Made by the Kementerian Perindusterian Djawatan Balai2 Penjelidikan / Pendidikan Balai Penjelidikan Batik [WITH] Unpublished typescript article "Symbolism of the Designs and Colours in Batik" by R. Kusumanto Setyonegoro

Jogjakarta, Indonesia: Balai Penjelidikan Batik (Batik Research Center), 1960. Very Good. Jogjakarta, Indonesia: Balai Penjelidikan Batik (Batik Research Center), [ca. 1960s]. First Edition. Oblong quarto (20x34cm.); publisher's black cord-tied gilt-lettered cloth, batik sample mounted to front cover; [11]ll. interleaved with glassine; nine (9) mounted batik samples with accompanying text in English and Indonesian, each sample accompanied by an original mounted black and white snapshot photograph of textile workers demonstrating different processes of production; mimeographed map of ninety-nine Batik-producing centers mounted to rear pastedown. Light wear to boards with a few minor scuffs. Binding sound and pages unmarked. Light rubbing and toning to monograph with fold through center; a few edits and corrections in pen, presumably in author's hand. Overall Very Good.

Compelling and interactive trade catalog issued by the Batik Research Center, describing with the use of samples and original photographs the production process, from white unstarched cambric to "mBabar," the final step of removing the remaining wax from the cloth with hot water.

Accompanied by an 8-page typescript titled "Symbolism of the Designs and Colours in Batik" on the letterhead of R. Kusumanto Seytonegoro (1924-2008). Seytonegoro was a prominent Indonesian psychiatrist, but the typed article included here, presumably authored by him and unpublished as far as we could determine, shows his deep knowledge and appreciation of the batik art form. Not only does the author give succinct and detailed descriptions of the origin and meaning of different types of batik (geometric patterns, "Batiks which are forbidden," and how the level of craftsmanship and artistry will effect the magical strength of a certain design, for instance), but he provides insights into how Indonesia's geo-political situation influenced the art and the people who created it.

Setyonegoro explains how "Eurasians" made hand-painted batik "with good colours and with specific designs from Europe," though the designs lacked symbolism. With the fall of the influence of the Kraton, European designs such as the "iris, aster... and butterflies" appear more often, while "from China they took the dragon and other mythological animals." The author continues with a history up through the 20th century, examining the impacts that foreign influence had on design and production, before ending with a sweet memory, "I still remember that my mother used to let the batikkers colour her faded batiks again. One light brown of Semen of hers was given a purple background and it became one of her favourite pieces which I still own today." Book itself scarce in retail and only five holdings found in OCLC, while the accompanying monograph appears unrecorded.