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.

The reverence accorded to textile art on the islands is reflected in every area of production; precision of weave and exquisite patterning are testimony to superlative craftsmanship. Lying at the heart of a vast network of trading routes, Indonesia has absorbed a wealth of foreign influences that have spawned an eclectic culture uniquely mirrored in its textile art. Beautiful cloud shapes characteristic of Chinese painting reappear in Javanese batik, while Ming porcelain and Chinese embroideries have provided inspiration for many wonderful patterns. Indian symbols - the tree of life, the naga snake, the sacred mountain, the lotus - have all been rendered as textile motifs. Geometric forms, human and animal figures and even Dutch Art Deco designs can also be found.

Drawn from one of the world's leading textile collections, this magnificently presented array of traditional weavings from the Indonesian archipelago provides a unique window into the region's cultures, rites, and history. Gathered over the course of four decades, the Thomas Murray collection of Indonesian textiles is one of the most important privately owned collections of its type in the world. The objects comprise ritual clothing and ceremonial cloths that tell us much about the traditions of pre-Islamic Indonesian cultures, as well as about the influences of regional trade with China, India, the Arab world, and Europe. As with the earlier volume, Textiles of Japan (Prestel, 2018), the book focuses on some of the finest cloths to come out of the archipelago, presenting each object with impeccable photographs, colors, patterns, and intricate details. Geographically arranged, this volume pays particular attention to textiles from the Batak and the Lampung region of Sumatra, the Dayak of Borneo, and the Toraja of Sulawesi, as well as rare textiles from Sumba, Timor and other islands. Readers will learn about the intricate and highly developed traditions of dyeing, weaving, and beading techniques that have been practiced for centuries, resulting in a breathtaking collection of motifs, patterns, dyes, and adornments. Original texts by leading international experts draw on the latest research to offer historical context, unspool the mysteries behind ancient iconography, and provide new insights into dating and provenance. At once opulent and scholarly, this book arrives at a moment of growing interest in Southeast Asian culture and carries the imprimatur of one of the art world's leading collectors. Full List of Contributors: Lorraine Aragon, Joanna Barrkman, Chris Buckley, Kristal Hale, Valerie Hector, Janet Alison Hoskins, Itie van Hout, Eric Kjellgren, Fiona Kerlogue, Brigitte Khan Majlis, Robyn Maxwell, Thomas Murray, and Sandra Sardjono.

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.

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.