asian civilisation museum (acm) - virtual learning

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Field Based Lesson ASIAN CIVILISATION MUSEUM

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Page 1: Asian Civilisation Museum (ACM) - Virtual Learning

Field Based Lesson

ASIAN CIVILISATION MUSEUM

Page 2: Asian Civilisation Museum (ACM) - Virtual Learning

THE HEADLESS HORSEMAN OF SINGAPORE

• It was discovered during an excavation in May 1998 along Singapore River.

• The statue measure 59 mm long, 55 mm high, 3 mm thick, and weighs 52 grams. It stands on a flat base 18 mm wide.

• The man on the horse wears a sarong that stops at his knees, no shirt and a necklace.

Page 3: Asian Civilisation Museum (ACM) - Virtual Learning

Notes written by John Miksic- Associate Professor, Department of Southeast Asian Studies at the NUS and Head of Archaeology Unit, Nalanda-Sriwijaya Centre,

Institute of Southeast Asian Studies)

THE HEADLESS HORSEMAN OF SINGAPORE

• His two hands holds a stick, which may once have had something on its tip.

• The horse has a complex bridle and harness.

• The horse has a saddle and wings, leading us to deduce that the man on the horse’s back must have been a very special person.

Page 4: Asian Civilisation Museum (ACM) - Virtual Learning

THE HEADLESS HORSEMAN OF SINGAPORE

Complete Qn 1 of your worksheet

Page 5: Asian Civilisation Museum (ACM) - Virtual Learning

COOLIE TROUSERS

• Coolies were the backbone of Singaporean society.

• The influx of coolie labourers was between 1823 and 1927, when Singapore’s economy was growing and China’s and India’s were in decline.

• In China, steep population growth and poor economic opportunities in the mid-1800s, along with opium war, drove workers to Singapore.

Page 6: Asian Civilisation Museum (ACM) - Virtual Learning

COOLIE TROUSERS

• They worked as cheap labour in Singapore’s ports, go downs, construction sites, plantations and jungles.

• They contributed greatly to Singapore’s growth and development.

• They were great risk-takers

who went to a far-away land with little except clothes they were wearing.

• They were resilient, hardworking and persevering.

Notes written by Wai Lin Coultas: a former teacher, editor and freelance writer, whose ancestors settled in Singapore six generations ago.)

Page 7: Asian Civilisation Museum (ACM) - Virtual Learning

COOLIE TROUSERS

Complete Qn 2a of your worksheet

Page 8: Asian Civilisation Museum (ACM) - Virtual Learning

COOLIES LIVING CONDITIONS (1)

Complete Qn 2b & 2c of your worksheet

Page 9: Asian Civilisation Museum (ACM) - Virtual Learning

COOLIES LIVING CONDITIONS (2)

Complete Qn 2b & 2c of your worksheet

Page 10: Asian Civilisation Museum (ACM) - Virtual Learning

COOLIES LIVING CONDITIONS (3)

Complete Qn 2b & 2c of your worksheet

Page 12: Asian Civilisation Museum (ACM) - Virtual Learning

GUAN IM

• In China, Guan Yin is represented in female form.

• Probably because of Guan Yin’s great compassion towards man’s sufferings, a quality which is traditionally considered feminine.

Page 13: Asian Civilisation Museum (ACM) - Virtual Learning

GUAN IM

Legend: Guan Yin vowed to never rest until she had saved many unhappy beings. After struggling to understand the needs of so many, her head split into eleven pieces. The Buddha Amitabha, upon seeing her plight, gave her eleven heads to help her hear these cries and comprehend them. Guan Yin also reached out to help those who needed aid but only to find her two arms shattered. Again, Aimtabha came to help her and appointed her a thousand arms to let her reach out to those in need. (en.wikipedia.org)

Page 14: Asian Civilisation Museum (ACM) - Virtual Learning

In China, Guan Yin is represented in female form.

Probably because of Guan Yin’s great compassion towards man’s sufferings, a quality which is traditionally considered

feminine.

Legend: Guan Yin vowed to never rest until she had saved many unhappy beings. After struggling to understand the needs of so many, her head split into eleven pieces. The

Buddha Amitabha, upon seeing her plight, gave her eleven heads to help her hear these cries and comprehend them.

Guan Yin also reached out to help those who needed aid but only to find her two arms shattered. Again, Aimtabha came to help her and appointed her a thousand arms to let her

reach out to those in need. (en.wikipedia.org)

THE LEGEND OF GUAN IM

Page 16: Asian Civilisation Museum (ACM) - Virtual Learning

OSA OSA (SEAT OF HONOUR)

• This is an osa osa (seat of honor).

• It is used when a nobleman

is honored for his merit. He is carried around the central square on the seat nine times before being set down in front of his house.

• The ritual symbolizes his rebirth in the village with a new status.

Nias people, Central Nias, Indonesia

Page 17: Asian Civilisation Museum (ACM) - Virtual Learning

OSA OSA (SEAT OF HONOUR)• In the modern day, we have

wooden seats of different designs depending on the culture. They also have long poles on the edges of it for 4 men to carry it on their shoulders easily. 1.

• This artifact is made of stone, while the modern version is made of wood.

• This seat has no supporting structure for men to carry, but the modern version has.

• The modern version can occupy a few people, while this seat can occupy only one.

(Notes taken from http://singaporeriverih.blogspot.sg/p/asian-civilisations-museum.html

Page 18: Asian Civilisation Museum (ACM) - Virtual Learning

OSA OSA (SEAT OF HONOUR)

Complete Qn 3 of your worksheet

Page 19: Asian Civilisation Museum (ACM) - Virtual Learning

BLUE AND WHITE DISH

• A shallow porcelain bowl with a flat rim and floral decoration

• Produced in Iran, then under the control of the Timurids, one of the most powerful central Asian empires

• Such blue and white ware produced during the Timurid period (ca 1370–1507) was heavily influenced by Chinese blue and white porcelain, which was extremely popular and fashionable

Page 20: Asian Civilisation Museum (ACM) - Virtual Learning

BLUE AND WHITE DISH

• Chinese pottery were considered fine

• Timurid wares followed the shapes of Chinese vessels

• Decorated with similar Chinese motifs, such as lotuses, floral scrolls, and flying phoenixes.

• Timurid pottery was exported to Europe, to capture some of the market for Chinese blue and white, and it was sold in the domestic market, as well.

Page 21: Asian Civilisation Museum (ACM) - Virtual Learning

BLUE AND WHITE DISH Complete Qn 5 of your worksheet

Page 22: Asian Civilisation Museum (ACM) - Virtual Learning

PRINCELY ROBE

• The robe was worn by a Prince from the royal family in China during Qing dynasty.

• There are many patterns on the robe that set the wearer above the common man and give him the authority and power.

• Five clawed dragon : the most powerful of all creatures in Chinese culture, associated with the immediate royal family

Page 23: Asian Civilisation Museum (ACM) - Virtual Learning

PRINCELY ROBE

• The pattern of clouds, waves and mountains symbolise the emperor’s control of the world.

• Yellow represents the earth, life and nourishment. Yellow has been used for court robes of the emperor and close members of the imperial family since the Tang dynasty.

• The tapered sleeves and horse-hoof cuffs reflect Manchu influence and their nomadic tradition.

Page 24: Asian Civilisation Museum (ACM) - Virtual Learning

PRINCELY ROBE

Complete Qn 6 of your worksheet

Page 25: Asian Civilisation Museum (ACM) - Virtual Learning

JALI SCREEN

• This is one half of a pair of jali windows. There are many shapes that make up the design of the Jali.

• Hexagons, octagons, floral motifs etc

Jali windows are made to allow light and air into a house.

Page 26: Asian Civilisation Museum (ACM) - Virtual Learning

JALI SCREEN

Mughal art was also inspired by European and Persian influences.

Decorative art on Islamic monuments were generally inspired by geometry and non-representational art forms.

Page 28: Asian Civilisation Museum (ACM) - Virtual Learning

THE END