Pakaian/Aksesori/Senjata/Pengangkutan/Gaya Hidup Masyarakat Melayu Zaman Silam

HangPC2

Melayu Telah Di Bangangkan Sejak Sekian Lama !!!


Dilulus terbit oleh abu_sumayyah pada Wednesday, July 19 @ 08:12:09 MYT

BPPNS menulis "



Seringkali bila kita diperingatkan atau menonton filem Melayu mengenai kejatuhan Empayar Islam Melaka di tangan orang Portugis, kemudian Belanda, kemudian Inggeris, kita digambarkan bahawa pahlawan-pahlawan Melayu kita berjihad mempertahankan Tanah Melayu ini dengan hanya menggunakan keris, pedang, tombak dan panah. Sedangkan orang Eropah menggunakan senapang, pistol dan meriam.

Hakikatnya Empayar Islam Melaka mempunyai meriam yang jauh lebih canggih daripada tentera Portugis, Belanda dan Inggeris. Dan Melayu di zaman Empayar Islam Melaka maju bukan kerana mereka menggunakan Bahasa Inggeris dan tulisan rumi, tapi mereka boleh maju walaupun dengan Bahasa Melayu dan tulisan Jawi. Sekali lagi Melayu telah dibangangkan bahawa Melayu ini mundur, tidak mempunyai ilmu untuk membuat persenjataan canggih, pernah dulu Melayu diperlekehkan hendak buat paku pun tak tahu.
Berikut adalah sedikit fakta sejarah yang membuktikan orang Melayu di zaman Empayar Islam Melaka jauh lebih hebat daripada orang Eropah.

Lebih kurang seabad selepas senjata api dicipta oleh orang Arab, orang Melayu mula membuat senjata api. Bukti kegiatan ini telah didokumenkan oleh W Linehan dalam penulisan beliau bertajuk beberapa Pertemuan Di Tembeling. Di tebing Sungai Tembeling di Semenanjung Malaysia, dia telah menjumpai beberapa acuan untuk membuat meriam pada abad ke 13 dan 14.
Menurut penakluk Melaka, Alfonso d'Albuquerque, pembuatan senjata api orang-orang Melaka adalah setanding dengan orang Jerman. Ini bermakna ianya lebih baik dari orang Portugis, tetapi senjata yang terbaik ketika itu adalah dari kerajaan Uthmaniah Turki. Apabila Portugis mengalahkan Melaka, mereka menjumpai beribu-ribu meriam termasuk satu meriam yang begitu besar yang Alfonso telah menghantar ke sekutunya di India iaitu Zamorin dari Calicut.

Meriam-meriam yang dihasilkan oleh kesultanan Melayu terdiri dari pelbagai mutu. Yang paling kuat dibuat oleh sultan yang kaya. Meriam-meriam orang Melayu yang terbaik dengan mudah dapat menghancurkan kapal-kapal perang Eropah ; antaranya Syarikat Belanda India Timur hilang kapal perangnya apabila mereka menyerang Makassar pada tahun 1667 dan satu lagi pada abad ke 18 apabila mereka menyerang orang Bugis di Bintan. Meriam-meriam yang dihasilkan oleh orang Makassar adalah dari kualiti yang tinggi yang diminta sebagai ganti rugi oleh orang Belanda (walaupun orang Belanda yang memulakan peperangan).
Kerajaan Melayu Siam juga telah membuat meriam-meriam yang terbaik di Pattani. Dalam tahun 1571 mereka telah menyiapkan dua meriam yang berukuran 22 kaki dan 7 inci. Meriam-meriam ini amat berjasa dalam mempertahankan Pattani daripada beberapa serangan Siam selama lebih dua ratus tahun. Pattani akhirnya tewas di tangan Siam pada tahun 1786 dan meriam-meriam besar Pattani telah dibawa ke Bangkok. Salah satu meriam, Seri Negeri jatuh ke dalam laut ketika hendak dibawa. Yang satu lagi Seri Patani dipamerkan di Kementerian Pertahanan Thailand.
Alahai, Melayu dibangangkan sejak sekian lama, yang lelaki dengan imej keris dan perempuan dengan imej berkemban. Sepatutnya lelaki dengan imej pistol atau senapang dan perempuan dengan tudungnya. Melayu lebih canggih dan mempunyai kepakaran yang bukan setanding tapi lebih hebat dari orang Eropah, walaupun dengan berBahasa Melayu dan menggunakan tulisan Jawi.

Sources : Forum CVT

eskrem

nk tgk pakaiannye..asyik pedang jek yg byk..bosan la..

HangPC2

Armour Rattan Suite Sumbawa (Baju Perisai Sumbawa Anyaman Rotan)


Asal: Timur Kepulauan Sumbawa (Indonesia)

Tahun: Abad Ke 19




[ Last edited by  HangPC2 at 21-7-2007 05:32 PM ]

HangPC2

Rumah Melayu Awal 40an-60an





Credit


Skynet (pergh.com)

penpink

RUMAH 'JOHOR' tak der ker?

[quote]Originally posted by HangPC2 at 3-11-2006 12:26 AM




Baju Kurung Teluk Belanga bagi lelalaki

Hansomlah di guy gerenti banyak pompuan dulu2 gile kat dia ni

HangPC2

Parang Nabur (Borneo Sea Dayak)

HangPC2

Pedang Jawa

jkkkj

Originally posted by simpur at 1-6-2007 07:49 PM
[quote]Originally posted by HangPC2 at 3-11-2006 12:26 AM


http://img288.imageshack.us/img288/8895/cekakmusang01bi2.jpg

Baju Kurung Teluk Belanga bagi lelalaki

Hansomlah di guy gerenti ...

Kalau tak salah aku,ni pic Sultan Azlan Shah masa muda la.

HangPC2

Original Script Of Fei Xin's Xin Cha Shen Lan (Description Of The Starry Raft)





Fei Xin's description of Malacca



Fei Xin (Chinese: ??) was the Ming dynasty admiral Zheng He's translator. In his Description of the Starry Raft (1436), early Malacca was included.

He noted that Malacca people which was the Malays had "their skin resembled black lacquer, but there were some white-skinned people among them who are of ethnic Tang. Men and women appeared in mallet-like chignon hair style, simple and kind lifestyle, they fish at rivers and at sea. The coastal village was inhabited by very few peoples and was not ruled by any neighboring kingdoms. The only produce of Malacca was tin, from a river. Tins obtained from river were fired into tin block (konwn as Tin ingot) where each weigh 1.4 jin. Malacca paid annual 40 golds to Siam as tax..

HangPC2

Sepasang pengantin Aceh, sekitar tahun 1880.
Sumber Foto : KITLV Leiden, 4902




Teuku Panglima Maharaja Syahbandar Tiban Muhammad
dengan keluarga di Aceh, tahun 1892.
Sumber Foto : KITLV Leiden, 4915




Rumah Gubernur di Kutaraja (Banda Aceh), tahun 1878.
Sumber Foto : KITLV Leiden, 2988




Gamelan dalam benteng di Meulaboh, sekitar tahun 1894.
Sumber Foto : KITLV Leiden, 11776




"Atjeh Tram" di atas jembatan "Demmeni"
di Kutaraja (Banda Aceh), sekitar tahun 1895.
Sumber foto : KITLV Leiden, 27493




Prajurit KNIL (Tentara Kerajaan Hindia-Belanda)
di Gunungan, Kutaraja (Banda Aceh), tahun 1874.
Sumber Foto : KITLV Leiden, 19273




Dayah di Kutaraja (Banda Aceh) dengan
makam Tengku Dianjong, tahun 1892.
Sumber foto : KITLV Leiden, 4925




Pasar Kerbau di depan Masjid Raya Baiturrahman
di Kutaraja tahun 1892.
Sumber Foto : KITLV Leiden, 4913




"Hotel de l'Europe" di Kutaraja
(Banda Aceh), tahun 1892.
Sumber Foto : KITLV Leiden, 4946




Credit

http://www.e-aceh-nias.org



[ Last edited by  HangPC2 at 6-9-2007 10:39 AM ]

HangPC2

An era on the cusp, captured


Sunday April 1, 2007



By NEIL KHOR

Classic black and white images dating back to the late 1800s offer a glimpse of a time when global culture was just emerging.


IT was a time when horizons were expanding and worlds meeting, at times, colliding. It was a time when cultures were opening up and ideas were being exchanged. It was a time ... when people primped and prettied up to pose for photographs.




Perak Sultan Idris retains touches of his Malay identity amidst the regalia of a British uniform: a crescent moon on his headdress for Islam, and a sampin(waist cloth) made of that very Malay weave, songket. All photos courtesy of the Victoria & Albert Museum, London


One sat for a photograph, properly and formally, in one best. One coiffed one hair carefully and wore the latest fashion. In this impatient age of digital cameras, only movie stars and models undergo such preparation before facing the lens. But back when the world was slower a couple of centuries ago, things were different and everyone, if they could afford it, had a formal portrait done.  

If you were Someone, you had your photo taken at the Lafayette Photographic Studio in London New Bond Street. In 1887, Queen Victoria gave the studio a royal warrant, acknowledging its importance in capturing the faces of those who owned and ran the Empire. In the five short years it had been in existence until then, its cameras had peered into the faces of London high society as well as Eastern potentates.

It is images of the latter that will make particularly fascinating viewing for Malaysians.

An exhibition of photos from the Lafayette image bank at London Victoria & Albert Museum, with an emphasis on those with an Asian connection, will open at the Islamic Arts Museum in Kuala Lumpur on Thursday. The exhibition is organised by the Islamic Arts Museum with support from HSBC Bank (Malaysia) Berhad.  

The late 19th and early 20th centuries may have been oppressively Victorian for many  not only for British citizens but also the citizens of Britain colonies  but for the elite this was a time of openness and international understanding. The Lafayette Studio is a symbol of these times: it was a force that brought people from many parts of the world together for their mutual benefit. This force also led to an ultimately non-confrontational approach to independence, especially evident in Malaysia. One section of the exhibition will be dedicated to Merdeka, in all its photographic glory.




Vicountess Hayashi was photographed in elaborate court dress.


One of the most interesting aspects of the exhibition, according to Islamic Arts Museum curator Lucien de Guise, is how the story of this newly emerging global culture is told in these black and white photographs. Sitters shared the same setting and space, but participated actively in the making their own identities  a reflection, perhaps, of old colonies learning to forge their own new, nationalistic identities?

Even where people appeared to have adopted European style, they still retained references to their own culture in their choice of jewellery, weapons, headdress, shoes or fabrics, he explained.

Perak Sultan Idris (reigned from 1887 to 1916, main photo), for example, appears regal in military uniform. While the star and sash was part of his regalia as a British Knight of the Order of St Michael and St George (KCMG), the crescent moon on his headdress was there to represent his religion. Slightly hidden under the vest but unmistakable is the sampin (cloth around the waist) made of songket (cloth woven with gold and silver thread)  a traditional element that gives the uniform its Malay identity.  

The exhibition is divided into four broad categories comprising images of sitters in traditional and Western costume and in uniform as well as those of a selection of interesting individuals closely connected with Asia. Together, these images catch an age on the cusp, one that was still clinging to prim protocol yet was beginning to feel the effects of social and economic upheavals that were eroding the strictures of rank and class.  




The Westernised, wealthy middle class Madame Wellington Koo posed in a more modern looking dress.


Take, for instance, the image of Kedah Sultan Abdul Hamid (reigned from 1882 to 1943), who sat at Lafayette in 1911. There is a curious story behind this photo. The sultan had been knighted in conjunction with the coronation of King George V and, of course, was to have his photo taken at the imperial studio. British protocol required national dress but, unfortunately, the sultan had not brought anything with him. So a London tailor quickly produced a costume!  

Dr Amin Jaffer, the V&A curator and a Lafayette specialist, explained that the rigidity of protocol at these events extended to the type of shoes a native ruler was allowed to wear. Dressing, decorations and headgear were markers of a person position in the imperial pantheon, he said.

But by the late 1880s and early 1900s, it wasnt just royalty with its insistence on protocol and Groper dress that was walking through Lafayette doors. The images of aristocrats must also be juxtaposed with those outside the spectrum of power.

Changes in British society were accelerated by the Industrial Revolution in the early 19th century; by the 1920s, after World War I, the old class structure based upon aristocratic connections, landed gentry and military traditions was crumbling. A new elite, whose wealth did not come from landed property but from industry, was emerging. And they, too, wanted to have their portraits done.




Kedah Sultan Abdul Hamid had to sit for his portrait in a hastily sewn costume, as protocol required national dress and he hadnt brought any.

Look at the portraits of the Viscountess Hayashi and Madame Wellington Koo (nee Oei Hui Lan). These two Asian women came from very different worlds. Hayashi, who sat for her portrait in 1902, belonged to the Japanese aristocracy, and wore an elaborate court dress for her photograph. Koo, on the other hand, although no less wealthy, was part of the emerging Westernised middle class and chose a less ornate and more modern looking Dream brocaded velvet dress when she sat in 1921.  

Koo was the daughter of Oei Tiong Ham, the Peranakan Chinese sugar king of Java, and the wife of Wellington Koo, a diplomat and one time prime minister of China. By 1921, women like her were beginning to express their individuality through hairstyle and dressing. And Koo, a modern Asian woman with financial means, could sit at Lafayette, the imperial studio.

Yes, the times, they were a-changin and these portraits, along with their stories, have captured that change. It was a time when life was slower than now but beginning to speed up, when cultures were changing ... and nations beginning to find their identities and long for independence.  


# The writer is a PhD candidate in Straits Chinese Literature at Cambridge University, Britain, and a volunteer at the Victoria & Albert Museum in London.  

The Neither East Nor West  The Lafayette Collection: Asia in the Age of Monochrome exhibition will be opened at the Islamic Arts Museum (Jalan Lembah Perdana, KL) by Foreign Minister Datuk Seri Syed Hamid Albar on Thursday and will thereafter continue until Sept 10.

The exhibition catalogue will be available for RM125. Museum hours are 10am to 6pm, seven days a week, including public holidays. Admission is RM12 (adults) and RM6 (students). For more information, call the museum at 03-2274 2020 or e-mail [email protected].  

HangPC2

The Lafayette Collection


http://lafayette.150m.com/asia.html



Colonel HH Paduka Sri Sultan 'Abdu'l Hamid Halim Shah II ibni al-Marhum Sultan Ahmad Taj ud-din al-Mukarram Shah, Sultan and Yang di-Pertuan of the State of Kedah Dar ul-Aman, KCMG (1864-1943) [Malaysia]






KEDAH, SULTAN OF
Neg. No: (GP) 7061a
Neg. Size: 15"x12"
Neg. Date: 30-06-1911


Biog: Reigned 1882-1943

Date: 30 June 1911

Occasion: Visit to Buckingham Palace on the morning of 30 June 1911 to receive the Insignia of a Knight Commander of The Most Distinguished Order of St. Michael and St. George, conferred in connection with the Coronation of King George V, 22 June 1911.

Location: -

Descr: TQL seated.

Costume: Silk jacket with the motif "Ya Allah" in Arabic characters [NB sometimes the wording appears upside-down]; sarong.







Tunku Mahmud







MAHMUD, TUNKU
Neg. No: (GP) 7059
Neg. Size: 15"x12"
Neg. Date: 30-06-1911


Biog: President of State Council of Kedah [Malaysia]

Date: 30 June 1911.

Occasion: Coronation of King George V, 22 June 1911.

Location: -

Descr: TQL seated.




Colonel HH Maulana Paduka Sri Tuanku Sultan Sir Idris Murshid al-Azzam Shah Rahmatu'llah ibni al-Marhum Raja Bendahara Alang Iskandar, Sultan and Yang di-Pertuan of the State of Perak, GCMG, KCMG, CMG, GCVO (1849-1916) [Malaysia].






PERAK, SULTAN OF
Neg. No: (GP) 7063

Neg. Size: 15"x12"
Neg. Date: 30-06-1911


Biog: Reigned 1887-1916.

        J M Gullick, Malay Society in the Late Nineteenth Century, Oxford 1989, p 69 n 92

        Sultan Idris was the only one of the four FMS rulers who was able to take part in the debates at the first meeting of the new FMS Federal Council in 1909... As a young man he was one of the rather raffish circle around his cousin, Sultan Abdullah... He was an opium smoker whom Birch judged 'rather a debauchee' (J W W Birch, The Journals of J.W.W. Birch, First British Resident to Perak 1874-1875, edited by P.L. Burns, Kuala Lumpur, 1976). The turning point perhaps came with the arrival in Perak of Hugh Low in 1877. Within weeks Low concluded that this was a prominent figure whom he would recommend - 'a good berth to be provided for him' (H. Low, 'The Journal of Sir Hugh Low, Perak 1877', edited by E. Sadka, Journal of the Malayan/Malaysian Branch of the Royal Asiatic Society, 27(4), 1954). Thereafter, there was an unbroken flow of high praise from senior figures of the colonial regime - 'stands for all that is best in the Malay ruling class... intelligence... experience... great charm of manner... a fluent speaker... a very earnest Muhammadan, without a trace of bigotry... a high authority on questions of Muhammadan law and religion' (F A Swettenham, British Malaya: An Account of the Origin and Progress of British Influence in Malaya, London, 1907, p 343). Significantly Swettenham continues that 'In all the Malay states there is no one who... has done so much to promote the success of the new system of administration' (ibid). Clifford's verdict is in similar terms - 'among the most enlightened rulers of the Native States of the East, and a convinced apostle of British rule' (H Clifford, Bushwhacking and Other Asiatic Tales and Memories, New York, 1929, p 192).

Date: 30 June 1911.

Occasion: Royal guest for the Coronation of King George V, 23 June 1911.

Location: -

Descr: TQL seated.

Costume: -

Costume Designer: -

Costume Supplier: -

Orders, Decorations & Medals: Star & sash of an Honorary Knight Grand Cross of the Order of St. Michael & St. George (GCMG cr 1901).

HangPC2

SULTANATE BRUNEI DARUL SALAM (ROYAL WEDDING CEREMONY)         


KINDUA

Kindua is used to decorate the canopy. It is square in shape. Originally, Kindua was made of yellow cloth which was one hasta long. Its size depends on the intended ceremony or at a particular place where the ceremony the Kindua will be hung or fixed at the centre of a particular ceremony held in the palace, the Lapau, in front or inside the Patarana or at any relevant place of the ceremony. At present, Kindua is made of wood.  


PUADAI

Puadai is a white cloth laid out from the palace staircase towards the Lapau or along the route which is passed by the Sultan during a particular ceremony such as the Istiadat Berpuspa (Coronation Ceremony) or passed by the Royal Bride or Bridegroom during the Istiadat Persandingan Diraja (Royal Wedding Ceremony). The Sultan or a person of the same status with him, a yellow or red carpet is used as the Puadai.  


USONGAN (ROYAL CARRIAGE)

Usongan is a Royal gilded carriage. It is used to transport the Sultan and the Royal Family during a particular ceremony such as the Istiadat Berpuspa (Coronation Ceremony) or Istiadat Persandingan Diraja (Royal Wedding Ceremony). As determined by the customs and traditions, the Usongan will have special seatings with props and cloth-spread. The carriage is carried by 40 Pengirans. At present, the Royal carriage has wheels to enable it to be drawn easily by selected personnel







PEDANG ENAM BELAS AND PERISAI

Pedang Enam Belas and Perisai are the 16 Royal Ceremonial Swords with golden or silver bands on the hilt held against the right shoulder of the 16 Awang-Awang dressed in ceremonial attires with the 16 Perisai (round shields) carried in the left hand.  







PEMURAS AND KARGA

Pemuras and Karga are royal regalia where the Pemuras is a large gun held against the right shoulder of the Panglima Raja wearing red ceremonial attire. While the Karga is the bullet carrier strapped on the left shoulder to the right side of the body.





KELASAK AND KAMPILAN

Kelasak and Kampilan are royal regalia. Kelasak is a shield carried by a Panglima Asgar dressed in full red ceremonial attire, in his right hand while his left hand holds the Kampilan which is a wide parang with a straight blade and a sharp end.  





TOMBAK BENDERANGAN

Tombak Benderangan is the 16 Royal Ceremonial Spears with golden and silver bands carried by 16 Awang-Awang, held against the right shoulder wearing ceremonial attires.  


TAJOK

The Tajok is a Royal wedding ornament made of gold. Worn during the Istiadat Berbedak Diraja, it is placed on the head with the hair in a bun. The ornament has flowers arranged in three levels on both left and right sides. To keep it in place, the hair is strapped around a stripe of black cloth tied to the ornament.  


KARANG TEMBUSA

Karang Tembusa is a Royal wedding ornament made of gold and precious stones. It is worn during the Istiadat Berbedak Diraja. It is placed on the back of the neck tied with jasmines coiled to the hair and the Tajok to keep in place the position of the Tajok on the head.





AYAM-AYAM BERNAGA

Ayam-ayam Bernaga is a Royal wedding ornament made of gold where it is worn during the Istiadat Berbedak Diraja. It is placed on the Tajok and tied with black cloth or to the hair to prevent it from failing.


SISIR

Sisir is a Royal wedding ornament made of gold. It is worn during the the Istiadat Berbedak Diraja. It is slipped into the hair and its position is a little lower than the Tajok.  


BUNGA GOYANG

Bunga Goyang is a Royal wedding ornament made of gold worn during the the Istiadat Berbedak Diraja. It is placed between the Sisir and the threaded jasmine twined around the head, which leads below the Karang Tembusa.  





SERBANG

Serbang is a Royal wedding ornament made of gold. It is worn during the Istiadat Berbedak Diraja and placed on the forehead.





GAGATAR

Gagatar is a Royal wedding ornament made of gold worn during the Istiadat Berbedak Diraja. It is placed below the nape, tied and joined to the Serbang.  





KANCHING

Kanching is a Royal wedding ornament made of gold worn during the the Istiadat Berbedak Diraja and on the neck and the chest, which looks like a necklace with lockets in tiers.  





PANDING

Panding is a Royal wedding ornament made of gold. It is worn during the Istiadat Berbedak Diraja and sometimes worn during the Istiadat Berinai Diraja. It is worn on the hip to tie the Kain Kapit. The Head of the Panding, the Kepala Panding is placed exactly on the mid of the abdomen, that is right in front of the Kain Kapit.



Credit

http://www.information.gov.bn




[ Last edited by  HangPC2 at 24-1-2008 10:38 PM ]

HangPC2

Kelantan



Malay Kelantan Royal Court





Modern Day





Malay Kelantan Men








Modern Day





Malay Kelantan Women










Modern Day





Sources :


W.A Graham

Kelantan : A State of The Malay Peninsula (1905 / 1908)


http://raykinzoku.fotopages.com

yaminz

Yup, rasa nyer berkemban sperti kaum melayu Jawa...

Lloni

zaman tok saya dulu...tahun 60an masih memakai gaya seperti tersebut...berkemban dgn 2 helai kain..tapi ketika mahu ke sungai le ....kalau ke pekan dia pakai baju lengkap ....

HangPC2

Woodard, Capt. David. The Narrative of Captain David Woodard and Four Seamen


Published:  London. Printed for J. Johnson. 1804.

Edition:  First Edition.

Binding: bound in full tan/mustard calf.











Who lost their Ship while in a Boat at Sea, and surrendering themselves up to the Malays, in the island of Celebes; containing an interesting account of their sufferings from hunger and various hardships, and their escape from the Malays, after a captivity of two years and one half: also an account of the manners and customs of the country, and a description of the Harbours and Coast &c. Together with an introduction, and an appendix, containing narratives of various escapes from Shipwrecks, under great hardships and abstinence; holding out a valuable seamen's guide, and the importance of union, confidence, and perseverance in the mist of distress. London. Printed for J. Johnson. 1804. 8vo., First Edition, bound in full tan/mustard calf blind ruled with spine in compartments and gilt green morocco title label, new endpapers, pp. xl + 252, illustrated with an engraved portrait frontispiece, 2 folding maps and 2 plates, light browning and occasional foxing, otherwise a very good copy in a handsome calf binding.

An interesting narrative of shipwreck and captivity among the Malays in the Celebes, with eventual escape to Macassar. Woodard, an American, was a mate on the American ship "Enterprise", which set sail from Boston in 1791; on its way to Manila it foundered in the Straits of Malacca. Returning to Boston by way of London in 1796, Woodard communicated his narrative to William Vaughan, brother of Benjamin Vaughan, a civic improver and philanthropist dedicated to the protection of seamen. Vaughan undertook to compile and publish the present volume in 1804, in conjunction with renewed interest in a project for an institution dedicated to the preservation of ships and lives at sea.
Huntress 144. Ferguson 399 Includes brief accounts of the mutiny of the Bounty; the wrecks of the Antelope and Pandora; the sufferings of some of the crew of the Shah Hormazier in Torres Strait. The narratives were prepared by the editor, William Vaughan



Sources : http://www.bkkbooks.com/w-Richard-Wagner.htm

peacefrog

derang ni dulu ikat kain serabai serabai
tapi menampakkan keunikan kalau buat perbandingan ngan sekarang

my_3A

Originally posted by HangPC2 at 23-1-2007 11:19 AM
Teori Asal Usul Keris

Teori mengenai Keris. Ada satu lagi teori yang mengatakan ia berasal dari Dynasti Shang (1766-1122 B.C.) dan Dynasty Zhou (1122-771 B.C.) di China.


Pisau Zhou Ge
...

tapi HangPC2,

mungkin teori tu tak boleh dipakai. Tengoklah gambar tu kan gambar pisau.

Keris ialah senjata yang unik di dunia. Hanya ada dalam lingkungan Melayu Filipina, Melayu Selatan Thailand, Melayu Vietnam, Melayu Kemboja, Melayu Malaysia, Melayu Singapura, dan Melayu Indonesia.

Kadang-kadang, ada segelintir orang yg cuba nak kotak-katik Melayu seolah-olah Melayu tak berotak, tak mampu berfikir, tak mampu cipta pelbagai konsep(idea, peralatan, dsb.).

Bagi dorang, dorang sajalah yg pandai dan inovatif!!