Author: Mattiebelle Gittinger, 1972, 238pg. (English), (photocopied version)
Publisher: Mattiebelle Gittinger, Dissertation
This document constitutes a photocopied edition of Mattiebelle Gittinger’s doctoral dissertation, submitted to the Faculty of Philosophy at Columbia University in 1972. Building upon the foundational research of her predecessors, Gittinger undertook a comprehensive study of the shipcloths of South Sumatra, with particular emphasis on their design motifs and ritual functions. Her analysis situates shipcloths within their ceremonial contexts, elucidating their symbolic roles in rites of passage and transitional rituals. The dissertation further examines the materials and weaving techniques employed, offering a systematic classification of designs and compositional structures, alongside a rigorous exploration of design analysis and iconographic interpretation.
Author: Vicky Baum, 1999. 512pgs. (English). Softcover
Publisher: Periplus, Singapore
Vicki Baum, the Austrian novelist, originally composed this volume in German in 1937 under the title Liebe und Tod auf Bali. The work endures as a masterpiece of historical fiction, offering a highly atmospheric, empathetic, and ultimately devastating portrayal of the final days of Bali’s independent kingdoms before their subjugation under Dutch imperial rule. The narrative intricately interlaces the lives of diverse Balinese figures across multiple strata of society. At its core are Pak, a humble yet profoundly spiritual peasant farmer, and Alit, the proud young raja of Badung. Through their perspectives, readers encounter a richly woven tapestry of traditional Balinese life—cockfights, harvest rituals, village politics, and complex religious obligations. This equilibrium collapses when a Chinese merchant vessel founders off Sanur, and the Balinese, following customary salvage practices, reclaim its cargo. The Dutch colonial administration seizes upon this incident as a pretext to impose exorbitant reparations. When the raja refuses to relinquish sovereignty or submit to the fine, a massive Dutch military expedition is dispatched to conquer the island. The novel culminates in the harrowing Puputan, wherein thousands of Balinese—from nobles to children—arrayed in white ceremonial robes, march resolutely into Dutch gunfire rather than endure colonial subjugation. One of the narrative’s principal strengths lies in its immersion within cultural‑anthropological depth. Baum resided in Bali during the 1930s and collaborated closely with the painter Walter Spies, whose ethnographic sensibilities informed her depictions. Her portrayals of Balinese customs, class dynamics, and spiritual beliefs resonate with authenticity rather than orientalist distortion. Remarkably, for a Western author writing in 1937, Baum accords the indigenous population dignity and nuance, eschewing primitivist caricature. The novel also reflects historical verisimilitude, effectively mirroring the political machinations that precipitated the real‑life Dutch intervention of 1906. The first half of the text unfolds at a deliberate pace, devoting considerable attention to agricultural rhythms, village disputes, and religious lore. Readers seeking a fast‑paced narrative may find the exposition demanding. As a commercial fiction writer of her era, Baum occasionally employs heightened dramatic prose and romanticized fatalism, stylistic features that may appear dated to contemporary audiences. Nevertheless, the book remains indispensable for those interested in Indonesian history, the catastrophic consequences of colonialism, or the cultural richness of Bali. It compels readers to reconceptualize Bali not merely as a modern tourist destination but as a deeply historical landscape defined by extraordinary bravery and tragic resilience. Vicky Baum , a Austrian novelist originally wrote the volume in German in 1937, under the title Liebe und Tod auf Bali. The book is a masterpiece of historic fiction. This highly athmospheric novel provides a vivid empathetic and ultimately devastating look at the final days of independent Balinese kingdoms before they succumbed to Dutch imperialism. The narrative weaves together the lives of diverse Balinese characters across different societal strata. It centers around Pak, a humble but deeply spiritual peasant farmer, and Alit the proud young raja of Badung. Through their eyes readers witness a tapestry of rich traditional Balinese life – cockfights, harvest rituals, village politics and complex religious duties. The peace is shattered when a Chinese merchant vessel runs aground off Sanur, and the local Balinese salvage the cargo according to ancient customs. The Dutch colonial government uses this “looting” incident as a political pretext to demand exorbitant reparations. When the Raja refuses to surrender his sovereignity or pay the fine, a massive Dutch military expedition is send to conquer the island. The book culminates in the Puputan, where thousand of Balinese from nobles to children dressed in white ceremonial robes, marched directly into Dutch gunfire, rather than face colonial subjugation. One of the key strength of this narrative is an immersion into Cultural Anthropological depth. Baum lived in Bali during the 1930s and collaborated closely with the famous painter Walter Spies. Her descriptions of Balinese customs, class dynamics, and spiritual beliefs feel authentic rather than orientalist. The book also presents an sympathetic and nuanced perspective. For a western author writing in 1937, Baum treats the indigenous population with incredible dignity. The Balinese are not portrait as primitive. In addition, the book reflects historical accuracy, as it effectively mirrors the political machinations that let up to the real life 1906 intervention. The first half of the book moves quite slowly, spending a significant amount of time detailing agricultural life, village quarrels and religious lore. Readers looking for a fast-paced thriller may struggle with the exposition. As a commercial fiction writer of her era, Baum occasionally relies on dramatic prose and romanticised fatalism that can feel slightly dated to modern readers. The book is an essential read to anyone interested in Indonesian history, the devastating impacts of colonialism or the rich culture of Bali. It shifts the readers view of Bali from a mere modern holiday resort into a deeply historical landscape defined by immense bravery and tragic resilience.
Author: Michael C. Howard, editor. 2008. 206pgs. English. Softcover. Studies in the Material Cultures of Southeast Asia Series no.12
Publisher: White Lotus, Bangkok
This volume constitutes the first comprehensive investigation of Southeast Asia’s warp and warp-float patterned textiles. Despite their historical significance, such textiles have received comparatively little scholarly attention, even though they represent a vital component of the region’s cultural and artistic legacy. They embody a shared heritage that extends back to the Bronze Age, linking diverse communities to the Dongson culture of Northern Vietnam and southeastern China. The book examines the intricate weaving techniques employed in their production and offers a systematic survey of supplementary warp and warp-float patterned textiles across Southeast Asia.
Author: Unknown, 2015, 85pg. (English & Chinese). Softcover
Publisher: The China National Silk Museum, Hangzhao
The World of Looms exhibition was organized by the China National Silk Museum in Hangzhao with the support of many global scholars and research institutions. It is the first exhibition in China that presents the rich cultural heritage of looms and weaving technologies from around the world. The display features more than 50 looms, and many with their associated textiles, organized by their geographical locations. These objects celebrate the marches of textile innovations through the lens of global textile traditions. It highlights the vital role of cultural exchanges along the Silk Road, for the evolution of loom types in China and its bordering regions. Furthermore it illustrates the adaption of looms and weaving practices worldwide in paving the rapid change of traditional custom and to meeting new demands. It emphasizes the need to preserve weaving knowledge for it is quintessential to all cultures.
Author: Catalog, 2016. 72 pg. (Chinese and English)
Publisher: China National Silk Museum, Hangzhou
A catalog that accompanies the exhibition bearing the same name, displays a variety of antique silk textiles from various continents.
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