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.
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.
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.
"This book aims to demonstrate that Indonesia's woven textiles can be developed and applied to interior design and lifted out of their traditional context to become relevant in the modern world. It covers its traditional meaning, its journey from the traditional context into the world of modernity and also the exploration of new ideas. Hopefully, it will motivate more people to pay greater attention to this cottage industry and consequently give positive encouragement in terms of increasing local weaver's income and to preserve the quality of our heritage."--Publisher description.
Drawn from the National Gallery's extensive collection of silks, cottons, batiks, gold brocades, tie-dyes and embroideries, this book features some of the greatest surviving examples of traditional Indian and Indonesian textiles. Traversing the Indian Ocean via sailors and merchants, priests and warriors, these textiles feature Ramayana epics, elephant and camel processions, trading ships and floral designs. Sari to sarong documents the remarkable exchange of ideas, materials, design and imagery (royal and religious) which has occurred between the two great cultures of India and Indonesia.
From rugged Japanese firemen's ceremonial robes and austere rural work-wear to colorful, delicately-patterned cotton kimonos, this lavishly illustrated volume explores Japan's rich tradition of textiles. Textiles are an eloquent form of cultural expression and of great importance in the daily life of a people, as well as in their rituals and ceremonies. The traditional clothing and fabrics featured in this book were made and used in the islands of the Japanese archipelago between the late 18th and the mid 20th century. The Thomas Murray collection featured in this book includes daily dress, work-wear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernization would leave behind traditional art forms such as the hand-made textiles used by country people, farmers, and fisherman. It presents subtly patterned cotton fabrics, often indigo dyed from the main islands of Honshu and Kyushu, along with garments of the more remote islands: the graphic bark cloth, nettle fiber, and fish skin robes of the aboriginal Ainu in Hokkaido and Sakhalin to the north, and the brilliantly colored cotton kimonos of Okinawa to the far south. Numerous examples of these fabrics, photographed in exquisite detail, offer insight into Japan's complex textile history as well as inspiration for today's designers and artists. This volume explores the range and artistry of the country's tradition of fiber arts and is an essential resource for anyone captivated by the Japanese aesthetic.
What knowledge is conserved about ikat textiles and their use in the Indonesian archipelago consists primarily of the records of missionary and scientific fieldwork, predominantly compiled by non-Indonesians. The coverage is thin-many weaving regions are covered by only one or two sources, and several regions have never been studied in detail. Much traditional knowledge is being lost, especially in the more remote island regions in the Indonesian archipelago, which require a concerted effort if any trace of their culture is to survive. UMAG hopes to contribute to the broader project by means of this publication, which shows ikat culture through a close reading of examples from over fifty weaving regions-several covered for the first time-and an introduction to the conditions, beliefs and customs of the various peoples who have created and used them. The book was enriched by the collaboration of twelve region-specific experts who gave critical feedback on chapters or provided details on techniques and motifs that only they could have provided. - Verlagsangaben.
