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Reading The Journey of Indonesian Batik

Ariesa Pandanwangi Nuning Yanti Damayanti Arleti Mochtar Apin Belinda Sukapura Dewi Ayoeningsih Dyah Woelandhary Endang Caturwati Erni Suryani Gilang Cempaka Niken Apriani Nina Irnawati Rina Mariana Siti Sartika Sri Rustiyanti Vera Utami Gede Putri Wanda Listiani

Published: 2021-12-31

Total Pages: 131


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Indonesian has been very attached with textile in their daily life for along time, perhaps this is the reason why The Nusantara has a wide range of textile, from materials, techniques, and products.
Batik occupies a special place in Indonesian culture. Each fabric has a rich story to tell--as a reflection of the nation's religious beliefs, sophisticated court cultures and cosmopolitan history. The extraordinary textiles in this book are from the collections of Rudolf Smend and Donald Harper. Most date from the period 1880 to 1930 when the art of batik reached its apogee. Having collected historical batik for over thirty years and published two books on the subject, Rudolf Smend has invited his friend and fellow batik specialist Donald Harper to contribute his fine collection to this publication as well. None of the batik in this book have been published before. They represent an exquisite cross-section of the batik production of Java--the most important batik-producing region in the world. The cloths are complemented by vintage photographs from the first quarter of the 20th century demonstrating how the batik were worn at court and at home. Three are from museums in Dresden and Cologne, while three are from the private collection of Leo Haks. The others have been collected over the past 30 years from private sources in Java. The captions are by Maria Wronska-Friend, an ethnologist and batik expert who frequently visits Indonesian batik centers and has worked for many years as an anthropologist in Papua New Guinea. Her contributions provide fundamental knowledge for lovers of this art form while at the same time providing new insights for experts. Rudolf Smend has invited other batik aficionados of his generation to share their passion for batik in this book. Inger McCabe Elliott, author of the bestselling Batik: Fabled Cloth of Java has contributed her lifelong experience. Other authorities like Annegret Haake, Brigitte Khan Majlis and Jonathan Hope share their views and expertise in these pages. This book represents a labor of love and a lifetime of friendship for the two authors, who hope it will provide inspiration to a whole new generation of batik lovers.
A vast archipelago noted for its varies, intricate and labour-intensive textile traditions. Contents: 1. Introduction 2. The Batik process 3. Traditional Batik clothing 4. Batik designs 5. Centres of Batik production 6. Condlusion.
A comprehensive and richly illustrated survey of batik, a glorious textile art and popular Indonesian cloth.
One of Indonesia's most highly developed art forms, batik designs can be traced back to ancient Egypt and other parts of the Middle East. Patterns created with dyes and a pen dipped into hot wax produce rich and unique color combinations. This stunning collection includes more than 200 of these highly stylized and often dramatic batik designs depicting florals, geometrics, winged creatures, and other fanciful images. Ideal for immediate practical use, this handy archive--reproduced directly from a rare, authoritative source--will supply artists and crafters with an unusual range of designs and serve as a delightful browsing book for enthusiasts of Asian art and culture.
From about 1840 onwards, batiks found their way from what was called the Netherlands East Indies, then under Dutch colonial rule, to the Netherlands, where they were kept in private and public collections. Owing to Holland's great interest in Batik, Amsterdam's Tropenmuseum now owns a collection of over 3000 pieces. Many represent the major batik centres that emerged on Java, Madura and Sumatra. Batiks tell the stories of their maker, their wearers and eventual collectors. By studying the history of individual pieces from their creation to their arrival in the Tropenmuseum, we can relate them to their shared history. Batik became a product of intercultural contact in a society where different ethnic groups lived next to or with each other. This book focuses on this communication, on batiks as visual witnesses of cultural encounter within the East but also between the East and the West. This book will appeal to anyone interested in Indonesian arts and textiles. It is a rich source of study for scholars interested in the art of batik and the society in which it developed to its high level of perfection.
The word ’batik’ is possibly of Malay origin from the word ’tik’ meaning ’to drip’ or ’to drop.’ The term is applied to a resist dye technique invented independently in locations as diverse as Ancient Egypt, Japan and Turkestan. Batik is a remarkably flexible textile technique and is suited to small-scale methods of production, but demand from the fashion and tourism industries is increasing. This volume brings together the experiences and concerns of the international community of batik producers. It gives voice to their suggestions for ensuring that the producers of this traditional craft are integrated into its increasingly global production rather than excluded from it. Building on the work of batik designers and producers the book discusses the emergence of a global craft consciousness. Batik producers report on innovative measures taken both individually and collectively to hold their market position while commercial producers frequently annex and mass-produce traditional batik design. The book concludes with a discussion of marketing and production innovations and tourism which enable the producers of batik to maintain the integrity of their designs whilst harnessing the benefits of new commercial forms.
Drawing on social media, cinema, cultural heritage and public opinion polls, this book examines Indonesia and Malaysia from a comparative postcolonial perspective. The Indonesia–Malaysia relationship is one of the most important bilateral relationships in Southeast Asia, especially because Indonesia, the world’s fourth most populous country and third largest democracy, is the most populous and powerful nation in the region. Both states are committed to the relationship, especially at the highest levels of government, and much has been made of their ‘sibling’ identity. The relationship is built on years of interaction at all levels of state and society, and both countries draw on their common culture, religion and language in managing political tensions. In recent years, however, several issues have seriously strained the once cordial bilateral relationship. Among these are a strong public reaction to maritime boundary disputes, claims over each country’s cultural forms, the treatment of Indonesian workers in Malaysia, and trans-border issues such as Indonesian forest fire haze. Comparing the two nations’ engagement with cultural heritage, religion, gender, ethnicity, citizenship, democracy and regionalism, this book highlights the social and historical roots of the tensions between Indonesia and Malaysia, as well as the enduring sense of kinship.