Inaugurated in AH 1402/1982 CE, the state museum for the Indonesian province of West Nusa Tenggara lies in the regional capital of Mataram on Lombok Island. The museum houses almost 8,000 objects, with its most important collections being in the fields of metalware, textiles, palm-leaf manuscripts, and ceramics. The collections represent three distinct ethnic groups living on Lombok and Sumbawa islands, namely Sasak, Samawa, and Mbojo peoples, as well as long-standing Balinese immigrant communities. The artifacts range from the prehistoric era through the Hindu-Buddhist period, up until the coming of Islam to the region around the 10th century AH/16th century CE, when artists began to integrate and reinterpret existing aesthetic traditions to align with the principles and values of Islamic culture.

Just like the Muslim understanding that each gender contributes equally to the wellbeing of the family and society, the ancient indigenous Austronesian societies of West Nusa Tenggara believed the human realm consisted of complementary male and female domains. These two domains merged on certain shared social occasions, and this dynamic may be numerologically symbolized as 1 + 1 = 2. In the museum’s display the male realm is represented by the daggers used by men, and the female realm is represented by the clothing worn by women; they meet at the center with objects used by both. These include betel nut sets, such as the gold one featured in AlMadar, which were an essential presence at nuptial negotiations between the groom and bride’s family prior to the wedding.

Set of vessels and cutter for betel nut condiments with box

Chewing betel nut was once a central element in Indonesian culture and an essential presence in the social realm, serving as a form of symbolic communication between male and female participants during marriage negotiations. The set’s floral ornament combines a local aesthetic with elements of international decorative trends fashionable during the 13th century AH/19th century CE.
The contrast between decorated and undecorated surfaces on the oblong container reflects an indigenous metalware style. Nevertheless, the fantastical miniature two-tailed fishes, formed by the spaces separating the floral cartouches on the lid of the lime container, indicate an awareness of aesthetic practices in the wider Islamic world. The accompanying lacquer box is decorated with chinoiserie motifs and was possibly made by immigrant Chinese artisans locally or elsewhere in the archipelago.
A remarkable piece of history was discovered in preparing the betel-nut set for exhibition. The base of one container contains an inscription recording its owner as a Lombok woman from the Balinese high priestly caste. This testifies to the extent objects were exchanged and used by Muslim and Hindu communities without regard for religious differences.