Author: Threes Emir & Samuel Wattimena, 2017. 116pgs. (Indonesian). Hardcover. Pesona Kain Indonesia Series
Publisher: Gramedia Pustaka Utama, Jakarta.
Ulos textiles are a traditional handicraft, with techniques passed down through generations. The writers.. This book provides a look at the Ulos weaving process, its creation and historical development. It emphasizes the effort to replicate traditional motifs while also introducing innovative designs that resonate with modern tastes. Additionally, the book addresses challenges faced by artisans, such as maintaining quality amidst changing market demands, and offers practical solutions to enhance this invaluable cultural art form.
Author: Hj. Emma Amalia Agus Bisri, 2012. 160 pgs. (Indonesian and English). Hardcover
Publisher: Milla House, Jakarta
This volume is one of the first books published about the embroidered Betawi kebaya blouse, which is worn over a batik sarong. It explores the Betawi ethnic group, the original inhabitants of Jakarta, formerly known as Batavia during the Dutch colonial period. In the second chapter, the author describes eight different types of Betawi blouses. The book also includes detailed instructions on how to sew a kebaya, covering aspects such as creating the pattern, selecting materials and threads, and choosing the right embroidery to complement the batik sarong. The book also discusses accessories for the kebaya, including hairstyle, jewelry such as hairpins, and the peniti rantai (pin and chain), consisting of three brooches that secure the front of the kebaya. It also mentions the gold belt used to hold the sarong in place and the embroidered velvet mules worn by the individual. This book is a valuable addition to Indonesia’s textile heritage and is particularly significant for Betawi traditional batik fashion.
Author: Henny Hashim, 2007. 96pgs. (Indonesian) Softcover
Publisher: Tiara Aksa, Surabaya
Encim, a term originating from the Hokkien language, denotes an aunt or elder sister. This volume presents a curated selection of classic embroidery motifs traditionally employed to embellish the edges of a kebaya blouse by Indo-Chinese women in Indonesia. The encim kebaya rose to prominence during the 1970s, and over subsequent decades its embellishments evolved into increasingly elaborate forms, characterized by striking color palettes and ornate detailing. In contrast, this book emphasizes the understated elegance of earlier embroidery styles, preserving their simplicity as they were practiced in the past. The author not only discusses the qualities of embroidery threads but also shares twenty-two distinct patterns along with their names. Her intention is to inspire younger generations while simultaneously offering a comparative perspective on the stylistic transformations that occurred from the 1970s through the early 2000s.
Author: Yusak Anshori & Adi Kusrianto, 2011. 350pgs. (Indonesian). Softcover
Publisher: Elex Media Komputindo, Kompas Gramedia, Jakarta
The cultural history of batik in East Java offers a unique lens through which to examine the intersection of art, trade, and identity in Indonesia. Archaeological evidence, such as textile motifs carved on stone statues from the Syailendra Period (8th–9th century), attests to the early presence of patterned cloth in the region. This tradition was further documented in the writings of Tomé Pirès (14th–15th century), who described East Java as a prominent hub within the spice trade network of the archipelago. From this nucleus, batik practices diffused into Central and West Java, embedding themselves into diverse cultural and social contexts. The evolution of East Javanese batik reflects the dynamic interplay of historical forces. Warfare and religious encounters produced textiles inscribed with Islamic calligraphy, while hierarchical distinctions generated batik reserved for royalty alongside designs accessible to commoners. Cross-cultural exchanges enriched the visual repertoire: Indo-European and Chinese motifs were assimilated into local aesthetics, and during the Second World War, Japanese iconography left a discernible imprint. These layers of influence underscore batik’s role as both a medium of cultural resilience and a canvas of adaptation. In contemporary Indonesia, batik occupies a dual position as a heritage practice and a driver of the creative economy. Its recognition by UNESCO as Intangible Cultural Heritage in 2009 reinforced its symbolic value, while its integration into fashion, design, and digital platforms has expanded its economic relevance. Yet, this vitality is tempered by pressing challenges. The proliferation of cheaper, printed imitations—often produced abroad without the traditional wax-resist technique—raises concerns about copyright protection and the erosion of artisanal authenticity. Environmental sustainability and declining youth participation further complicate its future trajectory.
Author: K.P.T. Hardjonagoro, 2001. 24pg. (Bahasa Indonesia)
Publisher: Unknown
This book powerfully commemorates the annual midnight cleansing ritual of a Procession of Heirlooms, held at midnight on the 1st of Suro in the Javanese calendar. Authored by K.P.T. Harjonegroro Go Tik Swan, it boldly honors his close friend, the Susuhunan of Surakarta Hadiningrat. The publication features striking historical photos of Susuhunan Paku Buwono XII, details the royal family tree, and offers a compelling explanation of the Kudhi weapon, written by Soewito Santoso Wiryonagoro. The Kudhi is an essential part of the procession, symbolizing a strong request for divine blessings to protect the nation.
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