Shaping the Malay World: Islam in “Oceans That Speak”
The Islamic Arts Museum Malaysia’s latest exhibition, Oceans That Speak, explores the role of Islam in shaping the Malay world, once a maritime trade hub and cultural crossroads.
Sense of Wander: ★★★★★
The Arabic inscription of “Allah” is carved at the centre of a 19th-century Javanese wooden partition screen known as gebyok.
KUALA LUMPUR, Malaysia — “Allahu Akbar~” A lone voice, steady and reverent, rises from a distant minaret. After a calculated pause, another call sends out the same words — meaning “God is the Greatest” — to be carried by the breeze, echoing from alleyways to intersections.
These solemn calls linger in the air, their melody invoking silence and devotion. As you wander the streets of Malaysia, whether by day or night, the soulful adhan serves as a constant reminder — not just of Allah’s presence, but of the Islamic faith that has permeated every part of the Malay Archipelago.
In modern-day Malaysia, over 63% of the population identifies as Muslim as of 2020. Across the Strait, Indonesia has an even larger Muslim majority, with 87% of its population adhering to Islam as of 2023.
But when and how did Islam first reach this part of the world, and how did it take root in the Malay world — spanning across the Malay Peninsula, Indonesia, the southern Philippines, Brunei, and southern Thailand, with influence extending into southern Vietnam and coastal Cambodia?
There’s no better place to explore this topic than the Islamic Arts Museum Malaysia (IAMM) in Kuala Lumpur. Often considered the Mecca of Islamic arts and culture in the region, the IAMM is now hosting Oceans That Speak: Islam and the Emergence of the Malay World — a special exhibition that examines Islam’s influence in shaping the cultural identity and landscape of the Malay world as we know it today.
The 17th-century Ottoman treatise Kitab Kharidat al-'Aja'in wa Faridat al-Ghara'ib (The Pearl of Wonders and the Uniqueness of Strange Things) describes the Malay world as lying between the “Sea of China” and the “Sea of India.”
The question of when and how Islam first arrived in this part of the world — located thousands of miles away from the heartland of Islam — remains a subject of debate. Yet, Muslim tombstones and archaeological findings in Surabaya and Champa offer proof that Muslims lived in the area as early as the 11th century.
The Malay world was once deeply influenced by Buddhism and Hinduism, with traders and monks carrying these faiths across the seas. The strategic location of the Malay world made it a vibrant maritime hub, a crossroads for global trade and a safe haven for merchants seeking refuge between monsoon seasons. The arrival of Islam replaced earlier faiths, reshaping the region’s cultural landscape.
Melayu emerged as the lingua franca, and a new writing system was introduced, giving rise to Jawi — an Arabic-based script that included six additional letters to better adapt the Malay language. To highlight its importance, the exhibition’s opening text features Jawi alongside the more commonly used Latin alphabet, drawing attention to a chapter of history that may have been forgotten in the present day.
Here, we have a clear view of the Arabic alphabets adopted by Jawi script, particularly the six additional consonants (highlighted in yellow) that were incorporated.
Dating back to 1590, Aqa'id Al-Nasafi is the earliest known manuscript containing a Malay translation of an Arabic text.
The intricate illumination adorning this 20th-century Quran, produced in Cirebon, Java, exemplifies the Pantani manuscript tradition, a distinctive style associated with the Malay archipelago.
This new writing system became a bridge for translating Arabic texts into Malay, as exemplified by the Aqa’id Al-Nasafi manuscript. Regarded as the oldest Malay translation of an Arabic text, this treatise is attributed to Abu Hafs Umar Najm al-Din al-Nasafi, a prominent Sunni Hanafi jurisconsult and theologian, who penned it in Acheh in 1590.
Jawi script did more than spread the Islamic faith across the region — it laid the foundation for the development of Islamic calligraphy within the Malay world.
While the majority of the exhibits is either written, carved, embroidered, or engraved with Islamic calligraphy, Quranic manuscripts stand out as the finest. Among these is a 20th-century manuscript from Cirebon, Java. Its intricate illumination work represents the Pantani manuscript tradition, so closely tied to the Malay Archipelago.
In Islam, calligraphy (al-khatt) is more than just an artistic tradition — it’s a sacred practice connected to the Quran, the literal word of God revealed to Prophet Muhammad.
It’s said that if one writes “Bismillah al-Rahman al-Rahim” with care and precision, God will grant him or her forgiveness. Calligraphy thus serves as a form of dhikr (remembrance of God), a meditative practice that purified the soul and deepened their connection with God.
This 19th-century Javanese gebyok is a masterful work of woodcarving and a marvel for calligraphy enthusiasts.
As a practicing Arabic calligrapher, I couldn’t take my eyes off a wooden screen, fully covered with Islamic calligraphy.
Known as gebyok, this traditional Javanese furniture is often used as a room partition or a door. What I love about it is that nearly every inch is carved with calligraphy in low relief.
The inscriptions include the 99 names of Allah, alongside a few ayat (verses) and surah (chapters) from the Quran. Most of these inscription were gilded, though some of gold has worn off with the passage of time.
What’s even more impressive is the craftsmanship behind the screen. Its maker employed the pasak and tanggam techniques, joining the components without the use of nails — a testament to the precision and artistry involved. This piece is simply stunning, no wonder it’s featured as one of the exhibition highlights.
As the Malay world transitioned into a predominantly Muslim region, its arts and aesthetics underwent a transformation. Older decorative traditions and styles were reimagined and infused with Islamic ideals, reflecting both individual and collective devotion to the faith.
A pivotal figure in this artistic shift was the Muslim ruler of Cirebon, Sunan Gunung Jati (reigned 1479 – 1568). Upon ascending the throne, he established Cirebon as both an Islamic city and a thriving artistic hub in northeastern Java. He introduced Islamic aesthetics and encouraged the development of new expressions of indigenous art, leading to creation such as a 19th-century batik from Cirebon, Java.
Batik is an indigenous textile tradition of the Malay world that uses a wax-resist dyeing technique to create intricate patterns on fabric. This particular indigo-coloured batik features Quranic verses and, intriguingly, the tughra — the Ottoman imperial signature typically used in official documents.
This is an example of batik kaligrafi, a tradition that emerged among the batik makers of Cirebon. Crafted with devotion, these pieces are sometimes referred to as batik arab, featuring sacred inscriptions like Allah Yang Maha Besa (“God is Almighty”) on long shawls, head coverings, and hangings.
This batik, featuring a tughra — the Ottoman emblem of sovereignty — beautifully blends Malay and Islamic influences.
Another example of how local traditions blend with Islamic influences is a spear from Madura. The design of the blade resembles the wavy keris, a weapon native to the Malay world, while its sheath is adorned with nogo manten — twin water serpents that symbolise Madurese sovereignty. Just below, a verse from Surah Yasin is inscribed, reflecting the belief that such sacred texts would offer protection to its owner.
This spear, reminiscent of the wavy design of a keris, has a sheath that blends local and Islamic traditions, featuring verses from the Quran.
This display case presents a diverse range of artefacts, including seals and coins, offering a glimpse into the material culture of the Malay world after the arrival of Islam.
Among the objects on display, two plates catch my eye. The first is a white one decorated with the names of the four Rightly-Guided Caliphs and the four angels — Jibrail, Mikail, Azazil, and Izrail. I’m particularly drawn to the application of its calligraphy, a minimalist composition that evokes the aesthetic of Samanid epigraphic dishes.
The second is a beautiful blue-and-white plate, where Islamic inscriptions grace both the centre and the swirling motifs along the rim. Unlike the blue-and-white ceramics produced in Turkey or China, this piece exudes a distinct elegance and refinement that sets it apart.
To my surprise, both plates were not made locally but by European manufacturers. In the 19th century, after witnessing the commercial success of Zhengzhou wares — Chinese porcelains incorporating Islamic motifs in cobalt blue — these manufacturers began producing ceramic wares tailored specifically for the Malay world.
This 20th-century epigraphic plate, crafted in Maastricht, the Netherlands, features the names of the four Rightly Guided Caliphs alongside the four angels — Jibrail, Mikail, Azazil, and Izrail.
This English blue-and-white plate, made in 1853, blends European decorative elements with Arabic inscriptions.
At the intersection of the Malay world and the wider Islamic sphere, art and craft flourished, reflecting the myriad expressions of the divine.
The presence of Islamic inscriptions on everyday objects illustrates how the Malay language transcended its role as a language of trade, taking on a cultural significance that reflects the spiritual and societal shifts in the region.
It’s worth noting that Jawi’s influence extended far beyond the Malay world, reaching as far as Mecca and Cairo. However, it fell out of use in the early 20th century when colonial powers favoured the Latin alphabet.
Featuring more than 130 artefacts from the IAMM collection, Oceans That Speak brings to life the artistic and cultural legacy that Islam has woven into the fabric of the Malay world, alongside its role in spreading faith.
From beautifully illuminated manuscripts to intricately crafted objects, the exhibition highlights the unique fusion of native Malay traditions with Islamic ideals. It showcases Islam’s lasting impact on the artistic and cultural landscapes of the Malay world, and how it has shaped the region’s identity from the moment of its arrival to the present day.
Reference:
Mutalib, H. (1997). Islamic Malay Polity in Southeast Asia. In Osman, M. T. (Eds.), Islamic Civilization in the Malay World (pp. 1–48). Dewan Bahasa dan Pustaka.
Raja Tun Uda, R. F., & Al-Ahmadi, A. R. (1997). Malay arts and crafts: Islamic inspiration in creativity. In Osman, M. T. (Eds.), Islamic Civilization in the Malay World (pp. 279–351). Dewan Bahasa dan Pustaka.
The special exhibition Oceans That Speak: Islam and the Emergence of the Malay World, currently on view at the Islamic Arts Museum Malaysia in Kuala Lumpur, runs through June 15, 2025.