Material: Lontar palm leaves, cotton string, wooden cover, Chinese coin
Style: Bali, Indonesia
Size: Length 38 cm, Width 14 cm, Depth 2.5 cm
Order Number: MHSABPLM3

Traditional Indonesian manuscripts are made from the leaves of the lontar palm tree (Borassus flabellifer). The leaves are all cut to the same size, usually between 9 to 18 inches (25 to 50 centimetres) long and 1 to 1.5 inches (2.5 to 4 centimetres) wide.

Characters are inscribed on the leaf with a special knife. The surface of the leaf is wiped with oil mixed with burnt candlewood soot. The soot remains in the grooves. The leaves are wiped clean and the black text can then be read. Few survive more than 100 years in Bali’s tropical climate.

The leaves are bound and held together through holes cut in the leaves by string or in this case bamboo sticks and a Chinese coin called a kepeng. They are protected by an outside board of wood.

Some of the many palm leaves are damaged.

Early – mid 20th century.

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

The post Antique Balinese Palm Leaf Manuscript appeared first on Murni's in Bali.

Material: Beads
Style: Kalimantan, Indonesia
Size: Length 32 cm, Width 26.5 cm
Order Number: E4A

This original piece from a babycarrier is slightly damaged. The Dayak communities of Kalimantan, which is the Indonesian part of the island of Borneo, have been making excellent beadwork for centuries.

The babycarrier is a reedwork basket to carry a young baby, although some mothers carry two or three year olds in them. Young infants tend to be carried in the front to make breast feeding easy in the early months and older ones on the back.

Curling representations of human figures are a common theme. Others contain geometric motifs. Patterned beadwork is also used in necklaces, clothing, caps, hats, vests, tunics, baby carriers and ritual objects.

The outer part of the baby carrier of the Dayak people was adorned with a symmetrical beadwork panel depicting mirror images. The beauty was thought to attract good spirits and bring good luck to the child.

The design indicated the family’s social position.  The highest ranks could use full-figure human figures, dragons and tigers (although tigers do not exist in Borneo). Lesser ranks could only use animal motifs and geometric shapes.

Aristocrats might decorate the baby carrier with a leopard’s tooth. Large beads, bells and animal teeth might decorate the upper rim. The tinkling sound would soothe the baby.

After the baby no longer needed the basket, it was stored away carefully for the next one. The beadwork and ornaments would be detached and kept safe.

Early-mid 20th century.

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

The post Antique Kalimantan Baby Carrier Beadwork 1 appeared first on Murni's in Bali.

Material: Beads
Style: Kalimantan, Indonesia
Size: Length 33.5 cm, Width 26 cm
Order Number: E4B

This original piece is from a babycarrier. 

The Dayak communities of Kalimantan, which is the Indonesian part of the island of Borneo, have been making excellent beadwork for centuries.

The babycarrier is a reedwork basket to carry a young baby, although some mothers carry two or three year olds in them. Young infants tend to be carried in the front to make breast feeding easy in the early months and older ones on the back.

Curling representations of human figures are a common theme. Others contain geometric motifs. Patterned beadwork is also used in necklaces, clothing, caps, hats, vests, tunics, baby carriers and ritual objects.

The outer part of the baby carrier of the Dayak people was adorned with a symmetrical beadwork panel depicting mirror images. The beauty was thought to attract good spirits and bring good luck to the child.

The design indicated the family’s social position.  The highest ranks could use full-figure human figures, dragons and tigers (although tigers do not exist in Borneo). Lesser ranks could only use animal motifs and geometric shapes.

Aristocrats might decorate the baby carrier with a leopard’s tooth. Large beads, bells and animal teeth might decorate the upper rim. The tinkling sound would soothe the baby.

After the baby no longer needed the basket, it was stored away carefully for the next one. The beadwork and ornaments would be detached and kept safe.

About 70-80 years old.

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

The post Antique Kalimantan Baby Carrier Beadwork 2 appeared first on Murni's in Bali.

Material: Beads
Style: Kalimantan, Indonesia
Size: Length 38.5 cm, Width 13.5 cm
Order Number: MHGAB1

This original piece is from a babycarrier. 

The Dayak communities of Kalimantan, which is the Indonesian part of the island of Borneo, have been making excellent beadwork for centuries.

The babycarrier is a reedwork basket to carry a young baby, although some mothers carry two or three year olds in them. Young infants tend to be carried in the front to make breast feeding easy in the early months and older ones on the back.

Curling representations of human figures are a common theme. Others contain geometric motifs. Patterned beadwork is also used in necklaces, clothing, caps, hats, vests, tunics, baby carriers and ritual objects.

The outer part of the baby carrier of the Dayak people was adorned with a symmetrical beadwork panel depicting mirror images. The beauty was thought to attract good spirits and bring good luck to the child.

The design indicated the family’s social position.  The highest ranks could use full-figure human figures, dragons and tigers (although tigers do not exist in Borneo). Lesser ranks could only use animal motifs and geometric shapes.

Aristocrats might decorate the baby carrier with a leopard’s tooth. Large beads, bells and animal teeth might decorate the upper rim. The tinkling sound would soothe the baby.

After the baby no longer needed the basket, it was stored away carefully for the next one. The beadwork and ornaments would be detached and kept safe.

Early 20th century.

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

The post Antique Kalimantan Baby Carrier Beadwork 3 appeared first on Murni's in Bali.

Material: Bronze
Style: Majapahit, Java, Indonesia
Size: Height 4.5 cm, Diameter 5.5 cm
Order Number: MHSMBR1

The powerful east Javanese king Kertanegara, whose capital was in Singosari. He was brilliant and erudite but brutal and a drunkard.

The post Antique Majapahit Bronze Ring appeared first on Murni's in Bali.

Material: Bronze
Style: Majapahit, Java
Size: Height 3 cm, Width 2.5 cm
Order Number: MHSAME1

The post Antique Majapahit Earring appeared first on Murni's in Bali.

Material: Bronze
Style: West Sumba, Indonesia
Size: Height 5.5 cm, Width 8.25 cm
Order Number: MHSASMM1

Madaka (also called mendaka) are ritual objects found only in West Sumba. They are the rarest and most sacred of heirlooms. The oldest versions could date back 5 or 6 centuries.It is not clear if they were used as an earring or pendant or both.

They are asymmetrical versions of the omega shape, with a row of radiating spokes. One of the two finials on each side of the opening protrudes more than the other and is similar in this respect to the other open oval forms, like the Batak sitepal and duri-duri earrings. The overall shape resembles a seashell.

The madaka may be a stylised naga dragon – the radiating spokes are its spine and the opening  is its mouth.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, page 152.

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

The post Antique Sumba Madaka 1 appeared first on Murni's in Bali.

Material: Silver
Style: West Sumba, Indonesia
Size: Height 5 cm, Width 4 cm
Order Number: MHSASMM2

Madaka (also called mendaka) are ritual objects found only in West Sumba. They are the rarest and most sacred of heirlooms. The oldest versions could date back 5 or 6 centuries.It is not clear if they were used as an earring or pendant or both.

They are asymmetrical versions of the omega shape, with a row of radiating spokes. One of the two finials on each side of the opening protrudes more than the other and is similar in this respect to the other open oval forms, like the Batak sitepal and duri-duri earrings. The overall shape resembles a seashell.

The madaka may be a stylised naga dragon – the radiating spokes are its spine and the opening  is its mouth.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, page 152.

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

The post Antique Sumba Madaka 2 appeared first on Murni's in Bali.

Material: Silver
Style: East Sumba, Indonesia
Size: Height 4.5 cm, Width 3.5 cm
Order Number:  MHSASMM4

Mamuli are fertility symbols. The form invokes the life-giving power of female genitalia and refers back to the ancestors and forward to continuity of lineages. They are avidly sought by collectors and museums.

This is an example of the core mamuli form. It was first seen in the Neolithic and Bronze ages and is one of the most archaic forms in Indonesian jewelry. The simplest is the diamond shape and central round hole extending down to a flared bottom. It is similar to the uppercase Greek letter omega.

They are either male or female. Male mamuli are lavishly decorated with beadwork and braid work and have bases on which stand human, animal and bird figures or warriors and horse riders. Horses’ tails are always held high. Their riders are noblemen. Female mamuli are simpler and do not have a base or legs. They both symbolise female genitalia which itself symbolises fertility and fecundity.

The most valuable are only worn during important ceremonies. Mamuli are given by an East Sumbanese man in return for a wife. They are used at funerals and serve as sacred altar objects employed by priests to contact the spirits (marapu). The most sacred in East Sumba are stored in the attics of clan houses. There are fewer restrictions in West Sumba.

Most are in fact made by specialists from nearby islands of Savu and Ndao or Savu or Balinese immigrants living in Sumba, or Chinese metalsmiths.

Mamuli.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

Map of Sumba.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, pages 130 – 148.

Early – mid 20th century.

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

The post Antique Sumba Mamuli 4 appeared first on Murni's in Bali.

Material: Silver
Style: East Sumba, Indonesia
Size: Height 4.25 cm, Width 3.5 cm
Order Number:  MHSASMM5

Mamuli are fertility symbols. The form invokes the life-giving power of female genitalia and refers back to the ancestors and forward to continuity of lineages. They are avidly sought by collectors and museums.

This is an example of the core mamuli form. It was first seen in the Neolithic and Bronze ages and is one of the most archaic forms in Indonesian jewelry. The simplest is the diamond shape and central round hole extending down to a flared bottom. It is similar to the uppercase Greek letter omega.

They are either male or female. Male mamuli are lavishly decorated with beadwork and braid work and have bases on which stand human, animal and bird figures or warriors and horse riders. Horses’ tails are always held high. Their riders are noblemen. Female mamuli are simpler and do not have a base or legs. They both symbolise female genitalia which itself symbolises fertility and fecundity.

The most valuable are only worn during important ceremonies. Mamuli are given by an East Sumbanese man in return for a wife. They are used at funerals and serve as sacred altar objects employed by priests to contact the spirits (marapu). The most sacred in East Sumba are stored in the attics of clan houses. There are fewer restrictions in West Sumba.

Most are in fact made by specialists from nearby islands of Savu and Ndao or Savu or Balinese immigrants living in Sumba, or Chinese metalsmiths.

Mamuli.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

Map of Sumba.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, pages 130 – 148.

Early – mid 20th century.

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

The post Antique Sumba Mamuli 5 appeared first on Murni's in Bali.

Material: Silver
Style: East Sumba, Indonesia
Size: Height 4 cm, Width 3.5 cm
Order Number:  MHSASMM6

Mamuli are fertility symbols. The form invokes the life-giving power of female genitalia and refers back to the ancestors and forward to continuity of lineages. They are avidly sought by collectors and museums.

This is an example of the core mamuli form. It was first seen in the Neolithic and Bronze ages and is one of the most archaic forms in Indonesian jewelry. The simplest is the diamond shape and central round hole extending down to a flared bottom. It is similar to the uppercase Greek letter omega.

They are either male or female. Male mamuli are lavishly decorated with beadwork and braid work and have bases on which stand human, animal and bird figures or warriors and horse riders. Horses’ tails are always held high. Their riders are noblemen. Female mamuli are simpler and do not have a base or legs. They both symbolise female genitalia which itself symbolises fertility and fecundity.

The most valuable are only worn during important ceremonies. Mamuli are given by an East Sumbanese man in return for a wife. They are used at funerals and serve as sacred altar objects employed by priests to contact the spirits (marapu). The most sacred in East Sumba are stored in the attics of clan houses. There are fewer restrictions in West Sumba.

Most are in fact made by specialists from nearby islands of Savu and Ndao or Savu or Balinese immigrants living in Sumba, or Chinese metalsmiths.

Mamuli.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

Map of Sumba.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, pages 130 – 148.

Early – mid 20th century.

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

The post Antique Sumba Mamuli 6 appeared first on Murni's in Bali.

Material: Silver
Style: East Sumba, Indonesia
Size: Height 4.75 cm, Width 4 cm
Order Number:  MHSASMM7

Mamuli are fertility symbols. The form invokes the life-giving power of female genitalia and refers back to the ancestors and forward to continuity of lineages. They are avidly sought by collectors and museums.

This is an example of the core mamuli form. It was first seen in the Neolithic and Bronze ages and is one of the most archaic forms in Indonesian jewelry. The simplest is the diamond shape and central round hole extending down to a flared bottom. It is similar to the uppercase Greek letter omega.

They are either male or female. Male mamuli are lavishly decorated with beadwork and braid work and have bases on which stand human, animal and bird figures or warriors and horse riders. Horses’ tails are always held high. Their riders are noblemen. Female mamuli are simpler and do not have a base or legs. They both symbolise female genitalia which itself symbolises fertility and fecundity.

The most valuable are only worn during important ceremonies. Mamuli are given by an East Sumbanese man in return for a wife. They are used at funerals and serve as sacred altar objects employed by priests to contact the spirits (marapu). The most sacred in East Sumba are stored in the attics of clan houses. There are fewer restrictions in West Sumba.

Most are in fact made by specialists from nearby islands of Savu and Ndao or Savu or Balinese immigrants living in Sumba, or Chinese metalsmiths.

Mamuli.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

Map of Sumba.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, pages 130 – 148.

Early – mid 20th century.

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

The post Antique Sumba Mamuli 7 appeared first on Murni's in Bali.

Material: Silver
Style: East Sumba, Indonesia
Size: Height 8 cm, Width 6 cm
Order Number:  MHSASMM8

Mamuli are fertility symbols. The form invokes the life-giving power of female genitalia and refers back to the ancestors and forward to continuity of lineages. They are avidly sought by collectors and museums.

This is an example of the core mamuli form. It was first seen in the Neolithic and Bronze ages and is one of the most archaic forms in Indonesian jewelry. The simplest is the diamond shape and central round hole extending down to a flared bottom. It is similar to the uppercase Greek letter omega.

They are either male or female. Male mamuli are lavishly decorated with beadwork and braid work and have bases on which stand human, animal and bird figures or warriors and horse riders. Horses’ tails are always held high. Their riders are noblemen. Female mamuli are simpler and do not have a base or legs. They both symbolise female genitalia which itself symbolises fertility and fecundity.

The most valuable are only worn during important ceremonies. Mamuli are given by an East Sumbanese man in return for a wife. They are used at funerals and serve as sacred altar objects employed by priests to contact the spirits (marapu). The most sacred in East Sumba are stored in the attics of clan houses. There are fewer restrictions in West Sumba.

Most are in fact made by specialists from nearby islands of Savu and Ndao or Savu or Balinese immigrants living in Sumba, or Chinese metalsmiths.

This mamuli is with water buffaloes. They were first domesticated during the Austronesian period about 4,000 years ago and have played an important place in Indonesian religions and economy. There are buffalo images throughout Indonesia. They are seen on the roofs of Minangkabau houses in Sumatra  and rice granary doors in Torajaland in Sulawesi. They are sacrificed in huge funeral ceremonies for aristocrats in Sumba. They indicate wealth and status.

Mamuli.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

The form symbolises the female genitalia which itself symbolises fertility and fecundity.

Map of Sumba.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, pages 130 – 148.

Early – mid 20th century.

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

The post Antique Sumba Mamuli 8 appeared first on Murni's in Bali.

Material: Silver
Style: East Sumba, Indonesia
Size: Height 8.5 cm, Width 7 cm
Order Number:  MHSASMM9

Mamuli are fertility symbols. The form invokes the life-giving power of female genitalia and refers back to the ancestors and forward to continuity of lineages. They are avidly sought by collectors and museums.

This is an example of the core mamuli form. It was first seen in the Neolithic and Bronze ages and is one of the most archaic forms in Indonesian jewelry. The simplest is the diamond shape and central round hole extending down to a flared bottom. It is similar to the uppercase Greek letter omega.

They are either male or female. Male mamuli are lavishly decorated with beadwork and braid work and have bases on which stand human, animal and bird figures or warriors and horse riders. Horses’ tails are always held high. Their riders are noblemen. Female mamuli are simpler and do not have a base or legs. They both symbolise female genitalia which itself symbolises fertility and fecundity.

The most valuable are only worn during important ceremonies. Mamuli are given by an East Sumbanese man in return for a wife. They are used at funerals and serve as sacred altar objects employed by priests to contact the spirits (marapu). The most sacred in East Sumba are stored in the attics of clan houses. There are fewer restrictions in West Sumba.

Most are in fact made by specialists from nearby islands of Savu and Ndao or Savu or Balinese immigrants living in Sumba, or Chinese metalsmiths.

This mamuli is with water buffaloes. They were first domesticated during the Austronesian period about 4,000 years ago and have played an important place in Indonesian religions and economy. There are buffalo images throughout Indonesia. They are seen on the roofs of Minangkabau houses in Sumatra  and rice granary doors in Torajaland in Sulawesi. They are sacrificed in huge funeral ceremonies for aristocrats in Sumba. They indicate wealth and status.

Mamuli.

The symbolic omega open oval form appears in a variety of ornamentation. It goes back to Neolithic Taiwan in about 500 BC in the jade earrings of the Austronesian people and is found throughout Southeast Asia and mirrors the Austronesian diaspora. The greatest variety in form and size are in Indonesia.

Map of Sumba.

There are similar examples in Gold Jewellery of the Indonesian Archipelago, Anne Richter and Bruce Carpenter, Editions Didier Millet 2011, pages 130 – 148.

Early – mid 20th century.

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

The post Antique Sumba Mamuli 9 appeared first on Murni's in Bali.

Material: Horn
Style: East Sumba, Indonesia
Size: Height 7 cm, Diameter 16 cm
Order Number: MHSASPH1

Sumba occupies about 11,000 square kilometres and consists of large limestone plateaux covered with rough grasses and broken by valleys and hills. Thousands of horses live in the vast grasslands of East Sumba. Horses and cattle comprise wealth for the aristocrats in this dry, stony country, which is difficult for agriculture.

The peci is a cap worn by Moslem men. It is a truncated cone, usually made of black or embroidered felt, cotton or velvet. It is worn on formal, religious and state occasions, as well as weddings and funerals.

The name peci is probably derived from the Dutch word petje meaning ‘small hat’. The black cap was modelled on Kemal Ataturk’s fez, but without its Islamic associations. Sukarno, the first President of Indonesia, made it popular. He promoted it as a symbol of nationalist identity for men, whatever their religion.

This one, made of horn, belonged to the head man of a village in East Sumba.

Mid 20th century.

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

The post Antique Sumba Peci Hat appeared first on Murni's in Bali.

Material: Cotton cloth
Style: Bali
Size: Length 63 cm, width 43.5 cm
Order Number: E5

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

The post Balinese Calendar 2 appeared first on Murni's in Bali.

Material: Lontar palm leaves, cotton string, bamboo cover, Chinese coin
Style: Bali, Indonesia
Size: Height 47 cm, Width 21 cm
Order Number: MHSABPLM1

Traditional Indonesian manuscripts are made from the leaves of the lontar palm tree (Borassus flabellifer). The leaves are all cut to the same size, usually between 9 to 18 inches (25 to 50 centimetres) long and 1 to 1.5 inches (2.5 to 4 centimetres) wide.

Characters are inscribed on the leaf with a special knife. The surface of the leaf is wiped with oil mixed with burnt candlewood soot. The soot remains in the grooves. The leaves are wiped clean and the black text can then be read. Few survive more than 100 years in Bali’s tropical climate.

The leaves are bound and held together through holes cut in the leaves by string and a Chinese coin called a kepeng. They are protected by an outside board of bamboo or wood.

One side has scenes from the Indian epic Ramayana in traditional Balinese wayang style and on the back are a couple of lines of text.

Rawana the demon falls in love with Rama’s wife Sita and decides to capture her. He orders the ogre Marica to change himself into a golden deer and entice Sita. The plan works and Sita, wanting the deer as a pet, pleads with Rama to capture it. Rama goes into the forest in search of the deer. He finds it and shoots with his arrow.

Before the deer dies it resumes the demon shape of Marica and imitates Rama’s voice calling for help. Sita is distraught and asks Laksmana to go and help. Before he leaves, he draws a magic circle around her for protection.

Rawana disguises himself as a beggar and seizes the chance. He asks Sita for food. When she steps out of the circle, he captures her and carries her off to his palace. Rama and Laksmana return and cannot find her. Jatayu, the giant bird, tries to rescue Sita, but Rawana catches him and cuts off his wings. As he lies dying, he tells Rama of the kidnapping.

Rama summons help from Sugriwa, the monkey, who lends him his monkey army and Hanuman, the outstanding white monkey commander. Meanwhile Sita has been resisting Rawana’s advances. Hanuman arrives at the palace, disguised as a fly, and finds Sita.

Rama sends Hangada, the red monkey, to Rawana to persuade him to return Sita and avoid bloodshed, but Rawana tries to kill him, whereupon Rama’s army appears and a huge battle ensues. Rama and Rawana direct the battle. There are massive casualties and finally Rama kills Rawana.

Rama and Sita are reunited.

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

The post Balinese Palm Leaf Manuscript 1 appeared first on Murni's in Bali.

Material: Lontar palm leaves, cotton string, bamboo cover, Chinese coin
Style: Bali, Indonesia
Size: Height 40 cm, Width 20 cm
Order Number: MHSABPLM2

Traditional Indonesian manuscripts are made from the leaves of the lontar palm tree (Borassus flabellifer). The leaves are all cut to the same size, usually between 9 to 18 inches (25 to 50 centimetres) long and 1 to 1.5 inches (2.5 to 4 centimetres) wide.

Characters are inscribed on the leaf with a special knife. The surface of the leaf is wiped with oil mixed with burnt candlewood soot. The soot remains in the grooves. The leaves are wiped clean and the black text can then be read. Few survive more than 100 years in Bali’s tropical climate.

The leaves are bound and held together through holes cut in the leaves by string and a Chinese coin called a kepeng. They are protected by an outside board of bamboo or wood.

One side has an image of the goddess Dewi Saraswati in traditional Balinese wayang style and the back is blank. Dewi Saraswati is an important Balinese goddess and consort of the creator god Brahma. She is the goddess of learning, knowledge and writing, especially for lontar manuscripts. On her day, the last day on the Balinese calendar, lontar manuscripts are ritually purified and honoured. Nobody should read or write on that day.

Saraswati has 4 arms and hands. She plays a musical instrument, holding it with one hand, and playing it with the other. She also holds a lontar manuscript and a rosary. There are 2 geese at her feet, which are her vehicle. She wears a crown with an aura around it.

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

The post Balinese Palm Leaf Manuscript 2 appeared first on Murni's in Bali.

Material: Lontar palm leaves, cotton string, bamboo cover
Style: Bali, Indonesia
Size: Height 40.5 cm, Width 25 cm
Order Number: MHSABPLM3

Traditional Indonesian manuscripts are made from the leaves of the lontar palm tree (Borassus flabellifer). The leaves are all cut to the same size, usually between 9 to 18 inches (25 to 50 centimetres) long and 1 to 1.5 inches (2.5 to 4 centimetres) wide.

Characters are inscribed on the leaf with a special knife. The surface of the leaf is wiped with oil mixed with burnt candlewood soot. The soot remains in the grooves. The leaves are wiped clean and the black text can then be read. Few survive more than 100 years in Bali’s tropical climate.

The leaves are bound and held together through holes cut in the leaves by string. They are protected by an outside board of bamboo or wood.

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

The post Balinese Palm Leaf Manuscript 3 appeared first on Murni's in Bali.

Material: Wood, chinese coins
Style: Bali temple decoration
Size: Height 47 cm, width 19.5 cm, depth 9.5 cm
Order Number: E18

The Barong is a mythical Balinese beast, with a long shaggy body. He is holy and has protruding eyes and a moveable jaw.

He has magic power in his beard, which he usually uses for good. When not passing through the countryside or visiting temples, he lives in a specially fenced little house in the village temple.

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

The post Balinese Salang: Barong appeared first on Murni's in Bali.