identity was cultivated. Jambi batik influenced the formation of Malaysian batik tradition which also encompasses the Islamic characters such as adopting the plants, floral motifs and geometrical designs, and the avoidance of interpretation of human and animal images as idolatry. Minangkabau batik tradition is known for batiak tanah liek (clay batik), which uses clay as a dye for the fabric, and embraces the animal and floral motifs. Bengkulu batik tradition is known for batik besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy. Islamic batik tradition occasionally depicts Buraq as well, an Islamic mythical creature from the heavens which transported the Islamic prophet Muhammad from Mecca to Jerusalem and back during the Isra and Mi'raj. Wayang Indonesian performing art of Wayang has a variety known as Wayang sadat which has deployed Wayang for Islam's religious teachings. There is also Wayang Menak which is derived from Javanese-Islamic literature Serat Menak which is a Javanese rendering of Malay Hikayat Amir Hamzah, which ultimately derived from Persian Hamzanama, tells the adventure of Amir Hamzah, the uncle of the Islamic prophet Muhammad. In Lombok, vernacular Wayang Kulit is known as Wayang Sasak, which incorporates puppets similar to the Javanese Wayang Menak and based on the adventures of Amir Hamzah as well. When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited. Thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form but failed to obtain permission from Muslim religious leaders. Religious leaders attempted to skirt the Muslim prohibition by converting the wayang golek into wayang purwa made from leather and displayed only the shadow instead of the puppets themselves. Dance History of dance in Indonesia can be roughly divided into the Hindu-Buddhist period and Islamic period. During the Islamic period, the vernacular and dharmic dances continued to be popular and tolerated. Artists and performers were using the Hindu-Buddhist era styles but incorporated stories with Islamic implications and more modest clothing that conformed to the Islamic teaching. This change is markedly seen in Tari Persembahan from Jambi, in which the dancers are still adorned with the intricate gold of the Hindu/Buddhist era but the clothing is more modest. Newer styles of dance were introduced in the Islamic period, including Zapin dances of the Malay people and Gayonese Saman