Author: Unknown, 2007, 98pg. (Indonesian), Hardcover
Publisher: DEKRANASDA, The Regional Handicraft Council, Indramayu
The volume published by the Regional Handicraft Council Indramayu offers a comprehensive exploration of the distinctive batik tradition originating from Indramayu on the north coast of Central Java. Unlike the batik styles of Yogyakarta, Surakarta (Solo), Pekalongan, or Cirebon, Indramayu’s batik demonstrates a unique aesthetic identity, relatively uninfluenced by external regional conventions. This scholarly work meticulously documents the diverse repertoire of motifs, providing not only their nomenclature but also the historical narratives embedded within each design. Furthermore, the book elucidates the intricate processes of batik production, including the characteristic of cocohan or complongan technique, which is a signature process that creates a dense background of tiny neat dots on the fabric, thereby situating the craft within its broader cultural and artisanal context. Richly illustrated with vivid, full-color photographs, the publication serves as both a visual archive and an academic resource, preserving and celebrating the artistry of Indramayu batik.
Author: Maria Wronska-Friend, 2016. 235pg. (Indonesian and English)
Publisher: Komunitas Lintas Budaya Indonesia (Indonesian Cross-Cultural Community)
The book showcases the global influence of Javanese batik. It features discussions and images of batik in Europe, Africa, India, and Australia, highlighting fascinating cross-cultural connections among various countries and societies.
Author: Drs. Hamzuri. Translated by Judi Achjadi, 1981. 113pgs. (Indonesian & English). Softcover
Publisher: Djambatan, Jakarta
This volume represents one of the earliest comprehensive treatises on classical batik, distinguished by its black-and-white illustrations and authored by a recognized connoisseur of the art form. The text systematically delineates the batik process, specifying the requisite materials and tools, and provides a detailed account of the finishing technique known as mbabar. It further addresses the preparatory treatment of cotton cloth, the crafting of a stole, and concludes with an extensive glossary that catalogues batik motifs alongside dialectical terminology. In doing so, the work not only documents technical procedures but also preserves the linguistic and cultural dimensions integral to the batik tradition.
Author: Lucky Widjajanti & Benny Grata, 2013, 51pg. (Indonesian). Softcover. Catalog
Publisher: Museum Tekstil Jakarta
The exhibition received significant support from Dwita Herman, a distinguished textile connoisseur and cultural innovator, who sought to introduce transformative shifts within the batik repertoire of Indonesia. Her engagement with local batik markets revealed a striking pattern: artisans predominantly reproduced motifs derived from familiar surroundings, natural landscapes, and inherited traditions. While this practice underscores the deep-rooted connection between batik and its cultural environment, Herman recognized the limitations it imposed on creative evolution. Through her extensive travels, she encountered and documented a number of contemporary batik expressions, which demonstrate how this ancient art form can be reimagined in dialogue with modern aesthetics and global influences. Herman not only highlights the artistry of individual makers but also advocates for a broader redefinition of batik as a living, adaptive tradition capable of engaging with contemporary discourses in design and textile studies.
Author: Miranti Serad Ginanjar. 2015. 272 pg. (in Indonesian and English)
Publisher: Hastabrata Nawala Kencana, Jakarta
The book showcases a selection of the rarest and finest batiks produced in Kudus, famous for their unique and intricate patterns, aiming to document and preserve this heritage.
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