Indonesian Pottery

Uniquely Beautiful

Ministry of Trade of the Republic of Indonesia

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 Introduction

To introduce Indonesia’s potential products which are spread in almost every province, TRE-
DA provides information about those products so that the general public will be more familiar with
them. For this purpose TREDA has organized an effort to collect and analyze relevant information
related to the potentials and specific advantages of each of the products.

This booklet entitled “Indonesian Pottery, Exotic Medium of Ethnic Expression” presents a
complete account on Indonesian pottery products. The reader is invited to a journey around this
elegant cultural product, starting from the preparation of rough raw materials up to being created into
elegant pieces of pottery.

Indonesia, for sure, belongs to the group of countries with biggest number of types and
assortments of handicrafts in the world with a substantial potentiality. Indonesia is estimated to have
a potential capacity to produce around 37,523,000 tons of pottery products per year, supported by
more than one hundred thousands of skilled potters and artisans.

The story is enriched with flashy illustrations to convey meaningful and attractive information on
pottery products that will satisfy your curiosity and give better understanding on this attractive cultural
product. A better comprehension on Indonesian pottery will lead to a better appreciation and greater
enjoyment in owning and enhancing one’s home with this exotic cultural product.

Erwidodo.
Director General
Trade Research and Development Agency (TREDA)

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 Minister of Trade
Republic of Indonesia

Message

It is our great pleasure to share with you the wealth of our cultural products. As a country with
rich cultural heritage, handicrafts produced in Indonesia also display a high level of diversity. Each
province, even each production center has its own specialty and uniqueness. It can be said that
Indonesia belongs to the group of countries with biggest number of types and assortments
of handicrafts in the world. Following the nation’s motto of “Unity in Diversity” (“Bhinneka Tunggal
Ika”), the diversity of Indonesian handicrafts is united by a single underlying characteristic: uniquely
beautiful that epitomizes the essence of Indonesian culture.

Indonesian pottery products with attractive ethnic touches are well positioned to supply the glob-
al market needs for ceramic gifts and decorative articles. Indonesian products offer features with
creative ideas for interiors and home improvement. A great variety of Indonesian pottery products will
enhance the home ambiance and support the aura of peace and relaxation in and around the garden.

The traditional features of Indonesia pottery with the attractiveness of hand made ethnic designs
are well suited to cater the market trend towards ethnic products. As proven through a long historical
record, Indonesian potters are ready to adapt to any shift in market taste like the trend to give pottery
the effect of wood by modifying the texture of the product or adding a relief on the surface. This book
is dedicated for those who enjoy pottery products enriched with elegant ethnic touches to enhance
the ambiance and aura of peace in their homes.

Mari Elka Pangestu

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 CONTENTS

5 INDONESIA, THE EXOTIC LAND

7 THE VESSELS WITH THE MOODS

11 CREATING BEAUTIFUL ARTISTRY

17 COMMERCIAL AC TIVITIES TO SATISFY MARKE T NEEDS

35 INDONESIAN POT TERY IN FIGURES

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Indonesia,
The Exotic Land
I ndonesia, with more than 17,000 luxuriant tropi-
cal islands, is the biggest archipelago country in the
world. It is an archipelago that lies across the Equator
and spans a distance equivalent to one-eighth of the Indonesia represents a unique
Earth’s circumference. The chain of islands extends
combination of geographical fea-
5,100 kilometers from the West to the East and 2,000 ki-
lometers from the North to the South. Situated south- tures and geo-economic position.
east of the Asian mainland and north and northwest of
The creativity and innovativeness
Australia, this string of emeralds is cast between the
Indian and the Pacific oceans. This equatorial coun- of Indonesian people have created
try represents a unique combination of geographical
Borobudur, one of the masterpiec-
features and geo-economic position. Indonesia is en-
compassed by a major juncture of the Earth’s tectonic es produced by Indonesian exotic
plates and encircled by “the ring of fire” of the world.
cultural mix.
These factors have created a highly diverse environ-
ment that is rich in natural resources (oil, iron, gold,
tin, nickel) as well as in terms of both terrestrial and
marine biodiversity.

Thanks to its unique geographical position, Indonesia has always become

the meeting point for the peoples and cultures of mainland Asia and Oceania.
Indonesia is central among ancient trading routes between the Far East and
the Middle East, resulting in many cultural practices being strongly influenced
by a multitude of religions, including Hinduism, Buddhism, Confucianism and
Islam. As such Indonesian culture has been shaped by a very long interac-
tion between original indigenous customs and multiple influences from all
corners of the world. The result is a complex cultural mixture which is very
different from the original. Indonesian art-forms express this cultural mix. The
creativity and innovativeness of Indonesian people have created Borobudur,
one of the masterpieces produced by Indonesian exotic cultural mix.

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The Vessels
With The Moods

Pottery Through The Ages

Archaeological findings suggest that earthenware started to evolve when
nomadic men settled down and discovered fire. The pinch pots might have
been the first type of pottery made. The sedentary ancient people made
pinch pots from balls of clay into which their fingers or thumbs were inserted
to make the opening. Objects made by hand using manual skills, now known
as handicrafts, were created in response to the needs to facilitate their daily
life. The ancients had to create various implements and household wares from
raw materials available in their immediate environment. They also had to de-
velop techniques that enable them to form and shape the materials in order
to serve certain functions. Therefore, at the very initial phase, handicrafts,
including earthenware, pottery and ceramics, were more practical rather than
ornamental.

As from the beginning, ancient people have used clay to cater more pur-
poses to serve different needs of their daily like. Pottery provided them with
useful containers to boil vegetal foods and make them edible. In addition to
pottery usage as domestic wares, earthenware products were also used for
ritual tokens and decorative items. Being creatures who love beauty (“A thing
Water jar are household utensils that
of beauty is a joy forever”), our ancestors started to beautify the wares, tools, are stil use today. This pottery prodoct
and implements they made manually. They decorated everything they made, is also atractive to the global market.

even their bodies. (Tattooing is the remnant of that tradition). There is truth
in the statement “Beauty is in the eyes of the beholder” (that is said to be
expressed by Shakespeare). The eyes of the beholders are influenced by the
society where they happen to live. The world-view and view of life determine
how people see any articles.

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 Decorations on handicrafts are meant to beautify their looks. Beautifica-
tion serves two purposes. First objective is as a solemn dedication to the All
Powerful Being. The dedicated article shows one’s humility in front of the Al-
mighty Being. The second one is the mundane goal, namely to please the eyes
of other people in the society. Hence, handicrafts with aesthetic decorations
carry symbols that have religious and cultural meanings.

The craft-persons doing handicrafts accumulate skills and knowledge

through years of practice. The accumulated skills are then incorporated into
each handicraft article he or she is creating. Time consumed for handicraft-
related activities (like cutting, shaping, forming, painting varnishing, dyeing,
etc a piece of handicraft) show dedications as well as the level of craft-per-
son’s technical expertise. The skills so accumulated are then transferred from
one generation to the next. Handicrafts techniques and skills are transferred
from the masters to the apprentices from chest to chest through watching,
imitating and learning by doing whilst being trained.

Different Methods Give Distingtive Prod-

ucts
There are essentially three different kinds of pottery: earthenware, stone-
ware and porcelain. Earthenware is one of the most commonly used ceramics.
Earthenware is porous pottery, usually fired at the lowest firing temperatures
(900°-1200° Centigrade). Depending on the clay used, earthenware may turn
a buff, red, brown, black or baked color such as terracotta (which translates
to baked Earth) when the product is fired. A substantial portion of Indonesian
pottery products belong to earthenware category, particularly those pro-
duced in Lombok.

Stoneware is more durable than earthenware as it

is fired at a higher temperature (1200°-1280° Centi-
Earthenware is porous pottery, grade). The clay turns white, buff, gray, or red and is
usually fired at the lowest firing tem- glazed for aesthetic purposes. Stoneware has a more
opaque appearance than other ceramics and is often
peratures (900°-1200° Centigrade) available in murky grey brown tones due to impurities
found in the clay used. Glazes can be applied before

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the second firing at an alternative temperature to create different effects.
Most of Indonesian pottery products made by Jogyakarta’s potters belong to
stoneware category.

Porcelain is one of the purest forms of ceramics. Porcelain is made from

kaolin that is a type of clay formed from decomposed granite. This form of
ceramics was originally developed by ancient Chinese potters experiment-
ing with adding additional materials to stoneware compositions. Porcelain
is fired at 1280°-1400° Centigrade. Porcelain is white and often translucent.
In Indonesia, porcelain is made mainly for tableware and other household
utensils.

Appreciating Hand Made Products

The quality of earthenware product can be judged through a number of
ways. Since handicraft is a product to be enjoyed through its external appear-
ance, the first way to appraise the earthenware is through the smoothness of
its surface. Smooth surface is the indication of skilled craftsmanship, mature
firing and excellent finishing. The status of firing maturity can be evaluated
through “ticking test”. A ticking on the surface that creates a loud and clear
sound indicates a product with good quality. Earthenware for use as eating
utensil should be water-proof which can be tested through, obviously, by
pouring water and observing whether it creeps.

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 Creating Beautiful Artistry

The Development of Pottery

Pottery has a very long history in Indonesia. According to a study by Bon-
zan Eddy Rochasliadi Setyo, a researcher from Bandung Institute of Technolo-
gy, pottery making has been known in what has now become Indonesia from
the time of the invention of farming, from around 2500 BC to 2000 BC. Around
this time, prehistoric Indonesian has started to settle down and make their
living by farming for at least one harvest per year. The farming cycle leaves
much spare time for prehistoric peoples. Having a guarantee of enough food
after the harvest, prehistoric Indonesians are provided with enough spare
time to pursue and develop other activities and skills. Among these is pottery
making.

Indonesia offers
Pottery making in prehistoric Indonesia still utilized simple or no tools.
Early techniques relied on pottery making by hand without any tools. Pottery a great variety of
was made by hand pinching and coiling technique or both. Later develop- pottery products
ments saw the introduction of the hand wheel tool, which later supplement-
ed by the use of paddle and anvil tools. Paddle and anvil tools are still used with unique
today due to their simplicity of use and manufacture.
ethnic touches.
In a book by Santoso Soegondho (Tradisi Gerabah di Indonesia dari Masa
Prasejarah Hingga Kini/Pottery Tradition in Indonesia from Prehistoric to
Modern Times) details the development of Indonesian pottery making fol-
lowing the spread of the influence of Hinduism, Buddhism, Islam and up to
its development in the modern era. It is suspected that early pottery making
models after stone or wooden utensils and vessels, which later develops into
basket forms. Early pottery making models are typically in the form of simple
boxy flat baskets.

During the metal (bronze/iron) age, pottery in the form of round cups and
pots were beginning to appear. These were usually made with smooth and

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 plain surface finishes, while a few incorporate decora-
tive motives. The potteries of the metal age were usu-
ally used for cooking and burial ornaments. Indonesian
metal age potteries were developed during 1600 BC-
1000 BC. This is comparable to potteries developed
during the Shang and Zhou Dynasties in ancient China
(1600 BC) and potteries developed during 750 BC- 1000
AD of the Sahoin Kalanay and Bau Malayu cultures.

Potteries were still widely used after the develop-

ment of writing (the beginning of historic times). Dur-
ing the early times of Common Era (after 1 AD) potter-
ies are beginning to change. Decorations are added,
such as glazed surfaces. In Indonesia, glazed potteries
were introduced during the Hinduism and Buddhism
era, which can be seen at the archaeological sites of
the Majapahit Kingdom in Trowulan, Mojokerto East
Java and other sites.

As a country with rich cultural heritage, handicrafts

produced in Indonesia also display a high level of di-
versity. Each province, even each production center
has its own specialty and uniqueness. Following the
nation’s motto of “Unity in Diversity” (“Bhinneka Tung-
gal Ika”), the diversity of Indonesian handicrafts is
united by a single underlying characteristic: uniquely
beautiful that epitomizes the essence of Indonesian
culture.

Indonesian handicrafts are famous for its unique

beauty that comes in a big variety of assortments.
Traditional potter is manually
shaping the forms using her
Some Indonesian handicrafts have established their
skilled hands marks among the global audience. A big number of
different types of handicrafts are practiced and pro-
duced in Indonesia. It can be said that Indonesia be-
longs to the group of countries with biggest number of
types and assortments of handicrafts in the world.

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Special Features
Indonesian pottery products with attractive ethnic touches are well-po-
sitioned to supply the global market needs for ceramic gifts and decorative
articles. Indonesian products offer features with creative ideas for interiors
and home improvement. A great variety of Indonesian pottery products will
enhance the home ambiance and support the aura of peace and relaxation in
and around the garden.

The traditional features of Indonesia pottery with the attractiveness of

hand-made ethnic designs are well suited to cater the market trend towards
ethnic products. As proven through a long historical record, Indonesian pot-
ters are ready to adapt to any shift in market taste like the trend to give pot-
tery the effect of wood by modifying the texture of the product or adding a
relief on the surface.

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 Pottery Variety
Basically, Indonesian pottery industry offers the global markets four major
types of products: statuettes, vases, pots, and various types of decorative arti-
cles. Indonesian potters produce statuettes that may be put on a table, shelf,
etc. to enhance the interior of a room. Statuettes made by Indonesian potters
come in many attractive shapes and appealing colors that may depict animal,
object, etc. as a representational decoration. The representation can come in
the form of figurative products and non-figurative products (abstract forms
and shapes). The sizes produced depend on market requirements. Products
for interior decoration may have a height reaching up to approximately 40
centimeters, whereas the ones for garden decoration which are bigger may
range from 30 to more than 150 centimeters in size.

Export products from Indonesia also include vases, namely open contain-
ers, both for decorative and functional purposes. Water-resistant vases are
produced to cater the needs of the florists sector. The shapes of Indonesian
made vases have evolved to adapt some aspect of modern designs whilst
still maintaining the traditional ethnic roots. As such, Indonesian vases have
become the medium to express ethnic cultural arts that make them more
attractive.

Indonesian pottery industry also produces pots with many different

shapes and applications. Two types are made available. The fist type is pot
for plants which is a container for a plant usually made of baked clay used at
home or in gardens for practical and decorative purposes. The second type is
pots to be used as bowls – a dish, bowl, plate or other container that is made
by shaping clay, usually used for storing different types of food and for aes-
thetic reasons.

Decorative articles produced include candle holders, lamps and shelves.

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 The Research and Development Institute for Ceramics under the
Ministry of Industry provides technical services to the pottery indus-
try. The equipments shown above are used to test the composition of
the clay and the strength of finished pottery products

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Commercial activities
to Satisfy Market Needs

Pottery as Economic Activities

Indonesian pottery industry belongs to the category of Small and Medi-
um Enterprises (SMEs). This sub-sector is clearly supported by availability of
abundant raw materials and more than one hundred thousands of skilled
potters and artisans. In 2006, there were 31,153 SMEs that produce pottery
with an estimated production capacity of 37,523,000 tons. This sector is sup-
ported by 135,331 employees and workers.

Shaping The Dough Into Artistic Crafts

Raw Materials and Tools Used

Raw materials required for making pottery products include: clay, feld-
spar, some sands, other materials and water. Clay, which is soft when wet and
hardens when dried or heated, is the most important material for making pot-
tery. Feldspar is a common alumino-silicate mineral which contains varying
proportions of calcium, sodium, potassium, and others, found in most igne-
ous and metamorphic rocks and many sediments. This substance is required
to bind other materials in order the structure formed becomes stronger. Sand
is included to help the shaping of the body. Sand keeps the clay body more
open and prevents the clay particles from binding too tightly together, which
could result in cracking while the pot dries or during the firing. Water is re-
quired to make slurry that is a liquid mixture of water and an insoluble solid A Traditional mixing of raw
material (the soil, clay, feldspar, sand, etc.). Water induces chemical reaction materials pottery, here Sand
keeps the clay body more open
among the ingredients, particularly at the firing stage. Some other materials
and prevents the clay particles
are added to the mixture for a number of purposes. An example is gyp from binding too tightly together

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 sum, a naturally occurring colorless or white min-
eral, hydrated calcium sulfate which is used to smooth
the earthenware surface.

The proportion of each raw material depends on the

types of pottery to be made as being learned through
life-long experiences of respective traditional craft-
persons. On the average, soil will take around 60%
to 70%, clay around 15% to 20%, sand around 10% to
15%. Water is to be added with a common formula of
1.5 liters for 5 kilograms of solid materials.

Traditional tools for making pottery objects in-

clude: traditional hoe, knife, a hammer, a scraper made
Raw materials required for making pottery products in-
clude: clay, feldspar, some sands, other materials and water. of small iron pipe and objects found in the immediate
Clay, which is soft when wet and hardens when dried or heat- environment such as seeds and river pebbles or are
ed, is the most important material for making pottery
made from bamboo, wood, coconut and sea shells.
More recently, several manufactured materials are also
put to use.

The Process of Making Potteries

First, coarse foreign matters natural to clays must be removed. Then water
is showered on the materials to make a wet dough. Thereafter, the mixture is
rolled and milled to make it clayey (i.e. heavy sticky wet dough). Milling and
rolling can be done either manually by trampling with bare foot soles, or me-
chanically by a milling and rolling machine.

Pottery body can be formed and shaped from clay dough in three ways: 1)
paddling which is used for making round-bottomed pots such as rice cooker:
the clayey doughs are beaten out from a single ball of clay with a stone and
wooden paddle. 2) assembling that are applied in making products compris-
ing of several parts like making kettles. 3) coiling that is applied by making
pottery products from rolls of clays such as making water jars.

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 In the traditional method, there are no mechanized tools except for sim-
ple turntables, or banding wheels. Through development programs, the In-
donesian Government has distributed various types of mechanized tools to
increase the traditional potters’ productivity.

Maquette for making roof

tiles & pottery blocks

POTTERY MAKING PROCESS

Manual

Pre-selected & Pre-prepared

RAW MATERIAL Design
- Soil Patterns
- Clay MIXING
- Feidspar to From a slurry at around Temperature
- Sand 20% water content level depents on
- Other solid material type
SHAPING
- Water the body form
DRYING
the molded body form
TREATING & COLORING
Miling & rolling
machine
the surface of the molded
body form
Potter’s
wheel
FIRING

Regular chek at
25 minute
internal FINISHING

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 “Applied decoration” technique is done the day after the pot is made, by
pressing and stroking small coils or balls that have been rolled on a board
onto the damp surface with moistened fingers. Some applied decoration is
a functional part of the construction process like bands of applied clay that
function to reinforce weak joints in the construction of kettles or water jars..

Before being fired, the clay body must first be air dried for some days to
prevent it from breaking. Firing can be done either using traditional fuels
like firewood, dry coconut husks and dry husks or by using gas stove. Regu-
lar checks on the progress of the firing are conducted at regular interval of
around half an hour. The Indonesian Government has gradually introduced
modern way of monitoring temperature through thermocouples as well as
pyrometric cones.

When the pots are all “cooked” or “ripe”, the fire can be left to slowly cool.
If the pots remain in the stack they will be colored a rich reddish brown with
fire marks ranging from black to yellow and purple caused by the random ef-
fects of proximity to fuel or other pots. A long, slow cooling time ensures the
greatest strength but potters often need to pull the pots out earlier.
a traditional firing
metod, the potters use
wood to make a fire.

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Government Policies and Programs
The Government of Republic of Indonesia has laid down a set of integrat-
ed programs coordinated among relevant departments to support pottery
industry. On the marketing aspect, the Government through the Ministry of
Trade facilitates promotional activities through trade fairs both within the
country and in export destination countries. Information portals are also cre-
ated and managed to cover both domestic and overseas markets. Indonesian
artisans and potters are encouraged and supported to participate in interna-
tional competition for ceramic designs.

On the production side, concerted efforts are aimed

at strengthening the quality management systems
through the introduction and subsequent application
of ISO 9000 and CE Mark. The Government through
the Ministry of Industry initiates cooperation between
pottery industry and universities to develop design ca-
pabilities and to improve pottery making techniques.
The Government also supports the industry efforts to
modernize and update production technology through
increased activities of Technical Service Units.

For the purpose of building and increasing the

competitiveness Indonesian pottery industry, most of
Packaging system of pottery
which comprises of SMEs, the Indonesian Government through the Ministry production before shipping.

of Trade and Ministry of Industry initiated the creation dan development of

pottery handicraft clusters in 3 (three) regions in Indonesia: 1) DIY, Daerah Is-
timewa Yogyakarta/Yogyakarta Special Administrative Region), 2) West Java,
3) West Nusa Tenggara. Within each pottery/ceramic cluster in respective re-
gion, the Government helps cooperative activities among businesses, sup-
pliers, service providers, business support organizations related to pottery/
ceramic. The Government has identified the initial drivers for the develop-
ment of each respective cluster. They are the major players in the produc-
tion side, the major traders as the intermediary and the major exporters. With
such arrangement, each and every participant and member of the pottery/
ceramic shall be in a very good position to maximize the advantages of loca-
tion proximity.

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 Production Centers in Indonesia
There are 8 (eight) major production centers for pottery in Indonesia: Ka-
songan and Pundong (both are located in DIY, Daerah Istimewa Yogyakarta/
Yogyakarta Special Administrative Region), Melikan (near Klaten, Central
Java), Klampok (in Banjarnegara, Central Java), Plered (in Purwakarta, West
Java), Sitiwinangun (in Cirebon, West Java), Lombok (West Nusa Tenggara),
and Singkawang (West Kalimantan).

ESTIMASI POTENTIAL CAPACITY OF MAJOR POTTERY CENTERS

( PRODUCTION CAPACITY IN TONS )

Klampok, 2,000,000 Plered, 3,000,000 Sitiwinangun, 1,300,000

Melikan, 2,000,000

Pundong, 4,000,000 Lombok, 9,000,000

Singkawang, 700,000
Others, 2,532,000
Kasongan, 12,000,000

Kasongan
Among the many pottery making centers spread
across the country, Kasongan stands out on its own.
This pottery production center is located approximate-
ly 6 kilometers south of the city of Yogyakarta, at the
Kasongan village, Kasihan county of the Kasihan re-
gency in the Central Java Province. Kasongan’s pottery
products have been well known for a long time within
the country as well as abroad.

Historically, as from the 1970’s, Kasongan’s pot-

tery industry has grown rapidly, especially since the
emergence of the great artisan Sapto Hudoyo. Sapto
Hudoyo was able to organize and direct local pottery

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crafters to modify/decorate their pottery products cre-
atively. Through Sapto Hudoyo’s directions, Kasongan’s
pottery crafters were able to modify their originally
plain pottery by adding new and creative decorative
motives. The decorative motives developed range from
ornamentation, such as the addition of a frog or drag-
onfly motive pictures, to full- scale decorative crafting,
such as the crafting of a horse statuette complete with
realistic looking saddle and other accessories. This
way they were able to produce highly attractive pot-
tery products of high quality.

Creatively decorated pottery products rewarded

the crafters with additional art and economic value for
their products. In 1971, Kasongan products were on
display at an exhibition in Singapore. They were again
displayed at international exhibitions in
1974 (Hongkong), 1978 (Phillipines)
and in 1980 at the World Orchid Fes-
tival then held at Monte Carlo, Mona-
co, via a special invitation by Princess
Grace of Monaco. It was at Mona-
co that Kasongan pottery vas-
es first earned international
fame by being awarded the
Grand Prix “The General”
grand prize. Further fame
was gained by Kasongan
vases at the 1982 orchid fes-
tival in Paris, France, where
they were again awarded the
grand prix. It was through
these international events
that Kasongan products
gained international re-
nown to this day.

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 Pundong
Pundong is located only some 7 kilometers away from Kasongan. The Pun-
dong pottery center are spread among gunung Puyuh Village and Panjan-
grejo and Srihardono Counties. Unlike Kasongan that has a long history of
pottery making, pottery making in Pundong has only started since 1975. Pot-
tery making in Pundong began when Mrs. Soelaiman of Kasongan introduced
pots and vase pottery making to a number of Pundong villagers.

Compared to Kasongan’s potteries, Pundong’s potteries are typically

smaller in size. Their designs and product variations are also not as complex
as Kasongan’s. For example, some Kasongan’s products are larger than one
meter tall, whereas Pundong’s largest are at around half a meter. Also, Kason-
gan’s products has employed complex decorative motives with many differ-
ent materials, whereas Pundong’s are typically plain in comparison

Melikan (Klaten)
Melikan is located some 15 kilometers from the Wedi County of the Klaten
Regency in the Province of Central Java. Melikan’s products are at least as
famous as products from the more established Kasongan. The quality and
design features of most of Melikan’s pottery products are barely distinguish-
able from Kasongan’s. In fact some of Kasongan’s products were reportedly
supplied from Melikan. As such, the high quality of Melikan’s products has
made them potential export commodities. Today, 50% of Melikan’s products
are exported to countries such as Australia, Netherlands, Germany, United
States and Canada.

Melikan’s pottery industry has been around since 600 years ago (Supan-
tono, 2005). The earliest evidence of pottery making in Melikan is found in
the “Gentong Sinaga”. The Gentong Sinaga is a water container pot used by
the ancient cleric Sunan Padang Aran and his friends to wash before praying.
Local legends state that Melikan pottery got its start by making water bottles
for the said cleric who brings these bottles in his journey to spread Islam into
the areas surrounding Melikan.

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 Melikan’s pottery products can be categorized into two types, (1) tradi-
tional house wares, such as pots, coin stores, vases, pans and (2) decorative
house pottery, both indoor and outdoor ones. Melikans’ decorative pottery
includes souvenirs, vases, water vessels, and various garden seats. Melikan’s
potters take their clay from the Jabalkat Mountain. The Jabalkat Mountain
stretches from north to south and is made of two smaller mounts, one of
which is called Mount Gede, a popular hiking and climbing destination.

Klampok (Banjarnegara)
The Klampok pottery production center is located in the Banjarnegara Re-
gency of Central Java Province, at the Klampok Village, approximately 25 Km
south of the city of Banjarnegara. Klampok is located by a roadside on the
Banjarnegara - Purwokerto road. The potteries of Klampok are sold and dis-
played in large showrooms along the said road.

Klampoks’ potteries are rather varied and include but not exclusive to tea-
pots, dining plates, bowls, ashtrays, flower pots, vases and statuettes. It is
rumored that Klampok’s potteries are stronger than Kasongan’s since they are
fired in kerosene-fueled ovens. Pottery making in Klampok started in 1957
when a local businessman, Mr. Kandar, ran a pottery-making company “Mean-
dalay” employing 50 local workers. Mr. Kandar’s company served as a catalyst
for the development of a pottery making industry in Klampok. After a while,
artisans who were previously employed at Mr. Kandar’s company slowly be-
gun to leave to start their own pottery businesses. By 1970’s the pottery in-
dustry in Klampok started to take-off, with a large number of pottery houses.

Plered (Purwakarta)
Plered is one of the oldest villages in the Purwakarta area. Historical re-
cords indicate that Plered and its pottery products have been around at least
since the Neolithic age. During the Neolithic age settlers have started to come
and populate the area around what is now Plered.

The name Plered comes from the time of forced farming during the Dutch

23
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 colonial era. During this time, the area of Plered was assigned to plant
coffee. The harvested coffee beans were transported out of the area by oxen
carts, which were called palered, hence came the name Plered.

Organized pottery making has been around in Plered area since the Dutch
colonial era, beginning from around 1795. Evidence of this can be found in
the Lio-lio artifacts (roof and brick-making molds) found in the area. Begin-
ning in 1935 pottery products were made by homes in Plered. Industrializa-
tion of pottery making also began in 1935 when the Dutch company Hendrik
De Boa started making Glazed pottery products in its factory in the Warung
Kandang area of Plered.

During World War II the pottery industry in Plered was severely affected by
the Japanese occupation. During this time the Japanese enforced the forced
labor policy Romusha which took many pottery makers. The Dutch pot-
tery factory was also seized to serve Japanese war efforts and had its name
changed into Toki Kojo. Pottery making in Plered did not start again until after
the Indonesian independence struggle. During the independence struggle
of 1945-1949, many Plered pottery makers participated in the Independence
War. In 1950, the vice president of the newly independent Indonesia, Mr. Hat-
ta, opened a pottery making center in Gonggo, Plered.

In 1965, Plered pottery making industry had a difficult time. This is due
mostly to the massive influx of metal and plastic products which were begin-
ning to replace pottery products. In response to this development, the lo-
cal government created a local pottery organization, the Badan Musyawarah
Keramik Plered. It was found that in order to survive, Plered’s products from
then on has to rely on strong, artistic concepts and designs, not merely func-
tional ones. Designs such as Stonewash Terracotta, Traditional Terracotta
and Contemporary Terracotta were encouraged in order to give Plered’s
products an added value and attractiveness.

Sitiwinangun (Cirebon)
Sitiwinangun pottery products are well known for its traditional pro-
duction techniques. The traditional techniques applied to Sitiwinangun’s
products include open firing processes and simple decorative motives.
Pottery making in Sitiwinangun utilizes pinching and coiling techniques or
a combination of both, without using any tools. Sitiwinangun pottery artisans

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typically make statuettes, flower pots, water vessels
and other rather large-sized pottey products.

Sitiwinangun artisans typically utilize potter’s

wheel with paddle and stone base to make rounded
pottery products. The firing process is usually done
in open air and on open ground on top of brick walls
with hay-fueled fire.

Among Sitiwinangun pottery’s unique characteris-

tics are its traditional decorative motives and its rather
bright reddish color texture. The bright color results
from the low temperature firing process, without glaz-
ing process. Recent developments however, have seen
pottery products that are glazed, with more modern
decorative motives. Sitiwinangun pottery products are also usually rather
large, which traces back to its traditional past as common household wares
such as water or rice containers.

Lombok (Nusa Tenggara Barat Province)

Lombok is an island located east of the world-famous Bali Island. The rapid
rise of tourism in its neighboring island of Bali has brought much positive
influence to this island’s economy. Pottery is one of the industries based in
Lombok that has gained considerably. Lombok boasts a number of pottery
processing centers. These are located in Banyumulek of West Lombok Re-
gency, Panunjak of Central Lombok Regency and Masbagik of East Lombok
Regency.

Lombok’s pottery is one of the island’s primary international exports. Pot-

tery making in Lombok is a hereditary occupation passed down from genera-
tions of Lomboknese. Early pottery making in Lombok were geared toward
manufacturing household wares. However, since government encourage-
ment and support, the pottery industry in Lombok has grown considerably.
Today, Lombok’s pottery products have become beautiful works of art that
attract buyers and collectors.

Pottery making in Lombok mostly utilizes traditional methods. Most Lom-

bok potters still utilize potter’s wheels aided by simple tools. Pottery firing

25
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 Production Centers of Indonesian Pottery

Cirebon
Plered
Klampok Pundong
Klaten
Kasongan

Lombok

26
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ESTIMASI POTENTIAL CAPACITY OF MAJOR POTTERY CENTERS
( PRODUCTION CAPACITY IN TONS )

Kasongan 12.000.000

Pundong 4.000.000

Melikan 2.000.000

Klampok 2.000.000

Plered 3.000.000

Sitiwinangun 1.300.000

Lombok 9.000.000

singkawang 700.000

Others 2.532.000

27
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 process is also still mostly done by open fire, fueled by hay and other nat-
ural fuels. The use of these traditional pottery making and firing methods
(known to the local potters as the Lendang Penunu method) creates unique-
ly Lombok pottery products that retain natural colors and textures. Pottery
products of Lombok range from house wares to office, hotel and household
interior and exterior accessories. Due to its unique nature, Lombok’s pottery
products are very attractive to foreign tourists looking for souvenirs. Despite
of the traditional methods of pottery production, Lombok’s pottery products
have been widely exported. Countries such as Australia, New Zealand, Bel-
gium, Poland, Ukraine, France, Netherlands, United States, Japan, Malaysia,
Brunei Darussalam and countries in the Middle East have long been export
markets for Lombok’s potteries.

Singkawang (West Kalimantan)

The name of the city of Singkawang comes from the Chinese words “San
Kew Jong”, meaning a city by a mountain side, beside a river and the sea.
Singkawang is surrounded by Mounts Pasi, Sakok, Poteng and the Natuna sea.
Singkawang is populated mostly by Chinese Indonesian, which account for
almost 70% of its population.

The pottery-making center of Singkawang is at the village of Sakok. Pot-

tery making process in Sakok conforms to traditional methods and has a long
tradition. For example, the first pottery foundry in West Kalimantan was built
in 1895 in Singkawang. The pottery making process of Singkawang is one of
only two sites in South East Asia that still employ traditional Chinese meth-
ods. In fact, in addition to more modern designs, Singkawang potters also
produce replicas of Chinese Ming Dynasty potteries.

The predominantly Chinese culture of its inhabitants has a strong influ-

ence on Singkawang pottery. The influence of Chinese culture can be seen
not only in the pottery’s decorative motives, but also in its traditional Chi-
nese production methods. For example, Singkawang’s pottery firing oven are
shaped exactly like the ones used by Han Dynasty potters. The pottery mak-
ing processes that Singkawang potters employ can also be traced back tra-
ditional Chinese roots. Some of the pottery products that are modeled after
the ancient Chinese ones include water jars, teapots and vases. Due to their
profound likeness, Singkawang’s Chinese replicas are highly prized among
antiquarians.

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30
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Indonesian Pottery in Figures
Exports by Country of Destinations
Indonesian exports of pottery products (HS 691490) shows upward
trend with an increase from more than US$ 2 millions to reach higher
than US$ 4.3 milions in 2005.

Indonesian Exports of Pottery Products

(HS 691490) Thousand USD
OTHER CERAMIC TREND JANUARY-JUNE CHANGES
ARTICLES 2002 2003 2004 2005 2006 (%) 2006 2007 (%)
1 AUSTRALIA 326,776 476,190 536,329 330,015 589,525 8.47 236,576 237,354 0.33
2 UNITED STATES 277,380 170,303 1,428,082 810,740 541,456 33.62 250,819 222,943 -11.11
3 ITALY 12,488 106,125 173,370 279,669 428,446 123.44 338,336 109,886 -67.52
4 SINGAPORE 29,471 16,464 264,996 791,659 427,033 151.43 302,320 22,630 -92.51
5 SPAIN 54,532 181,178 164,911 193,783 351,698 46.16 147,496 111,881 -24.15
6 NETHERLANDS 359,929 376,950 330,269 284,025 237,383 -10.56 149,777 128,918 -13.93
7 JAPAN 92,984 475,617 120,859 122,721 214,826 3.25 125,457 113,118 -9.84
8 MALAYSIA 25,515 537,041 50,800 61,859 197,132 21.26 25,266 18,406 -27.15
9 FRANCE 76,577 168,330 222,998 169,571 181,241 18.89 80,617 127,109 57.67
10 0THERS 1,134,066 816,387 1,099,041 1,260,186 1,568,874 8.45 696,190 938,161 34.76

TOTAL 2,389,718 3,324,585 4,391,655 4,304,228 4,737,614 17.67 2,352,854 2,030,406 -13.70
Source: Intracen, WTO, 2007

USA is the biggest export destination ( 19 %) for Indonesian pottery

(HS 691490), followed by Australia ( 11 %) and the Netherland (10%).

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 Shares in Major Importing Countries
Indonesian share in the US imports of pottery (HS 691490) shows an in-
creasing trend, albeit from a low level.

USA
Value & Percentage Share of Indonesian Pottery
(HS 691490) Thousand USD
350 0.25%
304 0.23%
305
300
275 0.19%
0.20%

250

0.15%
200
0.12%
0.11% 0.13%
150 135
128 0.10%

100

0.05%
50

0 0.00%
2001 2002 2003 2004 2005

US pottery imports from Indonesia Indonesian shares of USA Imports Source: Intracen, WTO, 2007

In Australia’s imports, Indonesia is the ninth major sources for imports of

pottery (HS 691490) with a cumulative value share of 2% (2001-2005)

Australia
Value & Percentage Share of Indonesia Pottery
(HS 691490) Thousand USD
350 2.50%

300
293
272 273 2.00%

250 244

1.50%
200
176

150
2.218% 1.00%

1.874%
1.675%
100
1.479%
0.50%
0.968%
50

0 0.00%

2001 2002 2003 2004 2005

NETHERLAND IMPORTS FROM INDONESIA INDONESIAN SHARE OF NETHERLANDS IMPORTS

Source: Intracen, WTO, 2007

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 For the Netherland, Indonesian pottery shos an average value share of 1% .

The Netherlands
Value and Percentage Shares of Indonesian Pottery
(HS 691490) Thousand USD
200 2.00%
187

180
1.84% 1.80%
168

157
160 1.60%
1.53%
140 1.40%

1.26%
120 1.20%
104

100 1.00%

80 0.80%
0.68%
60 0.60%

40 0.40%
30 0.29%

20 0.20%

0 0.00%
2001 2002 2003 2004 2005

NETHERLAND IMPORTS FROM INDONESIA INDONESIAN SHARE OF NETHERLANDS IMPORTS

Source: Intracen, WTO, 2007

Exports of Pottery Products by Provinces

The biggest exporter is Central Java, followed by East Java (most of which
would be highly likely originated from Lombok, West Nusa Tenggara).

Pottery Exports by Province

(HS 691490) USD

PROVINCE TREND JAN - JUNE CHANGE

2002 2003 2004 2005 2006 (%) 2006 2007 (%)
1 CENTRAL JAVA 1,218,498 2,175,117 2,445,490 1,649,988 2,782,655 14,74 1,312,941 1,063,736 -21.82%
2 EAST JAVA 326,074 376,075 1,356,263 1,410,127 1,044,704 44,06 473,473 653,046 53.01%
3 D K I JAKARTA 285,415 675,806 289,512 293,171 676,022 9,30 437,366 113,875 -66.50%
4 B A L I 13,689 6,676 72,125 89,491 192,630 119,99 105,582 199,007 51.41%
5 R I A U 541,571 83,789 221,844 858,178 23,002 -32.91 23,002 - -100.09%
6 OTHERS 4 7 6 3 19 23.04 0 1 38.16%
TOTAL 2,390,247 3,325,762 4,392,429 4,304,457 4,738,734 17,67 1,604,156 1,392,246 -13.22%

Source: Indonesian Central Bureau of Statistics , 2007

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34
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 The World Demand
The world demand for articles of ceramic not elsewhere specified (HS
691490) which covers pottery made of earthenware shows an increasing
trend after a dip in 2002 to reach more than US$ 800 millions in 2005. The
upward trend has been driven by increasing public interest in interior design,
led by increasing circulation of interior decoration magazines and the popu-
larity of television programs featuring creative ideas for interiors, home im-
provement suggestions, interior architects, “home makeovers” and designer
talk-shows etc. In addition to the annual national home interiors fairs for con-
sumers, there are numerous regional home and garden fairs, which serve as a
source of inspiration to many people.

Major Importing Countries of Pottery

(HS 691490) Thousand USD

IMPORTING TREND CHANGE

COUNTRIES 2001 2002 2003 2004 2005 (%) 2001 to 2005 (%)
1 JAPAN 223,003 108,097 105,067 144,529 133,070 -7.15 713,766 -12.1%
2 CHINA 87,074 101,286 96,817 128,559 144,309 13.30 558,045 13.5%
3 USA,PR,USVI 82,814 54,780 52,227 53,958 62,895 -5.50 306,674 -6.6%
4 VIET NAM 31,458 40,628 57,872 81,320 85,518 30.92 296,796 28.4%
5 ITALY 48,395 51,502 60,523 62,250 57,455 5.47 280,125 4.4%
6 GERMANY 42,499 48,436 47,300 55,587 63,365 9.82 257,187 10.5%
7 MALAYSIA 19,198 31,713 31,733 30,479 30,223 9.08 143,346 12.0%
8 MEXICO 39,798 27,757 13,385 16,183 18,915 -18.35 116,038 -17.0%
9 NETHERLANDS 14,141 15,754 19,845 24,246 20,989 12.99 94,975 10.4%
10 OTHERS 138,317 137,797 155,065 175,924 188,438 9.01 795,541 8.0%
WORLD 726,697 617,750 639,834 773,035 805,177 4.39 3,562,493 2.6%

Source: Intracen, WTO, 2007

People’s growing interest of their homes and their general living situation
has also benefited gardening. People often treat their garden as an exten-
sion of their house. It is considered to be a place of peace and relaxation.
Gardening is also considered as one of amongst the hobbies that are becom-
ing more popular. As such, more and more people require articles that will
enhance the look and ambience of their homes and residence for which pot-
tery products offer good solutions.

35
Indonesian Pearls
 World Supply of Pottery

Major Exporting Countries of Pottery

(HS 691490) Thousand USD

EXPORTING TREND CHANGE

COUNTRIES 2001 2002 2003 2004 2005 (%) 2001-2005 (%)

1 USA,PR,USVI 148,932 112,987 115,707 142,282 139,440 0.99 659,348 -1.63

2 GERMANY 69,627 75,078 74,318 82,319 79,767 3.71 381,109 3.46
3 UNTD KINGDOM 57,297 49,930 47,499 47,585 32,074 -11.38 234,385 -13.50
4 FRANCE 39,729 40,260 44,748 59,815 41,153 4.77 225,705 0.88
5 MEXICO 45,531 67,106 14,011 24,466 32,074 -15.72 183,188 -8.39
6 MALAYSIA 110,449 51,328 4,130 4,851 5,011 -57.45 175,769 -53.85
7 JAPAN 32,473 35,907 30,205 31,295 36,027 0.70 165,907 2.63
8 NETHERLANDS 24,805 26,149 24,475 29,986 25,432 1.89 130,847 0.63
9 INDONESIA 1,280 994 3,005 2,935 2,470 27.09 10,684 17.86
10 HONG KONG 14,329 11,817 15,338 17,577 27,389 18.44 86,450 17.58
11 ITALY 14,226 13,490 15,800 19,578 18,176 9.01 81,270 6.32
12 BELGIUM 11,874 12,356 19,550 15,946 21,049 15.03 80,775 15.39
13 SWITZ.LIECHT 15,060 14,950 15,418 16,760 14,185 -0.05 76,373 -1.49
OTHERS 162,568 158,419 185,587 209,612 244,074 11.55 960,260 10.69
WORLD (Total) 748,180 670,771 609,791 705,007 718,321 -0.32 3,452,070 -1.01
Source: Intracen, WTO, 2007

The biggest supplier of pottery products (HS 691490) is the United States of America (at 19% share),
followed by Germany, United Kingdom and France.

36
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 37
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IndonesianPottery
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 POTTERY EXPORTING COMPANIES
Association of Indonesian Producers and Exporters of Company Name : PALERED GALLERY KERAMIK
Handicrafts (ASEPHI) Contact Person : Diana Anang
Address : Jl. Wijaya I No.39, Address : JI. Raya Anjun No.12B, Pelered,
Kebayoran Baru, Jakarta Selatan Purwakarta, West Java
Phone : (+62 21) 7252032/7252033 Phone : +62 264 272432
Fax : (+62 21) 7252062 Fax : +62 264 272432
E-mail : keramik_palered@indonet.id
E-mail : asephipusat@hotmail.com

Company Name : AGUNG KERAMIK

Company Name : SANGGAR GERABAH
Contact Person : W. Karta Saputra
Contact Person : Hj. Nurul Aini
Address : Bintaro
Address : Banyu Mulek, Kec. Kediri, West
Phone : +62 21 7450737
Lombok
Fax : +62 21 7450737
Phone : +62 370 681548
E-mail : --
Fax : +62 370 681548
E-mail : diki_puger@yahoo.com
Company Name : BALI KERAMIK
Contact Person : Bagus Sastrawan
Address : JI. Raya Dakung No.34, Kuta, Bali
Company Name : SUBUR CERAMIC
Phone : +62 361 422897
Contact Person : Suburdjo Hartono
Fax : +62 361 227235 / 422897
Address : JI. Raya Kasongan, Kajen, Bangunjiwo
E-mail : balikrm@indonet.id
Kasihan Bentul,Jogyakarta 558184
Phone : +62 274 370904, +62 274 7475423
Company Name : CELADONA KERAMIK
Fax : +62 274 370904
Contact Person : Rustam Nahrawi
E-mail : skeramik@yogya.wasantara.net.id
Address : Jl. Jelambar Baru Raya (Borobudur)
No.08 B/C, Jakarta Barat
Phone : +62 21 56979365
Company Name : SIDARTO STUDO KERAMIK
Fax : +62 21 56979364
Contact Person : Drs. Sidaro, Dipl.AD
E-mail : celadona888@yahoo.com
Address : Jl. Kembar II No. 40, Bandung,
West Java
Phone : +62 22 5206327
Company Name : CITRA LOMBOK KERAMIK
Fax : +62 22 5206327
Cont act Person : Agung Mira Chandrawati
E-mail : --
Address : Jl. Brawijaya No.26, Cakranegara,
Lombok 83234
Phone : +62 370 629508
Company Name : STUDIO 181
Fax : +62 370 634502
Contact Person : Dra. Elina Farida
E-mail : ceramic@indonet.id
Address : JI. Taman Pramuka No.181, Bandung
Phone : +62 22 7208402
Fax : +62 22 7234570
Company Name : DWIYONO ART
E-mail : studio181@indost.net.id
Contact Person : Eryanti
Address : JI. Duren IV No.9, Rawamangun,
Jakarta
Company Name : TANAH AGUNG KERAMIK
Phone : +62 21) 478 63251 & 08121890880
Contact Person : TH Elvi
Fax : +62 21) 478 63251
Address : Jl. MT Haryono No.9 -10, Malang
E-mail : dwieggshell@yahoo.com
Phone : +62 341 551796
Fax : +62 341 572347
Company Name : JAWA KERAMIK
E-mail : --
Contact Person : Endang Budoyo Wati
Address : Jl. Lumajang No.278 B, Probolinggo,
East Java
Phone : +62 335 4245657
Fax : +62 335 424657

38
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Company Name : TIMBOEL Company Name : TEMBIKAR
Contact Person : Ani Faiqah/Timbul Rahardjo/Tris Contact Person : Mala Sjahzidar
Address : Tirto, Kasongan, Bangunjiwo, Address : Komp. Waringin Permai,
Kasihan, Bantul, DIY Jl. Wira Bakti III/24, Jakarta 13612
Phone : +62 274 370542/447537 Phone : 0826 956 946
Fax : +62 274 370542 Fax : +62 21 8605941
E-mail : timboelcmc@yahoo.com E-mail :

Company Name : TUNAS ASRI KERAMIK Company Name : YAN’S KERAMIK

Contact Person : Akhid Darmawan Contact Person : Sri Handayani
Address : Sonopakis, Kidul, Ngestiharjo, Address : Jl. MT Haryono XI/355, Dinoyo,
Kasihan, Bantul, Jogyakarta Malang
Phone : +62 274 373024 Phone : +62 341 572135
Fax : +62 274 373024 Fax : +62 341 572135
E-mail : ceramic@tunasasri-ceramic.com E-mail : yanskeramik@yahoo.com

Company Name : TANTERI, CV

Contact Person : I Putu Oka Mahendra
Address : Br.Simpangan, Desa Pejaten,
Tabanan, Bali
Phone : +62 361 831948 & 08123802842
Fax : +62 361 831948
E-mail : sales@tanteri-ceramic.com

39
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 MINISTRY OF TRADE REPUBLIC OF INDONESIA
JI. M.I. Ridwan Rais No.5 Directorate General of Domestic Trade M.I. National Agency for Export Development
Building I - 3th Floor Ridwan Rais No.5 Building I, 6th Floor Jakarta (NAFED) JI. Kramat Raya No. 172
Jakarta 10110 INDONESIA 10110 - INDONESIA Jakarta 10430 - INDONESIA
Phone [62-21] 384 8667, 345 6318, Phone (62-21) - 3858183,385 8193, Phone (62-21) - 31900901,310 0569
3841961 Ext1200 Ext.1105, 1103 Ex1.413
Fax. [62-21] 384 6106 Fax (62-21) - 3857338 Fax (62-21) 319 04914
E-mail. mendag@depdag.go.id E-mail. dirJen-pdn@depdag.go.id E-mail. kabpen@depdag.go.id

(62-21) - 3848666,384 1961 Ext.1384 Commodity Future Trading Regulatory

(62-21)-3441759 sesjen@depda9•90.id Directorate General of Foreign Trade Agency (COFTRA)
(62-21) - 384 8662, 3841961 Ext.1226 JI. M.I. Ridwan Rals NO.5 Building ii, 1st Floor Gedung Bumi Daya Plaza 4th Floor
(62-21) - 384 8662 Jakarta 10110 - INDONESIA JI. Imam Bonjol NO.61
irjen@depdag.go.id Phone (62-21) - 3858204, 3860940 Jakarta 10310 -INDONESIA
Ext.1192, 1104 Phone (62-21) 315 6315
Secretary General Fax (62-21) - 3858190 Fax (62-21) 315 6135
JI. M.1. Ridwan Rals No.5 Building I, 4th Floor E-mail djdaglu@depdag.go.id E-mail. kabappebti@depdag.go.id
Jakarta Pusat Website www.bappebti.go.ld
Phone Facsimile E-mail
Directorate General of International Trade Trade Research and Development Agency
Inspectorate General Cooperation JI. M.1. Rldwan Rais NO.5 Building (TREDA)
JI. M.1. Ridwan Rais No.5 Building I, 10th Floor I, 5th Floor, Jakarta 10110 - INDONESIA JI. M.1. Ridwan Rais NO.5 Building
Jakarta Pusat Phone (62-21) - 344 0408,3858171 17th Floor
Ext.1004 Jakarta 10110 - INDONESIA
Fax (62-21) - 385 8185 Phone (62-21) 344 0060, 384 1961
E-mail. djkpi@depdag.go.id Ext.1360
Facx (62-21) 345 2393
E-mail kabalitbang@depdag.go.id

INDONESIAN COMMERCIAL ATTACHE

Australia Thailand Saudi Arabia
Indonesian Embassy. 8, Darwin Avenue, Yarralumia Indonesian Embassy . 600 - 602 Petchburi Road Indonesian Embassy Riyadh Diplomatic Quarter PO.
Canberra A.c.T. 2600 Australia Rajthevi PO BOX 1318 Box 94343
Phone : (6162) - 625 08654 Bangkok 10400, Thailand Riyadh 11693 Saudi Arabia
Fax : (6162) - 62730757 Phone : (0066-2) - 2551264, 255 3135 ext.123 Phone : (0966-1) - 488 2800, 488 2131 ext.120
E-mail : atdag-aus@depdag.go.id atperdag@ Fax : (0066-2) - 2551264, 2551267 Fax : (0966-1) - 488 2966
cyberone.com.au E-mail : atdag-tha@depdag.go.id E-mail : atdag-sau@depdag.go.id
Website : www.kbri-canberra.org.au indagtha i@hotmail.com atdagruhsa@awalnet.net.sa
Egypt
Japan Philippines Indonesian Embassy.
Indonesian Embassy .5-2-9, Higashi Gotanda Indonesian Embassy . 185, Salcedo Street. Legaspi 3, Aisha EL Taimoira St. Garden City PO BOX 1661
Shinagawa-ku Tokyo 1410022, Japan Village, Makati City Metro Manila Philippines Cairo 1661, Republic of Egypt
Phone : (81-03) - 344 14201,344 70596 Phone : (632) - 892 5061-68, 894 4561 Phone : (20-2) - 794 4698,794 7200-9
Fax : (81-03) - 344 71 697 Fax : (632) - 892 5878, 867 4192 Fax : (20-2) - 796 2495
E-mail : atdag-jpn@depdag.go.id E-mail : atdag-phl@depdag.go.id E-maii : atdag-egy@depdag.go.id
hbagis17@yahoo.com perdag@info.com.ph hardaw j ndag@access.com.eg

South Korea Malaysia Austria

Indonesian Embassy. 55, Yoido-dong Young deoung Indonesian Embassy Jalan Tun Razak No.233 Indonesian Embassy
po-ku Seoul South Korea. Kuala Lumpur 50400, Malaysia Gustav Tschermak Gasse 5-7 Wina A-1180 Austria
Phone : (0082-2) - 782 7750, 783 5371 Phone : (0060-03) - 214 52011 Or 21434835 ext. 308 Phone : (431) - 476 2341
Fax : (0082-2) - 780 4280, 783 7750 Fax : (0060-30) - 214 7908, 214 48407 Fax : (431) - 479 0557
E-mail : atdag-kor@depdag.go.id E-mail : atdag-mys@depdag.go.id indagkl@ E-mail : atdag-aut@depdag.go.id
stpsdt@hotmail.com pd.jaring.my
United Kingdom
People’s Republic of China India Indonesian Embassy
Indonesian Embassy . San Li Tun Diplomatic Office Indonesian Embassy. 50-A Chanakyapuri 38 Grosvenor Square. London W1 k 2HW United
Building B, Beijing 100600, China New Delhi 110021 India Kingdom
Phone : (00861) 653 24748, 653 25400-3014 Phone : (0091-11)-61141000,6886763 Phone : 44-20) - 772 909613, 749 97881
Fax : (00861) 653 25368 Fax : (0091-11) - 688 5460, 687 4402 Fax : (44-20) - 7945 7022
E-mail : atdag-chn@depdag.go.id E-mail : atdag-ind@depdag.go.id E-mail : atdag-gbr@depdag.go.id
indagbei@public3.bta.net.cn indoemb@nda.vsnl.net.in atperdaglondon@aol.com

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Netherlands Russia Switzerland
Indonesian Embassy . 8, Tobias Asserlaan Indonesia Embassy . Commercial Attache Office Indonesian Mission to The United Nations and
2517 KC The Hague, The Netherlands Korovy val7 Ent 3, FI. 8 Apt 76 Moscow 117049, Other International Organizations 16, Rue de Saint
Phone : (31) - 703108115 Republic Russia Jean
Fax : (31) -7036 43331 Phone : (7-095) - 238 5281, 238 3014 Geneva 1203 Switzerland
E-mail : atdag-nld@depdag.go.id Fax : (7-095) - 238 5281 Phone : (0041-22) - 339 7010
atperdag@indonesia.nl E-mail : atdag-rus@depdag.go.id atdag@online.ru Fax : (0041-22) - 339 7025
E-mail : atdag-che@depdag.go.id
Germany United Arab Emirates a Ifons_ptri@hotmail.com alfons-sa mosir@ties.itu.int
Lehter Strasse 16-17 0-10557 Berlin 53175 Germany Indonesia Trade Promotion Center (ITPC) Flat NoA03,
Phone : (49-30) - 478 0700 ArbitTower, 4th Floor, Baniyas Street, Deira P.O. Box Singapore
Fax : (49-30) - 478 07209 41664 Dubai U.A.E 7 Chatsworth Road Singapore 249761
E-mail : atdag-deu@depdag.go.id Phone : (971 4) - 422 78544 Phone : (65) - 6737 5420, 683 95458
budseto@yahoo.com Fax : (971 4) - 422 78545 Fax : (65) - 6737 5037, 6735 2027
E-mail : atdag-sgp@depdag.go.id
Belgium Denmark depperindag@paclfic.net.sg
Indonesian Mission to The European Communities Oerehoej Aile 1, 2900 Hellerup Copenhagen, Denmark
Boulevard de la Woluwe 38 Brussels B-1200, Belgium Phone : (45-39) - 624 422, 624 883 (D) Hong Kong
Phone : (322) - 779 0915 Fax : (45-39) - 624 483 Consulate General 127-129 Leighton Road Causeway
Fax : (322) - 772 8190 E-mail : atdag-dnk@depdag.go.id Bay Hong Kong
E-maii: atdag-bxl@depdag.go.id atperi ndagbxl@ atperindag-de@mail.dk Phone : (852) - 289 02481, 289 04421
chello.be Fax : (852) - 289 50139
Canada E-mail : kondag-hkg@depdag.go.id
Italy Indonesian Embassy 55 Parkdale Avenue indaghk@hk.linkage.net hmunandar@hotmail.com
Indonesian Embassy Via Nomentana, 55 00161 Rome Ottawa Ontario KIY 1 ES Canada
Italy Phone : (613) -7241100 United States of America
Phone : (0139-6) - 420 0911, 420 09168 Fax : (613) - 724 7932 2020 Massachusetts Avenue, N. W. Washington DC
Facsimiie : (0129-6) - 488 0280, 420 10428 E-mail : atdag-can@depdag.go.id ca 20036
E-mail: atdag-ita@depdag.go.id lovenatassa@yahoo. budh i@indonesia_ottawa.org United States of America
com Website : www.indonesia_ottawa.org Phone : (202) - 775 5350, 775 5200 ext. 350
Fax : (202) - 775 5354, 775 5365
Spain France E-mail : atdag-usa@depdag.go.id
Indonesian Embassy 65, Calle de Agastia Madrid Indonesian Embassy 47-49 Rue Cortambert Paris
28043 Spain 75116 France
Phone : (34-91) - 413 0294 Phone : (33-1) - 450 302760, 450 44872
Fax : (34-91) - 415 7792 Fax : (33-1) - 450 45032
E-mail : atdag-esp@depdag.go.id E-mail : atdag-fra@depdag.go.id
atperdag@lander.es serdagparis@magic.fr

Indonesian Trade Promotion Center (ITPC)

Australia Italy United States of America Indonesian Trade
Indonesian Trade Promotion Center (ITPC) - 5ydney Indonesian Trade Promotion Center (ITPC) - Milan Promotion Center (ITPC) - Los Angeles
Level 2 , 60 Pitt Street Sydney 2000, Australia Via General Fara 39 Milan 3457, Wilshire, Blvd, Suite 101 Los Angeles 90010 USA
E-mail : itpuidney@depdag.go.id Phone : (213) - 3877041
Hungary Fax : (213) - 3877047
Brazil Indonesian Trade Promotion Center (ITPC) - Budapest E-mail : itpc-usa@depdag.go.id
Indonesian Trade Promotion Center (ITPC) - 5ao Paulo H-1051 Budapest, Bajcsy-Zsilinszky ut.12, IV Floor, No. 205 itpcla@aol.com
Edifico Park Lane Conj. 111, Alamedia Santos No. 171 Cerquiera Budapest Hungary
Cesar, CEF: 01419.002 Sao Paulo Phone : (36-1) - 317 6382 Indonesian Economic and Trade Office
Phone : (55) -11 - 326 30472 Fax : (36-1) - 266 0572
Fax : (55) -11 - 325 8126 E-mail : itpc-hun@depdag.go.id
E-mail : itpc-bra@depdag.go.id inatrade@itpc-bud.hu Taiwan (a province of China)
djamia nJgaol@yahoo.com Indonesian Economic and Trade Office to Taipei 6F,
South Africa NO.550, Rui Guang Road, Nelhu District
Japan Indonesian Trade Promotion Center (ITPC) - Johannesburg (Twin Head Building) Taipei 114 Taiwan
Indonesian Trade Promotion Center (ITPe) - Japan Suite 02/E4 Village Walk Shopping Centre Sandton Johan-
ITM-4-J-8, Asia and Pasific Trade Center 2-1-10 Nanko Kita, nesburg South Africa Phone : (886-2) - 875 26170
5uminoe-ku Phone : (27) - 118 - 846 240 Fax : (886-2) - 874 23706
Osaka 559-0034 Japan Fax : (27) - 118 - 846 242 E-mail : tukdei-twn@depdag.go.id
Phone : (06) - 6615 5350 E-mail : firdaus@itpcjhb.co.za Note:
Fax : (06) - 6615 5351
E-mail: itpc-jpn@depdag.go.id itpc@itpc.or.jp
For your complete reference on the Republic of Indonesia
Germany representative offices
Indonesian Trade Promotion Center (ITPC) - Hamburg wor!d-wide, please kindly access:
Glockengie~erall17 20095 Hamburg www.deplu.go.id

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World Class Quality Product
 43
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 creative by : Ministry of Trade Republic of Indonesia
double_P_creative@myway.com Jl. M.I. Ridwan Rais No. 5. Building 1-7th Floor
Jakarta 10110 Indonesia
Picture taken by :
double P creative Telp. : (62-21) 3440060
Dionisius Fax. : (62-21) 3452393
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