This is te sample of DriwancyD-ROM,if you want to get it please ask via comment
Driwan Cybermuseum Home office galery
This is te sample of DriwancyD-ROM,if you want to get it please ask via comment
Driwan Cybermuseum Home office galery
The Dr Iwan Cybermuseum Galery
I just starting to built my Masterpieces History Collections museum in Jakarta.
I have found very good Maur Museum display collections and this info will be my based
And I also look the other better history Museum In Melaka
Kelantan gold coin
The Malaysian Independent History Museum
This museum give me an idea how to arranged the informations
I hope my cybermuseum will be on of the best history museum in the world
I have just meet the owner of Zheng He Museum Penang at Kuala Lumpur november 2013, and we meet agrrement to colloaberation in his museum which be soft opening in February 2014, and in june will launching.
This is the mutual benefit send by Mr Robert Yeap to me, I hope our coloaberation will be in good condition
Nov 25 (8 days ago)
Hello Dr. Iwan and Lily, thank you for meeting me n my family- it is great to know someone with your passion for history! Here is a update of our discussions n action plan, best regards, robertY
Mutual Exchange of Benefit
ZH= ZhengHe muse um
IS= Dr. Iwan Suwandy
1) ZH to sell physical copies of CD, DVD, books, articles written by IS-100% sales $ to give IS
2) ZH create souvenir from image copy of objects loan by IS~50% of sales less cost to give IS
3) ZH attribute to IS any information, image of artifact ( coin, banknote, letter, stamp, document, photo, drawing, map etc.) provided
4) ZH arrange secure display visuals, insurance on of any original artifact (no collection value, example Half ceramic plate, bowl to be used as comparative study to new reproduction copies of original) by IS and attribute accordingly
5) ZH arrange secure display visuals, dedicated CCTV, sensor and other electronic security, seperate insurance against damage, fire, theft
on Collection materiel . (near intact ceramics, coin, banknote, stamp, original map photo, letter, documents loan by IS)
ZH will display Dedication in memory of persons to be honored by IS
6) ZH invite Dr. IS to ZH board of Advisors immediately
7) Dr. IS to nominate person to ZH Council of Museum Trust upon creation of #5
8) tentative timing of #5, #7 is 2015 after IS visit to ZH ‘s official open in June 2014(concurrently Georgetown Festival)
9) preparation and work on #1 -4 between now and Feb 2014, soft open of ZH
10) Thank you for accepting #6 and look forward to your particiation- when we meet and discuss – about once every 4 months; we will connect via Skype tele conference. It’s Free!.
Due to the cooalaberation, I send some info for him to put in the useum, in this web log without illustrations and fro Mr Robert I will send the illustration he need.
FOR COMPARATIVE STUDY,BETTER WE LOOK THE SAME BEST CHINESE KAPITAN MUSUEM IN PENANG,LOOK BELOW,AND ALSO OTHER MUSEUM MASUR
Jakarta November 2013
Dr Iwan suwandy MHA
cHINESE KAPITAN MSUEUJM PENANG
Pinang Peranakan Museum (Hai Kee Chan)
|Written by Shirley T|
|Thursday, 30 July 2009 05:07|
Pinang Peranakan Mansion
Remember that I did a review on Little Nyonya – the Singapore blockbuster drama serial starring Jeanette Aw as an entrepreneur Nyonya not too long ago? If you are a fan of Little Nyonya (like me!), take a visit to Pinang Peranakan Mansion! Stepping in this place and get the feel like the crews. As I arrived at the entrance, the pale green facade seems familiar. Yes, many scenes in Little Nyonya were made here as Chen’s family house.
Iron gate and balcony with pale green facade
At the gate of this historic mansion, there are a pair of metal crowns to welcome us. The crowns signify the glory of British era in Penang. I was impressed with the grand balcony of a Straits eclectic design. The pillars resembled a European influence whereas the gold colored floral designed iron arts of the balcony looks similar to Malays crafting. This rich Baba home has faithfully stood here since late 19th century and managed through many hands!
Delicate ornamented doorway
Compiling almost everything a typical Peranakan family house used to have, Pinang Peranakan Mansion or formerly known as ‘Hai Kee Chan’ is tucked away in Church Street of the George Town Heritage Zone. This mansion symbolizes the legacies of Peranakan and herald the preservation of one-of-its kind architecture.
Chinese carved wood on door panel
Baba Nyonya or Peranakan is a term used to describe the descendants of 15th or 16th century Chinese immigrants to Nusantara during the colonial era. With the current population about 7 million, they are mainly dispersed in the region of Malaysia, Singapore and Indonesia. Record stated that the Chinese immigrants back then married the local Malays women and as a result this community is more or less adopting or assimilating into the local cultures especially in their dressing, cooking and language. However, the Peranakans do worship their ancestral and common faiths are Taoism, Mahayana Buddhism or Confucianism. Some younger generations of Peranakan have also embraced Christianity resulted from English education.
At present, this ethnic group is almost reaching the vulnerable stage, whereby modernization does not go hand in hand with Peranakan style of living anymore! In fact, very few Peranakan communities in Penang, Malacca or Singapore do retain their lifestyle and even identity. Nowadays, they are usually mistakenly referred as Malaysian Chinese or Singaporean Chinese instead!
Coming back to Pinang Peranakan Mansion, this building was once served as he residence and office of Kapitan Cina Chung Keng Kwee. The architecture of this building is very unique as it incorporates Chinese carved-wood panels with English floor tiles and Scottish iron-works.
Kapitan Cina Chung Keng Kwee
As I strolled inside, there is a square concrete bowl that is overlooking the sky. There is no roof so it is exposed to both rain and sun. With sun, the nearby vicinity is brighten under natural light. And as rain pouring, it works to trap the water and funnel to the underneath drainage.
The wing that is closer to the main road (Church Street) is designed for business discussion among the gentlemen. While the smaller chamber beside is the lady’s room whereby the Nyonyas were playing cherki (card game) and enjoyed eating betel nut.
Want to play cherki?
Potty? ..it is used to collect the seeds of betel nut
Of the opposite end, it is the guest dining hall whereby ‘tok panjang‘ is situated. Tok panjang or literally translated as ‘long table’ is used by the Peranakan family to prepare feast for their guests. For English group, the rich Baba would usually prepare a special room with European cutlery, teapot set and dining style.
Tok panjang or Long table to prepare feast for guests
As I climbed up the lovely wooden stairs, it leads me to the upper floor whereby all the antiques are on displayed. They includes a huge vintage standing camera, brooches (keronsang), hair pins (cucuk sanggul), covered jars (kamcheng), metal belts, gold bracelets and many other woman accessories.
Kamcheng (Covered jars)
Vintage items from top left (clock-wise): Traveling baggage, radio, vinyl record player, talc
Vintage camera – so huge!
Do not miss to visit some of the chambers that features the traditional bridal room, various vanity tables and sewing room whereby the Nyonya long shirts (baju panjang), embroideries and beaded shoes (kasut manik) are displayed.
Peranakan bridal room, check out what’s underneath the bed i.e. a hen and a cock?
Headgear of the bride and groom
That’s not about it. Kitchen is a must in every Peranakan family as all the nyonyas were the culinary experts before marriage. In this mansion, its kitchen is relatively the biggest compares to most Penangites’ kitchen area. From making dishes to desserts, they had every mold and tool to serve the best delicacy!
I personally would not called this place a mansion, it deserves the name as Pinang Peranakan Museum. Each item in this mansion speaks for itself. You have to come and see by yourself this amazing heritage!
Visiting hours: Monday to Sunday & Public Holiday from 9:30 am to 5:00 pm
The legacy mansion of Baba Nyonya
MASUR MUSEUM ORIENTAL ART OBJECTS EXHIBIT
by Dean S. Hartley, Jr.
In order to appreciate Oriental art and artifacts, it is necessary to understand first the relationships which have existed from time immemorial between the various countries of that part of the world. In a very great many instances there is a direct and traceable line of relationship and artistic dependency, while in other cases, each country followed its own unique cultural heritage.
It is inevitable that China, which was called the Middle Kingdom (i.e., the center of all social and cultural excellence) should have been the primary and pervading influence. With its thousands of years of superbly organized civilization; with its common written language which allowed widely different groups to communicate even though their spoken languages were mutually unintelligible; with its profound philosophies and deep respect for scholastic achievement; and with its continued reverence for the past and maintenance of historical records, it could in no way avoid exerting a powerful influence – on Japan, on Korea, on the whole complex of Burma and Southeast Asia, and in fact, indirectly,
on the then relatively young cultures of Europe. This influence may be discerned by the observant person in many of the artifacts on display here.
Just as surely, however, one should realize that the genuine imprint of the Japanese spirit and people is evident, both in those items which are peculiarly Japanese, and in the adaptations which the Japanese have made of Chinese ideas. This same admonition applies to other countries represented by the items on display. For example, for many centuries, just as French was the recognized language of the educated and cultural persons of the courts of England and mainland Europe, so Chinese was the badge of education and culture in Japan. A truly scholarly person was one who could converse, compose extemporaneously a beautiful poem, or write with his brush in formal Chinese. Even so – and even though Japanese is still written in Kan-ji (literally, “Chinese characters”), the spoken language is truly Japanese – sometimes, however, with alternate pronunciations closely resembling the ancient Chinese. It is the practice, from childhood, of writing/drawing these characters with ink and brush which has led to the distinctive and easily recognized style of painting and decoration in most of the Chinese and Japanese art work.
While Buddhism was “imported” from China around the 5th Century A.D. – and with it, specialists in sculpture, pottery, bronze casting, and many other arts – the Japanese sword (Nippon-To) is completely and uniquely Japanese. One other observation of “relationships” concerns the importance of Korea to this trio of separate cultures. Korea, as a stepping stone between China and Japan, inevitably added some of its own individuality and national character to ideas and methods which passed back and forth between the two larger, more powerful countries. So, although each was influenced by all the others, each still retains its own unique characteristics.
In examining the similarities and dissimilarities, this catalogue will call your attention to several specially designated and numbered items or areas of interest, and will attempt to present some salient points of information about each.
You may find it helpful to refer to the chronological chart in the back of the catalogue in order to clarify the comparative dates of, say, Sung Chinese, Koryo Korean, and Heian Japanese periods. The time actually represented in this show extends from about the Fourth Century A.D. to the present. Even so, a definite continuity can be observed in style and shape. We hope you find the items and display interesting and informative.
Dean S. Hartley
ITEMS OF SPECIAL INTEREST
1. Wooden figure of ZAO GONGEN, Kamakura period of Japan (1192-1336 A.D.). Zao Gongen is a deity of the Shinto religion. Shinto, which is a purely Japanese religion based upon the myths of the creation and growth of Japan, coexists in complete harmony with the imported Buddhism, which became popular there in the fifth century A.D. So harmoniously do they exist together that there has been significant cross-transfer of ideas, “heroes”, and in some instances, divinities. There is no thought of conflict in following a Shinto ceremony by attendance at and participation in a Buddhist service. The figure is of wood, with “dry lacquer” applied as a finish. Remnants of colored decoration can still be seen.
2. Japanese armor (GUSOKU), the helmet signed “Yoshimasa,” and dated to about 1535 A.D. (Momoyama Period). This armor, with the closely placed lacing, is probably that of a General Officer or other high ranking official. The armor of lower ranks and foot soldiers (when they wore any) was characterized by much wider spaced lacings. The helmet of 62 separate plates riveted together is a fine example of the most advanced style of armor making. The lacings are employed to fasten together separate steel plates (covered with lacquer to cover sharp edges and prevent rusting) so as to provide the greatest flexibility and light weight. You will notice that the arms and legs are covered with a chain mail not dissimilar to that employed in Europe at about the same time in history. Unlike the heavy plate armor of Europe, however, which immobilized a “grounded” knight, a Japanese warrior could fight very well afoot. The fan is a symbol of authority or command. The silver inlaid iron objects at either side of his feet are stirrups, which date to about 1650 A.D. The sword was, in this case, called a TACHI, and was worn slung at the left side, cutting edge down, as we wear our swords.
3. The Japanese sword has been regarded with the deepest reverence throughout the history of Japan. It is the finest cutting weapon ever devised; it has been called “the soul of the Samurai,” and it is a work of art to which even an Emperor (Go-Toba, ca. 1198) may turn his own physical efforts. The Samurai is the traditional “knight” of the feudal society of ancient Japan. He lived by a code as strict as any known to history, and was ready to pay with his own life (seppuku, commonly known as hara-kiri) for falling short of his duties. While the older style was to carry a TACHI – a sword worn blade edge down at the waist – changing styles of warfare led to the KATANA, worn the scabbard thrust through the sash, cutting edge up. As a mark of distinction,
only Samurai were allowed to wear two swords (a long and a medium), as may be seen in the large scroll (No.4) close by. The longer of this pair dates to about 1394, while the shorter dates to about 1504. Note that the scabbards and mounts are a matching set. Merchants were sometimes allowed to wear a single sword, which was usually much more gaudily decorated (3.A.), and court wear also allowed much richer mounts (3.B.) than these primarily fighting swords.
4. During the period immediately following the opening of Japan in the latter 19th Century and very early 20th Century, it was considered “in” for European and American diplomats to have their sons painted in full Samurai regalia as in this scroll. Notice the manner of wearing the DAI-SHO-TO (Long-Short-Swords).
5. Since the beginning of the Eighth Century (at the latest), the manner of forging swords by hand has followed the same traditional methods. Even at that early date, the Japanese swordsmiths achieved technological mastery of the metallurgy of forging and tempering steel that allowed them to make blades with cutting edges which are equal to the middle range of modern tool steel in hardness and toughness. The two bare blades shown here were made by the same procedures, differing in appearance only by minor shape variations and a different pattern in the edge tempering. As it happens, each of these blades is signed and dated – the top one by YOSHI, dated 1345 A.D., while the bottom is by YASUNORI, dated 1935. The plain wooden scabbard below is for storage, not use, and is called SHIRASAYA (white scabbard).
6. The rough looking iron items shown here were prepared in 1963 by Mr. FUJIMURA KUNITOSHI as examples of the various techniques in forging a sword blade. The method he employed in extracting his iron from sand-iron ore, in purifying it, and in combining portions of different hardness to form a blade to his design were identical with those of his spiritual ancestor – the swordsmith of 705 A.D. Mr. Fujimura was a very famous modern swordsmith, having won many prizes for making swords in the manner of famous smiths of seven hundred years ago. He died in 1966 of a stroke while making a sword in his forge. He was 72 years old.
7. Although swords were the primary weapons, the Japanese warrior – and his wife – had many others to choose from under special circumstances. The blades were all forged in the same manner as sword blades, and were equally well made. This strongly curved blade is called a NAGINATA, and was the primary weapon used by the women of a warrior household in defending their home against attack. When not in use, the scabbard with the clan insignia (MON) is placed over the blade. Note the other shapes – generally called YARI – which were used by men, either afoot or on horseback. The very odd pole with the spikes and “fish-hook” head was used to apprehend fleeing criminals – the fish-hooks to twist into his flowing kimono sleeves, the spikes to prevent him from releasing the hooks. It is called a SODE-GARAMI (sleeve grabber).
7.A. This matchlock gun was developed from one obtained by trading with a Portuguese sailor who landed on the remote small southern island of Tanegashima in 1542 A.D. From that time until Japan was “re-opened” in the 1850’s by Admiral Perry,
they followed the same pattern and mechanism, not improving or changing as the European and American gunmakers did. This was primarily because of the absolute pre-eminence of the sword as a weapon. This style of gun is called TEPPO.
8. Despite the fairly striking regalia of the young man in the scroll previously discussed at No. 4., Samurai were allowed no personal jewelry or decoration, so that whatever ostentation was permitted was found on the swords. For battle, of course, complete sets of iron mounts were appropriate (No. 3, previously described), but for civilian or social occasions, richer sets of “clothes” (mounts) were permitted. This sword guard (TSUBA) of red copper, and the matching handle to the small utility knife carried in a slot in the scabbard were made by a famous Tsuba-maker named JOI around 1750. Other mounts show various rich designs employed in this single area of Samurai personal decoration.
9. CHA-NO-YU – the Japanese tea ceremony – was originally a monastic custom introduced by Japanese Buddhists who had gone to China to study. The essence of the tea ceremony may be translated by such words as calmness, rusticity, harmonious yet unbalanced beauty. The mood is quiet, contemplative, and rigidly ceremonial. Every move has a specific meaning and importance, and each is dedicated to the achievement of the appropriate feeling of total harmony with one’s world. Since, to a great degree, the Samurai code was based upon other aspects of Buddhist teachings, there is nothing incongruous in a Samurai having participated in a honorable battle in the morning and enjoying the quietness of CHA-NO-YU in the afternoon. It is all a part of the totality of the Samurai world as seen from his own understanding of the teachings of the Buddha. It is for this reason that the tea ceremony items have deliberately been placed near those of the warrior. Generally, the idea of calmness, simplicity, and oneness with the entire world precluded gaudy utensils in the ceremony itself, although occasionally an exception will be made in the case of a very fine item made by a famous potter of tea ceremony items. The utensils are not usually made as sets, since each piece has its own – sometimes historical – personality. Those shown here are:
a. Cha-wan (tea bowl)
b. Mizuzashi (covered water jar)
c. Cha-ire (small covered tea container)
d. Cha-sen (bamboo tea-whisk for stirring)
e. Ken-sui (broad, open waste-water bowl)
f. Cha-saku (bamboo tea ladle)
As you look around, you will see various styles of tea-bowls – some genuinely old Chinese bowls, which the Japanese particularly admired – some from the many kilns which specialized in this type of potting. You will also see incense containers (KO-GO), incense burners (KO-RO), vases for single flowers or sprays, dishes for small cakes, etc., all used from time to time in various styles of CHA-NO-YU.
10. Rice wine (SAKE) is the favorite alcoholic drink of the Japanese and Chinese. These are some examples of the iron kettle to heat it (it is served hot), the small individual bottles in which it is served, and the very small cups from which it is drunk. It is also drunk from flat lacquer saucers, one of which you see here.
11. China was almost certainly the first country to perfect the manufacture of porcelain. This small bowl of the Western Chin dynasty (265 – 316 A.D.), while in no way impressive of itself, is a precursor of the beautiful celadons of the later Sung dynasty. This ware is called “Old Yueh,” and has one of the earliest controlled color glazes (some Han dynasty ware had a controlled black glaze). The ware itself is porcelainous stoneware, which developed further in the beautiful multicolor T’Ang glazes (notice the later copy of a T’Ang horse, with accurate glaze colors elsewhere in the displays). In later T’Ang periods, a near porcelain was developed, and in the early Sung dynasty, true porcelain was developed. There were several kilns, which achieved this goal, the wares being such as Ting and Ching Pai. 11.A. is an example of the Ch’ing Pai ware made around the 10th – 13th Centuries. Other Sung dynasty stoneware pieces may be seen here too.
11.B. Concurrent with the Sung dynasty – and extending both earlier and later in Korea – the development of ceramics also proceeded, drawing on native ideas as well as imported Chinese skills and techniques. This bowl is of the Korean Koryo period – around 1150 A.D., and shows Korean adaptation of the Chinese glazes. Other Korean items are arranged with this piece.
12. Developing along lines peculiar to their own cultural preferences, the Koreans produced during the Yi dynasty (1392-1910) a variety of glazes on stoneware and porcelainous articles. This white glazed sake bottle of the middle period of Yi represents a typically Korean rendition, and the one most commonly associated with this period. Other glazes evolved during this period range from refinements of the crackled celadons to opaque cream glazes.
INDONESIAN HISTORY MUSEUM
The Chronology Of development
By the time the police on duty at e KOMRES Solok Helath Clinic , each week holiday to the in-laws house in Padang Panjang to go to church and then to Bukittinggi and it was here for the first time the author met with Datuk Man who gave information about his collection of Chinese ceramics.
For the first time in Solok the author purchase porcelain plate with Chinese calligraphy meaning unknown in good condition, now known means that shou longevity meaning many lucky , this plate from the Late Qing Dynasty stacked burner technique so there are footprints on the tiles middle of the plate, known as hoof plate, the plate is not rare at that time but it’s been difficult to obtain in large size and good condition at this time, currently in the collection of the author there are two plates du measure see the illustration below.
This plate gives motivation to the author to learn Chinese calligraphy characters, and very lucky to find in the city of Padang in 1973 published a book in shanghai China 194o in English with a clear picture of Chinese character either ancient alphabet (old character), and the old characters (vintage ) at that time.
Based on studies with the lguifance of imited edition book (only 1000 edition) the author begin to understand the meaning of calligraphy on ceramics and art objects of the Kingdom of China were found.
Please read and enjoyed the chapter tersediri calligraphy motif
Pada saat bertugas di esehatan POLisi KOMRES Solok, setiap minggu libur ke rumah mertua di Padang Panjang untuk ke gereja dan setelah itu ke Bukittinggi dan disinilah buat pertama kali penulis bertemu dengan Man Datuk yang memberikan informasi tentang koleksi keramik dari Tiongkok.
Buat pertama kali di Solok penulis membeli piring porselein dengan kaligrafi Tiongkok yang tidak diketahui maknanya dalam kondisi yang bagus, sekarang sudah diketahui artinya yaitu shou arti panjang umur banyak reseki
,Piring ini dari Dinasti Qing Akhir dengan teknik pembakar ditumpuk sehingga ada bekas kaki keramik di bagian tengah piring yang dikenal dengan piring tapak kuda,piring ini tidak langka saat itu tetapi saat ini sudah sulit memperolehnya dalam ukuran besar dan kondisi bagus saat ini, saat ini dalam koleksi penulis ada dua piring dengan du ukuran lihat ilustrasi dibawah ini.
Piring ini memberikan motivasi kepada penulis untuk mempelajari aksara kaligrafi Tiongkok, dan sangat beruntung menemukan di Kota Padang tahun 1973 sebuah buku terbitan shanghai Tiongkok tahun 194o dalam bahasa inggris dengan gambaran aksara Tiongkok yang jelas baik aksara kuno(old character) , dan aksara lama(vintage ) saat itu .
Berdasarkan studi dengan petunjuk buku edisi terbatas tersebut (hanya 1000 edisi) penulsi mulai memahami makna kaligrafi pada keramik dan benda seni dari Kerajaan Tiongkok yang ditemukan.
Silahkan dibaca dan dinikmati dalam bab tersediri motif Kaligrafi.
I saw a copy of the ceramic and the help of my sister Elina Widyono current American Citizens In Los Angeles I can buy ceramic sebuak book titled USA for 40 dollars
The Pottery And Porcelain Volume I, By William E.Cox, revise Edition, New York, 1979
This book describes the complete kinds and types of ceramics from the Kingdom of China, Korea,
Japan and Europe.
With the help of this book the author began to assemble a collection of West Sumatra, but most of the period of Late Qing dynasty, and there are several of the Ming Dynasty.
The book is unfortunately not fully colored, mostly black and white illustrasinya so sylit ceramic motifs for identification and also in the form of sketches just so Juka brand (mark)
Begin the author began to understand the meaning of a ceramic motif but very limited.
Nulailah Penulsi nergerak for collection to North Sumatra (Medan), and Aceh * Lhoseumawe). Jakarta, West Java, Central Java, Jpgya, Java Timur.tetapi not obtain ceramics of high artistic value.
Saya melihat sebuah fotokopi buku keramik dan atas bantuan kakak saya Elina Widyono yang saat ini Warga Negara Amerika Di Los Angeles saya dapat membeli sebuak buku keramik seharga 40 dolar USA berjudul
The Pottery And Porcelain Volume I, By William E.Cox,Revise Edition, New York,1979
Buku ini menjelaskan dengan lengkap jenis dan tipe keramik dari Kerajaan Tiongkok, Korea ,Jepang dan Eropah.
Dengan bantuan buku ini penulis mulai mengumpulkan koleksi dari sumatera Barat, tetapi kebanyak dari masa dinasti Qing Akhir, dan ada beberap dari dinasti Ming.
Buku ini sayang tidak berwarna seluruhnya, sebagian besar hitam putih illustrasinya sehingga sylit untuk identifikasi serta motif keramik juga dalam bentuk lukisan sketsa saja begitu juka mereknya(mark)
Mulailah penulis mulai memahami makna dari motif keramik tetapi sangat terbatas.
Nulailah Penulsi nergerak mencari koleksi ke Sumatera Utara(Medan),dan Aceh*Lhoseumawe).Jakarta,Jawa Barat,Jawa tengah,Jpgya,Jawa Timur.tetapi tidak memeroleh keramik yang bernilai seni tinggi.
This year I change their car Toyota Corona sedan with hardtop Lancruiser 1500 CC 3500 CC 4000 Jeep Bj so that it can move that way ugly desolations
Landcruser Toyota Jeep Hardtop This leads me to explore the island of Sumatra, Java, Bali and start up kie I found a lot of collections.
At this year I met with Dr. Mac Kinnon arkologis National Archaeological Center visiting my Antique Gallery in the city of Padang,
and explained that the findings artifact shards of pottery bowl from the Ming Dynasty Xuante that I get in my town Rengat Riau is a type of imperial ceramics with dragon motif five finger specifically for the king and his companions,
this is one of the Imperial tile that I found in Riau, can be seen in my article entitled the Chinese ceramic Imperial Kingdom of the examples found in Indonesia in 2013 was my show on my web Blog
Hhtp / http://www.Driwancybermuseum.wordpress.com
And CF-ROM contains complete information available.
At the same time say find artifacts of the celadon plate with deer motif and grass script writing, and according to Dr. Mac Kinnon is also a very rare imperial dishes;
Also found there The Rare Ming Cheng Hua red and blue Chrysanthenum Imperial Saucer with mark
THE IMPERIAL YUAN MONGOL CERAMIC BRING NY THE MONGOL GENERAL DURING PONISH JAVA SINGOSARI KINGDOM BECAUSE THE KARTANEGARA KING MADE SCARC ON THE Mongol Envoy Meng Chi when the King Kartanegara did not want to sent a imperial given as under Chinese Mongolian protectoraed
Read the complete info at Dr Iwan E-BOOK In CD-ROM
The Majapahit History Collections
Dr Iwan suwandy,MHA
Private Limited E-Book In CD-ROM Edition
Copyright @ 2013
The Majapahit Java Kingdom During War And Peace
Dr Iwan Rare History Collections
Dr Iwan Suwandy,MHA
Limited Private Publication
special for premium member hhtp://www.Driwancybermuseum.wordpress.com copyright @ Dr iwan suwandy 2013
TABLE OF CONTENT
2.Majapahit Rising(Timbul) war 1293-1309
3.Majapahit Developing(Berkembang) War 1309-1389
4.Majapahit Declining (Menurun)War 1389-1476
5.Majapahit Settting (Tengelam)war
The Fall Of Majapahit Kingdom
1.This amizing book based on several my rare old books ans Other History collections :
1) constitutional Madjapahit Prof. essay. Moh.Yamin, 1960
consisting of seven Volumes (Parwa)2)
2) Notes On The Malay Archiphelago and Malacca, published in 1876 and connected with a “supplemantary jottings” (1896) preformance Pao.dan Toung magazine in 1956 published by Bhatara. which contains the story of the war with the Mongolian army Kertajaya, Jayakatwang (Rajakatong) and Raden wijaya Majapahit.
3) Rangalawe bouquet of C, C,Berg, published by Bibliotica Javanica to Kon.Bataviaasch Genootschap van Kunsten en Wetenschaape, Weltevreden.Albrecht & Co in 1930
which contains about (1) Panji Wijayakrama (Durma, pickaxe, Wiraraja, ratna Sutawan and Jaya-Katong , Wijaya and Maja-Bitter, Wiraraja and victory), (2) Rangalawe (Wijaya and Kertarajasa, Rangalawe and Sera, Lawe and Madjapahit army, (3) sinom.
4) Gajah Mada Heroes Union Nusantara essay Mr. Mohammad Yamin, Balai Pustaka, Jakarta, 1951
5) a) Coins Majapahit, as part of the book that dtemukan coins in Indonesia, 1850. with illustration lithography.
Some new finding of Majapahit and chinese cash coin in the sites:
(a) Purwodadi,Pacitan east Java.
(b) ) The discovery of Gold Coins Chinese coins and cash at the site of MajapahitFirst, about found or the presence of gold coins Majapahit that reads the words ‘La ilaha illallah Muhammad Rasulullah’
Coins With Sentence lafadz Tauhid(I have this coin but in copper)My Reviews:In 2009, the Evaluation Team Neo Majapahit Information Center (Neo PIM) discovered human remains at the site Trowulan Majapahit kingdom, one of which is thousands of Chinese ancient currency. Currency bearing Chinese characters, and the number is about 60 thousand pieces.Does this signify that the Majapahit kingdom religion is Confucianism, Taoism, or any religion that originated from China?Or, if Majapahit is a subordinate kingdom (vassal) of the Chinese Empire?Of course not.
Heritage of Chinese coins found in the territory of the kingdom of Majapahit sign of trade relations with China. The traders from China often bring their country currency made of gold, silver or bronze to bring to Majapahit. This is only fair considering the era of gold, silver, or bronze is a commonly used means of payment, anywhere. What differentiates its value is the weight of gold / silver itself. Majapahit itself issued a local currency called Gobog.
koin atau mata uang resmi sebagai alat tukar yang dipergunakan pada jaman kerajaan Majapahit.
Chinese Coins On the day of Majapahit
This year I went to Medan and continue to Lhos Seumawe and find one another imperial ceramic jug Yuhuncuphing are molded with dragon handle and bird motifs on the body of the queen of phoenix Hong bird emblem pitc
Yuan Imperial Qingpai Dragon Handle ewer
Yuan Imperial Qinpai Dragon mouth and loungue ewer
After having quite a lot of my collection to make colored photograph with a camera and arranged by type and ceramic type according literatut there but not by the motive because when it has not been found relevant literature. Take a look at some of the photos below
Pada tahun ini saya menganti mobil sedan Toyota Corona 1500 CC dengan Hardtop Lancruiser Bj 4000 3500 cc Jeep sehingga dapat bergerak kedaerah yang jalannya jelek
Jeep Landcruser Toyota Hardtop ini membawa saya menjelajahi pulau Sumatera ,Jawa sampai kie Bali dan mulailah saya menemukan banyak koleksi.
Pada Tahun ini saya bertemu dengan Dr Mac kinnon arkologis Pusat Arkeologis Nasional yang berkunjung ke Galeri Antique saya di Kota Padang , dan menjelaskan bahwa temuan artifak pecahan keramik Mangkuk dari Dinasti Ming Xuante yang saya peroleh di kota Rengat Riau adalah tipe keramik imperial dengan motif Naga jari lima khusus dibuat untuk para raja dan sahabatnya, inilah salah satu keramik Imperial yang saya temukan di Riau, dapat dilihat dalam tulisan saya berjudul Keramik Imperial Kerajaan Tiongkok Yang ditemukan di Indonesia yang contohnya sudah saya tampilkan tahun 2013 di Web Blog saya
Dan CF-ROM berisi info lengkap tersedia.
Pada saat yang sama say menemukan artifak piring besar Seladon dengan motif rusa dan tulisan grass script ,dan menurut Dr Mac Kinnon ini juga piring imperial yang sangat langka; juga disini saya temukan pirin saus dengan motif bunga chrysant biru dan bungannya merah dalam glasir dengan merek Cheng Hua.
Pada tahun ini saya Ke Medan dan terus ke Lhos Seumawe dan menemukan salah satu keramik imperial lainnya yaitu Kendi Yuhuncuphing moulded dengan handle Naga dan motif burung Hong lambang ratu di badan kendi
Setelah memiliki cukup banyak koleksi saya membuat foto bewarna dengan kamera dan menyusunnya berdasar jenis dan tipe keramik sesuai literatut yang ada tetapi belum berdasarkan motif karena saat itu belum ditemukan literature terkait. Lihatlah beberapa foto tersebut dibawah ini.
Yuan chysanthenum Tea cup
At the time on My duty in Pontianak West Kalimantan I found the artifacts in the instructions Ketapang Police friend who had served there, and I found the yuan dynasty blue and white bowl with floral kingdom chrysanthenum type
Pada saat saya bertugas di Pontianak Kalimantan Barat saya menemukan artifak di Ketapang atas petunjuk teman Polisi yang pernah bertugas disana,dan saya menemukan mangkuk dinasti yuan biru putih dengan motif bunga chrysanthenum tipe kerajaan.
This year I found a book written by Lilian To Feng Shui luck that explains the meaning of the symbol chinese fortune. Most of my illustrations of a copy of the image artifacts and arranging it directly from the book info, but still possessed many apparently incomplete collection of every motif present in the book by Lilian To.
Results of data collection with photo illustrations and sketches from my copy of the artifacts collected in a file.Silahkan see the results of the data collection until the year 19995.
Pada tahun ini saya menemukan buku keberuntungan Fengsui karangan Lilian To yang menerangkan arti keberuntungan dari symbol cina. Sebagian ilustrasi saya gambar dari fotokopi dari artifak secara langsung dan menyusunnya sesuai dari info buku tersebut, tetapi masih banyak ternyata koleksi yang dimiliki belum lengkap dari setiap motif yang ada dalam buku karangan Lilian To tersebut.
Hasil pengumpulan data dengan ilustrasi foto dan gambar sketsa dari fotokopi artifak tersebut saya kumpulkan dalam sebuah file.Silahkan melihat hasil pengumpulan data sampai tahun 19995 ini.
Napier to this year when I found the artifact jar with blue and white floral motif chrysanthenum
.Mohameddan Blue Imperial Jar
Found Makassar south celebes
Saat ke Makasar tahun ini saya menemukan artifak jar biru putih dengan motif bunga chrysanthenum.
After retirement years should be entitled 2000.saya enough time to explore.
When he returned to West Kalimantan in particular to Ketapang, I found some red in glazed and blue and white ceramic type yuan empire (imperial)
I have read about the New world record for Ming vase
from China Daily newspaper Updated: 2006-05-31 05:52 HONG KONG: about A rare underglaze copper-red Ming Dynasty (1368-1644) vase sold for HK$78.52 million (US$10.13 million) in Hong Kong yesterday, setting a world auction record for Ming porcelain.
Theow Tow, Deputy Chairman of Christie’s Asia and the Americas International Director of Chinese works of Arts, looks at an early Ming underglaze copper-red vase after it was sold for a world record of US$10,122,558 for any Ming porcelain during an auction in Hong Kong May 30, 2006. [Reuters]
“He’s bought the vase at the right price, making a world record,” said Edward Dolman, chief executive officer of Christie’s International, referring to buyer Steve Wynn, chairman of Macao-based Wynn Resorts.
The pear-shaped vase, decorated with a peony scroll, is the only copper-red vase of the early Ming Dynasty still in perfect condition to be offered at auction in more than 15 years, said Christie’s Hong Kong office.
The vase was originally inherited by a Scottish couple who used it as a lamp and did not realize its value until they saw a similar example in a museum.
Ceramics with underglaze copper-red decoration are very rare, owing to their complicated production process.
I also found semipor celain red in glazed in boken near 80% per shape vase, so0meonje said to me that this is from anamaese,please comment
Compare with the ming hung wu red in glazed
B.Mohamadan Blue Imperial YuhunchupingVase
Setelah pensiun tahun 2000.saya menpunyai cukup waktu untuk melakukan eksplorasi.
Saat kembali ke Ke Kalimantan Barat khususnya Ketapang, saya menemukan beberapa keramik yuan biru putih tipe kerajaan(imperial)
found several artifacts ceramic Jakrta Ming Wanli imperial type, he comes from the Banten Lama
The Very Rare Middle Ming Imperial Ceramic
1). Ming Cheng Hua Phoenix Bigger Plate
Compared with same pattern ceramic look in the next page
Human Figure Imperial Bowl
base imperial mint mark
2) type two
4).The Ming Cheng Hua Blue Imperial Chrysnathenum Bottle Vase
This year I found a lot of books ceramics auction, and also a very good book that Chinese Symbolism and Art Moty essay CAS Williams, also a book about a stunning motifs and motifs in ceramics Chinese Taoism.
Saya emnemukan di Jakrta beberapa artifak keramik Ming Wanli tipe imperial,katanya berasal dari Banten Lama
Pada tahun ini saya menemukan banyak buku lelangan keramik,dan juga satu buku yang sangat bagus yaitu Chinese Symbolism and Art Moty karangan Williams C.A.S, Juga buku tentang motif pemandang pada keramik Tiongkok dan motif TAOISM.
I find more Chinese royal art collection in Jakarta and also other collections of historical artifacts, most of the collection on display in the gallery began Driwancybermuseum Home Office and Gallery and put in my web blog in 25 years anniversary of Driwancybermuseum look below
Saya menemukan lebih banyak koleksi benda seni kerajaan Tiongkok di Jakarta dan juga koleksi benda artifak sejarah lainnya, sebagian koleksi mulai di pajang dalam galeri Driwancybermuseum Home office and Galery dan menampilkannya diweb blog saya dalam rangka peringatan 25 tahun
Driwancybermuseum.silahkan melihat tampilan tersebut dibawah ini
After 30 years built the Unique Collections, in July,15th.1985 I am starting to go international with my Antique Collections ,the born’s name of Unique Collections after change name several time. In this day I built an Antique Collections shop in my house at 16 Bundo Kandung street Padang West Sumatra after my new House ,three stairs were finished, I live at the second and third floor, and at the base was my shop.
Almost five years this Antiqie shop with my communications with many international Phillatelic Collectors from Dutch, and in this year Mr P.R. Bulterman the Indonesia Dai Nippon Postal stationer history expert and he also written the the Dutch East indie postmark”s boook,
The Indonesia Dai Nippon postal stationery History, and latest The Republic Indonesia Revolutionary Postal stationery History’s book.
He bough some rare postal stationery History from sumatra from me lika Lampong Hinomaru ovpt postally used cover, West Sumatra Cross postalstatinery Cover,and The Bencoolen Dai nippon Regional Dav id Star on Kreisler wilhemina stamps.
At the end of 1985 ,the Indonesia Phillatelist Karel bought from me the Dai Nippon Occupation Sumatra and Indonesia Indeopendent War Postal History in ten bigger Album includding the Revenue History from Dai nippon occupation and Indonesia Independent War Sumatra.
I have sold many my collections in other to preparing for study Master of Hospital Administrations degree and bring my wife and my Children Albert and Anton studies in Jakarta, for that I need fund, after that bigger transactions, I have enough m oney to move to Jakarta,boug house,and all the family studied in Jakarta my master degree in 1989-1990,my wife D3 degree 1989-1993,and after that Si degree in 1998-1999 and Master degree 2007-2008, my Son Albert S1 degree 1994-1998, and Anton si degree 1995-1999.and postgraduaete cour after they works. My House at Padang were sold in 1991,and became thepart of Ambacang hotel which broken during bigger earthquacked in 2009.
The rare Unique Collections which the name before change as the antique C ollections in July,15t.1985 still in my collections until now and during my master degree study in 1989 until now I starting to built more Unique collections which I add in Internet with the site’s name uniiqueinfonet.com in July,15th in 1999 but not succeed, aftre that in 2000 I am retire from mo Officiasl workd and my new cretions as the teac her in S1 and D3 health scicece University until 2005.
In July,15th 2005 I am starting the new creations with the name uniquecollections until now, I starting to write The Investation’s value of Unique Collections,later I change to How Estimate The Uniquecollections investation value, The Sarawak Unique Collections, and The Vietnam War. THe new blog starting in Fberuary,9th 2009 with the site name uniequecolooctions.wordpress.com, but very slow but growth, and when I begun the full time created this blog from December 2009 until June 2010 I have written 350 uniquecollections article based on my collections.
In June 2010, due to the old blog full and have trouble to add the inmformation due to the site was in my editor,my son name and password which made I cannot enter my own blog, because My family gave me the new computers, that is why I staring the new blog with my name and own e.mail and password, the new blog name iwansuwandy.wordpress.com , and everything ok about operations and the capicity of thew computer and site very bigger now which made me could created e-book with more ilustrations, I have all info in my computer’s memory thousand gigabyte,before only three gIgabyte I have used 2,8 Gigabytes.
During Silver Birthday of Uniquecollection in July,15th 2010, I will made a show of my best uniquecollections e-book as UHI-uniquecollection Heritage Informations, free of charge, beside that I have wrtitten PUI-premium Uniquecolletions Informations. whic all collectors can read and looked free the sample of that premium e-book free of charge.
I want to than very much to all my friend who ever help me to built this amizing and interestin uniquecollctions blog iwansuwandy.wordpress.com and I want to apologized to wordpress,, Gmail, facebook and Google for the modern internet and information digital communications which made the uniquecolelction’s blog growth very fast, and Facebook made many communicatios with the collectors from all over the world my two FBblog