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A Heritage Institution of

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20 STAR ARTEFACTS OF IHC

Artefact and Image Gallery Significance Credit Line / Source

Miniature Shrine Roof 7th century CE Bronze Kedah, Malay Peninsula

Early Contact: Interactions Between South And Southeast Asia

In Malaysia, near Penang, lies the Bujang Valley. Archaeological excavations at Kedah and its surrounding areas in the Bujang valley show remains of Hindu-Buddhist architecture that dates back to about 1000-1500 years. Temples and other structures, sculptures and inscriptions have been recovered by archaeologists in the valley. This roof of a miniature shrine or reliquary cover is among finds from the Bujang Valley.

Collection of National Museum of Singapore (Part of Singapore’s National Collection)


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Head Of Buddha Late 8th – early 9th century CE, Shailendra Period Andesite with Original wooden stand dating to the 1910s Indonesia


An outstanding volcanic stone sculpture of a Buddha Head depicted with a full, round face, downcast eyes, arched eyebrows, raised urna, “bow-shaped” mouth, aquiline nose, distended earlobes and large, flat hair curls turned clockwise covering the head and ushnisha. The overall appearance conveys the meditative state of The Enlightened One. The sculpture still mounted on its original wooden stand from the 1910s. This exceptional Buddha image is a prime example of the superlative quality of the arts of Central-Java at the pinnacle of the Shailendra dynasty at the turn of the 9th century. This work closely resembles the seated Dhyani Buddhas that punctuate the circumambulatory terraces of Borobudur. Borobudur, one of the greatest Buddhist monuments in the world, is a colossal late 8th to early 9th century stupa-like edifice built in the form of a three dimensional mandala. There, pilgrims would embark ona spiritual journey gradually gaining wisdom and merit as they progressed from one terrace to the next. Stylistically, the facial features of the Buddha sculptures of Borobudur remain close to the Post-

Collection of Indian Heritage Centre (Part of Singapore’s National Collection)


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Gupta style of Northern India with their mouth and eye lids shapes or hair in “snail-shell” curls obviously inspired by the great classical style of the Subcontinent.

Standing Shiva and Parvati

12th/13th century CE, Chola Period

Tamil Nadu, India


These Chola bronze figures of the divine couple,

Shiva and Parvati, adopt graceful postures

reminiscent of Indian classical dance. The spiritual

symphony between two is mirrored in the aesthetic

and perfect proportions of the figures with the

precise placement of Parvati’s headdress under

Shiva’s upper left hand and in the complementary

juxtaposition of Parvati’s tribhanga (or tri-bent

pose) with Shiva’s samabhanga (or equipose).

The two bronze figures were produced using the

cire perdue or lost-wax process, in the district of

Thanjavur, the capital of the Chola kings who ruled

over parts of south India between 10th – 13th

centuries CE. They were made in accordance with

the Shilpa Shastra (or book of rules) which guides

sculptors reproducing images of the deities. As the

cire perdue process requires all moulds to be

broken after production, each sculpture is unique

and one of its kind. While smaller bronze figures



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are used during temple festivals, the larger

bronzes are often affixed at temples for worship.

Vishnu

10th century, Chola Period

Granite

Tamil Nadu, India


This four-armed granite sculpture of Vishnu, from

the Chola Period and in the samabhanga (Sanskrit

for equipoise) pose, is standing on a lotus

pedestal. In his upper hands, he holds the shanka

(or conch) and chakra (or discus) while his lower

left hand is resting on his hip and his lower right

hand adopts the varada hasta (or boon giving)

gesture. In this resplendent form, Vishnu is

depicted in his royal persona, and he is wearing

elaborate jewellery around his neck and arms, an

ornamental waist belt holds his dhoti in place and a

tall jewelled conical crown on his head. The latter

feature is often found in Southeast Asian

representations of Vishnu. In Singapore, the Sri

Srinivasa Perumal temple on Serangoon Road is

dedicated to the worship of Vishnu.



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Agastya

11th century

Volcanic Stone

Indonesia

This pot-bellied sculpture of Agastya, a Saivite

saint, with beard and jatabhara (matted hair) is

seen holding a kundika (or water pot) and

akshamala (or prayer beads). In Hindu tradition,

Agastya is one of the sapta rishi or seven Vedic

seers and one of the eight disciples of the Hindu

god, Shiva. Agastya is also venerated in South

India as the author of Tholkappiyam, a text on

Tamil grammar. In Indonesia, Agastya is held as

the harbinger of Indian culture and Hinduism from

South India to Java.


Sadashiva

circa 11th century CE, Chola Period

Granite

South India

This is an important representation of Shiva from

the Chola Period known as Sadashiva or Eternal

Shiva, and he is depicted as sitting on a double

lotus base with one leg hanging down. The back is

seen with a trishul (or trident) and conch.

Sadashiva is described as the highest and most

Supreme being in the Shaiva Agama (or

scriptures), and texts such as the

Vishnudharmottara Purana elaborate on the five



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faces of Sadashiva. The five faces are said to

represent the five aspects of Shiva or the five

elements, namely Sadyojata (or Earth), Vamadeva

(or Water), Aghora (or Fire), Tatpurusha (or Wind)

and Isana (or Ether). The fifth face of Isana, facing

skyward is implied and never carved while the

back of the sculpture displays a faint image of the

fourth face.

A Chettinad Doorway Late 19th century Wood Chettinad, Tamil Nadu, South India

Roots And Routes: Origins And Migration

The region of Chettinad in the Southern Indian state of Tamil Nadu is the region of origin of the Chettiar community of business or the Vaishya caste. The Nattukottai Nagarattar Chettiars are among the early Indian migrants to the Southeast Asian region with Business establishments in Vietnam, Myanmar, Malaysia and Singapore. Their migration and establishment of money lending business in Singapore-Malaya in particular are of special significance to IHC. Their presence in the Straits Settlements can be traced to the early 18th century onwards.



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A unique feature of the Chettinad region is the palatial residences with extraordinary architectural design and layout. These are vernacular domestic architectural forms with traditional and European decorative and structural features. The most magnificent elements of such homes are the front and central doorway frames, doorjambs and double doors, pillared hallways and courtyards. The wooden double doors here set in an elaborate wooden frame are awe inspiring in detail and size. The houses also bear very elaborately carved Burmese teak pillars which were carved by the local craftsmen. The proposed is a rare example of such a doorway which is in excellent condition. The iconography, carving style and artistic expression of the Chettinad doorway are testimony to the influence of Nayaka religious art and architecture on the Chettinad region and its artisans. For instance, a well-known Nayaka motif is the rider on a prancing horse intertwined with carvings of flora and fauna including the mythical creature – the yali. The carvings on the doorframe are in close resemblance to mural paintings of the Nayaka palaces. Furthermore, the doors are also similar to temple doors as seen in Tamil Nadu, Karnataka and other parts of southern India.


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This doorway bears an impressive total of 5000 carved figures. The figure of Gajalakshmi occupies a central position in the carved doorframe; in keeping with popular tradition. Other oft repeated motifs such as that of Vishnu on Garuda as well as Rama with Lakhsmana and Sita are also found in this doorway. Such central doorways, scholars note, are embellished with religious iconography, marking the threshold through which the family member or visitor passes from the exterior unprotected space into the perceived sacred private space of the patriarchal lineage of the house.

A Tiled Islamic Façade 1315AH/1897-8 CE Painted Tile Multan, Pakistan Partly funded by Dr Shahzad Nassim


Traditional architecture in the South Punjab region is strikingly beautiful, embellished with nawashi (fresco secco, wall paintings), shisha kari (mirror work), kashikari (tile work) and lacquered naqashi wooden ceilings. Funerary structures and mosques, were constructed from the beginning of the Sultanate period (13th century), they best exemplify decorative buildings of the Multan and South Punjab region. This is an elegant mosque façade from the Multan region, consisting of a central portal entirely covered with over one



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hundred tiles, flanked on either side by two smaller entrances, also made up of tile decoration. It is a monumental example of the kashikari (tile work) employed in the Multan region. The entire colour scheme plays on variations of underglaze cobalt and turquoise blue on white slip reflecting Persian influence. The colours are also thought to have symbolic significance to enhance the primary concepts of Sufi Islam, that of oneness in the universe, purity and equality. The decoration is 18th century Mughal style.

The central portal consists of a double arch, one with scrolling floral decoration in turquoise and white on a cobalt blue ground below a large central panel bearing the following inscription:

‘This house of God, which is excellent

Was built anew by Sayyid Ya’qub Its date was determined as:

‘It is adorned like Paradise Garden’ 1315 (AD 1897-8)

This artefact represents the cross-cultural interaction between Saffavid Iran and Mughal India and how artistic and technological influences flowed both ways between the regions. It also situates the role of transnational


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trade over land between west Asia and India that passed through Multan from the 17 th century onwards. Besides its religious connotation to the Muslims of south Asia and west Asia, it resonates as a symbol of Islamic trade relations within Asia that were carried out over land and sea. Through Hadramaut in Yemen, trading ports in Persia and Arab states, ships plied with goods such as dates, coconuts, dyes and much more but also brought religious practitioners who after a short sojourn in Gujarat, sailed to Malacca bringing Islam into Southeast Asia through this route. The land routes saw trade developing between Mughal India and Saffavid Persia during the 17 th century. Multan rose to importance as a gateway of trade through Sind and has not ceased its importance. Multan is well-known for its ceramic industry besides Persia and Turkey, which specialises in white slip and cobalt blue and indigo blue floral and geometric surface decorations that occupy the facades of many mosques in Multan.


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Gold Necklace or Kasumalai 20th century Singapore/India


This is a kasumalai, a necklace (malai) created in solid gold by stringing together a series of coins (kasu), in this case 62 coins. It is complete with an engraved clasp studded with rubies. This heirloom collection belongs to the family of Gnanapragasam Pillai (1872-1915); it was owned and worn by Mrs. Maria Soosaiammal Gnanapragasam in her lifetime. He had ordered the necklace to be made by expert jewellers in Madras, (now known as Chennai) for his wife as a sign of his love and affection for her. The Gnanapragasam family migrated to Singapore/Malaya from the region of Pondicherry in south India; a French territory in colonial India. Gnanapragasam Pillai was a trader who established a grocery business along Serangoon Road in the early 1900s; his business was taken over by P.Govindasamy Pillai after his sudden demise. This necklace bears evidence of the stylistic influence of the French and British Colonies in Asia, as well as its impact on the lives of many migrant Indian families including the Gnanapragasam family. While one side of each sovereign has the image of the French insignia, the

Gift from the Estate of Santhanam Victor Louis and the Family of Gnanapragasam Pillai (Collection of Indian Heritage Centre)


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Fleur de Lys the other, bears the image of the head of Queen Victoria of England.

This necklace is important in many ways – it bears testimony to the socio-cultural heritage of a pioneering Singapore Indian family; it is a superior example of gold craftsmanship and of the material culture of Tamils in British Malaya in the first half of the 20th century.

Headgear with Turban Ornament (Sarpech) 20th century Gold with precious stones Vietnam On Loan from the Saigon Chettiars’ Temple Trust Pte Ltd


The region of Chettinad in the Southern Indian state of Tamil Nadu is the region of origin of the Chettiar community of businessmen. The Nattukottai Nagarattar Chettiars are among the early Indian migrants to the Southeast Asian region with business establishments in Vietnam, Myanmar, Malaysia and Singapore. Their migration and establishment of money lending business in Singapore-Malaya in particular are of special significance to the Indian heritage Centre (IHC). Their presence in the Straits Settlements can be traced to the late 18th century onwards. It was common practice among this migrant community to build temples in their places of settlement for the Hindu deity Murugan; these

On Loan from Saigon Chettiars’ Temple Trust Pte Ltd


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include the Sri Thendayuthapani Temple in Singapore; the Sri Kathiresan Temple, Matale Town in Sri Lanka; and the Sri Thendayuthapani Temple in Ho Chi Minh city (Saigon). This is an important group of jewellery and jewelled accessories from the Saigon Chettiars Temple Trust Pte Ltd. They were donated, for alamkara or ornamentation of deities at the Sri Thendayuthapani Temple, by the Chettiar community in Ho Chi Minh City (Saigon) from the late 19th - early 20th century.

Silver spade presented to P. Govindasamy Pillai by Holy Tree Bala Subramaniar Temple, Naval Base, Sembawang 24th January 1970 Silver Singapore

Pioneers: Early Indians In Singapore And Malaya

A native of Thanjavur District, Tamil Nadu P. Govindasami Pillai, popularly known as PGP, in his teens, left home and boarded a ship to Singapore, landing at Tanjong Pagar in 1905. Here he worked at a department store which he later bought over and established P.Govindasamy Pillai or PGP Stores. An ace money manager he gradually saved and expanded into other businesses including textile shops, flour and spice mills. The present day Little India Arcade is where the erstwhile PGP chain of saree shop and supermarket stood. He was also a noted philanthropist, a prominent donor to the Sri Srinivasa Perumal Temple, founder-member of the Indian Chamber of Commerce (1937), and a

On loan from Mr P. G. P. Ramakrishnan


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Justice of the Peace (1939). This spade was given to PGP in recognition of his contributions to the Holy Tree Bala Subramaniar Temple, Naval Base, Sembawang, 24th January, 1970

Spade presented to Mr H. R. Mistri on the occasion of his laying the foundation stone on behalf of his brother the late Mr Navorji Rustomjic Mistri for The New Children’s ward Block at The General Hospital 2nd March 1954 Silver with Wooden handle Singapore


One of the earliest Parsi pioneers, Navroji Mistri (after whom Mistri Road and the Mistri Wing of the Singapore General Hospital are named), arrived in 1912. An engineer by profession, Navroji was sent to Singapore from Bombay by the United Engineers Ltd to construct the Keppel Wharfs. After the completion of the project, he set up his own aerated water factory called Phoenix Aerated Waters. During the 1950s, he gave a large part of his wealth to charity, including a donation of $1 million to build a paediatric wing at the Singapore General Hospital, which was named after him. This spade was presented to Mr H. R. Mistri on the occasion of his laying the foundation stone on behalf of his brother the late Mr Navorji Rustomjic Mistri for the New Children’s ward Block at The General Hospital.

On Loan from Mr Noshir H Mistri and Mrs Roshan Mistri


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“Antonio Stradivarius Cremoenfis Facebat Anno 1723” With “H. R Pfretzschner” Bow Late 19th century / Early 20th Century Singapore, Saigon


Ms Amballigay was an accomplished musician, performer and teacher of classical Indian music in the mid-20th century. She travelled and gave performances around the region and was well versed in the playing of several musical instruments. This is an “Antonio Stradivarius Cremoenfis Facebat Anno 1723” with “H. R Pfretzschner” Bow from her collection, kindly loaned to IHC by her family.

On Loan from Dr R Gangatharan Davar

Handbag made from Parachute chords Mid-20th century Cloth Bombay, India

Social And Political Awakening of Indians In Singapore And Malaya

The Indian community’s memory of the period of war also lies in the collective experience of its refugees. Several displaced Indian families travelled back to India. Most returned after the war to salvage their disrupted lives and businesses. This bag made of parachute chords was hand crafted by Mrs Abidally Abdul Husain, when the family were refugees in Bombay during WWII.

On Loan from Mrs Salma Moiz


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A pitcher with late Mr G. Sarangapany’s name engraved on it 20th century Silver Singapore


G. Sarangapany, titled Thamizhavel, arrived in Singapore in 1924. A believer of Periyar’s principles, he played a key role in extending the Self-Respect Movement to Singapore and Malaya and became the agent for distribution of the movement’s magazine Kudi Arasu in British Malaya. He later helped arrange Periyar’s visits to Singapore and Malaya. He was an active writer and publisher in his own right. In 1929 he set up the Tamil magazine Munnetram, and Tamil Murasu in 1935. Through his writings he promoted the principles of the Tamil reform movement. He encouraged Tamils to make

Gift of Ms Rajam Sarangapany (Collection of Indian Heritage Centre)


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Singapore their home, helped them gain citizenship and championed for the cause of the Tamil language to be recognised as one of the official languages in Singapore. This is a collection of archival photographs, documents and personal artefacts from the collection of G. Sarangapany’s immediate family, donated to the Indian Heritage Centre by his daughter Ms Rajam Sarangapany. The late Mr G. Sarangapany had brought this pitcher with him from India when he first came to Singapore.

Treadle Printing Press (The Arab) Mid 20th century Penang


Communities from the south Asian subcontinent held strong political, sentimental and economic ties with their home country. Anti-colonial activism, inspired by the visits of nationalist and sub-ethnic nationalist leaders , resonated in the region too. The broadcast and print media were primary sources of information from the subcontinent. A strong print culture had evolved in Singapore and Malaya in the late 19th century and 20th century, including media publications as well as writings in the form of poetry, novels, short stories and dramas. Local printing firms published newspapers and books written and edited in the region. This is a printing machine that was in use in



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Jothee Printing Press, Penang. This printers and stationers firm was founded in 1935 by Dato’ S. Letchumanasamy who was born in Tamil Nadu in 1916 and arrived in Penang when he was 10 years old. After setting up this printing press, he went pursued a career in politics and became a pioneer of the Malaysian Indian Congress (MIC). In the 1940s, he also published a Tamil newspaper; the paper’s first editor was Athi Nahappan who later became a Malaysian deputy minister. During the 1960s, Dato’ Letchumanasamy diversified his business to include cigar making, a grinding mill, a sundry and a stationers’ shops.


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Medal presented to Minister of Foreign Affairs, Mr S. Rajaratnam, for his participation at the 30th Anniversary Commemorative Summit held in Kuala Lumpur 1997 Bronze and Cloth Kuala Lumpur

Making Of The Nation: Contributions of Indians In Singapore

The late Mr. Rajaratnam, a co-founder of the People’s Action Party, was the first Foreign Affairs Minister after Singapore gained independence and the former Second Deputy Prime Minister and Minister for Labour and Culture. He was often hailed for his vision of multi-racialism in Singapore, as reflected by the line, "one united people, regardless of race, language or religion" in the national pledge he drafted together with former Minister of Education, Mr. Ong Pang Boon in 1966.

Gift of Datuk Dr S. Vijayaratnam and S. Jothiratnam (Collection of National Museum of Singapore)


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Plaque presented by Singapore Council for Women to Mrs. Shirin Fozdar in recognition of her contributions 1988 Pewter Singapore

Making Of The Nation: Contributions of Indians In Singapore

Shirin Fozdar was a staunch advocate of women’s rights. Of Indian origin, she arrived in Singapore in 1950 with her husband. In 1953, she was the force behind Singapore’s first girls’ club at Joo Chiat Welfare Centre teaching women English and arithmetic. She also played an important part in the formation of the Muslim Syariah court in 1958. She was elected the Honorary Secretary of the Singapore Council of Women (SCW) in April, 1952. In her role as the Honorary Secretary of SCW she also played a key role in the drafting and establishment of the Women’s Charter in 1961. In addition, her role in the Women’s movement was a pioneering effort in establishing Southeast Asia’s Baha’i community. This is a commemorative plaque presented to Shrini Fozdar in 1988 by the Singapore Council of Women’s Organisations “in recognition of her valuable contribution to women's cause.”

Gift of Mr Jamshed K.Fozdar and Mrs Parvati Fozdar (Collection of Indian Heritage Centre)


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Ukulele Late 20th century Singapore

Making Of The Nation: Contributions Of Indians In Singapore

Alex Abisheganaden hails from a family of musicians -- the Abisheganadens, an Indian Christian family who trace their roots to the Thanjavur District in Tamil Nadu. A classical guitarist and double bassist he was awarded the Cultural Medallion in 1988. According to an article on Alex Abisheganaden published in Singapore Infopedia, “Alex credits his late brother, Gerard, a fine amateur pianist and cellist, as his greatest influence in music. His first memories of music are hearing his father playing Christian hymns on the violin in the early hours of the morning and classical singing on Geoffrey's gramophone records in his Buffalo Road home. At 15, he inherited Gerard's guitar and taught himself to play using merely a textbook, the Ellis Through School for Guitar. Armed with the basics of playing classical guitar, he attained a technical proficiency equivalent to Grade Six on his own steam. Among Abisheganden’s earliest performances was his guitar playing with the Indian National Army’s Band at the Azad Hind Radio Station during the years of Japanese Occupation; this being a rare opportunity for earning during the turbulent years. An educationist by profession, Abisheganaden dedicated much of his life to popularising guitar

Gift of Alex Abisheganaden (Collection of Indian Heritage Centre)


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playing. Among his attempts to promote classical guitar playing was his production of the programme Music Making With The Guitar, which was broadcast on national Education Television (ETV) in 1970 and 1971. Abisheganaden also founded the Singapore Classical Guitar Society and was it’s the primary force behind it for over two decades. This is a ukulele from the collection of Alex Abisheganaden. Abisheganaden was gifted the ukulele by his students.

Bronze Medal awarded to K Jayamani at the 1977 SEA Games 800m event 1977 Bronze and Cloth Kuala Lumpur, Malaysia

Making Of The Nation: Contributions Of Indians In Singapore

Long-distance runner Jayamani won the women’s marathon gold at the 1983 SEA Games in Singapore, amongst several other achievements. She remains the only female athlete in Singapore’s history to be awarded Best Sportswoman of the Year twice (1977 and 1980). She is often considered Singapore’s most successful athlete. This bronze medal was awarded to K Jayamani at the 1977 SEA Games 800m event.

On loan from K Jayamani


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