This pattern contains the meaning of fortitude and must hold through life are concerned when hit by the rain and heat. Preclude a person, let alone a newlywed, should be bold and willing to live are concerned when many hindrances and trials. Proverbial rain and heat, they fear may not be easy to complain. All hindrances and obstacles that had to be faced and solved together.
Husband or wife is living in the household. If one is faced with a problem, then the partner should help resolve instead of just adding to the problem.
For example, when a husband is being got seduced by the temptations of other women, then she should be able to find a solution and seek the wise resolution of problems. Vice versa, if she got the lure of another man, the husband must be discerning without having to put an excessive suspicion before the found evidence.
Broken bat parang batik Motif is derived from the rocks and barong (Lions). Parangparang barong is the most big and great, and because of the sacredness of his philosophy, this pattern should only be used for the King, especially worn at religious rituals and meditation.
This Motif was created of Sultan AgungHanyakrakusuma who wants to express his experience as King with all of its obligations and duties of consciousness as a young man in the presence of the creator.
The barong means something big and this is reflected in the size of the pattern on the fabric. This barong machete damaged Motif is the parent of all of the motives of parang. This Motif has significance to a King is always carefully and be able to control myself.
Batik Motif Slobog
Slobog can also mean lobok or loose. This fabric commonly used for organizing, with the goal of keeping the deceased did not have difficulty facing the Almighty. It is strongly influenced by the religious principles that after death there is another life that must be accountable, i.e. facing the God Almighty.
Wisdom became the core of the philosophy of nitik motif batik karawitan. Thus, the wearer will hopefully be wise. That is why elderly people in its surroundings many use this motif batik.
Batik Motif gurda also did not escape the past belief. Garuda is a mount of Lord Vishnu is known as the Sun God. Garuda became a mount of Lord Vishnu and serve as a symbol of the Sun. By Javanese, garuda as symbols of life as well as a symbol of virility.
Batik Motif Meru
The word is derived from the mountain meruMahameru. The mountain is considered to be the place of residence or the throne for the Tri Murti, namely Sang Hyang Vishnu, Brahma, and Sang Hyang Sang Hyang Shiva. Tri Murti is denoted as the source of all life, prosperity, and any source source of happiness to live in the world. Therefore, the meru used as motifs so that the wearer is always getting prosperity and happiness.
Form of pattern is a pattern of very ancient poached kawung. A pattern with this poached motifs inspired by fruit shape kawung (fruit or fruit aren roof) divided by four. The fourth part of the fruit together essentially represent the four directions (directions) of Buddhism.
Basically, the fried egg is a category based on the motif of repetition of geometric shapes, such as square, rectangular, oval, or even stars. There are many other variants of ceplok, for example poached sriwedari and nifty little fried egg. Batik truntum also enter ceplok category. In addition, ceplok, too often usually with different forms of other motives for style and a more beautiful batik motifs.
Batik Motif Sido Mukti contains the meaning of prosperity. For Java, the coveted life besides Excellency budi, speech, and action, certainly is the attainment of mukti or prosperity, both in the world and in the hereafter.
Everyone is sure to find prosperity and inner serenity was born and. Prosperity and peace would not be achieved without effort and hard work, Excellency budi, speech, and action.
Everyone should be able to control his lusts, reduce the pleasure of menggunjing neighbors, do good without harming anyone else, and so on to make himself feel prosperous was born. Life to achieve prosperity and inner is also one of the expectations of the community.
Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.
Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.
Wajan and Stove
The wajan is the container that holds the melted wax. It’s hot wax pot. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an ‘anglo’. The wax is kept in a melted state while the artisan is applying the wax to batik fabric.
Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.
The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.
The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.
Creating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp – pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.
Each tjap is a copper block that makes up a design unit. tjap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.
The tjap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.
Sometimes tjap are welded between two grids like pieces of copper that will make a base for the top and theApplying wax with cap bottom. The block is cut in half at the center so the pattern on each half is identical. tjap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.
Men usually handle the application of wax using cap. A piece of batik fabric that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.
Today, batik quality is defined by tjap and tulis, the second meaning hand-drawn designs which use a canting and stamp, or kombinasi, a combination of the two techniques.
Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.
The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 – 10 times a day.
In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.
The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.