Description
Framed in the heavenly background of emerging light of enlightenment, this half visible Shakyamuni Buddha sits in his deep meditation forming a cosmic aureole of contrasting green-blue strokes. This batik painting depicts Buddha’s realistic iconographies of the pearl white plumage of truth and purity along with large albatross eyes closed in sound smoothness as his gesture of diminishing worldly desires to accomplish the great task of attaining enlightenment. _x000D_Buddha’s vibrant red robe of the color of love for mankind, having a blend of dark brown borders and white horizontal stripes that shine in ecstasy due to his inner self full of essence of brightness and divineness, compliments with the deep red mouth symbolic of his speech of truth, love and worthy emotions. _x000D_Buddha’s teachings encapsulated feelings of purity, success, satisfaction and love, which he had the desire to spread as much as possible, to have an environment full of helpful mankind without any mundane emotions and gestures. Here, painter has shown his polished Batik art skills by the natural depiction of Gautama’s matted hair coils in accuracy with the earlobes elongated because of the heavy gold earrings, reminding us of his early princely life when he had not acquired the path of enlightenment.

Specifications:
Batik Painting On Cotton
35 inch x 48 inch

Batik Paintings from India
The charm of batik painting lies in each piece being individualistic, and a fresh creation. Moreover certain effects are only possible through the medium of batik art. Sometimes batik paintings have the scintillating quality of the stained glass, which add their own to the already exotic Indian subjects
Theory is that Batik art went from the Coromandel Coast in India to Southeast Asia which in turn developed its own designs and really came to be known to the world from Indonesia. In fact “batik” is a Javanese word meaning wax painting. Batik later came to be revived in Shantiniketan, near Calcutta, and has now gone to many parts of India, including Calcutta, .
The design in Batik paintings is produced by a negative dyeing method, being marked out in wax before the fabric is dipped so that the waxed portions do not take the dye and stand out in the original colour of the fabric.
‘Batik’ is a resist technique because no dye can penetrate the parts of the fabric covered with wax. The wax is heated and the hot melted wax is applied on the fabric in the form of a design by using brush or any other such equipment. The waxed material is then dyed in any cold ice dye. In the dyeing process minute cracks occur in the wax, letting in tiny specks of dye. This produces fine veins of colour which are characteristic of batik. This 'crackle effect' is a unique aesthetic of batik and very much suits Indian subjects like dancing and dynamic deities. It also contributes to the overall mood of the batik painting, by adding its own energy to the composition. The wax is then removed at the end of this process.
The best materials for batik paintings are cotton, silk and rayon. Among these, cotton is the best suited. The surface of the material should be as smooth as possible. The choice of fabric depends on what one is going to do with the batik piece. The material should be free of starch and properly ironed.
The selected design is drawn on the fabric. The type of wax selected is according to the particular design. A standard combination contains equal quantities of bees wax and paraffin wax. If the quantity of paraffin wax is increased then more cracks result for the higher the paraffin content the more friable the wax.
The wax mixture is heated. It should be uniformly heated and must not smoke or over-boil. This melted wax is applied on the fabric with the help of a brush or a T-janting. For better effect the material should be waxed twice on each side. Only the portions that are required blank (white) should be waxed.
The dyes for batik are called ‘naphthol dyes’. They are also known as cold or ice dyes.

Lot 222.Gautama Buddha

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Framed in the heavenly background of emerging light of enlightenment, this half visible Shakyamuni Buddha sits in his deep meditation forming a cosmic aureole of contrasting green-blue strokes. This batik painting depicts Buddha’s realistic iconographies of the pearl white plumage of truth and purity along with large albatross eyes closed in sound smoothness as his gesture of diminishing worldly desires to accomplish the great task of attaining enlightenment. _x000D_Buddha’s vibrant red robe of the color of love for mankind, having a blend of dark brown borders and white horizontal stripes that shine in ecstasy due to his inner self full of essence of brightness and divineness, compliments with the deep red mouth symbolic of his speech of truth, love and worthy emotions. _x000D_Buddha’s teachings encapsulated feelings of purity, success, satisfaction and love, which he had the desire to spread as much as possible, to have an environment full of helpful mankind without any mundane emotions and gestures. Here, painter has shown his polished Batik art skills by the natural depiction of Gautama’s matted hair coils in accuracy with the earlobes elongated because of the heavy gold earrings, reminding us of his early princely life when he had not acquired the path of enlightenment.

Specifications:
Batik Painting On Cotton
35 inch x 48 inch

Batik Paintings from India
The charm of batik painting lies in each piece being individualistic, and a fresh creation. Moreover certain effects are only possible through the medium of batik art. Sometimes batik paintings have the scintillating quality of the stained glass, which add their own to the already exotic Indian subjects
Theory is that Batik art went from the Coromandel Coast in India to Southeast Asia which in turn developed its own designs and really came to be known to the world from Indonesia. In fact “batik” is a Javanese word meaning wax painting. Batik later came to be revived in Shantiniketan, near Calcutta, and has now gone to many parts of India, including Calcutta, .
The design in Batik paintings is produced by a negative dyeing method, being marked out in wax before the fabric is dipped so that the waxed portions do not take the dye and stand out in the original colour of the fabric.
‘Batik’ is a resist technique because no dye can penetrate the parts of the fabric covered with wax. The wax is heated and the hot melted wax is applied on the fabric in the form of a design by using brush or any other such equipment. The waxed material is then dyed in any cold ice dye. In the dyeing process minute cracks occur in the wax, letting in tiny specks of dye. This produces fine veins of colour which are characteristic of batik. This 'crackle effect' is a unique aesthetic of batik and very much suits Indian subjects like dancing and dynamic deities. It also contributes to the overall mood of the batik painting, by adding its own energy to the composition. The wax is then removed at the end of this process.
The best materials for batik paintings are cotton, silk and rayon. Among these, cotton is the best suited. The surface of the material should be as smooth as possible. The choice of fabric depends on what one is going to do with the batik piece. The material should be free of starch and properly ironed.
The selected design is drawn on the fabric. The type of wax selected is according to the particular design. A standard combination contains equal quantities of bees wax and paraffin wax. If the quantity of paraffin wax is increased then more cracks result for the higher the paraffin content the more friable the wax.
The wax mixture is heated. It should be uniformly heated and must not smoke or over-boil. This melted wax is applied on the fabric with the help of a brush or a T-janting. For better effect the material should be waxed twice on each side. Only the portions that are required blank (white) should be waxed.
The dyes for batik are called ‘naphthol dyes’. They are also known as cold or ice dyes.