Author: Ardian Purwoseputro, 2014. 292pg. (English)
Publisher: Afterhours Books, Jakarta
A dynamic new generation of dollmakers and puppeteers from the non-Chinese community has unequivocally transformed Potehi into a vibrant multicultural art form. The author confidently identifies this variant as "Wayang Potehi Jawa," marking its clear departure from traditional puppetry found in China and elsewhere. This evolution solidifies Indonesia as a powerful center for cross-cultural exchange, where puppets proudly display their exquisite hand-embroidered clothing.
Author: Marie-Louise Toton, 2009. (English). Softcover
Publisher: Hood Museum of Art, Darthmouth College, Hanover, New Hampshire, USA
Positioned at the confluence of two pivotal maritime arteries that bridged East and West Asia, Sumatra—long stood as a preeminent hub of the global pepper trade. For centuries, its fertile landscapes yielded the spice that animated commerce across continents. In the island’s southern reaches, the Lampung communities, inhabiting the region evocatively known as “pepperland,” transformed the wealth derived from this lucrative exchange into ceremonial finery and artistic adornment. Foremost among these cultural expressions were the tapis, resplendent tubular sarongs distinguished by their intricate craftsmanship. Each garment was painstakingly handwoven from cotton and silk, and further enriched with threads sheathed in gold and silver. Embroidery executed in silk or pineapple fiber lent additional refinement, while appliqué ornamentation incorporating mirrors and mica imparted a luminous, almost celestial quality.
Author: Roy W. Hamilton, Jill Forshee, Traude Gavin, Cherubim Alonte Quizon, 2012, 88pg. (English). Softcover. Fowler Museum Textiles Series no. 10.
Publisher: Fowler Museum at UCLA, Berkely, California
This volume delves into the personal stories of individual textile artists, bringing recognition to their accomplishments, skills and extraordinary lives. Photographes of ten women from eight locations in the Southeast Asian archipelago along with examples of their weavings are accompanied by a DVD showing them at work. Although the makers of textiles are generaly not named in American museum collections, the creation of textiles is not anonymous in Southeast Asian communities. Senior artists are held in public esteem, and the cloth they produce is instantly recognizable to local people as their unique product.
Author: Viengkham Nanthavongdouangsy, 2004. 44pg. (Lao and English)
Publisher: Phaeng Mai Gallery, Vientiane, Lao PDR
The Naga is a prominent motif in Lao woven textiles, reflecting the imagination and respect of the weavers. It is deeply connected to the livelihood of the Lao people. When discussing their work, weavers often link the Naga to their craftsmanship. Known by various names, the Naga's significance is shaped by Buddhist and Animist beliefs, with each ethnic group having its own tales and interpretations of this sacred creature.
Author: Marie-Louise Nabholz Kartaschoff, Ruth Barnes, David J. Stuart Fox, editors, 1991. 459pg. (English). Photocopied version.
Publisher: Museum of Ethnography, Basil, Zwitserland.
This photocopied version includes papers from: Jan Wisseman Christie. (Ikat to Batik? Epigraphic data on Javanese Textiles from 9th to 15th Centuries). Woro Ariyandini Sumaryoto. (Textiles in Javanese texts.) Alit Veldhuizen-Djajasoebrata. (Snakeskin motifs on some Javanese textiles.) H.I.R. Hinzler. (On Protection and textiles in Bali.) David J. Stuart Fox. (Textiles in Ancient Bali.) Ruth Barnes. (Change and Tradition in Lamaholot textiles. The Ernst Vatter Collection.) Suwati Kartiwa. (Buginese Weaving in the Metropolitan area of Jakarta.) Sandra A. Niessen. ( Indigenous Batak Cloth Production and Trade in 19th century……) Francine Brinkgreve. (The Woven Balinese Lamak. Reconsidered.) E. Douglas Lewis. (Mother Warp and Father Weft. Social meaning of textiles in Sikka….) Rens Heringa. (Tilling the cloth and weaving the land.) Barbara Leigh.( The theme of the Heavenly Garden.) Traude Gavin. (The Patterns of the Pua Kumbu in an Iban cultural context.) Danielle Geinaert. (The Sumbanese Textile Puzzle. A comparative exercise.) Janet Hoskins. (Snakes, smells, and dismembered brides. Kodi, West Sumba.) Edgar Keller. (Headdresses as a medium of expression in Laboya, Sumba…..) Roy W. Hamilton.( Textile Change in 20th Century Ndona, Flores.) Hetty Nooy-Palm. (Sacred Swords and Magic Cloth: A Saadan Toraja ritual.) Sven Cederroth. (Sacred Cloths in the Wetu Telu cosmology of Bayan, North Lombok.) Judith Schlehe. (Garments for the Goddess of the Sea.) Martowikrido Wahyono. (Notes on Lurik.) Jet Bakels. (Symbolism of Baduy Adat clothing ….. colors, patterns and plants.) Barbara Lůem. (A Tissue of Textiles. Textiles & ethnicity in Tengger society) Petra Martin. (Banana-fibre weaving in Sangihe and Talaud.) Christian Pelras. (Textiles and Weavings of the South Sulawesi Muslim Peoples….) Christiane Kron-Steinhardt. (Isinai Kinnutiyan. Traces of … weaving trad in Luzon…) Harmen C. Veldhuizen. (Batik Belanda 1840 – 1940.) Nian S. Djoemena. (Batik treasures of the special region of Yogyakarta.) Annegret Haake & Hani Winotosastro. (Batik or Plagiate? How to distinguish between Batik Tulis, Batik Cap, and direct prints.)
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