Thursday, December 15, 2016
Thursday, December 1, 2016
Bronze Moko Drum / Kettledrum
Moko are bronze kettledrums from Alor Island, Indonesia. While they have been found in several different locations in Indonesia, they are most famously associated with the island of Alor, where they have long been prized in ceremonial exchanges. Later moko were made in China and Java and were brought to Alor in the 19th century.
Some scholars identify the designs and decorations have their likely origin in Đông Sơn, Vietnam. However, it remains a mystery as to how the older Đông Sơn drums arrived in Alor. Local origin stories describe the discovery of mokos buried in the ground, and it is still common to hear of moko being uncovered in this way.
Moko remain as an important symbol of status and particularly very important for their ritual value. Moko are still generally required as part of the bridal dowry, though the short supply of moko today means that moko must often be borrowed or mortgaged for this purpose.
Height : 31cm, Diameter : 17.5cm, Weight : 2.2kg
Some scholars identify the designs and decorations have their likely origin in Đông Sơn, Vietnam. However, it remains a mystery as to how the older Đông Sơn drums arrived in Alor. Local origin stories describe the discovery of mokos buried in the ground, and it is still common to hear of moko being uncovered in this way.
Moko remain as an important symbol of status and particularly very important for their ritual value. Moko are still generally required as part of the bridal dowry, though the short supply of moko today means that moko must often be borrowed or mortgaged for this purpose.
Height : 31cm, Diameter : 17.5cm, Weight : 2.2kg
Tuesday, November 15, 2016
Cham Manuscript Of Ninh Thuận Province, Vietnam (16th - 17th Century)
Pictures below show a roll of Cham paper manuscript from Ninh Thuận province, wrapped in cloth.
Ninh Thuận is a province in the South Central Coast region of Vietnam, sometimes seen as part of the Southeast region.
The Cham principality of Panduranga had its center in Ninh Thuận Province, but also included much of what is now Bình Thuận Province. Panduranga became the political centre of Champa after the fall of Vijaya in 1471. It remained independent until 1832, when emperor Minh Mạng annexed it. Ninh Thuận was merged into Bình Thuận Province in 1976, together with Bình Tuy Province, Ninh Thuận became a separate province again in 1991.
Historically and culturally, the Cham are probably the most important minority group in Vietnam. Descendants of the Champa kingdom that lasted from the 2nd to the 17th century AD, the Cham are the largest group of Hindu and Muslim people living in Vietnam. These people possess a rich culture that can still be appreciated today through architecture, arts, festivals and literature. Although the Champa kingdom was eliminated by the Viet in 1720, Cham people managed to stay together in large communities where their traditions and culture are well preserved. There are about 146,000 Cham living in Vietnam today, with the largest community located in Ninh Thuận (57,000). Other important Cham communities are located in Bình Thuận, Phú Yên, An Giang, Tây Ninh, and Hồ Chí Minh City. The majority of Cham people living in central Vietnam practise Hinduism while those located in the Mekong Delta are Muslim.
The Cham’s writing system is mainly based on Sanskrit, with the majority of Cham manuscripts still in existence written in the akhar thrah script. Writings were previously inscribed on palm leaves, but in more recent times they are recorded on paper. Cham manuscripts contain rich information about Cham customs, religious practise, literature and daily activities of Cham people. Many are records of officials and families in the communities. Manuscripts still in existence are mainly from 50 to 150 years old.
Cham manuscripts unfortunately have not been well preserved. Some have been collected by local governmental institutions and many more still exist in Cham communities. In recent years, the Center for Cham Studies and the Cham Language Studies Committee Library in Ninh Thuận have collected some manuscripts. However, due to poor preservation conditions and the extremely unfavourable climate of the area, manuscripts kept in these two centres are quickly deteriorating. In many cases, writings are recorded on cement-bag paper, as its name suggests, this paper is made from pieces cut out of cement packages used in building construction and does not last very long.
Cham manuscripts privately held by families in the communities are also disappearing. Many manuscripts are simply ruined over time by the hot and humid climate. Most young Cham people today are not able to read Cham scripts and thus pay little attention to the preservation of manuscripts in their families. Furthermore, some Cham people believe that it is bad luck to keep ‘deserted books’ (Akhar bhaw) in the home and hence, books not cared for or read frequently will eventually be discarded in rivers.
Ninh Thuận is a province in the South Central Coast region of Vietnam, sometimes seen as part of the Southeast region.
The Cham principality of Panduranga had its center in Ninh Thuận Province, but also included much of what is now Bình Thuận Province. Panduranga became the political centre of Champa after the fall of Vijaya in 1471. It remained independent until 1832, when emperor Minh Mạng annexed it. Ninh Thuận was merged into Bình Thuận Province in 1976, together with Bình Tuy Province, Ninh Thuận became a separate province again in 1991.
Historically and culturally, the Cham are probably the most important minority group in Vietnam. Descendants of the Champa kingdom that lasted from the 2nd to the 17th century AD, the Cham are the largest group of Hindu and Muslim people living in Vietnam. These people possess a rich culture that can still be appreciated today through architecture, arts, festivals and literature. Although the Champa kingdom was eliminated by the Viet in 1720, Cham people managed to stay together in large communities where their traditions and culture are well preserved. There are about 146,000 Cham living in Vietnam today, with the largest community located in Ninh Thuận (57,000). Other important Cham communities are located in Bình Thuận, Phú Yên, An Giang, Tây Ninh, and Hồ Chí Minh City. The majority of Cham people living in central Vietnam practise Hinduism while those located in the Mekong Delta are Muslim.
The Cham’s writing system is mainly based on Sanskrit, with the majority of Cham manuscripts still in existence written in the akhar thrah script. Writings were previously inscribed on palm leaves, but in more recent times they are recorded on paper. Cham manuscripts contain rich information about Cham customs, religious practise, literature and daily activities of Cham people. Many are records of officials and families in the communities. Manuscripts still in existence are mainly from 50 to 150 years old.
Cham manuscripts unfortunately have not been well preserved. Some have been collected by local governmental institutions and many more still exist in Cham communities. In recent years, the Center for Cham Studies and the Cham Language Studies Committee Library in Ninh Thuận have collected some manuscripts. However, due to poor preservation conditions and the extremely unfavourable climate of the area, manuscripts kept in these two centres are quickly deteriorating. In many cases, writings are recorded on cement-bag paper, as its name suggests, this paper is made from pieces cut out of cement packages used in building construction and does not last very long.
Cham manuscripts privately held by families in the communities are also disappearing. Many manuscripts are simply ruined over time by the hot and humid climate. Most young Cham people today are not able to read Cham scripts and thus pay little attention to the preservation of manuscripts in their families. Furthermore, some Cham people believe that it is bad luck to keep ‘deserted books’ (Akhar bhaw) in the home and hence, books not cared for or read frequently will eventually be discarded in rivers.
Tuesday, November 1, 2016
Small Peranakan Amber Tablecloth
Pictures below show a small amber tablecloth used in Peranakan house. It was probably used on a small rectangular table because of the arrangement of motifs at the sides. The design shows many European and South American birds stand on branches. The tropical hibiscus can be seen, along with the many peonies.
The combination of multi colours on the amber ground is characteristic of Penang Peranakan embroidery work. During the traditional Peranakan wedding, the family would decorate the table with prized pieces of silver and porcelain, as well as gifts and food.
Size : 52cm x 106cm
The combination of multi colours on the amber ground is characteristic of Penang Peranakan embroidery work. During the traditional Peranakan wedding, the family would decorate the table with prized pieces of silver and porcelain, as well as gifts and food.
Size : 52cm x 106cm
Saturday, October 15, 2016
Frog-Shaped Ceramic Wall Pockets / Vases
Wall pockets really hit their heyday during the 1940s and 1950s. The frog-shaped ceramic wall pockets or vases below were usually used by the Peranakans to decorate their walls at home.
There were thousands of wall pocket styles made over the years. These popular decorative accessories were shaped like frogs, parrots, fruits and flowers, just to name a few themes, and they were hung on the walls with different purposes such as stowing small household items, or to be hung as a decorative item as it is.
There were thousands of wall pocket styles made over the years. These popular decorative accessories were shaped like frogs, parrots, fruits and flowers, just to name a few themes, and they were hung on the walls with different purposes such as stowing small household items, or to be hung as a decorative item as it is.
Saturday, October 1, 2016
Nineteenth Century Red And Gold Dresser Chest Made For The Peranakan Chinese Market In The Straits Settlements Or Sumatra
This bevelled chest, with 6 drawers, is decorated with elaborate gilded carvings of foliage and flowers. The ensemble most probably is made of namwood.
Red and gold furniture was commissioned from artisans in Southern China, the Straits settlements and the East Indies by wealthy Peranakan Chinese merchants in the Straits Settlements of Singapore, Malacca and Penang, and Java and Sumatra in the nineteenth and early twentieth centuries.
The Peranakan Chinese of Southeast Asia formed a distinct community from other local Chinese. Their families had been in Southeast Asia for at least several generations and often they were the product of intermarriage between local Chinese and the indigenous population. Their customs were a curious blend of English, indigenous and Chinese customs. Weddings were very important. For these, furniture for the bridal chamber such as this dresser chest was commissioned.
Height: 42cm, Width: 31cm, Length: 52cm
Red and gold furniture was commissioned from artisans in Southern China, the Straits settlements and the East Indies by wealthy Peranakan Chinese merchants in the Straits Settlements of Singapore, Malacca and Penang, and Java and Sumatra in the nineteenth and early twentieth centuries.
The Peranakan Chinese of Southeast Asia formed a distinct community from other local Chinese. Their families had been in Southeast Asia for at least several generations and often they were the product of intermarriage between local Chinese and the indigenous population. Their customs were a curious blend of English, indigenous and Chinese customs. Weddings were very important. For these, furniture for the bridal chamber such as this dresser chest was commissioned.
Height: 42cm, Width: 31cm, Length: 52cm
Thursday, September 15, 2016
Thursday, September 1, 2016
Nyonya Silver Combs
The commonest items of silverware turned out by local Chinese silversmiths during the nineteenth century in Malaysia were articles of personal ornaments intended for Nyonyas, who were particularly fond of gold and silver jewellery of ingenious and intricate workmanship. Although these items of jewellery were intended both for daily use as well as for formal, ceremonial occasions, those of better quality were used for festive celebrations such as the Chinese New Year, birthdays, anniversaries, weddings and even funerals.
Pictures below are the ceremonial combs used by traditional Nyonya brides.
Type 1 Length : 11cm
Type 2 Length : 11cm
Type 3 Length : 11cm
Type 4 Length : 11cm
Type 5 Length : 11cm
Type 6 Length : 5cm each
Type 7 Length : 8.5cm
Type 8 Length : 12cm
Type 9 Length : 13cm
Pictures below are the ceremonial combs used by traditional Nyonya brides.
Type 1 Length : 11cm
Type 2 Length : 11cm
Type 3 Length : 11cm
Type 4 Length : 11cm
Type 5 Length : 11cm
Type 6 Length : 5cm each
Type 7 Length : 8.5cm
Type 8 Length : 12cm
Type 9 Length : 13cm