Metalwork Vcs155

VCS155
METALWORK
According to Zakaria Ali there
are SIX PRINCIPLES of Malay
aesthetic.
FIRST PRINCIPLE: SUBTLE / FINE
SECOND PRINCIPLE: USEFUL
THIRD PRINCIPLE: UNITY
FOURTH PRINCIPLE: CONTRAST
FIFTH PRINCIPLE: SYMBOL
SIXTH PRINCIPLE: MEANING

GOLD SILVER
ORNAMENTS WARE
AND
JEWELLERY
ART OF METALSMITHING
METALWORKING BRASS AND

AND WEAPONS BRONZE WARE
PENDING
https://www.pinterest.com/pin/401172279284048988/?lp=true
Pending, ornamental waist-
buckle. This waist-buckle was
worn by both Malay men and
women of title when in full
dress.
The art of crafting gold ornaments and
jewellery, exquisitely made in often set
with precious stones reached its peak in
popularity during the 17th and 18th
centuries under the patronage of Malay
royalty. The art of embossing a pattern in
relief onto a thin sheet of gold,
granulation the application of tiny grains
of molten gold to the surface of an
ornament and filigree techniques.
Gold jewellery and ornaments were made

for the royal regalia, ceremonial use and
personal artifacts of the aristocracy.
As part of the full ceremonial dress of the

Malay rulers was the pending or belt
buckle, many examples of which were
inspired by the shape of the sukun or
breadfruit leaf. Many of these antique
gold ornaments were covered with tiny
granules of gold known as mata ikan or
fish roe, which were carefully polished to
catch the light and highlight the piece.
PENDING
http://hiassolekmelayupending.blogspot.com/
Repousse and filigree have been
the forms most commonly used by
Malay silversmiths, but a few of
them were also skilled in niello
(Jadam-niello made by Malays in
Ligor in peninsular Thailand was of
exceptionally high quality. It was
also known as Chutam) inlay work,
particularly in Perak and in the
northern states.
PENDING
http://hiassolekmelayupending.blogspot.com/
http://lailadaiszy.blogspot.com/2015/04/pending.html
In terms of
aesthetics and
quality of
craftsmanship, the
'pending' is a fine
example of
ornateness in
metal decoration.
38
A unique item was the
caping, a heart-shaped
modesty disc mainly worn by
Malay and Iban children. It
was worn by boys and girls,
and was hung from the waist
http://hiassolekmelayucaping.blogspot.com/
by a chain or thread.
This modesty disc made in silver

depicts in each of the four
esgments foliated motifs
depicting the long bean vine
(sulur kacang).
PENDANT
AMULET
PENDANT
AMULET
-Malay work is dominated by floral and foliated motifs, scrolls
and abstract, geometric patterns. For Ling Roth (Oriental
Silverwork:1966), a very typical piece of Malay Silverworks,
and probably of Malay or Javanese origin, is the elliptical
belt-buckle.
-Indeed, throughout the Archipelago, a silver smithing tradition
thrived, making almost similar objects, differentiated mainly
by the use of the motifs and patterns under royal
patronage.
-The use of 'awan larat' was dominant theme and the choice
of using flora and foliage motifs portrayed the essence of
Islamisation.
-It is interesting to note that the only 'hall mark' records used
in stamping silver items then were the inscription written in
Jawi stating its place of origin as in the case of Brunei and
Kelantan.
BETEL NUT TRAY
‘TEPAK SIREH’
Apart from exquisite jewellery, Malay silversmiths fashioned receptacles in the form of tobacco
boxes or jewellery boxes and sirih sets. The boxes were either octagonal or round and made of
three pieces of silver: the bottom, sides and lid.
BETEL NUT TRAY
‘TEPAK SIREH’
A sirih set comprised a sirih box, usually a rich ornamented spherical vessel, five small
condiment bowls, a gobek (crusher) and a kacip (cutter) for slicing areca nuts.
BETEL NUT TRAY : ‘TEPAK SIREH’
Sirih box with implements for preparing for preparing the betel quid: 1)
gobek for crushing ingredients, 2) container for betel leaves, 3) ornamental
kacip cutter for slicing areca nuts, 4) small condiment containers for chalk
lime, cloves, and gambier condiment.
Silver
- The Malay world was especially renowned for
its exquisite silver craftsmanship.
Magnificent objects used for personal
decoration, ceremonial and ritual were made
by silversmiths using the techniques of
repousee and filigree.
- Some of the finest examples include
functional but highly decorative items such
as;
a) celepa ( tabacco pouch)
b) cembul ( small box )
c) betel-nut tray ( tepak sireh)
CEMBUL
THE COMPARTMENTS OF BETEL BOX TRAY
https://www.pnm.gov.my/sirihpinang/sp-cembul.htm
CEMBUL
THE COMPARTMENTS OF BETEL BOX TRAY
CELEPA
CONTAINER FOR TOBACCO (TOBACCO BOX)
http://www.muziumnegara.gov.my/gallery/items/Celepa_4/
CELEPA
Celepa emas berbentuk bintang pecah sepuluh seperti sekuntum bunga. Permukaannya ditatah
dengan permata jernih dan butiran manik-manik emas. Pernah dimiliki oleh kerabat diraja Sultan Zainal
Abidin I, Terengganu (1725-1733). Berukuran 8.8 sm garis pusat.
- Portable tobacco box worn by suspending it from a chain
around the waist was crafted in exquisites form and details
in silver and dipped in gold.
- With the migration of foreigners were dealing in

commerce, the art of crafting gold ornaments and
jewellery were adapted to suit their needs. However, the
foliage and geometric patterns adopted by the Malays
remained a legacy of Islamic influence.
WEAPON
‘KERIS’
Malay blacksmiths have forged a
variety of weapons of war including
cannons, parang, keris and short
daggers (badik, tumbuk lada) of various
http://www.oriental-arms.com/item.php?id=8544
shapes and sizes. Of these, the keris
was the most lethal and were regarded
as the nationl weapon of the Malays.
The origin of the keris is believed to
have dated back to the early years of
the Majapahit Empire in 13th century
Java. When the empire collapsed two
centuries later, many of its craftsmen
migrated to the Malay Peninsula. The
art of keris making continued to
flourish uder the patronage of the
Malay Sultans and the nobility.
WEAPON: ‘KERIS’
The keris was designed to serve the needs of men who fought in the interior of a building,
in narrow streets, or on winding forest paths, where swords and spears were an
encumbrance; it was also ideal for use when boarding an enemy vessel, or when repelling
boarders who could not be kept at spear’s length.
WEAPON
‘KERIS’
The earliest keris known Kris
blades were probably made with
meteoric iron, which was rare and
believed to possess magic
qualities. Later, when purer iron
was used, nickel or nickelous iron
was added to provide
damascened patterns on the
surface of the blade. When the
blade was finished, it was treated
with arsenic to bring out the
pattern; gold or silver inlay was
sometimes added to record the
name of the titled owner, or to
reproduce a Koranic text or rows
numbers on the blade.
WEAPON
‘KERIS’
THE MALAY KERIS
THE KERIS AS A WEAPON
MAKING A KERIS
HILTS
SHEATHS
PAMUR PATTERNS
MYSTICAL KERIS
EVOLUTION
https://www.thepatriots.asia/4275/
WEAPON
‘KERIS’
THE MALAY KERIS
THE KERIS AS A WEAPON
MAKING A KERIS
HILTS
SHEATHS
PAMUR PATTERNS
MYSTICAL KERIS
EVOLUTION
THE ART OF METALSMITHINGS
THANK YOU

Metalwork Vcs155

Uploaded by

Copyright:

Available Formats

Metalwork Vcs155

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Metalwork Vcs155

Uploaded by

Copyright:

Available Formats

VCS155

FIRST PRINCIPLE: SUBTLE / FINE

SECOND PRINCIPLE: USEFUL

THIRD PRINCIPLE: UNITY

FOURTH PRINCIPLE: CONTRAST

FIFTH PRINCIPLE: SYMBOL

SIXTH PRINCIPLE: MEANING

METALWORKING BRASS AND

Gold jewellery and ornaments were made

As part of the full ceremonial dress of the

This modesty disc made in silver

THE COMPARTMENTS OF BETEL BOX TRAY

THE COMPARTMENTS OF BETEL BOX TRAY

CONTAINER FOR TOBACCO (TOBACCO BOX)

- With the migration of foreigners were dealing in

THE KERIS AS A WEAPON

THE KERIS AS A WEAPON

You might also like