THIENNY LEE (L) WITH TAASA MEMBER JILL SUTANTO. PHOTO: ROSALIE PAINO – TAASA Review December 2012

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This article was originally found in the December 2012 edition of TAASA Review (Volume 21, Issue 4, Page 26).

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artistic expression in the Malay world.

It was to a certain extent and still is the pre-eminent vehicle for demarcating social status and for embedding religious belief for the peoples of Indonesia and Malaysia. She asked: "How did this technically challenging but basically home-spun, domestic art form take on such importance in the society of the wider Malay World? How and why did it become the badge of rank and the apparel of the court in Central Java?" Thienny’s talk to the Textile Study Group attempted to answer these questions, and to trace the evolution of batik design from its traditional decoration in Java to artistic practices today, particularly in Peninsular Malaysia.

Her talk covered the history of a specific forbidden batik design from central Java...