Balinese Art is the first comprehensive survey of Balinese painting from its origins in the traditional Balinese village to its present position at the forefront of the high-priced Asian art scene. Balinese art has been popular and widely collected around the world for many decades. In fact, the contemporary painter who commands the highest prices in Southeast Asia's hot art market is Bali-born Nyoman Masriadi (1973-). This book demonstrates that his work draws on a long and deeply-rooted tradition of the Bali art scene. Balinese painting has deep local roots and has followed its own distinctive trajectory, yet has been heavily influenced by outsiders. Indian artistic and religious traditions were introduced to Bali over a thousand years ago through the prism of ancient Javanese culture. Beyond the world of Indonesian art, Balinese artists and craftsmen have also interacted with other Asian artists, particularly those of China, and later Western artists. From these sources, an aesthetic tradition developed that depicts stories from the ancient Indian epics as well as themes from Javanese mythology and the religious and communal life of the Balinese themselves. Starting with a discussion of the island's aesthetic traditions and how Balinese art should be viewed and understood, this book goes on to present pre-colonial painting traditions, some of which are still practiced in the village of Kamasan--the home of "classical" Balinese art. However, the main focus is the development of new styles starting in the 1930s and how these gradually evolved in response to the tourist industry that has come to dominate the island. Balinese Art acquaints readers with the masterpieces and master artists of Bali, and the final chapter presents the most important artists who are active today and serves as an introduction to their work.

Textiles provide a visual history of a country's culture and crafting traditions in a way few other things can accomplish. In Textiles of Southeast Asia, Dr. Robyn Maxwell provides the definitive work on Southeast Asian textiles. Traditional textiles are one of the most widely collected and important categories of Southeast Asian art. Using an extensive range of locally produced raw materials and an astonishing array of techniques--including applique, weaving, batik and embroidery--the textiles of Southeast Asia are astonishing in their versatility and originality. Textiles are used to fashion everything from everyday clothing to sacred and ceremonial costumes, shrouds and wrapping cloths, hangings, banners and ritual regalia--all of which are represented and explained in Textiles of Southeast Asia. This authoritative text focuses on the changing relationship between indigenous Southeast Asian traditions and the outside influences continuing to be brought to the area, which change the nature of the region's textile traditions. This book considers the various ways Southeast Asian textile artisans reacted over the centuries to the steady stream of new and powerful ideas and raw materials arriving from India, China, the Islamic world and Europe. A detailed and definitive resource, Textiles of Southeast Asia is a welcome addition to the field of textiles.

First published in 1997. The International Institute for Asian Studies (lIAS) is pleased to introduce a new series 'Studies from the International Institute for Asian Studies'. This present volume, India and Beyond; Aspects of Literature Meaning, Ritual and Thought, contains more than 30 contributions from well-established scholars from different disciplinary backgrounds. These essays are in honour of one of the founding fathers of the lIAS, Frits Staal, Professor Emeritus of Philosophy and South Asian Languages, University of California at Berkeley. This volume is edited by Dick van der Meij, editor of the Indonesian-Netherlands Cooperation in Islamic Studies Programme at Leiden University.

In his richly illustrated Religion and Architecture in Premodern Indonesia Gaudenz Domenig investigates the nature of Indonesian ethnic religions by focusing on land opening rituals, sacred groves, and architectural responses to the custom of presenting offerings. Since deities and spirits were supposed to taste offerings on the spot, it was a task of architecture to attract them and to guide them into houses where offerings were presented. Domenig quotes numerous sources to show that certain material elements of the house were viewed as spirit attractors, spirit ladders or spirit pathways. Various ‘exotic’ features of Indonesian vernacular architecture thus become understandable as relics from times when architecture was still responding to indigenous religions practised in the archipelago.

The villages on Bali & rsquo;s north-east coast have a long history. Archaeological findings have shown that the coastal settlements of Tejakula District enjoyed trading relations with India as long as 2000 years ago or more. Royal decrees dating from the 10th to the 12th century, inscribed on copper tablets and preserved in the local villages as part of their religious heritage, bear witness to the fact that, over a period of over 1000 years, these played a major role as harbour and trading centres in the transmaritime trade between India and (probably) the Spice Islands. At the same time the inscriptions attest to the complexity in those days of Balinese society, with a hierarchical social organisation headed by a king who resided in the interior precisely where, nobody knows. The interior was connected to the prosperous coastal settlements through a network of trade and ritual. The questions that faced the German-Balinese research team were first: Was there anything left over of this evidently glorious past? And second: Would our professional anthropological and archaeological research work be able to throw any more light on the vibrant past of these villages? This book is an attempt to answer both these and further questions on Bali & rsquo;s coastal settlements, their history and culture.

This book is the first comprehensive study of Southeast Asia's supplementary warp and warp float patterned textiles. Such textiles have received relatively little attention in the past even though they are an important part of the textile legacy of the region, linking peoples to a common Bronze Age past associated with the Dong Son culture of northern Vietnam and southeastern China. It discusses the weaving techniques and provides a survey of supplementary warp and warp float patterned textiles throughout Southeast Asia.