Islamic Arts Museum Malaysia

This is a waqf document on a Qur’an leaf from Bait al-Maqdis (Jerusalem), Palestine, dated 15 March 1601 AD (10 Ramadhan 1009 AH).

It is a page from an illuminated Mamluk Quran in 30 parts, assigned by endowment to al-Aqsa in Jerusalem and includes a full waqfiyah statement.

The text is written in 8 lines of Naskh script per page, with verse endings punctuated with red triangles. The unwan frontispiece is illuminated in red, blue and gold in the typical style of the late Mamluk period. The judz titles are written in Thuluth script in silver on a red ground with gold arabesques and a medallion extending to the margin.

Al-Quds, the third holy city in Islam, the first qiblah of the Muslims. The Dome of the Rock is the most visible landmark of this holy city. Built in the 7th century AD, and decorated with geometric and floral motifs.

During the Ottoman rule, many of their rulers had done restoration work on the Dome of the Rock and some Ottoman tiles are believed to have been fired ‘in situ’. While in the later half of the 19th century, some tiles were replaced by the ones produced in Istanbul workshops.

On the façade of the Dome of the Rock, Iznik tiles were used to embellish the exterior design of the building. These are some of the tiles in the IAMM collection that once embellished the Dome of the Rock.

This eight-pointed star-shaped stucco panel displays the main elements of Islamic design; calligraphy, geometry and arabesque.

The area between the centre and the inner eight-pointed band contains split palmettes with ribbed infill in various arrangements, together with pine cones.

Panels of this kind carved in stucco, inspired by Persian models, became a widespread and characteristic feature of architectural ornamentation in Spain and North Africa. Polylobed arches similar to the one above the centre of this carved panel are among the most prominent features of the Alhambra and of La Mezquita, the Great Mosque of Cordoba.

Medallion designs have been a popular element in the design of Islamic carpets. Tapestries with such intricate designs are known as court carpets since they were created under the patronage of the royal workshop.

This Ushak carpet highlights the arabesque leaf scroll as a key motif in royal large scale carpets. Carpets of this type were produced not only for use at the Ottoman court but also for sale locally and for export. Indeed, for two or three centuries, Ushak carpets were the most sought-after type in the palaces and castles of Europe, and this led to the production of Western imitations.

Similar Ushak carpet can be found in Ludwig Deutsch’s painting, ‘In the Mosque’.

Catch both the carpet and painting complement each other in the Orientalist Paintings: Mirror or Mirage? exhibition, closing in less than a week.

This is a cast bronze incense burner with reign mark of Xuande (1426–1435 AD) located at the bottom and Arabic inscriptions surround the body of this incense burner.

Many Chinese examples of incense burners have no cover, for use with the stick incense that was popular there.

Cast bronze and brass objects displaying religious messages as the ‘Basmalah’ or the ‘Shahadah’ in Sini script were popular during the Xuande and Zhengde periods of the Ming Dynasty.

The Prophet Muhammad was a proponent of scents for personal use and there are many hadith relating to his use of incense. It also became a custom to burn incense in mosques at the Friday prayers. Incense were also used to welcome guests, as part of the bride’s procession and in the purification of the homes.

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This week Muslims around the world will be celebrating the birth of the Prophet Muhammad ﷺ

With that, this is an exquisite copy of Dala’il al-Khayrat produced in the East Coast of the Malay Peninsula. The manuscript contains 70 folios assembled together with the illuminations suggest that this copy was made in Patani.

The characteristics of Patani illumination style is in its discrete arches on the three outer sides as well as the repeating chilli pepper motif around the rectangular frames of the text area. The floral and foliate motifs look more organic and naturalistic.

This manuscript has six sets of double-decorated frames which indicate the beginning of the usual divisions of quarters, thirds and halves.

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This miniature painting depicts the enthronement of Tīmūr (d. 807/1405), founder of the Tīmūrid dynasty. The painting is framed by multiple borders with an inner frame of golden flower heads against a dark blue ground. The outer border, which is much broader than the others, is sumptuously decorated with scrolling arabesque leaves and flower blossoms.

The leaves become narrower, and they combine elegantly with the free-flowing scrolls to form multiple arch motifs. Slender leaf scrolls of this kind became very prominent in the decoration of art objects and architecture during the Safavid period, and were also favoured by the Mughals, also known as ‘Baburids’ to some.

Miniature painting reached its height with Persian and Indian painters who mostly incorporated visual dimension into literary works. Artistic ornamentation played a key role in the production of Islamic manuscripts complementing their outstanding calligraphy and important text.

Grandfather's Comfort
Frederick Arthur Bridgman
1878
Oil on panel

As his name foretells, Bridgman tried harder than many to bring cultures together. This painting suggests the universal values that exist around the globe. The vulnerability of the child is matched by the tenderness of the grandfather. The artist's love of textiles led the way to placing a cushion under the grandfather's right foot so that he can support the grandchild better.

𝐎𝐑𝐈𝐄𝐍𝐓𝐀𝐋𝐈𝐒𝐓 𝐏𝐀𝐈𝐍𝐓𝐈𝐍𝐆𝐒
𝑴𝑰𝑹𝑹𝑶𝑹 𝑶𝑹 𝑴𝑰𝑹𝑨𝑮𝑬?

𝟐𝐧𝐝 𝐉𝐮𝐧𝐞–𝟏𝟓𝐭𝐡 𝐎𝐜𝐭𝐨𝐛𝐞𝐫 𝟐𝟎𝟐𝟑

La Charité Chez les Derviches à Scutari
Rudolf Ernst
1893
Oil on panel

Ernst had visited Istanbul in 1890 and must have experienced more than the usual touristic venues; or he had more imagination than most. Charity is one of the five pillars of Islam, and here it is in abundance. It is even mentioned in the title of the painting— unusually this is the original wording used by the artist when he exhibited this work at the Paris Salon in 1893.

Decolonisation was among the most significant events or processes of the 20th century. The timings and patterns of decolonisation were extremely varied, and the goals of the movements in different countries were not always consistent with each other. Thus, the struggles and battles fought throughout the Malay Archipelago came in various forms. Eventually, longstanding European empires in Africa, Asia, and beyond were largely dismantled to create dozens of new nation-states, such as present-day Malaysia.

In conjunction with Malaysia’s Merdeka day, this week’s highlight is this 19th century matchlock rifle (istinggar). The rifle’s main feature is the S-shaped serpentine, propelled forward by a pivot connected to the trigger. The S-shaped serpentine and other parts of lock mechanism were also made from brass with addition of chain for the hanging of the match or ornaments.

The serpentine was richly decorated and positioned closer to the flattened triangular shaped trigger with heavily decorated trigger guards. Most of the brass parts are either chased or carved with decorative elements of fine floral foliate and traditional scroll motives such as bunga lawang (star anises).

Find this matchlock rifle in the Malay World Gallery, level 1.

The 18th and 19th centuries marked a period in which Europe became increasingly intrigued by the Islamic world and became a source of fascination to many scholars, poets and artists.

Islamic art encompasses very different media and differs greatly across time and between nations and regions, it has certain unifying characteristics, calligraphy being one of the basic components. Calligraphy (or script) was and is used in the making of Islamic art as a ‘means of artistic expression and decoration as well as written communication’.

This silver, niello and parcel-gilt dish is decorated with geometric roundels dividing alternating cartouches with scrolling vine. Inscriptions of Arabic calligraphy are visible at the centre of the dish and around the rim. However, the Arabic inscriptions on the dish are an example of pseudo-Arabic calligraphy which is quite common on such objects from Europe during that time. This marked an age in which many ventured to the East and a romanticised view of the Orient began to filter into European art.

Popular in the Indian subcontinent, the katar is a double-edged dagger with a unique shape. Its double-edged blade is usually made of fine watered steel and forged in a triangular shape.

It is used for short-range combat as well as being worn as part of ceremonial attire. Indian nobility often commissioned katars with ornamental sheaths and inlaid blades.

Katars are often characterized by its hilt which is made of two connected parallel grip bars that are further connected by two shafts. Both the handle and blade are usually forged as one piece as to prevent them from bending or breaking. However, this katar draws the attention to the engraved decoration with gold damascened on an elephant and a draped lady to one side, while the other side presents a horse with a reversed composition with a lady.

Find this fine katar in the Arms & Armour Gallery, level 2.

Wall tiles began to be used on a large scale in Europe and North America from the 1850s onwards. Advances in industrial production allowed them to be mass produced, while developments in sanitation and healthcare meant they were valued as easily cleaned surfaces. This meant that an interest in re-creating Middle Eastern and North African interiors, often imaginatively, could be fully realised by those able to afford them.

Underglaze painted fritware tiles
Damascus, Syria
C. 1420-30 AD / 823-833 AH

📍For a closer look, visit our Orientalist Exhibition at level G.

Charles Robertson (1844-1891) had spent much time in Egypt and knew bazaar protocol well. Rugs and carpets were his speciality. In the foreground he has given a taste of the diverse offerings that might be expected, in addition to the more obvious floor coverings. Porcelain from China and Japan rubs shoulders with elegant products from the Islamic world, drawing the eye into the entirely Ottoman setting of the market.

An Orientalist painting is more than a work of art; it is also an insight into other people and places. The collection in the “Orientalist Paintings: Mirror or Mirage?” exhibition is about what the artists might have seen, rather than what they never could. It is about their reactions to the Islamic world. Head to IAMM’s Special Gallery 1 and Special Gallery 2 to enjoy an exceptional display of Orientalist paintings from the 19th and early 20th centuries.

𝐎𝐑𝐈𝐄𝐍𝐓𝐀𝐋𝐈𝐒𝐓 𝐏𝐀𝐈𝐍𝐓𝐈𝐍𝐆𝐒
𝑴𝑰𝑹𝑹𝑶𝑹 𝑶𝑹 𝑴𝑰𝑹𝑨𝑮𝑬?

𝟐𝐧𝐝 𝐉𝐮𝐧𝐞–𝟏𝟓𝐭𝐡 𝐎𝐜𝐭𝐨𝐛𝐞𝐫 𝟐𝟎𝟐𝟑

Mirrors produced during the early Ottoman period were made of reflecting polished-metal surfaces. While mirror sets with brushes and combs were part of the dowry of a lady of wealth and rank, this royal mirror is adorned with a delicate design with vibrant contrasting colours which includes rubies, emeralds, turquoise, pearls and silver threads.

On the other hand, the centre of this copper hand mirror (refer 3rd photo) has a raised gem-set and turquoise-enamelled medallion with tear-drop corals set on filigree scrolls with a spiral handle.

We have now entered the month of Muharram, the first month of the Islamic calendar. As we welcome the year 1445 Hijri, this is a Persian Prayer Book, dated 23 Muharram 1299 Hijri.

The manuscript is decorated with gold and polychrome illumination and headpieces and bound in brown leather made of sheepskin. At the centre of the cover is a scalloped almond-shaped floral medallion. The interior of the medallion is edged with tiny dots.

Two sets of six-petalled flowers adorn the vertical axis to the medallion, sandwiching horizontally oriented pendants that act as cartouches with a stamped inscription in nasta‘liq script.The inscription gives the name of Muḥammad Ṣadiq ibn Bāqir; this famous craftsman of the Safavid era is recorded as one of the binders of manuscripts in the Gulistan Palace in Tehran.

"𝐖𝐡𝐲 𝐛𝐨𝐭𝐡𝐞𝐫 𝐰𝐢𝐭𝐡 𝐛𝐨𝐨𝐤𝐬? (𝐄𝐬𝐩𝐞𝐜𝐢𝐚𝐥𝐥𝐲 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐜𝐚𝐭𝐚𝐥𝐨𝐠𝐮𝐞) At a time when printed exhibition catalogues are finding less favour, the Islamic Arts Museum Malaysia has just produced its largest ever publication. This talk will address the issue of keeping the art of the catalogue alive.

Exhaustive and enquiring, 'Orientalist Paintings: Mirror or Mirage?' is the most comprehensive survey of the subject that has been published. The accompanying exhibition from the IAMM collection shows the importance of the recently revived interest in OrIentalist art -- and the catalogue.

This particular suzani is specifically a six-moon wall hanging (olti oilik palak). Suzanis such as this type are often embroidered in red and black threads. The number of moons can either be as few as six or as many as 40.

Embroidered Cotton Suzani
Piskand, Uzbekistan
Circa 1297 AH / 1880 AD
203cm x 248cm

Keris hilts made of ivory, horn and precious metals are considered more prestigious, generally used and worn during ceremonial occasions to reflect authority and social status.

These hilts are from the collection of HRH Sultan Sharafuddin Idris Shah Alhaj and Islamic Arts Museum Malaysia currently on display at the Special Gallery 2, IAMM.

💬 Which one is your favourite hilt?

Meandering tendrils motif expressing dense vegetation is embedded in the Malay World. The motif is seen applied on intricate woodcarving as well as on lavish silverware such as water containers, serving trays or on sireh sets.

It is also common to see the motif applied on keris pendoks (a protective sleeve for the keris’ scabbard). The pendok is usually made from brass, copper, silver and even gold. The pendok are often decorated in precious metals, jewels and elaborate designs that tend to be intricate rather than ostentatious. Although they serve to protect the stem, they also signify the wearer’s status with designs that may be pierced, embossed, engraved or carved with patterns typically repeats of geometric or vegetal shapes.

[Swipe ◀️ for more pendoks)

Pic 1: Betelnut container, Malay Peninsula, 19th-20th century AD
Pic 2-3: Keris Bugis Semenanjung, Malay Peninsula, 19th century AD
Pic 4: Keris Minang Lok Sembilan, western Sumatra, 19th century AD
Pic 5: Keris Palembang, Sumatra, 19th century AD
Pic 6-7: Keris Abjad Terapang, Malay Peninsula, 18th-19th century AD

The ‘sampir’ houses the top of the keris blade, usually positioned in a horizontal slant to keep the blade in place. The philosophy embedded in the design of the sampir, with the majority of shapes resembling a perahu (boat). However, the Minangkabau sampir tends to be flatter than the usual Malay Peninsula and Bugis examples.

The scabbard of this Minangkabau keris is made of wood in two shades of brown with the stem in a darker shade, while the sampir matches the shoe of the scabbard. A metal strip separates the stem and the sampir, which brings out the exquisite carving along the top of the sampir.

While the blade of this keris exhibits an uncommon ‘belalai gajah’ in the middle of the blade.

Keris Minang
Western Sumatra
20th century

📍Currently displayed at the Special Gallery 2

Keris Gabus
Sulawesi
17th-18th century

The ‘keris gabus’ or ‘terapang’ is characterised by having the stem of the scabbard encased with a gold pendok. The blade is a ‘sepukal’ type, adorned with a carved Jawa demam hilt made from ivory that sits on a tall, bowl-shaped hilt cup.

The gold pendok, known as ‘pasangtimpo’ among the Bugis in Sulawesi, was reserved for the courtiers and nobility of the island since the time of the early kingdoms. It is decorated with floral motifs and foliate scrolls that are elaborately raised from the back using the repoussé technique.

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This keris has a strong Madura appearance, especially seen in the 'dhang-odhanga' sampir which has a shrimp-like shape.

While the scabbard exhibits three floral cartouches adorn the middle of the stem, with two elements of ornamentation with similar floral motifs at the base of the stem and below the sampir.

The 'kojuk mrenges' hilt is carved with similar floral motifs on the sampir, with a muthanna (mirror calligraphy) carved on the front side. Adding grandeur to the keris is the application of gold on its g***a and gandhik (the base of the blade) with a floral motif kinatah.

Come and get acquainted with one of the most revered weapon in the Malay World!

📌 Save the date!

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This 18th century tray is adorned with floral and foliate along the rim with the centre medallion features a calligraphic inscription in Jawi that reads: "Tengku Khadijah Binti Sri Maharaja Sultan Abdul Jalil Riau" with a royal crest featuring a pair of keris and a spear.

The keris often symbolise the kedaulatan (sovereignty) of the sultans. It is a tradition that is still being practised by the royal families of present-day Malaysia, Indonesia and Brunei Darussalam. Imagery of keris is also used in coats-of-arms and insignia that show the allegiance to the sultans as the head of their states. The continuity of this royal heritage preserves not only the prestige and honour, but also
the identity of the people.

Riau
1715 AD

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This is a ring of Sultan Abu Sa’id (r. 1316-1335 AD), the last ruler of the Ilkhanids.

On this ring appears the head of a dragon, a small button protruding above, engraved with flowers.

📌 The description is written the name Sultan Abu Sa'id in the middle with a prayer on the last line of the ring.

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This Seljuk gold bracelet is composed of a band of embossed coils, beads and four small domed motifs.

Underneath those domed motifs are calligraphic decorations, produced by pouncing a thin gold sheet over a coin.

Each coin has four lines of text,
the first three are the shahada, while the fourth mentions the name of the ‘Abbasid caliph; Al-Qa'im (r. 1031–1075).

✨Inscriptions:
There is no god but God, the Unique. He has no associate.
Al-Qa’im bi-Amr Allah

A Seljuk gold armlet
Persia
11th century AD / 5th century AH

This model was made by Diego Fernández Castro (b. 1847) and presents the 'Sala del Reposo' in the Comares Baths.

Models such as this Alhambra model were first made to assist repairs to the palace, which had fallen into disrepair by the nineteenth century.

The accuracy of this model offered architectural and design students abroad a chance to study the palace without visiting it.

Spain
Late 19th century
Wood, enamel, plaster, bone inlay, alabaster

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What do these miniature paintings have in common?
Share your thoughts 👇🏼

I) Durbar of the Mughal Emperor Aurangzeb / Durbar Maharaja Mughal Aurangzeb, Deccan, Central India (late 17th to early 18th century AD)

II) Durbar of the Mughal Emperor Aurangzeb, Deccani in Mughal style central India (late 17th century AD)

III) Emperor Akbar Shah II (R. 1806-1837) in Durbar, attributable to Ghulam Murtaza Khan Musavvir, Delhi, India (circa 1810 AD)

“In this world I would rather live two days like a tiger, than two hundred years like a sheep.” - Tipu Sultan. 

Tipu Sultan (1750–1799 AD), ruler of the kingdom of Mysore in Southern India was nicknamed the ‘tiger of Mysore’, signifying his bravery, and his fondness for tigers could be seen in his personal emblem and his belongings which are inspired by and decorated with tiger motifs. 

This sword is decorated with a tiger head as visibly seen on the hilt and bubri (tiger stripes) along the blade. The blade is also inscribed in gold with Spanish inscriptions ‘No Me Salves Sin Razon’ (‘Draw me not without reason’) and ‘No Me Embaines Sin Honor’ (‘Sheath me not without honour’)

Can you detect how many tiger figures are on the hilt? 👇🏼

: The earthenware jug with its bulbous body is decorated with coloured slips and inscribed with basic Kufic script that reads “the best of wealth is to abandon high hopes”, a quote of asceticism and contentment attributed to the fourth caliph, ‘Ali bin Abu Talib.

Samanid Pottery Jug
9th-10th century AD
Central Asia

📍You can see these objects in the IAMM Ceramic Gallery on the 2nd floor

A pair of lacquer book covers
Qajar Iran
19th century AD
2016.13.6


This pair of royal Qajar illustrated lacquered book covers is notable for its exquisite detailing, with its front cover depicting Fath ‘Alī Shahwearing an elaborate jewelled regalia and his grandest imperial crown, the Taj-i Kiyani.

Fatḥ ‘Alī is seated on the famous gem-encrusted Peacock Throne, probably during a public levee (salam). Surrounded by ministers and courtiers, the Shah and his princes are adorned in royal attire and crowns; three of them wear their beards long in the same manner as the Shah.

While the back cover depicts a similar court scene, landscape, court and decoration, the king portrayed there is instead Muḥammad Shah Qajar, prince of Fath ‘Alī.

Few minor differences in the number of people, their cloth designs and accompanying objects can be also noticed.

Islamic Arts Museum Malaysia updated their business hours.

We wish all Muslims and those who are celebrating a happy Eid ul Adha. May this holy day grant us blessings and good health.

The museum will be closed for this holiday on Sunday, 10th of July and will continue the normal operation hours on Monday 11th of July 2022.

IAMM Newsletter #40 is available for download at:

https://www.iamm.org.my/newsletter/

Newsletter | IAMM Newsletter The Islamic Arts Museum Malaysia Newsletter is a medium of communication that aims to reach a wide audience including museums, institutions and intellectuals. The newsletter, published quarterly, brings updates and current happenings at the museum. Also highlighted are the museum’s acco...