Author: Unknown 2018. 187pg. (Korean, English and Chinese)
Publisher: China National Silk Museum & National Intangible Heritage Center
The book is designed to accompany an exhibition of the same name. This exhibition explores the history of sericulture and showcases silk weaving techniques from Korea and China, along with the subsequent cultures that emerged from these practices. The book provides an overview of the development of silk weaving in both Korea and China.
Author: Zhao Feng, chief editor, 2015. 229pg. (English and Mandarin). Hardcover
Publisher: Zhejiang University Press, Hangzhou, Zhejiang Province, China
This volume presents seminal examples of silks and textile artifacts that illuminate the historical trajectory of silk production in China, its diffusion to the West, and the broader patterns of cultural exchange facilitated by the Silk Road. The work underscores its scholarly value by offering a comprehensive resource for examining both the technical innovations and cultural significance of silk, enriched with high-quality illustrations of artifacts curated from leading Chinese museums. Designed to engage a diverse readership, the book appeals to those seeking a general overview of the Silk Road as well as specialists in ancient textiles and Asian history. Moreover, it provides nuanced insights into the economic and political dimensions of premodern trade, situating silk as a lens through which to understand the complexities of intercultural interaction and global exchange.
Author: Marian Pastor Roces, 1991, 312pg. (English). Hardcover The Nikki Coseteng Philipiniana Series vol. 1
Publisher: NIKI Books, Pasay City, Philippines
The book is an exceptionally informative volume, distinguished by its copious and judicious use of high-quality images, accompanied by detailed explanatory text and comprehensive charts. Together, these elements vividly illuminate the diverse ethnic composition of the Philippines. Beyond its function as an aesthetically engaging coffee-table book, it serves as a valuable cultural resource for individuals seeking to preserve their Philippine heritage, as well as a practical reference for traditional costumes employed in Philippine performing arts.
Author: Noorjehan Bilgrami, 1998. 178pgs. (English). Hardcover
Publisher: White Lotus, Bangkok
Bilgrami’s monograph emerges as a landmark contribution to the study of South Asian textile traditions, distinguished by its exhaustive research and meticulous documentation. The volume not only reconstructs the historical trajectory of the ancient double-printed cotton cloth of Sindh, Pakistan, but also illuminates the intricate twenty-step production process that continues to define the craft. In doing so, it functions simultaneously as a historical treatise and as a living directory of the few remaining master artisans who safeguard this fragile heritage. The author’s analytical strength lies in his ability to disentangle the technical complexities of ajrak production. He offers a lucid exposition of the precise application of resists, the deployment of natural dyes, and the repeated washings in the waters of the Indus River—ritualized acts that imbue the cloth with both durability and symbolic resonance. Bilgrami situates these practices within a broader cultural framework, tracing their genealogies to the ancient civilization of Mohenjo-Daro and to the mystical traditions of Sufism. The monograph demonstrates how the cloth’s geometric configurations and cosmic motifs are not merely decorative but are deeply enmeshed with the landscape, cosmology, and spiritual life of Sindh. Equally compelling is the book’s visual dimension. The inclusion of richly detailed photography provides readers with rare insight into the tactile and aesthetic qualities of ajrak, capturing the rhythm of labor and the artistry of design. This visual testimony complements the textual analysis, rendering the work accessible to both scholars and practitioners. The reception of the monograph has been resoundingly positive. Textile researchers commend its methodological rigor and ethnographic sensitivity, while artisans recognize it as a monumental preservation of their craft. By bridging academic scholarship with artisanal voices, Bilgrami’s work transcends disciplinary boundaries, positioning itself as both a scholarly resource and a cultural archive. In sum, this monograph stands as a monumental achievement in textile studies. It not only advances academic discourse on South Asian material culture but also underscores the urgency of safeguarding intangible heritage in the face of modernity’s encroachments. Its synthesis of historical depth, technical precision, and cultural interpretation ensures its enduring relevance to scholars of textile history, South Asian studies, and heritage preservation.
Author: Richard Mann, Nyoman Gunarsa, 2014. 146pgs. (English) Hardcover
Publisher: Gateway Books, Nyoman Gunarsa Museum & The Smarapura Heritage Trust, Bali
This volume constitutes a historical monograph and visual exploration of Smarapura (modern-day Semarapura), the capital of Klungkung Regency, long regarded as the traditional and spiritual epicenter of classical Balinese art, governance, and culture. Its principal objective is to trace the deep historical roots that position Smarapura as the cradle of Balinese identity. The narrative recounts how the seat of the supreme king of Bali (Dewa Agung) shifted from Gelgel to Smarapura in the late seventeenth century, thereby consolidating Balinese political authority and establishing a refined courtly culture. It further illuminates how Smarapura became a sanctuary for Javanese-Hindu nobles, priests, and artisans fleeing the collapse of the Majapahit Empire, thus embedding the city within a broader civilizational continuum. Royal patronage fostered the sophisticated traditions for which Bali is celebrated today—most notably the Kamasan style of painting, classical gamelan ensembles, and courtly architecture. Developed in collaboration with Nyoman Gunarsa, the book is richly enhanced with reproductions of classical artworks and visual records. It functions simultaneously as a historical text and a curated museum guide to the evolution of Balinese art. Particularly notable are its contextual analyses of landmarks such as Kertha Gosa, the historic Court of Justice pavilion, whose iconic painted ceiling depicts karmic retribution, heaven, and hell in vivid allegorical form. The volume also captures the poignant climax of Klungkung’s history: the Puputan of 1908, when the royal family and their subjects chose ritual death over surrender to Dutch colonial forces. This act of collective defiance cemented Smarapura’s place as a symbol of ultimate cultural pride and resistance. Highly praised by cultural historians, expatriates, and art collectors, the book distinguishes itself by foregrounding Klungkung’s supreme historical narrative rather than treating Bali as a monolithic entity. In doing so, it provides vital contextual depth often overlooked by conventional travel guides, situating Smarapura at the heart of Balinese cultural memory and identity.
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