March 6, 2018

Europalia - Ancestors & Rituals at BOZAR

When I saw this detail in a palepai at the Europalia exhibition 'Ancestors & Rituals' I was imagining how it felt; standing on ship, with the wind in your hair, moving forward to the unknown with such confidence. I always love discovering these stories in textiles or on other objects, and this exhibition was full of stories. 
I was in October last year in Brussel to participate in a work by Ada van Hoornebeke and Maartje Fliervoet in collaboration with Manoeuvre. The Batik-workshop-installation at WIELS was an interesting growing sculpture on which I will write more in an upcoming post. Before I headed to WIELS, I made my way to BOZAR. Why is ever artspace name in Brussel written with capital letters? Anyway, as synchronicity makes my path, it was no coincidence I could combine my visit. When Art festival Europalia announced that their focus country would be Indonesia, I knew I had to see as much as possible. Unfortunately their music, dance, performance program I missed entirely, their exhibition program I did manage to see, entirely, amazingly! So time for some revisits!

Palepai, ceremonial cloth
acquired in 1946
Lampung, Sumatra

First exhibition I went to was the 'Ancestors & Rituals' at BOZAR. It was just opened, so I didn't know what to expect. The exhibition started with objects from Dong Son Culture. Objects from 500 AD made to honour ancestors and to use in rituals to ask them for guidance. 
At the entrance was a well rounded figure of a woman with on her back a child. The statue stood once in Pagaralam (South Sumatra). So much strength came from it. It made me sad she was removed from her location, yet happy the statue survived. Its always a double feeling with these kinds of objects.

Another object from the same culture, a bronze vessel, was decorated with a familiar looking motif; Parang Rusak. This motif is nowadays the most popular pattern in Batik on Java. Originally Parang Rusak is from Yogyakarta and was a pattern used only by the royal family. The design on the bronze vessel from 200 AD is thought to be the original inspiration for Parang Rusak.

Pillar of Sun god Surya
from 500 AD
Sawu, East Nusa Tenggara

With this discovery I started looking differently at the objects in the exhibition. There were no actual Batiks on display, but I started finding Batik motifs and other interesting patterns on sculptures, a kris and jewellery. In one room stood three buddha like statues. I recognised some from my visit to Museum Nasional in Jakarta and after I quickly made a little bow before it, I took a closer look to examine the patterns on the fabrics carved out of stone. The statues from the 14th century are from the Majapahit dynasty, a kingdom on Java ruled from 1293 till 1500. They look like gods, Shiva and Parwati, but are actually the kings and queens depicted as gods. The crossed legs are from Prajñaparamita, a goddess for wisdom and perfection. The motif on her knees look like a type of nitik, which is considered nowadays as one of the most difficult types of Batiks to make. Nitik is made using a canting, koper pen, with a square spout. When I first heard about it, I thought it wasn't possible to actually make square dots with a canting, but I saw it with my own eyes. A perfect Batik motif for a perfectionistic goddess.

Kris from Surakarta (Solo), Java

Detail of Bark cloth with a Buffelo motif
Find the horns and the head 
From South Sulawesi

The last object I want to write more about is this fellow on a chair with a nice top-hat. I'm always fascinated by ancestor objects, especially and mainly because they tell so much about the person it is made for. They can be kind hearted, mean looking or just intelligent, bright or very very sad. This one I found so wonderful. Normally these types of statues have a squatting pose. A typical way of sitting without sitting if you are flexible enough. This statue from the Moluccas is made before 1888 for a person who was probably Christian. If the person was European the information didn't say, but the hat and the chair surely suggest he was. I just love that although this person for who the statue is made didn't believe in the ancestor worshipping, they made it anyway, just in case. And added his top hat he probably wore on special occasions and gave him a chair so he didn't need to try to sit in a squatting pose.

Majapahit-ancestor statue with two deer heads, a tree of life 
and apparently the rainbow broke off...

Pectoral disc, Belak
Made from gold, 19th century
From Timor

Detail of cloth decorated with beads and shells
From Sumba

For more on Europalia visit or keep checking my blog because more posts are coming up soon!

January 25, 2018

New Years resolutions with Babatunde

Babantunde, campaign 2014, love this picture!

Last October I had the chance to meet and hang out with entrepreneur and fashion designer Gareth Cowden of the brand Babatunde. I knew his brand very well from the store Lady Africa in Den Haag (NL). The cap, hats, bowties and umbrellas in colourful wax prints brighten up every outfit and make great gifts. When I heard he would be part of the Afrovibes program, I made sure we would meet.

Babatunde is known as a South African brand, but meeting Gareth I learned that the whole ‘African Fashiontrend’ isn’t always that helpful in developing a sustainable, strong brand. In our conversations on Skype and on Dutch soil we talked about what it meant to represent ‘Africa’, how it is in ‘South Africa’ and what is the actual power of fashion.

Gareth started Babatunde in 2009. He was working as a fashion stylist in music videos and fashion editor for magazines. To work in fashion in South Africa you have to be quite versatile. So the focus wasn’t just on menswear or advertisements, but a bit of everything. To create a more stable income, away from freelance, in combination with the wish to work outside South Africa, the idea of Babatunde came to life. With a visit to Gabon, Gareth noticed how different South Africa is from other African countries. Especially in what people wear. People don’t wear nearly as much prints in South Africa. Returning with the inspiration of seeing people wearing all these prints and with his knowledge of who does what around Johannesburg, he started Babatunde.

New Adidas #Adicolor Campaign from Trevor Stuurman with Babatunde umbrella

Openingnight of Afrovibes 2017 with a Babatunde photobooth

What’s in a name?

During the Lady Africa fashion show in Den Haag on 8 October a woman said: “Wauw Babatunde, such a special name.” So I made a note to ask Gareth about this during our conversations on Skype.

Babatunde means The Father Comes Back in Yoruba, a language spoken in West Africa.
First Gareth wanted to call the brand Bamako, after the capital of Mali. A lot of great music comes from there according to Gareth. Yet, he knew the name Babatunde for a long time, and it somehow clicked. It turned out to be the perfect name. He discovered the name through reggae. He started to research the name and discovered it worked for different reasons.
First, because it is a Yoruban name and not a South African name. This way he could pay homage to other African countries.
Also to show at home that there is more North of the Crocodile river. The possibility to share through his brand more about other African countries.
The best thing about the name Babatunde is the direct translation; The father comes back, the father returns. As Gareth explained: “We just need more father figures in Africa. Due to colonisation, due to Apartheid, family structures were destroyed. Now migrant labor, men leaving their communities in order the find work. Again family structures are destroyed. But also The need to take responsibility for your own actions and respecting others around you. It’s about creating awareness, The reason why we have these family structures. Showing a different kind of cool also. Being well mannered for example. Africa needs to grow and prosper. I don’t know how easy it is to get these messages across through a brand, through a cap or an umbrella someone bought in Tokyo or somewhere in Europe, but this is what I’m hoping to achieve with Babatunde.”

The love for wax

Growing up in South Africa, the experience of seeing something so different in Gabon and Mozambique struck with Gareth. It added something to the experience, subconsciously. All these colours.
At first Gareth thought Wax prints were purely African, made and designed. Although this isn’t the whole story of Wax prints, still there was something really representative of Africa in the prints. So he chose to start with making accessories with selected prints.
Long term Babatunde doesn’t have to be strictly Wax prints in Gareth’s eyes. For a brand to be strong, you need to be able to bring out a plain black cap or a plain black hat. Leather, or whatever. In the end it should be more about the name and what it represents, then the fabric it is made of.
On the other hand, it would be amazing if Babatunde was made in textiles specific to each region, even for each country or continent. The aim for Babatunde is to become more then a South African brand, to become a global brand. “I want to be a designer, a brand and a strong one, not only with the label {South} African. Yet I want to be a brand with a responsibility to where I am from”

Lady Africa Fashionshow on 8 October 2017 in Den Haag 
with a lot of wax prints from Julius Holland Wax 
and umbrellas by Babatunde

This responsibility comes with challenges. There are many challenges for working in South Africa. The equality, or better inequality. What local factories are capable of. Also the infrastructure is a challenge. For Gareth it is important to have the factories in South Africa, to make the products there. At the same time it feels like he can not make the products outside of South Africa. People in Europe assume when they see - Made in Uganda/South Africa/Ghana- they think, oh, it's fair trade, but they don’t know anything about how it is actually made, under which conditions it is made. Gareth asks himself if he can truly make a fair and sustainable product in South Africa. What does Fair trade actually mean? On paper it means that the workers are getting paid better, are living in better houses, but in reality what does that look like? If they get paid minimum wage that is considered fair, but is it? Especially if you compare it to the wages people earn in the country where the products are eventually sold. So what is so fair about that? As a brand you don’t want to celebrate your employees can live the most basic life possible. You want a true improvement.
“Keeping the integrity of the brand is very important {for me}. If I keep the brand South African, there are a lot of benefits for the integrity of the brand. It is harder, but it is the future. I’m not trying to be a hero, I’m just trying to run a normal business. Here I can at least see how my products are made. But it isn’t perfect.”

For all the hardship and challenges you face making a brand work, it's little moments that make it worthwhile. Like hanging out with Erykah Badu for an hour, so jealous of that. Solange wearing Babatunde on stage. But also visiting Paris and spotting on the first night there, someone wearing his hat. A surreal and rewarding moment.
In the end its about everyone who chooses to wear my products. It is amazing that someone in Lagos, Miami, Tokyo can even get Babatunde. Thats it's so special.

Gareth’s ideas for the future of his brand are interesting and when I asked when Babatunde would be considered a success in his eyes, he answered “For Babatunde to be successful it needs to be able to employ 20 people. It can chance peoples lives if it gives work. Gives people salaries. But not only short term, it needs to be sustainable. Thats my dream. Thats what I want to do!”

I want to thank Gareth for sharing his thoughts and experience with his brand & I hope he can reach his dreams in the near future!

You can shop Babatunde at Lady Africa on Denneweg 21A in Den Haag 
and on their webshop

For more on Babatunde go to 
or follow on Instagram & Facebook 

January 19, 2018

Horn of Plenty II Reap what you sow

Detail from a Batik Tulis made by Maria Paulina Carp 
From Pekalongan, Indonesia around 1900
Collection Tropenmuseum

In my research of patterns used in Batik and other textiles, I come across patterns that will pop up again and again and confront me with their meaning. One of this returning patterns is the Horn of Plenty. This boot or horn-shaped basket filled with fruits and flowers is the image for a rich and successful harvest. Thats why it is often used for Thanksgiving. But what does the Horn of Plenty actually mean?


The Horn of Plenty, or in Latin Cornucopia, originated from Greek mythology. Amalthea, the loving or feeding goddess, was present at the birth of King of Gods Zeus, as a goat. In one of the stories her horn breaks off. Whoever possess the horn gets everything he or she desires Zeus gives the horn to goddess Fortuna, the goddess of, right, abundance in wealth. But the horn is also linked to Dionysos, better known as Bacchus, best described as the god of overconsumption.
With this original interpretation this pattern gets a whole new meaning. It is not just a symbol to celebrate a successful harvest, but it seems also to celebrate the right of that harvest. That the owner deserves this good harvest.

The horns on Batik from 1880-1920

In this context I saw the Horns of Plenty in a new light. I found the symbol a lot on Batiks from between 1880 and 1920. These Batiks were made in Indo-European and Peranakan Chinese Workshops. The cloths were of the highest quality made on demand by one specific group of clients, the Dutch and Indo-European living in the former Dutch East Indies.

Batiks were an important tool to wear, they represent who you are, what your descent is and what wishes you have, but they also show off your status. The pattern choice of the Dutch and Indo-European clientele is kind of sweet in this specific period  - like bouquets, butterflies, birds and once in a while a fairytale figure. So I knew the Horn of Plenty didn't get on the cloths by accident, they were chosen.

As I mentioned before, this pattern kept popping up. After first learning about this pattern in Batiks, already 6 years ago (see previous blogpost 'Horn of Plenty'), the pattern wouldn't let me go. I saw it on other fabrics; in lace, in embroidery on merklappen, on Chintz from India and kraplappen from Spakenburg  I even saw it in sculptures and gates. An entrance at the Zuiderzeemuseum is decorated with two horns of plenty! I spotted them also on handbags, on the handle and stringed in beads, on golden 'ear irons' and other jewelry.

Discovering a pattern

Seeing the symbol so many times, I started to see a pattern. The symbol was used in a period even earlier then the Batiks I discovered it first on. It was used in many materials. Mostly materials and products that aren't naturally found in the Netherlands, but are directly linked to the Netherlands.
I realized this when I visited the exhibition 'Sits, katoen in bloei. The textile, with a colonial history, was exhibited in the Fries Museum and the symbol was on a skirt, underskirt, children's cap and palempore (a kind of bedspread or wall hanging).
The skirt and underskirt were shown together. They lifted one sight so the embroidered pattern in blue on white was visible really well. The Chintz skirt is from India around mid 18th century and the underskirt is embroidered in the Netherlands probably third quarter of the 18th century.

Skirt from Chintz with embroidered underskirt
both with Horn of Plenty symbols on it 
at the exhibition ‘Sits, katoen in bloei’, collection Fries Museum

The wearer

Gieneke Arnolli, curator of the exhibition and former conservator fashion and textile at the Fries Museum, told me the skirt of Chintz was donated in 1936 by Miss Meintje Beucker Andreae. The wearer was presumably Taetske Margaretha (van) Beucker (1710-1772) who married Daniël Hermannus Andreae (1697-1771) in 1733. He was born on the former island Onrust, now Pulau Kapal, before the coast of Jakarta (Java, Indonesia). He was a preacher in Blija and Hogebeintum in the province Friesland. In short, the skirt belonged to a wealthy family.
The underskirt is made of fustein, a European fabric of linen with European hand spun cotton, and was worn by Hykke Jans (1740-1788) from Makkum in Friesland. On 20 June 1762 she married Gerben Aages, presumably a captain.
So the wearers were European with a colonial past, just like the wearers of the Batiks. A past that can be directly linked to collecting an abundance of wealth. And those wealths were products gathered overseas. Like the Batiks and Chintz, but also the gold and silver. And which symbol fits that better then the Horn of Plenty...?

Remarkable discoveries

But the meaning of patterns and symbols aren't fixed. Symbols can gain or lose meaning, change or adapt in time, carrying out new messages, but they will always tell something about the period in which they where used most.
When I was certain of the meaning of Cornucopia, I was surprised twice by a different use of it. I spotted it between butterflies, lobsters, crabs and deer on a Batik made by Peranakan Chinese on the North-coast of Java. The Batik, also intended for Peranakan Chinese, was meant to be used as a door hanger. In shades of red all kinds of luck symbols are put onto the cloth.  During special occasions like Chinese New year, this cloth would give hopefully extra luck in the upcoming year. The Batik is from around beginning of the 20th century and wasn't made in a European-colonial context, but made in a old traditional context with a new symbol for luck added to it.

The second surprise came with an invite for the Keti Koti Talks organized by the Tropenmuseum. In their Facebook event they used a black and white picture of a lady in a beautiful koto, a kotomisi. The picture is from beginning 20th century. Her skirt and top are filled with big Horns of Plenty. I can't see what kind of fabric it is, but I was so happy with the wearer of this fabric and the new meaning she gives to it.

Batik Tulis door decoration
likely from a Peranakan Chinese workshop
From North-coast of Java made begin 20th century 
Collection Rudolf Smend

Read more in the first post about the ‘Horn of Plenty’ on this blog

This article first got published om Modemuze in Dutch on Thanksgiving, 23 November 2017, read it here "De Hoorn des overvloeds. Zoals we zaaien, zullen we oogsten"

All photos  used in this article are made by me, for more examples check out the article on Modemuze "De Hoorn des overvloeds. Zoals we zaaien, zullen we oogsten"

December 10, 2017

Instagram Worthy x Yellow + Pink / Glitter =

Dutch Design Week 2017

'The Future City is Flexible' by MVRDV
On the market of Eindhoven

This year I could attend the Dutch Design Week as a fully recognised member of the press, jippie, so I could enter everywhere for free. I didn't get to visit everything I wanted, because it was a full program spread over Eindhoven City and I only had one day, but I enjoyed it very much! 
Every edition, I missed last year, I have been writing a review. I try to capture the main trend. This year I saw a lot of recurring trends; we still try to save the planet while creating more stuff, but I also noticed something else. I noticed that everything was sooo pretty, so "Instagram Worthy", so hashtag-able... Of course logical, you want your stuff to be shared. Before I went I saw so many things on Social Media that turned out to be more a photo opportunity then anything else. Not that there was a lack of stuff... the opposite, but I just felt everything was designed to look good online. And maybe that is precisely what it is about these days... I participate to this culture just as much, so don't read it as a judgement. I myself walked around DDW with my phone in my hand and a constant stream in my insta-stories.

Back of 'Off the Grass' at Veem during DDW

'How & Wow' by the Crafts Council during DDW 

I started my DDW 2017 with a visit to a new building for the festival. The former parking garage was turned into an exhibition space on two floors. The entrance was were normally the cars drive up. They decorated it with these fluor yellow strips of fabric. It was walking through a mix between a car wash and curtains.  I loved it!
In the building the Crafts Council made a big exhibition promoting the crafts & platforms they support. In bright yellow with hot pink 'How & Wow' showed classical things like Staphorst dot work and soap making. I liked the almost 80's kind of setting for these Dutch traditional things.

Collaboration of fashion designer Walter van Beirendonck 
& Staphorst dot-maker Gerard van Osten at 'How & Wow' at DDW

What you can do with flax, part of 'How & Wow' at DDW

What you can do with flax, part of 'How & Wow' at DDW

What you can do with flax, part of 'How & Wow' at DDW

Woven works by Marian Stubenitsky at 'How & Wow' at DDW

In the former V&D the 'Modebelofte' presentation was held. I always like how it is set up, previous years in the stadium, and now in this fitting setting of a former department store. The outside of the building already promised a iridescent experience. In a rainbow foil labyrinth the new "Fashion Promises" were shown. On and off turning spots on pounding music revealed futuristic looking fashion, some more wearable sculpture, others surprisingly wearable cool outfits. 

Outfit by Fabio Bigondi at Modebelofte which I love for obvious reasons


Outfit by Han Kim at Modebelofte

In the same building Vlisco made a really nice presentation. I got totally green-eyed by it, wish I would be invited one day from a collaboration like this. They invited 'Fashion Promise' Sander Bos to design new prints and clothing with inspiration from their archive. The piece from the archive was this 1920's headscarf from the Haarlemsche Katoenmaatschappij. The design on it was inspired by Pagi-sore batiks, day and night batiks. Traditionally one side, normally on a sarong, was worn during the day, the other side in the evening. Also the design is light and dark. Both in color and in motif. I inspired my own Batik 'Difficult Time' on this design as well (read more on see 
Inspired by this wax print version of an original Batik design, Sander Bos made a glow in the dark wax print. On 4 mannequins in a separate space the glow in the dark wax print was designed into 4 outfits showing the different effects of the textile. I'm looking forward to how they are developing this later, and if more people get invited to do collaborations like this (hint hint).

Day and Night by Vlisco at DDW

Day and Night test textiles

Detail of 1920's Wax print headscarf from the Haarlemsche Katoenmaatschappij

Day and Night by Vlisco at DDW

Day and Night by Vlisco at DDW

Day and Night by Vlisco at DDW

Day and Night by Vlisco at DDW

Day and Night by Vlisco at DDW

Next to Social Shareable-feel of the DWW, it seemed like Fun & Future were themes too. Captured in a setting of many colours. Populair were yellow & pink, but also glitter. Yes Glitter! Looking back at the pictures, I was reminded of this article in the Volkskrant about the Unicorn-trend two weeks ago. DDW showed a world filled with glitter, rainbows, iridescent colours, tiny houses, longing for craft, yet very now and very futuristic... Unicorny, a theme-park ride almost. It was an escape, not really an answer. Yet I enjoyed the ride fully with iPhone first! Strange how you can enjoy it so much, yet feel uneasy about it...
In the end I felt more entertained then inspired. DDW is meant as a stage to present developments, but it seems that nowadays we don't really care about this story, we just want a pretty picture. It was still a lot about "Getting Stuff" instead of "Creating Better Stuff". So get ready for a year getting entertained without any real solutions.

ECAL Graphic Design at Veem at DDW

Vlisco rug by Simone Post, 
I missed the exhibition at DDW...

At Veem at DDW

Precious Plastic at Sectie-C at DDW

At the Klokgebouw at DDW

At Veem at DDW, can anyone tell me more on this? Please comment below

At Sectie-C at DDW, can anyone tell who made the jumpsuit, please comment below

Präsentation upcoming collaboration Zeeuw Museum and Das Leben am Haverkamp

Upcoming collaboration Zeeuw Museum and Das Leben am Haverkamp

For more on the Dutch Design Week visit

For previous reviews on the DDW see label 'Dutch Design Week

December 2, 2017

Opening Asian Library

Dousa Special Collections Reading Room at the Asian Library in Leiden

On the 14th of September 2017 the Asian Library at the University of Leiden was opened with a grand opening filled with lectures, pop-up exhibitions, dance and films. My film 'The journey to Batik-Tari Batik' got its first screening on that day! So on my Social media you already saw me enjoying a rickshaw ride in the pouring rain with my love, spotting Queen Maxima and watching the amazing opening dance by Aafke de Jong, but I still have more to share and I love to look back at this special day.

Early morning the ceremonial opening started in the Pieterskerk. The church was filled with people who dressed all very nicely for this occasion, mostly in suits, but I spotted some overseas traditional wear and textiles. I was happy I treated myself to a custom made Batik Tulis dress
After a little wait for the royalty to arrive, the opening started with a traditional Balinese dance followed by a modern interpretation, improvised by Aafke de Jong.
It almost never happens, but I didn't make any notes that day, being too nervous for my screening later on, so you just have to believe that the opening-speech, especially the one by Professor Peter Frankopan was really good!

After eating a sandwich while staring at the queen, we headed to the University of Leiden. The program was in all buildings and even the Hortus joined in. We first went to the Asian Library - Cinema Room Vos. A new part of the library with a big screen and lovely chairs. When we entered my parents were already inside! Such a nice surprise! 
With pounding heart I watched the movies, waiting for my own... it was so great to see the film on the screen! What a perfect place to premiere my film!*

'The journey to Batik- Tari Batik' in the Cinema Room Vos

'The journey to Batik- Tari Batik' in the Cinema Room Vos

Panel in hallway of the Library

Image from presentation "Dressing the 'Stans': 
Textiles, dress and jewellery from Central Asia" by Dr. Gillian Vogelsang-Eastwood

While the films continued playing in the Cinema Room Vos, we went to the lecture "Dressing the 'Stans': Textiles, dress and jewellery from Central Asia" by Dr. Gillian Vogelsang-Eastwood in the Academy building. What amazing places to study at by the way, wauw, lucky students!
The lecture about the exhibition with the same title at the Textile Research Center, on display till 21 December, gave an insight into traditional dress of Central Asia and why TRC chose it. Next to having an interesting collection of pieces to show, they found that the Leiden Asian Year had a lot on Southeast Asia, but nothing on Central Asia. To fill the gap they made a selection of textiles worn and used in Afghanistan, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan. In the presentation she also showed some new developments on textile research. Black and white photos coloured in. But not in a technicolor kind of way, in an actual scientific way in which they can see which colours the grey-tones must have had. It results in very colourful group portraits, but also a women posing in a burqa which is now a beautiful Indigo blue (see photo above).
It changes your perspective on a history that looks grim and without color, but instead was filled with colours, patterns and gorgeous textiles. Love to know and see more of this photo-project, so if you read this and you know more, please comment below!

Pustaha written by Guru Abinsahan

In the Dousa Special Collections Reading Room, Pop-up exhibitions were made throughout the day. Unfortunately we could only see one. For next time, yes please, University Leiden, make it a two day thing. Everything on the program was amazing, but impossible to see it all. 
Anyway, I found a new place to live. No seriously, but I wouldn't mind to spend a couple of days there. What a marvellous collection of books! Liesbeth Ouwehand made a selection of books with and from animals! I joked I wouldn't get this close again to a tiger ever again, so here was my chance! Next to it was a bookcover made of crocodile-skin, wauw!
Also a selection was made of books in different forms like the magic books, Pustaha, from Sumatra. So special to see these beautiful books up close, I took many pictures so I could share some with you!

Exercise in letter writing with illustration of bird"
Look at all the patterns in the borders

"Tatimbai Anak Dalom, a Lampung tale of a young man, Anak Dalom, 
living at the court of Bangkalulu who sails to Petani to abduct his two chosen brides"
 Lampung is the region at the southern tip of Sumatra, Indonesia

Part a collection of 31 fables with mostly birds as main figures, 
look at this Pino kind of bird, lovely!

Pustaha written by Guru so Matahut 

A Waringa from before 1896

Manuscript in 3 volumes dedicated to insects and amphibians, around 1656, 
Mayor of Delft and collector Hendrik d'Acquet commissioned artist to make drawings after his impressive animal collection

Watercolour by R.B. Djajeng Soedhirdja, made in 1904. 
It shows the Sultan of Yogyakarta and his followers on their way to visit the Dutch Resident

See the whole, 25 meters long, watercolour online on

Apparently anyone, not only students, scholars or professors, can use the Asian Library and make appointments to see the special collections. Also they are working on digitalising parts of their collection. There is now a crowdfunding to scan the 250 ancient tales of Prince Panji which will not only make them available for a wider audience, they will also be preserved.

Can't wait to visit the Asian Library again!

* For more about my film 'The journey to Batik-Tari batik' and for screening info, visit and/or send me an email