgrade! Color corrected which makes BIG difference, plus processed in the highest quality now - example:
8000 is highest level of NO compression which enhances the video - older discs were at 4000-5000. Now these remasters are
at the top at 8000. Plus upgraded technology enhances the video, and all corrected new audio! 40 minutes of new footage!
The Beatles quit touring and John goes to Spain & Germany to film How I Won the War (many newsreels) and composes Strawberry Fields Forever, Paul with Mal to Spain, Portugal and Africa with home colour movies (upgrade), George to India and Ringo...John on Not Only But Also and then back at EMI for interviews and a special in the UK - are The Beatles Breaking Up?
Approx 140 minutes, 22 chapters all upgrades and new finds!
VIDEO SAMPLE: vimeo.com/181796644
DISC ONE:
01 Sept 6: John filming How I Won the War - NATO Truppenübungsplatz Bergen-Hohne,
Ostenholz, Germany (5 clips) - Rueters/ ITN News
02 Sept 13: Paul and Ringo accept Melody Maker Awards - Post Office Tower, London - Rueters
03 Sept 23: Woman - Peter and Gordon - Beat Beat Beat German TV
04 Sept 24: The Beatles Animated Cartoons Season 2 Intro - Help!
05 Beatles Cartoon Inflatables - Lux Soap Commercial
06 Stephen Verona's She Said So - I Feel Fine Promo
07 Nov 8: Brian Interview on Beatles Status - London - Rueters
08 Nov 12: Paul and Mal travel through Bordeaux, France - 8mm Home Films by Paul and Mal
09 Nov: Sevilla and Cordoba, Spain - 8mm Home Films by Paul and Mal
10 Nov: Tsavo Inn, Mtito Andei, Kenya, Africa - 8mm Home Films by Paul and Mal
(the above two clips feature an interview with John during the filming of "How I won the War")
11 Part 2
DISC TWO:
01 Nov: Tsavo Inn, Mtito Andei, Kenya, Africa - 8mm Home Films by Paul and Mal Part 3
02 Nov 24: The Beatles Return to EMI Studios
03 Nov 25: Mellow Yellow - Donovan - Ready Steady Go!
04 Nov 27: John's appearance - Broadwick St, London - Not Only....But Also Aired December 26th
05 Nov-Dec: Sessions and Releases
06 Dec 20: Beatles arrive at EMI Studios, London - ITN News
07 George Martin at EMI Studios
08 Dec 28: Reporting '66: End of Beatlemania - ITN Special (25 mins)
09 Part 2
10 Part 3
11 Pattie Dop Loreal Commercial
One huge difference between the original 97 Switchbacks at Night image I shot 3 years ago and shooting a stack of shorter exposures digitally is that you have in essence a hugely dynamic digital negative with variable exposure. You can process the images differently to yield different star trail results. In this version, I have reduced the exposure time to around 100 minutes and have done a lot more work to bring out the moonlight on the foreground and create a much lighter image than my first version.
Mount Muir's 14,012 foot summit sticks up at the far right of frame. Trail Camp, the high base camp of the Mount Whitney Trail, can be seen at the lower left of the light trail.
The group credit for this photo goes to Sean Goebel, Matthew Saville Baldon, Wade Meade, Cory Kobel and of course myself.
Technical details:
Canon 5D Mark III
Nikon 14-24mm 2.8g lens via Novoflex adapter
14mm
ISO 3200
60 seconds at f/2.8 x100
Processed in Lightroom.
Stacked in StarStaX for OSX
Further processed in Photoshop
Perinton, NY. October 2018.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
This picture is 1 of 13 from a collection of see thru tops I bought her back in 2008 as a bundle each picture is from when she tried them on.
This is Number 13 and last one of the see thru top collection.
The truth of the matter is this....
I didn't buy just 13 see thru tops. I bought 67
13 different tops but more than one of each.
Hence having one of each size for Louise's to try on.
Back in the 2000s Louise used to do her own Ann summers type parties (Lingerie parties). Only difference was she owned everything sold by herself and the girls that wanted to do the parties for her.
I know some of you are going to ask this question so i will answer it now...lol
Yes, She did model some of the stuff at the parties and so did the girls that did the parties for her but!
NO PICTURES WERE EVER TAKEN AT THE PARTIES, sorry LOL
men we're not allowed.
She bought her stock in bulk from company's in the UK & America. She sold everything from stockings, bra & knicker sets to basques and all types of high heeled boots & shoes.
I would hate to think what it would cost to import those boxes from America today.
I was at a liquidation auction when these see thru tops came up for auction so i bid and won them. Bought them for £37 including fees. Louise sold them all except a couple she kept for herself for £5 each at her parties and obviously made a killing on them.
Did she pay me back you ask???
Yeah, In kind, Even though it came for free all the other times lol
A significantly updated and overhauled replacement to the 2012 MK II version. The Crusader MK III showcases a stark 10 year difference in my design and building quality.
Originally intended to be completed in 2020, but then got put on the backlog. I finally got around to finishing this signature spacecraft for my profile sigfig, complete with a recolor to match my standard color scheme of light gray, blue trim, and trans-red with dark gray details and black guns.
Intended as a heavy-armor Assault Starfighter, the Crusader MK III maintains a pair of light Gauss Gattling Guns in front of the engine block on each side of the fuselage, with SSAM-2 missile pods under the base of each wing, and the Plasma Concentrator Cannon is now hidden in the nose of the spacecraft. At the end of each wing and tailfin are supposed to be sensors antenna, but I'm sure they look like more weapons at a glance.
I worked meticulously long and hard on this one to get the exact shape the way I wanted. I prefer flat slopes over curved ones, and managed to keep this build 99% in line with that goal. All while maintaining the same arrowhead shaped fuselage, slightly foward-swept delta wings, and rugged heavy Ion Thruster engines protruding from the rear. I'm proudest of being able to reinstall retractable landing gear that hides underneath the smooth silhouette from any angle, including the bottom!