BATIK SOLO: WARISAN Ancestors Maintained That Deserve

BATIK SOLO: WARISAN Ancestors Maintained That Deserve

Batik is the ancestral heritage which has been downgraded from generation to generation. In its history, batik is used in the kingdom of the environment, particularly the king and his family, for example, in Solo and Yogyakarta. Slowly, the batik to be not only limited to the family's kingdom, but on reaching the public.


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 as Uniquely Indonesian

Some of batik motives

Batik is unique
The same artist asked to paint again – it can’t be the same

Intrinsically Indonesian, yet viewed by some as a product of the past, batik is being targeted to capture a new generation.

Batik is deeply entrenched in the Indonesian psyche. Despite production by other countries, Indonesian continues to think of batik as uniquely Indonesian. Many government organizations and some private companies also require employees to wear batik once a week.

Traditionally, batik refers to fabric decorated painstakingly by hand using hot wax and then dyed to create a pattern in reverse. Villages developed patters and colors so distinctive that a connoisseur could tell from sight alone the specific source of certain motifs. Central Java is particularly well known for the quality of its batik. Cities like Pekalongan, Solo (previously Surakarta), Cirebon and Yogyakarta vie for the title Kota Batik or Batik City.
Batik tulis

Malam (wax) and canting

At the high end, crafting quality batik takes many hours. Batik tulis, literally ‘handwritten; batik, involves hundreds of designs drawn painstakingly on the cloth by hand using hot wax applied with a copper stylus called a "canting". The cloth is then dipped in dye to create a reverse pattern and the wax scraped off. Depending on the complexity of design, this may be repeated more than 20 times, with a day between dyeing to dry, It’s like a painting.
Batik cap

A cheaper alternative is batik cap, where designs are stamped on manually. These days, machines print simplified batik motifs directly onto cloth (usually polyester or rayon) for a mass-produced version, referred to as printed batik.

The price range is wide. A cheap print shirt can go for as low as Rp. 20,000 (US $2.18) while its handmade tulis counterpart in silk might retail for a few hundred dollars. There is no shortage of buyers at the high end of the spectrum, a nod to the buying power of Indonesia’s famously moneyed elites. Batik tulis, the haute couture of traditional fabric, occupies a social niche. Exacting Indonesian aesthetics mean that the Javanese version of batik tulis cannot be recreated anywhere else in the world. It can also easily take four months to produce one piece.

Yet it is the history of batik that works against the product when it comes to the younger generation. They view it as being very traditional.

Today’s batik remains a predominantly domestic product. According to the newspaper Media Indonesia, government statistic in 2006 placed batik exports at US$110 million – just 34 per cent of a total production worth approximately US$322 million. In all, the batik industry employs nearly 800,000 people. The domestic market is the dominant one. Today’s batik comes in a mind-boggling variety of shapes, prices, cuts and colors to target the youth market.

Batik can be seen in home d├ęcor, ceramic-wear and accessories. Citos, a popular youth mall in Jakarta, offers a glimpse of how the product is moving into popular culture. On a Tuesday night the floor is filled with busy kiosks, one-fifth of them devoted to batik, cut and stitched into garments that mimic the swinging loose tunics and wide hippy skirts sold at trendy stores such as Zara.

No one disputes that innovation is necessary. Yet as batik takes on a modern cast, one hopes the appreciation of the traditional process won’t be lost. Batik is unique.
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