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"BUDDHIST DYANI CROWNS"
or is it???
VINTAGE BATIK ART
CULTURE CLUB / FOREIGN EXCHANGE
LIKE A SILK SCREEN
IMAGE IS ON HEAVY LINEN
RAG STOCK CLOTHE.
(LIKE A U.S. DOLLAR BILL)
UNFRAMED AND EASILY SHIPPED.
MEASURES ABOUT 14" x 17"
CIRCA 1960
VERY MYSTICAL.
EASTERN INDIAN ETHNIC DECOR.
SUITABLE FOR FRAMING.?
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FYI
Batik is an Indonesian technique of wax-resist dyeing applied to whole cloth. This technique originated from Java, Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool called a tjanting, 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.
The tradition of batik making is found in various countries; the batik of Indonesia, however, may be the best-known. Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the quality of workmanship. In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity.
The tradition of batik making is found in various countries; the batik of Indonesia, however, may be the best-known. Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the quality of workmanship. In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity.
Etymology
The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik ('dot'), or may derive from a hypothetical Proto-Austronesian root *beCík ('to tattoo'). The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.
The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik ('dot'), or may derive from a hypothetical Proto-Austronesian root *beCík ('to tattoo'). The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.
History
Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practised in China during the Tang Dynasty (618–907 AD), and in India and Japan during the Nara Period (645–794 AD). In Africa it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. These African version however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.
The art of batik is most highly developed in the island of Java in Indonesia. 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.
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, and proposed that the canting was 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 for 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 Malaya (now Malaysia) 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.
Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practised in China during the Tang Dynasty (618–907 AD), and in India and Japan during the Nara Period (645–794 AD). In Africa it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. These African version however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.
The art of batik is most highly developed in the island of Java in Indonesia. 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.
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, and proposed that the canting was 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 for 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 Malaya (now Malaysia) 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.
Technique
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: [t?anti?], sometimes spelled with old Dutch orthography tjanting) is the most common. A tjanting 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. Alternatively, a copper block stamp called a cap (Javanese pronunciation: [t?ap]; old spelling tjap) is used to cover large areas more efficiently.
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: [t?anti?], sometimes spelled with old Dutch orthography tjanting) is the most common. A tjanting 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. Alternatively, a copper block stamp called a cap (Javanese pronunciation: [t?ap]; 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 batik tulis (written batik), 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.
The most traditional type of batik, called batik tulis (written batik), 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.
Hindu / Budhist: Java - garuda, banji, cuwiri, kalpataru, meru or gunungan, semen rama, pringgondani, sidha asih, sidha mukti, sidha luhur
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The Buddha in Hinduism is viewed as an Avatar of Vishnu. In the Puranic text Bhagavata Purana, he is the twenty-fourth of twenty-five avatars, prefiguring a forthcoming final incarnation. Similarly, a number of Hindu traditions portray Buddha as the most recent (ninth) of ten principal avatars, known as the Dasavatara (Ten Incarnations of God). The Buddhist Dasharatha Jataka (Jataka Atthakatha 461) represents Rama as a previous incarnation of the Buddha as a Bodhisattva and supreme Dharma King of great wisdom.
Buddha's teachings deny the authority of the Vedas and consequently Buddhism is generally viewed as a nastika school (heterodox, literally "It is not so") from the perspective of orthodox Hinduism.
Within Hinduism a large number of personal gods are worshipped as murtis. These beings are either aspects of the supreme Brahman, Avatars of the supreme being, or significantly powerful entities known as devas. The exact nature of belief in regards to each deity varies between differing Hindu denominations and philosophies. Often these beings are depicted in humanoid or partially humanoid forms, complete with a set of unique and complex iconography in each case. These deities may be different but they are generally all considered forms of the one god (Brahman). These deities and their Puja provide one of the ways to communicate with this one divinity.
The devas are expansions of Brahman into various forms, each with a certain quality. In the Rig Veda 33 devas are described, which are personifications of phenomena in nature. These 33 later became expanded into 330 million deities. All Hindu deities are composites from the earlier Vedic deities, but this process is not well documented. Hindus believe everything is god and contains the divine energy of god so everything is worthy of worship be it the Murti, an icon or nature itself.
Buddha's teachings deny the authority of the Vedas and consequently Buddhism is generally viewed as a nastika school (heterodox, literally "It is not so") from the perspective of orthodox Hinduism.
Within Hinduism a large number of personal gods are worshipped as murtis. These beings are either aspects of the supreme Brahman, Avatars of the supreme being, or significantly powerful entities known as devas. The exact nature of belief in regards to each deity varies between differing Hindu denominations and philosophies. Often these beings are depicted in humanoid or partially humanoid forms, complete with a set of unique and complex iconography in each case. These deities may be different but they are generally all considered forms of the one god (Brahman). These deities and their Puja provide one of the ways to communicate with this one divinity.
The devas are expansions of Brahman into various forms, each with a certain quality. In the Rig Veda 33 devas are described, which are personifications of phenomena in nature. These 33 later became expanded into 330 million deities. All Hindu deities are composites from the earlier Vedic deities, but this process is not well documented. Hindus believe everything is god and contains the divine energy of god so everything is worthy of worship be it the Murti, an icon or nature itself.
(THIS PICTURE FOR DISPLAY ONLY)
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