Batik: Southeast Asia and Batiks

The Nyoirin Kannon is ranked by the Japanese among the greatest assets of the country due to its religious origins. It helped open up the door to Esoteric Buddhism in Japan during a transition era and exemplifies Esoteric teachings and characteristics. One of the earliest of its kind, the sculpture shows an extraordinary composition of the style from the preceding periods and the most recognized expressions of Esoteric Art. Although there has been some quite different interpretations of Kannon throughout history, they can all most likely be linked by the mixture of preceding styles and newer Esoteric iconographies, as well as religious significance.

Islamic craftsmanship incorporates the visual expressions delivered from the 7th century onwards by individuals who lived inside the region that was possessed by or governed by socially Islamic populations. It is along these lines an exceptionally troublesome workmanship to characterize in light of the fact that it covers numerous grounds

The Kwakiutl Indian tribe existed before the discovery of North America by the European culture and inhabited the coast of the Pacific Northwest of the United States and British Columbia in Canada. The tribe is rich in tradition and culture and has remained steadfast in their beliefs, history, teachings and artisan skills which have been passed down generation to generation. The artisans in the Kwakiutl tribe mastered the art of creating special ceremonial masks that are not only beautiful and aesthetically interesting to the eye, but also mechanically intriguing in which the masks serve a specific purpose to a theme during different ceremonies that are conducted by tribal specialists during certain times throughout the year.

Early china become very resourceful, using silk worms to create cloth, pounding soil into wooding frames until it became packed and hard as cement, and making pottery.

However, the golden age of Japanese ceramics did not really begin until the sixteenth century when the tea master Sen no Rikyū popularized the tea ceremony. In his refinement of this art form, Rikyū found beauty in the earthly and natural forms of pottery and thus commissioned the production of “raku ware,” which today, is considered the pinnacle of Japanese pottery. Notable for its ruggedness and imperfections, raku ware made Rikyū into a central figure in the establishment of the wabi-sabi aesthetic. In the beginning, the textures and colors of wabi-sabi vessels were left to develop naturally. However, over time, several wabi-sabi artists began experimenting and even developed techniques to intentionally create these alterations. Obviously, the exact shape and form of an imperfection cannot be controlled but the intention can be realized in an oxymoronic “controlled natural look.”

Qiaoyuan says, “Chinese silk yarn would be sold for 200 to 300 bars of silver in the Philippines”.

These pieces of work include carved wood and stone, manuscripts on stone tablets and reeds, illumination, calligraphy, enameled glass, inlaid metal work and glazed ceramics, preferably from the Turkish and Iranian regions. A common characteristic among Islamic artworks is their brilliant use of colors and the perfect balance between the design and form that they portray. These unique features make these pieces of art create an immediate visual impact to the observers.

Furthermore, the Wurreka is an etched zinc wall created by Judy Watson, which surrounds the entry to First Peoples and spans the north wall of Birrarung gallery. Judy was from North-Western Queensland and the inspiration of her work was the traditions and land of the Waanyi culture, which is where the zinc comes from, whereas the symbolism in the art comes from Victoria. Judy worked closely with the local communities and artists in Victoria to get inspiration for the designs she used in etching the panels. Which is why you often see an underlay of strings in the background which represent fishing nets. And that is what she has done throughout the whole work, so it reflects her journey in learning about this country from elders, and her very close look at the landscape, which is why there are elements within the work that reflect the plant life and people’s connection to the country. There is also this engagement of hers with the Aboriginal community here, in Victoria, as well as her engagement with items in the museum.

The rich society and convention of the Hawaiians are likewise communicated in their works of art. The greater part of the fine arts of the antiquated Hawaiians are made both for tasteful and practical purposes. The kapa, for occasion is an illustration of the Hawaiians' recognized art. This is a fine material delivered from the paper mulberry plant. The completed item is utilized as swaddles for children furthermore formed to be worn as a skirt by the locals. Kapa is additionally used to make appealing covers. Other privately created works of art are produced using Lauhala or hala takes off. The completed results of Lauhala incorporate bowls, caps, and floor

‘Bush-fire II’ is one of Aboriginal artwork, which is come from Early Western Desert Paintings and made in 1972. During the period 1971-1974, a new, dynamic movement in painting palmer Pan Ya in indigenous communities in the centre of Australia. These Luritja Pintupi, collaborated with Anmatyerr man begin to create using the ship and canvas acrylic painting works of art from ancient story. These poignant representations of the Dreaming exploded onto the Australian art market. The painting is the strong statements on aboriginal culture. Every picture reference, this is the ancestor teach people a certain area of land and related laws. Artists use imagery of rituals, before in the holy sacrifice object, and the body design and protocol used in painting,

An example of this “revolutionary conceptualism” (Ferell, 2012) is observed in Figure 2, a piece of artwork called “The Elders of the Tribe”, by Elizabeth Durack (1953). Overall, the image depicts the elders of a Warlpiri kinship group sitting around a distinctive ground pattern, representing their ancestral origin in Central Australia (Durack, 2015). The wavy and distinctive insignia convey the elders being “swept away by the wind” (Durack, 2015), in addition to the concentric circles, connoting to various spiritual events that occurred at various campsites within the Warlpiri community. Moreover, Durack (2015) further explains that the artwork represented a “conversion from red and white ochre to acrylic medium”, supporting the artistic transition from traditional Aboriginal ground art to Western-inspired acrylic paintings.

Australia’s Aboriginal Peoples form the longest living culture in the world, they have experienced massive conflicts and suffered many losses. Tjukurpa Kunpa, means ‘Strong Law & Culture,’ and forms part of a collection of paintings that concentrate on political and cultural issues that have resulted from colonisation. The painting outlines the shape of Australia and is decorated with symbols and writings that hold significant meaning to Aboriginal cultures.

Ochres and Fish have many parts that are traditional to Indigenous culture with animal imitation, the paint up and preparation with ochre and the representation of what the earth means to their culture. Bangarra Dance Theatre is important to Australia and to the Aboriginal and Torres Strait Islanders. Stephen Page has created many works with a fusion of contemporary dance and traditional movement. This is important because it’s apart of Australian heritage and our history. Bangarras distinctive

Samoans believe the circular flying represents the cycles of life.” (Channell,18). In Samoa these tattoos are given to the chief of the family and he is the one who is fully tattooed. The tattooing is a very painful process and is done by taking pieces of sharpen bone and ink and taping the tattoo in with a mallet. The tattoo designs are beautiful designs consisting of many geometric shapes put together in a way they flows. The tattoo is much respected. Once started, it must be completed or it will bring shame upon the young man, and his family. After it is completed, the young mans gains new status among his people. With the receiving of his tattoo, he has now taken on the responsibly of being a man, and also to be an example and leader of his family.

The increased trade between Europe and China during the mid 17th century marked the beginning of the Wests’ fascination with all things oriental. Imported craft and objects from the East were considered to be more exciting and had a unique beauty that differed greatly from that of the West. In the 18th century, the term “Chinoiserie” was coined to describe the adoption of oriental styles in European design and craft. This newly invented style achieved greatest appeal and interest when it was found that the curves and fanciful elements of Chinoiserie integrated