Batik Lasem Art

History of Batik Indonesia 2

2011-05-31T20:06:00.000-07:00

Batik is historically derived from ancestors, known since the seventeenth century, written and painted on palm leaves. At the moment motif batik pattern is still dominated by forms of animals and plants. But in its development history of batik have evolved, from painting motifs of animals and plants gradually turn to the abstract patterns that resemble a cloud, temple reliefs, wayang beber and so forth. Furthermore, through the merger of the painting with the art of decorating style clothing, batik art show as we know it today.

The type and style of traditional batik quite so much, but the patterns and variations in accordance with the philosophy and culture of each region are very diverse. Indonesia's cultural treasures so rich nation has been driving styles and types of batik tradisioanal with the characteristics of specialty themselves.

The development of Batik in Indonesia
The history of batik in Indonesia with regard to the development of the Majapahit kingdom and the kingdom afterwards. In some records, the development of batik is mostly done in times of Mataram kingdom, then in the kingdom of Solo and Yogyakarta.

Art of batik is an art image on the fabric for clothing that was one of the family culture of Indonesian kings of old. Batik initially worked in the palace alone are limited and the results for the king's clothes and family and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was brought by them out palace and place of each work.

The process of making batik
In the development of this batik art gradually imitated by the people nearest and subsequently expanded into the work of women in the household to fill his spare time. Furthermore, batik clothes that used only the royal family, then became a popular folk clothes, both women and men.

White fabric that is used when it is the result of homespun. Medium dye materials used consisted of plants native to Indonesia who made himself among others of: noni tree, tall, soga, indigo, and the material is made from soda ash soda, as well as salts made from mud soil.

So this batik in Indonesia has been known since the time of Majapahit kingdom and continued to grow until the next kingdom. The start spreading this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all to the early twentieth century and printed batik is known only after the world war was over unity or around 1920. Now, batik has become part of traditional Indonesian clothing.

Pekalongan Batik
Although no official records began to be known when the batik in Pekalongan, but according to estimates existing in Pekalongan batik around the year 1800. Even according to data recorded at the Ministry, batik was made 1802, like a small tree motif in the form of clothes.

But significant progress is expected to occur after a major war in 1825-1830 in the kingdom of Mataram which is often referred to as Java Diponegoro war or war. With the onset of this battle royal family and urged his followers were many who left the kingdom. They then spread towards the East and West. Later in the area - a new area that the family and followers develop batik.

To the east of Solo and Yogyakarta Batik batik patterns that have been perfected in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Medium westward batik developed in Banyumas, Kebumen, Tegal, Cirebon and Pekalongan. With this migration, the batik Pekalongan that have been there before growing.

Over time, Batik Pekalongan experiencing rapid development compared to other regions. In this region batik evolved around the coastal areas, namely in Pekalongan city and regional areas Buaran, Pekajangan and Wonopringgo.

Museum Batik Pekalongan
Pekalongan public encounter with the various nations such as China, Dutch, Arabic, Indian, Malay and Japanese in ancient times has colored the dynamics of color motifs and batik art.

In connection with the several types of batik motif result of the influence of various countries came to be known as the identity of Pekalongan batik. As for motive, among others Jlamprang inspired batik from India and Arabia, and batik Encim Klengenan, influenced by the Peranakan Chinese, batik Morning Afternoon by the Dutch, and batik Hokokai, grown rapidly since the Japanese occupation.

The development of print culture techniques using dye motifs cover the night (candles) on the fabric which is then called batik, is inseparable from the influence of those countries. This shows the context of the flexibility of batik from time to time.

Pekalongan batik is very unique because it relies entirely on hundreds of small entrepreneurs, rather than on a handful of large employers have capital. Since many decades ago until now, most of Pekalongan batik production process is done in homes. As a result, closely united with batik Pekalongan Pekalongan community life that is now divided into two administrative regions, namely Pekalongan Municipality and Regency of Pekalongan.

Pekalongan batik tidal development, showing Pekalongan eligible to become an icon for the development of batik in Indonesia. Icon for works of art that never gave up with the times and always dynamic. Now, batik has become a breath of everyday life Pekalongan residents and is one superior product. This is because many industries which produce batik. Because the product is known for his batik, known as the City of Pekalongan Batik. The nickname came from a long tradition rooted in Pekalongan. During that long period, various properties, the variety of uses, type design, as well as batik quality is determined by the climate and the presence of fibers of local, historical factors, trade and community readiness to accept and understand new ideas.

Batik is an art culture that admired the world, among the traditional varieties produced with dye technology hurdles, none of which can be present as beautiful and as smooth as batik Pekalongan.

Batik motif: the original Gunung Ringgit of Lasem

2010-03-22T12:21:00.000-07:00

Gunung Ringgit literally meaning mountain and shadow; probably a lot of friends who care about batik meaning as in the mountains on the puppet used by the puppeteers to initiate the play, but if I may interpret the Gunung ringgit describe the geographic location of the city district located in Lasem, Rembang regency, Central Java Province, Indonesia. This district town on the east bounded by Mount Lasem, bounded on the north part of the Java Sea, the southern district Pancur, the western part of Rembang District. Because the eastern part of the mountain that was closed in the morning, people Lasem can not enjoy the sunrise, and just felt the shadow of the rising sun. then at 07.00 to 08.00 new Lasem people can see the sun. Conditions such as initiator inspired batik Lasem in ancient times to create a shadow mountain motif hitherto known as the Gunung Ringgit

BASIC MOTIF AS A FUNCTION ITERATIVE

2009-09-09T09:15:00.000-07:00

Batik is a traditional art that captures what is perceived by the community of Java in Indonesia to two-dimensional medium of fabric. Batik can be a form of equivalence of the paintings in the public culture in the other hemisphere. But what is reflected in batik tended not "straightforward" what is portrayed by the most commonly known paintings in historical milestones of human civilization. This is because the fractal nature is reflected in batik, while most known paintings are the forms of repose geometry.

The portrayal by using the perspective transformation fractality is stereographic dynamics of the real world into the basic forms of batik which a greater emphasis on the fact that systems in nature tend to be dynamic. The development of contemporary mathematics a fractal is a shape that the current study has become a full-non linear methodological in capturing system including our efforts to map what is seen on what is described in batik cloth.
The shape is too similar to living creatures may have a tendency to become idols, and 2-dimensional aesthetic craft in Indonesia acculturation shows a motive works that are so neat batik in the transformation of the image into the arrest of the dynamics of pattern objects.
Fractal geometry of nature Basic Batik Motifs
There are a lot of the basic motifs in the traditional batik. Basic motive is at the authors 'narrative' of what you want to be represented by batik cloth. Basic motif can act as a major constituent of the design of the batik motif to just be Isen or harmonization and ornament. Efforts deconstruction of the basic motifs of batik of Java, for example, shown in Situngkir (2008). This is done by showing a pattern that can be deconstructed as a transformation element in the iteration function system.

For example, traditional batik "plane" that can be seen as the result of the seven transformation of the whole pattern as seen in picture. In fact, as shown in the picture, many Javanese batik using this basic pattern.
There are hundreds of batik design with ornamentation of this plane, which is described as a bird's wing. Batik patterns such as cement, gurdha and more popular use of this basic pattern. So, quite interesting to find general aspects related to the transformation equation used to bring it.

Another example can be taken from batik from Cirebon, West Java - Indonesia. A very popular design named "Mega Overcast" which is often the basis of ornamentation known as a form of "clouds in the sky". This picture is shown in Figure 2.

Designers (people who traditionally known as an intellectual) to make some kind of "fractal transformation equations" given in the form of representation rules, the fractal approach we see science as a form of "atraktor" which mathematically.

"The transformation equation" is an interesting design to manufacture a particular pattern desired by the designer. Thus, in our example above, aircraft and cloud overcast, as well as batik pattern design can be viewed as a product of the iteration function system, is atraktor (cognitively) as traditional artists will display "wings" and "cloud". This can potentially enrich our understanding of cognitive anthropology, which is implemented into the body and other traditional aesthetics.

For example, as the traditional heritage of Java, batik design is inseparable with the life of the king's palace (palace). However, once the palace of Java has become the intellectual center as well as government. The influence of the palace in a show of batik intellectual milestones of ancient history. For example, when people in Cirebon, West Java, know of two palaces (for political purposes), namely: kasepuhan and Kanoman (respectively the oldest and younger), both have the characteristics of different batik designs. "Attractor cognitive" in a chariot representations, in the Palace Kasepuhan described as a model while lion barong Kanoman Palace described as Peksi Naga Liman. This characteristic also occurs in other court in Indonesia such as Yogyakarta and Surakarta.
SFI fractal dynamics to capture the image of
By relying on the geometry, the visualization techniques, such as a motive, using a variety of ways to mimic as closely as possible the various forms of objects to be poured in the media and two-dimensional images. Various techniques do here, ranging from large design forms that need to be very keen attention to the perspective (the perspective) to the various techniques used in the process of drawing (eg, shading in the sketch, and so on).
It is not enough if we are grounded in a fractal pattern as the basis for representation. What do not mimic as closely as possible what you want portrayed but capture the movement and dynamics of the objects that want visualized. In addition to these technical-technical, relying on the representations of fractal consider other aspects, and one of the most important is that atraktor of objects to be described.
Pattern representation with System Function Iterations were acquired as a construction to the basic motif of batik have similarities to the pattern we can get when describing the classical Japanese painting famous artist Katsushika Hokusai of paintings titled "Tsunami Under Kanagawa". Foaming waves can be reconstructed is described by using the pattern function systems including iterations of our generation through the computer. In the picture shown is how the red triangles that indicate the general shape of the sea water patterns, and the depiction of the blue triangles to "catch" a surge of water from the bottom up. Here, the water as a system moves from bottom to top (diagonally to the right).
This spectacular work shows a pattern similar to what is in the traditional batik when we want to pattern reconstruction with the same computer algorithm. In other words, I think we can apply the same when we want to describe the re-awanan cloud patterns, vegetation, sayapan fluttering wings, and so forth as a basic motif of batik that our generative computational experimentation going through the software.

Batik Physics: "Logic" in batik Batik Generation Computing
In the software that we introduce here, we are trying to fractal transformation equations are the basic motifs of batik produces no contact with the user. In other words, the task of software users is to expand the imaginative horizons as wide as possible so that the various motifs can be generated in the fractal paradigm as closely as possible to the system of rules that may be present in the cognitive process of batik designers in the days past when batik used to draw with how to capture the dynamics of visual forms.

Software provided on the occasion Generation Computing Batik is an attempt to describe the basic patterns are formed from three points that form a triangle and its transformation which acts as atraktor. The steps can roughly abbreviated as:
1. Users determine the 3 basic points that become the primary form of representation to be described in outline (note the order of the points that make up the red triangle on the software).
2. It is then the iterative (repeated) determines the 3 points that make up the transformation of the triangle that represents the main form (on our software: the blue triangles as the transformation of the red triangles).
3. Triangles which is the atraktor (towing) points randomly generated by a computing process. Within each triangle (either red or blue) have the same form (or a similar = similar) with the overall shape of the red and blue segituga merged into one. This is the nature of the so-called fractal-like nature with ourselves (self similarity).
Our software does not display the mathematical equations of the transformation of the forms of the triangles. He just kept it in a directory where the software is run. In other words, users need only to the imagination of the patterns to be described (or arrested dynamics) in the process of system functions Iterations were to serve as the basic motif batik. From the triangles are then obtained infinite basic motive to be described as a raw material in depicting batik inspiration in a variety of media and forms, ranging from traditional chanting pemotifan to process the most modern textile.

Batik is Fractal!

2009-09-03T06:56:00.000-07:00

Mbatik from klowong, isen, harmonyzed

Uniqueness Batik

Batik is a textile craft is familiar to Indonesian people, often becomes a symbol of the Indonesian people. Batik is known closely related to ethnic Javanese culture in Indonesia, even since the era of Raden Wijaya (1294-1309) at the time of the Majapahit kingdom. However, different materials basically have the style batik clothing as well as from outside Java, for example in several places in Sumatra, such as Jambi even some places in Kalimantan and Sulawesi. Batik motifs used ranging from decorations, fabric glove, cap, shirt, even the hood and many more. But a very interesting thing with the batik is that it is a simple concept that is not even from the etymology. Batik may represent a unique ornamentation and complex in style and colors and geometric shapes of the display. But most important is that batik can also represent the process of making patterns and ornamentation shown in it.

The process of batik or in verbia also referred to as "mbatik", it is not as simple as describing a painting, for example. Multiperspective that emanated from the ornamentation is the result of the process and the stages of pseudo-algorithmic very interesting. Based on the publication "Batik: The Impact of Time and Environment" by H. Santosa Doellah published by Danar Hadi, there are at least three stages in the process of batik ornamentation, namely:
1. "Klowongan", which is a depiction of the process and the formation of the basic elements of batik design in general.
2. "Isen, Isen", ie the process of filling the parts of the ornament of a specified pattern of Isen. There are several patterns that are traditionally used as a motive cecek, sawut, cecek sawut, melik scales, and so on.
3. Harmony ornamentation, the placement of various backgrounds from the overall design that shows the general harmonization. The pattern is usually used ukel pattern, galar, gringsing, or some settings that indicate certain modifications of the pattern of Isen, for example sekar sedhah, rembyang, sekar boyfriend, and so on
Fractal: Batik Geometry
The amazing thing is that the batik batik is a process that is born of the cognitive system and the depiction of nature and environment. Batik is created through a mapping between objects outside the batik and the articulation of human cognition and psychomotoric aspects as stipulated in the craft of batik.

Although batik could not be seen by removing the context and the process of batik making, pattern and ornamentation which was contained in batik proved to have a level of complexity is very interesting.

Will outlook geometric shapes tend to our current associated with the geometry inherited from the Aristotelian perspective western grip, which looked at geometric dimensions as the original numbers. Dimension 1 as a line, as a 2 dimensional flat wake, the wake of three-dimensional space, and so on. But the world was not as simple as that. Long journey of history of science has brought us to the reality of science as we saw today. In the course of philosophy of science, science is always positive about the fact, that science is not limited to, reductionism is a thing that will ultimately lead to explanations of the major and fundamental, and so on.
Strange happenings we think of as randomized form. Science has been very confident, until the end of meta-mathematics began to question the arithmetic (by the mathematician Kurt Godel, 1931), the philosophy began to talk about the paradox and the validity of deductions (by philosopher Bertrand Russell, 1903), sociologists began to speak about postmodernism (sociologist Jean Jaques Lyotard, 1979), a wave of art as a multi-perspective "breast"isme in fine art and art psychedelic on music, and much more on almost all lines of science and modern art, including questions about the long coastline and that the geometry started acquainted with the concept of fractal (Benoit Mandelbrot, 1982). Philosophy of science finally realize that there are problems in how we view the world. Reductionism philosophy of science into question when the general finally realized that "the whole far greater than the sum of its parts".

The world turned out to be not linear, and the science that there now needs to pay attention to this. Even philosophically, science is currently not stand alone with the tradition and the accompanying conventionalism. Interdisciplinary approach is important. The fact of how high the complexity of the universe and our social environment eventually led to bio-physics, computational chemistry, econophysic, computational sociology, cognitive science, evolutionary economics, and a series of names that describe how science should be paced on standard cross borders. In the course of the history of modern science, all the rests are elementary in the way we view the world, where classical geometry is unmistakably her a fundamentalist. History of science finally realized that fractal better and more appropriate in view of the world. Studies based fractal nature of the notice "to-not-full-ness" model of the universe, one of which will be shown with dimensions of knowledge that are not integers, but it is broken.
The fact that batik is fractal as a thing that indicates that there is wisdom hidden in the depiction of a world that does not like the Aristotelian geometry we know it. This is implicit in the works of batik. If art and culture of modern science have interacted so as we know it today, then obviously batik craft culture have interacted with the culture of people who lived in the Indonesian archipelago. If the fractal have inspired change and become a source of creativity and the progression of science in various fields in the form interdisciplinary, would not be impossible if the batik can also provide a source of inspiration and creativity means a better view of the world?
Is not impossible, the language of his people interdisciplinary Indonesia is the mutual assistance, as the geometry of the batik Indonesia. The discovery of aspects of the batik fractal (as also found in many aspects of ancient art and culture and other classics in many place when the influence of the ancient Greeks and Romans had a strong, such as China, India, Arab) gives us a warning that we need to change our perspective on values and traditions of our cultural heritage. Enjoy the same batik never enjoyed painting by perspective. Solve the problems of mono-discipline was never the same as using interdisciplinary approaches.
Fact fractality in batik, as aspects of visual culture closely with Indonesian culture and civilization became a very important thing.

mbatik: ngisen and iteration of the art computational generative
The development of modern science and technology have brought us to the generation in which we can perform simulations that mimic the process (either natural processes, physical, biological, and even the price movement and social interaction) is computational. From various scientific approaches to realize that a lot of natural and social phenomena that looks complicated, random, chaos basically comes from something that is very simple.

In arithmetic, mathematical patterns and dynamics of chaotic and non-deterministic looks can be shown to be born from what is really simple and very deterministic. This can be done because computer technology allows us to record the iterative dynamics.

What about the forms and complex patterns in nature, such as clouds, smoke, the pattern of coastline, and so that looks random and visually complex it? Computing technology, as it can be applied to see the pattern of simple arithmetic that produces chaos can also be applied to see the patterns that generate simple geometric fractal. Enterprises look at the batik fractal phenomenon has also expanded opportunities of treasure and more appreciation of batik.

Decade of the 21st century celebrating the development of computer technology very rapidly. The works of art, both look and sound began to acquire this technology to expand the coverage area and the infinity power of human imagination and creativity. One aspect is the understanding of generative art. Modern visual generative art begins with a visualization rules that are repeated (iterative) visualize a simple shape and eventually gained the patterns intricate and complex. This artistic pattern based on a process of repetition patterns and similar forms of media - a creative art that is often mentioned Dutch artist, G. Escher (1898-1972) as a pioneering in the history of modern art. Clearly, repeating patterns (read: iterative) will produce a fractal shapes as simple arithmetic repeating patterns can generate chaotic patterns.

Pigmentation shells, shell sulir patterns, complex forms of snowflakes, the growth of cancer, and even some stock price movement patterns and the economic index shows fractal patterns. By doing "imitation" of computational with various computational systems, we know how complex patterns can occur in the universe and our social environment. This kind of analysis is also known as a form of analysis based on generative science, and other aesthetic objects named birth computational generative art. In computational studies of fractal geometry and science, things like cellular automata, Mandelbrot and Julia sets, system-L, Peano curve, and so often used as a reference shape.

When batik has fraktalnya pattern can be shown, then it becomes a chance to be seen as a form of generative. Lucky, because we do have also a pseudo-algorithm knows how to make batik as we have seen before: klowongan>> Isen>> harmonization. In fact it is quite possible, some kind of fractal pattern known as "the beauty of mathematics" can also inspired batik patterns. From here, research shows that there are at least 3 types of fractal patterns that can be a form of computational batik motifs in computational generative fractal, namely:
Type 1: Fractal geometry as Batik
several types of fractal customized so that patterns can be designed as an inspiration for the construction of batik design. Customization can be done on iteratif rules, modifications to the form styling color, and so on.

Type 2: Hybrid Fractal geometry Batik
patterns of fractal patterns can be used as the primary model of basic ornamentation and decoration together with the original Isen of the basic motif batik and vice versa. This can be done by using a computational what is the traditional batik motif with the results of such adaptation of the non-batik fractal. Mode design aesthetic combines a fractal pattern in computational born and what is born of the cultural traditions of batik is widely known.

Type 3: Innovation Batik Fractal geometry
is a form of implementation of the image with a specific pattern or randomly by using the forms or teselasi iterative algorithm of filling the original ornamentation as batik or batik patterns Isen have traditionally known. This can be done with the extraction of the basic motif of batik ornamentation and the re-iteration by using the pseudo-algorithm known batik. As a demonstrative example as shown in this example. Here, two batik motifs re-computational process by providing a large design on the general pattern will be processed by computational (Isen and harmonization) that produces a fractal nature of the motives resulting in a completely new with respect to patterns and principles mbatik process. Users can customize with specific coloring
The third pattern is a form of generative implementation of awareness of how batik fractal properties and support the broadening of cultural appreciation for Indonesian textiles is a non-woven.

Notes
Batik culture derived from cognitive understanding embodied in the work of visual aesthetics a little more give an implicit description of how the Indonesian people view themselves, their natural and social environment. Batik patterns are revealed to be a fractal is a fact that there are alternative perspectives that exist among societies and civilizations that Indonesia is relatively unique to the modern outlook of the public. This uniqueness is an important thing to remember is the fractal geometry of the current understanding and awareness of the complexity of the system and deal with them more wisely.

Batik as an aesthetic object has patterned order pseudo-algorithmic description that can be treated as a form of generative art that has usefulness:
- To contribute and inspire humankind civilization, especially in the field of development of generative art.
- Encourage and expand exploration and appreciation for batik as part of the Indonesian archipelago traditional art.
- Research on aspects of the batik fractal generally encourage further excavation of the cognitive aspects related to the perspective and wisdom of our previous community about nature and society - given the close connection between art and science as demonstrated in history and historical development of modern science.

Let love Indonesia!
Let's inspire the world!

Source:
http://fraktal.bandungfe.net/

Batik Esok Sore

2009-05-20T05:04:00.000-07:00

following batik is tomorrow afternoon, said the next afternoon because batik motif is a motif on one side and the pattern is different. motif such as this has been since 1890, so be hunted by the collectors batik. we successfully borrow batik motif for this take picture and published, the father of a collector Jawahir batik-based Lasem, Rembang, Central Java.
Batik Sore Tomorrow This, according to the information I can Lasem in the area, price range between 5 million rupiah to the dollar even 50, depending on the type of fabric, patterns, and age. However, the more the price is determining how much the desire to get the collector this ancient batik collection

Batik Lasem : Sejarah

2009-05-19T07:21:00.000-07:00

Batik is one of the cultural wealth of priceless value. Indonesia so that our nation needs to introduce batik to the world, that batik is one of the nation's wealth so that Indonesia is not claimed as belonging to other nations.
Lasem is one of the oldest cities in the history of batik. In its development Lasem is a culture that is influenced by several cultures. During the Majapahit, Lasem seen as necessary so that important areas of a duke, who at that time was the son of the King of Majapahit who called themselves Bhre Lasem. At that time merchants Gujarat and many Chinese have entered the area, so there Lasem culture of native culture, including one newcomer is that's batik.than Lasem also central area at the time of development of the Islamic wali Songo, as close to the Bonang (one of the villages Lasem in the district), namely the Pesantren Sunan Bonang spreading Islam.
Batik Lasem such as batik, in general, this archipelago in the region have a different character patterns with other regions. Batik motif is usually synonymous with the culture of the local community. because Lasem is a coastal area with the most multicultural motifs motifs dominated by coastal and Java-Chinese culture . Latohan motif as an example, figured that Lasem is rich by seaweed,ordinary people in Lasem called it as Latoh. Ringgit and the mountain is a motif from the presentment Lasem than coastal areas but there are also mountains, according to the myth that one of the hill is a manifestation of the flagship CengHo (Awang Dampo called by the local community) that kicked by Sunan Bonang and fall prone in the land. Batik Lasem uniqueness itself is a typical red blood of chickens, which is recognized by people with different areas and is very unique.