MUZIUM SEJARAH / HISTORY MUSEUM
PORSELIN
PORCELAIN
Perusahaan seramik atau porselin berasal dari negara China adalah fakta yang diakui umum. Aktiviti-aktiviti perdagangan antara China dan pusat-pusat perdagangan di Benua Asia mengakibatkan pengenalan dan penggunaan luas peralatan seramik yang akhirnya menjadi barangan eksport. Revolusi perusahaan seramik/porselin telah memberi implikasi ke atas pusat perusahaan lain di Asia. Perkembangan porselin China berkemungkinan bergabung dengan teknik-teknik tempatan dan diperbaharui dengan teknik yang halus, dipengaruhi atau ditiru untuk menjadi peralatan tiruan yang setanding dan tersendiri. Ianya juga kadangkala menyekat perkembangan seramik tempatan. Pengetahuan perusahaan seramik telah ditemui di Negara China, Parsi (Iran), Iraq, Mesopotamia, Vietnam (Annamese) dan Thailand.
Sepanyol yang terletak di bawah kuasa Arab memperkenalkan seramik kepada masyarakat Eropah Barat. Tidak lama kemudian orang-orang Eropah memperolehi pengetahuan perusahaan seramik yang membolehkan mereka mencabar dan menguasai eksport perusahaan seramik.
Semenanjung Tanah Melayu, khususnya Kedah dan Negeri Sembilan, pada masa itu telah menerima peralatan seramik pada kurun ke-13, berkemungkinan sebagai bahan eksport atau pun sebagai bingkisan. Pada awal kurun ke-15, Kota Melaka sebagai pusat perdagangan yang terkenal, telah menarik perhatian pedagang-pedagang China. Sejak itu, peralatan seramik datang berterusan disebabkan dari satu dinasti ke satu dinasti China meneruskan perniagaan seramik mereka di Kota Melaka. Kerajaan Thai pula mengeksport seramik ‘Sawankhalok’ dan ‘Sukhothai’ ke Melaka. Begitu juga Belanda, membawa masuk seramik mereka. Seramik-seramik Jepun pula dapat menembusi pasaran Melaka melalui Batavia. Peralatan Nyonya pula dibuat khas untuk masyarakat Baba-Nyonya dan menghiasi Kota Melaka.
Sudut ini mempamerkan beberapa jenis peralatan seramik dan coraknya yang ditemui di Melaka secara ekskavasi atau diturunkan sebagai pusaka Melaka.
Pottery and ceramic making has been an aspect of culture that has been practised by the early civilizations of Asia to support their daily needs. It has been continually improved and expanded throughout the centuries to reach the level where its products are admired and treasured.
It is commonly accepted fact that ceramic/pottery-making first originated from China. Trade activities between China and the commercial centres in the Asian Continent resulted in the introduction and wide usage of ceramics, eventually becoming items for export. The evolution underwent by the ceramics/porcelain industry had implications on other industries in Asia. The arrival of Chinese porcelain, combined with local techniques and improved further by local methods, influenced or was copied to produce good imitation and original products. In some cases, it affected the growth of the local ceramics industry. Proof of the knowledge for the making of ceramics has been found in China, Egypt, Iran, Iraq, Mesopotamia, Vietnam (Annamese) and Thailand.
The occupation of Spain by the Arabs led to the introduction of ceramics/porcelain to Western European societies. Soon after that, the Europeans acquired the knowledge of ceramic making which later led them to challenge and master the export of ceramics.
During the 13th century, in Peninsular of Malaysia especially Kedah and Negeri Sembilan had received ceramics either as the trade wares or gifts. At the beginning of the 15th century, as a famous commercial centre, Melaka attracted many Chinese traders. Since then, there was a non-stop flow of ceramics as people from all places arrived in Melaka and traded in ceramics. The Thais also exported their ‘Sawankhalok’ and ‘Sukhothai’ ceramics to Melaka. The Dutch too brought in their ceramics, while Japanese ceramics entered the Melaka market through Batavia. Nyonya wares were specially made by the Baba-Nyonya community and were on display in Melaka.
The ceramics corner displays various types of ceramics found in Melaka either through excavations or were passed on as family heirlooms.
SERPIHAN SERAMIK YANG DITEMUI DI MELAKA
PORCELAIN SHARDS FOUND IN MELAKA
Serpihan-serpihan yang dipamerkan di sini ialah contoh yang dijumpai di Kota Melaka semasa ekskavasi atau pun semasa aktiviti menggali yang dijalankan oleh beberapa jabatan kerajaan. Serpihan-serpihan yang ditemui melalui ekskavasi ialah dari persekitaran bukit St. Paul, di Makam Hang Tuah dan di kawasan tambak laut Banda Hilir. Aktiviti menggali yang dijalankan di merata tempat juga menghasilkan banyak jumpaan serpihan-serpihan seramik.
Serpihan-serpihan seramik yang dipamerkan terdiri daripada jenis Ming, Ching, Swatow, Baba-Nyonya, Sawankhalok dan Sukhothai, Annamese, Belanda, Jepun, Persia dan sebagainya. Bahan-bahan yang dipamerkan tidak mengikut jenis tetapi mengikut lokasi dimana ia dijumpai.
Bukti yang menunjukkan Kota Melaka adalah merupakan satu pusat perdagangan terkenal, pusat mengimport dan mengeksport pelbagai jenis barangan bukan sahaja pada rekod-rekod sejarah, tetapi juga pada bahan-bahan yang dijumpai, termasuk peralatan seramik. Akibat beberapa peperangan, banyak bahan telah musnah dan bertaburan di sekitar Kota Melaka. Dari segi nilai antik, serpihan-serpihan seramik ini tidak bernilai, tetapi ia boleh memberi maklumat tentang asal-usulnya, kedudukan serta keluasan kawasan pekan, perubahan-perubahan yang berlaku dan mungkin juga sebab-sebab ianya terjadi.
The ceramic shards exhibited in this showcase are some of the samples of various types found in Melaka either through excavations or diggings by various departments. The porcelain shards found through archaeological activities were from the areas around St. Paul’s Hill, around the mausoleum of Hang Tuah and in the reclaimed areas in Bandar Hilir. Digging works in various places also uncovered many types of shards.
The shards displayed here are of the Ming, Ching, Swatow, Nyonya, Sawankhalok and Sukhothai, Anamneses, Dutch, Japanese, Persian and other varieties. They are displayed not according to the type but according to the locations they were uncovered.
The evidence that Melaka was a famous commercial and trade centre was not just found in the historical records but also in the artefacts uncovered here, including the ceramic findings. As a result of war and destruction of property, the ceramic shards were scattered all over town and have no antique value, but they can provide valuable information of their origins, the location and size of the towns, changes which occurred and the circumstances leading to these changes.
SERAMIK VIETNAM (ANNAMESE)
VIETNAMESE (ANNAMESE) CERAMICS
Seramik Vietnam yang lebih dikenali dengan nama peralatan Annamese, telah dihasilkan lebih daripada 2000 tahun dahulu. Peralatan Annamese dikagumi kerana kualitinya yang tinggi, keunggulan teknik serta sifat artistiknya. Sepuh peralatan Annamese licin yang terdapat dalam warna kuning dan putih kelabu.
Pada penghujung kurun ke-14, peralatan Annamese menunjukkan unsur-unsur pengaruh China dengan penambahan pola-pola artistik di peralatan yang dikeluarkan tanpa bersepuh di bawahnya dan setengahnya dilapisi dengan warna besi oksida. Untuk mencapai kelainan, peralatan Annamese yang dikeluarkan pada kurun ke-15 dan ke-16 dibuat dengan warna lain daripada tembikar biru dan putih yang dipengaruhi oleh China.
Vietnamese ceramics, better known as Annamese wares, have been in production for over 2,000 years. They were highly admired for their high quality, techniques of production and artistic qualities. The glaze used is always fine and smooth, in colours varying from the pale yellow to the light grey.
At the end of the 14th century, the Annamese wares showed signs of Chinese influences with the use of artistic motifs, without an under glaze, and in some cases, coated with a layer of iron oxide. As an added attraction, the wares produced in the 15th and 16th centuries were made in different colours besides the Chinese-influenced blue and white ceramics.
The main ceramics centres were located around Hanoi city and were operating up to a few years ago.
SERAMIK SUKHOTHAI DAN SAWANKHALOK
SUKHOTHAI AND SAWANKHALOK CERAMICS
Perusahaan tembikar dan seramik di Negara Thai telah lama wujud. Oleh kerana perusahaan ini bergantung kepada perlindungan Raja-raja, pengeluaran peralatan Thai hanya menjadi perusahaan setempat dan bergantung kepada jatuh bangun kuasa sesebuah kawasan itu. Ia juga dikenali umum dengan nama lokasi yang menghasilkannya.
Sebuah kerajaan baru telah ditubuhkan pada pertengahan kurun ke-13 di Utara Negara Thai. Dalam masa 50 tahun, Raja Sukhothai, terutamanya Raja Rama Khampeng, menjadikan kawasan Sukhothai sebagai satu pusat kebudayaan, perdagangan dan pentadbiran yang kemudiannya membawa kepada perkembangan perusahaan seramik bagi menampung keperluan tempatan dan eksport.
Pada mulanya, kilang-kilang Sukhothai mengeluarkan peralatan seramik kasar yang kurang bermutu dari segi teknikal kerana tanah liat yang terdapat di persekitarannya. Tembikar Sukhothai boleh dibahagikan kepada jenis tembikar putih berlapis warna susu dan bersepuh dibahagian bawahnya.
Pada pertengahan kurun ke-14, sebuah pusat seramik baru dibuka di Sawankhalok, terletak berdekatan dengan Kota Sukhothai. Tanah liat yang terdapat di kawasan ini lebih halus daripada tanah liat Sukhothai, dan ini membolehkan pengeluaran peralatan seramik yang tinggi mutunya. Perusahaan seramik Sawankhalok bukan sahaja mengeluarkan tembikar putih tetapi juga tembikar-tembikar yang berwarna coklat dan hijau, serta bersepuh dibawahnya.
The pottery and ceramics industry has existed for a long time in Thailand. Because it was depended on royal patronage, the production of Thai wares was localised in nature, dependant on the rise and fall of the state powers, and was therefore known by the location where they were made.
In the middle of the 13th century, a new kingdom was established in Sukhothai in Northern Thailand, and within 50 years, especially under King Rama Khampeng, the Empire of Sukhothai had become a cultural, trade and administrative centre. This encouraged the growth of the ceramics industry to meet domestic needs as well as for export purposes.
At first, the kilns in Sukhothai produced ceramics, which were of low quality due to the rough clay found around the city. Sukhothai ceramics can be categorised into white wares and under glazed painted wares.
During the middle of the 14th century, a new ceramics centre was opened in Sawankhalok, not far from the city of Sukhothai. The clay found in this area was of finer quality than that of Sukhothai, enabling the production of better ceramics. The Sawankhalok ceramics industry grew, producing many varieties of ceramics, including artistic, decorative wares. The ceramics were not only white in colour but also brown and green, with an under glaze.
SERAMIK JEPUN
JAPANESE CERAMICS
Walaupun sejarah perusahaan tembikar Jepun agak lama, pengeluarannya tidak dikenali umum di luar negara. Ini adalah kerana penggunaannya dihadkan kepada upacara adat- istiadat sahaja. Peralatan tersebut tidak lagi begitu menarik kepada orang luar. Namun begitu, ianya dihargai oleh bangsa Jepun.
Pengaruh China dan Korea mula merebak kepada perusahaan tembikar atau seramik Jepun. Teknik China meninggikan mutu peralatan Jepun pada kurun ke-14 hingga ke-16. Orang-orang Korea pula dibawa masuk ke Jepun pada akhir kurun ke-16, dan mereka mendirikan beberapa kilang seramik. Pengalaman mereka meningkatkan mutu porselin Jepun pada awal kurun ke-17. Peralatan porselin yang mencapai tahap yang baik ini membuka pasaran Eropah dan menjadi bahan eksport dari Jepun.
Sementara itu, pusat pasaran seramik Jepun mengeluarkan peralatan seramik yang mengandungi corak-corak Belanda. Peralatan seramik Jepun yang terdapat di negara ini datang dari kilang-kilang seramik di Imari, Kakiemon dan Kutani. Perdagangan ini dijalankan melalui Belanda di Batavia.
Although the ceramics industry in Japan had existed for a long time, it was not known outside the country because its use was restricted to customary ceremonies. The wares were not attractive to foreigners although they were important to the Japanese.
Chinese and Korean influences had infiltrated Japanese ceramics. The Chinese techniques improved the quality of Japanese wares in the 14th to 16th centuries. The Koreans who were brought into Japan at the end of the 16th century set up kilns and improved the standards of porcelain making in Japan in the early 17th century. These improved ceramics entered the European market and became an export item of Japan.
In the meantime, the Japanese ceramics centres produced wares with Dutch designs. Japanese ceramics found in this country came from the kilns of Imari, Kakiemin and Kutani. This trade was conducted through the Dutch in Batavia.
SERAMIK ISLAM
ISLAMIC CERAMICS
Negara-negara Timur Tengah seperti Mesir, Syria, Iraq, Yaman, Parsi dan juga Turki secara turun-temurun mengeluarkan tembikar bersepuh yang bermutu tinggi. Apabila negara-negara Timur tersebut menerima ajaran agama Islam, perusahaan seramik telah meningkat menjadi satu bentuk seni yang bermutu tinggi.
Peralatan seramik berunsur Islam yang baik sekali sama ada dari segi pola-pola motif mahupun dari segi teknologi ataupun kedua-duanya boleh didapati di Fuslat berdekatan dengan Kota Kaherah; di Samarra, Iraq; di Susa dan Rayy, Parsi; di Iznik, Turki dan di Syria. Kemudian, pengaruh China menembusi pusat-pusat perusahaan seramik negara-negara Timur Tengah. Kombinasi kedua-dua teknik Arab dan China memperkenalkan peralatan bersepuh hitam besi yang kemudiannya berkembang ke perusahaan jubin-jubin dinding berkualiti, motif-motif perhiasan dan lukisan-lukisan miniatur.
Seramik Arab telah diperkenalkan ke Eropah melalui Sepanyol apabila negara itu ditakluki oleh orang Islam. Mereka juga telah memperkenalkan teknik perusahaan seramik ke sana.
Pada penghujung kurun ke-15 dan awal kurun ke-16, semasa pengaruh Islam memainkan peranan di Istana Ming, Negara China telah mengeluarkan peralatan berunsur Islam tetapi dalam jumlah yang terhad. Walau bagaimanapun, ianya merosot seketika, tetapi membangun semula pada kurun ke-17 apabila peralatan seramik berunsur Islam dijadikan bahan eksport yang diusahakan sehingga kurun ke-19. Pusat utama perusahaan seramik ketika itu ialah di Wilayah Fukian yang juga membuat tempahan khas. Pada kurun ke-18, perusahaan China telah mengeluarkan sejenis seramik berunsur Islam yang dipercayai boleh menyembuhkan penyakit.
Ada juga keluarga hartawan Islam telah menempah peralatan seramik yang mencatatkan nama keluarga mereka. Apabila perubahan zaman dan peralihan situasi politik, lama-kelamaan perusahaan seramik berunsur Islam diambil alih oleh perusahaan seramik dari Eropah.
Throughout the centuries, the middle-Eastern countries like Egypt, Syria, Iraq, Yemen, Persia and Turkey have produced high quality glazed ceramics. When these countries became Muslim, the ceramics industry grew to a high form of art.
The best Islamic ceramics, either in design or technology, or both, were made in Fuslat, near Cairo; Samarra, Iraq; in Susa and Rayy, Persia; in Iznik, Turkey and in Syria. Later, Chinese influence penetrated the Middle-Eastern ceramic industry and the combined techniques of the Arabs and the Chinese resulted in a new tin glaze, which later led to the creation of quality wall tiles, decorative motives and miniature paintings.
Arabic ceramics were introduced into Eastern Europe via Spain when it was ruled by the Muslims, leading to the introduction and subsequent spread of ceramics making throughout Europe.
Towards the end of the 15th century and the beginning of the 16th century, when Islamic influence was felt in the Ming Court, China exported a limited number of Islamic wares. For a while, this influence waned, but rose again between the 17th and 19th centuries when Islamic ceramics were exported. At that time, the centre of the ceramics industry was the district of Fukian, which also entertained special orders. During the 18th century, the Chinese produced a type of Islamic ceramics believed to have healing powers and were therefore very popular.
Rich families also ordered special ceramic wares, which carried their family names. Changing times and political scenarios saw the Islamic ceramic industry replaced by European ceramics.
PERALATAN SERAMIK SWATOW
SWATOW CERAMIC WARES
Fukian adalah satu daerah di China Selatan yang mengusahakan pengeluaran seramik pada abad ke-16 dan 17. Namun begitu seramiknya tidak begitu dikenali seperti dinasti China iaitu Ming atau Ching, tetapi dikenali sebagai peralatan Swatow. Ia dinamakan mengikut pelabuhan dari mana peralatan tersebut dieksport ke pasaran luar seperti Malaysia, Indonesia, Filipina, Jepun, India dan lain-lain.
Perbezaan antara peralatan seramik Swatow dan peralatan seramik Ming boleh dikenalpasti dengan mudah. Pada kebiasaannya, seramik Swatow berbentuk besar dan kasar dengan pasir dan batu-batu halus terlekat pada dasarnya yang bersepuh. Peralatan Swatow juga menarik tetapi teknik pembuatannya kasar dengan warna merah, hijau kebiruan dan saduran warna hitam. Terdapat juga jenis-jenis buatan Swatow yang disalut dengan warna biru yang tidak terang atau bersepuh jenis ‘celadon’.
Swatow juga mengeluarkan peralatan seramik yang mengandungi motif, hiasan Islam, huruf-huruf dan ayat-ayat suci Al-Quran bagi pasaran negara Islam. Perusahaan seramik Swatow juga terbabit dalam pergolakan politik China dan akhirnya hilang identitinya.
Fukian was one of the districts in South China, which was actively involved in the ceramics industry during the 16th and 17th centuries. However, they are not connected to the ceramics produced by the Chinese Ming or Ching dynasties, but were called the ‘Swatow wares’, named after the harbour from which they were exported overseas to Malaysia, Indonesia, Philippines, Japan, India and elsewhere.
The differences between the Swatow ceramics and the Ming and Ching porcelain wares can be easily spotted. The Swatow wares are usually large and coarse, with sand particles or minute stones attached to the glazed base. They were attractive but were roughly made, in colours such as red, greenish blue and black. There are also other Swatow-made varieties such as those coated with a dull blue colour or celadon glaze.
The Swatow ceramics industry also produced wares with Islamic motifs and decorations as well as Arabic script and Quran verses for markets in the Muslim countries. The Swatow industry was also affected by the political upheavals in China and eventually lost its identity.
SERAMIK BELANDA
DUTCH CERAMICS
Negara Belanda juga terkenal dengan penghasilan seramik tradisi ‘miaolica’ serta ‘delft’. Seramik awal Belanda tidaklah begitu bermutu tinggi dan diusahakan untuk penggunaan tempatan sahaja. Kedatangan Belanda ke Asia Tenggara dan hubungan mereka dengan China membolehkan mereka menaiktaraf perusahaan seramik, kemudian mengeluarkan porselin-porselin yang setanding dan bermutu tinggi.
Kekuasaan Belanda di rantau Asia Tenggara yang bermula sejak awal kurun ke-17 mencapai kemuncaknya pada tahun 1682. Mereka menguasai Samudera Asia dan seterusnya memonopoli perdagangan rempah ratus serta menjadi pembekal utama porselin China bagi pasaran Asia dan Eropah. Menyedari keuntungan perdagangan porselin, pihak Belanda mengambil alih peranan sebagai pengeksport porselin China berikutan pergolakan politik di negara China pada pertengahan abad ke-17.
Kejatuhan Dinasti Ming serta kebangkitan Dinasti Ching pada tahun 1644 mengganggu pengeluaran seramik China dan memaksa pihak Belanda untuk mendapatkan bekalan porselin daripada Jepun. Corak pada seramik yang dibuat sedemikian kebanyakannya ditiru daripada porselin China dan disesuaikan untuk perdagangan. Mereka juga mengeksport porselin Jepun pada abad ke-17 dan 18 yang mempunyai tanda VOC iaitu lambang Kompeni Hindia Timur Belanda. Porselin-porselin seumpama itu dibawa ke Melaka, manakala di Tanah Melayu kebanyakannya ialah buatan Belanda semata-mata untuk dieksport ke Asia Tenggara.
Holland was also famous for its own ceramics tradition of early ‘maiolica’ and ‘delft’ wares. The early Dutch ceramics were not really in a high quality and were produced only for domestic consumption. The arrival of the Dutch in Southeast Asia and their relations with China enabled them to improve their ceramics industry and eventually produce high quality of porcelain.
The Dutch domination of Southeast Asia started in the early 17th century and reached its height in 1682. They ruled the seas of Asia, monopolized the spice trade and became the main supplier of Chinese porcelain to Asian and European markets. Aware of the profits of the porcelain trade, they took over as the exporter of Chinese porcelain when internal strife overcame China in the 17th century.
The fall of the Ming dynasty and the rise of the Ching dynasty affected the ceramics industry in 1644 and forced the Dutch to turn to Japan for its supply of porcelain. As such, the designs produced were mostly copied from contemporary Chinese porcelain and were modified to suit the markets. They also exported Japanese porcelain in the 17th and 18th centuries, some of which carried the letters VOC, which was the insignia of the Dutch East India Company. These porcelains were brought to Melaka via Batavia (now Jakarta). The colourful Dutch porcelain wares found in Holland had mostly been meant for the Southeast Asian markets.
PERALATAN PORSELIN MING
MING WARES
Perusahaan seramik bermula di negara China semasa zaman Dinasti Shang (1523 – 1038 S.M). Sejak itu, pengeluaran seramik China terus diusahakan oleh dinasti-dinasti yang berikutnya sehingga ia mencapai kualiti yang tinggi dan terkenal di benua Asia. Porselin-porselin Ming (1368 – 1644) juga mencatatkan nama sebagai pengeluaran porselin biru-putih yang bermutu tinggi.
Pada zaman Yuan (1279 –1368), porselin-porselin dieksport ke seluruh benua Asia, tetapi apabila Dinasti Ming memerintah China pada tahun 1368, perusahaan porselin telah diberi pelindungan Diraja. Undang-undang digubal untuk menempatkan pedagang luar di bawah kawalan istana. Kesan daripada penempatan ini, ia telah menghasilkan pengeluaran seramik yang berbentuk asing dengan huruf-huruf bahasa asing telah dibuat atas permintaan pedagang-pedagang ini.
Semasa dibawah pemerintahan Dinasti Ming, sebagai langkah mempertahankan mutu perusahaan tembikarnya, ia dibahagikan kepada beberapa jenis. Satu daripadanya ialah tembikar rasmi atau Diraja yang bermutu tinggi dan hanya dibuat di tempat-tempat khas. Ianya khusus untuk kegunaan istana. Porselin popular sepatutnya dikeluarkan hanya untuk kegunaan tempatan, tetapi terdapat juga dieksport secara haram. Tembikar eksport turut dikeluarkan khusus untuk menampung permintaan dari negara luar. Berdasarkan penemuan tembikar di negara lain, memang jelas penyeludupan telah berlaku.
Tembikar Ming telah dieksport ke Tanah Melayu melalui pedagang-pedagang China. Apabila Kerajaan Melayu Melaka diwujudkan, hubungan di antara Melaka dan China menjadi lebih erat. Ini menyebabkan Melaka menjadi pusat impot-eksport peralatan Ming bagi kawasan Nusantara, benua India dan Arab.
Melaka terus menjadi pusat perdagangan porselin Ming walaupun Portugis menaklukinya pada tahun 1511. Peralatan Ming telah menembusi pasaran Eropah melalui Lisbon. Apabila pihak Belanda pula mengambil alih pemasaran tembikar Ming ke Eropah yang kemudiannya dinamakan peralatan ‘kreak’. Perusahaan porselin Ming telah terjejas akibat peperangan dinasti pada pertengahan kurun ke 17.
The ceramics industry began in China during the Shang Dynasty (1523-1038 B.C.) Since then, ceramics has been produced by the dynasties, which followed until it achieved high quality and fame throughout the Asian continent. The high quality blue-and-white Ming porcelains (1368- 1644) were too famous.
During the Yuan Dynasty (1279 – 1368), porcelain was exported to the rest of Asia, but under the Ming Dynasty (1368-1644), the industry came under royal patronage. Laws were enacted to bring foreign traders under direct court control, resulting in the production of Ming wares with foreign scripts as requested by the foreigners.
During the Ming Dynasty, the porcelain wares were placed under several categories so as to regulate the standards of the industry. There were three categories of Ming porcelain, official/imperial, popular and export. The official/imperial wares were manufactured only in special kilns to cater solely for palace use and were of high quality. The popular wares were supposedly produced only for domestic consumption but were also illegally exported. The export wares were specifically made based on the orders of foreigners. It was obvious that smuggling had occurred, as there were findings of wares of all three categories in places outside China. Ming porcelain was exported to the Malay Peninsular.
Through the Chinese sea merchants, during the Melaka Sultanate, relations between Melaka and China became closer. This enabled Melaka to become the export and import centre of Ming wares for the region as well as for the Indian and Arabian sub-continents.
When the Portuguese conquered Melaka in 1511, Melaka continued to be the centre of the Ming porcelain industry. Ming wares were sent to European markets through Melaka and Lisbon. Later, the Dutch took over the marketing of Ming wares to Europe, calling it ‘kreak’ ware. During the mid 17th century, the Ming porcelain industry was badly affected by the dynasty wars in China.
PERALATAN NYONYA
NYONYA WARES
Peralatan seramik nyonya boleh dikenali dengan mudah melalui campuran dan kombinasi warna-warna terang seperti merah jambu, kuning, biru gelap, dan hijau. Pola-pola yang biasa ditemui pada peralatan Nyonya ialah ikan, burung phoenix, bunga mawar, bunga dahlia dan binatang-binatang yang disukai ramai.
Peralatan Nyonya mula dikeluarkan pada penghujung kurun ke-18. Peralatan seramik tersebut dibuat khas untuk keturunan orang-orang China yang telah lama menetap di Melaka dan kemudiannya di Singapura dan Pulau Pinang yang dikenali sekarang sebagai kaum Baba-Nyonya. Ini menjadi perkara biasa bagi peralatan Nyonya mengandungi nama-nama keluarga Baba.
Peralatan ini tidak digunakan setiap hari tetapi hanya pada hari-hari perayaan dan sambutan keluarga.
Peralatan seramik Nyonya yang bernilai tinggi ini dikeluarkan dari wilayah Jiangxi dan Guangdong di China. Peralatan Nyonya terdapat dalam pelbagai bentuk dan saiz yang berbeza, terutamanya set makan, set minum teh, pasu, dan lain-lain peralatan yang ditempah khas seperti kotak barang perhiasan, bekas bedak dan bekas keperluan diri. Kemerosotan kualiti akibat pergolakan politik pada akhir zaman Ching dan persaingan dari seramik Eropah mengakibatkan perusahaan seramik Nyonya pupus.
Their bright colour combinations of pink, yellow, dark blue and green can easily distinguish Nyonya wares. The designs generally found on Nyonya wares are fish, phoenixes, flowers such as roses and chrysanthemums and other favoured animals.
Nyonya wares were first produced during the late 18th century. They were specially made on consignment for the Straits-born Chinese of Melaka, and later of Singapore, known as Baba-Nyonya. Hence, it is common to find the surnames of the families on the wares. They were not meant for daily use but were only for celebrations and family gatherings.
These highly treasured wares were produced in Jiangxi and Guangdong provinces of China. Nyonya wares come in different shapes and sizes but were mainly dining sets, tea sets, vases and other specially ordered trinket boxes, powder cases and other personal items. The deterioration of their quality as a result of the political upheaval during the late Ching era and competition from European ceramics finally extinct the Nyonya ware industry.
PERALATAN CHING
CHING WARES
Selepas pihak Manchu dari Timur Laut Manchuria menakluki China, mereka memulakan dinasti imperial dan zaman keemasan pengeluaran seramik yang terakhir. Tembikar biru dan putih telah mencapai taraf pembuatan yang tinggi sebelum ia diganti dengan tembikar yang dihiasi dengan pelbagai warna.
Pada kurun ke-17 dan 18, banyak peralatan China telah dieksport ke Eropah kerana permintaan masyarakat Eropah untuk memilikinya. Kuasa-kuasa Eropah telah menguasai sebilangan besar negara-negara di Asia Tenggara ketika itu dan simpanan peralatan porselin China dianggap fesyen dan simbol status oleh masyarakat Eropah yang menyebut bahan-bahan seramik sebagai “China”.
Selepas tahun 1795, berlaku kekacauan dalam negeri, campur tangan orang-orang asing dan persaingan perusahaan porselin mengganggu kualiti peralatan China. Perusahaan porselin Ching telah pulih semula pada tahun 1864. Pengeluaran peralatan China bukan lagi tertumpu kepada biru-putih sahaja tetapi juga peralatan yang dihiasi dan berwarna-warni, khasnya bagi keturunan China yang tinggal di luar negara. Kemudiannya ia dikenali dengan nama peralatan Nyonya dan Bencharong. Sebahagian besar peralatan tersebut adalah bermutu tinggi dan sangat berharga di masa kini. Kejatuhan Dinasti Ching pada tahun 1912 mengakhiri riwayat perusahaan porselin Dinasti China.
The takeover of China by the Manchus from Northeast Manchuria saw the start of the last imperial dynasty and the last great period of ceramic production. The blue and white wares reached technical perfection; only to gradually lose popularity later to multicoloured decorated wares.
Large quantities of blue and white Ching wares were exported to Europe during the 17th and 18th century as the demand from Europeans for them grew. At that time, European powers controlled many of Southeast Asian countries. The Europeans who referred to them simply as ‘China’ considered the Ching wares fashionable and prestigious items.
After 1795, internal strife, foreign intervention and competition from overseas ceramics industries affected the quality of the Ching wares. It recovered in 1864, but the porcelain industry no longer concentrated on the production of blue and white wares but also produced decorated colourful wares to cater to the needs of overseas Chinese. These colourful ceramics came to be known as Nyonya and Bencharong wares. Many of them are excellent quality and are prized items today. The fall of the Ching dynasty in 1912 ended the era of the porcelain industry in China.
PENEMUAN TEMPAYAN BERISI TULANG MANUSIA
THE DISCOVERY OF AN EARTHENWARE JAR CONTAINING HUMAN BONES
Penemuan empat tempayan berisi serpihan tulang pada 15 Disember 2008 di Kampung Tengah, Bukit Rambai dipercayai digunakan oleh masyakarat Tiong-Hua sekitar 300 tahun yang lalu.
Tempayan tersebut ditemui oleh penduduk tertanam secara berderet di kawasan sekitar milik persendirian. Tiga daripada empat tempayan tersebut didapati bertutup dengan tiga pinggan seramik bercorak purba dan juga karektor menyerupai tulisan Cina tercatat tahun 1702 di salah satu pinggan seramik tersebut. Keunikan rekabentuk tempayan yang berukiran kepala singa menguatkan lagi fakta mayat tersebut milik masyarakat Cina.
Mengikut sejarah, pengebumian mayat dalam tempayan lazimnya diamalkan di Negara China dan sebahagiannya di Sabah dan Sarawak. Penemuan tradisi penanaman seperti ini merupakan yang pertama ditemui di Semenanjung Malaysia dan kemungkinan besar ia berpotensi bagi membuktikan kawasan berkenaan menjadi tempat persemadian menggunakan kaedah tersebut. Ia juga boleh dikatakan sebagai kawasan penempatan awal masyarakat Cina berdasarkan kedudukan penemuan tempayan tersebut terletak kira-kira 200 meter dari kawasan jirat Cina.
Perbadanan Muzium Melaka (PERZIM) dengan kerjasama Jabatan Warisan Negara (JWN) dan Universiti Sains Malaysia (USM) akan menjalankan kajian lanjut termasuk ujian “carbon dating” untuk memastikan asal-usul sebenar tempayan berkenaan ditemui.
On 15th December 2008, the villagers from Kampung Tengah, Bukit Rambai, Melaka had found four earthenware jars which contained pieces of bone fragments and were believed had been used by Chinese people around 300 years ago. The all four earthenware jars were buried in lines at a private land. Three out of four of them were covered with three pieces of ceramic plates. The design of Chinese calligraphy note dated on 1702 also found at one of them. As the matter of fact, the unique lion head carved on the earthenware jar showed the artifact was from China.
According to the historical record, the body burial in earthenware jar usually found in China and some parts in Sabah and Sarawak. This unique ceremony of burial was first time found in Melaka. Thus, it might be the evidence that it was used as the Chinese cemetery many years ago. It is also a high possibility that the area was occupied by the Chinese people and became their settlement in accordance with the location of the earthenware jars were discovered as just 200 meters away from the Chinese cemeteries.
Melaka Museums Corporation (PERZIM) in cooperation with Malaysia Museums Department and National Heritage Department together also with University of Science Malaysia (USM) will be conducting a further investigation including “carbon dating” test to study the real information regarding the origins of the earthenware jars that were found.
PENEMUAN DI KERUBONG
THE KERUBONG FINDINGS
Bahan-bahan peralatan seramik termasuk tembikar-tembikar dan batu giling dengan anaknya yang dipamerkan di sini telah dijumpai di Kampung Kerubong, lebih kurang 13km dari Kota Melaka pada tahun 1960. Penemuan ini berlaku semasa pihak kontraktor binaan menjalankan kerja menggali parit di kawasan tersebut. Kesemua bahan penemuan ini telah diambil alih darinya untuk dipamerkan.
Bahan-bahan seramik ini ialah dari jenis Ming, batu giling dan anaknya merupakan peralatan bagi penyediaan bahan-bahan perhiasan. Asal-usul tembikar tanah pula tidak dapat dikenalpasti. Kesemua bahan tersebut ditemui di pedalaman negeri, jauh dari Kota Melaka.
Di sekitar Tampoi, berdekatan dengan Kerubong terdapat satu kawasan perkampungan sejak dari Zaman Kesultanan Melayu Melaka. Pihak Portugis juga telah mendirikan sebuah gereja di Tampoi yang telah dimusnahkan oleh Belanda pada tahun 1606. Serangan ke atas perkampungan ini oleh Portugis atau Belanda telah menyebabkan penduduk melarikan diri. Mengikut adat yang diamalkan ketika itu, sesiapa yang meninggalkan kampung halaman mereka dalam suasana huru-hara akan menanam harta benda mereka dengan harapan dapat mengambilnya kembali pada satu hari nanti. Apabila hasrat ini tidak tercapai kerana sebab-sebab yang tertentu, maka harta benda yang disembunyi akan tetap berada di tempat yang ditanam sehingga ia dijumpai semula.
The ceramic wares including the earthenware, and a grinder base with the grinder exhibited in this showcase were found near the Kerubong area, situated about 13km from Melaka town. They were discovered by a contractor during the digging work in the 1960s, and since then, they have been displayed in the Melaka museum.
The ceramics were from the late Ming period, while the grinding base and grinder were used for the preparation of beauty care. The origins of the earthenware cannot be determined. All these artefacts were discovered in an interior area far from the Melaka fort.
During the Melaka Sultanate, there was a village yet destroyed by the Dutch in the Tampoi area nearby Kerubong. The Portuguese had built a church in Tampoi but the Dutch destroyed it in 1606. The attack on the village by either the Portuguese or the Dutch could have forced the villagers to flee. According to the custom then, people who left a village in a hurry would bury their personal belongings, with the hope that they could reclaim them later. When these items are not reclaimed for whatever reasons, they will remain buried until discovered at a later date.
