title: Batik

text: Based on the contents of the Sundanese Manuscript, Sundanese people have known about "Batik" since the 12th century. Based on ancient Sundanese manuscript "Sanghyang Siksa Kandang Karesian" written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step.


title: Batik

text: Rouffaer reported that the "gringsing" pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the "canting", an etching tool that holds a small reservoir of hot wax invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese or batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the "canting" existed in 13th-century Java or even earlier. By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands, Siam, even as far as Mosul.


title: Batik

text: In Europe, the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.


title: Batik

text: The Dutch Indo Europeans and Chinese settlers were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the (copper block stamps) to mass-produce batiks. Between 1811 and 1946, there was a breed of batik known as Batik Belanda. Which was basically a batik industry ran by the Indo Europeans in the East Indies. The patterns and styles reflected European style and taste with a fusion of local indigenous culture. It was quite successful, as such several prominent batik ateliers appeared and was exported to Singapore, and the Netherlands. The industry itself collapsed after WW II and the Indonesian independence.


title: Batik

text: In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.


title: Batik

text: In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English merchants and batik makers. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. Locally it is known as African wax prints or Dutch wax prints. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.


title: Batik

text: In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.


title: Batik

text: Initially, batik making techniques only used "written batik" ("batik tulis") techniques. This "batik tulis" is known as the original batik from generation to generation from the Indonesian nation's ancestors because the process and workmanship are still very traditional and manual. Then the technique developed with the discovery of the stamped batik ("batik cap") technique which made batik work faster. The "batik tulis" and "batik cap" techniques are recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia because it still uses waxes in the making process.


title: Batik

text: Written batik or "batik tulis" (Javanese script: ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon: باتيق توليس) is made by writing wax liquid on the surface of the cloth with a tool called "canting". "Canting" made of copper with a handle made of bamboo or wood. The making of hand-written batik takes approximately 1–3 months depending on the complexity and detail of batik. Because the working techniques are still traditional and manual, making hand-written batik takes longer and is more complicated than other batik techniques. In addition, the fundamental difference between written batik compared to other batik is that there are differences in each pattern, for example, a number of points or curved lines that are not the same because they are made manually. This characteristic of hand-written batik makes hand-written batik more valuable and unique compared to other batiks.


title: Batik

text: Written batik technique is the most complicated, smooth, and longest process to work with, so a piece of original "batik tulis" cloth is usually sold at a higher price. However, this is the advantage of batik with the written process, which is more exclusive because it is purely handmade. In Indonesia, premium hand-written batik clothes are usually only worn by certain people at special events, in the form of long-sleeved shirts or modern batik dresses. The batik motif in Indonesia has developed depending on its history and place of origin.


title: Batik

text: Stamped batik or "batik cap" (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a stamp tool. This stamp tool is made of copper plates which form a batik motif on one of its surfaces. Stamp tool or "canting cap" is made by people who are experts in that field. Making batik with "cap" works the same way as using a stamp, but using waxes, not ink. This experience process is not easy to do. To make one piece of batik cloth, the process of deepening is carried out several times depending on the number of colors desired. "Cap" is used to replacing the "canting" function so that it can shorten the manufacturing time. "Batik cap" is produced from the process of dyeing a tool made of copper which has been shaped in such a way on the cloth. The "batik cap" motif is considered to have less artistic value because all the motifs are exactly the same. The price of printed batik is cheaper than written batik because it can be made en masse.


title: Batik

text: The distinctive feature of "batik cap" can be seen from the repeating pattern and/or ornament motif. Historically, this "batik cap" process was discovered and popularized by the brethren as a solution to the limited capacity of batik production if it was only processed with hand-written techniques ("batik tulis"). The process of making this type of batik takes approximately 2–3 days. The advantages of "batik cap" are easier, faster batik processing, and the most striking of which is the more neat and repetitive motifs. While the drawbacks of "batik cap" include the mainstream design because it usually goes into mass production, in terms of art it looks stiffer and the motifs are not too detailed, and what is certain is the possibility of having the same batik as other people is greater.


title: Batik

text: Painted batik, batik painting, or "batik lukis" (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or a combined medium like "canting", brush, banana stalk, broomsticks, cotton, toothpicks, patchwork, or other media depending on the expression of a painter. Batik painting is the result of the development of batik art. The essence of batik painting is the process of making batik that does not use traditional motifs that are commonly found. The resulting motifs are the creation of the maker, usually producing contemporary (free) motifs or patterns with brighter, more striking colors, and more diverse color variations. The coloring in painted batik tends to be free and plays with many colors that are not often found in written batik ("batik tulis"). There are also gradation effects and other painting effects. The drawings are made as if painted batik is an ordinary painting poured on cloth using wax as the medium.


title: Batik

text: In principle, painted batik is almost the same way with written batik in the making process. Because of the development of classic written batik, painted batik still contains the same elements as written batik in the aspects of materials, processing, coloring, and highlighting (removing the wax). But there are also many differences due to the influence of modern painting, such as in terms of appearance, especially in motifs and colors. The most important thing in making painted batik is the combination of the batik work and coloring depending on the taste of the batik maker. Painted batik is popular because it has a very affordable price and a very creative manufacturing process. Painted batik can be used as decoration or ready-to-wear clothing (fashion). Painted batik which has human objects, landscapes, still objects, and other objects, are in high demand for display paintings.


title: Batik

text: The making of Indonesian batik is a labor-intensive process. The following are the stages in the process of making the original "batik tulis" cloth from the first steps to the last process: "nyungging", "njaplak", "nglowong", "ngiseni", "nyolet", "mopok", "nembok", "ngelir", "nembok", the first "nglorod", "ngrentesi", "nyumri", "nyoja", and the second "nglorod".


title: Batik

text: Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a "canting" (, sometimes spelled with old Dutch orthography "tjanting") is the most common. A "canting" is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. Alternatively, a copper block stamp called a "cap" (; old spelling "tjap") is used to cover large areas more efficiently.


title: Batik

text: After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colours desired.


title: Batik

text: The most traditional type of batik, called written batik ("batik tulis"), is drawn using only the "canting". The cloth needs to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik ("batik cap").


title: Batik

text: Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons. Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified.


title: Batik

text: Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese "naloni mitoni" ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the "tedak siten" ceremony when a child touches the earth for the first time. Specific pattern requirement are often reserved for traditional and ceremonial contexts.


title: Batik

text: Batik is the traditional costume of the royal and aristocratic families in Java for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace. The motifs of the "Parang Rusak", "semen gedhe", "kawung", and "udan riris" are the batik motifs used by the aristocrats and courtiers in "garebeg" ceremonies, "pasowanan", and welcoming honor guests. During the colonial era, Javanese courts issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved several patterns such as the "Parang Rusak" and "Semen Agung" for members of the Yogyakartan royalties and restricted commoners from wearing them.


title: Batik

text: Batik is used for traditional dance performances in Java. Costume is one of the main things in presenting traditional Javanese dance. Kemben is a piece of cloth worn from the chest to the waist. Tapih is used to fasten the jarit of the dancers, it is decorated with a distinctive batik motif, and fastened with a stagen belt. Sampur is used by wrapping them around the dancer's body. This cloth is also known as Kancrik Prade which is usually dominated by yellow or red. Jarit is a subordinate, uses a long batik cloth. Some examples of Javanese dances include Bedhaya, Srimpi, Golek, Beksan, wayang wong, gambyong, and so on.


title: Batik

text: In Javanese tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a "mitoni" ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths.


title: Batik

text: The batik used has rules and is not just any batik. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality.


title: Batik

text: Prospective mothers must alternate wearing 6 batik cloths and 1 striated batik cloth. This batik substitution has a rule, that the last batik to be worn is the one with a simple motif. The motif rulers include:


title: Batik

text: Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families.


title: Batik

text: Such as the "truntum" motif (flower motif in the shape of the sun) is used for "midodareni" ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the "panggih" ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The "truntum" motif means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends.


title: Batik

text: Some of the batik motifs that can be used for weddings are the "grompol" motif (hopefully the bride and groom will get a blessing and a bright future), "Sidho asih" motif (hopefully that the bride and groom will love each other), "Sidho luhur" motif (hopefully that the bride will have a noble and praiseworthy character), and "ceker ayam" motif (hopefully the bride and groom have the spirit of being married and given prosperity).


title: Batik

text: In Javanese society batik cloth is also used for death ceremonies, namely as a cover for the body or what is known as the "lurub layon" ceremony. The batik motif that symbolizes grief is the "slobok" motif. This batik motif symbolizes the hope that spirits will find it easy and smooth on their way to God. The word "slobog" is taken from the Javanese word "lobok", which means loose. This motif is a geometric triangular shape that is usually black and white. The basic color of this batik is often black or brown with a natural dye which is often called "soga".


title: Batik

text: In Madurese society, one of the batik motifs used for the cloth covering the corpse from generation to generation is the "biren rice tompah" motif. This "biren" leaf motif is filled with spilled rice using natural dyes. The washing also uses natural ingredients, squeezed papaya leaves.


title: Batik

text: Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Besides that, now batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to various designs of batik clothes that are very elegant and meet the demands of a modern lifestyle.


title: Batik

text: In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. The day, 2 October 2009 has been stated by Indonesian government as National Batik Day, as also at the time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by the Indonesian Ministry of Research and Technology.


title: Batik

text: Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.


title: Batik

text: The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a "kebaya" dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is also believed the motif made the batik famous.


title: Batik

text: The Batik kawung motif originated in the city of Yogyakarta and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to also be a representation of a lotus flower with four blooming crown petals, representing purity. The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of "sedulur papat lima pancer." As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The color scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whomever uses this motif will have a positive influence on the environment. Furthermore, the kawung batik motif is seen as a sign of power and justice. Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family. Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public.


title: Batik

text: The word "" comes from the word coral or rock. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. The parang motif's oblique construction is also a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. The size of the parang motif also represents the wearer's position in the royal family's hierarchy. The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. In general, the motif is meant to represent a person's strong will and determination. It also represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties. Since members of the royal family are the only ones who may wear the parang motif, the parang batik is often passed down among generations.


title: Batik

text: The pattern has become a symbol of the city of its origin, Cirebon, due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven color gradations. The motif's name means "the sky will rain", and the motif's seven color gradations are supposed to represent the seven layers of the sky. The term mendung, which means "cloudy", is used in the pattern's name to represent patience. This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should also be consistent, as the direction must be horizontal rather than vertical. The clouds must also be flat, as the cloud's purpose is to shield those beneath it from the scorching sun. As a result, the mega mendung design communicates that leaders must protect their people.


title: Batik

text: This pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. However, the embellishments on these motifs sometimes include brilliantly colored ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.


title: Batik

text: The pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion. The parents of the bride and groom usually use this motif on the wedding day. The hope is that the bride and groom would experience such steadfast love.


title: Batik

text: As the coloring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colors of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colors to represent the human nature: black, red, yellow, white, and green are the five colors. The color black is used to represent worldliness, while red represents anger, yellow represents desire, and white represents righteousness. Brown, on the other hand, is a hue associated with solemnity and the distinctiveness of the Javanese culture, which places a strong emphasis on the inner self as a means of expression and impression. Furthermore, the color brown can be viewed as a symbol of modesty and humility, signifying a closeness to nature, which in turn implies a connection to the people.


title: Batik

text: Lasem batik is a form of coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'. This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the color red in batik. As a result, the Lasem patterns and colors have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation.


title: Batik

text: The batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. On Sidomukti batik cloth, the color of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of various ornaments with different meanings and philosophies. A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana ornament, also known as the throne ornament, is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is also envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise.


title: Batik

text: The batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java. Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future. Because the Sidomulyo and Sidolmukti batik motifs are essentially the same with the only difference being the minor color variations, the ornamentations and meanings of the two motifs are the same.


title: Batik

text: The motif has been popular since the 18th century. The name Sekar Jagad is derived from the words kaart, meaning map in Dutch, and Jagad, meaning means world in Javanese, as the pattern resembles a map when viewed from above. As a result, Batik Sekar Jagad is intended to depict the beauty and diversity of the world's various ethnic groups. There are also others who claim that the Sekar Jagad motif is derived from the Javanese words sekar (flower) and jagad (world), as the motif could also symbolize the beauty of the flowers that are spread all over the world. The existence of curving lines matching the shape of islands that are adjacent to each other is one of the features of the Sekar Jagad motif, making it look like a map. This motif is distinct in that it is irregularly patterned, as opposed to other batik motifs that have a repeating pattern. The Sekar Jagad motif itself is also characterized by the presence of isen-isen in the island shaped lines of the motif that contains various motifs such as kawung, truntum, slopes, flora and fauna and others.


title: Batik

text: Batik is traditionally sold in 2.25-metre lengths used for "kain panjang" or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.


title: Batik

text: Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the "pasung" motif, as well as diagonal floral motifs called "dhlorong", are commonly used for the head. However, "pasung" and "dhlorong" are occasionally found in the body. Other motifs such as "buketan" (flower bouquet) and birds are commonly used in either the head or the body.


title: Batik

text: As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into "batik pedalaman" (inland batik) or "batik pesisiran" (coastal batik). Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs.


title: Batik

text: Inland batik, "batik pedalaman" or "batik kraton" (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colour such as black, indigo, brown, and "sogan" (brown-yellow colour made from the tree "Peltophorum pterocarpum"), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. "Batik Solo" typically has "sogan" background and is preserved by the Susuhunan and Mangkunegaran Court. "Batik Jogja" typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.


title: Batik

text: Coastal batik or "batik pesisiran" is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.


title: Batik

text: A notable sub-type of coastal batik called "Jawa Hokokai" is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called "Jawa Hokokai". Common motifs of "Hokokai" includes Japanese cherry blossoms, butterflies, and chrysanthemums.


title: Batik

text: Another coastal batik called "tiga negeri" (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and "sogan" dyes respectively. As of 1980, batik "tiga negeri" was only produced in one city.


title: Batik

text: "Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik.


title: Batik

text: Sundanese or Parahyangan Batik is the term for batik from the Parahyangan region of West Java and Banten. Although Parahyangan batiks can use a wide range of colours, a preference for indigo is seen in some of its variants. Natural indigo dye made from "Indigofera" is among the oldest known dyes in Java, and its local name "tarum" has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Parahyangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.


title: Batik

text: Bantenese batik employs bright pastel colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified. It is said that tribal people used to wear it.


title: Batik

text: Baduy batik only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn as "iket", a type of Sundanese headress similar to Balinese "udeng", by Outer Baduy people of Lebak Regency, Banten.


title: Batik

text: Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.


title: Batik

text: The batik from Bengkulu, a city on west coast of Sumatra, is called "batik besurek", which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.


title: Batik

text: The Minangkabau people also produce batik called "batiak tanah liek" (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora.


title: Batik

text: Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and "ngaben" processions or religious and mythological creatures such as "barong", "kala" and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.


title: Batik

text: Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made "batik tulis", can show social status.


title: Batik

text: The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of Indonesia. With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.


title: Batik

text: After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.


title: Batik

text: Batik is popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style "kebaya" with "parang gondosuli" motifs.


title: Batik

text: Indonesia as the origin and paradise of batik has several museums that store various types of batik cloth that are hundreds of years old and a collection of equipment for batik that is still well preserved and maintained. Here are some museums in Indonesia that hold various types of batik collections:


title: Batik

text: Museum Batik Keraton Yogyakarta is located inside the Palace of Yogyakarta Sultanate, Yogyakarta. The museum which was inaugurated by Sultan Hamengku Buwono X on 31 October 2005 has thousands of batik collections. Some of batik collections here include "kawung", "semen", "gringsing", "nitik", "cuwiri", "parang", "barong", "grompol", and other motifs.


title: Batik

text: These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII to Sultan Hamengkubuwono X. The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Not only batik, visitors can also see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. Unlike other museums in the Yogyakarta Palace complex, the Batik Museum management does not allow visitors to bring in cameras. This is in order to protect the batik from being photographed by irresponsible people, to then imitate the motive. This museum is part of a tour package offered by the Yogyakarta Palace. Open every day from 08.00 to 13.30 WIB, on Fridays at 08.00–13.00 WIB, and closes at the palace ceremony day.


title: Batik

text: Museum Batik Yogyakarta is located at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta. This museum is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. This museum occupies an area of 400 m2 and is also used as the owner's residence. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia.


title: Batik

text: This museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and coloring materials, including wax. Its excellent collection consists of various batik fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen, as well as batik made in the 1700s. Yogyakarta Batik Museum also provides batik training for visitors who want to learn to make batik, which results can be taken home. The museum is open every Monday to Saturday at 09.00–15.00.


title: Batik

text: Museum Batik Pekalongan is located at Jalan Jetayu No.1, Pekalongan, Central Java. This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber, and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java, and batik from various regions in Nusantara such as from Sumatra, Kalimantan, Papua, and batik technique type fabrics from abroad.


title: Batik

text: Not only displaying batik collections, but Museum Batik Pekalongan is also a batik training center and a batik learning center. Students and general visitors can learn to make batik or do research on batik culture. The museum opens every day from 08.00 to 15.00.


title: Batik

text: Museum Batik Danar Hadi is located on Jalan Slamet Riyadi, Solo City (Surakarta), Central Java. The museum, which was founded in 1967, offers the best quality batik collections from various regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik (Kudus, Lasem, and Pekalongan), Sumatran batik, and various types of batik. This museum has a collection of batik cloth reaching 1000 pieces and has been recognized by MURI (Indonesian Record Museum) as the museum with the largest collection of batik. Visitors can see the process of making batik and can even take part in batik making workshop in person. Museum Batik Danar Hadi is open every day from 09:00 WIB in the morning to 16:30 WIB in the afternoon.


title: Batik

text: Museum Batik Indonesia which is located in Taman Mini Indonesia Indah (TMII), Cipayung, Jakarta is divided into six areas, namely the area of introduction, treasures, batik techniques, forms, and types of decoration, development of the batik world and the gallery of fame. Visitors can also enjoy the hundreds of batik motifs available in this place. The museum opens every day at 07.00 AM–10.00 PM.


title: Batik

text: Textile Museum (Jakarta) is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta. On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta. The initial collections collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1.914 collections.


title: Batik

text: The batik gallery is designed to showcase a number of ancient batik and batik developments (contemporary) from time to time. The batik gallery itself is the embryo of the National Batik Museum which is managed by the Indonesian Batik Foundation and the Jakarta Textile Museum. The museum opens on Tuesday–Sunday at 09.00–15.00.


title: Batik

text: The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay peninsula.


title: Batik

text: Dr. Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the "canting" for intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours also tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.


title: Batik

text: Indians are known to use resist-dyeing with cotton fabrics. Initially, wax and even rice starch were used for printing on fabrics. Until recently was made only for dresses and tailored garments, but modern is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.


title: Batik

text: Over the past century, making in Sri Lanka has become firmly established. The industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its factories.


title: Batik

text: is done by the ethnic people in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism; the patterns include the dragon, phoenix, and flowers.


title: Batik

text: The African wax prints (Dutch wax prints) was introduced during the colonial era, through Dutch's textile industry's effort to imitate the making process. The imitation was not successful in Europe, but experienced a strong reception in Africa instead. Nowadays is produced in many parts of Africa and it is worn by many Africans as one of the symbols of culture.


title: Batik

text: Nelson Mandela was a noted wearer of during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa, subsequently dubbed as a Madiba shirt based on Mandela's Xhosa clan name. There are many who claim the Madiba shirt's invention. But in fact, according to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt similar to Indonesian president Suharto's attire.


title: Human embryonic development

text: Human embryonic development, or human embryogenesis, is the development and formation of the human embryo. It is characterised by the processes of cell division and cellular differentiation of the embryo that occurs during the early stages of development. In biological terms, the development of the human body entails growth from a one-celled zygote to an adult human being. Fertilization occurs when the sperm cell successfully enters and fuses with an egg cell (ovum). The genetic material of the sperm and egg then combine to form the single cell zygote and the germinal stage of development commences.


title: Human embryonic development

text: Embryonic development in the human, covers the first eight weeks of development; at the beginning of the ninth week the embryo is termed a fetus.


title: Human embryonic development

text: Human embryology is the study of this development during the first eight weeks after fertilization. The normal period of gestation (pregnancy) is about nine months or 40 weeks.


title: Human embryonic development

text: The germinal stage refers to the time from fertilization through the development of the early embryo until implantation is completed in the uterus. The germinal stage takes around 10 days. During this stage, the zygote begins to divide, in a process called cleavage. A blastocyst is then formed and implants in the uterus. Embryogenesis continues with the next stage of gastrulation, when the three germ layers of the embryo form in a process called histogenesis, and the processes of neurulation and organogenesis follow.


title: Human embryonic development

text: In comparison to the embryo, the fetus has more recognizable external features and a more complete set of developing organs. The entire process of embryogenesis involves coordinated spatial and temporal changes in gene expression, cell growth and cellular differentiation. A nearly identical process occurs in other species, especially among chordates.


title: Human embryonic development

text: Fertilization takes place when the spermatozoon has successfully entered the ovum and the two sets of genetic material carried by the gametes fuse together, resulting in the zygote (a single diploid cell). This usually takes place in the ampulla of one of the fallopian tubes. The zygote contains the combined genetic material carried by both the male and female gametes which consists of the 23 chromosomes from the nucleus of the ovum and the 23 chromosomes from the nucleus of the sperm. The 46 chromosomes undergo changes prior to the mitotic division which leads to the formation of the embryo having two cells.


title: Human embryonic development

text: Successful fertilization is enabled by three processes, which also act as controls to ensure species-specificity. The first is that of chemotaxis which directs the movement of the sperm towards the ovum. Secondly, an adhesive compatibility between the sperm and the egg occurs. With the sperm adhered to the ovum, the third process of acrosomal reaction takes place; the front part of the spermatozoan head is capped by an acrosome which contains digestive enzymes to break down the zona pellucida and allow its entry. The entry of the sperm causes calcium to be released which blocks entry to other sperm cells. A parallel reaction takes place in the ovum called the zona reaction. This sees the release of cortical granules that release enzymes which digest sperm receptor proteins, thus preventing polyspermy. The granules also fuse with the plasma membrane and modify the zona pellucida in such a way as to prevent further sperm entry.


title: Human embryonic development

text: The beginning of the cleavage process is marked when the zygote divides through mitosis into two cells. This mitosis continues and the first two cells divide into four cells, then into eight cells and so on. Each division takes from 12 to 24 hours. The zygote is large compared to any other cell and undergoes cleavage without any overall increase in size. This means that with each successive subdivision, the ratio of nuclear to cytoplasmic material increases.


title: Human embryonic development

text: Initially, the dividing cells, called blastomeres ( Greek for sprout), are undifferentiated and aggregated into a sphere enclosed within the zona pellucida of the ovum. When eight blastomeres have formed, they start to compact. They begin to develop gap junctions, enabling them to develop in an integrated way and co-ordinate their response to physiological signals and environmental cues.


title: Human embryonic development

text: When the cells number around sixteen, the solid sphere of cells within the zona pellucida is referred to as a morula.


title: Human embryonic development

text: Cleavage itself is the first stage in blastulation, the process of forming the blastocyst. Cells differentiate into an outer layer of cells called the trophoblast, and an inner cell mass. With further compaction the individual outer blastomeres, the trophoblasts, become indistinguishable. They are still enclosed within the zona pellucida. This compaction serves to make the structure watertight, containing the fluid that the cells will later secrete. The inner mass of cells differentiate to become embryoblasts and polarise at one end. They close together and form gap junctions, which facilitate cellular communication. This polarisation leaves a cavity, the blastocoel, creating a structure that is now termed the blastocyst. (In animals other than mammals, this is called the blastula). The trophoblasts secrete fluid into the blastocoel. The resulting increase in size of the blastocyst causes it to hatch through the zona pellucida, which then disintegrates. This process is called zona hatching and it takes place on the sixth day of embryo development, immediately before the implantation process. The hatching of the human embryo is supported by proteases secreted by the cells of the blastocyst, which digest proteins of the zona pellucida, giving rise to a hole. Then, due to the rhythmic expansion and contractions of the blastocyst, an increase of the pressure inside the blastocyst itself occurs, the hole expands and finally the blastocyst can emerge from this rigid envelope.


title: Human embryonic development

text: The inner cell mass will give rise to the pre-embryo, the amnion, yolk sac and allantois, while the fetal part of the placenta will form from the outer trophoblast layer. The embryo plus its membranes is called the conceptus, and by this stage the conceptus has reached the uterus. The zona pellucida ultimately disappears completely, and the now exposed cells of the trophoblast allow the blastocyst to attach itself to the endometrium, where it will implant.


title: Human embryonic development

text: The formation of the hypoblast and epiblast, which are the two main layers of the bilaminar germ disc, occurs at the beginning of the second week. Both the embryoblast and the trophoblast will turn into two sub-layers. The inner cells will turn into the hypoblast layer, which will surround the other layer, called the epiblast, and these layers will form the embryonic disc that will develop into the embryo. The trophoblast will also develop two sub-layers: the cytotrophoblast, which is in front of the syncytiotrophoblast, which in turn lies within the endometrium. Next, another layer called the exocoelomic membrane or Heuser's membrane will appear and surround the cytotrophoblast, as well as the primitive yolk sac. The syncytiotrophoblast will grow and will enter a phase called lacunar stage, in which some vacuoles will appear and be filled by blood in the following days. The development of the yolk sac starts with the hypoblastic flat cells that form the exocoelomic membrane, which will coat the inner part of the cytotrophoblast to form the primitive yolk sac. An erosion of the endothelial lining of the maternal capillaries by the syncytiotrophoblastic cells results in the formation of the maternal sinusoids from where the blood will begin to penetrate and flow into and through the trophoblastic lacunae to give rise to the uteroplacental circulation. Subsequently, new cells derived from yolk sac will be established between trophoblast and exocoelomic membrane and will give rise to extra-embryonic mesoderm, which will form the chorionic cavity.


title: Human embryonic development

text: At the end of the second week of development, some cells of the trophoblast penetrate and form rounded columns into the syncytiotrophoblast. These columns are known as primary villi. At the same time, other migrating cells form into the exocoelomic cavity a new cavity named the secondary or definitive yolk sac, smaller than the primitive yolk sac.


title: Human embryonic development

text: After ovulation, the endometrial lining becomes transformed into a secretory lining in preparation of accepting the embryo. It becomes thickened, with its secretory glands becoming elongated, and is increasingly vascular. This lining of the uterine cavity (or womb) is now known as the decidua, and it produces a great number of large decidual cells in its increased interglandular tissue. The blastomeres in the blastocyst are arranged into an outer layer called the trophoblast. The trophoblast then differentiates into an inner layer, the cytotrophoblast, and an outer layer, the syncytiotrophoblast. The cytotrophoblast contains cuboidal epithelial cells and is the source of dividing cells, and the syncytiotrophoblast is a syncytial layer without cell boundaries.


title: Human embryonic development

text: The syncytiotrophoblast implants the blastocyst in the decidual epithelium by projections of chorionic villi, forming the embryonic part of the placenta. The placenta develops once the blastocyst is implanted, connecting the embryo to the uterine wall. The decidua here is termed the decidua basalis; it lies between the blastocyst and the myometrium and forms the maternal part of the placenta. The implantation is assisted by hydrolytic enzymes that erode the epithelium. The syncytiotrophoblast also produces human chorionic gonadotropin, a hormone that stimulates the release of progesterone from the corpus luteum. Progesterone enriches the uterus with a thick lining of blood vessels and capillaries so that it can oxygenate and sustain the developing embryo. The uterus liberates sugar from stored glycogen from its cells to nourish the embryo. The villi begin to branch and contain blood vessels of the embryo. Other villi, called terminal or free villi, exchange nutrients. The embryo is joined to the trophoblastic shell by a narrow connecting stalk that develops into the umbilical cord to attach the placenta to the embryo.


title: Human embryonic development

text: Arteries in the decidua are remodelled to increase the maternal blood flow into the intervillous spaces of the placenta, allowing gas exchange and the transfer of nutrients to the embryo. Waste products from the embryo will diffuse across the placenta.


title: Human embryonic development

text: As the syncytiotrophoblast starts to penetrate the uterine wall, the inner cell mass (embryoblast) also develops. The inner cell mass is the source of embryonic stem cells, which are pluripotent and can develop into any one of the three germ layer cells, and which have the potency to give rise to all the tissues and organs.


title: Human embryonic development

text: The embryoblast forms an embryonic disc, which is a bilaminar disc of two layers, an upper layer called the epiblast (primitive ectoderm) and a lower layer called the hypoblast (primitive endoderm). The disc is stretched between what will become the amniotic cavity and the yolk sac. The epiblast is adjacent to the trophoblast and made of columnar cells; the hypoblast is closest to the blastocyst cavity and made of cuboidal cells. The epiblast migrates away from the trophoblast downwards, forming the amniotic cavity, the lining of which is formed from amnioblasts developed from the epiblast. The hypoblast is pushed down and forms the yolk sac (exocoelomic cavity) lining. Some hypoblast cells migrate along the inner cytotrophoblast lining of the blastocoel, secreting an extracellular matrix along the way. These hypoblast cells and extracellular matrix are called Heuser's membrane (or the exocoelomic membrane), and they cover the blastocoel to form the yolk sac (or exocoelomic cavity). Cells of the hypoblast migrate along the outer edges of this reticulum and form the extraembryonic mesoderm; this disrupts the extraembryonic reticulum. Soon pockets form in the reticulum, which ultimately coalesce to form the chorionic cavity (extraembryonic coelom).


title: Human embryonic development

text: The primitive streak, a linear collection of cells formed by the migrating epiblast, appears, and this marks the beginning of gastrulation, which takes place around the seventeenth day (week 3) after fertilization. The process of gastrulation reorganises the two-layer embryo into a three-layer embryo, and also gives the embryo its specific head-to-tail, and front-to-back orientation, by way of the primitive streak which establishes bilateral symmetry. A primitive node (or primitive knot) forms in front of the primitive streak which is the organiser of neurulation. A primitive pit forms as a depression in the centre of the primitive node which connects to the notochord which lies directly underneath. The node has arisen from epiblasts of the amniotic cavity floor, and it is this node that induces the formation of the neural plate which serves as the basis for the nervous system. The neural plate will form opposite the primitive streak from ectodermal tissue which thickens and flattens into the neural plate. The epiblast in that region moves down into the streak at the location of the primitive pit where the process called ingression, which leads to the formation of the mesoderm takes place. This ingression sees the cells from the epiblast move into the primitive streak in an epithelial-mesenchymal transition; epithelial cells become mesenchymal stem cells, multipotent stromal cells that can differentiate into various cell types. The hypoblast is pushed out of the way and goes on to form the amnion. The epiblast keeps moving and forms a second layer, the mesoderm. The epiblast has now differentiated into the three germ layers of the embryo, so that the bilaminar disc is now a trilaminar disc, the gastrula.


title: Human embryonic development

text: The three germ layers are the ectoderm, mesoderm and endoderm, and are formed as three overlapping flat discs. It is from these three layers that all the structures and organs of the body will be derived through the processes of somitogenesis, histogenesis and organogenesis. The embryonic endoderm is formed by invagination of epiblastic cells that migrate to the hypoblast, while the mesoderm is formed by the cells that develop between the epiblast and endoderm. In general, all germ layers will derive from the epiblast. The upper layer of ectoderm will give rise to the outermost layer of skin, central and peripheral nervous systems, eyes, inner ear, and many connective tissues. The middle layer of mesoderm will give rise to the heart and the beginning of the circulatory system as well as the bones, muscles and kidneys. The inner layer of endoderm will serve as the starting point for the development of the lungs, intestine, thyroid, pancreas and bladder.


title: Human embryonic development

text: Following ingression, a blastopore develops where the cells have ingressed, in one side of the embryo and it deepens to become the archenteron, the first formative stage of the gut. As in all deuterostomes, the blastopore becomes the anus whilst the gut tunnels through the embryo to the other side where the opening becomes the mouth. With a functioning digestive tube, gastrulation is now completed and the next stage of neurulation can begin.


title: Human embryonic development

text: Following gastrulation, the ectoderm gives rise to epithelial and neural tissue, and the gastrula is now referred to as the neurula. The neural plate that has formed as a thickened plate from the ectoderm, continues to broaden and its ends start to fold upwards as neural folds. Neurulation refers to this folding process whereby the neural plate is transformed into the neural tube, and this takes place during the fourth week. They fold, along a shallow neural groove which has formed as a dividing median line in the neural plate. This deepens as the folds continue to gain height, when they will meet and close together at the neural crest. The cells that migrate through the most cranial part of the primitive line form the paraxial mesoderm, which will give rise to the somitomeres that in the process of somitogenesis will differentiate into somites that will form the sclerotomes, the syndetomes, the myotomes and the dermatomes to form cartilage and bone, tendons, dermis (skin), and muscle. The intermediate mesoderm gives rise to the urogenital tract and consists of cells that migrate from the middle region of the primitive line. Other cells migrate through the caudal part of the primitive line and form the lateral mesoderm, and those cells migrating by the most caudal part contribute to the extraembryonic mesoderm.


title: Human embryonic development

text: The embryonic disc begins flat and round, but eventually elongates to have a wider cephalic part and narrow-shaped caudal end. At the beginning, the primitive line extends in cephalic direction and 18 days after fertilization returns caudally until it disappears. In the cephalic portion, the germ layer shows specific differentiation at the beginning of the fourth week, while in the caudal portion it occurs at the end of the fourth week. Cranial and caudal neuropores become progressively smaller until they close completely (by day 26) forming the neural tube.


title: Human embryonic development

text: Organogenesis is the development of the organs that begins during the third to eighth week, and continues until birth. Sometimes full development, as in the lungs, continues after birth. Different organs take part in the development of the many organ systems of the body.


title: Human embryonic development

text: Haematopoietic stem cells that give rise to all the blood cells develop from the mesoderm. The development of blood formation takes place in clusters of blood cells, known as blood islands, in the yolk sac. Blood islands develop outside the embryo, on the umbilical vesicle, allantois, connecting stalk, and chorion, from mesodermal hemangioblasts.


title: Human embryonic development

text: In the centre of a blood island, hemangioblasts form the haematopoietic stem cells that are the precursor to all types of blood cell. In the periphery of a blood island the hemangioblasts differentiate into angioblasts, the precursors to the blood vessels.


title: Human embryonic development

text: The heart is the first functional organ to develop and starts to beat and pump blood at around 22 days. Cardiac myoblasts and blood islands in the splanchnopleuric mesenchyme on each side of the neural plate, give rise to the cardiogenic region.This is a horseshoe-shaped area near to the head of the embryo. By day 19, following cell signalling, two strands begin to form as tubes in this region, as a lumen develops within them. These two endocardial tubes grow and by day 21 have migrated towards each other and fused to form a single primitive heart tube, the tubular heart. This is enabled by the folding of the embryo which pushes the tubes into the thoracic cavity.


title: Human embryonic development

text: Also at the same time that the endocardial tubes are forming, vasculogenesis (the development of the circulatory system) has begun. This starts on day 18 with cells in the splanchnopleuric mesoderm differentiating into angioblasts that develop into flattened endothelial cells. These join to form small vesicles called angiocysts which join up to form long vessels called angioblastic cords. These cords develop into a pervasive network of plexuses in the formation of the vascular network. This network grows by the additional budding and sprouting of new vessels in the process of angiogenesis. Following vasculogenesis and the development of an early vasculature, a stage of vascular remodelling takes place.


title: Human embryonic development

text: The tubular heart quickly forms five distinct regions. From head to tail, these are the infundibulum, bulbus cordis, primitive ventricle, primitive atrium, and the sinus venosus. Initially, all venous blood flows into the sinus venosus, and is propelled from tail to head to the truncus arteriosus. This will divide to form the aorta and pulmonary artery; the bulbus cordis will develop into the right (primitive) ventricle; the primitive ventricle will form the left ventricle; the primitive atrium will become the front parts of the left and right atria and their appendages, and the sinus venosus will develop into the posterior part of the right atrium, the sinoatrial node and the coronary sinus.


title: Human embryonic development

text: Cardiac looping begins to shape the heart as one of the processes of morphogenesis, and this completes by the end of the fourth week. Programmed cell death (apoptosis) at the joining surfaces enables fusion to take place.


title: Human embryonic development

text: In the middle of the fourth week, the sinus venosus receives blood from the three major veins: the vitelline, the umbilical and the common cardinal veins.


title: Human embryonic development

text: During the first two months of development, the interatrial septum begins to form. This septum divides the primitive atrium into a right and a left atrium. Firstly it starts as a crescent-shaped piece of tissue which grows downwards as the septum primum. The crescent shape prevents the complete closure of the atria allowing blood to be shunted from the right to the left atrium through the opening known as the ostium primum. This closes with further development of the system but before it does, a second opening (the ostium secundum) begins to form in the upper atrium enabling the continued shunting of blood.


title: Human embryonic development

text: A second septum (the septum secundum) begins to form to the right of the septum primum. This also leaves a small opening, the foramen ovale which is continuous with the previous opening of the ostium secundum. The septum primum is reduced to a small flap that acts as the valve of the foramen ovale and this remains until its closure at birth. Between the ventricles the septum inferius also forms which develops into the muscular interventricular septum.


title: Human embryonic development

text: The digestive system starts to develop from the third week and by the twelfth week, the organs have correctly positioned themselves.


title: Human embryonic development

text: The respiratory system develops from the lung bud, which appears in the ventral wall of the foregut about four weeks into development. The lung bud forms the trachea and two lateral growths known as the bronchial buds, which enlarge at the beginning of the fifth week to form the left and right main bronchi. These bronchi in turn form secondary (lobar) bronchi; three on the right and two on the left (reflecting the number of lung lobes). Tertiary bronchi form from secondary bronchi.


title: Human embryonic development

text: While the internal lining of the larynx originates from the lung bud, its cartilages and muscles originate from the fourth and sixth pharyngeal arches.


title: Human embryonic development

text: Three different kidney systems form in the developing embryo: the pronephros, the mesonephros and the metanephros. Only the metanephros develops into the permanent kidney. All three are derived from the intermediate mesoderm.


title: Human embryonic development

text: The pronephros derives from the intermediate mesoderm in the cervical region. It is not functional and degenerates before the end of the fourth week.


title: Human embryonic development

text: The mesonephros derives from intermediate mesoderm in the upper thoracic to upper lumbar segments. Excretory tubules are formed and enter the mesonephric duct, which ends in the cloaca. The mesonephric duct atrophies in females, but participate in development of the reproductive system in males.


title: Human embryonic development

text: The metanephros appears in the fifth week of development. An outgrowth of the mesonephric duct, the ureteric bud, penetrates metanephric tissue to form the primitive renal pelvis, renal calyces and renal pyramids. The ureter is also formed.


title: Human embryonic development

text: Between the fourth and seventh weeks of development, the urorectal septum divides the cloaca into the urogenital sinus and the anal canal. The upper part of the urogenital sinus forms the bladder, while the lower part forms the urethra.


title: Human embryonic development

text: The superficial layer of the skin, the epidermis, is derived from the ectoderm. The deeper layer, the dermis, is derived from mesenchyme.


title: Human embryonic development

text: The formation of the epidermis begins in the second month of development and it acquires its definitive arrangement at the end of the fourth month. The ectoderm divides to form a flat layer of cells on the surface known as the periderm. Further division forms the individual layers of the epidermis.


title: Human embryonic development

text: Late in the fourth week, the superior part of the neural tube bends ventrally as the cephalic flexure at the level of the future midbrain—the mesencephalon. Above the mesencephalon is the prosencephalon (future forebrain) and beneath it is the rhombencephalon (future hindbrain).


title: Human embryonic development

text: Cranial neural crest cells migrate to the pharyngeal arches as neural stem cells, where they develop in the process of neurogenesis into neurons.


title: Human embryonic development

text: The optical vesicle (which eventually becomes the optic nerve, retina and iris) forms at the basal plate of the prosencephalon. The alar plate of the prosencephalon expands to form the cerebral hemispheres (the telencephalon) whilst its basal plate becomes the diencephalon. Finally, the optic vesicle grows to form an optic outgrowth.


title: Human embryonic development

text: At about 22 days into development, the ectoderm on each side of the rhombencephalon thickens to form otic placodes. These placodes invaginate to form otic pits, and then otic vesicles. The otic vesicles then form ventral and dorsal components.


title: Human embryonic development

text: The ventral component forms the saccule and the cochlear duct. In the sixth week of development the cochlear duct emerges and penetrates the surrounding mesenchyme, travelling in a spiral shape until it forms 2.5 turns by the end of the eighth week. The saccule is the remaining part of the ventral component. It remains connected to the cochlear duct via the narrow ductus reuniens.


title: Human embryonic development

text: The tympanic cavity and eustachian tube are derived from the first pharyngeal pouch (a cavity lined by endoderm). The distal part of the cleft, the tubotympanic recess, widens to create the tympanic cavity. The proximal part of the cleft remains narrow and creates the eustachian tube.


title: Human embryonic development

text: The bones of the middle ear, the ossicles, derive from the cartilages of the pharyngeal arches. The malleus and incus derive from the cartilage of the first pharyngeal arch, whereas the stapes derives from the cartilage of the second pharyngeal arch.


title: Human embryonic development

text: The external auditory meatus develops from the dorsal portion of the first pharyngeal cleft. Six auricular hillocks, which are mesenchymal proliferations at the dorsal aspects of the first and second pharyngeal arches, form the auricle of the ear.


title: Human embryonic development

text: At the end of the fourth week limb development begins. Limb buds appear on the ventrolateral aspect of the body. They consist of an outer layer of ectoderm and an inner part consisting of mesenchyme which is derived from the parietal layer of lateral plate mesoderm. Ectodermal cells at the distal end of the buds form the apical ectodermal ridge, which creates an area of rapidly proliferating mesenchymal cells known as the progress zone. Cartilage (some of which ultimately becomes bone) and muscle develop from the mesenchyme.


title: Human embryonic development

text: Toxic exposures in the embryonic period can be the cause of major congenital malformations, since the precursors of the major organ systems are now developing.


title: Human embryonic development

text: Each cell of the preimplantation embryo has the potential to form all of the different cell types in the developing embryo. This cell potency means that some cells can be removed from the preimplantation embryo and the remaining cells will compensate for their absence. This has allowed the development of a technique known as preimplantation genetic diagnosis, whereby a small number of cells from the preimplantation embryo created by IVF, can be removed by biopsy and subjected to genetic diagnosis. This allows embryos that are not affected by defined genetic diseases to be selected and then transferred to the mother's uterus.


title: Human embryonic development

text: Sacrococcygeal teratomas, tumours formed from different types of tissue, that can form, are thought to be related to primitive streak remnants, which ordinarily disappear.


title: Human embryonic development

text: First arch syndromes are congenital disorders of facial deformities, caused by the failure of neural crest cells to migrate to the first pharyngeal arch.


title: Human embryonic development

text: Vertically transmitted infections can be passed from the mother to the unborn child at any stage of its development.


title: Human embryonic development

text: Hypoxia a condition of inadequate oxygen supply can be a serious consequence of a preterm or premature birth.


title: Curious George

text: Curious George is a fictional monkey who is the title character of a series of popular children's picture books written by Margret and H. A. Rey. Various media, including films and TV shows, have been based upon the original book series.


title: Curious George

text: George is described as "a good little monkey, and always very curious". Despite being referred to as a monkey throughout the series, he is depicted without a tail. In the first book, George is caught by "The Man in the Yellow Hat" and taken from Africa to America where the two live together. George and the Man in the Yellow Hat become friends and are shown going on adventures together.


title: Curious George

text: George's first appearance was as a monkey named "Fifi" in the book "Cecily G. and the Nine Monkeys", which was first published in France during 1939 in the late years. The popularity of the character led the Reys to feature "George" in his own series.


title: Curious George

text: The original series was written by the husband-and-wife team of Hans Augusto (H. A.) Rey and Margret Rey. The Jewish couple fled Paris in June 1940, on self-made bicycles, carrying the "Curious George" manuscript with them. At first, only H. A. Rey was credited for the work in order to distinguish the Reys' books from the large number of children's books written by female authors. The first seven books were illustrated by H.A. Rey. Later, Alan J. Shalleck was credited for the illustrations and Hans Rey and Margret Rey for the writing. The Reys produced many other children's books, but the Curious George series was the most popular. Each book has been in continuous print since it was first published.


title: Curious George

text: Margret and H. A. Rey released seven "Curious George" books during H. A. Rey's lifetime. Recently, more Curious George books have been released by Houghton Mifflin Harcourt including board books with scenes from the original books, books adapted from the 1980s telefilm series, and new adventures.


title: Curious George

text: "Curious George" appeared in 1941. This book begins with George living in Africa and tells the story of his capture by the Man with the Yellow Hat, who takes him on a ship to "the big city" where he will live in a zoo. The second book, "Curious George Takes a Job" (1947), begins with George living in the zoo, from which he escapes and has several adventures before the Man with the Yellow Hat finds him and takes George to live at his house. The remaining five stories describe George's adventures while living at the house of the Man with the Yellow Hat. (Although the Man with the Yellow Hat is unnamed in both the original books and telefilm books, he receives his name in the Curious George TV series and is known as "Theodore Shackleford".)


title: Curious George

text: Sometimes dubbed the "Original Adventures," these original seven titles are completely by the series creators, Margret & H. A. Rey.


title: Curious George

text: Before appearing in his own series, Curious George appeared as a character in another children's book written and illustrated by H. A. Rey, "Cecily G. and the Nine Monkeys" (1939).


title: Curious George

text: A second series of books, based on the telefilm series, was edited by Margret & H.A. Rey and Alan J. Shalleck. These appeared between 1984 and 1993. They are mostly out of print, though several have been re-released with new cover art.


title: Curious George

text: A third series of books, the Curious George "New Adventures," began to appear in 1998, and continues to the present. These books are "illustrated in the style of H. A. Rey" by a variety of credited and uncredited artists including Mary O'Keefe Young, Martha Weston, Anna Grossnickle Hines, Michael Alan Jensen, and Vipah Interactive.


title: Curious George

text: Aside from George himself, the only recurring character in the original adventures is the Man with the Yellow Hat who is George's best friend. The Man often facilitates George's adventures by taking him somewhere, and even more often resolves the tension by intervening just in time to get George out of a tight spot. He is always seen wearing a bright yellow suit and a wide brimmed yellow hat. The Man is never mentioned by name in the original adventures or in any subsequent content over more than six decades.


title: Curious George

text: He is always referred to as "The Man" or fully "The Man with the Yellow Hat". But aside from those two names, he is unnamed in the original series and telefilm books. When people speak to George about the Man, they often refer to him as "Your friend". In H. A. Rey's book titled "See the Circus" published in 1946, "The Man with the Yellow Hat" was referred to as "Ted". Later, in "Curious George" (2006), the Man, who is voiced by Will Ferrell, is also referred to as "Ted" throughout the film, and his last name is revealed as being "Shackleford" in a deleted scene. In the TV series he is voiced by Jeff Bennett.


title: Curious George

text: A set of animated "Curious George" television films were produced from 1979 to 1982; they were first shown in the United States in 1984 on Nickelodeon. This series was produced and co-written by Alan Shalleck.


title: Curious George

text: The shorts were aired on The Disney Channel as a segment on the program "Lunch Box" starting in 1989.


title: Curious George

text: In 1993, Margret Rey successfully sued Lafferty, Harwood, and Partners, the Canadian company that funded the cartoons, for licensing VHS tapes to third-party companies without the Reys' permission. The Reys eventually won the dispute, forcing Lafferty, Harwood, and Partners to pay for all wrongdoing.


title: Curious George

text: A new "Curious George" series debuted on September 4, 2006, on PBS Kids as part of the PBS Kids Preschool Block. Although "Curious George" ended its original run on April 1, 2015, the series is still airing on PBS Kids in reruns. It was produced by the Boston affiliate WGBH, Imagine Entertainment, and Universal Animation Studios. A revival of the series was released on the streaming service Peacock on July 15, 2020.


title: Curious George

text: A 2017 film, "Monkey Business: The Adventures of Curious George's Creators", documents the lives of Hans and Margret Rey including their flight from France during the 1940 invasion by Germany, their life in the United States, and their creation of the "Curious George"' children's books.


title: Curious George

text: A minimal-animation 16 mm film called "Curious George Rides a Bike" was produced by Weston Woods Studios in 1958 and later released on DVD.


title: Curious George

text: In 1983, animator John Clark Matthews produced a 16mm stop-motion animated short called "Curious George Goes to the Hospital" based on the book of the same name. In 1984, they created another short, again based on the book of the same name. Produced by Churchill Films, the films were created with puppet-figures. Matthews later used a similar technique for his films of Frog and Toad.


title: Curious George

text: A computer/traditionally animated film, "Curious George", featuring Will Ferrell as the voice of the originally unnamed Man with the Yellow Hat, was released on February 10, 2006. In this film (in which The Man is referred to as "Ted"), Curious George secretly follows The Man onto the ship to the city on his own accord. Frank Welker provided the vocal effects of Curious George. Ron Howard serves as the film's producer.


title: Curious George

text: On March 2, 2010, a direct to video sequel to the film was released, titled "", which featured Jeff Bennett replacing Ferrell as the voice of the Man. Bennett also provides the Man's voice in the television series. The second direct to video sequel, "", was released on June 23, 2015. was released on September 10, 2019. was released on Peacock on September 20, 2020. A sixth film, finished development and was released on Peacock on September 30, 2021. A Christmas film, "", was released in 2009 on PBS. "Curious George Swings Into Spring" and "Curious George: A Halloween Boo Fest" were released in 2013. On Monday, August 6, it began to re-run on Cartoonito.


title: Curious George

text: A live action/computer animated film was in development at Illumination Entertainment in the beginning of the 2010s. In August 2016, it was reported that Andrew Adamson was in negotiations to direct, co-write, and executive produce the live action film for Universal Pictures, along with Ron Howard, Brian Grazer, David Kirschner, Jon Shapiro and Erica Huggins producing it.


title: Curious George

text: There is also a Curious George video game that was released on February 2, 2006, published by Namco and developed by Monkey Bar Games, a division of Vicious Cycle Software for Microsoft Windows, Xbox, GameCube, PlayStation 2, and Game Boy Advance. A version for the Nintendo DS was also planned, but was cancelled.


title: Curious George

text: A children's bookstore in Harvard Square, Cambridge, Massachusetts, was known as Curious George and Friends (formerly Curious George Goes To Wordsworth), and carried a considerable amount of licensed Curious George merchandise. It was the last remaining property of Wordsworth Books, a former local general interest bookstore that closed in the beginning of the 2000s. This store was closed in June 2011. A new store opened in 2012 at the same address, called The World's Only Curious George Store, Harvard Square, which closed permanently in 2021.


title: Curious George

text: VEE Corporation, the company behind Sesame Street Live, is mounting Curious George Live. It is a brand new national tour featuring song and dance and Curious George himself. It is based on the PBS animated series.


title: Curious George

text: Curious George is used as the theme for children's play areas and some of the children's entertainment on the Stena Line ferries. On some peak time sailings this includes a Curious George costumed character. Curious George merchandise is also provided with children's meals and is available to purchase in the on-board shop.


title: Curious George

text: A Curious George themed water play area, called Curious George Goes to Town, has been a minor attraction in Fievel's Playland at Universal Studios Florida since 1998. This attraction is temporarily closed due to the COVID-19 pandemic. The attraction also featured at Universal Studios Hollywood until its removal in 2013.


title: Curious George

text: In February 2006, the Curious George brand joined with Welch's jelly for a collectible of six jars. In the latter part of that decade (when the new film and the new television show were released), licensing deals for the character generally involved less upscale, more kid-focused products. Earlier, Vivendi Universal (now NBCUniversal) had, for a short time, embraced the use of the character in a series of 2001 adverts for the company (but the character never officially became a corporate mascot).


title: Curious George

text: In the film "Forrest Gump" of 1994, one edition of Curious George (one with a yellow cover but no other title than Curious George) is used as Forrest's favorite book, which his mother reads to him. In the opening scene a feather comes floating down to Forrest's feet and he stores it in this book. At the end of the film it falls out of the book and rises floating through the air again.


title: Curious George

text: Jarrod, the titular character and protagonist from the NBC series "The Pretender", read Curious George books in Season One and developed a fascination with them. He likened himself to George and Sydney Green, the psychiatrist whom he saw as a surrogate father, to the Man with the Yellow Hat.


title: Curious George

text: The books have inspired others, for example "Bangkok Bob", written for and published by Big Brother Mouse, a Lao publishing project.


title: Hans Island

text: Hans Island (Inuktitut and , ; Inuktitut syllabics: ; ; ) is an island in the very centre of the Kennedy Channel of Nares Strait in the high Arctic region, split between the Canadian territory of Nunavut and the Danish autonomous country of Greenland. The island itself is barren and uninhabited with an area of , measuring , and a maximum elevation of . Its location in the strait that separates Ellesmere Island of Canada from northern Greenland was for years a border dispute, the so-called Whisky War between the two countries of Canada and Denmark. Hans Island is the smallest of three islands in Kennedy Channel off the Washington Land coast; the others are Franklin Island and Crozier Island. The strait at this point is wide, placing the island within the territorial waters of both Canada and Denmark (Greenland). A border traverses the island.


title: Hans Island

text: The island has likely been part of Inuit hunting grounds since the 14th century. It was claimed by both Canada and Denmark until 14 June 2022, when both countries agreed to split the disputed island roughly in half. In accordance with the Greenland home rule treaty, Denmark handles certain foreign affairs, such as border disputes, on behalf of the entire Danish Realm. The nearest populated places are Alert, Canada (, pop. 62); Siorapaluk, Greenland (, pop. 68); and Qaanaaq, Greenland (, pop. 656).


title: Hans Island

text: As determined by field investigations and the interpretation of satellite image maps and monochrome stereoscopic air photographs, the exposed portion of Hans Island consists of of Silurian limestone. From its summit to sea level, it consists of an upper thick yellowish brown to grey megalodont bivalve and stromatoporoid limestone; a thick pale yellowish brown to pale grey marker bed; and a thick yellowish brown to brownish grey weathering, locally cliff-forming, coral, megalodont bivalve and stromatoporoid limestone. These strata are assigned to the uppermost carbonate buildup facies of the Allen Bay Formation of Canada and part of the Kap Morton Formation of Washington Land, Greenland.


title: Hans Island

text: The limestone of Hans Island are underlain by Lower Cambrian to middle Silurian strata that are at least thick. These sedimentary strata underlying Washington Land, Hans Island and most of subsurface Kennedy Channel are undeformed with a northwesterly dip of 1 to 3 degrees. They contain source rocks that may have been heated enough to have generated significant amounts of oil and gas. However, these strata lack the geological structures and facies changes capable of trapping these hydrocarbons and forming commercial-size petroleum reservoirs.


title: Hans Island

text: The glaciated surface of Hans Island is covered by a veneer of unconsolidated glacial sediment. These sediments consist of a mixture of gravel, mud and boulders that form a discontinuous till veneer on its limestone surface over much of the island with the exception of its coastal cliffs and part of the intertidal zone. The gravel consists of angular to subrounded (kidney-shaped) limestone clasts and large erratics of red granites and granitoid and garnet gneisses.


title: Hans Island

text: This surface also exhibits erosional features indicative of the streaming of an ice sheet through Kennedy Channel. These glacial features include glacial striations on bedrock; glacially-polished bedrock; linear-aligned crescentic fractures; sickle-shaped, comma-form, and longitudinal grooves and furrows. In addition, linear glacial flutes and ridges can be mapped from aerial photography and profile of the island also has a stream-lined form suggestive of glacial sculpting.


title: Hans Island

text: The island is named after Hans Hendrik, whose native Greenlandic name was . Hendrik was an Arctic traveller and translator who worked on the American and British Arctic expeditions of Elisha Kent Kane, Charles Francis Hall, Isaac Israel Hayes and George Strong Nares, from 1853 to 1876.


title: Hans Island

text: Prior to 2005, the island was thought to have been named during Charles Francis Hall's third Arctic voyage, the Polaris expedition, between 1871 and 1873. The first written reference to the name and the island itself appears in Charles Henry Davis's book "Narrative of the North Polar expedition" (1876), which is a narrative of Hall's fatal North Pole expedition. On page 407 it appears, without any previous mention. The island made its first cartographic appearance on a map accompanying the book.


title: Hans Island

text: He was referring to the ship "Polaris"'s return voyage southward down the Kennedy channel. This does not answer when it was named. The ship's doctor and leader of the scientific part of the expedition, Emil Bessels, mentioned the island in his own book, (1879). He tells that on 29 August 1871, on the voyage north through Kennedy Channel, the "Polaris" sailed between (Ellesmere Island) and a small island "which was named Hans Island" (), without further explanation of the name.


title: Hans Island

text: An earlier mention of a Hans Island expedition is in Elisha Kent Kane's account of the Second Grinnell expedition, "Arctic Explorations: The Second Grinnell Expedition, 1853, ’54, ’55", (published 1857), in pages 317–319. Thus the year 1853 is now often cited as the date of the discovery and naming of the island, including in a letter by the Danish Ambassador to Canada in the "Ottawa Citizen" on 28 July 2005.


title: Hans Island

text: Littleton Island () is approximately from Greenland's coast right in Smith Sound. It is about south of the island today called Hans Island. Around it and the coast of Greenland lay dozens of tiny islands, and Kane names one of them Hans Island after Hans Hendrik, the native Greenlandic helper he had with him on the trip. That this is the current Littleton Island is confirmed by Kane mentioning Edward Augustus Inglefield, who named Littleton Island.


title: Hans Island

text: The names of many places in this region have changed or been altered during the last 100 years. For example, the name of Nares Strait (named after George Strong Nares), separating Ellesmere Island and northern Greenland, was not agreed upon between the Danish and Canadian governments until 1964.


title: Hans Island

text: The conflict over the island, known as the Whisky War, has been alternately described as "one of the most passive-aggressive boundary disputes in history" and "the friendliest war."


title: Hans Island

text: Inuit living in northern Greenland or Canada would have known the island for centuries. In the mid 19th century, Nares Strait was likely unknown to Europeans. It is not known whether Vikings visited the island in the centuries when Greenland was inhabited by Norsemen.


title: Hans Island

text: From 1850 to 1880, the area in which Hans Island is situated was explored by American and British expeditions. These expeditions were a response partly due to the popular search for the missing British explorer John Franklin, and partly to search for the elusive Northwest Passage and/or reach the North Pole.


title: Hans Island

text: The Danish "Celebration Expedition" of 1920 to 1923 accurately mapped the whole region of the northern Greenland coast from Cape York (, ) to Danmark Fjord ().


title: Hans Island

text: In 1933, the Permanent Court of International Justice declared the legal status of Greenland in favour of Denmark. Denmark claims geological evidence points to Hans Island being part of Greenland, and therefore it belongs to Denmark by extension of the Court's ruling.


title: Hans Island

text: Since the 1960s, numerous surveys have been undertaken in the Nares Strait region, including seismic, ice flow, mapping, archaeological and economic surveys. Canadian-based Dome Petroleum made surveys on and around Hans Island from 1980 to 1983, to investigate the movement of ice masses.