A journey to search my soul

This is a blog of my personal collections. The purpose of this blog is to educate myself and public in regards to antiquities especially related to religion and calligraphy. I welcome everyone to input their feedback in this blog which they think would be helpful. I do not watermark the photos in this blog so everyone is free to use them as long as they are not used for illegal and unethical reasons. I appreciate if you could notify me if you plan to use any of the photos here. Enjoy browsing!!
Showing posts with label Ancient Artifacts. Show all posts
Showing posts with label Ancient Artifacts. Show all posts

Friday, September 25, 2026

Ancient Artifact Review 115 : Antique Woodblock Relief Stamp of Sir Frank Swettenham and Raja Asal letter dated 1876 CE

 

This artifact is a 19th-century carved woodblock relief stamp (acuan cetak / blok kayu) used in official Malay administrative correspondence.

  • Structure & Base: The primary body consists of a rectangular block of seasoned hardwood, showing natural wood grain and age-related wear.

  • Printing Surface: Mounted onto the wooden block is a hand-carved, reverse-engraved metal relief plate (plate acuan metal) containing cursive Malay-Jawi script arranged horizontally across nine lines of text.

  • Header Detail: The top edge features an extended metal tab secured with a small metal rivet, containing an opening honorific heading carved in Arabic script (Al-Mustahaqq / "The Deserving").

  • Function: Carved in reverse (mirror-image relief), this plate was intended to be inked—typically using lampblack or iron gall ink—and pressed onto paper to produce legible, identical copies of official diplomatic circulars.

Historical Context: Sir Frank Swettenham, Raja Asal, and the Perak War

The Historical Figures

  • Sir Frank Swettenham: A key British colonial administrator who served as the Assistant Resident of Selangor (1874–1875), Deputy Resident of Perak, and later Governor of the Straits Settlements. Swettenham was fluent in the Malay language and deeply versed in Jawi script and court diplomatic customs.

  • Raja Asal: A influential Mandailing chief and mining magnate who played a crucial role in the tin-mining economics and politics of Selangor and Perak during the mid-to-late 19th century.

Connection to the Perak War (1875–1876)

Following the assassination of the first British Resident of Perak, J.W.W. Birch, in November 1875, the British colonial government launched a military campaign known as the Perak War to suppress local resistance led by Malay chiefs such as Dato’ Maharajalela, Sultan Abdullah, and Ngah Ibrahim.

During this campaign, the British relied on local allies to secure supply lines, maintain order, and cut off insurgent forces. Raja Asal allied himself with the British authorities. Frank Swettenham actively coordinated logistics, troops, and supplies across the Selangor-Perak frontier to ensure Raja Asal’s forces remained well-equipped against hostiles.

Supply of Weapons and Gunpowder (Ubat Bedil)

Because rapid communication and material support were critical during military operations in 1875–1876, official letters were issued to authorize shipments of war material. In this specific correspondence, Swettenham explicitly confirms the dispatch of rifles and gunpowder (ubat bedil), and supplies under official authorization (tanda raja) to aid Raja Asal and his men in executing military and security operations on behalf of the administration.

Below is the printed letter :


Translation of the letter

الْمُسْتَحَقّ

Frank A. Swettenham

سورة درڤد بيت توان سويتنم دبندر بهارو بارڠ دسفيكن كفد صحابت   

بيت راج اسل يع تنت ماس اين ددالم سلام دڠن سلامتڽ

وبعداهوال مك سورة صحابت بيت سوده سمفي كڤد بيت دڠن

...سلامتڽ، مك سكارع صحابة بيتا مڠهانتر اوبت بديل دان كاين دڠن

...تندا راج، ملينكن سرتا صحابة بيتا سوك كڤد صحابة، مك...

...صحابة بيتا منولوڠ ڤكرجاءن ايت. جكالوسكيراڽ مك ايني صحابة...

...معلومكن كڤد صحابة، بيتا تياد لاين تندا سلامت المحبة...

...هڽ تابيق باڽق٢ كڤد صحابة بيتا سرتا ادن...

...ترتوليس ڤد 7 هاري بولن صفر، 1876









Tuesday, September 22, 2026

Ancient Artifact Review 114 : Antique Sumatra Parang Wafat / Pedang Rajah / Sumatra Talismanic Short Sword (19th Century)

 




This item is a Parang Wafat (also known as a Parang Rajah or Pedang Rajah), a traditional Sumatran short sword or cleaver-style weapon. This blade belongs to a celebrated class of Indonesian and Malayan ceremonial edge weapons known as Parang Wafat (or Parang Rajah / Pedang Rajah). Unlike standard agricultural or utilitarian parang cleavers, these blades were created as talismanic objects and spiritual shields (rajahan).

The extensive Islamic calligraphy etched and inlaid in gold (koftgari) across the steel surface was believed to imbue the weapon with spiritual protection (barakah or tuah), rendering the bearer safe from physical harm, evil spirits, and defeat in battle.

This Parang Wafat can be dated to the late 19th century to early 20th century (circa 1880–1920).

These blades were heavily produced across the Malay Archipelago—particularly in Sumatra (such as Aceh, Minangkabau, and Palembang) and parts of the Malay Peninsula:

  • Colonial Wars: During the late 19th century, particularly during intense anti-colonial resistance periods like the Aceh War (1873–1904), local fighters and leaders (uleebalang and ulama) commissioned blades inscribed with Quranic verses of victory, divine aid, and steadfastness (such as Surah Al-Imran and Surah Yasin) as morale boosters and protective talismans.

  • Status & Authority: Carrying an extensively inscribed parang was also a mark of high social standing, spiritual authority, and piety within Islamic Malay society.

  • Inscription Style & Technique (Koftgari): The gold leaf/wire inlay application (koftgari) set against dark, acid-etched Damascus steel (pamor) featuring simplified late Naskh/Thuluth calligraphy is characteristic of late 19th-century Sumatran and Malayan arms craftsmanship.

  • Hilt and Scabbard Materials: The deeply carved dark hardwood (Kemuning or Ulu) with polished smooth contours and gold brass/copper collar bands (pedok) reflect standard late 19th and early 20th-century Indonesian/Malay Archipelago metalwork.

  • Blade & Pamor Metallurgy:

    The lower portion of the blade displays patterned Damascus steel forged from layered iron and nickelous meteoritic ore, known as Pamor. In Indonesian weapons traditions, distinct pamor patterns carry specific mystical qualities (e.g., bringing prosperity or warding off misfortune).

  • Calligraphy (Koftgari Inlay): The Arabic verses—including Quran 3:8–9 ("Our Lord, let not our hearts deviate..."), Quran 2:201 ("Our Lord, give us in this world that which is good..."), and the Hawqala—are set into dark, acid-etched iron panels using gold wire inlay (koftgari).

  • Serrated Blade Spine:

    The stepped/serrated crest near the tip is a distinctive feature often seen on Sumatran and South-East Asian talismanic blades, symbolizing stepped mountain peaks (gunungan) or protective saw-tooth wards.

Translation of the Blade Inscriptions on the Obverse

The blade contains prominent Arabic Islamic prayers, Quranic verses, and protective formulas (dua / hawqala):

1. Main Middle Line (Top Row)

اللّهُمَّ إِنِّي أَصْبَحْتُ وَأَمْسَيْتُ وَلَذَا أَهِيبُ...

Translation: "O Allah, indeed I have entered the morning and evening [in Your grace and protection]..."

(This is part of a traditional morning and evening supplication seeking divine protection).

2. Main Lower Line (Second Row)

لَا حَوْلَ وَلَا قُوَّةَ إِلَّا بِاللَّهِ الْعَلِيِّ الْعَظِيمِ

Translation: "There is no power nor strength except in Allah, the Most High, the Most Magnificent."

(The Hawqala / La Hawla).

3. Blade Tip / Edge Section

Contains repeating fragments of the Shahada (declaration of faith):

لَا إِلٰهَ إِلَّا اللّٰهُ مُحَمَّدٌ رَسُولُ اللّٰهِ

Translation: "There is no god but Allah, Muhammad is the Messenger of Allah."


 Translation of the Blade Inscriptions on the Reverse

1. Upper Line (Quran 3:8–9)

رَبَّنَا لَا تُزِغْ قُلُوبَنَا بَعْدَ إِذْ هَدَيْتَنَا وَهَبْ لَنَا مِنْ لَدُنْكَ رَحْمَةً إِنَّكَ أَنْتَ الْوَهَّابُ ۝ رَبَّنَا إِنَّكَ جَامِعُ النَّاسِ لِيَوْمٍ لَا رَيْبَ فِيهِ...

Translation: "Our Lord, let not our hearts deviate after You have guided us and grant us from Yourself mercy. Indeed, You are the Bestower. Our Lord, surely You will gather the people for a Day about which there is no doubt..."

2. Middle / Lower Line (Quran 2:201 & Quran 36:58)

رَبَّنَا آتِنَا فِي الدُّنْيَا حَسَنَةً وَفِي الْآخِرَةِ حَسَنَةً وَقِنَا عَذَابَ النَّارِ ... سَلَامٌ قَوْلًا مِنْ رَبٍّ رَحِيمٍ

Translation: "Our Lord, give us in this world [that which is] good and in the Hereafter [that which is] good and protect us from the punishment of the Fire ... 'Peace,' a word from a Merciful Lord."

3. Blade Tip / Serrated Edge Section

Contains repeating expressions of faith and divine invocations (Tahlil and Hawqala):

لَا إِلٰهَ إِلَّا اللّٰهُ ... لَا حَوْلَ وَلَا قُوَّةَ إِلَّا بِاللَّهِ الْعَلِيِّ الْعَظِيمِ

Translation: "There is no god but Allah ... There is no power nor strength except in Allah, the Most High, the Most Magnificent."

Saturday, September 19, 2026

Ancient Artifact Review 113 : Antique Malay Jawi Plate (1883 CE)


This is a priceless antique plate decorated with Malay / Jawi texts. This plate was manufactured by Petrus Regout company sometime between 1819 CE to 1864 CE. This company was established in 1836 CE in Holland and the name was changed to Sphinx in 1899 CE . However the Sphinx was adopted as trademark between 1878-1883 CE. The trademark can be seen at the bottom of this plate, written Petrus Regout & Co Maastricht inside a box with Made in Holland under it while the picture of sphinx on the box. In the book, Piring Puisi Melayu, the Regout trademark recorded is with an elephant picture instead of a sphinx.

"The plate was printed using the process of transfer-printing. The design is engraved on a metal plate, then impressed on a thin piece of paper, and transferred to the surface of the pottery or porcelain."

There are 8 lines converging to the centre inscribed with 4 names of the first Muslim Rightly-Guided Caliphs and 4 names of the angels. The caliphs and angels name are written alternately :

Abu Bakar

Jibrail

Ali

Israfil

Osman

Izrail

Omar

Mikail

At the centre of the plate there in an inscription of Muhammad Nabi Al Rahman

This plate inscribed with these important names could be assumed served as decoration as well as reminder of these nobel figures. It could also served as an amulet ward of evil spirit or to invoke blessings to some superstitious house dwellers.

There is an interesting research & article written by Henri Chambert-Loir from Almanac Indonesia & The Malay World in regards to the poetic jawi plate. It was quite extensive research and dug further to its origin and its design. This plate was described on page 198 however without a picture. While in Piring Puisi Melayu book, the picture is included on page 37 with reference H2 without further description. According to the author, the scribe is not Khatib Muharis like in other jawi plates.  Diameter of this plate is TBAcm

See below my other Malay Plate

Pinggan Pantun 01

Pinggan Pantun 02

Pinggan Pantun 03

Pinggan Pantun 04

Reference :

1) Eating the text : English plates decorated with Malay poems, by Henri Chambert-Loir ( published in Indonesia & The Malay World 1994)

2) Piring Puisi Melayu ( Abu Muawiyah) 2023  ( Plate reference : PPM-H2 )

3) Crescent Moon : Islamic Art & Civilisation South East Asia, pg 78


Tuesday, December 10, 2024

Ancient Artifact Review 112 : Antique Malay Pending / Belt Buckle 19th Century

 






The pending is a belt buckle worn by both men and women, often in an ogival shape and decorated with floral and vegetal motifs. This pending is made of silver repousse and believed worn by men due to its large size. Some pendings that are made of gold, adorned with repoussé work and valuable gemstones, were worn by nobility. Various metalworking techniques, such as repoussé, chasing, niello, wire filigree, and faceted granulation, were used to create different aesthetic effects

Pending that is shaped like an eye. This shape is likely a symbol. In the middle there is a circle that becomes the center or pending eyeball, some are studded with jewels. Pending has smooth or notched edges, decorated with clouds or abstract decorations or plant shapes such as ghost spinach, creeping flowers or scaly animals. Everything is arranged in the area between the lines according to the pending form. In the middle, surrounded by a circle arranged with plant motifs. This decoration is produced by tapping and then carved in a traditional way.

The pending design shares similarities with those made by Chinese craftsmen for the Chinese communities in Malacca, Penang, and Singapore. In the Iban community in Sarawak, the pending serves a different purpose, being used by women to cover their chest.


Artifact Specs :

Item : Silver Repousse Pending ( Belt Buckle)

Dim : 27 cm x 15 cm

Weight : TBA

Date : 19th Century CE

Purchased Price :

Reference :  pg 47, Islamic Civilization in the Malay World


Monday, December 9, 2024

Ancient Artifact Review 111 : Antique Borneo / Brunei Brass Pot / Sulang 19th Century

 








This brass container known as “sulang”. During the 1800s, these containers were significant symbols of wealth and status among the wealthy Malay and Dayak people in Sarawak as well as in Brunei. They were often kept as heirlooms and used for various purposes, including storing jewelry and serving food.

Artifact Specs :

Item : Borneo or Brunei brass pot

Dim : 24 cm x 25 cm

Weight : 2.5kg

Date : 19th Century CE

Purchased Price :

Reference : 

Similar pot was seen displayed in the Museum of Brunei as below.


Sunday, December 8, 2024

Ancient Artifact Review 110 : Antique Ottoman Brass 3 faces Stamp dated 1311 AH ( 1893 CE)

 






This is an interesting Ottoman era 3 faces stamp dated 1311 AH ( 1893 CE)

There is a clear date written in Arabic on 1 face. The second one looks like انشاءالله

But I couldn't figure out the third word.

A similar stamp can be seen in below link :

A Dated Ottoman Stamp 001


Dim : 50mm x 20mm

Date : 1311 AH ( 1893 CE)

Material : Brass

Origin : Turkey

Price : 

Sunday, August 27, 2023

Ancient Artifact Review 109 : Antique Malay Poems Jawi Plate / Pinggan Pantun (1819-1864 CE)

 



This is a priceless antique English plate decorated with Malay / Jawi motif & pantun (poems). This plate was manufactured by Williams Adams & Sons company sometime between 1819 CE to 1864 CE. This company was established in the early nineteenth century and great supplier of wares to India & the Far East. The trademark can be seen at the bottom of this plate, written W. Adams And Son under a medallion inside which is inscribed the name of the motif viz MALAY.

"The plate was printed using the process of transfer-printing, which was first used in England around 1750. The design is engraved on a metal plate, then impressed on a thin piece of paper, and transferred to the surface of the pottery or porcelain."


The pantun inscribed on the rims written :

" Yang membuat namanya Adam,

wakilnya Tolson di Betawi,

Syair dan pantun banyaklah ragam,

Janganlah tuan kikir membeli"


Anderson Tolson is probably a retailing firm in Batavia.

The pantun inscribed 4 lines in the centre written :


Papan di tarah raja bangsawan

Laksamana mandi berdiri

Badan terserah padamu tuan

Tiada ke mana membawa diri


There is an interesting research & article written by Henri Chambert-Loir from Almanac Indonesia & The Malay World in regards to the this type of plate. It was quite extensive research and dug further to its origin and its design. The handwriting print on this plate belongs to Khatib Muharis. Even though his name is not printed on this plate, there are others with the same handwriting bearing his name. Diameter of this plate is 22cm

In the book, Piring Puisi Melayu, Abu Muawiyah classified the piring as PPM-E3 on page 303.

See below link to see what else Dr Henri said about this plate writing tradition :

Dr Henri talk on pinggan pantun

Similar plate was seen in Muzium Warisan Melayu UPM, check below link about this plate :

Pinggan Pantun in Muzium Warisan Melayu

I have quite similar design of this plate below :

Pinggan Pantun

See below my other Malay Plate

Pinggan Pantun

Reference :

Eating the text : English plates decorated with Malay poems, by Henri Chambert-Loir ( published in Indonesia & The Malay World 1994)

Piring Puisi Melayu, by Abu Muawiyah, Maktabah Nasir Addunya Waddin

Crescent Moon : Islamic Art & Civilisation South East Asia, pg 78

Tuesday, July 18, 2023

Ancient Artifact Review 108 : Antique Thai Silver Modesty Plate / Chainlink Mesh Caping/ Pubic Cover 19th Century CE

 


This is an interesting silver chain with shield shaped wire mesh modesty cover from Thailand. This chain was worn around the waist to cover private part of infant and young girls once they started walking until the age of 5 years old. Interestingly they did not wear anything else except this. 

From my research, this caping was worn by young girls in Northen Thailand.

I bought this item in Thailand however I came across a website which claimed that this mesh cover was also worn by Muslim babies in Indonesia. Anybody can verify this?

The reason this item caught my attention as it bore resemblance purpose to the Malay modesty disc or Caping as below link :

Malay Muslim Caping 01

Malay Muslim Caping 02

This chain has the length of 38cm whereas the chainlink plate has dimension of 8cm x 8cm

Saturday, June 10, 2023

Ancient Artifact Review 107 : Antique Islamic marble/ tile from Essaouira Morocco ( 19th Century) - بركة محمد (Barakah Muhammad )

 

This is a rare marble slab from most likely the town of Essaouira, Morocco from 18-19th Century. The tile is made from white marble and inscribed with Arabic words, بركة محمد

The inscription looks like  بركة محمد  pronounced as Barakah Muhammad means blessing of Prophet Muhammad.

"Barakat Mohammed" is a sacred term for the inhabitants of Essaouira and you can find this inscription almost everywhere in the town.

The inhabitants of this town adorn their houses, shops, and building with this saacred inscription to invoke blessings.

The establishment of this type of tile dating from 18th century at the foundation of the town by the Sultan Sidi Mohammed Ben Abdellah al-Qatib ( Mohammed III c. 1710-1790), calling about divine protection of the town. He let build a fortress originally called Souira ("the small fortress"). Later the name was Es-Saouira ("the beautifully made, the picture") Today this town is called Essaouira.

Notice the "Barakat Mohammed" plate on the wall upper right (Souk el Jdid)

Compare this inscription with the calligraphy in the 17th Century Quranic Manuscripts from Morocco :

Kufi Quran Page

Also compare with my other similar tile but for Jews and inscribed in Hebrew :

Jewish Tile Barak


Artifact Specs :

Item : Marble Tile

Content :  بركة محمد  (Barakah Muhammad ) means blessing of Prophet Muhammad.
Dim : 13.5cm x 13.5cm x 2cm
Date : 19th Century CE
Purchased Price :
Reference : Pottery from Morocco 19th-20th Century

Sunday, August 29, 2021

Ancient Artifact Review 106 : Antique Ottoman Sufi Plate dated 1290 AH ( 1873 CE)

 



This is a large plate with Arabic calligraphy dated 1290 AH ( 1873 CE)

The arabic calligraphy is Thuluth style and with mirror image of لا اله الا هو ( There is no God except HIM). Also with date 1290 AH.

The calligraphy and the rim pattern were executed in a brown pigment with yellow base.

Item : An Ottoman plate with Arabic calligraphy

Content : Mirror image of لا اله الا هو

DIM : 30cm x 5xm

Sunday, November 24, 2019

Ancient Artifact Review 105 : Antique Gold Embroidery Persian Wall Hanger with Kufi Calligraphy ( 19th Century)



الْعِزُّ لِلَّهِ ۞ الْمُلْكُ لِلَّهِ ۞ وَلَا غَالِبَ إِلَّا اللَّهُ

This item is a ceremonial/architectural calligraphic textile banner (an embroidered door valance or wall hanging, produced in the tradition of Ottoman or North African/Andalusian-revival ceremonial fabrics like the Kiswah or Sitara).

1. Script Style

The central calligraphic panel is rendered in Floriated / Plaited Kufic (al-Kūfī al-Muwaraq). In this style, the vertical shafts of the Arabic letters (alifs and lams) extend upward and interlock to form repeating, symmetrical architectural arches and palmette leaves.

2. Decipherment & Translation of the Inscriptions

Across the entire stitched length of the banner, the main field and borders contain repeating, foundational Islamic honorifics and royal mottos:

Main Central Field (Repeating Inside Arches)

العِزُّ لِلَّهِ ... المُلْكُ لِلَّهِ
Al-'Izzatu lillāh ... Al-Mulku lillāh
English Translation:“Glory and Might belong to God... Sovereignty belongs to God.”

Secondary Base Line / Border Motto

وَلَا غَالِبَ إِلَّا اللَّهُ
Wa lā ghāliba illā Allāh
English Translation:“There is no victor but God.”

3. Physical & Historical Characteristics

  • Technique: Couching with heavy metallic gold/silver thread (Zardozi / Kallabatun) onto a silk or satin foundation.

  • Function: Suspended above doorways, interior arches, or mihrabs using the fabric loops sewn along the top edge.

  • Artistic Context: The inclusion of the famous Nasrid motto (Wa lā ghāliba illā Allāh) alongside classical Kufic phrasing indicates an Andalusian-revival style common in 19th- to early 20th-century Ottoman and North African luxury textile workshops.


Item : Embroided Kufi Wall Hanger
Date : 1900 CE 
Dim : 600mm x 1300mm
Design : Arabic Prayer or excerpts from Al Quran embroided in Kufi script