A. Organik: dari Mamalia, Burung, Ikan, Serangga dan Reptil - Tabel Konservasi

  Bakelite polyester vinyl epoxies nylon

  B. Organic: from Trees, Shrubs, Plants, Grasses

  paints varnishes lacquer Masonite Formica celluloid

  E. Other Man-made Materials

  glass porcelain unfired clay ceramics plaster portland cement alabaster granite marble mother-of-pearl marine shell gem stone sand stone cinnabar (red mercuric sulphide) composition (frame decoration) pigments mica soap stone

  D. Inorganic: Man-made and Naturally Occuring

  gold silver cooper iron aluminum lead tin zinc bronze brass pewter Britannia metal ormolu gold leaf silver leaf immitation leaf nickel

  C. Inorganic: Metals and Their Alloys

  decorative wood veneers oak/ ash splints hard woods soft woods resin for varnish willow bambo jute (burlap) hemp rattan sisal flax linen linsed oil cotton paper papier-mache guttapercha vegetable ivory (palm nut) amber rubber starch adhesive

  parchment raw hide semi-tanned leather tanned leather pelts/ fur hair bristle quill feathers/ down silk wool felt (wool, fur, hair) bone* antler* horn whale ivory walrus ivory* elephant ivory* baleen* tortoise shell shagreen (ray, seal, shark skin) snake skin shellac gelatin fish glue (isinglass) animal glue egg tempera casein waxes

  TABEL & ALAT KONSERVASI by P. Y. Subagiyo (MATERIALS)

  A. Organic: from Mamals, Birds, Fish, Insects and Reptils

  D. Anorganik: Buatan dan Yang Terjadi Secara Alami E. Bahan Buatan Lain

  B. Organik: dari Pohon, Perdu, Tumbuhan, Rumputan C. Anorganik: Logam dan Campurannya

  (plastik) bakelit polyester vinyl epoksi nilon gading beruang laut gading gajah tulang ikan paus tempurung/ kulit kura-kura kulit kasar/ bersisik (dari ikan pari, hiu, anjing laut) kulit ular (resin) laka/ shellac gelatin ancur 1/ fish glue ancur 2/ animal glue tempera/ kuning telur kasein (pospoprotein) lilin/ malam perkamen/ kertas kulit kulit mentah kulit berpenyamak sebagian kulit berpenyamak kulit berbulu rambut rambut kaku/ kasar bulu ayam bulu burung halus (liur ulat) sutera wool lakan (wool, rambut) tulang angga/ tanduk bercabang tanduk gading/ taring ikan paus

  pelapis kayu bermotif belat/ eplat kayu kayu keras kayu lunak resin untuk varnis kayu merambat bambu goni rami rotan (serat) sisal rami halus linen minyak biji rami kapas/ katun kertas bubur kertas getah perca tempurung (kelapa) resin fosil karet (perekat) kanji emas perak tembaga besi (iron) aluminium timbal timah seng perunggu kuningan timah+timbal timah+tembaga+antimony tembaga+timah/ emas tiruan lempengan emas lempengan perak lempengan tiruan (?) nikel (nickel) kaca porselain terakota keramik plaster semen biru batu pualam putih batu granit batu marmer batu mutiara kerang laut permata tulen batu pasir cinnabar bahan komposisi (dekorasi bingkai) pigments mica talek/ gip cat varnis lak papan hardboard formica celluloid

  A. Organik: dari Mamalia, Burung, Ikan, Serangga dan Reptil

  BAHAN

• * These materials also have an inorganic component; besides the organic protein Tabel 1.

  Tabel 2. Bahan Sensitif Terhadap Kelembaban Tinggi (Materials Sensitive to High Relative Humidity) Bahan

  mengkerut (checks/ dries out) pelapukan, lapuh, kering (embrittlement) mengkerut, rapuh (shrinkage, embrittlement) rapuh (embrittlement) rapuh (embrittlement) kering, merapuh (dries out, weakens) retak, melengkung (cracks, warps) retak, melengkung (splits, warps) lepas, melengkung (detach- ments, warps) 50 - 55% RH, constant/ stable

  (natural fibers) kayu (wood) kertas (paper) perekat kanji (starch) gelatin (gelatin) tempera telor (egg tempera) kulit (leather, skins) kulit berbulu (felts, furs) bulu ayam (feathers) sutera (silk) wol (wool)

  beludru (velvet) tekstil (textile) serat alam

  Akibatnya (Result)

  Kondisi yang direkomendasi (Recommended Condition)

  Bahan (Materials)

  (basket fibers) ancur, lem nabati (animal glue) kulit kura-kura (tortoise shell) semua gading (all ivory) permukaan tatakan (inlaid surface)

  45 - 55% RH 50 - 55% RH, constant 45 - 55% RH, constant 60 - 65% RH, constant 50 - 55% RH, constant 45 - 55% RH, constant 50 - 55% RH, constant 50 - 55% RH, constant kayu (wood) kulit mentah, kulit olahan ( rawhide, leather skins) perkamen (parchment) bulu ayam (quill) serat keranjang

  Tabel 3. Bahan Sensitif Terhadap Kelembaban Rendah (Materials Sensitive to Low Relative Humidity)

  (Materials)

  (detachment, mold)

  (flaking paint) korosi, cat mengelupas (corrosion, flaking paint) lepas/ copot bagian-bagiannya (detachment) jamuran/ noda (mold, stains) melengkung/ gelombang, jamur (warping, mold) jamuran/ noda (mold, stains) jamuran (mold) lepas/ copot, jamuran

  (finishes) perkamen, gading (parchment, ivory) bubur kertas (papier-mache) bahan keranjang/ anyaman (basket materials) kolase kertas (decoupage surface) korosi/ karat (corrosion) jamuran, noda (mold, stains) jamuran, noda (mold, stains) jamuran, bengkok (fungal attack, warping) cat mengelupas

  logam (metal) kertas (paper) tekstil (textile) kayu (wood) kayu bercat (painted wood) logam bercat (painted metal) tatakan, pelapis kayu (inlay, veneer) bahan penyempurna

  Akibatnya (Result)

  Kondisi yang direkomendasi (Recommended Condition)

  40% RH, or lower 45 - 55% RH 45 - 55% RH 50 - 55% RH, constant/ stable 50 - 55% RH, constant 40% RH, or lower 50 - 55% RH, constant 50 - 55% RH, constant 50 - 55% RH, constant 45 - 55% RH, constant 60 - 65% RH, constant 50 - 55% RH, constant

  Tabel 4. Bahan Yang Sering Dirusak Oleh Serangga dan Binatang Pengerat (Materials Commonly Damaged by Insects and Rodents)

  TABEL & ALAT KONSERVASI by P. Y. Subagiyo Tabel 6. Rekomendasi untuk Penyinaran dan Suhu Udara (Recommendations for Light and Temperature) Tabel 5. Bahan Sensitif Terhadap Fluktuasi Kelembaban~Suhu (Materials Sensitive to Humidity & Temperature Fluctuation)

  Akibatnya (Result)

  Beberapa lempung masakini yang banyak digunakan untuk membuat keramik dan berbagai pernik- pernik untuk hiasan tekstil mengandung garam-garaman yang mudah menyerap air. Jika benda ini dimasukkan dalam ruang dingin secara mendadak, maka akan muncul deposit garam yang menempel pada permukaannya. Jika garam-garam yang mengkristal terdapat pada bagian dalam benda, maka akibatnya benda tersebut akan retak-retak, bahkan mungkin pecah. rekristalisasi garam yang kemudian meng- akibatkan permukaan glasir mengelupas, retak- retak, bahkan mungkin benda menjadi pecah.

  

Akibatnya

(Result)

  Kondisi yang direkomendasi (Recommended Condition)

  Bahan (Materials)

  Some modern clays have a high salt content, and there have been instances where recently purchased objects have fallen to pieces with the absorption in the summer and subsequent drying in the winter. Ceramics with signs of salt deposit on the surface should should be maintained in a stable environment, and fluctuation relative humidity can lead to breakdown of the objects.

  45 - 55% RH, 10 - 30 C Catatan:

  keramik, batu (ceramics, stone) recrystallization of soluble salts resulted surface flaking and spalling can occur, causing sections of a ceramic/ stone to break off.

  Kondisi yang direkomendasi (Recommended Condition)

  rapuh, gelap (embrittlement, darkening) persenyawaan, gelap

  Bahan (Materials)

  50 luxs, 18 C [1 foot. candle= 10 luxs] 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C 150 luxs, 18 C 50 luxs, 18 C 50 luxs, 18 C

  (horn, bone, antler) kayu (wood) kayu olahan (wood finishes)

  (pigment, dyes) sutera, beludru (silk, velvet) permukaan lak (lacquered surface) permukaan cat (painted surface) bahan dicelup warna (dyed materials) celluloid karet (rubber) serat alam (natural fibers) tanduk 1, tulang, tanduk 2

  (furs, feather, hair) kulit, kulit olahan (skins, leather) pigmen, bahan celup

  (fading, structural damage) buram, pucat (develops haze, fading) pucat/ pudar (fading) pucat/ pudar (fading) menguning, rapuh (yellowing, embrittlement) hancur (deterioration crumbles) rapuh, pucat (embrittlement, fading) rapuh/ lapuk (embrittlement) pucat (fading) retak, buram (cracks, hazing) kertas (paper) media cat (paint media) ancur/ lem nabati (animal glue) kulit berbulu, bulu, rambut

  (crosslinking, darkening) mengeras, kering (hardening, drying) rapuh, pucat/ pudar (embrittle- ment, fading) rapuh, pucat (embrittlement, fading) pudar/ pucat (fading) pucat, kerusakan struktural

  Notes:

  perubahan ukuran, regang, patah kertas menjadi rapuh, gelap, noda tekstil ternoda, rapuh logam menjadi berkarat serat menjadi lemah, putus saat kayu mengembang, cat mengelupas terjadi reaksi elektrokimia (efek galvanis, korosi) logam berkarat, kain ternoda logam berkarat, kertas ternoda logam berkarat, cat mengelupas tanin (bahan penyamak) pada kulit menyebabkan karat pada logam plaster yang bersifat basa/ alkaline menyebabkan karat pada logam

  Kombinasi Bahan (Materials Combination)

  Masalah Konservasi (Conservation Problems)

  (wood/wood) (wood/paper) (wood/textile) (wood/metal) (wood/natural fiber) (wood/paint) (metal/metal) (metal/cloth) (metal/paper) (metal/paint) (metal/leather) (metal/plaster)

  (dimensonal changes, stress, breaks) (paper becames brittle, dark, stained) (textile became stained, brittle) (metal corrodes in contact with wood) (fibers become weak, break) (wood expand and contracts, paint flakes (possible electrochemical corrosion) (metal corrodes, cloth becames stained) (metal corrodes, paper becames stained) (metal corrodes, paint flakes) (tannins in leather can corrode leather) (alkaline materials corrode metals) kayu/ kayu kayu/ kertas kayu/ tekstil kayu/ logam kayu/ serat alam kayu/ cat logam/ logam logam/ kain logam/ kertas logam/ cat logam/ kulit logam/ plaster logam/ ancur ancur (lem nabati) sedikit bersifat asam, higroskopis yang kemudian menyebabkan karat logam.

  (metals/animal glue)

  Tabel 7. Bahan Sensitif Terhadap Bahan Fumigasi (Materials Sensitive to Fumigant) Tabel 8. Bahan-bahan Reaktif (Reactive Materials)

  Nama Bahan Kimia (Chemical Names)

  Bahan (Materials)

  karet, bulu, rambut, wool, kulit olahan, dan bahan lain yang mengandung sulfur kayu (wood) perekat kanji (tapioca glue) kulit olahan, kertas lembab, cat, varnis kuningan, tembaga, emas, perak (brass, copper, gold, silver) logam, foto (metal/photo) logam, foto (metal/photo) logam, foto (metal/photo) logam, foto (metal/photo) logam, foto (metal/photo) rusak, bau merkuri yang sangat menyengat noda kecoklatan, tetapi tidak merusak (brown stained, but not destroy) susah dilarutkan lagi ( difficult to dissolve) rusak/ larut (damage/ dissolve) rusak/ tarnish/ korosi rusak (logam berkarat, foto menjadi buram/ gelap) rusak (karat, gelap) rusak (karat, gelap) rusak (karat, gelap) rusak (karat, gelap)

  Methyl bromide Methyl bromide Methyl bromide, ethylene oxide Ethylene oxide Phosphine Carbon disulfida Carbon tetrachloride Paradichlorbenzene Paraformaldehide

  Akibatnya (Result)

  (rubber, fur, hair, wool, tanned leather, and other materials content of sulphur) damage (rusty metal, photo become blurly/dark) damage (rust, dark) damage (rust, dark) damage (rust, dark) damage (rust, dark)

  (damage, tarnish/corrotion) damage, strong smelt of mercury leather finishes, wet paper, paint, varnish

  Thymol Naphthaline DDVP (dimethyl diethyl vinyl posfat) + ethanol

  TABEL & ALAT KONSERVASI by P. Y. Subagiyo Tabel 9.

  Prosedur Pembasmian Serangga~Jamur Dengan Freezer (Freezing Method for Killing Insect & Fungus)

  No. Nama Serangga Suhu dan Waktu Catatan:

  01. Sebagian besar larva C= derajat celcius, -20C, 2J.

  M = menit,

  02. Pupa & Kumbang 1. dewasa

• 20C, 1J

  J = jam, H = hari.

  03. Telur Kumbang 1.

• -20C, 2J

  04. Ngengat kain

• 5C, 3H; 10C, 3H; -5C, 3H.

  05. Telur Kumbang 7. -10C, 9 J.

  (Semua fase) Kumbang 7.

  06.

  2C, 16H dan -3C, 7H.

  07. -30C, 3J.

  (Semua fase) Kumbang 5.

  

Tabel 10. Prosedur Pembasmian Serangga~Jamur Dengan Bahan Kimia

(Fumigation Method for Killing Insect & Fungus) No. Konsentrasi/ Meter Kubik Waktu Pembasmi Nama Bahan Kimia

  8 -10 gram Naphthaline

  14 hari serangga 01.

  1 - 2 tablet

  02. Phosphine 3 - 5 hari serangga + jamur

  50 - 100 gram, 50-60 C

  03. Thymol + ethanol 2 hari jamur

  04. 40 gram Paradichlorobenzene 2 hari jamur + serangga

  05. 4 - 13 gram Paraformaldehide

  2 hari jamur

  06. Carbon tetrachloride + 1 liter 1 minggu jamur + serangga Carbon disulfide (1:1)

  07. Methyl bromide 15 - 30 gram 2 hari serangga

  08. Methyl bromide + Ethylene 35 - 50 gram 2 hari serangga

  Oxide (14:86) Methyl bromide + Ethylene 09.

  100 gram 2 hari serangga Oxide (14:86) DDVP (dimethyl diethyl

  10. 100 gram jamur + serangga 2 hari vinyl posfat) + ethanol

  Gambar 1.

  Kuat penerangan (lux): Penerangan pada Lux Meter permukaan benda secara merata seluas 1

  (Measuring Instrument

  

2

m , berjarak 1 m dari titik sumber cahaya for Light Intensity) berkekuatan 1 kandela.

  Kuat cahaya (foot candle): Banyaknya (jumlah) sinar yang jatuh pada permukaan

  2 benda seluas 1 kaki persegi (=0,0029 m ) dari sumber cahaya yang berjarak 1 kaki (=0,3048 m = 12 inci).

1. Kuat Penerangan (Illumination, E)

  F (Fluks) Lumen E = = = Lux.

  2 A (Luas) m 2. Dosis Kuat Penerangan = Lux x jam = Joule.

  2 Energi (Joule/m ) J =

  3. Fluks Cahaya (F) = T Waktu (Jam) E.R2

  4. Kuat Cahaya (I) = Cos Q = Lumen.m = Candela Sensor/ cell penangkap sinar.

  Mode/ pengatur besarnya sinar yang terbaca. Displai/ monitor harga hasil pengamatan.

  Gambar 2.

  Elsec 764 UV meter (4 in 1] (Measuring Instrument for Ultra Violet Radiation, Light Intensity, Temperature and Humidity)

  Panel monitor Sensor suhu menunjukkan besaran KONVERSI ENERGI:

  (oC) dan angka dan satuan 1 Joule = 107 erg. kelembaban 1 kwh = 3,6 106 J. udara (%) .

  1 Kalori = 4.186 J. KONVERSI DAYA: 1 watt = 1 Joule/ detik.

  Sensor radiasi

  1 HP = 0,746 watt UV (mW/Lmn) dan Intensitas

  Energi = kekuatan untuk cahaya (Lux) . melakukan usaha. Daya = kekuatan tenaga.

  Tombol Lampu TL Ultra Violet, untuk suhu,

  National, 100 volt/ 50 kelembaban

  Hz., Type FL 205, Panjang udara, kuat gelombang = 263 nm. cahaya dan

  2 Energi = 2 mw/cm . radiasi ultra violet.

  TABEL & ALAT KONSERVASI by P. Y. Subagiyo Gambar 3.

  Wet & Dry Psychrometer (Measuring Instrument for Temperature and Relative Humidity)

  Wet & Dry Bulb Psychrometer Banyak digunakan untuk kalibrasi alat- alat pengukur RH & T jenis lain.

  Sling Psychrometer Alat ini menyerupai Wet & Dry

  

“Wet & Dry Psychrometer”

Psychrometer, tetapi badan yang ga sangat cocok digunakan untuk ditempeli thermometer (baik k a l i b ra s i , s p o t r e a d i n g d a n yang dry ataupun wet) dapat

pendataan data klimatologi harian.

diputar, guna melewatkan udara Kita dapat mengetahui besarnya pada thermometer. Belakangan suhu udara secara langsung pada selisih har perangkat ini telah dimodifikasi bagian thermometer yang kering dengan tenaga baterai untuk (kiri). Sedangkan RH-nya dapat m e m u t a r k i p a s a n g i n ya n g

dicari dengan merujuk selisih harga

melewatkan udara yang akan diukur dengan thermometer yang basah suhu ataupun kelembabannya. (kanan). Selanjutnya besarnya RH dapat dicari pada Tabel RH yang biasa disertakan pada saat pembelian alat tersebut.

  Maintenans Alat: Ka i n ya n g d i g u n a k a n u n t u k

  INAKURASI + 2% melembabi (dengan air distilasi) thermometer merkuri diusahakan s e l a l u b e r s i h , d a n a i r ya n g digunakan selalu air distilasi.

  Kain selalu bersih dan harus dengan air distilasi/ deionisasi Gambar 4.

  Thermohygrometer Catatan: Satu orang yang

  Hasil pengukuran dari alat ini sedang istirahat dapat dilihat/ dibaca langsung. selama satu jam setara dengan 60 ml

  Besarmya RH merujuk pada air, dan menghasilkan “perubahan ukuran benda/ bahan panas setara dengan higroskopis”, seperti: rambut, 100 watt lampu pijar. polymer atau garam kristal.

  Referensi: Picture 5. Bachmann (1992:15-22)

  Hygrothermograph Hasil pengukuran dari

  INAKURASI: alat ini dapat dilihat/

• 2 ~ 4% (sering dikalibrasi) dibaca langsung.
• 30 ~ 60% (jarang/ tidak dikalibrasi)

  Kertas grafis Tanganan pemegang

  Mengalami “shock” perubahan

  pena pencatat RH dan T yang sangat mencolok. Tabung berputar

  Besarnya RH dan T yang tertulis pada kertas grafis

  menurut waktu Pena pencatat

  (1, 7 atau 31 hari) tidak sinkron dengan waktu yang tertera. Waktu RH dan T sesungguhnya terlambat (dikurangi) sekitar 30 menit.

  Bak Penampungan Air Distilasi

  Humidifier (Alat Pelembab Udara) Essick Air 826

  Dehumidifier (Alat Penyerap Uap Air) GoldStar DH504EL

  Keterangan “Control Panel” (1) (2) (3) (4) (5) (6) (7) Tombol Operasi (Power)

  Tombol pengoperasian (RH 60 ~ 65%) Pengoperasian non-stop Tombol “Humidity” Tombol “Defrost” Lampu indikator Humidity Lampu indikator Defrost

  Control Panel Tempat masuknya uap air

  Bak Penampungan (Uap) Air

  CATATAN: Kelembaban tidak dapat diturunkan dibawah 40%. Efektif untuk 40 ~ 50%.

  Efektif untuk luas ruangan = 10 ~ 16 meter kubik. Suhu ruangan berkisar antara 1 ~ 35 derajat celcius.

  Control Panel Tempat Keluarnya uap air

  Gambar 7.

  Gambar 8.

HISTORICAL RECORDS PERIODS YEAR

  (2) TARUMANEGARA (Jawa Barat, Hindu) Chinese chronicles mention that certain King of North Sumatera wore silk cloth.

  (5) Ikat pakan (weft) together with import silks were brought by Indians and Islamic traders to Java and Sumatera (possibly, also applications of beads, sequins, glass/ mirrors , and gaining of the knowledge of technique for mixing color/dye). The regions of the two islands that were contacted by the mentioned traders were as indication of silk and songket clothes , and probably silver and gold threads. Other regions: Palembang (South Sumatera), Donggala (Central Sulawesi), Bugis (South Sulawesi) and Bali. In old Javanese written source suggest that ‘kain prada’ enjoyed very great popularity in aristocratic circles in East Javanese Kingdom of Madjapahit. (In Bali, gold leaf was an important article of commerce imported from China and Thailand via the port of Singaraja in the latter half of the 19th century).

  (7) Mangosteen flower motifs in Prambanan temple reliefs (also similar to in Palembang) or in Design Javanese Batik, jelamprang, attesting to origin in the Hindu-Indonesian Period.

  (6) In Aceh, sappan-wood (secang) already was one of the outstanding export stuffs to the Arab. The secang dye work was considered as the oldest native red dye work.

  (Jawa Tengah, Hindu)

  (3) (4) MATARAM I

  The stone inscription found is as foundation of Indonesian Historic period.

  (1) Motifs on the bronze-wares from that era is similar to the textile design and pattern of No.1. Bronze-wares from that era, for example kettle drums and axes which were influenced by the Dongson’s culture (Tongkin, Vietnam).

  TABEL & ALAT KONSERVASI by P. Y. Subagiyo 1596 1602 1613 1619 1632 1645 1660 1695 1778 1815 1825-30 1868 1883 1900 1908 1928 1933 1945 1950 1962 1973 CE

  D.Kenyah), Sumatera (ulos from Batak, Palepai and Tampan from Lampung), Sulawesi (Toraja), Nusatenggara (Timor and Sumbawa) and Bali. Songket or supplementary warp was also present in that time (?).

  800 - 200 Ikat lungsi (warp) is considered present in the time. The textile with geometrized stylization of human, bird, reptilian, and floral forms. Those like textile producing regions are Kalimantan (jackets and breechclouts from Dayak Iban, D.Bahau and

  (Kalimantan, Hindu)

  BRONZE AGE Aji Çaka HISTORY (Kutai Kingdom)

  PRE HISTORY (NEOLITHIC) Pithecantropus erectus (manusia trinil).

  The First Hinduism Kingdom BCE 3000 - 2000

  78 400 450 500 518 600 670 700 732 900 960 1000 1279 1292 1370 1400 1453 1500 1509 1516 1528 There were mineral alum and madder imported from Mecca and Aden (Medinah), included coral and copper. The fragment recontruction on terracota with straight and waved lines is an evidence for the earliest textiles.

  (Jawa Timur, Hindu)

• * Borobudur and Prambanan
• Kain Prada

  (11) Because the fall of Constantinople in 1453, the European merchants sought to purchase spices, which at that time were very rare and quite expensive, directly the producing country, i.e. Indonesia.

  (29) The Indonesian youth, in the 2nd congress on October 1928, called for unity among the Indonesian youth and pledged allegiance to ‘One Nation, Indonesia, One Motherland, Indonesia, One Language, Bahasa Indonesia’.

  (30)

Indonesian Periods and Historical Records

Gambar 9.

  (12) The Board Commerce and Industry of the Dutch East Indies published the Native Batik Industry. Some German synthetic dyestuffs first produced in the years 1920 to 1928 come into use in Jakarta and Pekalongan. e.g. for red color (aniline of Beta-hydroxy naphthoic acid, which applicable in cold water), for basic yellow (Auramine-O, Ciba Ltd., Basle), form brown (a benzidine dyestuffs, called soga-soga which developed with diazo compounds).

  (10) In Palembang, was cultivated the mulberry trees for Bombix mori foods (silk coccon ), it was also in Sulawesi. Typical silk cloth colors are red, green, blue and other bright colors. Silver and gold threads was utilized throught the supplementary weft technique, which raises the metallic threads to the surface of the cloth with design of geometric and stylized floral meanders.

  There was a barter trade which were Indonesian cotton cloth and Chinese silk. Silk patola cloth (may from India) also present in the era (Javanese and Sumatrans called as ‘cindai’).

  (25) Chinese source of the Ling and T’ang dynasties: the people of Java and North Coast of Sumatera wore cotton in use in Sumatera as early as the 6th century. There are 3 species of Gossypium, i.e. G. herbaceum (the most common), G. obtusifolium (in Southern Sumatera, cultivated by the Dutch), and G. brasiliense (Malay Peninsula, cultivated by the British).

  (21) T h e n e w m u s e u m b u i l d i n g (presently National Museum) was opened in Jalan Merdeka Barat 12, Jakarta.

  Secang-wood and mengkudu were in common use by using mineral alum (Javanese called it as tawas) and plant alum (probably Jirek). However, the plant alum was considered the older mordant than the mineral alum. [The raw materials were treated with oil (castor) and lye (ash from burning rice stalks, or trunks of various trees of banana) that dyes from Morinda mixed with Jirek, Symplocos fasciculata Zoll.] Sugar, indigo, and coffee from Java and Sumatera were exported to Europe.

  (Negara Merdeka, Modern)

  (33) REPUBLIC OF INDONESIA,

  The Institute was presented to the Indonesian Government which then is administered under Ministry of Education and Culture. The institution was also changed its name into Central Museum that become the National Museum to the present time.

  (8) SRIWIJAYA (Sumatera Selatan, Hindu) The Sung dynasty mentions that cotton goods from Java were used as princely presents.

  (18) (13) MADJAPAHIT

  (31) Indonesia proclaimed the Independence and established Unity State of the Republic of Indonesia covering the territory of the former Netherlands East Indies.

  Because in this period of national awakening was heralded by ‘Boedi Oetomo’, the organization founded on May 20. Its ultimate aim was the establishment of an Independent Indonesian State.

  King Hayam Wuruk who succeeded in reuniting the Indonesian Archipelago was among the re-owned rulers of that period of Hindu Kingdoms. The same period saw the building of the Borobudur Buddist sanctuary under the Çailendra dynasty in Central Java and Prambanan Hindu temple by King Daksa.

  (28) (27) Artificial Indigo and Alizarin were firstly used by Javanese.

  (24) (26) Gunung krakatau (a volcano name in the Java Sea, close to Banten District) eruption also sent a plenty of minerals.

  In the colonialism era the Fierce battles broke out everywhere led by brave patriots, like as Prince Diponegoro (1825-1830) in Central Java.

  (19) Indian cotton (from Madapolam and Calicut) have been supplanted by European fabrics.

  (22) The Batavian (presently Jakarta) Society for the Arts and Sciences was founded in Jakarta on April 24, 1778.

  (20) Gunung Merapi (a volcano name in Central Java) eruption sent a plenty of minerals, i.e. mineral alum.

  (23) Sultan Agung introduced the Islamic-Javanese calendar and was patron of the Arts and Crafts.

  Kekuasaan, JAYAKARTA Governor General Jan Peterzon Coen succeeded in gaining the authority over Jayakarta, which was renamed ‘Batavia’. That time was beginning of the colonialism by the Dutch .

  (9)

  The Dutch established the Netherlands East Indies Company (VOC).

  (16) The Dutch settled in Bantam (Banten), West Java.

  (14) (15) MATARAM II (Jawa Tengah, Islam)

  P o r t u e g e s e w a s t h e f i r s t European to set foot in Indonesia.

  (17) Kolonialisasi, Jatuhnya