{"product_id":"ibu-nur-wakhidah-jarik-pagi-sore-kawung-jenggot-pelo-ati","title":"IBU NUR WAKHIDAH, JARIK PAGI SORE KAWUNG JENGGOT PELO ATI","description":"\u003ch3\u003eIbu Nur Wakhidah \u003cbr\u003eBorn 2001, Batang, Indonesia\u003c\/h3\u003e\n\u003cp\u003eJARIK PAGI SORE KAWUNG JENGGOT PELO ATI (2025)\u003cbr\u003e100% Cotton, synthetic dyes \u003cbr\u003eHand-drawn wax resist on machine-woven cotton \u003cbr\u003e244*100cm\u003c\/p\u003e\n\u003cp style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; line-height: normal; mso-outline-level: 4;\" class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eVibrant with detail, this jarik cloth is a story book for those interested in uncovering its mysteries.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThis long \u003ci style=\"mso-bidi-font-style: normal;\"\u003ejarik\u003c\/i\u003e cloth is worked in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003epagi-sore\u003c\/i\u003e format — literally 'morning-evening' — a style that, depending on how it is wrapped, presents one design for daytime and another for evening wear. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe left side of the cloth features \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelo ati\u003c\/i\u003e — a distinctly Rifa'iyah motif that takes its name from two Javanese words: \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelo\u003c\/i\u003e (gizzard), representing base instincts and impurities to be shed, and \u003ci style=\"mso-bidi-font-style: normal;\"\u003eati\u003c\/i\u003e (heart), understood in Sufi thought as the locus of sincerity and spiritual purification. The motif depicts bird-like forms resembling roosters intertwined with stylised plant tendrils — abstracted in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e tradition — with the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eati\u003c\/i\u003e visible within the torso of each figure. Together, \u003ci style=\"mso-bidi-font-style: normal;\"\u003epelo\u003c\/i\u003e and \u003ci style=\"mso-bidi-font-style: normal;\"\u003eati\u003c\/i\u003e speak to the duality of human nature: the call to cultivate virtues such as patience, kindness and sincerity, while shedding envy, vanity and greed. The motif is framed above and below by \u003ci style=\"mso-bidi-font-style: normal;\"\u003eudan liris\u003c\/i\u003e — delicate diagonal lines evoking soft, steady rainfall — a symbol of fertility, growth and divine blessing descending from above. The rounded framing, including soft \u003ci\u003edaun lancuran (rooster plumage\/pandan) \u003c\/i\u003eleaves, creates a womb-like space, suggestive of feminine creativity and the divine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe right side of the cloth features the \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekawung jenggot\u003c\/i\u003e motif. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eKawung\u003c\/i\u003e is among the oldest and most philosophically resonant of all Javanese batik motifs — its interlocking ovals, derived from the cross-section of the sugar palm fruit, appear in the stone reliefs of Hindu-Buddhist temples and were historically among the \u003ci style=\"mso-bidi-font-style: normal;\"\u003elarangan\u003c\/i\u003e: forbidden patterns reserved for the royal courts. The motif carries layered meanings — the four elements, the origins of life, the cyclical nature of existence. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eJenggot\u003c\/i\u003e (beard) refers to the whisker-like lines that fill the \u003ci\u003ekawung\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe colour palette is distinctly Mbak Wakhidah's own: a predominance of blue tones that set this piece apart from the reds and earthy hues more typical of the Rifa'iyah tradition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Akzidenz Grotesk BE',sans-serif; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-AU;\"\u003eThe two \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e (head sections) are deliberately distinct. One features the \u003ci style=\"mso-bidi-font-style: normal;\"\u003etumpal\u003c\/i\u003e design — upward-pointing triangles symbolising creation, cosmic order and the sacred mountain peaks where earthly and spiritual realms converge. The other displays the \u003ci style=\"mso-bidi-font-style: normal;\"\u003egigi walang\u003c\/i\u003e ('grasshopper teeth') design set against \u003ci style=\"mso-bidi-font-style: normal;\"\u003etambal \u003c\/i\u003e\u003cspan style=\"mso-bidi-font-style: italic;\"\u003e(patchwork). Grasshopper teeth design represents humility and the importance not to under-estimate: the grasshopper, with its astounding teeth, are small yet mighty.\u003c\/span\u003e The \u003ci style=\"mso-bidi-font-style: normal;\"\u003epapan\u003c\/i\u003e panels separating \u003ci style=\"mso-bidi-font-style: normal;\"\u003ebadan\u003c\/i\u003e from \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekepala\u003c\/i\u003e are animated by vines of orchid-like flowers, some of which take on the form of moths or insects — creatures half-glimpsed in the \u003ci style=\"mso-bidi-font-style: normal;\"\u003esamaran\u003c\/i\u003e tradition. Border motifs include \u003ci style=\"mso-bidi-font-style: normal;\"\u003eombak\u003c\/i\u003e (waves) and trailing flower vines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 5.0pt;\"\u003e \u003c\/p\u003e\n\u003ch4\u003eIbu Nur Wakhidah (Mbak Wakhidah)\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eMbak Wakhidah is one of the youngest active practitioners of batik Rifa’iyah in her community. She learned from the age of ten, guided by her mother and older sister, with whom she continues to work. She is drawn to the creative variety of \u003cem\u003ebatik tulis\u003c\/em\u003e, and favours less common blue and violet colour combinations, in addition to the vibrant reds, greens and rich earthy tones more characteristic of the Rifa’iyah tradition.\u003c\/p\u003e","brand":"Ibu Nur Wakhidah","offers":[{"title":"Default Title","offer_id":53925553832235,"sku":"BPB017","price":2900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/6753\/5915\/files\/BPB037_Wakhidah_Jarik_Pagi_Sore_Kawung_SV.png?v=1782548307","url":"https:\/\/sahulandsunda.com\/products\/ibu-nur-wakhidah-jarik-pagi-sore-kawung-jenggot-pelo-ati","provider":"Sahul \u0026 Sunda","version":"1.0","type":"link"}