Pengguna:Rochelimit/Sandbox

Perunggu ritual Cina

Berbagai wadah anggur di altar Cina dari Dinasti Zhou Barat.

Sets of ritual bronzes are the most impressive surviving objects from the Chinese Bronze Age. During the Shang dynasty, China became one of the most skilled bronze-working civilizations in the ancient world, as people heated, melted, and cast metal to making cooking utensils, tools, weapons, and other household items. Modern archaeologists see such preservation of how the ancient Chinese lived by interpreting from lacquer paintings on wood which helped preserve ancient Chinese bronze artifacts. Being from around 1650 BCE, these elaborately decorated vessels were deposited as grave goods in the tombs of royalty and the nobility, and were evidently produced in very large numbers, with documented excavations finding over 200 pieces in a single royal tomb. They were produced for an individual to use in ritual offerings of food and drink to his ancestors in family temples or ceremonial halls over tombs, or rather ritual banquets in which both living and dead members of a family participated; early literary records speak of these. On the death of the owner they would be placed in his tomb, so that he could continue to pay his respects in the afterlife; other examples were cast specifically as grave goods.

The ritual bronzes were probably not used for normal eating and drinking; they represent larger, more elaborate versions of the types of vessels used for this, and made in precious materials. Apart from table vessels, weapons and some other objects were made in special ritual forms. Another class of ritual objects are those, also including weapons, made in jade, which was probably the most highly valued of all, and which had been long used for ritual tools and weapons, since about 4,500 BCE.

At least initially, the production of bronze was probably controlled by the ruler, who gave unformed metal to his nobility as a sign of favour.

Usage

Bronzes (Hanzi sederhana: 青铜器; Hanzi tradisional: 青銅器; Pinyin: qīng tóng qì; Wade–Giles: ch'ing t'ong ch'i) are some of the most important pieces of ancient Chinese art, warranting an entire separate catalogue in the Imperial art collections. The Chinese Bronze Age began in the Xia Dynasty (ca. 2070 – ca. 1600 BC), and bronze ritual containers form the bulk of collections of Chinese antiquities, reaching its zenith during the Shang Dynasty (1600–1046 BC) and the early part of the Zhou Dynasty (1045–256 BC).

The majority of surviving Chinese ancient bronze artefacts are ritual forms rather than their equivalents made for practical use, either as tools or weapons. Weapons like daggers and axes had a sacrificial meaning, symbolizing the heavenly power of the ruler. The strong religious associations of bronze objects brought up a great number of vessel types and shapes which became regarded as classic and totemic and were copied, often in other media such as Chinese porcelain, throughout subsequent periods of Chinese art.

The ritual books of old China minutely describe who was allowed to use what kinds of sacrificial vessels and how much. The king of Zhou used 9 dings and 8 gui vessels, a duke was allowed to use 7 dings and 6 guis, a baron could use 5 dings and 3 guis, a nobleman was allowed to use 3 dings and 2 guis. Turning to actual archaeological finds, the tomb of Fu Hao, an unusually powerful Shang queen, contained her set of ritual vessels, numbering over two hundred, which are also far larger than the twenty-four vessels in the tomb of a contemporary nobleman. Her higher status would have been clear not only to her contemporaries, but also, it was believed, to her ancestors and other spirits. Many of the pieces were cast with inscriptions using the posthumous form of her name, indicating there were made especially for burial in the tomb.

Classification of pieces in the Imperial collection

The appreciation, creation and collection of Chinese bronzes as pieces of art and not as ritual items began in the Song dynasty and reached its zenith in the Qing dynasty during the reign of the Qianlong Emperor, whose massive collection is recorded in the catalogues known as the Xiqing gujian and the Xiqing jijian (西清繼鑑). Within those two catalogues, the bronzeware is categorized according to use:

• Sacrificial vessels (祭器, jìqì),
• Wine vessels (酒器, jiǔqì),
• Food vessels (食器, shíqì),
• Water vessels (水器, shuǐqì),
• Musical instruments (樂器, yuèqì),
• Weapons (兵器, bīngqì),
• Measuring containers (量器, liángqì),
• Ancient money (錢幣, qiánbì), and
• Miscellaneous (雜器, záqì).

The most highly prized are generally the sacrificial and wine vessels, which form the majority of most collections. Often these vessels are elaborately decorated with taotie designs.

See also

• History of Chinese archaeology

References

• Rawson, Jessica (ed). The British Museum Book of Chinese Art, 2007 (2nd edn), British Museum Press, ISBN 9780714124469
• Sickman, Laurence, in: Sickman L & Soper A, "The Art and Architecture of China", Pelican History of Art, 3rd ed 1971, Penguin (now Yale History of Art), LOC 70-125675
• Xi'an Jiaqiang (in Chinese)
• Xiqing Gujian (西清古鑒). China. 1749–1755. 

Further reading

• Fong, Wen (ed.) (1980). The great bronze age of China: an exhibition from the People's Republic of China. New York: The Metropolitan Museum of Art. ISBN 0870992260. Pemeliharaan CS1: Teks tambahan: authors list (link)
• https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/ancientmetals2.pdf Chinese Bronzes: Casting, Finishing, Patination, and Corrosion
• http://www.academia.edu/3459636/The_Intersection_of_Past_And_Present_The_Qianlong_Emperor_and_His_Ancient_Bronzes

External links

• ritual vessels from AAT-Taiwan
• Frick Collection ARCADE

Templat:Chinese bronzeware Category:Chinese art|Bronzes]]

Kumpulan perunggu ritual adalah objek bertahan paling mengesankan dari Zaman Perunggu China. Selama dinasti Shang, Cina menjadi salah satu peradaban perunggu yang paling terampil di dunia kuno, karena orang memanaskan, meleleh, dan melemparkan logam untuk membuat peralatan masak, peralatan, senjata, dan barang-barang rumah tangga lainnya. Arkeolog modern melihat pelestarian seperti bagaimana orang Tionghoa kuno hidup dengan menafsirkan dari lukisan pernis pada kayu yang membantu melestarikan artefak perunggu China kuno. [2] Berawal dari sekitar tahun 1650 SM, kapal-kapal yang didekorasi dengan rumit ini disimpan sebagai barang-barang muram di makam bangsawan dan bangsawan, dan ternyata diproduksi dalam jumlah sangat besar, dengan penggalian yang terdokumentasi menemukan lebih dari 200 buah di sebuah makam kerajaan tunggal. Mereka diproduksi bagi seorang individu untuk digunakan dalam persembahan ritual makanan dan minuman kepada nenek moyangnya di kuil keluarga atau ruang seremonial di atas makam, atau lebih tepatnya perjamuan ritual dimana anggota keluarga yang tinggal dan yang sudah meninggal berpartisipasi; catatan sastra awal berbicara tentang ini. Pada kematian pemilik mereka akan ditempatkan di makamnya, sehingga dia dapat terus memberi penghormatan di akhirat; Contoh lain dilemparkan secara khusus sebagai barang makam. [3]

Perunggu ritual mungkin tidak digunakan untuk makan dan minum normal; mereka mewakili versi kapal jenis yang lebih besar dan lebih terperinci yang digunakan untuk ini, dan dibuat dengan bahan berharga. Selain kapal meja, senjata dan beberapa benda lainnya dibuat dalam bentuk ritual khusus. Kelas benda ritual lainnya adalah benda-benda itu, termasuk juga senjata, yang dibuat di giok, yang mungkin merupakan barang yang paling bernilai tinggi, dan yang telah lama digunakan untuk alat dan senjata ritual, sejak sekitar 4.500 SM. [4]

Paling tidak pada awalnya, produksi perunggu mungkin dikendalikan oleh penguasa, yang memberi logam yang tidak terbentuk pada bangsawannya sebagai tanda dukungan. [5]

Penggunaan [sunting | sunting sumber] Perunggu (Hanzi Sederhana: 青铜器; Hanzi Tradisional: 青銅器; Pinyin: qīng tóng qì; Wade-Giles: ch'ing t'ong ch'i) adalah beberapa bagian paling penting dari seni Cina kuno, yang menjamin keseluruhan katalog terpisah di koleksi seni Kekaisaran. Zaman Perunggu China dimulai pada Dinasti Xia (sekitar 2070 - sekitar 1600 SM), dan wadah ritual perunggu membentuk sebagian besar koleksi barang antik Cina, mencapai puncaknya selama Dinasti Shang (1600-1046 SM) dan bagian awal dari Dinasti Zhou (1045-256 SM).

Mayoritas artefak perunggu kuno China yang masih ada adalah bentuk ritual daripada padanan mereka yang dibuat untuk penggunaan praktis, baik sebagai alat atau senjata. Senjata seperti belati dan sumbu memiliki makna pengorbanan, yang melambangkan kekuatan surgawi penguasa. Asosiasi religius objek perunggu yang kuat membawa sejumlah besar jenis dan bentuk kapal yang dianggap klasik dan totem dan disalin, seringkali di media lain seperti porselen Cina, sepanjang periode seni China berikutnya.

Buku-buku ritual orang Tiongkok kuno dengan teliti menggambarkan siapa yang diizinkan menggunakan jenis-jenis kapal kurban dan berapa banyak. Raja Zhou menggunakan 9 dings dan 8 kapal gui, seorang duke diizinkan menggunakan 7 dings dan 6 guis, sebuah baron dapat menggunakan 5 sen dan 3 guis, seorang bangsawan diizinkan untuk menggunakan 3 sen dan 2 guis. Beralih ke temuan arkeologi yang sebenarnya, makam Fu Hao, ratu Shang yang luar biasa kuat, berisi seperangkat kapal ritualnya, berjumlah lebih dari dua ratus, yang juga jauh lebih besar daripada dua puluh empat kapal di makam seorang bangsawan kontemporer. Statusnya yang lebih tinggi pasti tidak hanya terbatas pada orang-orang sezamannya, tapi juga diyakini oleh nenek moyangnya dan roh-roh lainnya. [6] Banyak dari potongan-potongan itu dilemparkan dengan tulisan-tulisan yang menggunakan bentuk anumerta namanya, yang menunjukkan bahwa ada pembuatan khusus untuk dimakamkan di dalam kuburan. [7]

Seni lukis Rajasthani

An 18th-century Rajput painting by the artist Nihâl Chand.

Godhuli, Mewar, ca. 1813

Rajput painting, also called Rajasthani painting, evolved and flourished in the royal courts of Rajputana in India. Each Rajputana kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana. Miniatures in manuscripts or single sheets to be kept in albums were the preferred medium of Rajput painting, but many paintings were done on the walls of palaces, inner chambers of the forts, havelis, particularly, the havelis of Shekhawati, the forts and palaces built by Shekhawat Rajputs.

The colours were extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colours was a lengthy process, sometimes taking weeks. Brushes used were very fine.

Content

While there exist a plethora of themes in Rajput paintings, a common motif found throughout Rajput works is the purposeful manipulation of space. In particular, the inclusion of fuller spaces is meant to emphasize the lack of boundaries and inseparability of characters and landscapes. In this way, the individuality of physical characters is almost rejected, allowing both the depicted backgrounds and human figures to be equally expressive.

Outside of a purely artistic standpoint, Rajput paintings were often politically charged and commented on social values of the time. Mewar's rulers wanted these painting to portray their ambitions and establish their legacy. Therefore, paintings were often indicative of a ruler's legacy or their changes made to better society.

Both of these factors clearly distinguish Rajput paintings from Mughal works. While, from a chronological standpoint, both of these cultures clashed with one another, Rajput paintings only superficially adopted Mughal fashion and cultural standards. Elements, such as distinct portraiture, utilized by popular Mughal artists (Govardhan, Hashim, etc.) are not found in Rajput works. Likewise, Rajput techniques are not predominantly seen in Mughal paintings.

"At the opening of the eighteenth century, therefore, Rajput painting remains recognizably different in intent from traditional Mughal attitudes" (Beach 175).

Schools

In the last decades of the 16th Century Rajput art schools began to develop distinctive styles combining indigenous as well as foreign influences (Persian, Mughal, Chinese, European) into unique styles. Rajasthani painting consists of four principal schools that have within them several artistic styles and substyles that can be traced to the various princely states that patronised these artists. The four principal schools are as follows:

1. The Mewar school that contains the Chavand, Nathdwara, Devgarh, Udaipur and Sawar styles of painting
2. The Marwar school comprising the Kishangarh, Bikaner, Jodhpur, Nagaur, Pali and Ghanerao styles
3. The Hadoti school with the Kota, Bundi and Jhalawar styles and
4. The Dhundar school of Amber, Jaipur, Shekhawati and Uniara styles of painting.

The Kangra and Kullu schools of art are also part of Rajput painting. Nainsukh is a famous artist of Pahari painting, working for Rajput princes who then ruled that far north.

Economic prosperity of commercial community and revival of “Vaisnavism” and the growth of Bhakti Cult were the major factors that contributed greatly to the development of Rajasthani paintings. In the beginning this style was greatly influenced by religious followers like Ramanuja, Meerabai, Tulsidas, Sri Chaitanya, Kabir and Ramanand.

All of Rajputana was affected by the attack of the Mughals but Mewar did not come under their control till the last. This was the reason that Rajasthani school flourished first in Mewar, (the purest form and later on in), Jaipur, Jodhpur, Bundi, Kota- Kalam, Kishangarh, Bikaner and other places of Rajasthan.

See also

• Mewar painting
• Kangra painting
• Tanjore painting
• Dalchand, an 18th-century Rajput artist

References

• The City Palace Museum, Udaipur: paintings of Mewar court life. by Andrew Topsfield, Pankaj Shah, Government Museum, Udaipur. Mapin, 1990. ISBN

094414229X.

• Splendour of Rajasthani painting, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-267-5.
• Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian school of painting, by Radhakrishna Vashistha. Abhinav Publications, 1995. ISBN 81-7017-284-5.
• A study of Bundi school of painting, by Jiwan Sodhi. Abhinav Publications, 1999. ISBN 81-7017-347-7
• Court painting at Udaipur: art under the patronage of the Maharanas of Mewar, by Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. ISBN 3-907077-03-2.
• Rajput Painting, by Ananda K. Coomaraswamy, Publisher B. R. Publishing Corporation, 2003. ISBN 81-7646-376-0.
• The artists of Nathadwara: the practice of painting in Rajasthan, by Tryna Lyons. Indiana University Press, 2004. ISBN 0-253-34417-4.
• Beach, M. (1992). 1700–1800: The Dominance of Rajput Painting. In Mughal and Rajput Painting (The New Cambridge History of India, pp. 174–213). Cambridge: Cambridge University Press. doi:10.1017/CHOL9780521400275.008
• Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. Art Bulletin, 94(4), 650-652.

Further reading

• Dalrymple, William. (2016). [1] The beautiful, magical world of Rajput art.] New York Review of Books, November 26, 2016.
• Kossak, Steven. (1997). Indian court painting, 16th-19th century. Metropolitan Museum of Art. ISBN 0870997831

External links

• Indian medieval painting schools - Rajput painting
• Indian Court Painting, 16th-19th Century from the Metropolitan Museum of Art

Seni Timurid

The Angel Hinders the Offering of Isaac, Shiraz 1410.

Timurid art is a style of art originating during the rule of the Timurid Empire (1370-1507). Timurid art was noted for its usage of both Persian and Chinese styles, as well as for taking influence from the art of other civilizations in Central Asia. After the decline of the Timurid Empire, the art of the civilization continued to influence other cultures in West and Central Asia.

History

The Timurid Empire was established by Timor the Lame in 1370 after the conquest of the various Ilkhanate successor states. After conquering a city, the Timurids commonly spared the lives of the local artisans and deported them to the Timurid capital of Samarkand. After the Timurids conquered Persia in the early 15th century, many of the culture's artistic traits became interwoven with existing Mongol art. Timor the Lame's conversion to Islam later in life made Samarkand one of the centers of Islamic art. In the mid 15th century the empire moved its capital to Herat, which became a focal point for Timurid art. As with Samarkand, Persian artisans and intellectuals soon established Herat as a center for arts and culture. Soon, many of the Timurids adopted Persian culture as their own.

Illustration

Timurid art absorbed and improved upon the traditional Persian concept of the "Arts of the Book". The new, Timurid-inflected works of art saw illustrated paper (as opposed to parchment) manuscripts produced by the empire's artists. These illustrations were notable for their rich colors and elaborate designs. Due to the quality of the miniature paintings found in these manuscripts, Suzan Yalman of the Metropolitan Museum of Art noted that "the Herat school [of manuscript painting] is often regarded as the apogee of Persian painting." Painting was not limited to manuscripts, as many Timurid artists created intricate wall paintings. Many of these wall paintings depicted landscapes derived from both Persian and Chinese artistic tradition. While the subject matter of these paintings was borrowed from other cultures, Timurid wall paintings were eventually refined into their own, unique style. Mongol artistic traditions were not entirely phased out, as the highly stylized depiction of human figures seen in 15th century Timurid art is derived from this culture.

Metalwork, ceramics, and carving

The Timurid Empire also produced quality pieces of metalwork. Steel, iron, brass, and bronze were commonly used as mediums. Timurid silver-inlaid steel is often being cited as being of particularly high quality. Following the collapse of the Timurid Empire, several Iranian and Mesopotamian cultures co-opted Timurid metalwork.

Chinese-style ceramics were produced by Timurid artisans. Jade carving also had some presence in Timurid art.

Legacy

Following the decline of the Timurid Empire in the late 15th century, the Ottomans, Safavid dynasty, and Mughal Empire co-opted Timurid artistic traditions into their own.

Gallery

• 
  A Timurid carved jade sword hilt.
• 
  Timurid-inspired image of Babur.
• 
  15th century Timurid tankard made in Herat.

Pichangatti

Pisau belati (pichangatti) dengan sarungnya dari abad ke-19.

Pichangatti adalah pisau bermata lebar yang ditemukan di bangsa Kodava di Karnataka, India. Karakteristik pichangatti adalah gagang peraknya dengan pommel berbentuk bola berbentuk kepala burung nuri. Pichangatti merupakan bagian dari pakaian tradisional pria orang Kodava.

Asal-usul

Orang kodava dengan pichangatti yang diselipkan didepan sabuk.

Nama pichangatti adalah bahasa Tamil untuk "pisau tangan". Pichangatti adalah pisau tradisional bangsa Kodava. Ayudha katti adalah pedang tradisional bangsa Kodava. Orang-orang Kodava (Kodava, Kannada) tinggal di wilayah Kodagu, di India barat daya yang sekarang terletak di Karnataka. Bangsa Kodava sudah tinggal di wilayah tersebut selama lebih dari dua ribu tahun. Perkembangan senjata ayudha katti dimulai disekitar abad ke-17. Ayudha katti pertama kali dikembangkan sebagai alat untuk memotong semak belukar. Bentuk ayudha katti mirip dengan senjata yatagan di Turki dan sosun pattah di India Utara.

Selama masa kolonial, Inggris menyebut wilayah tersebut Coorg, korupsi dari "Kodagu". Kata kodagu berarti "berbukit" atau "curam", nama yang mengacu pada kondisi geografis wilayah tersebut.

Kodavas dikenal sebagai pejuang yang tidak kenal takut. Untuk melindungi kemerdekaan wilayah mereka, Kodavas melakukan beberapa peperangan dengan tetangga mereka, termasuk dengan Inggris pada tahun 1834. Sebagai tanggapan atas sebuah kerusuhan yang terjadi di dekat Malappuram pada tahun 1884, Inggris menghukum wilayah Kodagu dengan menyita sebagian besar senjata mereka, termasuk ayudha katti. Tercatat 17.295 senjata, 7503 senjata diantaranya adalah senapan, disita oleh pemerintah kolonial. Sebagian besar senjata ini dibuang ke laut, sementara beberapa senjata yang berkualitas tinggi masih bisa dilihat di Madras Museum.

Bentuk

Pichangatti memiliki bentuk yang lebar, berat, dan bermata tunggal. Panjang pichangatti sekitar 7 inch, dengan gagang yang polos dan berakhir dengan pangkal yang bulat. sarung pichangatti dihiasi dengan lempengan kuningan, perak, atau emas. Sebuah rantai melekat pada sarung tersebut, rantai ini membawa bermacam perangkat seperti pinset, pembersih kuku, pembersih telinga, dan sebagainya. Pisau pichangarri selalu dibawa di sisi depan sabuk yang mengusung ayudha katti. Ciri khas pichangatti lain adalah pangkal gagangnya yang dibentuk seperti kepala burung nuri. Sering kali mata burung nuri tersebut dihiasi dengan rubi yang tidak dipotong. Gagang pichangatti bertatahkan perak. Terkadang gagang pichangatti terbuat dari gading.

Sarung pichangatti terbuat dari kayu (atau gading) dan dihiasi dengan logam mulia seperti perak atau kuningan. Sebuah rantai yang terbuat dari perak atau kuningan menghubungkan sarung pichangatti dengan berbagai implement yang digunakan sebagai: tusuk gigi, pinset, pembersih telinga, penusuk, dan artikel untuk membersihkan kuku. Pichangatti hampir sama seperti pisau kantong zaman modern.

Lihat juga

• Ayudha katti

Bibliografi

• Egerton, Earl Wilbraham Egerton (2002). Indian and Oriental Arms and Armour. Dover: Courier Corporation. ISBN 9780486422299. 
• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Toradar

This toradar is probably used for hunting. The decoration on the stock shows various animal figures e.g. buffaloes, panthers, etc.

A toradar is an Indian matchlock dating from the 16th-century. It was a preferred firearm in India well until the mid 19th-century because of its simple and cheap design.

Sejarah

Ketika Portugis sampai di India pada tahun 1498, mereka membawa serta senjata api, di antaranya senapan pencocokan. Armorer ahli berlimpah di India, dan pengrajin asli mulai menyalin senjata dan menyesuaikannya untuk kebutuhan mereka sendiri. Sebagian besar pengrajin ini mulai menerapkan gaya hiasan yang biasanya akan diaplikasikan pada senjata tradisional mereka. Segera gaya lokal yang khas berevolusi dalam pertandingan tandingan ini, dan toradar ditemukan di anak benua India. [1]

Matchlock Toradar tetap menjadi mekanisme senjata api yang disukai sampai sekitar tahun 1830. Sebagian alasan mengapa korek api masih lebih populer daripada wheellock dan flintlock karena korek api lebih mudah dan murah untuk diproduksi. [2] Toradar kadang-kadang digunakan sebagai senjata berburu.

When the Portuguese reached India in 1498, they brought with them firearms, among them the matchlock musket. Expert armorers are plentiful in India, and native craftsmen began to copy the weapons and adapting them for their own needs. Most of these craftsmen started to apply a style of decoration that normally would be applied to their traditional weapon. Soon a distinctive local style evolved in this matchlocks, and the toradar was invented in the Indian subcontinent.

Toradar matchlock remained to be the preferred firearms mechanism well until about 1830. Part of the reason why the matchlocks were still more popular than the wheellocks and flintlocks was because the matchlocks were easier and cheaper to produce. Toradar was sometimes used as a hunting gun.

Description

A toradar is basically an Indian matchlock. They were found mostly in the Mughal-influenced Northern and Central India. Two types of toradar exist: one has a very slim, from 3 kaki (91 cm) to 6 kaki (180 cm) long, straight stock with pentagonal-shaped section, and a light barrel; the other type is always between 5 kaki (150 cm) to 6 kaki (180 cm) long, has a curved stock with diamond-shaped section and a very heavy barrel, much enlarged at the breech. Both have the regular Indian type of lock, which is covered with a pan cover that usually swings on a pin. The iron side plates which reinforce each side of the stock extend for some distance on each side of the lock.

The barrel is usually fastened to the stock by wire band or leather thongs which frequently pass over silver saddles on the barrel. The rear sight of the first type have ogival shape, or an open V, while the second usually has a very large open rear sight. Both types' muzzles are generally fastened with moulded ring. The front sight are made very long so as to show above them. This front sights were often shaped into figurative forms e.g. the nose of a man, or shaped like tiger's head. Some toradar have square-shaped barrel, even with square bores. Both types generally have a clevis for a sling strap and some have two.

Compared with the European matchlocks, the stock of a toradar has a more simple shape than the fish-tail shaped butt of the European matchlock. The stock is also too small to be placed against the shoulder, so the Indian toradar were normally held beneath the arm.

A toradar used for sporting gun had painting of hunting figures, e.g. birds, other animals, and landscapes.

Sebuah toradar pada dasarnya adalah sebuah matchlock India. Mereka kebanyakan ditemukan di India Utara dan Tengah yang dipengaruhi oleh Mughal. Dua jenis toradar ada: satu memiliki bagian yang sangat tipis, dari 3 kaki (91 cm) sampai 6 kaki (180 cm) panjang, lurus dengan bagian berbentuk pentagonal, dan laras ringan; Jenis lainnya selalu antara 5 kaki (150 cm) sampai 6 kaki (180 cm) panjang, memiliki stok melengkung dengan bagian berbentuk berlian dan laras yang sangat berat, banyak membesar di sungsang. Keduanya memiliki tipe kunci khas India, yang ditutup dengan penutup pan yang biasanya ayunan pada pin. Pelat samping besi yang memperkuat setiap sisi stok meluas sampai jarak tertentu di setiap sisi kuncinya. [3]

Laras biasanya diikatkan pada kaleng oleh band kawat atau tali kulit yang sering melewati sadel perak di laras. Pemandangan belakang tipe pertama memiliki bentuk ogival, atau V terbuka, sedangkan yang kedua biasanya memiliki pemandangan belakang yang sangat besar terbuka. Kedua jenis 'moncong umumnya diikat dengan cincin cetakan. Tampilan depan dibuat sangat panjang sehingga bisa tampil di atas mereka. Pemandangan depan ini sering dibentuk menjadi bentuk figuratif mis. hidung seorang pria, atau berbentuk seperti kepala harimau. [4] Beberapa toradar memiliki laras berbentuk persegi, bahkan dengan bore persegi. Kedua jenis umumnya memiliki clevis untuk tali pengikat dan beberapa memiliki dua. [3]

Dibandingkan dengan matchlock Eropa, stok toradar memiliki bentuk yang lebih sederhana daripada pantat ekor ikan dari matchlock Eropa. Stok juga terlalu kecil untuk ditempatkan di bahu, jadi torarik India biasanya dipegang di bawah lengan. [5]

Sebuah toradar yang digunakan untuk senapan olahraga memiliki lukisan tokoh berburu, mis. burung, binatang lain, dan lanskap.

Artistic decoration

A Rajasthani Toradar with paintings of flowers.

Decoration of a toradar reflects the local culture where the torador is created. For the toradar, craftsmen produced some very complex ornate art from ivory bone or precious metal inlays on the barrels and the stocks. 17th-century Mughal emperor Shah Jahan was depicted holding a matchlock with floral decoration."Matchlock Gun". The Metropolitan Museum of Art. The Metropolitan Museum of Art. 2017. Diakses tanggal November 15, 2017.  A toradar from 18th-century Mysore, in the southern Indian state of Karnataka is equisitely decorated with incised flowers and foliage. The decorations are entirely gilded. The incised side plates are made of iron. Animal figures are thoroughly represented in the toradar; the match holder of toradar usually has a serpentine naga-like shape, figures of tiger are impressed in the trigger of the Mysore toradar. A 19th-century toradar from Narwar has a tiger's head shaped around the muzzle.

Dekorasi toradar mencerminkan budaya lokal tempat torador dibuat. Bagi toradar, perajin menghasilkan beberapa seni hiasan yang sangat rumit dari tulang gading atau inlay logam mulia pada tong dan stok. Kaisar Mughal abad ke-17 Shah Jahan digambarkan memegang sebuah korek api dengan hiasan bunga. "Matchlock Gun". Museum Seni Metropolitan Museum Seni Metropolitan 2017. Diakses tanggal 15 November 2017. Sebuah toradar dari Mysore abad ke-18, di negara bagian Karnataka di India selatan dihiasi dengan bunga dan dedaunan yang menorehkan. Dekorasi sepenuhnya disepuh emas. Pelat sisi yang diiris terbuat dari besi. Tokoh binatang diwakili secara saksama dalam toradar; pemegang pertandingan toradar biasanya memiliki bentuk naga serpentine serpentine, sosok harimau sangat terkesan dengan pemicu toradar Mysore. Sebuah toradar abad ke-19 dari Narwar memiliki kepala harimau yang berbentuk di sekitar moncongnya. [6]

Cited works

• Blair, Claude (1979). Enciclopedia ragionata delle armi. Milano: Arnoldo Mondadori Editore. </ref>
• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Madaka

A picture of the Anakalang society of west Sumba showing various heirloom objects, e.g. mamuli, marangga, and madaka.

Madaka, juga mendaka, adalah sebuah tipe perhiasan logam mulia yang ditemukan di kebudayaan megalithikum orang Sumba bagian barat di Pulau Sumba, Indonesia (misalnya suku Anakalang). Seperti kebanyakan objek logam mulia lain di kebudayaan Sumba, madaka dianggap sebagai objek pusaka yang berharga dan diturunkan dari generasi ke generasi.

Madaka, also written as mendaka, is a type of precious metal valuable to the Sumba people of Sumba Island, Indonesia. It is found in the megalithic culture of the western Sumba people, e.g. the tribe of Anakalang. Of all precious metal valuable to Sumba people, the madaka is considered to be the most sacred type of gold heirloom. In this photograph, the madaka is the third hung object from the right.

Bentuk dan evolusinya

Madaka memiliki bentuk yang bisa dijelaskan sebagai bongkahan berbentuk cangkang kerang. Menurut beberapa orang, bentuk madak merepresentasikan naga, duri-duri radial merepresentasikan tulang-tulang naga, dan bukaan pada madaka sebagai mulutnya. Orang-orang tua di suku Anakalang Sumba barat menjelaskan bahwa madaka adalah benda pusaka paling tua dan paling suci di Sumba. Beberapa madaka ditaksir berumur lima sampai enam abad yang lalu. Madaka mungkim datang dari Jawa dimana objek tersebut diberikan sebagai bentuk penghargaan kepada pejabat tinggi.

Bentuk madaka merupakan variasi dari objek Sumba lainnya yang bernama mamuli, dengan barisan duri-duri berbentuk radial yang mengitari sebuah lubang dengan potongan ditengahnya. Bentuj mamuli merepresentasikan vagina, simbol dari wanita dan kemampuan wanita untuk membuat kehidupan. Bentuk seperti omega pada mamuli dna madaka juga disebut dengan nama "oval terbuka". Bentuk "oval terbuka" banyak ditemukan diseoanjang kepulauan Indonesia, misalnya di Sumatera utara (duri-duri orang Batak)

Madaka have the shape best described as scalloped lumps. According to some Sumbanese people, the madaka was a stylized naga dragon: the radiating spokes are said to represent the spine of tha naga, and the opening its mouth. Anakalang elders explained that the madaka was the most archaic and sacred of all gold heirlooms of Sumba. Some madaka date back five or six centuries. Madaka have been presented by the ancient rulers of Java as tokens of high office.

The shape is a variation of another Sumba ornament called the mamuli, with a row of radiating spokes surrounding a hole and a slit in the middle. In the case of the mamuli, the shape represents female genitalia and symbolizes female sexuality and the ability of women to create life. The archaic omega-shaped form of both mamuli and madaka is also known as "open oval". In the case of the madaka, one of the two finials (which are on each side of the bottom slit) protrudes further than the other. This is comparable with other open oval forms found in the Indonesian archipelago, e.g. the duri-duri of the Batak, far west in Sumatra.

Function

Madaka digunakan sebagai objek pusaka yang dikumpulkan oleh kepala adat sepnjang waktu. Madaka lebih sering disimpan didalam rumah. Bersama dengan objek pusaka lain seperti mamuli dan marangga, madaka disimpan di ruang dibawah atap rumah tradisional Sumba, uma mbatangu. Madaka hanya dibawa keluar pada saat upacara-uoacara penting dan selalu dibawah pengawasan dukun desa.

The madaka of Sumba are used as a kind of heirloom object that was accumulated by the clan leader through time and mostly kept in the interior. Together with other heirloom objects e.g. the marangga and the mamuli, madaka are kept in the attic of the noble's uma mbatangu or the traditional Sumbanese peaked house. They are brought into the light only during ritual occasions and under the control of the village priests.

The madaka is instrumental in marriage ceremonies, as it is one of the many objects. The madaka is given to the wife-taker from the family of the wive-giver.

Lihat juga

• Mamuli
• Marangga

Bibliografi

• Richter, Anne; Carpenter, Bruce W. (2012). Gold Jewellery of the Indonesian Archipelago. Editions Didier Millet. ISBN 9789814260381. 
• Rodgers, Susan (1988). Power and gold: jewelry from Indonesia, Malaysia, and the Philippines : from the collection of the Barbier-Mueller Museum, Geneva. Prestek-Verlag. ISBN 9783791308593. 

Piha kaetta

The Sinhalese piha kaetta, a royal silver dagger.

Piha kaetta is knife native to the island of Sri Lanka. Piha kaetta has a straight-backed blade and a curved cutting edge. They are associated with the royalty. Many piha kaetta knifes were produced in royal workshops, inlaid with silver filigree band or ivory sheath.

'Piha kaetta' adalah pisau asli pulau Sri Lanka. Piha kaetta memiliki straight-backed blade dan cutting edge melengkung. Mereka terkait dengan royalti. Banyak piha kaetta knifes diproduksi di bengkel kerajaan, bertatahkan pita filigri perak atau selubung gading.

Daggers in South Asia

Selama masa keemasan Kekaisaran Mughal di India antara abad 16 sampai awal abad ke 18, belati diproduksi secara meluas. Belati ini terkenal dengan logam berkualitas tinggi, hiasan halus dan bentuk elegan yang khas. Bentuk anggun elegan yang ditemukan pada banyak belati, pisau, dan pisau selama periode tersebut menunjukkan pengaruh dari dunia Islam. Belati belati ini sering bersifat royal dan dipakai oleh para pangeran dan bangsawan untuk membela diri, untuk berburu, atau untuk dipamerkan. Dalam pertempuran, mereka adalah senjata penting di dekat jarak, mampu menusuk baju besi surat pejuang India.

During the golden age of the Mughal Empire in India between the 16th to the early 18th-century, daggers were produced in widespread. These daggers were notable for their high quality metalwork, fine ornamentation and distinctive elegant form. The elegant graceful form found in many daggers, blades, and knives during the period indicates influence from the Islamic world. These daggers were often royal in nature and was worn by princes and nobles for self-defense, for hunting, or for display. In combat, they were essential close-quarters weapons, capable of piercing the mail armor of Indian warriors.

Antara akhir abad ke-17 sampai abad ke-18, Sri Lanka mulai memproduksi piha kaetta secara lokal, semacam pisau dengan tepi anggun yang ditata serupa dengan desain pisau lainnya yang ditemukan di anak benua India. Berbeda dengan belati subkontinental yang dipengaruhi Mughal yang banyak digunakan dalam pertempuran, piha kaetta Sri Lanka sebagian besar digunakan sehari-hari untuk pekerjaan pertanian atau di padang gurun. Kaih terbaik piha kaetta dibuat di "empat bengkel" ('pattal-hatara' '), sejenis pengrajin di mana sekelompok pengrajin terpilih bekerja khusus untuk raja dan istana kerajaannya, atau untuk orang lain hanya dengan izin raja . Nama "empat lokakarya" mengacu pada lokakarya "permata", "mahkota", "pedang emas", dan "tahta" masing-masing. Di Sri Lanka, seni bangunan, lukisan, ukiran gading, perhiasan, dan lain-lain berada di tangan sebuah persekutuan turun-temurun atau kasta pengrajin yang menempati posisi terhormat.

Between late 17th-century to 18th-century, Sri Lanka began to locally produce the piha kaetta, a kind of knife with a graceful edge styled similarly with the design of other blades found in the Indian subcontinent. Unlike the Mughal-influenced subcontinental daggers which were mostly used in battles, the piha kaetta of Sri Lanka were mostly for everyday use for farm work or in the wilderness. Finest piha kaetta were made at the "four workshops" (pattal-hatara), a kind of craftsmen guild where a selected group of craftsmen worked exclusively for the king and his royal court, or for others only by the king's permission. The name "four workshops" refer to respectively the "jewel", "crown", "golden sword," and "throne" workshops. In Sri Lanka, the arts of building, painting, ivory-carving, jewelry, etc. were in the hands of a hereditary guild or caste of craftsmen which occupied an honorable position.

Form

This piha kaetta has a stylus carried in the sheath with the knife.

Piha kaetta memiliki pisau yang berat sekitar 05 inch sampai 2 inci (5,1 cm) tebal dan 5 inch menjadi 8 inci (20 cm) panjang. Ini memiliki panel bertatah di bagian belakang pisau dan ujung lurus lurus yang mengarah ke ujungnya. Kaetta berarti "paruh" atau "bingkisan", mungkin mengacu pada ujung melengkungnya.

The piha kaetta have a heavy blade about 05 inch to 2 inch thick and 5 inch to 8 inch long. It has an inlaid panel on the back of the blade and a straight cutting edge that curves towards the tip. Kaetta means a "beak" or "billhook", probably refers to its curving tip.

Piha kaetta sederhana terbuat dari baja dan gagang kayu atau tanduk. Kualitas tinggi piha kaetta dihias dengan halus, biasanya di bagian belakang pisau di mana mereka bisa diukir dengan campuran panel hias perak dan kuningan; atau diukir dengan sangat dalam dan ditutupi dengan daun perak tipis yang tertempel di cekungan ukiran. Hilang piha kaetta berkualitas tinggi terbuat dari kombinasi bahan yang berbeda misalnya. logam mulia (emas, perak, kuningan, tembaga, batu kristal, gading, tanduk, baja atau kayu). Saluran ini dibuat dalam bentuk yang sangat khas, kadang-kadang berbentuk seperti kepala makhluk mitos atau dalam bentuk serpentin.

Seringkali stylus bertatahkan perak dibawa dalam sarungnya dengan pisau.

Frequently a silver-inlaid stylus is carried in the scabbard with the knife.

Bibliografi

• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 
• Wright, Arnold (1907). Twentieth Century Impressions of Ceylon: Its History, People, Commerce, Industries, and Resources. Asian Educational Services. ISBN 9788120613355. 

Topi baja turban

Late 15th-century turban helmet in the style of Turkmen armor.

Topi baja turban adalah sebuah tipe topi baja dari Turki yang berukuran besar dan dikenal dengan bentuknya yang seperti bawang dan lekukan nya. Nama topi baha turban diambil dari cara pemakaiannya yang biasa dipakai di atas turban. Topi baja turban biasa ditemukan di daerah dimana Kekaisaran Ottoman pernah berkuasa.

Form and evolution

Topi baja Turki paling awal berbentuk kerucut dengan pelat, surat atau pelindung leher empuk. Dari pertengahan 14 sampai setidaknya awal abad ke-16 helm tumbuh dalam ukuran, menjadi sangat besar dan sering dihias secara rumit dan dihiasi. [2] Helm Utsmaniyah besar ini dipakai oleh pejuang di atas serban kain, dan oleh karenanya mereka disebut "helm turban". Helm Turban dikenal dengan bentuk bulat besar. Beberapa contoh helm turban dibentuk dengan spiral spiral, yang diduga meniru lipatan turban. Bentuk khas ini ditempa dari sepiring besi atau baja tunggal yang meruncing ke finial yang diaplikasikan secara terpisah. Tepi helm dibentuk di atas mata, dan kemudian dipasang di sekitar tepi dengan tindik atau peluru yang ditusuk di mana pertahanan aventail atau email dijamin dengan kabel. [2] Aventail, sebuah surat logam yang fleksibel, meluas ke bawah untuk melindungi wajah dan leher. Aventail biasanya dipasang dengan segel timbal yang diberi cap dengan bekas yang digunakan di gudang persenjataan Ottoman. [3] Batang hidung yang bisa diatur diikat dengan braket ke sisi depan helm, di antara bukaan mata. Desainnya digunakan untuk melindungi hidung prajurit. [4]

The earliest of the Turkish helmets were conical with plate, mail or padded neck guards. From the mid-14th to at least the early 16th century the helmets grew in size, becoming very large and were often elaborately fluted and decorated. These large Ottoman helmets were worn by warriors over a cloth turbans, and so they were called "turban helmets". Turban helmets are known for its large bulbous shape. Some examples of turban helmets were shaped with spiraling flutings, supposedly imitating the folds of a turban. This distinctive shape was forged from a single plate of iron or steel that tapers to a separately applied finial. The rim of the helmet is shaped over the eyes, and then fitted around the edge with pierced lugs or vervelles where the aventail or mail defense is secured by a cord. The aventail, a flexible metal mail, extends downward to protect the face and the neck. The aventail is usually fixed with a lead seal which is stamped with the mark used in the Ottoman arsenals. An adjustable nasal bar is fastened with a bracket to the front side of the helmet, between the eyes-openings. The design is used to protect the warrior's nose.

Decoration

Late 15th-century turban helmet inlaid with silver and gold.

Di Turki Utsmani, kelompok darwis tertentu mengenakan turban yang dilumuri dengan jumlah lipatan yang ditentukan untuk mewakili bilangan mistis yang penting. Kemungkinan helm turban dianggap tidak hanya sebagai baju besi tapi juga sebagai semacam lencana religius. Simbolisme agama dari helm turban menunjukkan bahwa pemakainya adalah pejuang dalam Perang Suci. Helm serbaguna berukuran besar, bersama dengan korek api surat dan pelat yang sesuai, dimaksudkan untuk dikenakan oleh kavaleri berat. [5]

Karena sifat religius dari helm turban, mereka sering bertuliskan kaligrafi Arab untuk melambangkan kata-kata Tuhan yang diambil dari Quran. Lebih sering lagi prasasti tersebut memuliakan penguasa yang dipuja oleh prajurit tersebut. Kata-kata tertulis Allah dari Quran diduga meminta kekuatan pelindung Tuhan kepada pemakainya. Prasasti itu terkadang bertatahkan emas dan perak, dan dihiasi motif arabesque di sekelilingnya. Sebagian besar hias logam mulia dilakukan di kemudian hari saat helm tidak lagi digunakan dan diperdagangkan. Helm turban lainnya berisi saran bagaimana mencapai kebajikan. [5]

In Ottoman Turkey, certain dervish groups wore turbans wound with a prescribed number of folds to represent an important mystical number. It is likely that turban helmets were regarded not only as an armor but also as a kind of religious insignia. Religious symbolism of the turban helmets indicates that the wearer is a fighter in a Holy War. Large-sized turban helmets, together with the mail and plate armour of matching decoration, were intended to be worn by heavy cavalries.

Because of the religious nature of the turban helmets, they are often inscribed with Arabic calligraphy to symbolizes the words of God as taken from the Quran. More often is that the inscription glorifies the ruler whom the warrior is loyal to. Inscribed words of God from the Quran supposedly invoke the protective power of the God to the wearer. The inscriptions were sometimes inlaid with gold and silver, and decorated with arabesque motifs around the edges. Most inlaid of precious metals were done in later period when the helmet was no longer in use and was traded. Other turban helmets contain advises on how to attain virtue.

Cited works

• Alexander, David G. (2015). Islamic Arms and Armor in The Metropolitan Museum of Art. New York City: Metropolitan Museum of Art. ISBN 9781588395702. 
• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Rudus

Rudus
A rudus with a style distinctive to the region of northern Sumatra inhabited by the Aceh and Pakpak people.
Jenis	Sword
Negara asal	Malay of Sumatra
Sejarah pemakaian
Digunakan oleh	Malay people
Spesifikasi
Tipe gagang	Wood
Jenis sarung	Wood

A Rudus is a sword or cutlass associated with the Malay culture of Sumatra. Together with the pemandap, the rudus is among the largest swords of Malay people. Rudus is also a symbol of certain Malay state in the Island, e.g. the Province of Bengkulu in Sumatra, Indonesia.

Rudus adalah senjata pedang atau golok yang diasosiasikan dengan kebudayaan Melayu di Sumatera. Bersama dengan pemandap, rudus termasuk kedalam senjata berukuran terbesar bangsa melayu.

Description

The rudus is associated with the Islamic Malay culture. It is found to be more common in Sumatra than in the Malay peninsula. Together with the pemandap, the rudus is considered to be a symbol of the Sumatran Malay culture. The Acehnese people and the Malay of Bengkulu are recorded to have the rudus as their cultural identity. Rudus is also found in the Malay Banjar people of South Kalimantan, where it was an official traditional weapon of the province of South Kalimantan, together with the kuduk.

Rudus diasosiasikan dengan kebudayaan melayu. Rudus lebih umum ditemukan di Sumatera daripada di tanjung melayu. Bersama dengan pemandap, rudus adalah simbol bangsa Melayu di Sumatera. Orang Aceh dan orang Melayu di Propinsi Bengkulu memasukkan rudus sebagai bagian dari identitas kebudayaannya. Rudus juga merupakan senjata tradisional orang-orang Banjar di Kalimantan Selatan, bersama dengan senjata kuduk.

In the Islamic period of Indonesia, the island of Sumatra was divided into multiple small sultanates that were at war with each other. The province of Bengkulu in South Sumatra alone had many sultanates, among the sultanates were the Sultanate of Sungai Serut, Selebar, Pat Petulai, Balai Buntar, Sungai Lemau, Sekiris, Gedung Agung and Marau Riang. These warring sultanate states would equip their warriors with weapons e.g. the badik, rambai ayam and rudus. Rudus was also used in the ceremony of the election of the datuk, the chief of the adat.

Selama masa periode Islam di Indonesia, pulau Sumatera terbagi atas kerajaan-kerajaan kecil yang saling berpernag satu sama lain. Masing-masong kerajaan ini memiliki prajuritnya masing-masing dan mengembangkan berbagai macam senjata perang seperti badik, rambai ayam, dan rudus. Selain sebagai senjata perang, rudus juga digunakan dalam upacara pengangkatan datuk.

During the colonial period, rudus was used by the natives as a form of resistance toward the colonial government. Because of this romanticized patriotic notion of using the rudus to rise against the oppressor, the rudus is featured in the seal of the Bengkulu province to symbolize heroism.

Selama masa kolonial, rudus digunakan oleh penduduk asli sebagai bentuk perlawanan terhadap pemerintah kolonial. Karena gagasan patriotik yang romantis ini dengan menggunakan rudus untuk bangkit melawan penindas, rudus ditampilkan di meterai provinsi Bengkulu untuk melambangkan kepahlawanan.

Form

The seal of the province of Bengkulu features two rudus.

Rudus terdiri dari mata (secara harfiah "mata", mata pisau), ulu ("gagang"), dan sarung ("sarung"). [2]

Rudus sering ditulis dengan tulisan Jawi di bagian pedang, mis. pada pisau atau di gagangnya Skrip Jawi adalah sejenis alfabet Perso-Arab yang digunakan untuk menulis bahasa Melayu, terutama oleh orang Aceh, orang Banjar, dan Minangkabau. Pembuat pedang rudus akan mengukir tanggal selesainya pedang, serta namanya dan desa asalnya. Namun, dalam beberapa kasus, prasasti itu menunjukkan tanggal hiasan ulang pisau itu. Sebuah rudus yang disimpan di Metropolitan Museum of Art di New York City memiliki prasasti yang mengidentifikasi bahwa seniman tersebut berasal dari sebuah desa di Semenanjung Malaysia, namun bentuk hiasannya tidak endemik di Semenanjung Malaysia, namun lebih ke wilayah Sumatera utara yang dihuni oleh orang Aceh dan Batak Pakpak. Ini menunjukkan bahwa rudus dibuat di Sumatera dan kemudian didekorasi di negara tetangga Malaysia. [3]

Prasasti bisa ditulis di atas pisau atau di gagangnya. Contoh Museum Metropolitan Art memiliki prasasti bertatahkan emas. Beberapa memilih untuk mengukirnya di gagang kayu. [3]

Rudus dibawa tersandang di samping.

The rudus consists of the mata (literally "eyes", the blade), the ulu ("hilt"), and the sarung ("sheath").

The rudus is often inscribed with Jawi script at parts of the sword, e.g. at the blade or at the hilt. The Jawi script is a kind of Perso-Arabic alphabet that was used for writing the Malay language, especially by the Acehnese, Banjarese, and Minangkabau. The maker of the rudus sword would carve the date of the completion of the sword, as well as his name and his village of origin. In some cases however, the inscription indicated the date of the re-decoration of the blade. A rudus kept in the Metropolitan Museum of Art in New York City has inscription which identifies that the artist came from a village in Peninsular Malaysia, however the shape of the decoration is not endemic to the Peninsular Malaysia, but more to the northern Sumatran region which is inhabited by the Aceh and the Batak Pakpak people. This indicates that the rudus was made in Sumatra and then decorated in neighboring Malaysia.

Inscriptions can be written on the blade or on the hilt. The Metropolitan Museum of Art example has the inscriptions inlaid with gold. Some chose to carve it on its wooden hilt.

The rudus is carried slung at the side.

Cited works

• Newbold, T.J. (1839). Political and Statistical Account of the British Settlements in the Straits of Malacca. Oxford University. 

Kulah khud

A style of helmet known as top in India. This top came from the Deccan region.

A kulah khud (known in India as top) is a type of helmet worn by warriors across much of Indo-Persian world from late medieval times onward. Characteristic features are the mail aventail veil, the spike holder on top, and two to three plume holders.

Kulah khud (dikenal di India dengan nama top) adalah sebuah tipe topi baja yang digunakan oleh prajurit-prajurit di daerah Indo-Persia dimulai dRi Abad Pertengahan. Ciri-ciri kulah khud adalah pelindung rantai yang terpasang di bagian bawah helm, duri di atas, dan dua tempat bulu di sisi kiri dan kanan.

Form and origin

Kulah khud mungkin berasal dari Asia Tengah. [2] Mereka dicatat untuk dipakai sebagian besar orang Indo-Persia di wilayah ini, mis. orang Arab, Persia, Turki dan India. Mereka biasanya terbuat dari baja. Kulah khud berbentuk mangkuk, baik rendah maupun datar, atau tinggi dan runcing. Ini mungkin berisi soket spike di bagian atas helm, yang menyerupai ujung tombak dengan bagian seperti salib. Dua (atau tiga) pemegang plume dilekatkan pada kedua sisi tengkorak, digunakan untuk memasang bulu seperti egret. [3] [4]

Fitur kulah khud yang paling mencolok adalah aventail surat besi dan kuningan atau kuningan dan tembaga yang tergantung di dasar helm untuk melindungi leher, bahu, dan bait pada wajah. Terkadang, surat aventail meluas ke bawah untuk menutupi mata dan bahkan hidungnya. Ujung bawah aventail surat sering bekerja dalam bentuk lonjakan segitiga, sehingga bisa tetap terbungkus relatif di sisi depan dan belakang bahu pejuang. [4]

Batang hidung geser yang terbuat dari besi atau baja menempel pada bagian depan helm dengan braket dan dapat disesuaikan pada posisinya. Bila tidak digunakan, bar hidung bisa diikat dengan kaitan dan kait, atau kadang dengan sekrup set. Dua ujung bar hidung diperluas menjadi piring, membentuk semacam finial. Di beberapa helm India, ujung bawah batang hidung sangat membesar dalam bentuk bulan sabit sehingga menutupi sebagian besar wajah di bawah mata. Ada versi langka dari kulah khud dimana ada tiga besi hidung untuk melindungi hidung dan pipi. [4]

The kulah khud probably originated in Central Asia. They were recorded to be worn by most Indo-Persians of the region, e.g. the Arabs, Persians, Turkish and Indian. They were usually made of steel. Kulah khud is bowl-shaped, either low and flat, or high and pointed. it may contain a spike socket at the top of the helmet, which resembles a spearhead with its cross-like section. Two (or three) plume holders are attached on either side of the skull, used to mount feathers such as the egret.

The kulah khud's most striking feature is the iron-and-brass or brass-and-copper mail aventail that hung at the base of the helmet to protect the neck, shoulders, and the temple of the face. Sometimes, the mail aventail extends down to cover the eyes and even the nose. The low end of the mail aventail is often worked in a form of triangular spikes, so that they could stay relatively affixed on the front- and back-side of the warrior's shoulder.

A sliding nasal bar made of iron or steel is attached to the front of the helmet with a bracket and can be adjusted in position. When not in use, the nasal bar could be fastened up by a link and hook, or sometimes by a set screw. The two ends of the nasal bar expanded into plates, forming a kind of finial. In some of the Indian helmets, the lower end of the nasal bar is enormously enlarged in a crescent form so that it cover most of face below the eyes. There is a rare version of the kulah khud where there are three nasal irons to protect the nose and the cheeks.

Decoration

A highly ornate top from 18th-century Mughal warrior.

The kulah khud has a relatively similar identifiable form, but their decoration greatly varies. Parts of the kulah khud, especially the skull and the nasal bar, were heavily decorated with patterned motifs of inlaid brass, silver or gold; or decorated with figural images. A Mughal top helmet features calligraphic inscriptions from Quran, supposedly to protect the wearer from harm or to gain a speedy victory. A top discovered in Gwalior, India, features a skull-and-crossed-bones motif, a sign of European influence. The upper and lower finial of the nasal bar is also the focus of artistic decoration in the kulah khud. One example is an image of the elephant-headed Hindu god Ganesha carved on the upper finial of the nasal bar of a Sikh top.

Kulah khud memiliki bentuk pengenal yang relatif sama, namun dekorasi mereka sangat beragam. Bagian dari kulah khud, terutama tengkorak dan nasal bar, dihiasi dengan motif bermotif kuningan, perak atau emas bertatah; atau dihiasi dengan gambar figural. Helm top Mughal menampilkan prasasti kaligrafi dari Quran, yang seharusnya melindungi pemakainya dari bahaya atau untuk mendapatkan kemenangan yang cepat. Bagian atas yang ditemukan di Gwalior, India, menampilkan motif tengkorak dan lintang tulang, tanda pengaruh Eropa. Bagian atas dan bawah nasal bar juga merupakan fokus hiasan artistik di kulah khud. Salah satu contohnya adalah gambar dewa Hindu berkepala gajah Ganesha yang diukir di ujung atas batang hidung bagian atas Sikh.

Revival

Despite modernization of Iran’s military in the nineteenth century, traditional armor continued to be manufactured. They are often served only for military parades, as costume for religious or historic plays, or as souvernirs.

Meskipun modernisasi militer Iran di abad kesembilan belas, armor tradisional terus diproduksi. Mereka sering dilayani hanya untuk parade militer, sebagai kostum untuk drama religius atau sejarah, atau sebagai souvernir.

Bibliografi

• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Dao

Dao
Assamese Dao with scabbard, 19th-century
Jenis	Sword
Negara asal	India, Assam and Nagaland
Sejarah pemakaian
Digunakan oleh	Naga people
Spesifikasi
Berat	2.665 gram (94,0 oz)
Panjang	45 sentimeter ()-65 sentimeter ()
Lebar	51 sentimeter ()
Tipe pedang	Single edge
Tipe gagang	wood, cane
Jenis sarung	wood, cane
Tipe kepala	steel

Dao is the national sword of the Naga people of Assam and Nagaland, India. The sword, with its wooden hilt, and unique square form is used for digging as well as for killing.

Dao adalah senjata nasional dari orang Naga di Assam dan Nagaland di India. Dao memiliki fungsi yang beragam, mulai dari untuk berburu atau untuk memggali.

Form

Golok dao ditemukan di Assam dan Nagaland di timur laut India dimana orang-orang Naga tinggal. Dao memliki bentuk yang tebal dan berat, dengan panjabg bervariasi atara 45 hingga 65 centimeter. Bentuk dao unik karena ujungnya pedangnya melebar diujung dan mengecil di pangkal, sehingga bentuknya seperti kotak. Bentuk ini juga ditemukandi pedang dha, yang kemungkinan merupakan evolusi dari bentuk dha melalui kebudayaan Kachin di Burma.

Pedang dao berbentuk hampir lurus dengan lengkungan yang sangat tipis yang hanya dapat terlihat jika diobservasi lebih teliti. Pedang dao memiliki pinggir seperti dipahat. Bentuk uniknya adalah pedangnya menipis di pangkal dan melebar di ujung.

Pegangan dari dao terbuat dari kayu dan memiliki bentuk yang sangat sederhana, tanpa pelindung atau pangkal yang membesar. Akar bambu dianggap sebagai bahan baku paling baik untuk sebuah dao. Pegangan dao dililit dengan semacam anyaman untuk meyediakan pegangan yang kuat. Terkadang tutup perunggu ditempatkan dipangkal pegangan dao. Beberapa pegangan dao terbuat dari gading.

The dao broadsword can be found in the northeastern region of Assam and Nagaland in India where the Naga people lives. The dao has a thick and heavy form, with length varies between 45 sentimeter () to 65 sentimeter (). The unique design of this long backsword is that instead of a point, the tip of the sword is a bevel, creating an appearance of a squarish shape. This form is also found in the Burmese dha whose form is derived from the dao. The form of the dao was first adopted by the Kachin people who live along the Assam-Burma border and to the east, in the most mountainous regions of Upper Burma. From here the form would evolve to the more elongated dha.

The blade of the Dao is almost straight, with a very minimal curve that can only be discerned upon close examination. The blade is heavy and chisel-edged. It has a unique form that it is narrowest at the hilt and the gradually broaden to the endpoint.

The wooden hilt has a very simple shape, without a guard or without a distinguished pommel. Bamboo root is considered to be the best material for the hilt. The grip of the handle is sometimes wrapped with basketry. Sometimes the hilt is decorated with a bronze cap at the bottom. The hilt may also be made of ivory, and occasionally can be well-carved.

Dao is usually carried in an open-sided wooden scabbard which is fastened to a rattan belt hoop. The scabbard is centrally hollowed out on one face.

Multi-function

Dao mungkin merupakan satu-satu ya alat yang dipakai oleh orang Naga. Dao digunakan untuk bermacam-macam hal misalnya untuk membangun rumah, untuk menebang pohon, untuk menggali, untuk membuat anyaman, dwn untuk membuat perabot kayu. Dao juga digunakan sebagai senjata.

The dao is almost the only tool that was used by the Naga people. It is used for many purposes e.g. for building houses, to clear the forest, to dig the earth, to make the women's weaving tools, and to create any kind of wooden objects. The dao is also used as a weapon.

Cited works

• Burton, Richard F. (1987). The Book Of The Sword. London: Dover. ISBN 0-486-25434-8. 
• Greaves, Ian A.; Bowditch, Mark I.; Winston, Andrew Y. (2005). "THE SWORDS OF CONTINENTAL SOUTHEAST ASIA". Ars Cives Creativity. Ars Cives Creativity. Diakses tanggal November 15, 2017. 
• Jones, Lee A. (1999). "Sword-daos of the Hill Tribes of Assam and Nagaland (northeastern India) and of the Kachin Peoples (northern Burma (Myanmar))". Viking Sword. Viking Sword. Diakses tanggal November 15, 2017. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 
• van Zonneveld, Albert G. (2001). Traditional Weapons of the Indonesian Archipelago. C. Zwartenkot Art Books. ISBN 9789054500049.