Author: S. Ken Atik Djatmiko, 2014. 24pg. (Indonesian)
Publisher: Musium Tekstil Jakarta & Yayasan Batik Jawa Barat, Jakarta
The catalog describes the textiles from the south coast of West Java, including Ciamis, Tasikmalaya, Cianjur, and Garut.
Author: Lilian Too, 2000. 237pgs. (Indonesian). Softcover
Publisher: PT Elex Media Komputindo, Jakarta
The volume is an exceptional introductory guide that effectively demystefies the ancient Chinese art of placement. Written by one of the most renowned and best-selling feng shui experts, the book stands out as a highly practical manual designed to help readers harmonize their living and working spaces to invite health, wealth and prosperity. The book serves as a comprehensive single-volume toolkit. Rather than treating feng shui as an abstract spiritual science, Lillian Too frames it as a practical method for alighning environments with the earth’s natural energy lines. Too systematically decides the application of feng shui principles into targeted areas of modern life., transforming living spaces, arranging bedrooms and identify the auspicious layout zones. In the worlplace, she positions desks and organize office structures to attract professional success and career growth. In terms of relationships and family, the author utilize placement to improve marital harmony, attract romance and supports children’s education. True to its name, the book delivers immediate value through step-by-step layout suggestions, environmental fixes and cures for bad energy (shar chi). The author avoids getting mixed in dense historical jargon or self-indulgent prose. Instead she approaches feng shui objectively, making complex energy flow formulas easy to comprehend for beginners. The book stands apart due to its rich use of beautiful color diagrams, charts and illustrations. These graphic remove the guess work from figuring out compass directions or spatial arrangements. Weaknesses of the book. Because it is designed to be accessible introduction, experienced feng shui practitioners might find the theories overly simplified. At times, certain high-value chapters (such as business application tips) end abruptly, leaving readers wanting a bit more structural depth. The book however is highly recommended for anyone who wants a straightforward, visually clear and empowering entry point into space optimation. Lilliane Too successfully translates an ancient art into practical daily wisdom for the contemporary home.
Author: Francine Brinkgreve & David J. Stuart-Fox(Eds.). 2013. 336pgs. (English). Softcover. Contributions by various experts. Collection Series.
Publisher: Rijksmuseum Volkenkunde/National Museum of Ethnology
This volume constitutes a substantial 336-page exploration of Indonesian craftsmanship, meticulously cataloguing the personal collection of the late Dutch connoisseur Frits Liefkes. Within its pages, readers encounter an arresting assemblage of golden jewelry and intricately woven textiles from across the Indonesian archipelago, each piece bearing testimony to the region’s artistic virtuosity and cultural richness. The publication, however, is not conceived as a comprehensive or chronological survey of Indonesian art history. Rather, it reflects the highly personal predilections of a single collector. The emphasis falls predominantly upon textiles and jewelry, while other major artistic traditions—such as sculpture, woodcarving, or ritual objects—remain largely outside its purview. In this sense, the volume offers insight less into the totality of Indonesian material culture than into the selective gaze of a European collector navigating the art world of the late twentieth century. Beyond its aesthetic merits, the book provides a fascinating window into the Dutch collecting milieu over a forty-year period. It traces the provenance of these objects from local auctions in Indonesia, through their installation in Liefkes’ domestic interior in The Hague, and ultimately to their institutional preservation at the Rijksmuseum Volkenkunde in Leiden. Thus, the volume not only illuminates the artistry of Indonesian makers but also charts the transnational trajectories of cultural artifacts, revealing the interplay between local production, private collecting, and museum curation.
Author: Pandam Guritno, Haryono Guritno, Teguh S. Jamal & Molly Bondan, 1984, 102 pgs. (English) Softcover
Publisher: privately through the generosity of Mr. Probosoetedjo, Jakarta
The volume presents a visually interesting and intellectually engaging exploration of Javanese shadow puppet theatre. Beyond its aesthetic allure, it interrogates the profound philosophical and spatio-temporal traditions that animate Wayang Kulit, situating the art form within the broader cosmological frameworks of Javanese culture. The puppetry is not merely theatrical spectacle but a ritualized medium through which narratives of morality, kingship, and cosmic balance are transmitted across generations. As a specialized large-format monograph, the work eschews the density of conventional historical treatises, instead functioning as a curated showcase of visual and cultural patrimony. Its ethnographic resonance lies in the way it foregrounds the lived practices of dalang (puppet masters), the communal settings of performance, and the syncretic layering of Hindu-Buddhist, Islamic, and indigenous Javanese worldviews. In doing so, it underscores Wayang Kulit as both an aesthetic tradition and a repository of collective memory, embodying the dynamic interplay between ritual, pedagogy, and cultural continuity.
Author: Hans Peter Ahrends & Punvasa Kunlabutr, 2004, 302pg. (English & Burmese). Hardcover
Publisher: Amann Printing and Publishing, Bangkok, Thailand
Burmese textiles are no less charming than textiles found in other countries in the region. Besides the ancient Burmese textiles woven in the luntaya technique, we also find the acheiq motif adorning textiles which have been woven using other techniques, such as discontinuous supplementary weft (leq khaunq), continuous supplementary weft (phid lun), damask embroidery (pan htoe), as well as being printed (poung hnaik) or painted (pan chi swe) onto cloth. Over a period of twenty years, the “Lampion” a Curios and Antiques shop in Bangkok’s river city Shopping complex has become the home of a fine and spectacular collection of silk textiles from Burma, Cambodia, Laos and Thailand. For the first time a book presents and describes the most beautiful and rarest Burmese luntaya-acheiq court silk textiles from the Lampion collection.
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