Material: Iron, silver
Style: Bali, Indonesia
Size: Height 6 cm (closed), Length 23 cm
Order Number: MHSABBC2

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Balinese betel cutter is in the wayang form, probably Sangut.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Balinese Betel Cutter 2 appeared first on Murni's in Bali.

Material: Iron, silver
Style: Bali, Indonesia
Size: Height  cm (closed), Length  cm
Order Number: MHSAJBC3

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Balinese betel cutter is in the form of a horse, engraved.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Balinese Betel Cutter 3 appeared first on Murni's in Bali.

Material: Iron, silver
Style: Java, Indonesia
Size: Height 5 cm (closed), Length 16 cm
Order Number: MHSAJBC1

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Javanese betel cutter is in the wayang form, engraved with articulated arms, probably Gareng. his nose has a ball on it.

Gareng is a clown, son of Semar, who introduces light relief and social and political satire. He is a wicked, insubordinate, bawdy wit, with puns and double-entendres. He is expert at mimicing the high-blown speech of the aristocrats. Short, fat, with huge round eyes, he has a bulbous nose.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Javanese Betel Cutter 1 appeared first on Murni's in Bali.

Material: Iron, silver
Style: Central Java, Indonesia
Size: Height 6 cm (closed), Length 20 cm
Order Number: MHSAJBC2

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Javanese betel cutter is in the naga style.  Naga is the Sanskrit word for  ‘snake’ and nagas shown crowned are a favourite Javanese theme. Here the snake-like appearance is almost gone thanks to the crown and lack of a sinuous body. The sheaths are of silver with club-shaped finials.

There is an example in Betel Cutters, From the Samuel Eilenberg Collection, Henry Brownrigg, Thames and Hudson, 1992 on page 105.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Javanese Betel Cutter 2 appeared first on Murni's in Bali.

Material: Iron, silver
Style: Central Java, Indonesia
Size: Height 5.5 cm (closed), Length 16 cm
Order Number: MHSAJBC3

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Javanese betel cutter is in the naga style.  Naga is the Sanskrit word for  ‘snake’ and nagas shown crowned are a favourite Javanese theme. The  head is forged and then engraved. Here the snake-like appearance is almost gone thanks to the crown and lack of a sinuous body. The sheaths are of silver with club-shaped finials.

There is an example in Betel Cutters, From the Samuel Eilenberg Collection, Henry Brownrigg, Thames and Hudson, 1992 on page 105.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Javanese Betel Cutter 3 appeared first on Murni's in Bali.

Material: Iron, old silver
Style: Lombok, Indonesia
Size: Height 6.5 cm (closed), Length 19 cm
Order Number: MHSALBC1

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Lombok Betel Cutter 1 appeared first on Murni's in Bali.

Material: Iron, gold
Style: Palembang, Sumatra, Indonesia
Size: Height 4.5 cm (closed), Length 18 cm
Order Number: MHSASBC1

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Sumatran betel cutter is from Palembang in southern Sumatra. It has an interesting quadrilateral shape. The inner edge between the handles looks like the profile of a human face. The handles are parallel and at an angle to the rest of the cutter.

The upper arm of the blade arm originally had gold sheathing. That indicates an aristocratic owner. It has now gone, leaving an engraved design on the iron underneath.

There is an example in Betel Cutters, From the Samuel Eilenberg Collection, Henry Brownrigg, Thames and Hudson, 1992 on page 100.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Sumatran Betel Cutter 1 appeared first on Murni's in Bali.

Material: Iron, silver
Style: Sumatra, Indonesia
Size: Height 4.5 cm (closed), Length 18 cm
Order Number: MHSASBC2

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This Sumatran betel cutter is in the shape of a horse with a mane. The hinge takes the form of an eye with a rim.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Sumatran Betel Cutter 2 appeared first on Murni's in Bali.

Material: Iron, silver
Style: Batak people, Sumatra, Indonesia
Size: Height 8 cm (closed), Length 21.5 cm
Order Number: MHSASBC3

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

There are 2 examples of cutters in Anuradhapura, the old capital of Sri Lanka, which was destroyed in 993 AD by the Cholas. The earliest written reference is in the Indian  Basayapurana of Bhima-Khavi of 1369.

They were prestige implements, like the rest of the betel set, and commissioned by aristocrats and rich merchants. There are a multiplicity of designs.  Brass and iron require different techniques and craftsmen. Being small, they travelled all over the region. Most are very elegant.

By the 12th century Indian metalworkers were in Bali and Java and impressive craftsmanship was applied to the cutters. In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

There are animal motifs – usually horses, peacocks and dragons in iron, with incised mounts, sometimes in gold and silver.  They typically have fins and crests with incised designs, inlaid with silver, gold or brass. The horse was probably introduced by Chinese metalworkers during the Bronze Age. The arched heads are similar to T’ang horses.

There are also stags and mythological animals. Mythical dragon birds are peculiar to Thailand. In Southeast Asia there are wayang figures from the puppet theatre, such as Arjuna and the comic Wak Long. Bali has birds and realistic roosters. In India and Sri Lanka there are parrot heads with gold mounts set with rubies. Some are abstract designs.

Many cutters from Bali and Java are silver plated, sometimes only on parts, such as manes and crests. Some parts may be left undecorated as a contrast. Eyes may be of glass, iron or brass. Some are minimalist and may just be suggested in the joint – often as a bird.

In Indonesia, Thailand and Malaysia the handles are made of iron, plain and usually sheathed in finely worked gold, silver or white metal. The end of the handles is usually a single knob, often slightly pointed and incised with a foliage design.

Indian cutters are often D-shaped of brass and steel, punched and pierced, and beaded. Those from Mughal-influenced areas of north India are frequently embellished by surface decoration. Apart from the odd parrot, north Indian cutters are mainly non-figurative, reflecting the Moslem prohibition on human forms, while those in southern India are highly figurative and sculptural.

Indonesian cutters come mainly from Bali, Lombok, Java, Madura, and Sumatra.

Sumatran ones from the Batak people have a snout shape or a horse with a flared mouth and arched neck and openwork mane, the hinge being an eye with a copper rim. Those from Palembang in south Sumatra are rectangular with the profile of a human face on in the inner side. There are humorous silhouettes of birds’ heads, elephants and wayang figures from Lampung.

Madurese ones have mythical monsters and birds and horses  with openwork crests and manes.

In Java around the old capitals of Yogyakarta and Surakarta the blades are small and the handles are long and they have birds and nagas. The north coast have horses, stags and wayang figures, such as Arjuna or his servant Semar with articulated arms. In East Java they have small horses’ heads and elaborate manes.

Bali and Lombok have similar cutters, often robust and solidly made,  and three-dimensional, including elephants, horses, birds, lions, wayang clowns, such as Twalen, the Balinese version of Semar, and his son Merdah, and Sangut and his older brother Dalem. The animals often have wings and a tail near the handle.

Silver and gold wire inlay is a Balinese speciality. The resulting pattern is often a swastika.

This elegant Sumatran betel cutter is in the shape of a bird. The hinge takes the form of an eye with a rim.

There is a similar example in Betel Cutters, From the Samuel Eilenberg Collection, Henry Brownrigg, Thames and Hudson, 1992 on page 99.

19th century – early 20th century.

Please ask for the price (or make an offer).

The post Antique Sumatran Betel Cutter 3 appeared first on Murni's in Bali.

Material: Iron
Style: Thailand
Size: Height 4.5 cm (closed), Length 17 cm
Order Number: MHSATBC1

The areca nut is one of the ingredients of the betel quid. The basic ingredients are betel leaf, areca nut and lime powder. Gambir and tobacco may be added  to make it more fragrant. The hard nut is sliced into small pieces with a hinged cutter (caket). It is used like a small guillotine or a single bladed pair of scissors – with a vertical movement. There are 2 arms, one with an iron blade, and the other with a flat surface against which the blade falls. The rest may be brass or another kind of metal.

In Indonesia, Thailand and Malaysia cutters are made of iron, which may be decorated with other metals.

Early – mid 20th century.

Please ask for the price (or make an offer).

The post Antique Thai Betel Cutter appeared first on Murni's in Bali.