LUKISAN KACA is a little known indonesian art form. Literally “GLASS PAINTING“, it originated on the northern coast of West Java about the fifteenth century, and progressed to become a common feature in architectural decoration.
Once sold door-to-door, the quality, style and value of lukisan kaca is on the rise. Today, glass painting is enjoying a revival, with the techniques and innovative subject matter making it increasingly popular.
The best canvas painter in the world would be challenged to paint on glass. It takes a long time to learn, not least because it involves painting the image in reverse. As the art work is painted on the back of the glass, the front of the design is the first layer seen in the finished piece.
Initially, the artist traces intricate details in black ink, with a finished drawing placed underneath the glass a the guide.
There are no second takes. Steady patience and a sure hand are essential. The black ink ensures fine details remain distinct after vivid colors are applied. Special paint, normally used for detailing ironwork, ensures resilience and strong permanent color in the painting. Working on the foreground first, the basis of the background is the last thing the painters applies.
Few techniques included mixing several colors with glue and spraying them over the background to generate depth, shading and rippled texture. This system not only contribute to today`s three dimensional artform, but also adds a sturdy backing for greater resilience.
Foreign traders probably introduced glass painting to java around the fifteenth century, when it depicted Arabic artforms, chinese figures, European landscapes, and mediteranean-influenced calligraphy. Sundanese and Javanese cultures soon appeared in the artwork, in images from traditional and imported religions.
As Hinduism was still practised in the area in the early fifteenth century, the elephant like shape of Ganesha, hindu God of education and wisdom, was an early motif. Wadasan, an arrangement of rocks with curlicued outline, and mega mendung and mega sumirat, clouds formations. showed a strong Chinese influence, but were inspired by natural features in West Java`s north coast area. Their outlines framed a character or scenem a convention still adhered to in many lukisan kaca.*
BATIK MEGA MENDUNG
The mega mendung (rain cloud) motif is a dominant theme in Cirebon batik. The graduated colours of the clouds against a strong background show Chinese influence.
The origin is the cloud designs which appeared on bronze vessels during the Chou Dynasty in China in the 7th century BC.
According to Chinese mythology, the Nymph Goddess of Love revealed her presence through rain clouds during the day and through rain mists during the night.
The Goddess of Love is therefore implied in the batiks with the mega mendung pattern.
Indonesia Culture 