750-1550
A small collection
Jaap Polak
Plate 1
Gateway in the fourth gallery
Central Java, ca. 800, Borobuḍur
Photo: Kurkdjian, no. 14, Surabaya; Documentation Centre for Ancient Indonesian Art, Amsterdam
THE COLLECTION - page 5
GENERAL BACKGROUND - page 6
CATALOGUE
CENTRAL JAVANESE PERIOD
8TH CENTURY – CA. 928
CATALOGUE NUMBERS 1-18 - page 11
EASTERN JAVANESE PERIOD
CA. 928 – CA. 1550
CATALOGUE NUMBERS 19-30 - page 71
BIBLIOGRAPHY - page 106
MAPS OF INDONESIA - page 111
A ship on the open sea
Central Java, ca. 800, Borobuḍur, detail of relief Ib no. 86
Plate 2
Photo: Documentation Centre for Ancient Indonesian Art, Amsterdam
This small, Dutch private collection of thirty extremely rare, ancient Indonesian silver objects affords a window on the varied cultural influences the archipelago assimilated over time. It has sometimes been called ‘the string of emeralds’; an appropriate name considering the luxuriant tropical vegetation and nature on its many islands. The collection itself was assembled over many years, mostly after 1945. The sculptures and utensils were collected on Java, except for catalogue numbers 3, 6 and 8. The locations where catalogue numbers 11, 12, 16-20, 22, 24 and 25 were found are also known. Several figures came from the wellknown Albert Zorab (1892-1958) collection and were brought to the Netherlands in 1948. Others entered the Dutch collection described here before the 1970s, and some even a little later.
The exact dating of these remarkable silver sculptures and utensils is rather difficult to determine and so they have been divided in two groups: one from the Central Javanese Period (8th century-ca. 928) and the other of the Eastern Javanese Period (ca. 928-ca. 1550).
The majority of the cast bronze sculptures, and some utensils were discovered in Central Java
and date before circa 928 CE. One of the reasons that date marks the end of the Central Javanese Period is the fact that the last kings of Central Java witnessed the flourishing of trade with Southeast Asian countries with their so-called maṇḍalas, small kingdoms or city states. The East Javanese merchants in the North, namely, had access to the sea via the major rivers and thus a direct trade connection with South- and Southeast Asia. If the kings had to move the kĕraton, the seat of the court, in Central Java to the east, they needed to secure a strong position in East Java and consolidate power. One of the enormous eruptions around 928 CE of the big volcano Mĕrapi gave the final impulse to transfer the kĕraton and political power to East Java.1
Dating from the Central Javanese Period are all the silver Hindu and Buddhist sculptures in the collection, see catalogue numbers 1-10, along with the wine goblets, beakers and bowls, see catalogue numbers 11-17.
Dating from the Eastern Javanese Period are several utensils and objects of interest, though no sculptures. The first, catalogue number 19, is an interesting silver bowl that manifests itself as an amṛta vessel, which are usually made of bronze,2 see plate 29. The smooth silver alms, or begging
Central Java, early 9th century
Silver, h. 15, 10.5 and 11 cm
Ex coll.: Zorab, till 1958
Moorrees, till 1989
Private collection
Publ.: Hildesheim 1995, cat. nos. 20 a, b, c
Amsterdam 2018, cat. no. 50
Exh.: Hildesheim, Roemer- und Pelizaeus-Museum, 13 Aug. - 26 Nov. 1995
Mannheim, Reisz-Museum, 17 Dec. 1995 - 21 April 1996
Tempere, Tempere Art Museum, 24 May - 3 Nov. 1996
Stuttgart, Landeskreditbank Baden-Würtemberg, 29 Nov. 1996 - 6 April 1997
Amsterdam, Nieuwe Kerk, Wereld – Natuur – Kunst, 2 July - 23 Oct. 2005
Amsterdam, Nieuwe Kerk, Het leven van Boeddha – De weg naar nu, 16 Sept. 2018 - 3 Feb. 2019
The Buddha is in pralambapādāsana, a seated posture in the ‘western manner,’ both legs hanging down with the feet resting upon a pink lotus cushion.1 The right hand is raised in abhaya mudrā, the gesture of protection and reassurance, the granting of the absence of fear.
The left hand rests on his lap in the so-called dhyāni mudrā. The monk’s robe leaves his right shoulder bare and crosses his chest. The garment clings to his body, following its curves and fans out slightly at the shins. The eyes of the Buddha look down in meditation. The hair curls are clearly indicated, and the low uṣṇiṣā 2 is visible as the ūrṇā on the forehead between the eyebrows.
The Buddha is seated on a rectangular throne. The sides and back are in openwork featuring a quatrefoil ornament with a floral motif. The prabhā, halo, is at the base and at the height of the shoulders decorated with stylised makaras, mythological aquatic monsters with an elephant’s trunk. To the left and right of the prabhā are pearl borders. Behind the head is a halo with śakti, flames, and above the head is a chattra, parasol, bending forward and placed exactly above the head. This is a typical feature of Javanese art. This clear improvement was not applied anywhere else. In Asia the chattra is always placed directly on the prabhā, so not above the head of the figure to be worshipped.
The Bodhisattva Avalokiteśvara, normally Lokeśvara at the right of the Buddha, is seated in ardhaparyaṅka, the Buddhist name for the sitting posture with one leg bent upon the seat while the other hangs down or touches the ground. In this case the lotus cushion rises from the oval base. On this base is
Below: Plate 18
Lobed bowl
Silver, h. 4.7 cm
Central Java, Sanggrahan, Magelang, 9th century
Coll. Museum Nasional Indonesia, Jakarta, inv. no. A 297/1715 h.
Plate 19
Relief with a royal couple
Under the seat are four nestled beakers.
Central Java, ca. 800, Borobuḍur, detail of relief series I (B) a no. 295
East Java, found in Lumajang1, 13th - 14th century
Silver, l. 20.5 cm
Ex coll.: Polak, 1938-1984
Private collection
Publ.: Kreijger 1988, p. 17, fig. 2
Versunkene Königreiche Indonesiens, exhib. cat. Roemer- und Pelizaeus-Museum, Hildesheim, 13 Aug. - 26 Nov. 1995, Mainz 1995, cat. no. 83
Exh.: Amsterdam, Rijksmuseum, 1990
Hildesheim, Roemer- und Pelizaeus-Museum, 13 Aug. - 26 Nov. 1995
Mannheim, Reisz-Museum, 17 Dec. 1995 - 21 April 1996
Tempere, Tempere Art Museum, 24 May - 3 Nov. 1996
Stuttgart, Landeskreditbank Baden-Würtemberg, 29 Nov. 1996 - 6 April 1997
Amsterdam, Gallery Polak, Indo-Javanese Metalwork, 27 May - 19 June 19882
Rotterdam, Wereldmuseum Rotterdam, Majapahit de Gouden Eeuw van Indonesië, 25 Nov. 2000 - 20 May 2001
An amṛta ladle, to scoop holy water from an amṛta vessel and pour or sprinkle the holy water on the hands or head of the laity, is embossed in silver. The handle is cast in the lost wax technique and has four rings at the end. A small part of the handle burst open while it was in the ground, revealing the casting core. The handle is attached to the bowl with a repoussé ornament. This consists of a thin plaque representing a rocky part of the sacred, five-peaked Mount Meru, see plate 28: the centre of the Hindu and Buddhist cosmology, the centre of the spiritual universe, and also the symbol of the elixir of life. Part of this mountain was brought from India to Java to stabilise the island. This story is recounted in ancient Indonesian literature, for instance Tantu Penggĕlaran written in the fifteenth century.3 The amṛta, elixir of life, emerged when Mount Meru was used during the Churning of the Ocean of Milk, with many other treasures. These ladles are rather rare. A very finely decorated golden water dipper was found with the Wonoboyo Hoard, also called the gold treasure of Plosokuning.4 Another siwur or gayung ladle, which was used on Bali during purification ceremonies, is in the Museum Nasional Indonesia, Jakarta.5 This golden ladle has a long wooden handle. On Bali this type of object was also made from a half coconut bowl mounted on a wooden stick.
Some silver ladles are found in the Museum Nasional Indonesia, Jakarta.6 Caṇḍi Loro Jonggrang, Prambanan, has reliefs depicting the story of the Rāmayāṇa.7 In one of them representing ‘the consultation of the investigation into the abode of Sītā’ a large vessel can be seen in the background. Hanging in front of
Ancient Indonesian Silver is the second publication of the Documentation Centre for Ancient Indonesian Art in Amsterdam.
It examines Indonesian silver, sculptures, objects and two pieces of jewellery, affording fresh insight into the history of silver made by Javanese silversmiths. While ancient Indonesian gold has received considerable attention from art historians, to date there have been no specialised publications on the subject of ancient Indonesian silver.
Most of the thirty selected items in this catalogue are published for the first time. They provide an introduction to the fascinating silversmith art of Central - and East Java from circa 750 to 1550. Some objects exhibit the foreign influences that helped shape Javanese art, as illustrated by early photographs. This begins with the impact of Hinduism from India and somewhat later that of Buddhism.
The illustrations in this publication include photographs of the works of art as well as old photographs and details of archaeological sites throughout Java. In this way, art lovers are able to better understand Indonesian culture as well as the virtuosity of Javanese silversmiths.
By the same author: Jaap Polak, Ancient Indonesian Gold of the Central and Eastern Javanese Periods 750-1550. A selection, Amsterdam 2022
Documentation Centre for Ancient Indonesian Art & Polak Works of Art - Amsterdam