MUZIUM KECANTIKAN / MUSEUM OF BEAUTY
PENGENALAN
INTRODUCTION
Pameran ini dinamakan dalam Bahasa Inggeris ‘Enduring Beauty” kerana perkataan “Enduring” mempunyai dua makna, iaitu menandakan yang tahan lama dan mengalami kesakitan atau seksaan. Pelbagai perubahan ke atas tubuh badan yang ditunjukkan dalam pameran ini mengalami peringkat keperitan tertentu. Sebagaimana pepatah Perancis “II fault souffir d’ etre belle’ yang bermaksud, seseorang yang menanggung kesakitan merupakan satu konsep yang sukar ditakrif kerana kecantikan bergantung pada pandangan orang yang melihatnya. (Lihat sahajalah barang-barang yang dipamerkan). Tidak dapat dinafikan bahawa kecantikan dibentuk mengikut budaya masyarakat tertentu.
Pameran ini meliputi zaman dari prasejarah sehingga kini. Kepelbagaian budaya masyarakat di dunia juga ditonjolkan. Ia memberi gambaran bagaimana masyarakat mencipta keunggulan kecantikannya dan bagaimana mereka mencapainya. Perubahan yang berlaku merupakan satu penjelmaan bagi tatacara kebudayaan suatu masyarakat dan kecantikan yang terserlah merupakan kebudayaan. Perubahan pada tubuh merupakan satu usaha untuk memberi penampilan baru seseorang. Bagi masyarakat tertentu, adat berhubung dengan perubahan tubuh mempunyai kaitan rapat dengan tatacara dan upacara seperti akil baligh dan pertunangan. Dalam sesetengah budaya, orang lelaki yang lebih banyak dihias dan diubah manakala dalam budaya yang lain, wanita yang lebih banyak melakukan perubahan pada tubuh.
Masyarakat moden mengubah ungkapan ‘yang tidak boleh dibaiki perlu dikekalkan’. Kini pembedahan kosmetik boleh mengubah hampir kesemuanya. Perubahan ini dipengaruhi oleh fesyen. Sebaliknya, keindahan seni tubuh badan bagi masyarakat tradisional berkait rapat dengan nilai astetik, agama, upacara tertentu dan tradisi. Ia juga menandakan keahlian sesuatu kaum serta kumpulan masyarakat.
Sebenarnya kecantikan itu tidak kekal lama kerana kecantikan akan pudar. Apabila masyarakat berubah, konsep kecantikan turut berubah. Dengan pengaruh pendidikan, agama dan gaya hidup, bentuk perhiasan tradisional mula lenyap. Namun, kini budaya cacahan muncul semula dalam dunia moden. Budaya lapuk ini kian diamalkan oleh golongan Primitif Moden di barat.
It has been named ‘Enduring Beauty’ due to the meanings of the word ‘enduring’ which signifies something lasting or permanent and to undergo pain or suffering. The numerous transformations of the natural body portrayed in this exhibition involve varying degrees of pain. It illustrates the French proverb ‘II faut souffrir d’etre belle’, that is, one must suffer to be beautiful since beauty is a difficult concept to define as beauty lies in the eye of the beholder. (It will become apparent by viewing the exhibits). Undeniably, beauty is conditioned in accordance to a certain culture.
The exhibition covers from the prehistoric days to the present. It also features innumerable societies all over the world and illustrates that every society creates its own idea of beauty as well as methods to attain it. Bodily alterations can be understood as an endeavour to give a new appearance. In some traditional societies, the customs associated with bodily alterations are closely linked to social status and rituals such as puberty and betrothal. In some cultures it is the men who are the most elaborately adorned and transformed, whereas in other cultures, it is the women who undergo the greatest bodily alterations.
The modern society has changed the meaning of ‘What can’t be cured must be endured’. At present cosmetic surgery can practically cure everything. This form of bodily alteration is dictated by fashion. In contrast, the body art among the traditional societies was bound in a complex cultural context of aesthetic values, religion, ritual and tradition. It is a mean to being recognised as a member of a particular tribe or social group.
Paradoxically, beauty is not lasting as it will fade. Furthermore, as societies change, the concepts of beauty change. The influences of education, religion and lifestyle have spelt the demise of the traditional forms of adornment. However, at present the art of tattooing revives in the modern world. This archive culture is practised by the Modern Primitives especially in the west.
OBJEKTIF
OBJECTIVES
Pameran ”Kecantikan Melalui Penderitaan” ini bertujuan untuk:
- Membangkitkan kesedaran tentang tafsiran kecantikan, ditinjau melalui perbandingan antara budaya dan zaman.
- Mempamerkan erti kecantikan dari pelbagai sudut menurut amalan budaya masyarakat dunia.
- Memberi tafsiran baru bagi kecantikan berdasarkan kaca mata masyarakat yang mengamalkan amalan hidup dan falsafah yang pelbagai.
Exhibition "Beauty Through Suffering" is intended to:
- Raise awareness of the beauty of interpretation, surveyed through comparison between different cultures and times.
- Demonstrate sense of beauty from different angles according to the cultural practices of the world.
- Give the new interpretation of beauty based on the society’s perspective that practises a variety of life and philosophies.
SUSUK-CUCUK PENAWAN ~ PENAWAN TERSEMBUNYI
SUSUK-CHARM NEEDLES ~ HIDDEN CHARMS
Susuk adalah penawan tersembunyi. Ia disembunyikan di bawah kulit. Biasanya pemakai susuk merahsiakan hal ini, malahan menafikan pemakaiannya walaupun jelas tergambar di bawah sinar-x. Amalan menyelitkan cucuk kecil di bawah kulit oleh bomoh didapati di Malaysia, Indonesia, Singapura, Brunei dan Negara Thai. Susuk dipercayai dapat mengekalkan keremajaan wajah, memperbaiki dan menambah kecantikan, karisma, kesihatan dan kekuatan, di samping membawa kejayaan dalam percintaan dan perniagaan.
Beberapa tahun yang lalu, beberapa orang doktor gigi di Malaysia (dan di Barat) hairan apabila menjumpai susuk dalam tisu lembut muka pesakit. Pemakai susuk amat menyimpan rahsianya dan enggan memberi maklumat bagaimana ia memperoleh daya penawan tersebut. Mereka berdiam diri tentang hal ini mungkin kerana kebanyakan pesakit beragama Islam dan ditegah mengamal seni mistik tersebut. Pemakai mungkin takut dicemuh ataupun bomoh menetapkan kerahsiaan sebagai syarat rawatan. Mungkin juga susuk dimasukkan sebagai langkah merawat penyakit bagi kanak-kanak dan mereka jahil tentang apa yang berlaku. Susuk dipakai sebagai usaha untuk menawan pasangan dan selalunya mereka tidak sedar bahawa si pemakai menggunakan bantuan mistik ini.
Dalam British Dental Journal (20 April, 1991), P. Shanmuhasuntharam dan Sarah H.A. Ghani dari Fakulti Pergigian, Universiti Malaya, memberi beberapa contoh kes pesakit yang memakai susuk.
Salah satu kes ini membabitkan seorang wanita India yang beragama Islam. Ia bersedia memberi banyak maklumat tentang dua susuk yang dipakai yang terdedah semasa rawatan, tetapi hanya apabila suaminya tidak ada bersama. Ia berpuashati dengan pemakaian susuk kerana ia berjaya menjadikan suaminya yang mata keranjang dan kejam kepada teman yang setia dan baik. Pesakit itu menyatakan bahawa bomoh memasukkan susuk ke dalam kulit tanpa berdarah dan rasa sakit dengan hanya menggosok mukanya. Jampi dibaca semasa susuk dimasukkan. Sebagai seorang Islam, susuk mesti dikeluarkan sebelum meninggal dunia atau dikebumikan. Caranya ialah dengan memakan pisang emas. Buah ini menjadi pantang bagi mereka yang mahu mengekalkan daya penawan. Biasanya ia tidak terasa susuk di dalam kulit kecuali apabila ia tersenyum lebar atau dengan sengaja mencari-carinya.
Susuk boleh dibuat daripada emas, perak atau berlian. Satu laporan dari Singapura menyebut tentang susuk yang dibuat daripada jarum gramofon. Susuk ini berukuran 0.5 hingga 1 mm pada garis pusat dan 5-10 mm panjang. Di samping tisu muka yang lembut, susuk ditempatkan pada payudara, kemaluan, dada, lengan atau bahagian tulang belakang. Ia dipercayai dapt memberi kekuatan dan kekebalan. Untuk tujuan perubatan, susuk ditempatkan di bahagian yang dirawat misalnya susuk diperlukan di dahi untuk menghilangkan sakit kepala.
Dipercayai bahawa di antara mereka yang pernah memakai susuk adalah bintang-bintang filem. Oleh kerana tidak ramai yang mahu mendedahkan rahsia mereka secara terbuka, maka sukar untuk kita mengenali siapa mereka yang memakai susuk.
Susuk are hidden charms. The susuk or charm needles are concealed beneath the skin. Wearers are often secretive denying the knowledge of its presence even when an x-ray film reveals its existence! The practise of inserting small needles beneath the skin by bomoh (shamans) is found in Malaysia, Indonesia, Singapore, Brunei and Thailand. The susuk are believed to preserve youth, improve and enhance beauty, charisma, health and strength, success in love and business.
In recent years a few dentists here in Malaysia (and in the West) have been surprised to find susuk needles in the soft facial tissues of patients. The susuk wearers have usually been extremely secretive, giving little or no information as to how they acquired their charms. Perhaps the reason for their reticence is that most of the patients are of the Islamic faith which prohibited them from practising the mystic arts. Wearers also might be afraid of ridicule or perhaps the bomoh made secrecy a condition of treatment for a childhood illness and was too young and ignorant to realise what had occured. The charm needles are used to attract a partner and very often he or she is unaware of the wearer’s mystical assistance.
P. Shanmuhasuntharam and Sarah H.A. Ghani of the Faculty of Dentistry, University of Malaya wrote in The British Dental Journal (April 20, 1991) about a few cases of several patients with susuk.
One of the cases was that of an Indian Muslim woman who was exceptionally informative about two susuk that were shown up by x-rays during the course of her treatment, even she would only speak of them during her husband’s absence. She was happy with the charm needles which she said had proven effective in changing a wayward and unkind husband into a faithful and loving one. The patient said that the bomoh had rubbed her face and the golden needles were inserted under the skin without pain or bleeding. During the process an incantation (jampi) was chanted. A Muslim has to remove the susuk before her death and eventual burial. The method is by consuming a banana named ‘Pisang Emas’. The fruit is considered as taboo for those who wish to retain their attraction. Usually, she is unaware of the susuk unless she smiled broadly or deliberately searching for it.
Susuk can be made from gold, silver or diamonds. A medical report form Singapore mentioned about the susuk made of gramophone needles. The charm needles measured approximately 0.5-1 mm in diameter and 5-10 mm in length. Susuk is not only placed in the soft facial tissues but are also found in the breasts, mons pubis, chest, arms and spinal area. Susuk found in these areas are thought to bring physical strength and invincibility. Susuk used for medical reasons are placed in the area being treated, for an example a headache requires a susuk needle in the forehead.
It is believed that those who have used susuk are said to be famous film stars. However, none has ever declared openly their hidden secret and it is impossible to know for certain.
MERIAM-MERIAM KOTA MELAKA
CANNONS OF KOTA MELAKA
Mengikut sejarah orang-orang Melayu di Nusantara telah menggunakan senjata api seperti meriam dan senapang semenjak abad ke-7 lagi. Senjata api ini telah digunakan oleh kerajaan Srivijaya (Sumatera) Langkasuka (Semenanjung Tanah Melayu), Tarumanegara, Mataram dan Majapahit (di Jawa). Meriam atau bedil ini bersaiz sederhana dikenali dengan nama rentaka, lela dan lain-lain. Orang-orang Melayu telah mula menggunakan Meriam-meriam yang lebih canggih setelah kedatangan Turki, Portugis, Belanda dan Inggeris dalam abad ke-16.
Setelah Portugis menakluki Kota Melaka pada tahun 1511, kapten tentera Portugis, Alfonso de Albuquerque, melaporkan yang beliau telah menemui diantara 2,000 ke 3,000 meriam di Kota Melaka. Sebahagian daripada meriam-meriam ini telah dipamerkan di Muzium Tentera, Lisbon.
Pihak Portugis telah membawa banyak meriam mereka untuk mempertahankan Kota Melaka. Namun tiada selaras pun dapat ditemui pada masa sekarang. Mungkin pihak Portugis telah mengalihkannya ataupun meriam-meriam ini dicairkan atau dimusnahkan oleh pihak Belanda selepas mereka menawan Kota Melaka pada tahun 1641. Berikutan penjajahan Belanda di Melaka, ini bererti kemasukan meriam-meriam mereka pula disini. Beberapa meriam Belanda masih boleh dilihat di pintu gerbang Santiago. Kebanyakan meriam-meriam ini diperbuat sama ada daripada tembaga atau gangsa.
Pihak British pula telah membawa masuk meriam-meriam yang diperbuat daripada gangsa dan besi. Meriam besi telah digunakan mereka semasa peperangan Naning pada tahun 1831-1832. Walaupun beratus-ratus laras Meriam telah ditempatkan di Kota Melaka pada suatu masa dahulu, sekarang hanya terdapat beberapa pucuk sahaja boleh dilihat di kawasan Bukit St. Paul.
According to history, Malays of the Archipelago had used firearms such as cannons and guns since the 7th century. The firearms were used by the kingdoms of Srivijaya (Sumatera), Langkasuka (Malay Peninsular), Tarumanegara, Mataram and Majapahit (in Java). The medium-size cannons or rifles were known as rentaka, lela and others. The Malay had started using more advanced cannons after the arrival of the Turks, Portuguese, Dutch and English in the 16th century.
After the Portuguese conquered Melaka in 1511, Alfonso de Albuquerque, captain of the Portuguese army reported that he had encountered 2,000 to 3,000 cannons in Kota Melaka. Several of the cannons are exhibited in the Army Museum, Lisbon.
The Portuguese brought many cannons to defend Kota Melaka. However, none of them could be found today. Perhaps the Portuguese had moved them or the cannons were melted down or destroyed by the Dutch after they captured Kota Melaka in 1641. The colonialization of Dutch in Melaka meant that they brought in their cannons here. A few of the Dutch cannons can be seen at the Santiago archway. Most of the cannons were either made of copper or bronze.
The British brought in cannons made of bronze and iron. They used the iron cannons during the Naning war in 1831-1832. Although hundreds of cannons existed in Kota Melaka a long time ago, only a few of them can still be seen in the St. Paul’s Hill area today.
BUSAR DAN PANAH
THE BOW AND ARROW
Sejak zaman prasejarah, busar dan panah adalah satu senjata tradisional yang digunakan dari jarak jauh. Asal-usul kewujudan ini, samada ia evolusi tempatan ataupun pengaruh luar, tidak dapat ditetapkan. Dari zaman dahulu kala lagi, kaum Orang Asli telah menggunakan busar dan panah, dan cerita-cerita mitologi tempatan juga ada menyebut beberapa orang pakar memanah. Ternyata ilmu penempahan dan penggunaannya sudah lama dipraktikkan di negara ini.
Busar diperbuat daripada kayu atau logam, dan dilentur dengan tali untuk menembaknya. Saiz busar juga berbeza mengikut keperluan tuan yang menghendakinya. Tali yang digunakan diperbuat daripada kulit pokok terap yang dipintal atau pun daripada sutera. Panah diperbuat daripada bahan-bahan ringan dengan bulu burung atau binatang ditambah di penghujungnya untuk menegakkan haluan. Kepala panah diperbuat daripada logam dengan bentuk-bentuk yang tertentu tetapi ia tetap tajam. Selalunya, kepala panah dicelup dalam getah ipoh, iaitu sejenis racun. Sekiranya terkena pada sasaran, mangsa akan mati.
Busar yang dipamerkan diperbuat daripada logam dan berusia lebih kurang 90 tahun.
The bow and arrow is one of the long-ranged traditional weapons used since pre-historic times. The origins of its existence here, whether through local evolution or through knowledge brought in from elsewhere, are unclear. The aboriginal people have used the bow and arrow for a long time, and many local myths mention these weapons. The Malay Annals too include the names of some expert local archers. From here, it can be concluded that the knowledge of making bows and arrows, and their usage have existed in this country for a long time.
The bow is made either of wood or metal, with a cord fixed in a curve from either end. The size of the bow is determined by its use. The cord is usually made from the inner bark of the ‘Terap tree’ or in some cases, silk. The arrow is normally made of light materials with feathers attached to it to provide stability when it is shot. The arrowhead is usually made of metal and comes with various shapes, but always with a pointed head. The arrowhead has usually been soaked in the sap of the ‘Ipoh tree’, which is poisonous enough to kill its target.
The bow displayed here is made of metal and approximately 90 years old.
LEMBING
MALAY SPEARS
Senjata Melayu dibahagikan kepada dua kategori, iaitu senjata-senjata panjang seperti lembing, tombak, keris panjang, pedang, parang dan senjata-senjata pendek yang meliputi semua jenis keris serta senjata tikam yang lain. Antara senjata-senjata panjang, hanya lembing dan tombak sahaja adalah senjata lontaran.
Terdapat pelbagai jenis lembing di negara kita hanya dibahagikan kepada dua kategori, iaitu lembing dan tombak. Lembing digunakan untuk berlawan dari jarak dekat. Ia boleh dikenali dari matanya yang lurus serta tajam, mempunyai tulang berjalur di tengah-tengah matanya, manakala tombak pula mempunyai mata yang papar dan lebar.
Sebahagian besar lembing dan tombak Melayu adalah ringan, lebih kurang 180 sentimeter panjang, dan mata logam yang nipis diikat kuat pada batang kayu dengan rotan atau simpai logam. Beberapa jenis tombak juga digunakan untuk upacara adat istiadat. Tombak-tombak yang digunakan untuk upacara tertentu mempunyai saiz dan kepanjangan yang berbeza, manakala tombak-tombak yang digunakan dalam upacara-upacara istiadat istana pasti mempunyai saiz dan kepanjangan yang sama.
Lembing dan tombak sudah digunakan pada zaman prasejarah. Pada zaman awal, matanya dibuat daripada buluh dan kayu. Kemudian logam seperti tembaga, gangsa, besi, ataupun emas telah digunakan sebagai mata lembing. Namun ia bergantung kepada status dan kemampuan pemilik. Pada masa sekarang, penggunaan lembing dan tombak dihadkan kepada upacara-upacara istiadat dan istana sahaja.
Malay weapons fall into two categories, the long weapons such as spears, long keris, sword, and the long parang; and the short weapons such as the different types of keris and daggers. Of the long weapons only the spear is a thrown weapon.
There are many types of spears found in this country. They are categorized into two main groups, namely the ‘lembing’ and ‘tombak’. The ‘lembing’ were used in fights at close quarters, and were distinguished by their long and sharp blades, with a ridge in the centre of the blade. On the other hand, the ‘tombak’has a smooth and flat blade.
Most of the Malay lembing/tombak are light, approximately 180cm long, with thin metal blades firmly tied to the shaft with rattan or metal bands. The tombak are also used for ceremonial purposes. They could be in different shapes and lengths, but those used for palace ceremonies were of uniform size and length.
The lembing/tombak has been used since pre-historic times. The blades were originally made either of bamboo or wood. Later, metals such as copper, bronze, iron and even gold were used, depending on the status and wealth of the owner. Today, the lembing/tombak is restricted to ceremonial and palace purposes only.
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.
