Tuesday, May 13, 2014

Ujung Kulon

Ujung Kulon

Ujung Kulon

About

Ujung Kulon National Park is located at the westernmost tip of Java, within Banten province of Indonesia. It includes the volcanic island group of Krakatoa and other islands including Panaitan, as well as smaller offshore islets such as Handeuleum and Peucang on the Sunda Strait.

Geography

The park encompasses an area of 1,206 km² (443 km² marine), most of which lies on a peninsula reaching into the Indian Ocean. The explosion of nearby Krakatau in 1883 produced a tsunami (giant wave) that eliminated the villages and crops of the coastal areas on the western peninsula, and covered the entire area in a layer of ash averaging 30 cm thick. This caused the total evacuation of the peninsula by humans, thereby allowing it to become a repository for much of Java’s flora and fauna, and most of the remaining lowland forest on the island.

Ecology

It is Indonesia's first proposed national park and was declared a UNESCO World Heritage Site in 1991 for containing the largest remaining lowland rainforest in Java. After the 1883 eruption of Krakatoa, many settlements in the park were wiped out and never repopulated.

Ujung Kulon is the last refuge of the critically endangered Javan rhinoceros after poachers killed in 2010 the last remaining rhino in Cát Tiên National Park of Vietnam, where a small population of 10 or less remained. In Ujung Kulon the population has been estimated at 40-60 in the 1980s. Within 2001-2010 there have been 14 rhino births identified using camera and video traps. Based on recordings taken between February and October 2011, 35 rhinoceros have been identified, of which 22 were males and 13 females. Of these 7 were old, 18 adults, 5 youngsters, and 5 infant rhinos. Increasing from previous years, in 2013 there were 8 calves which 3 of them were female and 50 teenage and adult which 20 of them were female identifying using 120 video cameras functioning at night with moving sensor. It was accurate data, because every rhino has unique morphology as finger print, mainly skin wrinkles around the eyes.

By 2013 feeding areas of Eupatorium odoratum vegetation have been reduced from 10 locations comprising 158 hectares to just 5 locations comprising 20 hectares. Thus competition for feeding ground between the solitary Rhinoceros and Banteng also increased.

The park also protects 57 rare species of plant. The 35 species of mammal include Banteng, Silvery gibbon, Javan lutung, Crab-eating macaque, Javan leopard, Java mouse-deer and Rusa deer. There are also 72 species of reptiles and amphibians, and 240 species of birds.


The status of crocodiles within the park is largely unknown- sightings are rare, but do occasionally occur. There are reports of the false gharial within the park, but these are not confirmed. In addition, the saltwater crocodile was historically present throughout Java's coastal river systems but is currently extinct within these regions. Small, isolated populations of the saltwater crocodile are reported to exist within Ujung Kulon but confirmation is needed.


A natural haven for the rhino

Ujung Kulon Rhyno

Ujung Kulon National Park contains a unique remnant of lowland Javan rainforest separated from inhabited areas by a volcano and narrow isthmus.

Ujung Kulon is home to numerous endangered species, providing a stronghold for species like the Javan rhinoceros, Javan gibbon, and banteng, a species of wild cattle. 


Conversation

Parts of today's national park and World Heritage site have been protected since the early 20th century. Krakatoa (or rather, the three minor islets which remain of it) was declared as a Nature Reserve in 1921, followed by Pulau Panaitan and Pulau Peucang Nature Reserve in 1937, the Ujung Kulon Nature Reserve in 1958, the Gunung Honje Nature Reserve in 1967, and most recently Ujung Kulon National Park in 1992. In 2005 the park was designated as an ASEAN Heritage Park.

Hope This article useful for everyone

Saturday, May 10, 2014

Prambanan

Prambanan

Prambanan Temple

About

Candi Prambanan or Candi Rara Jonggrang is a 9th-century Hindu temple compound in Central Java, Indonesia, dedicated to the Trimurti, the expression of God as the Creator (Brahma), the Preserver (Vishnu) and the Destroyer (Shiva). The temple compound is located approximately 17 kilometres (11 mi) northeast of the city of Yogyakarta on the boundary between Central Java and Yogyakarta provinces.
The temple compound, a UNESCO World Heritage Site, is the largest Hindu temple site in Indonesia, and one of the biggest in Southeast Asia. It is characterized by its tall and pointed architecture, typical of Hindu temple architecture, and by the towering 47-metre-high (154 ft) central building inside a large complex of individual temples. Prambanan attracts many visitors from across the world.

Etymology

The present name of the temple, Prambanan', was derived from the name of Prambanan village where the temple stood, this name probably being the corrupted Javanese pronunciation of "Para Brahman" ("The Supreme Brahman"). It is also possible Prambanan comes from Javanese root '(e)mban' which means carries a duty, reflecting gods role in the world, or the villagers duty in relation to the temple. Comparable with parahyangan (western part of Java island), comes from the root hyang, means god, or (e)yang, means ancestor in Javanese.

History

Construction

Prambanan is the largest Hindu temple of ancient Java, and the construction of this royal temple was probably started by Rakai Pikatan as the Hindu Sanjaya Dynasty's answer to the Buddhist Sailendra Dynasty's Borobudur and Sewu temples nearby. Historians suggest that the construction of Prambanan probably was meant to mark the return of the Hindu Sanjaya Dynasty to power in Central Java after almost a century of Buddhist Sailendra Dynasty domination. Nevertheless, the construction of this massive Hindu temple signifies that the Medang court had shifted the focus of its patronage from Mahayana Buddhism to Shivaist Hinduism.
A temple was first built at the site around 850 CE by Rakai Pikatan and expanded extensively by King Lokapala and Balitung Maha Sambu the Sanjaya king of the Mataram Kingdom. According to the Shivagrha inscription of 856 CE, the temple was built to honor Lord Shiva and its original name was Shiva-grha (the House of Shiva) or Shiva-laya (the Realm of Shiva).[4] According to Shivagrha inscription, a public water project to change the course of a river near Shivagrha Temple was conducted during the construction of the temple. The river, identified as the Opak River, now runs north to south on the western side of the Prambanan temple compound. Historians suggest that originally the river was curved further to east and was deemed too near to the main temple.[citation needed] The project was done by cutting the river along a north to south axis along the outer wall of the Shivagrha Temple compound. The former river course was filled in and made level to create a wider space for the temple expansion, the space for rows of pervara (complementary) temples.
Some archaeologists propose that the statue of Shiva in the garbhagriha (central chamber) of the main temple was modelled after King Balitung, serving as a depiction of his deified self after death.
The temple compound was expanded by successive Mataram kings such as Daksa and Tulodong with the addition of hundreds of perwara temples around the chief temple. Prambanan served as the royal temple of the Kingdom of Mataram, with most of the state's religious ceremonies and sacrifices being conducted there. At the height of kingdom, scholars estimate that hundreds of brahmins with their disciples lived within the outer wall of the temple compound. The urban center and the court of Mataram were located nearby, somewhere in the Prambanan Plain.

Abandonment

In the 930s, the court was shifted to East Java by Mpu Sindok, who established the Isyana Dynasty. An eruption of Mount Merapi volcano, located north of Prambanan in central Java, or a power struggle probably caused the shift. That marked the beginning of the decline of the temple. It was soon abandoned and began to deteriorate.
The temples themselves collapsed during a major earthquake in the 16th century. Although the temple ceased to be an important center of worship, the ruins scattered around the area were still recognizable and known to the local Javanese people in later times. The statues and the ruins become the theme and the inspiration for the Loro Jonggrang folktale. After the division of Mataram Sultanate in 1755, the temple ruins and the Opak River were used to demarcate the boundary between Yogyakarta and Surakarta (Solo) Sultanates, which became the current border between Yogyakarta and the province of Central Java.

Rediscovery

The Javanese locals in the surrounding villages were aware of the temple's existence already before rediscovery. However, they didn't know about its historical background: which kingdoms ruled or which king commissioned the construction of the monuments. As a result, the locals developed tales and legends trying to explain the origin of temples, infused with myths of giants, a cursed princess, and thus gave Prambanan and Sewu a wondorous origin said to be created by multitude of demons under the order of Bandung Bondowoso, according to Loro Jonggrang legend.
The temple officially caught the international attention in early 19th century. In 1811 during Britain’s short-lived rule of the Dutch East Indies, Colin Mackenzie, a surveyor in the service of Sir Thomas Stamford Raffles, came upon the temples by chance. Although Sir Thomas subsequently commissioned a full survey of the ruins, they remained neglected for decades, with Dutch residents carting off sculptures as garden ornaments and native villagers using the foundation stones for construction material.

Half-hearted excavations by archaeologists in the 1880s merely facilitated looting. Reconstruction of the compound began in 1918, and proper restoration only in 1930. Efforts at restoration continue to this day. The reconstruction of the main Shiva temple was completed around 1953 and inaugurated by Sukarno. Since much of the original stonework has been stolen and reused at remote construction sites, restoration was hampered considerably. Shrines were only rebuilt if at least 75% of their original masonry was available. Most of the smaller shrines are therefore now only visible in their foundations, with no plans for their reconstruction existing.

Contemporary Events

In the early 1990s the government removed the market that had sprung up near the temple and transformed the surrounding villages and rice paddies into an archaeological park. The park covers a large area, from Yogyakarta-Solo main road in the south, encompassing the whole Prambanan complex, the ruins of Lumbung and Bubrah temples, and as far as the Sewu temple compound in the north. In 1992 the Indonesian government created a State-owned Limited Liability Enterprise (PERSERO) of PT Taman Wisata Candi Borobudur, Prambanan, dan Ratu Boko. This enterprise is the authority for the park management of Borobudur Prambanan Ratu Boko and the surrounding region. Prambanan is one of the most visited tourist attraction in Indonesia.
The Trimurti open-air and indoor stages on the west side of the temple right across the Opak river, were built to stage the Ramayana ballet. This traditional Javanese dance is the centuries old dance of the Javanese court, performed every full moon night in the Prambanan temple since the 1960s. Since then, Prambanan has become one of the major archaeological and cultural tourism attractions in Indonesia.
After the reconstruction of the main temples in 1990s, Prambanan once again reclaim its status as an important religious center for Hindu rituals and ceremonies in Java. The religious significance revival of Prambanan was due to Balinese and Javanese Hindu communities in Yogyakarta and Central Java that annually perform their sacred ceremonies in Prambanan, such as Galungan, Tawur Kesanga, and Nyepi.
The temple was damaged during the May 2006 Java earthquake. Early photos suggested that although the complex was structurally intact, the damage was significant. Large pieces of debris, including carvings, were scattered over the ground. The temple was closed to visitors until the damage could be fully assessed. Eventually, the head of Yogyakarta Archaeological Conservation Agency stated that it would take months to identify the precise extent of the damage. However, some weeks later in 2006 the site was re-opened for visitors. In 2008, 856,029 Indonesian visitors and 114,951 foreign visitors has visited Prambanan. In 6 January 2009 the reconstruction of Nandi temple finished. As of 2009, the interior of most of the temples remains off-limits for safety reasons.

In 14 February 2014, major tourist attractions in Yogyakarta and Central Java, including Borobudur, Prambanan and Ratu Boko, were closed from visitors, after severely affected by the volcanic ashes from the eruption of Kelud volcano in East Java, located around 200 kilometers east from Yogyakarta. The Kelud volcano erupted in Thursday night, 13 February 2014 with explosion heard as far away as Yogyakarta.Four years earlier, Prambanan was spared from Merapi volcanic ash and eruption in 2010 since the wind and ashfall were directed westward and affecting Borobudur instead.

Architecture

The architecture of Prambanan temple follows the typical Hindu architecture traditions based on Vastu Shastra. The temple design incorporated mandala temple plan arrangements and also the typical high towering spires of Hindu temples. Prambanan was originally named Shivagrha and dedicated to god Shiva. The temple was designed to mimic Meru, the holy mountain the abode of Hindu gods, and the home of Shiva. The whole temple complex is a model of Hindu universe according to Hindu cosmology and the layers of Loka.
Just like Borobudur, Prambanan also recognize the hierarchy of the temple zones, spanned from the less holy to the holiest realms. Each Hindu and Buddhist concepts has their own terms, but the concept's essentials is identical. Either the compound site plan (horizontally) or the temple structure (vertically) are consists of three zones:
  • Bhurloka (in Buddhism: Kāmadhātu), the lowest realm of common mortals; humans, animals also demons. Where humans are still bound by their lust, desire and unholy way of life. The outer courtyard and the foot (base) part of each temples is symbolized the realm of bhurloka.
  • Bhuvarloka (in Buddhism: Rupadhatu), the middle realm of holy people, occupied by rishis, ascetics, and lesser gods. People here begin to see the light of truth. The middle courtyard and the body of each temple symbolizes the realm of bhuvarloka.
  • Svarloka (in Buddhism: Arupadhatu), the highest and holiest realm, reserved for the gods. Also known as svargaloka. The inner courtyard and the roof of each temple symbolizes the realm of svarloka. The roof of Prambanan temples are adorned and crowned with ratna (sanskrit: jewel), the shape of Prambanan ratna took the altered form of vajra that represent diamonds. In ancient Java temple architecture, ratna is the Hindu counterpart of the Buddhist stupa, and served as the temple's pinnacle.

During the restoration, a well which contains a pripih (stone casket) was discovered under the center of the Shiva temple. The main temple has a well 5.75 m deep in which a stone casket was found on top a pile of charcoal, earth, and remains of burned animal bones. Sheets of gold leaves with the inscription Varuna (god of the sea) and Parvata (god of the mountains) were found here. The stone casket contained sheets of copper, charcoal, ashes, earth, 20 coins, jewels, glass, pieces of gold and silver leaves, seashells and 12 gold leaves (which were cut in the shapes of a turtle, Nāga serpent, padma, altar, and an egg)

Mount Semeru

Mount Semeru

Mount Semeru

About

Semeru, or Mount Semeru (Indonesian: Gunung Semeru), is an active volcano located in East Java, Indonesia. It is the highest mountain on the island of Java. The stratovolcano is also known as Mahameru, meaning 'The Great Mountain. The name derived from the Hindu-Buddhist mythical mountain of Meru or Sumeru, the abode of gods.

Geology

Known also as Mahameru the (Great Mountain), it is very steep rising abruptly above the coastal plains of eastern Java. Maars containing crater lakes have formed along a line through the summit of the volcano. It was formed south of the overlapping Ajek-ajek and Jambagan calderas. Semeru lies at the south end of the Tengger Volcanic Complex.

Eruptive History

Semeru's eruptive history is extensive. Since 1818, at least 55 eruptions have been recorded (10 of which resulted in fatalities) consisting of both lava flows and pyroclastic flows. All historical eruptions have had a VEI of 2 or 3.

Semeru has been in a state of near-constant eruption from 1967 to the present. At times, small eruptions happen every 20 minutes or so.

Semeru is regularly climbed by tourists, usually starting from the village of Ranu Pane to the north, but though non-technical it can be dangerous.

Mythology

Semeru is named from Sumeru, the central world-mountain in Buddhist cosmology and by extension Hinduism. As stated in legend, it was transplanted from India; the tale is recorded in the 15th-century East Javanese work Tantu Pagelaran. It was originally placed in the western part of the island, but that caused the island to tip, so it was moved eastward. On that journey, parts kept coming off the lower rim, forming the mountains Lawu, Wilis, Kelut, Kawi[disambiguation needed], Arjuno and Welirang. The damage thus caused to the foot of the mountain caused it to shake, and the top came off and created Penanggungan as well. Indonesian Hindus also hold a belief that the mountain is the abode of Shiva in Java.

Mount Semeru

Mount Semeru


Mount Bromo

Mount Bromo

Mount Bromo

Mount Bromo

About

Mount Bromo (Indonesian: Gunung Bromo), is an active volcano and part of the Tengger massif, in East Java, Indonesia. At 2,329 metres (7,641 ft) it is not the highest peak of the massif, but is the most well known. The massif area is one of the most visited tourist attractions in East Java, Indonesia. The volcano belongs to the Bromo Tengger Semeru National Park. The name of Bromo derived from Javanese pronunciation of Brahma, the Hindu creator god.
Mount Bromo sits in the middle of a vast plain called the "Sea of Sand" (Javanese: Segara Wedi or Indonesian: Lautan Pasir), a protected nature reserve since 1919. The typical way to visit Mount Bromo is from the nearby mountain village of Cemoro Lawang. From there it is possible to walk to the volcano in about 45 minutes, but it is also possible to take an organised jeep tour, which includes a stop at the viewpoint on Mount Penanjakan (2,770 m or 9,088 ft) (Indonesian: Gunung Penanjakan). The viewpoint on Mount Penanjakan can also be reached on foot in about two hours. From inside the caldera, sulfur is collected by workers.

Depending on the degree of volcanic activity, the Indonesian Centre for Vulcanology and Disaster Hazard Mitigation sometimes issues warnings against visiting Mount Bromo.

Culture

On the fourteenth day of the Hindu festival of Yadnya Kasada, the Tenggerese people of Probolinggo, East Java, travel up the mountain in order to make offerings of fruit, rice, vegetables, flowers and sacrifices of livestock to the mountain gods by throwing them into the caldera of the volcano. The origin of the ritual lies in the 15th century legend where a princess named Roro Anteng started the principality of Tengger with her husband, Joko Seger. The couple were childless and therefore beseeched the assistance of the mountain gods. The gods granted them 24 children but stipulated that the 25th child, named Kesuma, must be thrown into the volcano as a human sacrifice. The gods' request was implemented. The tradition of throwing sacrifices into the volcano to appease these ancient deities continues today and is called the Yadnya Kasada ceremony. Though fraught with danger, some locals risk climbing down into the crater in an attempt to recollect the sacrificed goods that they believe could bring them good luck.
On the Segara Wedi sand plain sits a Hindu temple called Pura Luhur Poten. The temple holds a significant importance to the Tenggerese scattered across the mountain villages, such as Ngadisari, Wonokitri, Ngadas, Argosari, Ranu Prani, Ledok Ombo and Wonokerso. The temple organises the annual Yadnya Kasada ceremony which lasts for about one month. On the 14th day, the Tenggerese congregate at Pura Luhur Poten to ask for blessings from Ida Sang Hyang Widi Wasa and the God of Mahameru (Mount Semeru). Then the crowd proceeds along the crater edges of Mt Bromo where offerings are thrown into the crater. The major difference between this temple and Balinese ones are the type of stones and building materials. Pura Luhur Poten uses natural black stones from volcanoes nearby, while Balinese temples are mostly made from red bricks. Inside this pura, there are several buildings and enclosures aligned in a mandala zone composition.

Activity

2004 eruptions

Mount Bromo erupted in 2004. That eruptive episode led to the death of two people who had been hit by rocks from the explosion.


2010 eruptions


On Tuesday, 23 November 2010, 16.30 WIB (Western Indonesian Time), the Indonesian Centre of Vulcanology and Geology Hazard Mitigation (CVGHM) confirmed the activity status of Mount Bromo at "alert" due to increasing tremor activity and shallow volcanic earthquakes at the mountain. Concerns were raised that a volcanic eruption might be likely to occur. As a precaution local residents and tourists were instructed to remain clear of an area within a radius of three kilometres from the caldera and refugee encampments were erected. The area surrounding the Teggera caldera of Bromo remained off-limits for visitors throughout the remainder of 2010.
Bromo started to erupt ash on Friday 26 November 2010.
On 29 November 2010 Transport Ministry spokesman Bambang Ervan announced that Malang's domestic airport would be closed until 4 December 2010. Malang is a city of about 800,000 people is about 25 km (16 mi) west of Mount Bromo. Abdul Rachman Saleh Airport normally handles 10 daily domestic flights from the capital Jakarta. Government volcanologist Surono reported that the volcano was spitting columns of ash some 700 metres (2,300 feet) into the sky.

2011 eruptions

Mount Bromo eruption


The Tengger Caldera was still active in late January 2011, the activity being characterised by fluctuating ongoing eruptions. On 23 January 2011 the Indonesian Centre for Volcanology and Geological Hazard Mitigation (CVGHM) (Pusat Vulkanologi dan Mitigasi Bencana Geologi) reported that since 19 December 2010 volcanic ash and incandescent material had been thrown up by eruptive activity resulting in a heavy rain of material that fell around the crater. Continuous eruptions on 21 January caused a thin ash fall mainly in the village areas of Ngadirejo and Sukapura Wonokerto in Probolinggo district. The impact of a heavy rain of volcanic ash from eruptions since 19 December 2010 resulted in disruption of normal activities. By early 2011 concerns were being raised concerning the effect upon the local economy and the potential for long term environmental and health problems amongst the residents in the locality surrounding Mount Bromo. Due to high seasonal rainfall in January 2011 the potential for lahar and lava flow was raised due to the deposits of volcanic ash, sand and other ejected material that had built up. Seismic activity was dominated by tremor vibration and reports of visual intensity and sounds of eruption continued to be reported from the mountain monitoring facility, Bromo Observation Post. People living on the banks of the Perahu Ravine, Nganten Ravine and Sukapura River were alerted to the possibility of lava flows, especially when it was raining heavily in the area around Cemorolawang, Ngadisari and Ngadirejo. Eruptions and volcanic tremors were reported on 21 January and 22 January with activity subsiding on 23 January 2011. On 23 January 2011 at 06:00 am the alert status at Mount Bromo remained at (Level III).
On 23 January 2011 an exclusion zone was recommended for communities living around Mount Bromo. Tourists and hikers were to advised not to come within a radius of 2 km from the active crater. CVGHM stated that they expected warning signs to be installed stating the limit radius of 2 km from the crater. Operational caution was recommended for flights into and leaving Juanda International Airport IATA:SUB in Surabaya. CVGHM recommended the establishment of public areas for the provision of face masks and eye protection. CVGHM also issued a warning to residents to be cautious of ash build up on roofs and other places that may give cause for collapse under the burden of ash.
Further eruptions and the issuing of Aviation Ash advisories on 27 January and 28 January 2011 led to concerns being raised regarding a volcanic ash plume, reported to be drifting eastward toward the air corridors used to access the Ngurah Rai International Airport IATA:DPS in Bali. Airport official Sherly Yunita was reported at the time as stating that concerns about visibility had prompted Singapore Airlines, Jetstar-ValueAir, Air France-KLM, Virgin Blue and Cathay Pacific to cancel several flights to Bali, 340 km (211 mi) to the east.[8][9] SilkAir also cancelled flights on the 27 January between Singapore and Lombok, an island to the east of Bali.[10] The Volcanic Ash Advisory Centre in Darwin, Australia released several Code Red Aviation Ash Advisories pertaining to Mount Bromo (Tengger Caldera), on 27 January. They indicated that ash was observed at altitudes up to 18,000 ft (FL180) extending 200 nautical mi to the south east of the caldera. In other ash advisories of that day the cloud was reported as at times having a 10 km/h drift, both to the east, and to the south east.

Crater Mount Bromo 1

Crater Mount Bromo 2


Batik

Batik

batik image

About

Batik (Javanese pronunciation: [ˈbateʔ]; Indonesian: [ˈbatɪk]) is a technique of manual wax-resist dyeing applied to whole cloth, or cloth made using this technique. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting (IPA: [tʃantiŋ], also spelled tjanting), or by printing the resist with a copper stamp called a cap (IPA: [tʃap], also spelled tjap). The applied wax resists dyes and therefore allows the artisan to color selectively by soaking the cloth in one color, removing the wax with boiling water, and repeating if multiple colors are desired.
A tradition of making batik is found in various countries, including Nigeria, China, India, Malaysia, and Sri Lanka; the batik of Indonesia, however, is the most well-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. On 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.


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 practiced 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 practiced 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 regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism, have an age-old tradition of batik making.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could only be created 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.
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 the island. 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 colors. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella and Utopia have developed it as their own craft.


Technique


Firstly, a cloth is washed, soaked and beaten with a large mallet. Pattern are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or bees wax, 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 (IPA: [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. Alternatively, a copper block stamp called a cap (IPA: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.
After the cloth is dry, the resist is removed by scraping or boiling the cloth. The areas treated with resist keep their original color; 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 colors desired.

The most traditional type of batik, called batik tulis (written batik), is drawn using only the canting. The cloth need 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 image


(source : wikipedia free encyclopedia)