Author: Komarudin Kudiya et al. 2014. 220pg. (Indonesian)
Publisher: Yayasan Batik Jawa Barat, Jakarta
This volume provides a comprehensive documentation of the batik from the southern coast of West Java, a topic that has not received the attention it deserves until now. It showcases the distinctive batik from regions such as Ciamis, Pangandaran, Cianjur, Garut, Sukabumi, and Tasikmalaya. Each area is examined in detail, highlighting the unique motifs and the rich sources of inspiration behind the batik designs
Author: Helen Iswara et al, 2012. 265 pg. (English)
Publisher: Kepustakaan Populer Gramedia, Jakarta
The book features batik pieces dating from the 1870s to the 1960s, collected from batik-producing towns along the northern coast of Java. It particularly emphasizes batiks from Pekalongan, Batang, Tegal, Lasem, Kudus, Banyumas, Cirebon, Indramayu, Garut, Sidoarjo, and Madura. Furthermore, the author explores various aspects of batik, including pangsi (batik pants), batik slings, isen-isen (batik fillers), lataran (background), and the subject of signed batiks.
Author: Helen ishwara, L.R. Supriyapto Yahya, Xenia Moeis, 2012, 266pg. (English). Softcover
Publisher: Kepustakaan Populer Gramedia, Jakarta
The collector presents his extensive assemblage of Pesisir Batiks in a geographically structured manner, commencing with Batik traditions from Pekalongan, Batang, Tegal, Lasem, Kudus, Banyumas, Cirebon, and Indramayu, followed by Garut, Sidoarjo, and Madura. Although not all of these regions are strictly coastal—Garut, for instance, is situated inland—they are nonetheless frequently categorized within the broader cultural sphere of coastal batik production. In addition to showcasing the textiles themselves, the collector imparts a wealth of knowledge concerning batik-related cultural artifacts and practices. These include pangsi trousers (traditional batik pants), baby slings, isen-isen and lataran (filler and background motifs), signed batiks, and hand-painted batik works. His discourse underscores both the material diversity and the symbolic richness embedded within the batik tradition.
Author: Iwan Tirta, 2009, 250pg. (Indonesian). Softcover
Publisher: Gaya Favorit Press, Jakarta
The author conceptualizes batik as a theatrical performance, structuring the book in alignment with the stages of a wayang shadow play. The opening section, Talu (Prologue), recounts his childhood experiences and the origins of his admiration for batik. The narrative then transitions to the creation of batik within the keraton—the royal palaces of Central Java—where tradition and artistry were cultivated. Subsequently, the section Adeg Sebrang explores external influences beyond the palace walls, including contributions from Pekalongan, Chinese, Arab, Dutch, and other cultural interactions. The author reflects on the role of the muse—the spiritual force that inspires Iwan Tirta in his work as both batik artisan and fashion designer. As in many narratives, a challenge emerges: here, the disruption of the Second World War, which gave rise to Batik Hokokai, Batik Indonesia, and other innovative designers. For Iwan, batik ultimately becomes a form of meditation, a contemplative practice that transcends mere craft. The closing section, Tancep Kayon (Epilogue), situates batik within broader trajectories of cultural development, examining its transformation into haute couture and its role in global markets. He further considers batik’s significance in diplomatic relations and speculates on its future evolution. The book is richly illustrated, featuring vivid and meticulously curated images that showcase Iwan Tirta’s batik creations and artistic legacy.
Author: Veronika Kristianti, 2011, 108pg. (Indonesian) Softcover
Publisher: Ministry of Tourism and Creative Economy, Jakarta
The Sidomukti batik motif originates from continuous developments of Sidomukti pattern with a white background, this was later developed by Sunan Paku Buwana IV with isen-isen or fillers on the white background. Much later, Sunan Paku Buwono X changed the Sidomukti motif into eight patterns called Astabrata. The book is based on the author’s thesis.
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