Material: Bronze, copper
Style: India
Size: Height 9 cm (closed), Length 19 cm
Order Number: MHSAIBC1

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 Indian betel cutter has a cusped “Mughal” arch. It is possibly from Maharastra.

There are examples of cusped “Mughal” arches in Betel Cutters, From the Samuel Eilenberg Collection, Henry Brownrigg, THames and Hudson, 1992 on page 57.

19th century – early 20th century.

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

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

Material: Bronze, copper
Style: India
Size: Height 9 cm (closed), Length 15 cm
Order Number: MHSAIBC2

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 Indian betel cutter is unusual. It is a bird with wings.

19th century – early 20th century.

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

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

Material: Iron
Style: India
Size: Height 4 cm (closed), Length 15 cm
Order Number: MHSAIBC3

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 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 Indian betel cutter is in the shape of a bird.

19th century – early 20th century.

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

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

Material: Iron
Style: India
Size: Height 6.5 cm (closed), Length 15 cm
Order Number: MHSAIBC4

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 Indian betel cutter is unusual.

19th century – early 20th century.

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

The post Antique Indian Betel Cutter 4 appeared first on Murni's in Bali.

Material: Bronze
Style: India
Size: Height 3.5 cm (closed), Length 14
Order Number: MHSAIBC5

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 Indian betel cutter is unusual.

19th century – early 20th century.

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

The post Antique Indian Betel Cutter 5 appeared first on Murni's in Bali.

Material: Bronze, iron
Style: India
Size: Height 5 cm (closed), Length 11
Order Number: MHSAIBC6

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 Indian betel cutter is unusual.

19th century – early 20th century.

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

The post Antique Indian Betel Cutter 6 appeared first on Murni's in Bali.

Material: Iron
Style: India
Size: Height 7 cm (closed), Length 17
Order Number: MHSAIBC7

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 Indian betel cutter is unusual. Damascening is the art of engraving deep groves and hammering different metals, typically silver or gold,  into the grooves of a dark coloured metal (usually iron) to produce intricate patterns.

19th century – early 20th century.

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

The post Antique Indian Betel Cutter 7 appeared first on Murni's in Bali.

Material: Iron
Style: India
Size: Height 10 cm (closed), Length 15
Order Number: MHSAIBC8

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 Indian betel cutter is unusual.

19th century – early 20th century.

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

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Material: Iron
Style: India
Size: Height 6.5 cm (closed), Length 14
Order Number: MHSAIBC9

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.

This Indian betel cutter is unusual.

19th century – early 20th century.

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

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Material: Paper
Style: Kutch, Gujarat, India
Size: Length 16 cm, Width 9.5 cm, Depth 4 cm
Order Number: MHSAIPB1

This is an old prayer book written in Sanskrit.

Early – mid 20th century.

Map of Kutch, Gujarat, India.

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

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Material: Sterling Silver
Style: India
Size: Circumference 79 cm
Order Number: MHSAISB1

This heavy, impressive belt and buckle of high-grade solid silver is richly decorated. The buckle opens to one side with a pin mechanism.

Believed to be of the type worn by tribes in the Bastar area of Central India.

Overall, an impressive item of the highest quality.

60-70 years old.

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

The post Antique Indian Silver Belt 1 appeared first on Murni's in Bali.

Material: Sterling Silver
Style: India
Size: Circumference 81 cm
Order Number: MHSAISB2

This heavy, impressive belt and buckle of high-grade solid silver is richly decorated.

Overall, an impressive item of the highest quality.

60-70 years old.

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

The post Antique Indian Silver Belt 2 appeared first on Murni's in Bali.

Material: Brass
Style: Nagaland, India
Size: Height  cm, Width  cm
Order Number: MHSANBH1

Nagaland is landlocked in the north east of India, one of India’s 28 states, created in 1963, with a population of about 2 million people from 16 Tibetan Burmese tribes, who have nothing in common with the vast majority of Indians. Nobody is quite sure where they came from – the Unrepresented Nations and People’s Organisation says Mongolia in the 10th century.

Each Naga tribe has its own language or dialect. The villages are independent of each other, and self-sufficient.

The Nagas were enthusiastic headhunters. The British criminalised it in the 1920s, but it continued well into the 1960s and even 1980s, although there was mass conversion to Christianity in the late 19th century largely by American missionaries.

  

1937 photo of Naga Warrior wearing Classic Trophy Necklace and a hat decorated with hornbill beaks and boar’s tusks taken by Christoph von Furer-Haimendorf in The Nagas, Hill People’s of Northeast India, Julian Jacobs, Thames & Hudson, 1990, page 69.

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

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