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The spirit of Langkasuka? Illuminated manuscripts from the East Coast of the Malay Peninsula
... This anomaly is indeed puzzling as the Turkic-Turkish theme is by no means marginal in Malay culture and history. Scholars such as Gallop (2005Gallop ( , 2018, Akbar (2015) and Tan (2003) had stated that the Turkic-Turkish themes in Malay art can be found in the east coast of the Malay Peninsular (Terengganu, Kelantan and Patani), especially in Quran manuscripts, Quran illumination and woodcarving. Analysis of the calligraphy script, arabesques and the page layout system used for the east coast Quran shows that they are on par in terms of artistry and technical finesse with the Ottoman, Persian and Indian production but with its own regional preferences and distinct characteristics (Gallop 2018). ...
... Therefore, it is not a far-fetched idea to assume the Malay-Champa relantionship had started earlier than the mentioned dates, and the Champa Pillar would have most probably originated from Kelantan, Terenganu or Patani as they are neighbouring states on the northeast coast of the Malay Peninsular and share the same artistic development in Islamic art. This is evident especially in the awan larat which is a form of Malay arabesques, and the illumination art of the Quran and manuscripts known as the 'East Coast' style (Gallop 2005). It is further strengthened by Nik Rashideen's statement, a renowned Malay woodcarver from Kelantan who stated that Patani had owned the finest art, while Terengganu has the finest artistry and Kelantan was in between (Gallop 2002). ...
... However, based on the discussion earlier, we could not reject the probability that the Champa Pillar could have actually originated from the northeast coast of the Malay Peninsular and was carried to Champa by merchants travelling by sea. This connection is further strengthened and verified based on the analysis done on the Islamic art in Terengganu by scholars such as Gallop (2005Gallop ( , 2018, Akbar (2015) and Tan (2007), where the artistic development related to calligraphy in Quran manuscripts, woodcarving and also the art of manuscript illumination shows similarities with the Ottomans, which shares the same artistic lineage with the Ghaznavid from Central Asia (Aslanapa 1973). ...
Physical objects in the forms of pillar and tombstone of Muslims migrants who came to Southeast Asia are of tremendous significance as they are the earliest seeing evidence which indicates Muslim presence in the region. However, the artistic dimensions of these objects are less studied compared to the inscription and material. Therefore, this study intends to investigate the connection between the earliest Islamic evidence found in the Southeast Asia region, the Champa Pillar (1035 CE) and its artistic influence. The art historical method was used in this study to analyse the development and influence of the Islamic art in the region based on style, technique and composition. Based on the analysis, the artistic repertoire in terms of the calligraphy script together with the content of the inscription show a strong connection with the Turkic people from India, particularly the Ghaznavid Dynasty (977-1186 CE). In addition to this, the content is also historically accurate with the development of Islamic Dynasties in the west in terms of event, historical figures and their migration. This suggest that Muslims of Turkic stock from the Ghaznavid Dynasty were among the earliest to migrate to Southeast Asia and settled in Champa, where they established an art guild and their Turkic-Islamic artistic repertoires later influenced the local existing Malay art. This indicates that while the Arabs and Persians were responsible for the spread of Islam, the Turkic people had a role in spreading the Islamic artistic repertoires to Southeast Asia.
... Red Quran binding is a name given to one of the East Coast of the Malay Peninsula Quran styles known as the Terengganu style, as described by Gallop (2005) in her findings as the most beautiful illuminated Malay Quran. Red refers to the red tanned leather used to wrap the covers. ...
... One of the most beautiful East Coast Qurans is called number 1998.1.3427 (Gallop 2005), which is believed as Sultan Baginda Omar's Quran (Nurul Iman et. al. 2006) and now under the custodianship of the Islamic Arts Museum Malaysia, which is also bound with red leather binding. ...
... Studies on the characteristics of the Malay Quran was developed with research done by Dzulhaimi (1999), Gallop (2005) and Hasnira (2014). These studies have identified the characteristics of the East Coast Quran illuminations, such as the architectural element of the Malay roof known as tebar layar and Malay carving designs. ...
This research is to reveal the East Coast Malay Peninsula's Quran binding design and decoration. There are many varieties of materials, colours, techniques and designs used in the Malay Archipelago to decorate bookbinding, including the Quran. One of the famous Malay illuminated Qurans is known as the East Coast Quran style, which is designated to Terengganu and Kelantan, located in the East Coast area of the Malay Peninsula. This Quran binding style was mainly wrapped with red leather as their covers. This is why it is called red Quran bindings. The aim of this research is to develop a set, of which can be used as another method to identify the origin of the Quran production, besides the illumination styles. Unlike Qurans from Turkey and Persia, which were signed, Qurans in this area were not signed and it is difficult to identify their origins. This research applies a typological methodology to set a standard template for the designs and decorations. Kelantan and Terengganu were famously known as Islamic learning centres in this region in the 19th century and rich with traditional local arts and culture.
DOI: 10.5901/mjss.2016.v7n4p390
... According to Wheatley (1961), it is said that there were a total of 500 Persian traders who inhabited the Tun-Sun port located at Prachuap Khiri Khan in the western provinces of Thailand, while others suggest Chumphon or Ranong in the southern Thai province near the Gulf of Thailand/Siam, bordering the northern part of the Malay Peninsula. It is interesting to note that one of the early Malay kingdoms near the Malay-Thai isthmus is the Kingdom of Langkasuka, which is believed to exist from the 2 nd century until the early 16 th century in Patani, southern provinces of Thailand (Nik Hassan Shuhaimi & Zuliskandar 2010; Gallop 2005;Wheatley 1961). Intriguingly, Patani, Kelantan and Terengganuall of which are located in the east coast of the Malaysian Peninsulashares the same artistic characteristics, development and repertoires in their form and style of Islamic art known as the 'East Coast' style, in which Patani had the finest art, Terengganu owned the finest artistry while Kelantan was in between (Gallop 2005(Gallop , 2002. ...
... It is interesting to note that one of the early Malay kingdoms near the Malay-Thai isthmus is the Kingdom of Langkasuka, which is believed to exist from the 2 nd century until the early 16 th century in Patani, southern provinces of Thailand (Nik Hassan Shuhaimi & Zuliskandar 2010; Gallop 2005;Wheatley 1961). Intriguingly, Patani, Kelantan and Terengganuall of which are located in the east coast of the Malaysian Peninsulashares the same artistic characteristics, development and repertoires in their form and style of Islamic art known as the 'East Coast' style, in which Patani had the finest art, Terengganu owned the finest artistry while Kelantan was in between (Gallop 2005(Gallop , 2002. In addition to this, the red Quran cover, illumination, book binding, calligraphy script, arabesques and the page layout system of the Qurans from the east coast also has evidence of Ottoman, Safavid and Mughal (all of which are Turkish-Turkic lineage) influences that is on par in terms of artistry and technical finesse with the Ottoman, Persian and Indian production (Ros Mahwati & Zuliskandar 2018Gallop 2018;Dzul Haimi 1997, 2007. ...
In the Islamic history of the Malay Archipelago, the Persian’s contribution in terms of the artistic repertoire influence towards the shaping of the Malay’s Islamic art has rarely been discussed by scholars. This is troubling as much of the Persian land (Iran & Iraq) from the 10th until early 13th century was inhabited by the Turkic people from Central Asia who were heavily influenced and thoroughly ‘Persianised’. Therefore, the art historical method was employed in this study to analyse the artistic connection between the Malay Archipelago with the Turco-Persian Dynasties in Iran. The findings indicate that there is a strong artistic connection with the Turco-Persian Dynasties, namely the Ghaznavid Dynasty (977-1186CE), Seljuk Sultanate of Rum (1077-1308CE) and the Candarogullari Beylik in Kastamonu, Anatolia. Although a small fraction of the Ghaznavid and Seljuk Islamic art survives, their influence can still be seen in the Islamic art used to adorn the Mahmut Bey Mosque in Kastamonu which is slowly deteriorating in time. The Mahmut Bey Mosque is a vital piece of evidence as the surviving Islamic art used to adorn the mosque is a combination traditional Turkic art with the the Seljuk and Ghanavids forms of Islamic art, in which influence of previous religion practiced by the Turkic people such as Tengrism and Buddhism are also evident. These influences were then brought to the Malay Archipelago where it is then acculturated in the existing Malay art culture, particularly in woodcarving and masonry of early Islamic tombstones.
... Nagkesar is used by Assamese tribes as a purgative, antiseptic, bitter tonic, worm control, and blood purifier [7]. Traditional Thai people used Nagkesar to treat fever, asthma, and colds, as well as as a cardio tonic, carminative, diuretic, expectorant, and antipyretic [8,9]. According to folk remedies, every part of this plant is used in the form of herbal medicine for the prevention or treatment of diseases such as: leaves are used as antidotes for snake bite and scorpion sting and leaf ashes for sore eyes; flowers are used as antidotes, expectorant, astringent, and astringent; their extracted oil is used for poultice, sores, wounds, scabies, cutaneous infection, and rheumatism [10]. ...
Earth is a heritage of plants with an abundance of species, many of which are knownamongus, but many of them are still unknown for us. There are many traditional plants whichhavebeen used for medicinal purposes since ancient times, and Nagkesar (Mesua ferrea Linn) isone of them, which is grown in many countries like India, Indochina, Nepal, Thailand, Sri
Lanka and many other countries. It is used to treat diseases like bleeding piles, renal disease, dysentery, fever, and asthma, as well as bacterial and fungal infections. It is knownfor itsmedicinal properties but has also been used as an ornamental plant since ancient times. It contains active phytoconstituents like steroids, coumarins and their derivatives, terpenoids, xanthones and their derivatives, flavonoids and pyranoxanthones, which act as precursors of other ailments. The goal of this study is to summarise the all-pharmacological activities of
Nagkesar as well as some novel uses of Nagkesar. A thorough bibliographic investigationwas launched by examining internationally recognized scientific databases such as Cochranelibrary, PubMed, ScienceDirect, Web of Science, Google scholar, and several data sets fromHerbalist library. We searched several clinical trial databases of the recent past year andprevious systematic reviews from 1980–2022. In this review article, all probablepharmacological effects of the Nagkesar plant, as well as the active components responsiblefor the biological role, are discussed. Nagkesar is important in the treatment of a varietyof ailments. Inflammation, bleeding piles, bronchitis, severe infection, fungal growth, diarrhea, and kidney disease are among conditions that can be treated with the Nagkesar plant.
... This physical analysis has gone far and beyond to reveal that the Red Qur'an was accorded the primary role of carrying the name to one of the east coast Malay Peninsula Qur'an style which was also known as the Terengganu style. The following classification is based on Gallop (2005), which is the binding style mainly wrapped with vibrant red colour and tanned leather as its cover. In addition, the lavish style of embellishment beautification on the cover, the gold stamping used in Malay Qur'an are not only an integral part of the ornamentation but is also, distinctive as one of the technique characteristics in the Malay Archipelago to decorate bookbinding. ...
Malay ornamental traditions are more generally known for their curved, expressive and convoluted patterns, emerging from the traditions of woodcarvers and artisans in observing ecological forms, rather than geometric or gridded patterns. Typically, observed flora and fauna are developed into curvatures and ornate forms and translated into panels and 'papan larik' in vernacular, including palatial, architecture. This paper highlights a lesser known tradition in Malay architectural decorative traditions in which such ecological forms are abstracted into more
Aceh has long been renowned as a centre of Islamic scholarship, and some of the most famous Malay texts were composed in this area of north Sumatra. However, despite an abundance of philological and literary studies of texts from Aceh, little attention has yet been paid to the materiality of the manuscript culture of the region. A small collection of 18 manuscripts from Aceh now in the British Library has therefore been subjected to detailed codicological scrutiny. These manuscripts, which appear to be representative of the books which circulated in the 18th and 19th century, contain multiple texts in Arabic, Malay and Acehnese, and the full contents of each volume are identified and contextualised with respect to other collections. Particular attention is paid to the original covers or bindings of the manuscripts, and illuminated elements, and some comments are drawn about the broader Acehnese tradition.
Illustrated and illuminated manuscripts of the Dalāʾil al-khayrāt from Southeast Asia are an invaluable resource for our understanding of the painting tradition of this region. The many copies now kept in various institutions attest to its popularity, while the lavish treatment often given to manuscripts indicates the high regard local communities had for this text. The types of images featured are similar to those from other parts of the Islamic world, yet these images, as well as the decorative illumination, also reflect local artistic styles. This paper examines a selection of Southeast Asian manuscripts of the Dalāʾil al-khayrāt dating from the eighteenth and nineteenth centuries, situating them both within the broader context of manuscript production and usage, and the pietistic landscape of the region.
Russell Jones (S.O.A.S. Londres) propose de réexaminer les collections de manuscrits malais, en considérant leurs caractéristiques extérieures, et notamment les filigranes de leurs papiers qui peuvent être un important critère de datation.
Russell Jones (SOAS, London) proposes that the extant collections of Malay MSS be examined anew and that their external features be taken into account, especially the watermarks of the paper which can be of great help in determining the date that they were produced.
Russell Jones (SOAS, London) memberi saran-saran untuk menelaah kembali kumpulan-kumpulan manuskrip/naskah Melayu yang tersimpan di perpustakaan-perpustakaan Eropah, dengan memperhitungkan pula ciri-ciri luarnya, antara lain filigran kertas-kertasnya yang dapat merupakan kriterium penting untuk menentukan tahunnya.
Building on Amin Sweeney’s study of Authors and audiences in traditional Malay literature (1980), this article sets out to investigate the artists who created illuminated Malay literary manuscripts, and the audiences for whose visual delight they were produced, through a focus on paratexts in the volumes: scribal or authorial notes or annotations, and ornamental and other graphic details. While distinctive regional artistic schools associated with Qur’an and other Islamic books from Southeast Asia have been identified in locations such as Aceh and the east coast of the Malay peninsula, most illuminated Malay literary manuscripts were produced in the burgeoning urban centres of Penang, Melaka, Singapore and Batavia, areas without a strong tradition of religious book production. The very different artistic profiles of these two broad groupings of manuscripts may therefore be linked with their contrasting physical and social locales. A detailed study of two illuminated manuscripts from Perlis then reveals, for the first time, the name of a Malay manuscript artist – Encik Muhammad, son of Raja Indera Wangsa – and casts valuable light on the mechanics of book production in the northern Malay peninsula in the early 19th century.
Artikel ini menyajikan hasil kajian mushaf kuno Nusantara pada koleksi Arkib Negara Brunei Darussalam yang sejauh ini belum dilakukan secara khusus. Kajian ini penting dilakukan untuk melengkapi kajian terdahulu yang dilakukan oleh Annabel Teh Gallop dalam memotret sebaran mushaf kuno di Asia Tenggara. Kajian yang telah dilakukan Annabel mampu memotret mushaf Asia Tenggara ke dalam beberapa tipologi berdasarkan hasil kajian kodikologis. Hanya saja, kajian tersebut belum merata di seluruh wilayah, termasuk di wilayah Brunei Darussalam yang mempunyai koleksi mushaf kuno yang cukup banyak. Melalui pendekatan kodikologis dan tekstual, kajian ini dapat memetakan tipologi mushaf mushaf kuno yang terdapat dalam koleksi Arkib Negara. Hasil kajian menunjukkan bahwa mushaf kuno koleksi Arkib Negara mempunyai tipologi yang dapat diduga kuat berasal dari Patani dan Jawa, dua pusat penyalinan mushaf kuno di Asia Tenggara. Kenyataan ini sekaligus menegaskan bahwa kebanyakan mushaf kuno Nusantara telah bermigrasi dari daerah asalnya ke sejumlah tempat koleksi. Kata kunci: Tipologi, mushaf kuno Nusantara, Arkib Negara Brunei.
Bu çalışmada Kur’ân-ı Kerim’in genel özelliklerinden, Kur’ân’ın Endonezya’daki yayılışından ve basımından bahsedilecektir. Bu araştırmanın amacı, orijinal Osmanlı mushaflarının Endonezya'da bulunup bulunmadığının tespitidir. Bu araştırmanın yöntemi filoloji çalışmasıdır. Osmanlı mushafının bir örneği Palembang kökenli bir sultan olan Prabu Diraja’nın mushafıdır. Bu Mushaf, aileden miras kalmıştır. Mushafın yazılış şekli Endonezya’daki mushaflardan ziyade Osmanlı mushaflarına daha çok benzemektedir. Bu araştırmada Endonezya’daki Osmanlı mushaf’ları ele alınacak ve bu mushaf’ların Endonezya’daki ilişkisi incelenecektir. Ardından Kur’ân-ı Kerim’in Endonezya’daki basım süreci ele alınacaktır.
The Northeast Monsoon floods are reportedly increasing every year in the monsoon season in Negeri Terengganu. To reduce the problem of flooding in the region, flood control measures have been implemented by the parties involved. However, flooding has not been minimized so far, even though the flood situation is getting worse every year. From that, there are many unanswered questions: (1) what the type and pattern of variation are during the Northeast Monsoon flooding; (2) what the relationship is between monsoon flooding events, monthly rainfall, and the Southern Oscillation Index (SOI); and (3) what the appropriate measures are to reduce flooding based on a scenario of climate variation. Therefore, this study aimed to identify variations of flood events; identify the relationship between rainfall events, flooding, and the SOI; and introduce measures of adaptation and adjustment of flood control based on current climate variation scenarios. Two types of method were used: a quantitative method for numerical data collection and analysis; and an expert qualitative assessment of flooding to ascertain perceptions of flood management in Malaysia. The results at Jambatan Jerangau station were more extreme than those at Kampung Menerong station. The monsoon flood event in the study area was more influenced by the rainfall of December. The flooding at Kampung Menerong station was more affected by climate variation, and that at Jambatan Jerangau station was more influenced by land use. Variations in climate phenomena (El Nino and La Nina) and aspects of variation in climate change caused by global warming affected the incidence of extreme floods. Therefore, understanding of climate variations and changes that affect flooding is very important in order to create more comprehensive control measures.
The Michael Abbott Collection of Islamic manuscripts and printed books was donated to State Library Victoria (SLV) in 2012 and comprises Qur’ans and religious texts. An initial collection survey in 2014 documented a variety of materials and techniques, but also highlighted challenges in describing Islamic bindings using existing bookbinding terminology. The Michael Abbott Collection is unique within the broader SLV collection, which is largely concentrated on the history of Western book production and trade, reflecting the primary cultural background and professional expertise of SLV specialist library and conservation staff. Subsequently, the author attended an Islamic Bookbinding Workshop at the Islamic Arts Museum of Malaysia in July 2017, presented by Dr Karin Scheper, where participants deepened their understanding of binding structures, regional variations and conservation approaches. The workshop has provided a crucial frame of reference for the Michael Abbott Collection, and revealed some Indonesian manuscript traditions, from where the majority of manuscripts originated. Revisiting the survey in 2018 identified previously overlooked structural features that have been reconsidered within the context of the collection. This is a case study of ‘revisitation’ in conservation practice, responding to the challenges of preserving dissociated cultural collections and acquiring knowledge to give original observations greater depth and meaning.
Qur’an bindings from before the 20th century are some of the cultural artefacts made from organic materials that are easily damaged during research due to mishandling. Therefore, nondestructive tests are the best approach to uncover, record and learn about artefacts without damaging the physical attributes of the manuscripts. These tests could contribute significantly in identifying and recording Qur’an bindings in particular, and Islamic manuscripts in general, especially in rural areas, or an area with limited facilities. There are basic tests, such as observations conducted under a microscope, burn tests and physical observations and comparisons. Basic forms and materials such as type of leather, type of paper, types of threads and weaving technique, which could all be easily identified and documented for heritage purposes. These tests facilitate the evaluation of the techniques and materials used in the production process of the pasteboards, wrapping and stampings of the Qur’an bindings, which were universal, but the principle aligned with Islamic traditions in safeguarding the purity and the sacredness of the Qur’an starting from the materials used in bindings, which cover and protect the Qur’an both physically and spiritually.
The Terengganu al-Quran manuscripts are among the many Quranic manuscripts existing in the Malay world. The accuracy and quality of their illustrations make them among the most beautiful manuscripts of the 18th and 19th centuries. The Terengganu Quran Manuscript IAMM2012.13.6 was chosen for this study as it is the only one of the Terengganu al-Qurans with a complete qiraat record. The main focus of the study is on the introduction of the IAMM Terengganu al-Quran manuscript 2012.13. The study also clarified the role of the Terengganu sultanate in the production of the Quran during the 18th century 19th century. To achieve these objectives, library and historical studies are used to collect data. The findings revealed that the Terengganu al-Quran manuscript was actively produced from the 18th century AD and its production was with full support by the Terengganu sultanate. This study is expected to explain to the public the excellence of the Terengganu al-Quran manuscripts and their earning efforts are evidence of local wisdom that needs to be recognized and preserved.
This paper discuss the influence of Ottoman Qur’ans on the Qur’an in Southeast Asia, from the manuscript era and through the period of early printing up to the present day. At various times, Ottoman influence can be detected in certain specific aspects of Southeast Asian Qur’ans, including the illumination, calligraphy and graphic layout of the text. In recent years this influence has become much stronger, particularly since the ratification of the Indonesian Standard Qur’an in 1984, as one of the three approved versions is based on the Qur’an printed at the Matba‘ah Bahriyah in Istanbul. This edition of the Qur’an has long been used in Indonesia by Qur’anic reciters who learn the text by heart (hafiz) in various pesantren (madrasahs). During recent research in Istanbul, a copy of the Qur’an printed at the Matba‘ah Bahriyah in the early 20th century was located in the Beyazit Devlet Kutuphanesi.
The Terengganu al-Quran manuscripts are among the many Quranic manuscripts existing in the Malay world. The accuracy and quality of their illustrations make them among the most beautiful manuscripts of the 18th and 19th centuries. The Terengganu Quran Manuscript IAMM2012.13.6 was chosen for this study as it is the only one of the Terengganu al-Qurans with a complete qiraat record. The main focus of the study is on the introduction of the IAMM Terengganu al-Quran manuscript 2012.13. The study also clarified the role of the Terengganu sultanate in the production of the Quran during the 18th century 19th century. To achieve these objectives, library and historical studies are used to collect data. The findings revealed that the Terengganu al-Quran manuscript was actively produced from the 18th century AD and its production was with full support by the Terengganu sultanate. This study is expected to explain to the public the excellence of the Terengganu al-Quran manuscripts and their earning efforts are evidence of local wisdom that needs to be recognized and preserved.
This research is to reveal the East Coast Malay Peninsula’s Quran binding design and decoration. There are many varieties of materials, colours, techniques and designs used in the Malay Archipelago to decorate bookbinding, including the Quran. One of the famous Malay illuminated Qurans is known as the East Coast Quran style, which is designated to Terengganu and Kelantan, located in the East Coast area of the Malay Peninsula. This Quran binding style was mainly wrapped with red leather as their covers. Therefore, it is called red Quran bindings. The aim of this research is to develop another method to identify the origin of the Quran production, besides the illumination styles. Unlike Qurans from Turkey and Persia, which were signed, Qurans in this area were not signed, and it is difficult to identify their origins. This research applies a typological methodology to set a standard template for the designs and decorations. Kelantan and Terengganu were famously known as Islamic learning centres in this region in the nineteenth century rich with traditional local arts and culture.
Malay manuscript culture(s) were based around a number of ruling houses and religious centres that were dispersed in the Malay world. The chirographical tradition which was not long-standing swiftly disappeared at the turn of the 20th century as colonialism brought mass education, print literacy and forms of modernity in general. In this final phase of the manuscript culture the printing industry and an ongoing monetisation of economic and cultural transactions characterised the transfer to a modern literary production based on western models and have left their marks in the manuscripts that continued to be produced. This article discusses a few broad changes that have led to the inclusion of new or changed paratexts in manuscripts of this period, namely a heightened sense of manuscript as valuable object, which arguably led to an increase of ownership statements, and a shift in the consumption of the text from orally/aurally to more visually oriented modes of consumption, leading to an increase of illustrations in the manuscripts. Paradoxically perhaps, more orally/aurally oriented, narrative poetic forms (syair) constituted the mainstay of the indigenous lithographic book production, but not of the collections of manuscripts produced to be rented out to local readers in urban centres, which form the material for this project. However, syair did feature in these manuscripts, often as a rhymed colophon, to remind the borrower to treat the manuscript with care and respect, and not to forget to pay the fees to its owner whose livelihood depended on them.
This is a topically organized comprehensive bibliography of (mainly) English language scholarship concerned with Thailand's large Muslim minority
The world knows Thailand and Malaysia as two different neighbouring countries situated next to each other. Little is known that Southern Thailand & Northern Malaysia used to share the same identity. 500 years ago they were known as Langkasuka Kingdom, until Bangkok Treaty in 1909 separated the two districts officially. Identical physical resemblance, is part of their special traits, besides local cultures, languages and folklore.The main reading of this paper is to discuss; between maintaining the identity of the locals or pursuing the national aspiration, which one is more important. Besides globalization which is slowly consuming the locals identity, whether we realize it or not, our nation's long term branding is also killing the locals identity. The initial intention might be honourable, but is it good enough until we have to sacrifice our native identity? Today, the process of identity assimilation is happening on a large scale and we are beginning to embrace it. As we know and have accepted, assimilation is a sign of progressing towards the future. But is it really necessary? The intention if this paper is to have a discourse on the need to preserve identity, or whichever comes in as priority than the identity itself.
The article treats two Qurʾān manuscripts that are kept in the Islamic Arts Museum Malaysia in
Kuala Lumpur. The two case studies which they present treat two Qur’an manuscripts, both of
which can be attributed to the East coast of peninsular Malaysia. The authors’ examination uses
various levels of analyses, including the polarizing light microscopy (PLM) and scanning electron
microscopy with energy dispersive X-ray analysis (SEM-EDX).
Annabel Teh Gallop II se trouve probablement, dans les collections publiques du monde entier, plus de manuscrits en provenance d'Aceh que de tout autre royaume malais. Un examen de ces manuscrits, qui datent pour la plupart de la fin du XVIIe et du XVIIIe siecles et qui traitent principalement de sujets religieux, permet d'identifier un style d'enluminure particulier. Ces enluminures prennent habituellement la forme d'un double cadre decore sur deux pages opposees, d'un fleuron marquant le debut du texte et d'un cul-de-lampe ornant le colophon ou les dernieres lignes du texte. Les plus beaux exemples se trouvent dans des copies du Coran. Les traits caracteristiques de ce «style acihais» d'enluminure sont analyses en termes de structure, de motifs ornementaux et de palette de couleurs. Puis, sont examines les facteurs qui ont pu influer sur la presence de telles enluminures dans les manuscrits.
Etude d'une controverse entre deux mouvements islamiques en Indonesie, la generation anciennne (Kaum Tua) et la generation jeune (Kaum Muda) qui est influencee par le mouvement reforme Salafiyya: la question du berdiri mawlid - l'etre debout pendant la lecture du passage de la naissance de Mohammed dans sa biographie - et l'orientation intellectuelle de ces deux mouvements.
Manuscripts of the Qur'an. Encyclopaedia of the Qur'an
- Dé
- Franç
Dé, Franç. 2003. Manuscripts of the Qur'an. Encyclopaedia of the Qur'an, vol. 3. Leiden: Brill. pp. 254– 75.
Warisan tamadun Islam. The heritage of Islamic civilisation Urus Setia Ekspo Tamadun Islam Sedunia. Secretariat World Islamic Civilisation Expo
- Tamadun
Tamadun. 1997. Warisan tamadun Islam. The heritage of Islamic civilisation. Urus Setia Ekspo Tamadun Islam Sedunia. Secretariat World Islamic Civilisation Expo. Kuala Lumpur: Dewan Bahasa dan Pustaka dan Bahagian Hal Ehwal Islam, Jabatan Perdana Menteri.
Kesah pelayaran Abdullah Ahmad Fathy al-Fatani
- Abdul Abdullah
- Kadir
Abdullah bin Abdul Kadir Munsyi. 1961. Kesah pelayaran Abdullah. Singapura: Malaya Publishing House. Ahmad Fathy al-Fatani. 2002. Ulama besar dari Patani. Bangi: Penerbit Universiti Kebangsaan Malaysia. Ahmad Jamal, Syed. 1994. Form and soul. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Spirit of wood: the art of Malay woodcarving. Works by master carvers from Kelantan
- A Farish
- Noor
- Khoo
- Eddin
Farish A. Noor and Khoo, Eddin. 2003. Spirit of wood: the art of Malay woodcarving. Works by master carvers from Kelantan, Terengganu and Pattani. [Singapore]: Periplus.
ISTAC illuminated. A pictorial tour of the International Institute of Islamic Thought and Civilisation (ISTAC), Kuala Lumpur. Architectural and interior design
- Al-Attas
- Sharifah
- Shifa
Al-Attas, Sharifah Shifa. 1998. ISTAC illuminated. A pictorial tour of the International Institute of Islamic Thought and Civilisation (ISTAC), Kuala Lumpur. Architectural and interior design, drawings and calligraphy by Syed Muhammad Naquib al-Attas.
Seni hias manuskrip Melayu
- Gallop
- Teh
Gallop, Annabel Teh. 2002. Seni hias manuskrip Melayu. Warisan manuskrip Melayu;
Oriental silverwork: Malay and Chinese Shafie Abu Bakar 1983
- H Roth
- Ling
Roth, H. Ling. 1993. Oriental silverwork: Malay and Chinese. Kuala Lumpur: Oxford University Press. Shafie Abu Bakar 1983. Identiti keagamaan dan tradisi pengajian di Terengganu. Pesaka, disusun oleh Dato 0 Haji Mohd. Salleh bin Haji Awang (Misbaha) dan Mohd. Yusof Abdullah; Terengganu: Lembaga Muzium Negeri, pp. 8 –16.
Occidentalism: Islamic art in the 19th century. London: Nour Foundation. (The Nasser D. Khalili Collection of Islamic Art
- Vernoit
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