Academic literature on the topic 'Bush dyeing'

<p>The textile industry in Indonesia is growing rapidly, this is confirmed by data from the Badan Pusat Statistik (BPS) which shows that the production of the clothing industry has experienced a significant growth of 15.29 percent in 2019. The use of textile dyes will cause waste problems in the environment. So we need natural dyes as a safer and environmentally friendly alternative. The purpose of this study was to obtain data analysis and to determine the adsorption equilibrium value of the natural dye solution of mangrove <em>Rhizophora stylosa</em> and tingi bark with variations in the amount of dyeing in primisima cloth by comparing it with the Langmuir and Freundlich equations and knowing the role of tunjung and alum in the process of fixing dyes into cloth. This study used a solid-liquid extraction method and then tested by spectrophotometry to obtain initial concentration data. Next, pour the dye that has been tested for its tannin content into a measuring cup and insert the cloth as a medium for mass transfer of tannins from liquid to solid. Samples were taken for each dyeing and tested for tannin content by spectrophotometry and the Ca value was obtained. Isotherm pattern testing. The adsorption test for the absorption process of tannins in natural dyes by cloth was carried out by calculating using the Langmuir and Freundlich equation. Furthermore, the cloth that has been dyed is fixed by tunjung and alum.The most suitable determination of the adsorption capacity of the cloth against natural dyes <em>Rhizopora stylosa</em> and tingi bark is by using the Freundlich adsorption equation compared to the Langmuir equation. This is evidenced by the error value of the Freundlich equation is smaller than the Langmuir equation by showing the value of R² which is close to number 1. The constant value of the Langmuir equation tingi bark for three times of dyeing obtained the b value is 0.2338 mg/gr and the k value is 0.00517 L/gr. For five of dyeing, the b value is 0.10817 mg/gr and the k value is 0.00421 L/gr. For the seven times of dyeing, the b value is 0.0670 mg/gr and the k value is 0.003899 L/gr. Whereas in the Freundlich equation for tingi bark for three times of dyeing, the n value is 0.4312 mg/g and the k value is 0.36374 x 10³ L/gr. For five of dyeing, the n value is 0.30114 mg/g and the k value is 0.99586 x 10⁵ L/g. For seven of dyeing, the n value is 0.2424 mg/g and the k value is 0.9354 x 10⁷ L/g. The constant value of the Langmuir <em>Rhizopora stylosa</em> equation for three times of dyeing, the b value is 0.15635 mg / gr and the k value is 0.005224 L/gr. For five of dyeing, the b value is 0.08141 mg/gr and the k value is 0.004415 L/gr. For the seven of dyeing, the b value is 0.04909 mg/gr and the k value is 0.00408 L/gr. Whereas in the Freundlich equation for <em>Rhizopora stylosa</em> for three times of dyeing, the n value is 0.3862 mg/g and the k value is 0.1090 x 10⁴ L/g. For five of dyeing, the n value is 0.2733 mg/g and the k value is 0.4355 x 10⁶ L/g. For seven of dyeing, the n value is 0.2126 mg/g and the k value is 0.1545 x 10⁹ L/g. It can be concluded that the more dyeing, the less the absorbency of the cloth on tannins. The color change of fixation the cloth in the dyeing of <em>Rhizopora stylosa</em> extract with tunjung is from brown to grayish brown, while with alum from brown to dark brown. The color change of fixation the cloth in the dyeing of tingi bark extract with alum is from brown to black, while with alum from brown to dark brown.</p>@font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536869121 1107305727 33554432 0 415 0;}@font-face {font-family:Garamond; panose-1:2 2 4 4 3 3 1 1 8 3; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:647 2 0 0 159 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin-top:0cm; margin-right:0cm; margin-bottom:0cm; margin-left:.5pt; text-align:justify; text-justify:inter-ideograph; text-indent:-.5pt; line-height:103%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Garamond",serif; mso-fareast-font-family:Garamond; mso-bidi-font-family:Garamond; color:black; mso-ansi-language:EN-US; mso-fareast-language:EN-US;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:11.0pt; mso-ansi-font-size:11.0pt; mso-bidi-font-size:11.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:DengXian; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-US; mso-fareast-language:EN-US;}.MsoPapDefault {mso-style-type:export-only; margin-bottom:8.0pt; line-height:107%;}div.WordSection1 {page:WordSection1;}

AbstrakPenelitian ini bertujuan untuk mengungkapkan nama warna, gelap terang warna dan kerataan warna pada bahan linen dan katun menggunakan ekstrak kulit buah kakao dengan mordan air kelapa. Penelitian ini penelitian eksperimen. Hasil nama warna pada pencelupan bahan linen tanpa mordan menghasilkan nama warna Amaranth Pink , warna sangat terang dan kerataaan kategori rata, nama warna pada pencelupan bahan katun tanpa mordan menghasilkan nama warna Salmon Pink Darke, warna cukup terang dan kerataaan kategori cukup rata, nama warna pada pencelupan bahan linen menggunakan mordan air kelapa menghasilkan nama Clam Shell Pink, warna kategori terang dan kerataaan kategori rata, nama warna pada pencelupan bahan katun menggunakan mordan air kelapa menghasilkan nama Warm Brown warna kategori cukup terang dan kerataaan warna kategori cukup rata. Kata Kunci: kulit buah kakao, air kelapa.AbstractThis study aim of this research is to reveal the color, dark color of the color and color of the linen and cotton materials using cocoa fruit extract with coconut water mordan. This research is experimental research. The name of the color name on dyeing of mordant linen makes the color name of Amaranth Pink , a very bright color and a flat category, the color name of dyeing cotton without mordant yields the color name of Salmon Pink Darke, fairly bright colors and fairly flat category, the color name of the dyeing of linen material using mordan coconut water produces the name Clam Shell Pink, the category of bright category and flat category, the name of the color on the dyeing of cotton using mordan coconut water categories are quite bright and the color category is fairly flat. Keywords: cocoa fruit skin, coconut water.

A B S T R A C TEfforts to substitute synthetic dyes on fabrics for natural dyes are currently increasing. Research and innovation are extremely needed to support those attempts so that the quality of natural dyes is more competitive than synthetic dyes. This study aims to optimize the dyeing parameters of cotton fabrics using natural dye extracts derived from the barks of Tegeran (Cudrania javanensis), Merbau (Intsia bijuga), Tingi (Ceriops tagal), and Jambal (Peltophorum pterocarpum), as well as Jolawe (Terminalia bellirica) fruit peel. Varied dyeing parameters included dye concentration, dyeing time and temperature, and material to liquor ratio (MLR). The fixative solutions used were alum, lime, and iron (II) sulfate. The optimized parameters were based on the values of color depth and evenness, measured colorimetrically. Furthermore, the obtained results of the dyeing process under optimized conditions were analyzed for color quality by measuring color coordinates as well as the values of color strength (K/S), washing fastness, and light fastness. The results showed that the optimal dyeing conditions for all natural dye extracts used were the code A extract concentrations (0.0113 g/mL of Tegeran; 0.0115 g/mL of Merbau; 0.0204 g/mL of Jambal; and 0.0582 g/mL of Jolawe), dyeing at 28°C, dyeing time of 30 minutes, and the MLR of 1:30. The resulting color variations were brown, gray, and golden yellow for the Tegeran extract with alum fixative. The highest K/S value was 5.56 for the fabric dyed in Tegeran extract with iron (II) sulfate fixative solution. The washing fastness values for Merbau, Tingi, Jambal, and Jolawe were 3-4 (fairly good) to 4-5 (excellent). Meanwhile, the light fastness values for all dyes were between 4 (good) and 5 (excellent). Overall, the standard procedure for cotton fabric dyeing that meets the minimum standards for textile products is obtained.Keywords: cotton fabric; color quality; natural dyes; optimization; standard procedure for dyeingA B S T R A KUsaha substitusi penggunaan pewarna sintetis pada kain dengan pewarna alami semakin meningkat belakangan ini. Hal ini perlu didukung dengan penelitian dan inovasi agar kualitas pewarna alami lebih kompetitif terhadap pewarna sintetis. Penelitian ini bertujuan untuk mengoptimalkan parameter pewarnaan kain katun dengan ekstrak pewarna alami dari kulit kayu Tegeran (Cudrania javanensis), Merbau (Intsia bijuga), Tingi (Ceriops tagal), Jambal (Peltophorum pterocarpum), dan kulit buah Jolawe (Terminalia bellirica). Parameter pewarnaan yang divariasikan antara lain konsentrasi pewarna, waktu dan suhu pewarnaan, serta rasio kain dengan volume larutan fiksator. Larutan fiksator yang digunakan adalah tawas, kapur, dan tunjung. Paramater terikat yang dioptimasikan didasarkan pada nilai ketuaan dan kerataan warna yang diukur secara kolorimetri. Selanjutnya hasil pewarnaan dengan kondisi yang teroptimasi dianalisis kualitas warna melalui pengukuran koordinat warna, nilai kekuatan warna(K/S), dan nilai tahan luntur terhadap pencucian dan cahaya. Hasil menunjukkan bahwa parameter pewarnaan yang optimal untuk semua ekstrak pewarna alami yang digunakan adalah pada konsentrasi ekstrak dengan kode A (0,0113 g/mL Tegeran; 0,0115 g/mL Merbau; 0,0204 g/mL Jambal; dan 0,0582 g/mL Jolawe), pewarnaan pada suhu kamar, waktu pewarnaan 30 menit, dan rasio kain dengan volume larutan fiksator 1:30. Variasi warna yang dihasilkan adalah warna cokelat, abu-abu, dan kuning emas untuk ekstrak tegeran dengan fiksator tawas. Nilai K/S tertinggi sebesar 5,56 untuk kain yang diwarnai dengan ekstrak Tegeran dengan larutan fiksator tunjung. Nilai uji kelunturan terhadap pencucian untuk Merbau, Tingi, Jambal, dan Jolawe adalah 3-4 (cukup baik) sampai dengan 4-5 (sangat baik). Nilai kelunturan terhadap cahaya untuk semua jenis pewarna adalah antara 4 (baik) sampai dengan 5 (sangat baik). Secara keseluruhan, didapatkan prosedur standar pewarnaan kain katun yang memenuhi standar minimum produk tekstil.Kata kunci: kain katun; kualitas warna; optimasi; pewarna alami; standar pewarnaan

Abstrak Perkembangan warna tekstil dengan zat kimia banyak membawa dampak negatif terutama bagi lingkungan dan kesehatan kulit. Oleh sebab itu orang kembali menggunakan zat warna alam, maka dalam penelitian ini meneliti kulit buah kopi untuk zat warna alam. Jenis penelitian ini merupakan penelitian eksperimen. Data yang digunakan adalah data primer yang bersumber dari 15 orang panelis, kemudian data yang terkumpul diolah dan dianalisis menggunakan Uji Friedman K-Related Sample dan persen dengan SPSS (Statistical Product and Service Solution) Versi 21.0. penulis melakukan eksperimen kulit buah kopi menjadi ekstrak warna dengan perbndingan 1:10 menggunakan mordan asam cuka, soda kue dan kapur sirih. Pencelupan bahan katun dengan ekstrak kulit buah kopi (Coffea) menggunakan mordan asam cuka Off-White dengan kode warna #1DBCA dan kerataan warna yang rata, pencelupan ekstrak kulit buah kopi (Coffea) menggunakan mordan soda kue menghasilkan warna Wheat Lihgt Brown dengan kode warna #FDB4D4 dan kerataan warna yang cukup rata, pencelupan ekstrak kulit buah kopi (Coffea) menggunakan mordan kapur sirih menghasilkan warna Sepia Brown dengan kode warna #974706 dan dengan kerataan warna yang rata. pada kerataan warna menunjukkan hasil 0,528 > 0,5 yang artinya HO diterima. artinya tidak terdapat pengaruh yang signifikan akibat perbedaan mordan terhadap kerataan warna dalam pencelupan bahan katun. Kata Kunci: pengaruh, perbedaan mordan, pencelupan, bahan katun, ekstrak kulit buah kopi Abstract The development of textile colors with chemicals has many negative impacts, especially on the environment and skin health. Therefore people re-use natural dyes. So in this study, the authors examined the skin of coffee fruit for natural dyes. This type of research is experimental research. The data used are primary data sourced from 15 panelists, then the collected data is processed and analyzed using the Friedman K-Related Sample Test and percent with SPSS (Statistical Product and Service Solution) Version 21.0. The author conducted a coffee fruit skin experiment into a color extract with a ratio of 1:10 using mordan vinegar, baking soda, and whiting . Immersion of cotton with coffee fruit skin extract (Coffea) using mordan acid vinegar Off-White with color code # 1DBCA and flat color uniformity, dyeing coffee fruit skin extract (Coffea) using mordan soda cake to produce Wheat Light Brown color with color code # FDB4D4 and fairly flat color evenness, immersion extract of coffee fruit skin (Coffea) using mordan whiting produces Sepia Brown color with color code # 974706 and with flat color evenness. on the flatness of color shows the results 0.528> 0.5, which means that HO is accepted. meaning that there is no significant effect due to differences in mordan on the evenness of color in dyeing cotton. Keywords: influence, differences in mordan, dyeing, cotton, coffee skin extract

AbstrakPenggunaan ekstrak zat warna alam sebagai pewarnaan tekstil karena menghasilkan warna yang khas dan ramah lingkungan salah satunya adalah buah senduduk (Melastoma Malabathricum L). Tujuan penelitian ini adalah mendeskripsikan nama warna (Hue), gelap terang (Value), kerataan warna serta pengaruh perbedaan konsentrasi mordan tawas terhadap kain katun pada hasil pencelupan menggunakan ekstrak buah senduduk (Melastoma Malabathricum L). Jenis penelitian ini merupakan eksperimen. Data yang digunakan adalah data primer yang bersumber dari 18 panelis, lalu diolah dan dianalisis menggunakan uji Friedman K-related sample serta menggunakan aplikasi SPSS (Statistical Product and Service Solutions) versi 18.0. Pencelupan bahan katun dengan ekstrak buah senduduk masing-masing tanpa mordan menghasilkan warna Dark Purple #5A2364 serta Value cukup terang dan kerataan warna yang rata, mordan tawas pada konsentrasi 10 gram menghasilkan warna Pompadour Purple #704664 serta Value kurang terang dan memiliki kerataan warna yang rata, mordan tawas pada konsentrasi 50 gram menghasilkan warna Pompadour Purple #7D415F serta Value cukup terang dan memiliki kerataan warna yang rata, serta mordan tawas pada konsentrasi 100 gram menghasilkan warna Cold Purple #9780B2 serta terang dan kerataan warna yang dihasilkan cukup rata. Hasil penelitian data gelap terang warna (Value) yaitu 0,000 < 0,05 yang artinya Ho ditolak. Artinya terdapat pengaruh perbedaan yang signifikan pada perbedaan mordan pada konsentrasi 10 gram, 50 gram dan 100 gram terhadap hasil pencelupan. Pada kerataan warna menunjukkan hasil 0,045 > 0,05 yang artinya Ho diterima. Artinya tidak terdapat pengaruh yang signifikan mordan tawas pada konsentrasi 10 gram, 50 gram dan 100 gram terhadap hasil pencelupan ekstrak buah senduduk menggunakan bahan katun.Kata Kunci: buah senduduk, tawas.AbstractThe use of extracts of natural dyes as textile coloring because they produce a distinctive and environmentally friendly color, one of which is senduduk (Melastoma Malabathricum L). The purpose of this study was to describe the name of color (Hue), light darkness (Value), color flatness and the effect of differences in the concentration of mordan alum on cotton cloth on the results of dyeing using senduduk fruit extract (Melastoma Malabathricum L). This type of research is an experiment. The data used are primary data sourced from 18 panelists, then the collected data is processed and analyzed using the Friedman K-related sample test and using the SPSS application (Statistical Product and Service Solutions) version 16.0. Dyeing of cotton material with senduduk fruit extract (Melastoma Malabathricum L) without a mordan each produces Dark Purple # 5A2364 and the value is quite bright and evenly colored, the mordan alum at 10 grams produces Pompadour Purple # 704664 and The value is less bright and has a flat evenness, mordan alum at a concentration of 50 grams produces Pompadour Purple # 7D415F and the value is quite bright and has a flat color evenness, and mordan alum at 100 grams produces Cold Purple # 9780B2 and the light and evenness of the resulting color is quite flat. The results of the study of dark light colors (Value) are 0,000 <0,05 which means that Ho is rejected. This means that there are significant differences in the effect of mordan on concentrations of 10 grams, 50 grams and 100 grams on the results of dyeing. The color flatness shows the results of 0.045> 0.05, which means that Ho is accepted. This means that there is no significant effect of mordan alum at concentrations of 10 grams, 50 grams and 100 grams on the results of dyeing the fruit extract of senduduk using cotton. Keywords: senduduk fruit, alum.

Denpasar City is the center of government, population center, tourism center, trade center, economic activity and center for other activities so you can imagine how busy Denpasar City is in handling all aspects of people's increasingly complex life. An incident that looks easy but few people care about, one of which is waste, so many effects can be obtained from disposing of the residual use of fragrances and screen printing, which are often found, but without a clear response to allow the accumulation of waste. Even though the government has regulations and sanctions related to these problems, they are often ignored by owners or entrepreneurs engaged in screen printing. Environmental pollution, which has often occurred since a long time ago, is a community disease that is difficult to eliminate. The researcher has a problem formulation covering 1) How is the legal arrangement regarding criminal acts against environmental pollution by screen printing and dyeing waste in Denpasar City? 2) What are the criminal sanctions against the perpetrators of criminal acts of environmental pollution by screen printing and dyeing waste in Denpasar City? The research was carried out by reviewing books on law and not deviating from the problems studied and the current positive law as well as studies in the library, this research is often called normative research. The results of this study state that criminal sanctions against perpetrators of environmental pollution by screen printing and dyeing waste in Denpasar City are in the form of fines and imprisonment. The act of environmental pollution carried out by NHY by disposing of screen printing waste into the river has violated Article 58 paragraph (2) of the Regional Regulation on the City of Denpasar Number 1 of 2015.

The research about utilization of extracts areca nuts (Areca catechu L.) as natural dye on sasirangan using whiting mordan 1% (w/v) was carried out. The results showed that the extract of areca nuts can be used as a dye on sasirangan with the types of cloth ware cotton, silk, semi-silk and the colour was red guava. The dye yield of areca nuts was resulted in 34.43%. The optimum mass of natural dye on cotton was adsorbed about 1,90% in the concentration of dye solution 1:50 (g/mL), on silk about 0,46% in the concentration of dye solution 1:100 (g/mL), and on semi-silk about 0,64% in the concentration of dye solution 1:75 (g/mL). The quality color fastnessin detergents 1% were showed the best value on cotton about 23% in the concentration of dye solution 1:50 (g/mL), on silk about 66% in the concentration of dye solution 1:75 (g/mL), and on semi-silk about 34% in the concentration of dye solution 1:100 (g/mL). The results of dray and wet brush resistance showeda good values for all treatment with the avaregge staining scale values were 3-4. The qualities of color intensity for cotton and silk showed that the higher mordant concentration, washing fastness becomes better, and color is deeper. The quality of color intensity optimum for semi-silk was showed in the concentration of dye solution 1:75 (g/mL). The optimal result for cotton is in the used of day solution 1: 100 (g/mL), silk 1:75 (g/mL), and semi-silk 1:75 (g/mL) which the whiting mordant concentration was used 1% for all treatment.Keywords: arace nuts (Areca catechu L.), whiting mordant, sasirangan dyeing

<em>Research on the utilization of liquid smoke especially for preservation of fruit has been done and become one of alternative methods that can be used to maintain fruit shelf life. Liquid smoke raw materials can come from a variety of sources one of which comes from the Alang-alang (Imperata cylindrica). This study aims to determine the ability of liquid smoke made from alang-alang as a preservative of bananas and to know the effect on the characteristics of bananas. The sample used in this research is a local banana known as Pisang Makau (Musa spp). This research uses experimental method with 7 days of storage time. Initial stages of the research are cleaning the fruit, dyeing, drying, and storage at room temperature. This research uses liquid smoke from alang-alang by using 2 various concentrations 50% and 100%. The next stage is the analysis of the characteristics of bananas such as color, fruit texture, fruit weight, sugar content, and vitamin C levels. Based on the analysis results obtained by Pisang Makau with the treatment of liquid has a longer shelf life than the control. Based on the results of the analysis of the shelf life of fruit treated with liquid smoke decreased levels of sugar and vitamin C levels. Percentage decrease levels of sugar and vitamin C between the fruit with the treatment and control not much different. This shows that liquid smoke from alang-alang has the ability to retain the shelf life of bananas without affecting sugar and vitamin C levels in bananas in this case for Pisang Makau. Levels of sugar and vitamin C in bananas decreased during the process of storage and bunding of fruit</em>

SUMMARY In their book of 1974, Lexical Reconstruction: The case of the Proto-Athapaskan kinship system, Isidore Dyen and David F. Aberle developed a methodology for matching reconstructed morphemes with semantic categories. The promise that their contribution holds out to the linguist and to the culture-historian is that of a rigorous tool of historical inference free from the arbitrariness sometimes associated with the linguistic treatment of meaning. In fact, Dyen & Aberle themselves arbitrarily exclude the possibility that a proto-meaning could differ from the meanings of all its reflexes and yet be inferrable. As a consequence, they are concerned not with semantic reconstruction, but with the matching of reconstructed forms and predetermined semantic categories. In this paper the Dyen-Aberle approach to diachronic semantics ('lexical reconstruction1) is juxtaposed with a less formalized but more widely employed approach ('semantic reconstruction') in which meaning is not presupposed, but is defined by contrast. Each approach is applied to five Austronesian cognate sets that are widely distributed in the meaning "house". It is concluded that the semantic history of these forms cannot be represented adequately, and is in certain respects seriously obscured by the method of lexical reconstruction. RÉSUMÉ Dans leur livre Lexical Reconstruction: The case of the Proto-Athapas-kan kinship system (Cambridge, 1974), I. Dyen et D. F. Aberle ont développe une méthodologie pour accorder des morphemes reconstruits avec des categories semantiques. La promesse d'une telle approche est de donner au linguiste et a l'historien d'une civilisation un outil rigoreux de deduction historique depourvu de l'arbitraire parfois associe avec le traitment linguistique du sens. En effet, Dyen & Aberle eux-memes exclurent arbitrairement la possibilité qu'un proto-sens pourrait differer de toutes de ses reflexes et qu'il serait pourtant deductible. Par consequence, ils ont affaire a l'accorde-ment des formes reconstruites avec des categories semantiques predeterminees et non pas avec la reconstruction semantique. Dans cet article, 1'approche de Dyen & Aberle à la semantique diachronique — la 'reconstruction lexicale' — est juxtaposee avec une approche moins formalisee mais plus largement employee — la 'reconstruction semantique' — dans laquelle le sens n'est pas predetermine, mais defini par contraste. Les deux approches sont appliquees a des ensembles lexicaux tires de cinq langues austro-asiennes apparentees qui sont dispersees dans le sens de "maison". La conclusion de la comparai-son entre ces deux approches est que l'histoire semantique de ces formes ne peut pas etre representee d'une facon adequate et que la methode de reconstruction lexicale rend 1'analyse semantique serieusement obscure en plusieurs egards. ZUSAMMENFASSUNG In ihrem Buch d.J. 1974, Lexical Reconstruction: The case of the Proto-Athapaskan kinship system, Isidore Dyen und David F. Aberle entwickelten ei-ne Methodologie, urn rekonstruierte Morpheme mit semantischen Kategorien in Einklang zu bringen. Ihr Ansatz versprach dem Linguisten und dem Kulturhis-toriker ein rigoroses Werkzeug historischer Inferenz an die Hand zu geben, welches frei von der Willkür ist, die man oftmals der sprachwissenschaftli-chen Behandlung der Bedeutung vorwirft. In der Tat schlieBen Dyen & Aberle selbst auf willkiirliche Weise die Moglichkeit aus, daB eine urspriingliche Bedeutung von den von ihr abgeleiteten Bedeutungen verschieden ist, jedoch dennoch von ihnen abgeleitet werden kann. M.a.W. Dyen & Aberle behandeln keine semantische Rekonstruktion, sondern begniigen sich mit einem Versuch, rekonstruierte Formen mit vorherbestimmten semantischen Kategorien in Dek-kung zu bringen. Im vorliegenden Aufsatz wird der Dyen-Aberle'sche Ansatz einer diachronen Semantik ('lexikalische Rekonstruktion') mit einem weniger formalisierten, jedoch weitlaufigerem Ansatz kontrastiert, namlich dem der 'semantischen Rekonstruktion', in der die Bedeutung nicht vorausgesetzt, sondern durch kontrastiven Vergleich gewonnen wird. Beide Ansatze werden auf lexikalische Gruppen von fiinf miteinander verwandten austronesischen Sprachen angewendet, die alle die Bedeutung "Haus" in irgendeiner Weise zum Inhalt haben. Die SchluBfolgerung aus diesem Vergleich der beiden Ansatze ist, daB die Bedeutungsgeschichte dieser Formen nicht angemessen wiederge-geben werden kann und daB in vielen Hinsichten die Methode der 'lexikali-schen Rekonstruktion' diese darüberhinaus noch verdunkelt.

This research is about natural coloring in batik at Krinok Batik House, Muara Bungo Regency. The advantages of natural dyes lie in the results of soft colors and are environmentally friendly. Each natural material produces a different color with the color direction determined by the mordant used. Krinok batik house uses natural materials in the form of leaves behind the wind, tingi bark, and tegeran wood. The purpose of the study was to describe natural color materials, techniques for making natural color extracts, batik coloring techniques with natural dyes, the results of natural batik colors at the Krinok batik house, Muara Bungo Regency. This research method is qualitative. The types of data are primary and secondary. The informant, the owner and craftsman of the Krinok Batik House, found 7 people. Data was collected by using observation, interview, and documentation techniques. The data analysis technique was carried out with an interactive model related to the problems of data collection, data reduction, data presentation and conclusions. The results of the study are natural materials that the authors examine there are 3 types including tegeran wood, sebalik wind leaves, and tingi bark. Previously, no one had researched the leaves behind the wind as a natural dye for batik. The process of extracting color by preparing tools and materials, weighing natural ingredients, then adding soda ash which serves to sharpen the color during the manufacturing process. Then the filter material and the dyeing process of the cloth are soaked in TRO first, then with natural dyes, then fixed with whiting. The color results produced by the leaf extract of Sebalik Angin: Light Golden Yellow, Paris Daisy Yellow tegeran wood, Sandy Brown high bark.Keywords: natural coloring, batik, krinok batik. AbstrakPenelitian ini tentang pewarnaan alam pada batik, di Rumah Batik Krinok Kabupaten Muara Bungo. Kelebihan pewarna alam terletak pada hasil warna lembut serta ramah lingkungan. Setiap bahan alam menghasilkan warna yang berbeda dengan arah warna ditentukan oleh mordan yang digunakan. Rumah batik krinok menggunakan bahan alam berupa daun sebalik angin, kulit kayu tingi, dan kayu tegeran. Tujuan penelitian untuk mendeskripsikan bahan warna alam, teknik pembuatan ekstrak warna alam, teknik pewarnaan batik dengan pewarna alam, hasil warna alam batik di rumah batik Krinok Kabupaten Muara Bungo. Metode penelitian ini kualitatif. Jenis datanya adalah primer dan sekunder. Informan ialah pemilik dan pengrajin Rumah Batik Krinok berjumlah 7 orang. Pengumpulan data dilakukan dengan Teknik observasi, wawancara, dan dokumentasi. Teknik analisis data dilakukan dengan model interaktif yang berkaitan dengan permasalahan meliputi pengumpulan data, reduksi data, penyajian data dan kesimpulan. Hasil penelitian yaitu bahan alam yang penulis teliti ada 3 jenis diantaranya kayu tegeran, daun sebalik angin, dan kulit kayu tingi. Sebelumnya belum ada yang meneliti daun sebalik angin sebagai pewarna alam batik. Proses ekstrak warna dengan cara menyiapkan alat dan bahan, menimbang bahan alam, kemudian ditambahkan soda abu yang berfungsi untuk mempertajam warna saat proses pembuatan. Lalu bahan direbus disaring dan didinginkan. Proses pencelupan kain direndam TRO lebih dahulu, kemudian dengan zat warna alam, selanjutnya difiksasi dengan kapur sirih. Hasil warna yang dihasilkan ekstrak daun sebalik angin : Light Golden Yellow, kayu tegeran Paris Daisy Yellow, kulit kayu tingi Sandy Brown.Kata Kunci: pewarnaan alam, batik, batik krinok. Authors:Euis Yuliana: Universitas Negeri PadangAdriani: Universitas Negeri Padang References:Andriani, R., Adriani, A., & Novrita, S. Z. (2016). 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Jurnal Pangan dan Agroindustri, 3(2),362-373. https://jpa.ub.ac.id/index.php/jpa/article/view/152/161Fitriana, L., & Adriani, A. (2019). Perbedaan Hasil Pencelupan Bahan Linen Dan Katun Pada Zat Warna Alam Ekstrak Kulit Buah Kakao (Theobroma Cacao L.) Dengan Mordan Air Kelapa. Gorga: Jurnal Seni Rupa, 8(1), 155-159. https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/12981Sugiono. (2020). Metode Penelitian Pendidikan Kualitatif, Kuantitaif R&D dan penelitian pendidikan. Bandung: Alfabet.

The concept of ‘artistic terra nullius’ refers to the violent erasure of First Nations peoples in colony Australia and highlights their absence – particularly Aboriginal Women – in the white-dominated arts world. This doctoral research by creative project and exegesis sets out to document and respond to the work of Aboriginal women in art and community. I have used practice-led inquiry as the main methodology, informed by my own roles as artist, writer, curator, community researcher and as a Wemba-Wemba & Gunditjmara, matriarchal and sovereign woman. Practising community ways of 'being, knowing and doing' to witness, participate and respond to Aboriginal women's art making and activism, I developed a new body of visual works and a series of essays, together with an exegesis relating to the project as a whole. The exhibition in December 2019 at Footscray Community Arts Centre held two bodies of work in two spaces. The ontological (or Being) space was a healing space of unconditional love, one of memory, timelessness, and respite. It has been created as 'daily acts of repair' in collaboration with other Aboriginal women and family members in a new process of bush dyeing fabrics, clothing and rags to become 'healing cloths”, dyed with gathered gum leaves, bush flowers, plants and Wemba-Wemba family bush medicine gifted to me from my Aunties. As a three-dimensional space, it makes visible trauma trails and stains and visualises what respite and healing could look and feel like. Under the 1961 flickering Super-8 image of my great-grandmother, this space also recreates ‘home’, particularly resonating with Aboriginal women’s curation of ‘home’ even in Mission housing. The second space, an epistemological (or Knowing) space, was an active studio of photographic based works drawn from matriarchal family stories, both past, present and future, and archival research. It included scholarly and other literature on Blak art and representation, in a recreation of my home studio and office. These bodies of work were made over a four-year project, drawing on concepts of de-colonising, Aboriginal feminist standpoint theory (Moreton- Robinson) and sovereignty. In emphasising making art as both research and artistic outcomes, I demonstrate art as a sovereign act, based in cultural practice and sovereign values. Both the exhibition spaces and the exegesis weave across past, present and future, across research in family, community and the Aboriginal women’s arts-work, across multiple creative media and stories – in the process here called ‘Ghost Weaving’. Responding to various modes of oppression, patriarchy and racism, Blak women’s art is not only a form of resistance to colonising, to violence, to academia and the white art world. It is also an ethical foregrounding of other forms of knowing and being. The exegesis is in two main parts: the written, thesis-element and a series of appendices which include a pictorial record of the exhibition, links and lists of related works, including relevant essays.