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=Koin kuno di Indonesia=
[[File:MET 1998 544 238 1 18.jpeg|thumb|right|1 masa koin emas masing-masing 5 milimeter.]]
By the 10th-century, Java had the most complex economies in [[Southeast Asia]]. Despite the importance of rice farming which acts as a king of tax income for the Javanese courts, the influx of sea trade in Asia between the 10th and 13th centuries forced a more convenient currency to the Javanese economy. During the late 8th-century, a kind of ingots made of gold and silver were introduced. These are the '''Early Indonesian coins'''.{{sfn|Christie|1996|p=99}}
 
==Early development in Central Java==
In Java, rice farming was still the main occupation of most households in the village. This continued to provide most of the tax income of the Javanese courts. Later in the period, the northern coasts of Java and Bali became the main center of an affluent export trade in local agricultural products and manufactures, as well as spices e.g. [[sandalwood]] from east of Indonesia. These trade brought shipping industry to distant markets e.g. China and India. The increasing intensity of trade called for a convenient currency in the Javanese society.{{sfn|Christie|1996|p=98}}
 
During the late 8th-century money took the form of ingots made of gold and silver. These are the earliest recorded coins in Indonesia. The currency in Indonesia is based on weight; the most common units were the ''[[catty|kati]]'' of {{convert|750|g|oz}}, ''[[tael|tahil]]'' of {{convert|38|g|oz}}, ''masa'' {{convert|2.4|g|oz}} and ''kupang'' {{convert|0.6|g|oz}}. These units were legal tender for tax payments. The ''kati'', ''tahil'', ''masa'' and ''kupang'' units remained in use up until the Dutch period. Several trade jargon were introduced in this period, e.g. the Javanese ''wli'', which became the modern Indonesian ''beli'' ("buy"), and the Sanskrit ''wyaya'', modern Indonesian term ''biaya'' ("expenses") appears in two inscriptions both dated 878 AD. The Javanese coins have no parallels with the style of Indian coins. Most of the Javanese coins were found within the Javanese [[Shailendra dynasty|kingdom of Shailendra]].{{sfn|Christie|1996|p=99}}
 
===Gold coins===
[[File:MET 1998 544 240.jpeg|thumb|right|A gold coin of probably the highest denomination of ''ka''.]]
Most gold coins of 9th and early 10th century Java are stamped with the character ''ta'' in [[Nāgarī script|nagari script]] on one side, an abbreviation of ''tahil''. The same character remain on coins until the [[Kediri Kingdom]] period in the 12th-century.{{sfn|Christie|1996|p=99}} Gold coins were usually made in the shape of cubes, carefully crafted and very uniform and size and gold content.
 
===Silver coins===
[[File:COLLECTIE TROPENMUSEUM Prent voorstellende door Engelse particulieren voor Sumatra geslagen munten TMnr 93-4-9.jpg|thumb|left|Sandalwood decoration or quatrefoil appeared in the silver ingot on the picture below.]]
Central Javanese silver coins have very different shape compared with the gold coins. Most silver coins are round and known as "sandalwood flower" coins referring to the four-petaled flower (quatrefoil) found on the reverse. The silver coins lasted from the early 9th until the 14th century. The same flower appears on one side of older silver ingots from central Java; the other side is stamped with a flowing vase design, which is never found on coins. The observe of the sandalwood flower coins are stamped with the nagiri character ''ma'' (abbreviation of ''masa'').{{sfn|Christie|1996|p=99}}
 
Unlike the gold coins, the silver coins changed rapidly. In only one century, the character ''ma'' degenerated very quickly, perhaps because it is different with the Javanese [[Kawi script|Kawi letter]] for ''ma''. The shape also changed; in the early 10th-century, the shape of one masa changed from a thick and flat coin, to a thin and cup-shaped coin. The silver coins were presumably served as small change. The silver coins were probably created by smiths in the market for use in market transactions.{{sfn|Christie|1996|p=99}}
 
In Java, beginning at the end of the 10th-century and onwards, more and more Chinese copper coins were imported in greater quantities, as well as Chinese cash and local copies, known as ''pisis''. These coins began to displace the silver alloy coins as small denomination currency. By the mid-14th century, there were so many ''pisis'' in circulation, that the Javanese court recognized them as official currency for tax purposes.{{sfn|Christie|1996|p=99}}
 
==Sumatran coins==
In Sumatra, coins were first minted in the 11th-century. Similar sandalwood flower coins like those in Java were discovered in Sumatra, but more of these were made of gold, [[electrum]], and silver alloy. Several 11th-century sites in Sumatra including [[Barus]], [[Bengkulu]], and [[Muara Jambi]] were abundant of gold coins, while silver is rare. Similar coins were found also in [[South Thailand]]. The Sumatran silver alloy examples are very well made compared with the Javanese silver coins.
 
Curiously, no coins have been found at Palembang, said to be the center of the Sriwijayan economy. This suggests that coins may have had a limited role in the early Sriwijayan economy. International trade might have been conducted either through the mechanism known as [[tributary trade]] or in other form known as administered trade. In administered trade system, equivalencies were established between commodities through diplomatic negotiations rather than bargaining.{{sfn|Christie|1996|p=99}}
 
==Legacy==
The gold [[piloncitos]] of the Philippines are a late offshoot of the Indonesian gold coinage, while the bean-like silver "namo" series, of the Malay isthmus was presumably an offshoot of the silver and may have evolved into the bullet (Pod-Duang) coinage of [[Sukhothai Kingdom|Sukhothai]] in [[Thailand]].<ref>http://coin.filipinonumismatist.com/2011/06/piloncitos-treasure-of-philippine.html</ref>
 
==See also==
{{commonscat|Early Indonesian coins}}
*[[Piloncito]]
 
==Reference==
{{reflist|30em}}
 
==Cited works==
{{refbegin}}
*{{cite book |last=Christie |first=Jan |date=1996 |title=Ancient History |chapter=The Early Indonesian Economy |editor-last=Miksic |editor-first=John |url= |location=Singapore |publisher=Didier Millet |isbn=9813018267 |author-link= |ref=harv}}
{{refend}}
 
[[Category:Ancient currencies]]
[[Category:Medieval currencies]]
[[Category:Modern obsolete currencies]]
 
 
=Pasak pondasi Hurri=
{{Infobox artifact
| name = Hurrian foundation pegs
| image2 =
| image =[[File:Urkish lion - 21st century BC - Louvre AO 19937, AO 19938.jpg|250px]]
| image_caption = The Louvre lion and accompanying stone tablet
| material =[[Copper]], [[limestone]]
| period =[[Akkadian Empire|Akkadian]]/[[Hurrians|Hurrian]]
| size =Louvre lion: {{convert|12.2|x|8.5|cm|abbr=on}}<br>Limestone tablet: {{convert|10|x|9|cm|abbr=on}}<br>Met lion: {{convert|11.7|x|7.9|cm|abbr=on}}
| writing = Cuneiform inscription in [[Hurrian language|Hurrian]]
| created ={{circa|2300|2159 BCE}}
| discovered =Unknown
| place = Temple of [[Nergal]], [[Urkesh]], [[Syria]]
| location =[[Musée du Louvre]], [[Paris]]<br>[[Metropolitan Museum of Art]], [[New York City|New York]]
| id =Louvre lion: [http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=16795 AO 19938]<br>Louvre tablet: [http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=16795 AO 19937]<br>Met lion: [http://www.metmuseum.org/Collections/search-the-collections/30008825 48.180]
}}
 
The '''Hurrian foundation pegs''', also known as the '''Urkish lions''', are twin copper [[foundation peg]]s each in the shape of a lion that probably came from the ancient city of [[Urkesh]] (modern Tell Mozan) in [[Syria]]. The pegs were placed at the [[Foundation (engineering)|foundation]] of the temple of [[Nergal]] in the city of Urkesh as mentioned in the [[cuneiform]] inscriptions on them. The inscription on the two pegs and the associated stone tablet is the oldest known text in the [[Hurrian language]]. One of the lions is now housed, along with its limestone tablet, in the [[Musée du Louvre]] in [[Paris]]. The second lion is on display at the [[Metropolitan Museum of Art]] in [[New York City|New York]].<ref name="louvre">{{cite web|url=http://www.louvre.fr/en/oeuvre-notices/hurrian-foundation-deposit-known-urkish-lion|title=A Hurrian foundation deposit known as the "Urkish Lion"|first1=Claire|last1=Iselin|last2=André-Salvini|first2=Béatrice|publisher=[[Musée du Louvre]]|accessdate=2 December 2012}}</ref>
 
==Overview==
The foundation pegs are dated to the [[Akkadian Empire|Akkadian period]] {{circa|2300|2159 BCE}}.<ref name=Aruz222>Aruz; Wallenfels, 2003, p. 222.</ref> They were placed in the foundation of the temple of [[Nergal]], the god of the underworld, during its construction. The pegs were deposited to protect and preserve the temple and the [[Hurrians|Hurrian]] prince of [[Urkesh]], [[Tish-atal]], who dedicated it.<ref name=Aruz223>Aruz; Wallenfels, 2003, p. 223.</ref> The upper part of the figurines depict a snarling lion with the forelegs stretched forward, while the lower part ends in a thick peg. The lion places its paws on a copper plaque with [[cuneiform]] inscriptions.<ref name=Aruz222/> The copper plate and the lion pegs were made separately and then attached together.<ref name=Aruz223/> The use of such lion figures for protection was commonplace in [[Mesopotamia|Ancient Mesopotamia]], but the Urkish lions are unique in their use as foundation pegs.<ref name=Aruz222/>
 
===Louvre lion and tablet===
The Louvre lion measures {{convert|12.2|by|8.5|cm}} while the attached plaque is {{convert|8.5|cm}} wide. The inscription on the copper plaque is largely erased but the legible parts confirm that it is a copy of the cuneiform inscription found on the stone tablet.<ref name="louvre"/> The white [[limestone]] tablet, which fits under the copper plate and measures {{convert|10|by|9|cm}},<ref name="louvre"/><ref name=Aruz222/> bears the following inscription:
 
{{quote|"[[Tish-atal|Tishatal]], [Endan] king of [[Urkesh]], has built a temple for the god [[Nergal]]. May the god Nubadag protect this temple. May Nubadag destroy whomsoever seeks to destroy [it]; may his god not listen to his prayers. May the Lady of [[Tell Brak|Nagar]], [the sun god] Shimiga, and the god of the storm [curse 10,000 times whomsoever might seek to destroy it]."}}
 
The inscription is the earliest known text written in the [[Hurrian language]].<ref name="louvre"/> The stone tablet was buried along with the metal peg as evidenced by the imprints of the copper oxide on the tablet, and the reverse imprints of the tablet in the oxide of the copper plate.<ref name=Muscarella495>Muscarella, 1988, p. 495.</ref>
 
===Metropolitan Museum lion===
[[File:Foundation peg in the form of the forepart of a lion MET DP226594.jpg|thumb|Foundation peg in the form of the forepart of a lion, [[Metropolitan Museum of Art]].]]
The Met lion measures {{convert|11.7|by|7.9|cm}}<ref>{{cite web|title=Foundation peg in the form of the forepart of a lion {{!}} Hurrian {{!}} Early Bronze Age {{!}} The Met|url=https://www.metmuseum.org/art/collection/search/329078|website=The Metropolitan Museum of Art, i.e. The Met Museum}}</ref><ref name=Aruz222/> and while it was made from a different mold to that of the Louvre, it is considered stylistically the same.<ref name=Muscarella495/> The copper tablet still has legible traces of the cuneiform inscriptions. The inscriptions spanned fourteen lines. Lines 1–12 were incised vertically between the edge of the plate and the lion's left foreleg. Lines 13 and 14 were incised horizontally between the two stretched forelegs of the lion. The legible traces seem to confirm that the inscribed text is also a copy of the full inscription found on the Louvre stone tablet.<ref name=Muscarella494>Muscarella, 1988, p. 494.</ref>
 
==Acquisition==
Neither artefact has an archaeological record for its acquisition, and thus their original setting can not be confirmed. The Louvre lion and accompanying stone tablet were acquired in 1948 from a Parisian antiquities dealer. The Met lion was also purchased in 1948 from a New York antiquities dealer with funds from the [[Joseph Pulitzer|Joseph Pulitzer Bequest]].<ref name=Muscarella496>Muscarella, 1988, p. 496.</ref>
 
==See also==
{{Portal|Syria|Ancient Near East}}
*[[Art of Mesopotamia]]
*[[Hurrian language]]
 
==References==
 
===Notes===
{{reflist|2}}
 
===Bibliography===
{{refbegin}}
*{{Cite book| url = http://cdm16028.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/189351 | title = Art of the First Cities: The Third Millennium B.C. From the Mediterranean to the Indus | isbn = 9781588390431 | last1= Aruz | first1 = Joan | last2 = Wallenfels | first2 = Ronald| year = 2003|publisher=Metropolitan Museum of Art}}
*{{Cite book| url = https://books.google.com/books?id=5sxqNhfmcQUC&pg=PA377&dq=hurrian+foundation+peg#v=onepage&q=hurrian%20foundation%20peg%20mould&f=false | title = Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art | isbn = 9780870995255 | last1 = Muscarella | first1 = Oscar White | authorlink1=Oscar White Muscarella|year = 1988|publisher=Metropolitan Museum of Art}}
{{refend}}
 
[[Category:Urkesh]]
[[Category:3rd-millennium BC works]]
[[Category:Sculpture of the Ancient Near East]]
[[Category:Syrian art]]
[[Category:Archaeological discoveries in Syria]]
[[Category:Antiquities of the Louvre]]
[[Category:Copper sculptures]]
[[Category:Cuneiform]]
[[Category:Hurro-Urartian languages]]
[[Category:Architecture in collection of the Metropolitan Museum of Art]]
[[Category:Sculptures of the Metropolitan Museum of Art]]
[[Category:Metalwork of the Metropolitan Museum of Art]]
[[Category:Lions in art]]
 
=Temuan Tell Asmar=
{{Infobox artifact
| name = Tell Asmar Hoard
| image = Standing male worshiper MET DT850.jpg
| caption = [[Sumer]]ian male worshiper, Alabaster with shell eyes. One of the twelve statues in the hoard.<ref>{{Cite web|url=https://www.metmuseum.org/art/collection/search/323735|title=Standing male worshiper {{!}} Sumerian {{!}} Early Dynastic I-II {{!}} The Met|website=The Metropolitan Museum of Art, i.e. The Met Museum|access-date=2017-11-08}}</ref>
| material =[[Gypsum]], [[Limestone]], [[Alabaster]]
| created =[[Early Dynastic Period (Mesopotamia)|Early Dynastic I-II]], ca. 2900–2550 B.C.
| discovered =[[Eshnunna|Tell Asmar]], [[Iraq]]
| location =[[Metropolitan Museum]], New York, [[National Museum of Iraq]], [[University of Chicago Oriental Institute|Oriental Institute]], Chicago,
}}
[[File:Oriental Institute Museum. God with ax attacks eagle while Shamash and Worshipper stand behind (5948336437).jpg|thumb|250px|Gray limestone, Tell Asmar, Northern Palace, Akkadian (2350-2150 BC)]]
The twelve statues known collectively as the '''Tell Asmar Hoard''' ([[Early Dynastic Period (Mesopotamia)|Early Dynastic I-II]], ca. 2900–2550 BC) were unearthed in 1933 at [[Eshnunna]] (modern Tell Asmar) in the [[Diyala Region]] of [[Iraq]]. Despite subsequent finds at this site and others throughout the Greater Mesopotamian area they remain the definitive example of the abstract style of [[Early Dynastic Period (Mesopotamia)|Early Dynastic]] temple sculpture (2900 BC–2350 BC).
== Discovery ==
 
In the late 1920s antique dealers in [[Baghdad]] were acquiring large quantities of unusual, high quality artifacts from the desert east of the [[Diyala River]], just north of its confluence with the [[Tigris]].<ref name="Karen">Karen L. Wilson, ''Excavations in the Diyala Region'', in [http://cdm16028.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/189351 ''Art Of The First Cities: The Third Millennium B.C. from the Mediterranean to the Indus''], ed. Joan Aruz (New York and London: The Metropolitan Museum of Art, Yale University Press, 2003), 58.</ref> In 1929 the [[Oriental Institute, Chicago|Oriental Institute]] at the [[University of Chicago]] obtained a concession to excavate the area.<ref name="Karen"/> [[James Henry Breasted]] (1865–1935), the founder of the institute, invited the Dutch Archeologist [[Henri Frankfort]] (1897–1954) to lead the expedition. Between 1930 and 1937 Frankfort and his team conducted extensive horizontal and vertical excavations on four mounds: [[Khafajah]], [[Tell Asmar]] (ancient Eshnunna), [[Tell Agrab]], and [[Ishchali]].<ref name="Karen"/> They uncovered temples, palaces, administrative buildings, and houses ranging in date from about 3100 to 1750 B.C. The hundreds of artifacts recovered from the stratified ruins of these ancient civic structures greatly enhanced understanding of Early Dynastic periodization.<ref name="Jean">Jean M. Evans, "The Square Temple at Tell Asmar and the Construction on Early Dynastic Mesopotamia ca. 2900-2350 B.C.E.", ''American Journal of Archaeology'' 11 (2007): 600.</ref>
 
Among the most well-known and best preserved objects are the twelve statues known collectively as the Tell Asmar Hoard. The hoard was found during the 1933-34 excavation season at Tell Asmar beneath the floor of a temple dedicated to the god [[Abu (god)|Abu]]. The statues were neatly stacked in an oblong cavity beside an altar in the sanctuary. The careful placement suggests that they were buried intentionally. However, the reason for the burial and person(s) responsible for doing so remains unclear. Frankfort, who wrote extensively on the subject, suggests that a priest periodically buried old or badly damaged statues in order to make room in the temple for their replacements.<ref name="HenriFrankfort">Henri Frankfort, ''Sculpture of the Third Millennium B.C. from Tell Asmar and Khafãjah" (Chicago: University of Chicago Press, 1939).</ref>{{rp|16}}
 
== The statues ==
 
The statues of the Tell Asmar Hoard range in height from 21&nbsp;cm (8.2 in.) to 72&nbsp;cm (28.3 in.). Of the twelve statues found ten are male and two are female. Eight of the figures are made from Gypsum, two from limestone, and one (the smallest) from alabaster.<ref name="HenriFrankfort"/>{{rp|57–59}} All the figures, with the exception of one that is kneeling, are rendered in a standing position. Thin circular bases were used as supports and large wedge shaped feet provided the larger statues with added durability. The males wear kilts with a patterned hem that covers the midsection and thighs. Their broad shoulders and thick, circular arms frame the bare chest, which is partially covered by a black, stylized beard. All the males, with the exception of one that is bald and clean shaven, have long hair rendered in two symmetrical halves that frames the smooth surfaces of the cheeks and forehead. The large eyes, which are undoubtedly the most striking stylistic feature that the statues share in common, are made from inlays of white shell and black limestone; one figure has pupils of [[lapis lazuli]].<ref name="HenriFrankfort"/>{{rp|57–59}} These materials are secured to the head with bitumen, which was also used as a pigment to give the beard and hair its characteristic black color. Both the hair and the clothing, though abstracted, accurately reflect [[Sumer]]ian styles of the Early Dynastic period.<ref name="HenriFrankfort"/>{{rp|49–52}}
 
The hoard was discovered in a temple dedicated to Abu, the ancient Near Eastern god of fertility. Evidence from Early Dynastic ruins at [[Khafajah]] suggests that the statues may have been arranged along the walls of the sanctuary either on the floor or on a low mud brick bench before they were buried.<ref name="HenriFrankfort"/>{{rp|10}} Some of the statues are inscribed on the back and bottom with a name and personalized supplicatory message, while others simply state “one who offers prayers.” These inscriptions indicate that the statues functioned as a surrogate for male and female worshipers who wished to leave their prayers with the god. In the 3rd millennium B.C. the price for a votive statue likely depended on its size, and possibly what stone was used.
 
Frankfort argued that the largest figure in the hoard is not an effigy of a human worshiper, but rather a representation of the patron deity Abu.<ref name="ThorkildJacobsen">Thorkild Jacobsen, "God of Worshipper". In ''Essays in Ancient Civilizations Presented to Helene J. Kantor'', (Chicago: Oriental Institute of Chicago, 1989) 125.</ref> He calls attention to a number of features that set this particular statue apart from the rest including: the size, the unnaturally large eyes, especially the pupils, and the emblematic carving of an eagle with outstretched wings flanked by two recumbent mountain goats carved on the base.<ref name="ThorkildJacobsen"/>
 
== Notes ==
{{Reflist}}
 
== References ==
*[http://oi.uchicago.edu/pdf/oic13.pdf] Henri Frankfort, Thorkild Jacobsen, and Conrad Preusser, ''Tell Asmar and Khafaje: The First Season Work in Eshnunna 1930/31'', Oriental Institute Publication 13, 1932
*[http://oi.uchicago.edu/pdf/oic16.pdf] Henri Frankfort, Tell Asmar, Khafaje and Khorsabad: Second Preliminary Report of the Iraq Expedition'', Oriental Institute Publication 16, 1933
*[http://oi.uchicago.edu/pdf/oic17.pdf] Henri Frankfort, Iraq Excavations of the Oriental Institute 1932/33'': Third Preliminary Report of the Iraq Expedition, Oriental Institute Publication 17, 1934
*[http://oi.uchicago.edu/pdf/oic19.pdf] Henri Frankfort with a chapter by Thorkild Jacobsen, ''Oriental Institute Discoveries in Iraq, 1933/34: Fourth Preliminary Report of the Iraq Expedition'', Oriental Institute Publication 19, 1935
*[http://oi.uchicago.edu/pdf/oic20.pdf] Henri Frankfort, ''Progress of the Work of the Oriental Institute in Iraq, 1934/35: Fifth Preliminary Report of the Iraq Expedition'', Oriental Institute Publication 20, 1936
*[http://oi.uchicago.edu/pdf/oip43.pdf] Henri Frankfort, Seton Lloyd, and Thorkild Jacobsen with a chapter by Günter Martiny, ''The Gimilsin Temple and the Palace of the Rulers at Tell Asmar'', Oriental Institute Publication 43, 1940
 
== Bibliography ==
*Evans, Jean. 2012. ''The Lives Of Sumerian Sculpture: An Archaeology of the Early Dynastic Temple''. Chicago: University of Chicago.
*Evans, Jean. 2007. The Square Temple at Tell Asmar and the Construction of Early Dynastic Mesopotamia, ca. 2900-2350 B.C.E. ''American Journal of Archaeology'' 4: 599-632.
*Frankfort, Henri. 1939. ''Sculpture of the 3rd Millennium B.C. from Tell Asmar and Khafajah''. The University of Chicago, Oriental Institute Publications 60. Chicago.
*1943. ''More Sculpture from the Diyala Region''. The University of Chicago, Oriental Institute Publications 60. Chicago.
*Jacobsen, Thorkild, "God or Worshipper", in ''Essays in Ancient Civilization'' Presented to Helene J. Kantor, edited by A. Leonard Jr. and B.B. Williams, p 125-30. Chicago. 1989.
 
[[Category:Alabaster]]
[[Category:Objects in the National Museum of Iraq]]
[[Category:Sculptures of the Metropolitan Museum of Art]]
[[Category:Sumerian art and architecture]]
 
[[File:Goa Stone and Gold Case MET DP116021.jpg|thumb|[https://www.metmuseum.org/art/collection/search/454738 Goa Stone and container], probably from Goa, India, late 17th–early 18th century.]]
A '''Goa stone''' is a man-made [[Bezoar|bezoar]] that is considered to have medicinal and [[Talisman (disambiguation)|talismanic]] properties.<ref>{{cite web|title=Goa Stone with Gold Case|url=https://www.metmuseum.org/art/collection/search/454738|website=The Metropolitan Museum of Art|publisher=The Metropolitan Museum of Art|accessdate=19 November 2017}}</ref> Goa stones were manufactured by [[Jesuits]] in the late [[Seventeenth century|seventeenth century]] in [[Goa]], [[India]], because naturally occurring bezoars were scarce.<ref>{{cite web|last1=Bailly|first1=Muriel|title=Foolish Remedies: Goa Stone|url=https://wellcomecollection.org/articles/foolish-remedies-goa-stone|website=Wellcome Collection|publisher=Wellcome Collection|accessdate=19 November 2017}}</ref> Their inventor was the Florentine lay brother Gaspar Antonio, and a Jesuit monopoly was confirmed by the Portuguese on March 6, 1691.<ref>{{Cite book|url=https://books.google.com/books?id=-aA5AQAAIAAJ&pg=PA317|title=An Historical and Archæological Sketch of the City of Goa: Preceded by a Short Statistical Account of the Territory of Goa|last=Fonseca|first=José Nicolau da|date=1878|publisher=Thacker & Company, limited|year=|isbn=|location=|pages=317|language=en}}</ref> They were created by combining organic and inorganic materials including hair, shells, tusks, resin, and crushed gems, then shaping the materials into a ball and gilting it. Like [[bezoar]] stones, Goa stones were thought to prevent [[disease]] and cure [[poisoning]].<ref>{{cite web|title=Bezoar Stone with Case and Stand|url=https://www.metmuseum.org/art/collection/search/452963|website=The Metropolitan Museum of Art|publisher=The Metropolitan Museum of Art|accessdate=19 November 2017}}</ref> They could be administered by shaving off small pieces into a drinkable beverage like [[water]], [[tea]], or [[wine]].
 
Goa stones were kept in ornate, solid [[gold]] or gilded cases that were believed to enhance the medicinal properties of the stones.<ref>{{cite web|last1=Grundhauser|first1=Eric|title=The Man-Made Gut Stones Once Used to Thwart Assassination Attempts|url=https://www.atlasobscura.com/articles/the-manmade-gut-stones-once-used-to-thwart-assassination-attempts|website=Atlas Obscura|publisher=Atlas Obscura|accessdate=19 November 2017}}</ref> The cases usually featured a busy network of [[filagree]], occasionally adorned with ornaments of animals, including [[monkeys]], [[unicorns]], [[dogs]], and [[parrots]].<ref>{{cite web|last1=Ekhtiar|first1=Maryam|title=Paradox|url=https://www.youtube.com/watch?v=4I_5H5EetEE|website=YouTube|publisher=The Metropolitan Museum of Art|accessdate=19 November 2017}}</ref>
 
== References ==
<!-- Inline citations added to your article will automatically display here. See https://en.wiki-indonesia.club/wiki/WP:REFB for instructions on how to add citations. -->
{{reflist}}
 
[[Category:History of medicine in India]]
[[Category:Colonial Goa]]
[[Category:Jesuit Asia missions]]
[[Category:Containers]]
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