What emotions do the above masks evoke in you? Intriguing and intimidating, they did not appeal to me initially for I did not then realise whence they had come or the mysteries attached to them. However, I was curious and wanted to find out the reason for their ubiquitous presence in advertisements and tourist literature on Sichuan.
… so in May 2017, my sister and I hired a car with a driver from Chengdu to take us to Guanghan, the archaeological site of these Bronze Age relics, 40 km north of Chengdu. The SanXingDui Museum is the current home of artefacts unearthed in Guanghan County and they are valued as Grade 1 Treasures of the People’s Republic of China.
The main museum building, on the excavated site of San Xing Dui (three-star mound: san –three, xing – stars, dui – mound) was completed in 1992 and opened to the public in 1997. It is not easy to get to due to its remote location. San Xing Dui is the ruins of the capital of the ancient Shu Kingdom that existed over 4000 years ago.
Before the excavations, there were no reliable written materials recording the ancient Shu civilization. There is hardly any mention of Shu in early Chinese historical records until the fourth century BCE, thereby shrouding this society in mystery. With the excavation of these cultural relics, the mystery has only deepened.
Discovered in 1929, and re-discovered in 1986, the famous discoveries in two sacrificial pits included animal- and human-faced sculptures and masks, a five-metre tall bronze tree, the best-preserved bronze human figure at 2.62 metres and hundreds of other unique items, each exceedingly exquisite. These relics are believed to be remnants of the Shu Kingdom, which can be dated to 2600 years to 4800 years ago. The discovery surprised archaeologists and historians alike and opened up a world of intrigue as it indicated a semi-Chinese culture that was previously unknown.
It is said that SanXingDui slept for three thousand years and has just woken up to astound the world with its mystique. These 20th century finds caught the world’s attention and the site is considered one with great historical and scientific significance.
The cache of religious bronze sculptures excavated at SanXingDui manifests the sophistication of the Shu culture. The bold lines and forceful contours of the masks combine to create magnificent images, which feature the union of humanity and divinity. The ritual objects reflect the spiritual pursuit of the Shu people. For more than half a century, archaeologists from Sichuan have been investigating the finds and forming theories of the Shu culture.
The large exhibition halls, filled with hundreds of artefacts, are dimly lit. It feels surreal to be inside, especially the first hall I entered, being surrounded by case after case of large masks and human heads, but visitors just move on with their audio guides to gaze upon and marvel at the mysteries of this once-forgotten civilisation. If they could talk, what secrets would these strange human heads reveal?
Exaggerated eyes and ears are the hallmark of SanXingDui masks, but the enormous masks have stalked eye balls (like extended protruding rods) and they seem to represent Can Cong, founder of the Kingdom of Shu. Cynics have commented that if this is true, then Can Cong must be half-insect! The Chinese character for insect, 虫 appears in both Can Cong’s name and the character for Shu, 蜀. The big eyes and ears symbolise the great powers of seeing and hearing from afar. It is believed that Can Cong had protruding eyes and ears.
The sacrificial life and religious rituals of the ancient Shu people are represented through bronze god statues and wares of gold, bronze, jade and stone. Among them is a 2.62 metres tall statue (Bronze Standing Man) wearing a crown and ceremonial garb, standing upright and barefoot on a cloud-patterned base supported by four elephant heads. His two large hands seem to hold a sacred vessel as if commanding a sacrifice. In the minds of the ancient people, he is a combination of god, wizard and king.
Most academicians believe the religious worship was a complex system involving a mix of many types, including nature worship, ancestor worship and god worship. The main function of the holy tree was to act as the axis for ascension to heaven. They connected heaven and earth, gods and humans. These Shamanistic trees were popularly used by shamans to communicate with the universe.
The spiritual world of the Shu people who believed that everything had a soul is shown not only through the magical bronze trees but also through animal-shaped objects such as fish and, more notably, birds. Bronze animal sculptures reflect the ancient Shu people’s ideology that all animals have spirits and their faith in the spirits of birds is the core of this belief.
Some of the artefacts are so large that they have to be seen to be appreciated. Standing at five metres, the Sacred Tree of SanXingDui, the most prized relic, gets pride of place in the central lobby of the museum. The spiral feature of the building’s architecture must have been designed for its display. Overseas display of this valued artefact is prohibited.
I no longer regard the masks of SanXingDui as menacing nor grotesque, but rather as stunning artefacts with deep symbolism guarding secrets of a glorious past. They are objects to be admired, and from which to draw upon for confirmation of hypotheses. How did the bronze smelting technique and the culture symbolized by the Sanxingdui bronze ware come into being? New research may solve the mystery of SanXingDui.
Earlier studies theorised that the disappearance of SanXingDui was due to floods or war but these theories are speculative. LiveScience reports that a mighty earthquake that occurred 3000 years ago decimated the ancient metropolis that was SanXingDui, but this theory is also speculative.
There is still much to learn about this mysterious civilisation. Excavations at the Three Star Mounds continue, the various projects involving researchers from China and abroad aim to discover more items from this lost civilisation. Tang Fei, head of the Sichuan Provincial Cultural Relics and Archaeology Research Institute, believes there are more sacrifice and worship sites, and aristocratic tombs to be unearthed.
The puzzle of the Three Star Mounds is a puzzle of the ages, but I hope it will eventually be unravelled.
SanXingDui Museum bi-lingual explanatory notes for some of the exhibits
While the formal ‘museum’ did not emerge until the 17th century, collections of objects resembling this seemingly modern phenomenon date back thousands of years.
Museums have a long history going back to the 3rd century BCE, when the first known museums (of the ancient world) were opened in Egypt, Babylon and Mesopotamia. The oldest such in evidence was Ennigaldi-Nanna’s museum, dating from c. 530 BCE.
The remarkable woman Ennigaldi-Nanna, said to be the world’s first curator, was a Mesopotamian princess and priestess of the moon deity. Her museum, over 2500 years old, was centred on cultural heritage, and it is thought to have had an educational purpose. Along with her priestess role, Ennigaldi ran a scribal school for elite women. Thus, was founded for posterity the function and role of museums in preserving and curating items of cultural and historical value for education and enjoyment.
The early museums housed, cared for and displayed collections of curiosities in objects of cultural, artistic, spiritual and religious significance. The story of the world’s earliest museums shows the timeless appeal of conserving the treasures of past civilisations.
Although these institutions of antiquity were abandoned around 500 BCE due to deteriorating environmental conditions, museum culture spread to nearly every part of the world and today almost every country has at least one museum, no matter how small it may be. The concept of the museum has become a global concept that has survived through millennia.
The early museums were elitist and only the aristocrats could visit them. The public were excluded, but this focus has since shifted. Today, museums have redefined their missions, their goals and their functions, making their collections accessible to all – the researchers and the public. Still doubling as educational hubs and conservation centres, museums play a pivotal role in the preservation of culture and supporting the history of communities. Though they range in size and speciality, every museum’s mission revolves around the display and care of its collection, as well as continuous research on artefacts and thematic or general exhibitions.
The benevolent legacies of Elias Ashmole and James Smithson resulted in the establishment of institutions to further the cause of education and preservation of history.
Ashmole’s vision was to create a centre for practical research and the advancement of knowledge of the natural world, which, in his own words, “is very necessary to human life, health and the conveniences thereof.” Ashmole’s vision of a ‘place of curiosity which fuels a quest for knowledge’ is still being realised in the Ashmolean Museum, founded in 1683. It is the University of Oxford’s museum of art and archaeology. Its world-famous collections range from Egyptian mummies to contemporary art, telling human stories across cultures and across time.
In 1829, Englishman James Smithson died at the age of 64 and left more than $500,000 (the equivalent of $9.6 million today) to the “United States of America, to found … an Establishment for the increase & diffusion of Knowledge”. In the annals of philanthropy, there exist few more inscrutable final testaments than this – Smithson had never set foot in USA. The Smithsonian, begun in 1846, is a group of 17 museums and research centres administered by the Government of the United States of America. It is a treasure chest for visitors and a guide to the most fascinating aspects of our world.
From the Ashmolean and British museums in the United Kingdom to the Smithsonian Museums in Washington, DC, the Greco-Roman collections of the Mediterranean region, the great museums of the Indian subcontinent, the Orient and the Occident in between, these repositories of knowledge promote better understanding of our collective heritage and foster dialogue, curiosity and self-reflection. Quite simply, without museums we would most certainly lose the tangible links to our past.
The world around us is constantly changing and has radically shifted since the days of the early museums. Can museums remain static and yet be relevant? The future of museums will have to be different from the past. Museums will need to do what they can to engage with their public through their displays, education and outreach programmes.
Created in 1946, the International Council of Museums (ICOM), an international organisation of museums and museum professionals committed to the “research, conservation, continuation and communication to society of the world’s natural and cultural heritage, present and future, tangible and intangible”, recognises the need for a new museum definition. This would reflect the new role of museums and the obligations and possibilities for museums. As the voice of museum professionals, ICOM makes recommendations on issues related to cultural heritage. Its forum of experts raises public cultural awareness through global networks and co-operation programmes.
In 2016, ICOM led a one-year reflection on museums and cultural landscapes, organised an International Conference in Catania on ‘Museums and World Cultural Heritage’, published a declaration on the subject and adopted a Resolution on the ‘Responsibility of Museums towards Landscape’.
“Museums have the capacity to promote good practices and standards of excellence, notably by following the ICOM Code of Ethics for Museums, to involve and empower local communities to care for their heritage and to be a vehicle for peace and reconciliation”.
Suay Aksoy – President, International Council of Museums (ICOM), Paris, France
ICOM established International Museum Day (IMD) in 1977 to increase public awareness of the role of museums in the development of society, and it has been steadily gaining momentum. In 2019, more than 40,000 museums held special events in more than 150 countries, including Malaysia through the Department of Museums, Malaysia (DMM).
With the theme ‘Museums for Equality: Diversity and Inclusion’, IMD 2020 was held on 18 May to “celebrate the diversity of perspectives that make up the communities and personnel of museums, and champion tools for identifying and overcoming bias in what they display.”
With the theme ‘Museums for Equality: Diversity and Inclusion’, IMD 2020 was held on 18 May to “celebrate the diversity of perspectives that make up the communities and personnel of museums, and champion tools for identifying and overcoming bias in what they display.”
DMM is a member of ICOM. With its Director General, Datuk Kamarul Baharin bin A. Kasim, as President of ICOM Malaysia, museums in Malaysia work in cooperation and in tandem with the ethics and ideals of ICOM International.
Muzium Negara (National Museum of Malaysia) in Kuala Lumpur was officially opened on 31 August 1963 and gazetted as an ancient monument and historical site on 4 April 1996. The new building was constructed on the site of the former Selangor Museum, which was established in 1898. Near the close of World War II in 1945, the right wing of the Selangor Museum was destroyed by accidental Allied bombing. The left wing continued to serve as the Federation’s museum until the first Prime Minister of the Federation of Malaya, Tunku Abdul Rahman, decided on the construction of a new building for the nation’s historical and cultural treasures.
The four galleries in the main building tell the story of the nation, from pre-history to post independence. The Music Gallery, the Malay World Ethnology Museum, and the Orang Asli Crafts Museum are in smaller buildings. Outdoor displays include transportation, past and present, burial poles and models of the megaliths found in Pengkalan Kempas, and the gateway to the Kedah Fort.
Research is one of the core services of the Department of Museums Malaysia (DMM) and plays an important role to the department’s role to preserve, maintain and disseminate knowledge about our heritage.
Exhibition, being the other core of DMM, is classified into Permanent, Temporary and Special exhibitions. The department collaborates with foreign embassies to host special exhibitions as in ‘The Great Steppe: History and Culture’ exhibition at Muzium Negara in October 2019. What a treat it was for Malaysians to view the most significant exhibits from Kazakhstan, and to be included in ‘The Procession of the Golden Man in the world’s museums’ international project.
DMM also co-operates with other national museums for the loan of artefacts that Malaysians may have the opportunity to appreciate the national treasures of other countries on their home soil. The recently-concluded ‘Lost Kingdoms’ exhibition, which featured 103 exhibits, was made possible with the co-operation of the DMM, the National Museum of Indonesia and the National Museum of Cambodia.
DMM’s working relationship with museum institutions globally provides knowledge development for Malaysians through events and special exhibitions regularly held.
By bringing exhibitions to the local communities and involving them in the care of their own heritage, museums reinforce the preservation of the world’s living memory and nurture the protection of intangible heritage. Museums also have the capacity to promote cross-cultural dialogue between local populations and visitors and for sustainable tourism.
The museum today tells the story of man the world over and how humanity has survived in its environment over the years. It houses things created by nature and by man. The prestige of museums has never been higher. Every city that wishes to be on the visitors’ map knows that it must build one. No foreign trip seems complete without visiting one.
In a small annexe off the main Lost Kingdoms Exhibition a selection of inscribed stones (Malay: prasasti) stand erect, infinitely perplexing to the casual observer. For the most part, they are less immediately pleasing to the eye than the more distinctive commemorative statues. Some of them are elegantly wrought, like the Kota Kapur, but most are little more than crudely shaped stones with faded chiselling, impossible for any but the expert to construe.
It is often easy in a museum to bypass the most valuable record of the past in favour of artefacts of more aesthetic charm. A jar of dust in the Prehistory Room of Muzium Negara hides a story of a cataclysmic super-volcanic eruption of devastating effect. The most humble exhibits can reveal unexpected insights; these inscription stone are such an example.
The following stones represent the early evolution of written language in the archipelago, and are the first evidence of the indigenous people recording their own story for posterity, at the point in time when prehistory became history. The first extant written evidence for South East Asia derives from external sources: China, India, the Arab world and Classical Europe. Although the accounts of other civilisations are important, their original purpose was to tell their own story, not that of the local people, which renders them an imperfect witness at best. Much of what they observe, they do not fully understand. Sometimes it is in their interest to purposely exaggerate or misreport. The opportunity afforded by these inscribed stones to hear the voice of the peoples of the archipelago for the first time is a vital part of our understanding of the early history of the region.
Of course, inscriptions have their limitations. Prasasti stones are not intended as a chronicle or complete record. They do not give access to everyday life or offer a historical account of events. They only contain snippets, an opaque window into a snapshot in time. Yet, what they do offer is exact dates, indispensable in building up the chronology of the past. They contain information that is, for the most part, entirely factual, not subject to the obscurities of mythology or invention. Inscriptions reflect actual incidents, dynasties, statements of law or religion, records of battles, or the establishment of religious foundations. They are always dated and usually contain the name of the local king or lord, thus providing an invaluable framework for the study of a period. They are the essential building blocks required in assembling primary historical sources.
The featured Prasasti are written in an early Indic script known as Pallava, named for the dynasty in southern India where it originated. The Pallava dynasty lasted from c. 300 – 900 CE and was situated in the northern part of Tamil Nadu, around its capital at Kanchipuram. Variants of this script have been found throughout South East Asia: Vietnam, Cambodia, Thailand, Laos, Burma, the Malay Peninsula, and Indonesia, attesting to the importance of early trade contacts between the Tamils of the Coromandel coast and the region. In South East Asia, early Pallava script developed into Java Kuno (Old Javanese) and Old Malay, as well as Old Sundanese and Old Balinese. Post-Pallavan scripts later emerged amongst indigenous peoples, notably the Batak, the Lampungese and the Bugis, a testament to the far reach of this ancient form of writing.Each character represents a consonant accompanied by the vowel ‘a’. Alternative symbols are used to express other vowels and groups of consonants. As a result, the southeast Asian scripts derived from ancient Pallava are often referred to as hanacaraka scripts. Letters are not uniform, some being twice the size of others, giving the script a grandiose and dramatic sense of contrasting strokes, especially in its earliest forms. Later versions are more standardised.
This stone is one of a collection of seven similar andesite stones originating from a very early dynasty of east Borneo known as the Kutai Kingdom, situated in the Mahakam river valley of East Kalimantan, near the modern town of Samarinda. The stones are dated to the first decade of the fifth century CE, making Kutai the first known kingdom of the archipelago to develop a written language. The modern regency of Kutai in Kalimantan has recently been suggested as the future location of the new capital of Indonesia. If this goes ahead, the wheel would indeed have turned full circle.
The word Yupa refers on the actual inscriptions to the stones themselves. The yupa is a species of tree in India, used to make sacrificial posts to which animal offerings were tied during ritual slaughter. Stone yupas are distinctly rare in India; these are the only ones found in Indonesia. The stones contain the genealogy of King Mulawarman, considered to be the greatest ruler of the Kutai dynasty that had originated with his grandfather Kundunga, followed by his son Aswarwarman, and then his three sons, the most prominent of whom was Mulawarman. Aswarwarman and Mulawarman have typical Indic royal names, while the grandfather’s name appears wholly different. The assumption is that Kundunga was an indigenous leader, the founder of the dynasty. It is likely that his son Awarwarman was the first to accept Hinduism and Indic culture, rather than it being brought in by external settlers or conquerors. This is in line with the generally-held belief that Indic civilisation was adopted rather than imposed in South East Asia. The other stones describe the sacrificial rites and the gifts of gold, cattle, horses and land presented to the officiating priests. The stone on display attests the achievements and good character of Mulawarman.
The Yupa stones are in Sanskrit, written in the Pallava script. They depict a thriving indigenous Indic kingdom in East Borneo, with active trading links to India and elsewhere, well established by around 400 CE. Other excavations in the area have revealed objects of Sivaite worship as well as Buddhist icons, suggesting the civilisation flourished over several centuries, and was probably also in contact with China.
The Tugu stone takes us to West Java where a group of inscriptions were unearthed, dating to the mid fifth century. They are, unhelpfully, collectively also known as Prasasti Tugu. This stone is the oldest of the seven. These prasasti describe an organised state ruled by King Purnawarman of the Sundanese Tarumanagara Dynasty, situated in the area of today’s capital city Jakarta. This early Hindu dynasty is believed to have been founded in 358 CE by a king known as Jayasingawarman; it was his grandson Purnawarman (395-434 CE) who moved his capital to Sundapurna by the coast. This particular stone was found at Tanjung Priok, near the modern port of Jakarta.
The large egg-shaped boulder contains five verses of Sanskrit written in Pallava script, of a similar style to that found on the Yupa stones. The writing mentions the illustrious Raja Purnawarman and concerns the digging of a water channel in the 22nd year of his reign. The canal was more than 11 km in length and the engineering project was supervised by Brahmin priests. The king presented the priests with a gift of a thousand cows for their assistance. This attempt to alleviate flooding, still a real problem in the same area today, was quite an achievement at the time, particularly as, according to the stone, the work was completed in 21 days!
The most famous of the other Tugu stones is the Ciaruteun Stone, named after the river in which it was found at Kampung Muara near Bogor, where it can still be viewed. Replicas are on show at Museum Nasional Indonesia and the History Museum at Kota, Jakarta. This is a much-loved stone because it contains a famous illustration of a very large pair of footprints; the accompanying script compares Purnawarman’s feet to those of Vishnu. Other drawings depicted on the stone are spiders (meaning unknown) and symbols similar to later ikat motifs that no doubt had ancient significance and power. Children always love this stone, and can often be seen sketching it in the museum.
Sacred footprints are associated both with Buddhism and also the worship of Vishnu, indicating the people of this dynasty were Hindu-Buddhists. Indigenous folklore in Indonesia also regards both animal and human footprints as containing magical power, representing the spirits of their ancestors, a vivid reminder that these early civilisations had not entirely forsaken their earlier belief system. A Chinese pilgrim, Fa Hsien, stranded in Java for several months in 413 CE (possibly in Tarumanagara), wrote that the people of the area knew Hinduism and also practised animism, but that the knowledge of the Lord Buddha was scant. Chinese chronicles also record an embassy to China in 435 CE from King Purnawarman, and describe the kingdom of Tarumanagara as both Hindu and animist, with a small evidence of Buddhism.
The Tarumanagara period flourished from the fourth to the seventh centuries, eventually coming under the influence of the empire of Srivijaya, after which it ultimately went into decline. A large private university in Jakarta, one of the oldest in Indonesia, is called Universitas Tarumanagara, recalling this early significant Indic civilisation in Java.
The elegant Kota Kapur stone follows on naturally from the Prasasti Tugu since it represents the supremacy of the empire of Srivijaya by the seventh century CE. Found on the island of Bangka that faces Palembang off the south east coast of Sumatra, the Kota Kapur is thought to have been brought there; this type of stone is not local to the island. The Kota Kapur is a six-sided obelisk bearing the Saka date of 608, i.e. 686 CE. The inscription is written in Pallava script but the language is Melayu Kuno (Old Malay), from East Sumatra. The text runs vertically down the needle-like stone, in an evolved version of Pallava; the words are now more standardised in size and uniform in shape.
This inscription is a statement of imperialism: it proclaims that the Kingdom of Srivijaya has authority over West Java, thus eclipsing that of the indigenous kingdoms. It lays a curse on anyone who does not show loyalty, which implies that there has already been resistance from Java. The inscription announces a military expedition to Java in order to restore Srivijayan control. It would seem the people of West Java did not at first willingly bend their knee! From this period on, Buddhism became more widespread throughout Java and beyond, blending with Hindu worship and local animistic practices. Srivijaya was based around Palembang and Jambi, but the empire was essentially maritime, generally less interested in physical conquest and the building of monumental structures, preferring to establish strong and stable trading monopolies.
The earliest known Srivijayan inscription is dated about four years earlier than Kota Kapur. The Kedukan Bukit, a more humbly wrought stone, has the distinction of being the first evidence of Old Malay in Pallava script, an important development in the evolution of the Malay language. The Kedukan Bukit stone was found on the river Musi, near Palembang, and proclaims a military victory against the Khmers. Despite Srivijayan preference for peace to enable trade, it appears that conflict was readily undertaken when necessary to assert the will of the empire. It also illustrates the vast area of South East Asia under nominal Srivijayan authority by the late 7th century.
Another very imposing Sriwijayan prasasti usually associated with the Kota Kapur stone is the Telaga Batu dated 683 CE, and found at Palembang in East Sumatra. It reveals information about the oaths of loyalty mentioned on the Kota Kapur, apparently sworn by subject people to their maritime masters to ensure fidelity. Either the kings of Srivijaya were regularly challenged by their subjects or there was paranoia that they might be. Often known as The Cobra Stone, from the seven-headed naga that crests the arch, the text gives intricate details of the fate awaiting anyone who takes the oath and then commits treason. During a ritual, water was poured over the head of the stone to run down the body and gather in the yoni-like funnel at the base. It is thought that oath-takers would drink a cup of this water on the understanding that, should they break their oath, the water would turn to venom inside and destroy them from within. An interesting spin on Buddhist self-discipline!
The Telaga Batu stone represents a complex syncretism of Buddhism, Hinduism and indigenous worship. The cobra, or Mucalinda, is the protector of the Buddha, often shown in images as shielding the Buddha from above under its hood. The cobra also represents the powerful ancient indigenous worship of the naga spirit. The stone itself is a lingga and the spout a yoni, the dual male-female elements of the Hindu cosmos. These three Srivijayan stones, all dated to a four-year period of the later 7th century, shed vital light on the shadowy empire of Srivijaya and its relationship with the neighbouring kingdoms.
Gan, Rose, ed. (2011) Museum Nasional Training Materials, 3rd edition: Vol 1. History, Vol 4. Stones and Bronzes, MNI Jakarta
Reichle, Natasha (2007), Violence and Serenity: Late Buddhist Sculpture from Indonesia, University of Hawai’i Press, Honolulu
Sulistianingsih Sitowati, Retno and Miksic, John N, (2006) Icons of Art: National Museum Jakarta, BAB Publishing Indonesia
Many experts – and museum visitors – believe Prajnaparamita to be the finest of all East Javanese statues. It is of the highest craftsmanship with a sublime simplicity that elevates it amongst many other fine works of the period. Sculpted from pale rose andesite that gives the piece a warm glow, the goddess sits on a double lotus cushion set on a minimally decorated square plinth. The backrest is elegantly wrought but plainly adorned, bordered by a narrow column in a wave motif that continues around the arched top piece, transforming into a leafy effect at shoulder-height. Outlining her head is a halo-like oval, its plainness accentuating the bare symmetric features of the face. Prajnaparamita sits yogini-like in the padmasana posture, her hands in a dharmacakramuda gesture (the wheel of life) as befits her role as Mother of the Universe.
The figure bears all the expected attributes of a deity: the piled tresses of the jatamakuta crown surrounded by an ornate diadem; the lotus flower entwined around her left arm that holds up the tiny volume of the Sutra; the caste cord of pearls that wraps deftly around her body; and the rich necklaces and earrings that frame her face, their opulence in stark contrast to the heavenly bliss of her expression. She may be dressed as a queen but her countenance reveals the tranquillity of a god: the eyes are lowered, the visage is still and detached from the world, immortal.
The Prajnaparamita is a remarkable piece of art. The delicacy of its sculpture is breath-taking. The caste cord hangs with artless naturalism, spilling over the edge of the lotus cushion on her right side. The detail on the batik sarong is astonishing; it is intricately patterned in a traditional ceplok design displaying the jelamprang motif, itself with sacred origins connected to the worship of Siva. The sarong is so skilfully re-created that it has the texture and sensuous drape of real cloth, in counterpoint to the serene stillness of the visage. The effect of the whole has the power of a Madonna and, given the subject matter, is a perfect example of reverence in art that stands equal to any medieval work in the Christian tradition.
Prajnaparamita in Buddhism
Prajnaparamita is the living embodiment of the Prajnaparamita Sutra, referenced by the book placed atop the lotus blossom at her left shoulder. The Sutras are the three sacred scriptures of Buddhism: the Lotus, the Heart and the Diamond Sutras. The Prajnaparamita is the extended version of the Heart and Diamond Sutras (which are merely summaries of the original), and is the earliest version of the Mahayana scriptures.
The Prajnaparamita image is thus the deification of this Book of Perfect Wisdom in the form of a serene goddess whose virtues include generosity, morality, proper conduct, patience, tolerance, honesty and kindness. In Tantric Mahayana Buddhism, she is the greatest female deity, the sakti (consort) of the Highest Buddha, Vajradhara, who is the Dharmakaya, the supreme essence of all Buddhas, from whom they originate and to where they will eventually return. Just as the universe is personified in the Buddha, so perfect knowledge and wisdom are deified as his consort. From Vajradhara springs the 5 Dhyana Buddhas of the Tantric Vajrayana Pantheon (In Sanskrit: vajra means diamond or thunderbolt). Vajradhara is always dark blue in colour and is usually illustrated in a cross-legged position embracing a vajra (sacred thunderbolt) and a bell in hands held against his heart.
Yet, as in all these statues, there is so much more to decipher than the obvious. Beneath the sacred lies another story, immortalised in the Majapahit Pararaton (the Book of Kings), a fascinating blend of myth and history. Prajnaparamita commemorates the passage into immortality of a famous queen of East Java. The statue is commonly believed to be the memorial stone of Queen Ken Dedes, reputedly the most beautiful woman of her day, even now regarded in Java as the epitome of womanhood, just as Helen of Troy and Cleopatra are in the West. To be accorded the tremendous honour of becoming one with the highest female deity suggests that Ken Dedes was known in life for more than just her beauty. The high regard in which she is remembered, even today, indicates her wisdom, kindness and impeccable conduct.
On his death in 1049, Airlangga divided his kingdom between his sons, Janggala and Panjula, in territory centred around Kediri in East Java. In retrospect it was perhaps the wrong decision, surprising for such a wise king as Airlangga, but he had few options. To have chosen between his sons would have resulted in civil war; the boys, born of different mothers, were sworn enemies. Airlangga’s strategy ultimately failed because the two men were constantly at war attempting to wrest sole power. The glorious kingdom built by their father was to suffer unrest and decline over the following century and a half, with only one distinguished king of Kediri, Jayabhaya (1135-1157) The final ruler of this dynasty, King Kertajaya, was particularly hated for both his cruelty and his lack of reverence to Vishnu, traditionally the favoured god in the region. In 1222, a commoner called Ken Agrok from Singhasari led a successful rebellion against King Kertajaya, cornering the royal family in a temple. The king killed himself and his family self-immolated, a shocking end to the line of Airlangga, leaving Ken Agrok to become the first king of a new dynasty, the Singhasari (also Singasari/Singosari).
Ken Agrok (or Ken Arok) is one of the more colourful, if bloodthirsty, characters of Javanese stories, a favourite of film makers and novelists alike. Although an historic character, it is nigh impossible to extricate him from the realms of mythology. His backstory is far from honourable. It is said that as a young man he dabbled in black magic and wizardry to raise himself from his humble origins (Ken was an honorific Javanese title). Although he was supposed to have turned from his worldly ways after spending some time with a Brahmin monk, his career is replete in examples of bad behaviour. One such story relates to his wife, Ken Dedes.
This beautiful young girl, the daughter of a Buddhist holy man, Mpu Purwa, became the obsession of the governor of a nearby province, one Raja Tunggul Ametung. He kidnapped her and forced her to marry him, an act for which Mpu Purwa cursed him, saying that he would not live long for what he had done to his daughter. Sometime later, after she had born a child, Ken Agrok saw Ken Dedes as she was being carried through the streets. A gust of wind blew her sarong open; he saw her naked legs and thighs and- so the story goes- glanced the place above, which to his surprise was lit in a golden light. Convinced that Ken Dedes was touched by divinity and that any child she bore would one day be a great ruler, he decided to claim her for himself. Ken Agrok killed Tunggul Ametung and took Ken Dedes as his wife.
There is no record of what this serene beauty thought of this turn of events or of the fact that for the second time she had been carried off by a brutal man against her will. Ken Dedes would, however, go on to become the first queen of Singhasari, and her children would indeed one day rule after her. It is believed she is the ancestor of the first Majapahit kings.
As often happens in legends, fate did not quite transpire as Ken Agrok had wished. Rather than one of his own children, it was Ken Dedes’ first child, Anusapati, son of her original husband Tunggul Ametung, who succeeded as the second king of Singhasari. Anusapati revenged the murder of his father and the capture of his mother by assassinating Ken Agrok in 1228, only six years into his reign. If this statue (dated around 1300 CE) is Ken Dedes’ memorial stone, then it suggests she lived on for many years. Even if it was erected decades after her death, she must still have enjoyed a long life, and witnessed the reigns of several of her descendants. So perhaps Ken Dedes had the last word after all.
There are numerous other images of Prajnaparamita in East Java, as well as copies of the statue, although none are as accomplished as the original. This prevalence indicates the importance of the deity in the worship of the time. That the image has lived on even into the modern Islamic era is tribute to how powerfully she represents Java’s sense of history and culture. While it is never certain if the traditions that associate such a statue with an actual king or queen are accurate, given the equal status still accorded in Java to Queen Ken Dedes, there is little reason to reject the traditional viewpoint. Ken Dedes is even fondly referred to as ‘Ibu Batik’ (Mother of Batik) from the sarong that she wears in this statue.
The Prajnaparamita is reputed to have been found in Candi Singhasari (Malang, East Java), possibly in a side temple, still known as Cungkup Putri (The Dome of the Princess), located some distance from the main complex. In many ways this possible identification strengthens the connection between the statue and Ken Dedes. The statue was returned to Indonesia from Holland in 1978, quite fittingly during the state visit of Queen Juliana. The Museum Nasional Jakarta has two versions: the original housed in the Old Wing (Gedung Gajah), and a replica on show in the Treasure Room of the new Gedung Arca. It may be worth pointing out that the one on display at Muzium Negara may be the replica.
Kinney, Ann R. with Klokke, Marijke J, Kieven, Lydia (2003) Worshipping Siva and Buddha: The Temple Art of East Java, University of Hawai’i Press, Honolulu.
Reichle, Natasha (2007), Violence and Serenity: Late Buddhist Sculpture from Indonesia, University of Hawai’i Press, Honolulu.
Gan, Rose, ed. (2011) Museum Nasional Training Materials, 3rd edition: Vol 1. History, Vol 4. Stones and Bronzes, Vol 7. Textiles; MNI Jakarta.
Anshori, Dr. Yusak, Kusrianto Adi, eds. (2011) Keeksotisan Batik Jawa Timur: Memahami Motif dan Keunikannya, Kompas Gramedia, Jakarta.
Prajnaparamita statue. Image taken by Rose Gan
Prajnaparamita statue detail of face. Image taken by Rose Gan
Prajnaparamita statue detail of batik sarong. Image taken by Rose Gan
Diagram of jelamprang motif from sarong. Image taken from Keeksotisan Batik Jawa Timur: Memahami Motif dan Keunikannya
Back in the good old days when we could all still visit museums, the Lost Kingdoms exhibition at Muzium Negara offered us a fascinating journey around the early civilisations of South East Asia and Indo-China. I was stopped in my tracks by a series of stones from Indonesia, personally very dear to my heart. It felt very much like a surprise visit from old friends.
The Museum Nasional Indonesia (MNI) is a vast repository for collections gathered from across the Indonesian archipelago since the earliest days of the V.O.C. Raffles himself once housed the ‘Cabinets of Curiosities’ in his own residence in Batavia; some of current exhibits were originally part of his personal collections. The present museum building (opened in 1868) is a graceful Graeco-Roman structure at the very heart of Jakarta. Two new modern buildings have since been added. The Museum is a cornucopia of delights, so vast that it is impossible to take in its riches in one visit; each huge hall alone hosts enough to fill an entire morning.
When I was guiding there, one section became my go-to place, sometimes simply as a getaway from the madding crowds of Central Jakarta, where traffic is so dense at any time of day that it is usually at a noisy standstill. In the Stone Courtyard, a serene peristyle garden surrounded by a shady portico, one could sit in silence, surrounded by hundreds of silent stones, a perfect place for contemplation. The sculptures, of many different types and styles, are randomly arranged higgle-piggle on different levels, some obscured behind others, some set above eye-level, and some only visible on one’s knees. Stones of astonishing importance are often relegated to hidden corners and easily missed, or jumbled in with broken roof ornamentation and water spouts. Commemorative statues, guardians, mythical beasts, gods, kings, and queens, countless lingga and yoni, obelisks and containers, peripih and prasasti: the list goes on and on. And at the centre of the peristyle lawn, a herd of Nandis lie contentedly chewing their cud.
Many of the significant pieces have been relocated to the modern wings next door, now set on raised plinths or behind glass, perfectly lit from above and with detailed vitrine notes, given their proper pride of place. But I still feel privileged to remember when they were almost forgotten, their loveliness buried away without any information to mark them. Then it was almost impossible for a visitor without a guide to understand their importance. This fired my curiosity and set me off on an obsession to learn more about them. The Lost Kingdoms exhibition brought my favourite pieces back to me in a wholly unexpected setting.
These stones fall into two main groups: Arca (statues) and Prasasti (inscribed stones). The former are more instantly appealing because of their undoubted aesthetic attraction and the stories that the figures and motifs describe. The Prasasti, however, are difficult to interpret: they are plainer and more obscure. Both conceal a wealth of information that unlocks many early events in the history of the archipelago that might otherwise be lost for ever. This series of blog posts aims to shed a little light on the perplexing subject should we be able to peek again inside the exhibition any time soon!
Airlangga and Garuda
This dramatic piece is arguably the highlight of the exhibition. Described as on loan from MNI, it is in fact currently at the Museum in Trowulan, the site of the great Majapahit capital. It was originally located at Belahan on nearby Mount Penanggungan where two famous bathing places from the 11th century were devoted to Airlangga, one of the most revered kings of East Java, who died in 1049. Such sites were erected as memorials to the ascension of a human ruler into his deified existence, and were often erected some years after the actual death. Mount Penanggungan is an idyllic place, cool, lush, green, and silent. A mystical aura of tranquillity and age-old knowledge hangs heavy in its forests, where devotees have worshipped since time immemorial.
Set amongst this scene, these ritual bathing places, an essential feature in the religious practices of the Hindu-Buddhist era, are astonishing stone constructions at one with the mountain itself. They contain niches for statuary and pools fed by water spouts in the shape of mythical beasts. This statue once held centre stage in such a grotto, where now only two female statues remain, at the base of the structure. Their naked breasts form twin spouts to feed the pool below.
Airlangga was the son of King Udayana of Bali and Princess Mahendradatta, the daughter of the great East Javanese ruler, Dharmawangsa Teguh. In 1016 during a palace coup, King Dharmawangsa and his entire family were killed; Prince Airlangga escaped, taking refuge with a group of hermit monks. Some years later, he returned and defeated the local princes, becoming the ruler of East Java, and establishing a new dynasty based at Kediri. During his long and peaceful reign, East Java enjoyed a flowering of art, learning, commerce and good governance.
This memorial depicts Airlangga as a young man in the prime of life, sitting on a lotus throne in a Hindu lalitasana posture: his left leg in half lotus and his right hanging down, to represent kingship. Airlangga’s hands form the Buddhist dhyanamudra, the gesture of meditation, also reflected in his serene countenance and lowered eyes. He is dressed as befits a king, replete with golden jewellery and clad in a long ornate sarong. It was customary in commemorative statuary for the face to be expressionless; this is not meant to be portraiture but implies spiritual awakening.
The effigy, however, is about so much more than Airlangga’s human existence. On close observation, we become witnesses to his deification and ascension to immortality, illustrated in terms of allegory. Airlangga is Vishnu, the Preserver, one of the three deities of the Trimurti that holds the universe in balance. In his upper right hand, he spins the cakra (wheel), representing the power over life and death. In his upper left is the sankha (conch shell) a musical instrument that wards off demonic forces and signifies the creation of the universe. These motifs are particularly associated with Vishnu, whose cult was strong in Bali; Airlangga was known for his devotion to him. This Vishnu bears many divine symbols: the jatamakuta crown, reserved for deities, along with the caste cord and multiple arms.
The most dynamic aspect of the assembly, however, is the figure of Garuda, in his most fierce anthropomorphic manifestation, more deity than bird, an interesting counterpoint to the tranquil stillness of the god. Vishnu’s right foot rests on Garuda’s shoulder, signifying his authority, but Garuda is more than a mere vahana (vehicle) for the deity. This representation vividly depicts an episode from Garuda’s backstory, that of his great battle with his traditional enemies, the nagas, one of whom can be seen coiled around the base of the sculpture, vicious head raised in attack.
The Legend of Garuda
Garuda was born from an egg, a human boy with wings. His mother Vinata had been enslaved by her sister, Kadru, the mother of all serpents. Later the nagas promised Garuda that if he stole amrita, they would free his beloved mother from servitude. This seemed an impossible task. The elixir (amrita) was in the hands of the gods. They guarded it jealously for it was the source of their immortality and protected inside a great ring of fire where fierce rotating blades slaughtered anyone who tried to enter. Beyond were two giant poisonous snakes. Garuda was equal to the challenge. First, he defeated a host of gods, driving them in all directions. Next, he channelled water from the Great Ocean to extinguish the fire. Shrinking himself, he managed to evade the blades to reach the serpents, whom he destroyed. Holding the amrita in his mouth without swallowing, Garuda took to the air with the intention of delivering it to the nagas. On the way, however, he met Vishnu who promised him immortality if Garuda would become his mount. In return he would help Garuda in his quest to save his mother. Then he met Indra, the god of the sky, who promised to allow him to devour the nagas if he returned the amrita. So, Garuda flew to the kingdom of the nagas, placed the precious amrita on the ground and thus liberated Vinata. Then he informed the snakes that before consuming the elixir, they must ritually cleanse. This allowed time for Indra to sweep down and recover the amrita. Garuda then battled the nagas, ultimately devouring them. From that day forward, Garuda became the implacable enemy of snakes, as well as the ally of the gods and the mount of Vishnu.
This legend is packed with allegory. Garuda’s attributes may be inspired by the Indian short-toed eagle which lives entirely on a diet of snakes. This made him protector against poison, or the devourer of evil. In early animist Indonesia, birds and nagas had always been worshipped as ancient spirits of the forest. In the Hindu-Buddhist period, this battle between sky and earth became a central theme of the duel between opposing cosmic forces. By the Majapahit period in East Java, Garuda underwent a further metamorphosis until his human characteristics disappeared, and he became a giant bird. He even acquired a phoenix-like appearance, adopted from Chinese influence, just as the naga later took on a dragon-like perspective.
It should be noted that although this statue is generally believed to represent Airlangga, this is largely conjecture and has been challenged by some historians. Another theory believes that Belahan was constructed in the century before Airlangga. Nevertheless, there is no doubt that Vishnu and Garuda are depicted here and that the statue is in memory of a significant king of the region.
Kinney, Ann R. with Klokke, Marijke J, Kieven, Lydia (2003) Worshipping Siva and Buddha: The Temple Art of East Java, University of Hawai’i Press, Honolulu.
Reichle, Natasha (2007), Violence and Serenity: Late Buddhist Sculpture from Indonesia, University of Hawai’i Press, Honolulu.
Resink, Th. A. (1968) Belahan or A Myth Dispelled. Indonesia 6 pp.2-37.
Gan, Rose, ed. (2011) Museum Nasional Training Materials, 3rd edition: Vol 4. Stones and Bronzes, MNI Jakarta.
For a long time now, I have been interested in the history of Egypt, its associated pyramids, the discoveries, and of course King Tutankhamun. Why I have never visited Egypt is a question I have yet to answer myself.
Hence, when I read a newspaper article last November about an exhibition in London on artefacts of King Tutankhamun (or King Tut as he is affectionately known), I decided to make the trip for mid-March this year. The exhibition was to have closed on 3 May 2020. Then came the virus scare, but the exhibition was to be the last tour and I had to see it, so I had to go, and so I did. A few days after I visited, the exhibition closed indefinitely.
The exhibition is at the Saatchi Gallery and if you read the website, you would have been fascinated as well.
Tutankhamun’s Priceless Treasures to Make Final London Appearance
TUTANKHAMUN: Treasures of the Golden Pharaoh Celebrates the Centenary of Howard Carter’s Discovery; Unprecedented Collection Coming to Saatchi Gallery in November
Produced by the Egyptian Ministry of Antiquities and IMG, and presented by Viking Cruises
The words ‘Final London Appearance’ struck me. The exhibition was to have gone on to Boston and Sydney and finally to the new Grand Egyptian Museum in Cairo where the artefacts will be placed and never to go on tour again. I chose London, as I had other plans such as visiting relatives, British Museum etc. But two days after my Saatchi Gallery visit, I cut short my trip and returned home.
This description is only of my visit and of the artefacts with some explanations. It is not a detailed study of King Tutankhamun and Egyptology.
Access was scheduled in batches each half hour and so you bought the ticket according to when you want to go. You could spend any length of time and so could be passed over by crowds of later batches.
There are 150 artefacts on display in vitrines over two floors. Of these, more than 50 artefacts are travelling out of Egypt for the first and last time. Each artefact was described on a panel below. The exhibition is really of objects involved in the journey of King Tut to the afterlife and immortality. I had ordered an audio guide and when I asked, the Reception staff were kind enough to lend me a file of the script after I showed them my MV Pass! They also allowed me to scan the pages before I returned the file!
Doctor Tarek El Awady is the curator of this exhibition. His comments are also heard in the audio guide, together with comments made by Howard Carter who led the expedition to King Tut’s tomb, sponsored by Lord Carnarvon. My descriptions include comments from both Tarek and Carter. As a background, Lord Carnarvon was among other things, an Egyptologist and had sponsored other digs as well; he was also a collector of Egyptian antiquities. In 1918, he got a concession to dig in the Valley of Kings. Howard Carter was an archaeologist and worked for him; Alfred Lucas did the restorations.
After a short introductory video, we enter the exhibition hall. As mentioned, the contents of the tomb connected the world the King was leaving behind with everything he would need on the journey and in the afterlife. These were cosmetic boxes, painted trunks, and carrying cases – all filled with beautiful items and a lot of other equipment and weapons.
On the walls are posters quoting spells from the Book of the Dead. This book is a collection of funerary texts consisting of magic spells. These spells are a guide for the spirit of the deceased through the netherworld, or underworld, as it journeys to the afterlife. There is no one Book for all, as each person can have one prepared for him or herself. In the earliest days, it was only royalty who had one but, later, others could also afford to prepare one for themselves.
Below is an example of a spell. It is Spell 144 from the Book of the Dead and tells of the Power of Words. Words are magic and repeatedly speaking the name of the deceased ensures immortality.
The journey of King Tut to the afterlife is really the journey of his Ba, the spirit that travels to the afterlife, while his Ka, the soul, remains with the body. The body is mummified to stay intact for when the Ba returns as a bird, to merge with the Ka for the magic of rebirth. To quote Tarek…….. ‘for the ancient Egyptians, death is not the end, it is a beginning of a journey to an eternal afterlife. That is why there are so many things made for him. He is a traveller. He needed to be well equipped with all he needs for the journey, a mysterious journey as no one knew what it is like. Each artefact has a purpose’.
The entire philosophy and theory is vast and too complicated for a quick study, and I will not go into the details. Furthermore, there are so many artefacts to show and describe, so I will just give a few interesting samples. The ambience in the galleries was dark with low lighting and the artefacts had lights shone on them. Taking pictures was a challenge but I managed by taking my time. At one point, someone politely whispered to me…’you are not the only one here taking pictures you know, excuse me’! I only gave a smile in return.
There is a display of vases as you enter. In the one on the left, there was residue of perfumed oil, oils being important in their rituals. The vase on the right has inscriptions about King Tut and his wife Ankhesenamun. She is actually his half-sister, and her mother was the renowned Queen Nefertiti. It was normal tradition in Egyptian Royalty for marriages between siblings.
Next is a collection of painted wooden containers for food for the Ka, or the soul of King Tut. Since the Ka is said to remain in the tomb, it needs to be fed. Food would include breads, meats, grains, spices and fruits.
The red box below has ebony, gold leaf, and bronze on it, as well as cartouches of King Tut. A cartouche is an inscribed oval on an item with the name of the pharaoh to which it belongs. The box is among 50 elaborate boxes serving as luggage for King Tut’s journey.
And you thought only Australian Aborigines had Boomerangs?
Below is the wooden armchair for King Tut. He was King at the age of 19 years, so the furniture made for him was smaller than usual. The footstool is of ebony and ivory from sub-Saharan Africa and the wood is probably cedar from the Middle East. Such was the stretch of their influence. The chair is also ebony and ivory with gold leaf. The gilded wooden bed next to it is ebony covered in gold leaf.
An interesting ritual, not shown of course, is the weighing of the heart. The deceased’s heart is placed on a scale and countered with a feather from the goddess Maat. If the scales balance, the heart was deemed sin-free by Osiris. Osiris is the Egyptian Lord of the Underworld and Judge of the Dead. If not, the heart would be eaten by the goddess Ammit who is part crocodile, hippopotamus, and lion. The heart is very important and is left behind in the mummy while other organs are removed. It was believed to be the centre of intelligence as well as feelings and was needed in the rebirth.
Below is a statuette of Amenhotep III, the grandfather of King Tut. Interestingly, a lock of hair belonging to his wife, Queen Tiye, was found together with this statuette. The lock of hair thus dates to 3400 years ago!
This truly beautiful artefact is a canopic coffin (coffinette). It stands 10 inches (25.4 cm) tall and contained King Tut’s liver. Designed as a replica of his sarcophagus, it consists of a lid and box. There are four coffinettes inlaid with gold, coloured glass, and carnelian, and they contained the viscera of the pharaoh. The viscera are the liver, stomach, lungs, and the intestines. The four coffinettes are each placed in a jar closed with a calcite stopper. The jars were then placed in an elaborate canopic shrine (not displayed). The coffinettes bear the likeness of the King so that his Ba will be able to recognise him.
This gilded wooden shrine-shaped box shows scenes of King Tut and his wife Ankhesenamum, and it is made of wood encased with thick sheet gold. The scenes are of various episodes in the life of the King and Queen. Such life-experience scenes make it feel as if it were yesterday. Being in the tomb, King Tut wishes that such an afterlife with his Queen would await him.
Please click on ‘Page 2’ below to continue to the next page or click here. Coming up next page: Curse of the Trumpet.
The Islamic Arts Museum Malaysia (IAMM) 20th Anniversary Curators’ Sharing Sessions enhanced my appreciation of the Islamic artefacts on display at Muzium Negara. Here is an opportunity to highlight the artefacts in Gallery B based on information gleaned from the IAMM curators and publications.
The Malay world began to accept Islam from the 13th century onwards, with evidence first found in northern Sumatra. This early phase was characterized by a superficial understanding of the faith. From the 1400s, the Malays increased their understanding on living as Muslims. Eventually, from the 18th century onwards, there was an even deeper understanding of Islam, through the emergence of Islamic scholars such as Syeikh Daud al-Fatani and Raja Ali Haji.
Intellectual centres in the Malay archipelago included Palembang, Aceh, Batavia, Riau-Lingga, and Patani. These centres became Malay scriptoria where scribes and illuminators copied religious and literature manuscripts.
The Holy Quran on display at Gallery B originates from Terengganu, on the East Coast of the Peninsula. It is a sample manuscript from an area distinguished for its Islamic scholarship and calligraphic expertise. This Quran is a 19th century specimen in Naskh script – a calligraphy style valued for its clarity in assisting non-Arabic speakers recite the Quran accurately. Its arabesque design with floral motifs and vegetal scrolls reflect the natural Malay world. Red and green, colours also seen in woodcarving, echo the decorative traditions of this region. The use of gold suggests that this Quran was made for a royal patron.
Nakula (1980) wrote about the relationship between Islam and the Malay arts. One’s faith in the oneness of Allah can be manifested in the creation of artworks. In modern Malaysia, apprentices of master carver Adiguru Norhaiza Nordin are required to sit in nature so that they may realise the cosmic dimension and have the vision of multiplicity in oneness and oneness in multiplicity. With this understanding, the woodcarvers may then integrate all elements of their being into its proper centre, thus attaining purity and wholeness when executing their art.
The soul of Malay woodcarving is influenced by the moral ethical values connected with Malay worldviews. The poem below illustrates the Malay philosophy on woodcarving:
Tumbuh berpuncaPunca penuh rahsiaTajam tidak menikam lawanLilit tidak memaut kawan
Growth from a source
A source full of secrets
Sharp does not stab foe
Twines do not tie friend
The first two lines allude to Divinity – the starting point of life (God) is not seen. The other two lines indicate Community – the bowing leaves signify respect for one another and that there is harmony even in conflict.
The motifs carved contain underlying messages and sometimes act as a reminder. The door panel on display combines calligraphy and floral motifs, which reminds one of the Creator. Some motifs remain from pre-Islamic days, for example the lotus but these are given a new interpretation to fit the teachings of Islam. Woodcarvings are only displayed in clean or sacred places.
Calligraphy is also used for protection as shown by our red vest with verses. This talismanic vest would have been worn as an undershirt to safeguard its wearer in battle. A similar-looking 19th century silk vest from the Malay Peninsula with Quranic verses displayed at IAMM is made from the underside of the Kiswah – the cloth that covers the Kaaba in Mecca.
A distinctive sample of calligraphy from the Malay world is found on the tombstone of Sultan Mansur Shah. Batu Aceh tombstones are usually found in pairs – one for the head and the other for the foot of the grave. This tombstone has been moved from its original site, which probably explains why only one remains. In true Batu Aceh style, it has a Sufi couplet inscription referring to the transience of life. The calligraphy on this tombstone is challenging to read due to its overlapping nature. Recently, the IAMM curators have deciphered and translated the inscriptions for Muzium Negara. Look out for the new description on display.
A noteworthy artefact in Gallery B is the 16th century ceramic plate from the Ming Dynasty inscribed with Quranic verses. The Aceh-style Swatow dish was a more affordable plate for the middle-class Acehnese who aspired to own Chinese ceramics. Its calligraphy may not be fine or accurate as it was mass-produced for the export market. The back of a similar plate at IAMM shows the crude finish with sandy grits on its base. It is likely that the piece at Muzium Negara has a similar base, albeit hidden from sight.
Islamic metalwork was once highly sought after in Europe. Such metal items made for the European market were known as Veneto Saracenic. Iran was renowned for fine metalwork as exemplified by the 17th century Isfahan copper bowl in Gallery B. Safavid Iran metalwork emphasized steel and copper, usually finished with tin. Isfahan was then its capital city. The use of figural motifs was allowed in the arts, with the understanding that such items were not displayed in sacred places. The copper bowl has calligraphic inscriptions and scenes of daily life – characteristic of Shia Islam.
Abdullah Mohamed @Nakula (1980) Falsafah dan pemikiran orang-orang Melayu: hubungan dengan Islam dan Kesenian, Kuala Lumpur: Kementerian Kebudayaan Belia dan Sukan.
Introduction to Islamic Arts – Calligraphy: The collection of the IAMM (2016)
The solitary bronze drum standing exposed at the Lost Kingdoms exhibition (ongoing until April 2020) at Muzium Negara is an intriguing representation of an ancient drum-casting tradition from Vietnam. Its shape identifies it as a Type III in the Heger I-IV bronze drum classification system. This classification was developed by Franz Heger, an Austrian ethnographer, in an attempt to categorise the diversity of bronze drums derived from the Dong Son culture in northern Vietnam.
‘Dong Son’ is the name given to the bronze-age culture extending across the Red, Ca, and Ma river valleys in northern Vietnam from around 500 BCE to the third century CE. The intricate mushroom-shaped drums produced by this culture have been found distributed widely in Southeast Asia and in southern China. They were regalia of power, gifted to local chieftains to seal trade agreements. All the drums manufactured at Dong Son fall into the Heger Type I category; they are simply known as Dong Son drums. Both the bronze drums on display in Gallery A, National Museum of Malaysia, are of Heger Type 1.
Drums in the Types II to IV categories were local adaptations of Dong Son drums. Their distributions were therefore limited; the Heger Type III drums were found only in Myanmar, Laos and Thailand. In terms of shape, the Heger Type III drums are smaller and less bulbous. Unlike Dong Son drums, their tympanums (beating surface) extend over the top, resembling a lid.
The Karen and their Drums
The majority of Heger Type III drums were found in Myanmar, the prized processions of the Karen, a Sino-Tibetan ethnic group inhabiting the highlands between Myanmar and Thailand. According to Karen legends, their homeland was in the upper reaches of the Yellow River in China; they migrated southwards via Yunnan, China, and reached Myanmar around 600-700 CE. In Yunnan, they became acquainted with the bronze drum and its associated culture. Dong Son drums imported into Yunnan gave rise to a local tradition known as the Dian drum. Compared to the Dong Son drum, the upper segment of the Dian drum is cup shaped. The Karen prototype drum probably developed in Yunnan, its shape adopted from the Dian drum.
The Karens have continued to use their drums into the historical period and they may have thus preserved the ancient cultural practices of Dong Son and, especially, Yunnan. The drums served many functions, not least in instilling fear in an enemy and during celebrations after a victory in war. Reverberating in the hills, the pleasing tones emanating from the drums placated Nat spirits residing in trees, streams, rocks and other objects in the natural environment, thus ensuring these spirits would look kindly on the Karens and help them in times of need. The drums were also beaten to invite ancestor spirits to partake in feasts as well as to witness important ceremonies such as weddings and funerals. It was important to conciliate ancestor spirits as they could intercede with Nat spirits on behalf of the Karen.
The Karens practised dry-rice farming and the drums were beaten in agricultural rituals during the planting and harvesting seasons. Their basic slash-and-burn farming methods made them dependent on heavy rainfall and the drums accompanied a ritual dance to summon rain. It is thought that the low-frequency pitch produced by the beaten drum induces frogs to crock and croaking frogs are a harbinger of rain. Thus, Heger Type III drums are also known as rain drums or frog drums. All Karen drums have three-dimensional frogs embedded on their tympanum, an indication of the usage of these drums.
By the 19th century, the Karens had lost the knowledge to manufacture bronze drums and the drums were cast for them by Shan craftsmen, who were noted for their metalsmithing work. These craftsmen were based at Ngwe Taung, a small town located about 14 kilometres south of Loikaw. By this time, Karen culture had influenced other tribal groups such as the Lamets and Khmu in Laos and they too adopted the frog drum into their rituals. Annually, in October-November, at the end of the rainy season, all the various tribal groups would converge at Ngwe Taung to purchase these drums. On estimate, a hundred drums were produced and sold at Ngwe Taung annually.
Designs on the Drum
The rain drum displayed at the Lost Kingdoms exhibition has a 12-ray star at the centre of its tympanum. A star in this space is common to all Heger drums with the only difference being in the number of rays. Generally, for Heger Type III drums, the older drums have eight rays while the newer ones twelve. The symbology behind the star is unknown although many theories abound. The star is the location where most of the drumming takes place and hence it is raised to strengthen the area. Heger Type III drums commonly have a butterfly motif between the rays of the star. This appears to be missing on the drum exhibited, another indication this drum is of later manufacture.
There are 21 decorative panels of varying broadness around the central star; each panel is separated by a pair of concentric rings. Majority of the designs on the panels are common geometrical motifs – dots, ‘S’ shapes and circles with a dot. The design on the fourth panel from the star is however unique. It looks like a stubby tree and it has few parallels on other drums. Another unique design is the motif on the 2nd, 10th and 16th panels, which also resemble trees; the repeating motif faces clockwise in the second panel and anti-clockwise in the other two. This drum is lacking the typical motifs that decorated older drums – ducks, fishes and rice grains.
Four pairs of three-dimensional frogs have been placed in an anti-clockwise direction around the edge of the tympanum, straddling four decorative panels. In each pair, a smaller frog sits atop a larger one. Such superimposed frogs are a distinctive feature of Karen drums; some drums even have three superimposed frogs.
The body of the drum can be divided into two segments – a bulging upper segment and a conical lower. The decorations on the upper segment are made up of the same geometric patterns as on the tympanum. This segment also contains two pairs of handles, decorated by vertical lines. Unusually, each pair of handles is placed directly under a pair of frogs; their usual position is between the frogs.
The conical lower segment is divided into three sections. The top and bottom sections have the geometrical patterns seen on the tympanum while the middle section is plain. An interesting depiction on the bottom-most section is a procession of three elephants and two snails walking towards the base of the drum. This is common on Karen drums but not present on Dong Son drums. However, unlike on the exhibited drum, the animals are usually placed under a pair of handles. Elephants were a symbol of wealth while snails are another iconography of rain – snails come out into the open when it is raining.
The middle section is seemingly plain but it does have some enigmatic symbols. Art historian Richard Cooler has likened the Karen frog drum to a ‘magic pond’; the middle section does have symbols that could indicate a pond-like environment. Straight vertical lines separate the ‘pond’ from the lower section and the chevron-like pattern above the lines can be seen as representing eddies in the pond. Notice that the snails are in the pond section of the drum. Additionally, there are two taro leaves (daun keladi in Malay) in the pond section; the taro is a tropical plant that thrives in a wet environment and hence is common around ponds and lakes.
In summary, the Heger Type III drum on display at the Lost Kingdoms exhibition is believed to be a later drum based on features such as 12 rays of the central star, missing motifs between the rays of the star and elephants/snails walking on a plant (the plant is not present on older drums). Although originating from the Karen tradition, this drum has a number of unique features. Designs on the tympanum does not include the conventional aquatic animals and rice grain motifs but instead includes tree-like motifs. Other atypical features are its placement of handles and inclusion of taro leaves. The drum may have been cast for a different tribal group.
Three other bronze drums at the exhibition, displayed in glass cabinets, are also from the Karen tradition. Two of these drums are much smaller compared to the one discussed in this article but their shapes are typical of Karen drums. The third drum has an atypical cylindrical shape. However, this third drum has the designs, especially the fish and duck motifs, typical of Karen drums. It also has some enigmatic inscriptions and is deserving of an article of its own. All four drums belong to the collection of the Department of Museums, Malaysia.
Adnan Jusoh and Yunus Sauman Sabin (2019) ‘Motif hiasan tiga (3) buah Gendang Gangsa di Muzium Matang, Perak’, ResearchGate.
Calo, Ambra (2014) Trails of Bronze Drums Across Early Southeast Asia: Exchange Routes and Connected Cultural Spheres, Singapore: Institute of Southeast Asian Studies.
Cooler, Richard M (1995 ) The Magical Bronze Pond: The Classification, Authentication and Significance of a Late Karen Bronze Drum
Cooler, Richard M (1995 ) The Karen Bronze Drums of Burma: Types, Iconography, Manufacture, and Use. Leiden: Brill.
Fraser-Lu, Sylvia (1983) ‘Frog Drums and their Importance in Karen Culture’, Arts of Asia.
Siti Munirah Kasim and Nasrul Azam (2020), email communications.
“Social Unity through Culture, Art and History: The Museum Challenge“
This gripping theme prompted me to sign up for the first
conference of its kind in Malaysia. I was excited to hear and learn from the
experiences of National Museums across Asia. Luckily, Jega said he would hold
up the fort for training the new volunteers so thanks to my fellow Tuesday
trainers for releasing me.
Premiera Hotel was a bustling place on the morning of October
29th. Around 10MVs were dotted around the conference hall. I met
some Korean representatives from ICHCAP, UNESCO whom I quickly introduced to
Angela Oh, our Korean MV trainer.
The opening ceremony was grand with a spectacular cultural
performance by our tourism dancers. The Deputy Minister of Tourism graced the
occasion and delivered the keynote address. He acknowledged the challenges to
the role of museums in promoting social unity considering the competition from
other forms of entertainment available.
Subsequently, session one began. The representative from
Mongolia shared a list of overseas exhibitions they had run since 1989, mainly
with the Genghis Khan tagline. The most notable development he mentioned was
the barcode inventory project they undertook between 2017-18, which has greatly
eased storage and retrieval of their massive artefact collection.
The Japanese rep focused on the Asian Gallery at the Tokyo National Museum which houses 20% of their total collection. They connect viewers with artworks through exhibitions and related events. The goal is to provide the experience of different cultures towards a greater understanding of cultures. They hold multi-faceted events on unique themes eg. special tours by curators and Indonesian wayang kulit performance on the theme of love. Also, yoga sessions were held at the museum for better appreciation of Buddhist artefacts.
Our Penang State Museum rep shared her cross-cultural
project, ‘Silang Budaya’ which redefines the museum perspectives through the
interpretation of artefacts by young people. For example, students had used a
tiffin box as inspiration for creating a multi-level phone accessories carrier.
The project has instilled a love of history amongst polytechnic students, whose
core subjects would be more technical. Museum staff supported the students to
set up and curate their exhibition. She welcomed collaborations with other
museums for future projects.
Next, the Philippines rep shared the experience of heritage
building restoration at their National Museum. Even though there were many
challenges, the restoration has brought recognition and appreciation of museums
by the public through partnerships and donations. She also shared how they
disseminated their national hero stories via a tour for school teachers, who
could then translate their passion for the hero on to their students. So many
ideas shared in just one morning!
Lunch time was networking time again. We sat with a
gentleman from UiTM who has initiated the survey on Muzium Negara; and also,
with some police officers who are now administering the Police Museum in KL.
Session 2 was moderated by a well-spoken Malaysian lady. In
fact, we were impressed by all 3 moderators who were of retirement age. Next, China
astounded us with its exponential growth of museum visitors. Customer service
is at the top of their agenda. We were treated to a video on their Joint Asian
The Indonesian reps showed how their culturally diverse 700
ethnic groups considered themselves “different but still one”. Museums feature
traditional games, batik workshops and theatre stories to engage their
audience. There are dance performances every Sunday and university students
play traditional musical instruments. Their outreach programme allows the blind
to touch artefacts with gloves.
Social inclusion through multi-disciplinary aspects are
echoed at the National Museum of Nepal. Homestays are offered to enhance their
The Malaysian Ministry of Tourism held a “keretapi sarong”
movement, which encouraged millenials to wear their sarongs on the train to a
secret destination– a nod to traditional wear in a fun environment.
The annual Sabah Craft Exotica programme has been running
since 2005. It features local handicraft by Sabah’s 35 ethnic groups. The
Korean rep was impressed by the bottom-up approach to culture-sharing in Sabah.
With 115 sub-ethnic groups, Sabahans are eager to demonstrate their particular
crafts, enabled by Craft Exotica. This programme also helps to preserve ethnic
Vietnam has 54 ethnic groups, unified in diversity. Their
museum connects communities in order to build a cultural identity and to
preserve national cultural values. However, they face difficulties in
approaching the public in terms of budget for IT since young people would
connect better with ancient objects through technology. Also, their staff needs
training to obtain professional skills and to overcome language barriers. They
are keen to cooperate with foreign museums and to combine museum with other
social and cultural activities.
In session 3, the rep from Thailand introduced us to the ancient city of U Thong, located in central Thailand. With 20 sites found along with many Dvaravati (Indian-influenced) artefacts, U Thong museum is now a cultural hub. The museum serves as a learning centre, which develops critical thinking skills, encourages innovation and instils a love for history amongst the public, especially children. They organise family activities on Sundays and integrate efforts with the local government in experiential learning. Also, their museum places importance on social media presence.
Personally, I found the final presentation by South Korea
most impressive. In an increasingly multi-cultural Korea, museums have
increased their role in diversity education. They have embraced these changes
by offering targeted activities for immigrant workers, marriage immigrants and
members of the international community. Also, to encourage mutual understanding
and respect, their folk museum has culture discovery boxes for children, which
can be loaned to schools, libraries and kindergartens. The National Museum of
Korea has many exhibition exchanges with numerous countries around the world,
bringing a myriad of cultural diversity experience to its people.
We left the conference with plenty of food for thought. There is no doubt that the ANMA executive closed-door meeting can build on the conference proceedings. Hearty congratulations to Department of Museums, Malaysia (JMM) for a successful conference!
This was a long day. The first stop was theArmy Museum Port Dickson. It is a small museum but filled with interesting displays and exhibitions. For airplane buffs, there is an armed Canadair CL-41G, locally renamed Tebuan, the first fighter jet of the Royal Malaysian Air Force. There is also a de Havilland Canada DHC-4 Caribou transporter and an A4 Skyhawk. For artillery gun buffs, there is a good display of artillery guns.
Among the many displays, there were exhibition halls portraying the Melaka Sultanate, the British era and some others. However, the main attraction is a full replica of a communist tunnel system. As you walk along inside, you can see the medical supplies they had, the various arms used, a diorama of a surgery and a meeting room. This is very impressive but you must be cautious if you have a problem in closed spaces.
We then had a long drive to Kampar and a lunch pack to nourish us on the way. Kampar is along the old trunk road south of Ipoh and it is the first real location where the British forces put up a reasonable defence against the Japanese advance. The British plan was to stop or delay the advance and the Japanese plan was to seize it for the Emperor as a New Year’s gift. However, the Emperor only got his gift on 2nd January 1942.
The town has hills opposite overlooking the town and this provided a good place for an attack on the Japanese from high ground. Here we had the assistance of Encik Shaharom Ahmad, a Malaysian Military Historian and Researcher and his colleague, Hisham, dressed in period uniform. Also assisting was Mr. Santokh Singh, a retired teacher and another enthusiast in present day casuals. Shaharom, Hisham and Rizal are members of the Malaysian Historical Group. Though members are not academics, their keen interest and knowledge is a credit to them all. With metal detectors, they have found artefacts and have also spent money to buy the period uniforms.
The ridges are not very high, about 120m as we were told. There are three ridges i.e. Thomson Ridge, which is now a housing estate; Cemetery Ridge, which remains as such; and the Green Ridge, which has been left alone, so far. On 30th December 1941, the Japanese arrived and the battle started. Ultimately, the Japanese suffered heavy losses of about 500 or an unknown number. At one point, they even had to withdraw but the British pulled back because of Japanese reinforcements coming in from Teluk Anson (now Teluk Intan). This was considered a success for the British as the advance was delayed but the British still had to retreat to Slim River.
We climbed the Green Ridge and saw the trenches that remain, though overgrown. There the remnants of the artillery gun positions and trenches leading higher up to a larger area where the headquarters was set up. From here supplies were sent down to the positions. Now looking so serene and quiet, it must have been hell on those four days in the past.
Shaharom explaining the gun pit together with Santokh
Take away the vegetation and that is how it was
After Kampar we made another ‘Quantum Leap’ and proceeded to the Sungai Siput Estate, formerly known as the Phin Soon Estate, now well known as the spot where two of three British Planters were shot sparking the Emergency. The bungalow is no more but a monument and a gallery have been erected. The gallery had many posters and pictures. We were assisted by Mr. Harchand Singh Bedi, a Military Historian Researcher, with his immense knowledge. The monument was placed by the Malaysian Palm Oil Association. The estate is owned by the National Land Finance Cooperative Society, which is maintaining the gallery.
It was already late evening and on the way we stopped at the entrance of Elphil Estate now owned by Sime Darby. This was the scene of the first shooting of the British Planter and now there is only a board at the entrance marking the area. Unfortunately, the name on the board is Walter instead of Walker. This board was put up by the Army Museum Port Dickson and I am making attempts to contact them to correct this error.
It was a long day and we checked into the Weil Hotel just after 9pm. At Kampar we had been joined by 4 officials from Tourism Malaysia and the Director of the Northern Region Tourism Malaysia. They accompanied us for the same earlier reason to get to know the various sites so that they can create memorials or plaques to permanently recognise and remember these historical sites.
Tour – Day 4
The next day saw us at the nearby Ipoh Railway Station, which the older locals will remember for the lamb chops in its first class ‘dress for dinner type’ restaurant and later on, in ‘casuals allowed’.
In front of the station, there is the Cenotaph erected in 1927 commemorating Remembrance Day in honour of the fallen in World War 1, but now including those fallen in the World War 2, the Malayan Emergency and the Confrontation. We then moved nearby, Ipoh being a small city, to the Saint John’s Anglican Church. This place suffered some damage in Japanese aerial bombing meant for the railway station, intending to destroy the trains carrying ammunition of the retreating British forces. The church also has a small air raid shelter.
The St. Michael’s Institution in Ipoh also has a place in the war. Retreating from Jitra downwards, the British 11th Indian Infantry division suffered heavy losses. Within this this division the 2nd East Surrey and the 1st Leicestershire Regiment were so badly reduced that they had to be amalgamated to form the British Battalion. This unit remained till the end in Singapore. This amalgamation was done at St. Michael’s and later the school became a Japanese Prisoner of War camp.
We then travelled to Batu Gajah where the famous cemetery known as God’s Little Acre is situated. Here are graves of the three planters who were killed during the Emergency, as well as graves of many civilians, military and police who fell during the Emergency. This is a very old cemetery and there are also many graves of very early residents of Batu Gajah; the oldest that I saw was dated 1886.
Next stop was a town called Papan where the Malayan heroine, Sybil Karthigasu, lived during World War 2. She helped the communist soldiers of the Malayan Peoples Anti-Japanese Army and was tortured for it by the Japanese. After the war she was sent to England for medical treatment where she died after some years. Later she was reburied in the cemetery next to the St. Michael’s Church. She was awarded the George Medal for Bravery. The house is sadly in total disrepair and Mr. Law Siak Hong, President of the Ipoh Heritage Society, has taken a great interest to restore the house to a decent form. Nothing belonging to the family remains and the only reminder is the hole under the staircase where they hid the radio set, radios being banned then with serious consequences if found. Later on Sybil’s daughter donated a cabinet.
After lunch in a nearby Pusing, we left for Taiping. Passing the well-known beautiful Lake Gardens, still peaceful despite very large crowds of people, we arrived at the Taiping War Cemetery. Here are the graves of those killed in action during the war, the Japanese Occupation and those posted here after the war but before the Emergency. Among some 800 graves, about 500 are unidentified. The Christian and non-Christian graves are in two separate sections; they are maintained by the Commonwealth War Graves Commission.
A formal ceremony was held at the Cross of Freedom with a prayer and a short sermon by Reverend Dr. Philip Mathius. This was followed by the Oath by Lt. Col. John Morrison accompanied by the Last Post by three buglers of a local Scout Troup. A wreath was laid by Commodore (Rtd.) Arasaratnam of the Royal Malaysian Navy accompanied by Colonel Dr. Robert Likeman.
The Taiping Heritage Society then hosted us to tea at the New Club, which had been founded in 1892 by members of the Perak Club (founded in 1885) in protest of the Perak Club’s rule of restrictive membership to high-ranking officials. We returned at night for our dinner here.
Tour – Day 5
The next morning was a mix of history and places of general interest. We started at the Spritzer Plant, in case you did not realise, a Malaysian company producing natural mineral water. Water is pumped from an aquifer 400 feet below, purified and bottled. The Plant is situated just below the hills, which are behind it.
We stopped at the Matang Museum, a historical building built by Orang Kaya Menteri Ngah Ibrahim, the son of Cek Long Jaffar who is credited for opening up the Larut district for tin mining. The building has variously been a Teachers College, Japanese Army headquarters, a Malay school and now a museum.
This museum is off the beaten track and is well worth a visit. One side of the perimeter wall was damaged when a Japanese fighter plane crashed into it. There are many displays and artefacts including about tin. But at the back are stone pillars, or stele, which is a Japanese memorial to their soldiers killed in the invasion at the Thai Malayan border.
We stopped at a charcoal factory in Kuala Sepetang, or once known as Port Weld. Mr. Chuah from the factory gave us a tour. This factory produces high quality charcoal from bakau, a swamp wood. Much of it is exported to Japan. The bakau is cut from the surrounding swamps. But it is well controlled with replanting and is monitored by the forestry department. Incidentally, making charcoal is not just burning the bakau. It’s a much longer and involved process. Another blog another day.
We then travelled on to Penang and checked into the Royale Chulan Georgetown. This is in the old Boustead building, which were once offices and warehouses by the quay.
Tour – Day 6
On this day, we went to the Convent Light Street. Here we observed in a classroom the names of Prisoners of War from the American submarine USS Grenadier. This submarine was sunk near Phuket and some of the prisoners were interned for 108 days in this school, which was then the Japanese Naval Headquarters. The names were etched using their belt buckles on the door and walls of a classroom. The school has preserved these by putting a glass casing over them. A plaque has also been installed.
This school was not always a school. It was built around the bungalow of Sir Francis Light, the Founder of modern Penang. It was later the Government House and the offices of the early Penang Government. There is even a well in the compound used for Francis Light and another for the public.
The next stop was the Cenotaph at the Penang Esplanade. This is placed by the Penang Veterans Association in honour of the fallen in the wars from the First World War to the Communist Re-Insurgency.
Fort Cornwallis was not to be missed. Exhibits are sparse and only a part of the wall exists. But it is well maintained and conservation works promise new discoveries.
The final stop was the Penang War Museum in Batu Maung. Having lived in Penang in the early sixties, this place was for me and I am sure many other Penangites, a total surprise, not having known of its existence all this time. Located in the south east corner of Penang, it was built in the early 1930’s and was equipped with anti-aircraft guns, cannons, barracks, pillboxes, tunnels and facilities for the occupants. It was evacuated by the British in their retreat in December 1941. It was taken over and used by the Japanese to protect shipping, as well as a prison. After the war, it was abandoned and disappeared in the overgrowth.
However, in the 1990s, an entrepreneur, Johari Shafie, started a company and with the Penang State Government restored the fort and created a war museum. It was opened in 2002. I personally found it to be an interesting place and spent quite some time such that I was the last back on the bus.
Lunch was at the Queensbay Mall where we separately wandered in the food court for a variety of not just Penang fare. We returned to the hotel and gathered again for dinner. This was at the TOP View Restaurant Lounge on the top (of course), 59th floor of the KOMTAR Penang. Participants were given a Certificate of Participation. One of the group, Colonel Dr. Robert Likeman, was inducted as a member of the Council of Fellows of the War History Institute. There was Malaysian Cultural dance by four dancers organised by the Tourism Malaysia.
We boarded the bus back to the hotel with farewells to mark the end of a very well planned and enjoyable tour of the Malayan battle sites. An eye opener even to me as a Malaysian with a keen interest in our history.