Tugas softskill part 04

Simple past is formed for regular verbs by adding -d or–ed to the root of a word. Examples: He walked to the store, or They danced all night.. A negation is produced by adding did not and the verb in its infinitive form. Example: He did not walk to the store. Question sentences are started with did as in Did he walk to the store?

Simple past is used for describing acts that have already been concluded and whose exact time of occurrence is known. Furthermore, simple past is used for retelling successive events. That is why it is commonly used in storytelling.

Past progressive is formed by using the adequate form of to be and the verb’s present participle: He was going to church. By inserting not before the main verb a negation is achieved. Example: He was not going to church. A question is formed by prefixing the adequate form of to be as in Was he going?.

Past progressive is used for describing events that were in the process of occurring when a new event happened. The already occurring event is presented in past progressive, the new one in simple past. Example: We were sitting in the garden when the thunderstorm started. Use is similar to other languages' imperfect tense.

Present perfect simple is formed by combining have/has with the main verb’s past participle form: I have arrived. A negation is produced by inserting not after have/has: I have not arrived. Questions in present perfect are formulated by starting a sentence with have/has: Has she arrived?

Present perfect simple is used for describing a past action’s effect on the present: He has arrived. Now he is here. This holds true for events that have just been concluded as well as for events that have not yet occurred.

Present perfect progressive is formed by prefixing have/has before the grammatical participle been and the verb’s present participial form: We have been waiting. A negation is expressed by including not between have/has and been: They have not been eating. As with present perfect simple, for forming a question, have/has is put at the beginning of a sentence: Have they been eating?

Present perfect progressive is used for describing an event that has been going on until the present and may be continued in the future. It also puts emphasis on how an event has occurred. Very often since and for mark the use of present perfect progressive: I have been waiting for five hours / I have been waiting since three o’clock.

Furthermore, there is another version of past tense possible: past perfect, similar to other languages' pluperfect tense.

Past perfect simple is formed by combining the simple past form of to have with the past participle form of the main verb: We had shouted. A negation is achieved by including not after had: You had not spoken. Questions in past perfect always start with had: Had he laughed?

Past perfect simple is used for describing secluded events that have occurred before something else followed. The event that is closer to the present is given in simple past tense: After we had visited our relatives in New York, we flew back to Toronto.

Past perfect progressive is formed by had, the grammatical particle been and the present participle of the main verb: You had been waiting. For negation, not is included before been: I had not been waiting. A question sentence is formed by starting with had: Had she been waiting?

If emphasis is put on the duration of a concluded action of the past, since and for are signal words for past perfect progressive: We had been waiting at the airport since the 9 P.M. flight. / They had been waiting for three hours now.

Batik: Royal Art of Indonesia (cont.)

Batik is one of several "court arts", along with shadow play of wayang purwa, court dances, gamelan or authentic Javanese percussion orchestra, and poetry. The art is an extension of the philosophy based on the spiritual discipline. Control, etiquette, and harmony are of central importance to the Javanese. Any conflicts in design or style are to be avoided.

Batik incorporates a few elements of meditation. Breathing and total concentration are of necessity to draw fine, even lines with canting. Batik drawing requires calm and peaceful psychological state; observing it also induces a meditative state of mind. Controlled breathing is essential in painting batik. Like court dancers and gamelan perfomers, batik painter must clear one's mind through fasting or abstinence.

The ego must be contained to achieve a perfect harmony between the mind and the batik technique or design. A superior batik is synonymous with harmony.


Old Javanese court dancers


Breathing and total concentration
are of necessity to draw fine,
even lines with canting
The design vocabulary for batik is derived from various aesthetic orientations and often inspired by rituals. The upper-classes participated in the rituals and undoubtedly contributed in defining the batik designs. Geometric patterns prevalent at the court were motifs like the ceplok, the kawung, the nitik and the lereng or garis miring

Ceploks or Ceplokan are geometric designs with figuratives and epitomes of the living things, such as flowers, buds seeds, fruit-stones and sometimes even animals.

Kawung was the favorite motif of the Sultan of Yogyakarta's Royal Court. For many years the motif was forbidden to all but the members of Sultan's immediate family. The history of kawung goes back to the 8th century with the wall of the Shivatik Prambanan temple as the evidence.

Nitiks, like the word batik, comes from the word root syllable of tik, meaning drop or droplet. This fact has led some scholars to assert the motif as the most ancient of all.


Kawung motif Nitik motif
Patterns known as lereng(slope) and garis miring(slanted lines) run diagonally. The best-known type of lereng is the group of parang motif. Its age and origins have been fiercely disputed, thus giving the motif its popularity. Some even trace it back to the times of Raden Panji, the hero from the 11th century East Javanese Kingdom of Kediri and Jenggala.

As the technique of batiking became widespread, batik was beginning to be popular amongst the people outside the royal court. More and more people coveted the fashion of the royal taste-makers. To maintain their exclusivity and distinction, the aristocracy soon created some forbidden patterns or pola larangan.

The exclusivity started as a custom, and it was later decreed that certain patterns were prohibited to be worn by people outside the royal court. The governing classes were bequeathed with certain magical power, often expressed in special designs.

The prohibited patterns were, in principal, the diagonal motifs. The parang rusak motif was reserved for the highest court circles. The majestic parang rusak barong was traditionally a sacred motif, used only by the king's most magnificant ceremonial robes or as part of the offering to the spirits of the royal ancestors.

To further set apart the royal court batik design from the common batik, a technique of gold leaf application was devised, known as prada or pinarada mas. The technique involved gluing pure gold leaf onto the batik. A unique glue was utilized, which was consisted of Chinese fish glue, mixed with water in which the ash from jangkang fruit was dissolved.

Gold leaf was used mostly to enhance the beauty of bridal batik. The most magnificent examples were found at the court of the Sultan of Yogyakarta. At the palace of the Susuhunan of Surakarta, the prada was used to beautify the large court batik called kampuhs or dodots.

Today, wearing or collecting batik is no longer exclusivity for the royal court members. In fact, it has become a part of every self-respecting individual's fashion wardrobe, both in Indonesia and elsewhere in the world. Ownership of fine pieces of batik are considered to be prestigious.

Sumber : http://www.iwantirtabatik.com/batik_art_p2.htm