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NOW FOR YOUR VIEWING PLEASURE…
"HAYAGRIVA" OR "UCHCHAIHSHRAVAS"
(MUCH LIKE A MING HORSE)
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 Encyclopadia 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 Encyclopadia 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: [tʃantiU], 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: [tʃap]; 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: [tʃantiU], 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: [tʃap]; 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 horse has been present in South Asia from at least the mid 2nd millennium BC, more than two millennia after its domestication in Central Asia. The earliest uncontroversial evidence of horse remains on the Indian Subcontinent date to the early Swat culture (ca. 1600 BC). There are claims of stray finds dating to earlier times, as early as the mid 3rd millennium, but these are not generally accepted. The topic is of some importance to the dating of Indo-Aryan migration to India.
Ashva (a Sanskrit word for a horse) is one of the significant animals finding references in several Hindu scriptures.
The horse in Hindu mythology and texts
Rigveda
There are few clear references to actual horse riding in the Rigveda, most clearly in RV 5.61.2-3, describing the Maruts as riders:
Where are your horses, where the reins? How came ye? how had ye the power? Rein was on nose and seat on back.
The whip is laid upon the flank. The heroes stretch their thighs apart, like women when the babe is born. (trans. Griffith)
According to RV 7.18.19, Dasyu tribes (the Ajas, Shigrus and Yakshus) also had horses. McDonnell and Keith point out that the Rigveda does not describe people riding horses in battle (see Bryant 2001: 117). This is in accord with the usual dating of the Rigveda to the late Bronze Age, when horses played a role as means of transport primarily as draught animals (while the introduction of cavalry dates to the early Iron Age, possibly an Iranian (specifically Parthian) innovation of ca. the 9th century BC).
RV 1.163.2 mythologically alludes to the introduction of the horse and horseriding:
Yajurveda
The Ashvamedha or horse sacrifice is a notable ritual of the Yajurveda.
Hayagriva
One of the famous avatars of Vishnu, Hayagriva, is depicted with a horse head. Hayagriva is worshipped as the God for Knowledge.
Horse symbolism
Uchchaihshravas
The legend states that the first horse emerged from the depth of the ocean during the churning of the oceans. It was a horse with white color and had two wings. It was known by the name of Uchchaihshravas. The legend continues that Indra, one of the gods of the Hindus, took away the mythical horse to his celestial abode, the svarga (heaven). Subsequently, Indra severed the wings of the horse and presented the same to the mankind. The wings were severed to ensure that the horse remain on the earth (prithvi) and does not fly back to Indra’s suvarga.
According to Aurobindo (Secret of the Veda, pp. 44), Asva may not always denote the horse. Aurobindo argued that the words asva and asvavati symbolize energy. Asva or ratha was also interpreted to be sometimes the "psycho-physical complex on which the Atman stands or in which it is seated". In another symbolic interpretation based on RV 1.164.2 and Nirukta 4.4.27, asva may also sometimes symbolize the sun.
Ashva (a Sanskrit word for a horse) is one of the significant animals finding references in several Hindu scriptures.
The horse in Hindu mythology and texts
Rigveda
There are few clear references to actual horse riding in the Rigveda, most clearly in RV 5.61.2-3, describing the Maruts as riders:
Where are your horses, where the reins? How came ye? how had ye the power? Rein was on nose and seat on back.
The whip is laid upon the flank. The heroes stretch their thighs apart, like women when the babe is born. (trans. Griffith)
According to RV 7.18.19, Dasyu tribes (the Ajas, Shigrus and Yakshus) also had horses. McDonnell and Keith point out that the Rigveda does not describe people riding horses in battle (see Bryant 2001: 117). This is in accord with the usual dating of the Rigveda to the late Bronze Age, when horses played a role as means of transport primarily as draught animals (while the introduction of cavalry dates to the early Iron Age, possibly an Iranian (specifically Parthian) innovation of ca. the 9th century BC).
RV 1.163.2 mythologically alludes to the introduction of the horse and horseriding:
Yajurveda
The Ashvamedha or horse sacrifice is a notable ritual of the Yajurveda.
Hayagriva
One of the famous avatars of Vishnu, Hayagriva, is depicted with a horse head. Hayagriva is worshipped as the God for Knowledge.
Horse symbolism
Uchchaihshravas
The legend states that the first horse emerged from the depth of the ocean during the churning of the oceans. It was a horse with white color and had two wings. It was known by the name of Uchchaihshravas. The legend continues that Indra, one of the gods of the Hindus, took away the mythical horse to his celestial abode, the svarga (heaven). Subsequently, Indra severed the wings of the horse and presented the same to the mankind. The wings were severed to ensure that the horse remain on the earth (prithvi) and does not fly back to Indra’s suvarga.
According to Aurobindo (Secret of the Veda, pp. 44), Asva may not always denote the horse. Aurobindo argued that the words asva and asvavati symbolize energy. Asva or ratha was also interpreted to be sometimes the "psycho-physical complex on which the Atman stands or in which it is seated". In another symbolic interpretation based on RV 1.164.2 and Nirukta 4.4.27, asva may also sometimes symbolize the sun.
(THIS PICTURE FOR DISPLAY ONLY)
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