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Batik occupies a special place in Indonesian culture. Each fabric has a rich story to tell—as a reflection of the nation's religious beliefs, sophisticated court cultures and cosmopolitan history. The extraordinary textiles in this book are from the collections of Rudolf Smend and Donald Harper. Most date from the period 1880 to 1930 when the art of batik reached its apogee. Having collected historical batik for over thirty years and published two books on the subject, Rudolf Smend has invited his friend and fellow batik specialist Donald Harper to contribute his fine collection to this publication as well. None of the batik in this book have been published before. They represent an exquisite cross-section of the batik production of Java—the most important batik-producing region in the world. The cloths are complemented by vintage photographs from the first quarter of the 20th century demonstrating how the batik were worn at court and at home. Three are from museums in Dresden and Cologne, while three are from the private collection of Leo Haks. The others have been collected over the past 30 years from private sources in Java. The captions are by Maria Wronska-Friend, an ethnologist and batik expert who frequently visits Indonesian batik centers and has worked for many years as an anthropologist in Papua New Guinea. Her contributions provide fundamental knowledge for lovers of this art form while at the same time providing new insights for experts. Rudolf Smend has invited other batik aficionados of his generation to share their passion for batik in this book. Inger McCabe Elliott, author of the bestselling Batik: Fabled Cloth of Java has contributed her lifelong experience. Other authorities like Annegret Haake, Brigitte Khan Majlis and Jonathan Hope share their views and expertise in these pages. This book represents a labor of love and a lifetime of friendship for the two authors, who hope it will provide inspiration to a whole new generation of batik lovers.

Batik: 75 Selected Masterpieces contains never before published pictures illustrating the exquisite cross-section of the batik production in Java. Featuring textiles from the personal collection of gallery owner Rudolf G. Smend, historic photographs from the Hans van der Kamp Collection, and fascinating text from academic Isa Fleischmann-Heck, Batik: 75 Selected Masterpieces is a rich resource for collectors and lovers of the "golden period" of Java.

This book develops a historical concept of liberal democratic law through readings of the pivotal twentieth century legal theoretical positions articulated in the work of Herbert Hart, Ronald Dworkin, Duncan Kennedy, Rudolf Smend, Hans Kelsen and Carl Schmitt. It assesses the jurisprudential projects and positions of these theorists against the background of a long history of European metaphysics from which the modern concept of liberal democratic law emerged. Two key narratives are central to this history of European political and legal metaphysics. Both concern the historical development of the concept of nomos that emerged in early Greek legal and political thought. The first concerns the history of philosophical reflection on the epistemological and ontological status of legal concepts that runs from Plato to Hobbes (the realist-nominalist debate as it became known later). The second concerns the history of philosophical and political discourses on law, sovereignty and justice that starts with the nomos-physis debate in fifth century Athens and runs through medieval, modern and twentieth century conceptualisations of the relationship between law and power. Methodologically, the reading of the legal theoretical positions of Hart, Dworkin, Kennedy, Smend, Kelsen and Schmitt articulated in this book is presented as a distillation process that extracts the pure elements of liberal democratic law from the metaphysical narratives that not only cradled it, but also smothered and distorted its essential aspirations. Drawing together key insights from across the fields of jurisprudence and philosophy, this book offers an important and original re-articulation of the concept of democratic law.

In 1947 the theologian and musicologist Friedrich Smend published a study which claimed that J. S. Bach regularly employed the natural-order number alphabet (A=1 to Z=24) in his works. Smend provided historical evidence and music examples to support his theory which demonstrated that by this means Bach incorporated significant words into his music, and provided himself with a symbolic compositional scheme. Since then many people have taken up Smend's theory, interpreting numbers of bars and notes in Bach scores according to the natural-order alphabet. By presenting a thorough survey of different number alphabets and their uses in seventeenth- and eighteenth-century Germany, Dr Tatlow investigates the plausibility of Smend's claims. Her new evidence fundamentally challenges Smend's conclusions and the book sounds a note of caution to all who continue to use his number-alphabet theory. Dr Tatlow's painstaking research will fascinate all those with an interest in the music of J. S. Bach and German Baroque culture, and will be of particular importance for music historians and analysts.

In 1947 the theologian and musicologist Friedrich Smend published a study which claimed that J. S. Bach regularly employed the natural-order number alphabet (A=1 to Z=24) in his works. Smend provided historical evidence and music examples to support his theory which demonstrated that by this means Bach incorporated significant words into his music, and provided himself with a symbolic compositional scheme. Since then many people have taken up Smend's theory, interpreting numbers of bars and notes in Bach scores according to the natural-order alphabet. By presenting a thorough survey of different number alphabets and their uses in seventeenth- and eighteenth-century Germany, Dr Tatlow investigates the plausibility of Smend's claims. Her new evidence fundamentally challenges Smend's conclusions and the book sounds a note of caution to all who continue to use his number-alphabet theory. Dr Tatlow's painstaking research will fascinate all those with an interest in the music of J. S. Bach and German Baroque culture, and will be of particular importance for music historians and analysts.

Batik occupies a special position in Indonesia's history and culture. The extraordinary photographs of cloths and prints in this book demonstrate why batik is the stuff of textile legend. These 71 batik designs, taken from the collection of famed dealer Rudolf G. Smend, date from 1880-1930, a time still considered batik's golden age. Complementing these extraordinary cloths are 16 vintage photo prints from the Leo Haks collection, which demonstrate how batik was worn at court and in other settings.

Batik occupies a special place in Indonesian culture. Each fabric has a rich story to tell—as a reflection of the nation's religious beliefs, sophisticated court cultures and cosmopolitan history. The extraordinary textiles in this book are from the collections of Rudolf Smend and Donald Harper. Most date from the period 1880 to 1930 when the art of batik reached its apogee. Having collected historical batik for over thirty years and published two books on the subject, Rudolf Smend has invited his friend and fellow batik specialist Donald Harper to contribute his fine collection to this publication as well. None of the batik in this book have been published before. They represent an exquisite cross-section of the batik production of Java—the most important batik-producing region in the world. The cloths are complemented by vintage photographs from the first quarter of the 20th century demonstrating how the batik were worn at court and at home. Three are from museums in Dresden and Cologne, while three are from the private collection of Leo Haks. The others have been collected over the past 30 years from private sources in Java. The captions are by Maria Wronska-Friend, an ethnologist and batik expert who frequently visits Indonesian batik centers and has worked for many years as an anthropologist in Papua New Guinea. Her contributions provide fundamental knowledge for lovers of this art form while at the same time providing new insights for experts. Rudolf Smend has invited other batik aficionados of his generation to share their passion for batik in this book. Inger McCabe Elliott, author of the bestselling Batik: Fabled Cloth of Java has contributed her lifelong experience. Other authorities like Annegret Haake, Brigitte Khan Majlis and Jonathan Hope share their views and expertise in these pages. This book represents a labor of love and a lifetime of friendship for the two authors, who hope it will provide inspiration to a whole new generation of batik lovers.

This book develops a historical concept of liberal democratic law through readings of the pivotal twentieth century legal theoretical positions articulated in the work of Herbert Hart, Ronald Dworkin, Duncan Kennedy, Rudolf Smend, Hans Kelsen and Carl Schmitt. It assesses the jurisprudential projects and positions of these theorists against the background of a long history of European metaphysics from which the modern concept of liberal democratic law emerged. Two key narratives are central to this history of European political and legal metaphysics. Both concern the historical development of the concept of nomos that emerged in early Greek legal and political thought. The first concerns the history of philosophical reflection on the epistemological and ontological status of legal concepts that runs from Plato to Hobbes (the realist-nominalist debate as it became known later). The second concerns the history of philosophical and political discourses on law, sovereignty and justice that starts with the nomos-physis debate in fifth century Athens and runs through medieval, modern and twentieth century conceptualisations of the relationship between law and power. Methodologically, the reading of the legal theoretical positions of Hart, Dworkin, Kennedy, Smend, Kelsen and Schmitt articulated in this book is presented as a distillation process that extracts the pure elements of liberal democratic law from the metaphysical narratives that not only cradled it, but also smothered and distorted its essential aspirations. Drawing together key insights from across the fields of jurisprudence and philosophy, this book offers an important and original re-articulation of the concept of democratic law.