Author: Peter Lee et al, 2015. 139 pg. (English)
Publisher: Asian Civilization Museum, Singapore
Auspicious Designs is a catalog on the Tokwi, or Chinese altar cloths, made using various materials and techniques, such as silk and cotton, embellished with embroidery and using batik techniques. The book focuses on 72 altar cloths donated to the Peranakan Museum in Singapore. Peter Lee, an authority on Peranakan textiles, and many other textile experts contribute their knowledge in various essays.
Author: Sitthichai Smanchat, 2021. 264pgs. (Thai & English). Hardcover.
Publisher: Committee of University Affairs & Ayutthaya Studies Institute, Phranakhon Si Ayutthaya Rajabhat University; Ayutthaya Provincial Culture Council, Thailand
Added to the SEA Library in April 2025 as a gift from the author. This erudite volume offers a comprehensive exploration of Pha Lai Yang, or Siamese chintz, during the Ayutthaya period spanning the fourteenth to eighteenth centuries. The author foregrounds the intricate textile artistry produced by the highly skilled artisans of the Ayutthaya royal court, demonstrating that these fabrics transcended mere utilitarian function to become distinguished works of art. Traditionally, these textiles—manufactured in India for international markets—were celebrated for their vivid chromatic schemes and elaborate motifs, achieved through sophisticated painting and printing techniques. In Thai, Pha La-Yang denotes “cloth produced according to model-based design,” a phrase that underscores the meticulous craftsmanship and aesthetic intentionality embedded in their creation. Dr. Smanchat provides a rigorous historical analysis of Siamese chintz, tracing the networks of traders and the maritime routes that facilitated the circulation of these luxurious fabrics. His study illuminates the multifaceted role of Siamese chintz within both quotidian and ceremonial contexts at the Ayutthaya court, while also situating the textiles within broader transregional exchanges. Notably, he identifies cultural affinities between Thailand and Japan, particularly in the shared motifs evident in textiles preserved in the Ryukyu archipelago. The monograph concludes with a critical discussion of the decline and subsequent revival of Siamese chintz, thereby elucidating its enduring cultural and artistic legacy.of the cloth.
Author: Triesna Jero Wacik, 2012. 325pgs. (English & Indonesian). Softcover.
Publisher: Yayasan Sulam Indonesia, Jakarta
"Sulam Indonesia" is a scholarly volume dedicated to the rich tradition of embroidery across the Indonesian Archipelago. The works featured within its pages encompass both hand-crafted and machine-produced pieces, reflecting the diverse techniques employed by artisans. The book systematically documents and analyzes the distinctive forms of embroidery practiced throughout the islands, including those originating from Sumatra, Kalimantan, Java, Sulawesi, Bali, East Nusa Tenggara, and Papua. By presenting this wide spectrum of regional styles, the text not only highlights the aesthetic intricacies of Indonesian embroidery but also underscores its cultural significance as a living heritage deeply embedded in local identities and artistic expression.
Author: Kees de Ruiter. 2023. 328 pg. (in Dutch).
Publisher: LM Publisher, Volendam, Nederland.
Kees de Ruiter dedicates the book to his grandmother, Veronica Warners who collected batiks while living in the Indies. Many of the Indo-European batiks in the collection are influenced by Art Nouveau, an art style prominent around the turn of the century. A selection of approximately 150 cloths is depicted in large format, in which the motifs, patterns, and symbolism of the sarongs are extensively explained.
Author: Fred W. Van Oss, 1996, 192pgs. (Indonesian, Dutch and English), Hardcover
Publisher: Nederlands Textiel Museum, Tilburg, Netherlands
The book was published in conjunction with an exhibition of the same title, held at the Textiel Museum in Tilburg, the Netherlands, from June 1 to September 1, 1996, and subsequently presented in Jakarta later that month. This volume opens with a comprehensive account of the historical development of batik, followed by an exploration of its production techniques and regional variations. The text highlights the distinctive practices across numerous cultural centers, including Solo, Yogyakarta, Pekalongan, Kedungwuni, Tegal, Cirebon, Trusmi, Indramayu, Garut, Tasikmalaya, Ciamis, Banyumas, Purwokerto, Demak, Kudus, Juwana, Rembang, Lasem, Tuban, Kerek, Pacitan, Ponorogo, Tulungagung, Blitar, Kediri, Sidoarjo, Gresik, and Madura. Each locality is represented by a masterwork of batik, exemplifying the artistic heritage and regional identity embedded within this textile tradition.
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