Author: Atika Suryodilogo, B. Sumardiyanto, Bima Slamet Raharja, Dyah S. Indrokusumo, Hermien Kusnayati, Projowinoto, Rahmat, S.Ratna Saktimulya, Sudibyo, Sri Margana, 2012 (2nd edition), 316 pgs, (Indonesian), Softcover
Publisher: Trah Pakualaman Hudyana, Jakarta, Eka Tjipta Foundation, & Perpustakaan Puro Pakualaman
This volume offers a comprehensive examination of the Kadipaten Pakualaman (a Dukedom in the special district of Yogyakarta), approached through a constellation of disciplinary perspectives, including governmental administration, architectural heritage, artistic production, dance traditions, wayang puppetry, literary expression, ritual practices, archival documentation, and culinary culture. By situating Pakualaman within the broader matrix of Indonesian cultural history, the study endeavors to illuminate its distinctive contributions while underscoring its interconnections with national identity. It is anticipated that such a multifaceted inquiry will not only deepen scholarly and public understanding of the Kadipaten Pakualaman, but also foster a heightened sense of cultural cohesion and advance the collective aspiration toward a more integrated and prosperous national life.
Author: Ni Putu Putri Suastini Koster, 2022, 188 pg. (Indonesian and English).
Publisher: Dinas Perindustrian dan Perdagangan Provinsi Bali.
Ni Putu Putri Suastini Koster is the leader of the Indonesian Regional Handicraft Council in Bali. The volume is a manifestation of her great interest in the field of Balinese traditional textiles and the book is based on an annual exhibition “Bali Bangkit” (Rise Bali) for small and medium enterprises (IKM), in 2022. The book protected with an attractive dust jacket featuring industrious Balinese weavers in a beautiful setting presents textiles from the exhibition as well as from Balinese weavers, collectors, and scholars.
Author: -
Publisher: -
This volume presents the batik creations of Hardjono Go Tik Swan, who was later conferred the honorary title Panembahan Hardjonagoro by the Kasunanan Surakarta in recognition of his outstanding contributions and profound knowledge of Javanese culture. The batiks featured herein were produced between 1956 and 1966 and originate from the collections of distinguished patrons and collectors, including Hartini Soekarno, Soejatoen Damais, Srimani Mardanus, Soetiarsih Martadinata, Herawati Diah, Minarsih Soedarpo, Nian Djoemena, Nora Goenawan, Sri Redjeki Boediardjo, Soelasmini Sjafiri Alim, Yani Arifin, Nugroho, as well as the Museum Tekstil Jakarta. Among his most celebrated motifs are Sawunggaling, Kumudowati, Ceplok, Semen, Parang, and Puspawarna, each exemplifying the refinement and symbolic depth characteristic of Javanese textile artistry.
Author: Neneng Iskandar & Benny Gratha, 2014. 16pg. (Indonesian)
Publisher: Himpunan Wastraprema, Jakarta
This catalog presents a remarkable collection of textiles that are over 100 years old and no longer in production. It features ancient textiles from Lampung and Palembang, along with exquisite songket from Gresik (East Java), Cirebon, Solo, and Pekalongan. Each entry not only highlights these unique fabrics but also delves into the rich stories behind their creation and explains the reasons for their discontinuation.
Author: Judi Achjadi, Benny Gratha, 2013, 81pg. (Indonesian and English). Softcover.
Publisher: Museum Tekstil Jakarta
The exhibition Wastra Sumba, held from 9 to 20 October 2013, presented a distinguished selection of textiles from the collection of the Clemson family, who resided in Indonesia between 1974 and 1983. This curated display not only highlighted the aesthetic and cultural richness of Sumbanese weaving traditions but also underscored their historical significance within the broader context of Indonesian material culture. Accompanying the exhibition was an insightful essay by Judi Achjadi, which examined the intricate ceremonial practices of Sumba, including wedding rituals, funerary observances, and pahola—a symbolic mock battle associated with rice-planting rites. Achjadi’s contribution provided a critical ethnographic lens through which the textiles could be understood, situating them within the lived experiences and ritual frameworks of the Sumbanese people.
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