Author: Endang Sri Hardiati et all (Editor). 1999, 312pgs, (In English) photocopied version
Publisher: Museum Nasional Indonesia, Jakarta
The proceedings of the conference included papers on: History and Trade Dale Carolyn Gluckman. (Keeping Culture: Museums and Traditional Asian Textiles) Jasleen Dhamija (Traditional Textiles and Changing Perceptions) Robyn Maxwell (Textiles and Politics in the Indonesian Archipelago in the 20th Century) Kim Jane Saunders (Textiles for Tourists or Textiles for Heritage?) Mary Hunt Kahlenberg (Nine Lives of a Textile) John Summerfield (Then and Now: Ceremonial Textiles 1800 – 1999) Wahyono Martowikrido (On the Men’s cloth of Ayutopas, South Central Timor. Technical Notes) Thomas Murray (Textile Motifs in Indian Trade Cloth made to the South Sumatra Taste) Papers on Dyeing and Technology Kun Lestari WF (The Development of Traditional Javanese Batik Colours with Natural Dyes) Suleiman, Tri Haryanto & Riyanto (The Development of Traditional batik Dyeing Method of Soga colour using natural dyes) Djumala Mahmud & Dwi Suharyanto (Wood as main material for batik stamp at the batik Process in Batik Industries) Tri Husodo & Dwi Suheryanto (Useful of Natural raw material for development Batik Industries) Elizabeth Oley (Natural Dye Revival in Indonesia) Hendri Suprapto & Kun Lestari WF (Dyeing of Natural on Cotton, Silk and Wool) Liz Perry (Weaving and Dyeing in Cambodia) Xayprani Chantalangsy (Presentation of the Lao textile at the World Textile Fashion and Art in Tourism Perspective Exhibition) Dwi Suheryanto and Wisnu Pamungkas (Intellectual Property Rights in the field of Batik Indonesia) Puji Yoseph Subagio & Gathut Dwihastoro (North Coast Java Batik, 1994) Kay Crippen & Patricia Mulready (Marketing Naturally Dyed Traditional textiles) Joseph Fisher (Balinese and Embroideries) Suhardini Chalid (The Ulos Weaver in the life of the Toba Batak) Papers on Meaning and Motifs Suwati Kartiwa (Appreciation for traditional textiles, Revitalization and Development Toeti Kakialatu (Market Segmentation in Traditional Textiles) Mohamad Najib bin Ahmad Dawa (Malaysian Batik Sarong and its Symbolism, Past, Present, and its Future) Genevieve Duggan ( Woven Metaphors and Gender Symbolism in Savunese Textiles) S. Hertini Adiwoso (The Sacret Weavings of the “Waktu Telu” In East Lombok) Puspitasari Wibisono (Baduy Community and its hand-woven Cloth) Fiona Kerlogue (Transformation and Tradition. Calygraphy Batik from Jambi) Itie van Hout (Indonesian Weavings between Heaven and Earth: Bird motifs on Indonesian Textiles) Ann Summerfield (The “Way” of Motifs in Minangkabau Ceremonial Textiles) Woro Aryandini (The Meaning of Pattern in Javanese Traditional Batik) Soerjanto (Nitik Motifs in Javanese Batik)
Author: James Bennett, Russel Kelty (editors). 2023. 468pg. (English)
Publisher: Art Gallery of South Australia, Adelaide
The Michael Abbot Collection features various Asian art objects, including textiles, ceramics, manuscripts, photographs, paintings, and wayang puppets, all accompanied by texts from different authors, each an expert in their field
Author: Kal Műller, 2008. 168pgs. (English) Softcover
Publisher: Daisy World Books, Papua
Introducing Papua constitutes a rare foundational primer, conceived to bridge a significant educational gap for indigenous students while simultaneously offering external readers an accessible entry point into one of the world’s least comprehended regions. The volume functions as a comprehensive, multidisciplinary survey of the western half of New Guinea, organizing a vast corpus of complex data into clearly delineated thematic sections. The text opens with an examination of New Guinea’s intricate tectonic history, rugged geomorphology, and rapidly evolving climatic systems. Müller synthesizes current scientific knowledge on early human migrations into the region—dating back tens of millennia—while carefully distinguishing between Papuan and Melanesian trajectories. The narrative juxtaposes life in the isolated highlands with that of the dynamic coastal zones, tracing early trade influences such as the Dongson culture and the Javanese Majapahit Empire before progressing to accounts of European contact along both littoral and interior frontiers. Commissioned with philanthropic and civic intent, the book was designed to provide indigenous students with accessible educational material on their own regional history and heritage. At the same time, it serves as a lucid overview for general readers, travelers, and researchers seeking a structured introduction to the territory. Müller succeeds in condensing dense geological, historical, and anthropological data into a readable 186-page format. Rather than privileging a single valley or tribal community, the work endeavors to chart the historical trajectories of the province as a whole. Enhanced by accompanying illustrations, the volume functions as a visual and textual reference guide rather than a forbidding academic monolith. Because the book privileges breadth over depth, specific traditional cultures receive limited attention. Müller explicitly acknowledges that the volume was conceived as the first in a projected series, intentionally deferring detailed ethnographic analyses of individual communities—such as the Asmat of the southern lowlands or the societies of the Bird’s Head Peninsula—to subsequent installments. For readers seeking granular political analysis or exhaustive tribal ethnologies, this introductory text may appear concise. Nevertheless, Introducing Papua remains a highly valuable and carefully constructed roadmap to the histories, landscapes, and peoples of Indonesian Papua.
Author: Julian Davison, 2003. 80pgs. (English). Hardcover
Publisher: Periplus, Singapore
This volume constitutes an interpretive guide to Balinese architectural heritage, illuminating the ways in which religious cosmology, social stratification, and climatic conditions converge to shape the island’s domestic, palatial, and sacred structures. The text, articulated in clear and accessible language, is complemented by watercolor illustrations that vividly convey the principles of traditional design. At its core, the work demonstrates how architectural alignments embody metaphysical relationships among deities, humans, and spirits, situating the built environment within a continuum of ritual practice and spiritual belief. The author further explicates the use of indigenous materials, construction sequences, and artisanal techniques, with visual renderings that map the spatial logic of traditional compounds and ceremonial sites. As a concise and visually engaging resource, the book functions as a primer for travelers and design enthusiasts, offering an introduction to the cultural logic underpinning Balinese architecture. While it does not aspire to the analytical depth expected in advanced academic research, its clarity and aesthetic presentation render it a valuable entry point into the study of Indonesia’s architectural heritage.
Author: Irawati Suroyo Bambang As., 2012, 229pg. (English). Softcover
Publisher: Ciriajasa Rancang Bangun, Jakarta
Isen-isen, traditionally employed as filler motifs, are most commonly integrated into the outlines of batik designs. Tati, an accomplished and deeply devoted batikker, extended the application of these fillers beyond the motifs themselves, incorporating them into the background with remarkable dexterity and unwavering patience. Whereas classical batik typically remains austere—restricted to sober hues such as sogabrown, white, or black—serving primarily as visual unifiers, Tati pursued a higher standard of perfection in the placement of isen-isen. This meticulous approach required exceptional technical skill and extraordinary perseverance. The resulting compositions acquire a dynamic vitality, imbuing the motifs with a heightened sense of depth and even an optical illusion of dimensionality. The book offers lucid and meticulously detailed illustrations of her oeuvre. It constitutes the first publication to systematically document this innovative technique, thereby foregrounding the consummate artistry of isen-isen within the broader tradition of batik.
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