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Makasar script

The Makasar script, also known as the Old Makassarese script or ukiri' jangang-jangang ("bird script"), is a left-to-right derived from the ancient family and historically used to write the (basa Mangkasara') in , . It comprises 18 letters, each with an inherent /a/ that can be modified by four dependent signs positioned to the left, right, above, or below the consonants to indicate other vowels such as /i/, /u/, /e/, and /o/. Additional features include a consonant reduplicator mark (angka) for repeating syllables without vowels and limited , such as danda-like strokes for sentence breaks and ornamental tammat marks (borrowed from ) to denote text endings. Texts are written in scriptio continua without word spacing or modern , often on palm leaves (lontara), , or other media, and incorporate occasional loanwords or numerals in their native right-to-left direction embedded within the main left-to-right flow. The script's origins lie in the broader tradition of Indic-derived writing systems that spread to the Indonesian archipelago, likely via trade and cultural exchanges from South Asia or intermediate Sumatran scripts, with possible influences from Gujarati or other regional variants, though the precise pathway remains a subject of scholarly debate. In South Sulawesi, it developed as one of two indigenous systems—the other being the closely related but distinct Buginese script—emerging around the 14th to 17th centuries amid the rise of agrarian kingdoms like Gowa and Tallo'. By the 17th century, it was actively employed for official and literary purposes, including the recording of royal chronicles (such as the Lontara Bilang), treaties like the 1667 Bungaya Agreement, genealogies, legal codes, and prose works on history, religion, and even indigenous knowledge like sexuality (assikalaibineng). This written tradition complemented a strong oral culture, with manuscripts often serving as aides-mémoire for recitation rather than standalone texts. The Makasar script was used exclusively for the Makassarese language until the 19th century, when it was gradually supplanted by the unified Lontara script (also called Bugis-Makassar script), which accommodated both Makassarese and Buginese with shared characters and adaptations. Its decline accelerated under Dutch colonial rule in the late 19th and 20th centuries, as Romanized orthographies and the Indonesian national language (bahasa Indonesia) in the Latin script became dominant for education and administration. Today, native literacy in the script is virtually extinct, with surviving examples preserved in archives, museums, and digitized collections, such as those from the Gowa Sultanate. Scholarly transliterations into Latin or modern Lontara facilitate study, and the script's encoding in Unicode version 11.0 (2018) in the block U+11EE0–U+11EFF has enabled digital revival for research and cultural heritage projects.

Origins and History

Development and Influences

The Makasar script, also known as the jangang-jangang or Old Makasar script, traces its origins to the ancient developed in by the 5th century BCE, from which many and Southeast Asian writing systems derive. Like other regional scripts, it likely evolved through intermediaries such as the used in and its satellite regions, or a closely related form, possibly transmitted via a Sumatran intermediary during early cultural exchanges in the Indonesian archipelago. This Indic heritage is evident in its structure, where consonants inherently carry an implied vowel sound, a feature shared with Brahmic descendants across . In , the script's development occurred in a pre-ic context, predating the arrival of in the region around 1605 CE, as a was already established for recording historical and cultural narratives among local communities. Its emergence likely stemmed from broader trade and cultural interactions in the , where maritime networks facilitated the adaptation of external scripts to local linguistic needs, though no single direct precursor has been definitively identified. By the early , the script had matured sufficiently to support systematic documentation, reflecting influences from the dynamic socio-political environment of the Gowa and Tallo' kingdoms. Early adoption of the Makasar script was primarily among the Makassarese elites, who employed it for administrative records, chronicles, and literary works, distinguishing it from predominant oral traditions in society. A key figure in this institutionalization was Daeng Pamatte', the harbor master of Gowa in the early , credited with formalizing its use for lontara'—palm-leaf manuscripts—thus embedding it in elite practices for preserving governance and heritage. This selective uptake underscored its role in consolidating power and cultural identity prior to broader regional shifts.

Key Historical Periods and Manuscripts

The earliest known example of the Makasar script is found in the signature of delegates from the on the Treaty of Bongaya, signed in 1667 between Gowa and the (). This document, now held in the National Archives of Indonesia, marks the script's initial documented appearance in a diplomatic context amid the Makassar War. The script attained its peak prominence during the 17th and 18th centuries, when it served as the primary medium for official records, chronicles, and administrative texts in the courts of Gowa and Tallo'. This era coincided with the height of Makassarese political and cultural influence in , prior to the full consolidation of colonial control. A key artifact from this period is the Gowa-Tallo' chronicle, a comprehensive historical compiled in the mid-18th century and preserved in the manuscript KIT 668/216 at the ; it details the genealogies, reigns, and events of the ruling dynasties, exemplifying the script's role in preserving royal . Usage of the Makasar script began to wane by the late , largely due to profound political transformations in the region. The fall of Gowa's prestige after its defeat in the Makassar War and the subsequent Treaty of Bongaya (1667), coupled with the ascendant influence of Buginese polities and their simpler , accelerated this shift. By this time, the Lontara Bugis script had supplanted the Makasar script entirely for writing Makassarese, reflecting broader cultural and administrative adaptations under colonial pressures and inter-ethnic dynamics. No native speakers or writers of remain today.

Script Structure and Form

Basic Consonant Letters

The Makasar script functions as an , where its core structure relies on 18 basic letters, each inherently representing a consisting of a followed by the /a/. This inherent can be altered through diacritics to denote other s, but the base forms establish the script's syllabic foundation. The script is written from left to right, aligning with its Southeast Asian Brahmic heritage, and each letter visually encodes a - (CV) unit by default. These letters derive their rounded, forms from adaptations suited to on palm leaves with a , resulting in fluid, interconnected strokes that prioritize legibility on the medium. The phonetic inventory covers the primary consonants of the , including stops, nasals, fricatives, approximants, and a vowel carrier for syllable-initial s. While orthographic variations exist across manuscripts, the standardized encoding captures the essential shapes based on historical sources. The following table lists the 18 basic letters, their conventional names, symbols, and corresponding International Phonetic Alphabet () values:
Letter NameSymbolIPA Value
Ka𑻠/k/
Ga𑻡/g/
Nga𑻢/ŋ/
Pa𑻣/p/
Ba𑻤/b/
Ma𑻥/m/
Ta𑻦/t/
Da𑻧/d/
Na𑻨/n/
Ca𑻩/t͡ʃ/
Ja𑻪/d͡ʒ/
Nya𑻫/ɲ/
Ya𑻬/j/
Ra𑻭/r/
La𑻮/l/
Va𑻯/w/
Sa𑻰/s/
A𑻱/a/ (vowel carrier)
Note that the letter A serves primarily as a carrier for vowels when no consonant precedes them, representing /a/ when used alone. This set forms the foundational repertoire, enabling the representation of Makassarese without initial reliance on additional modifiers.

Vowel Diacritics and Syllable Formation

The Makasar script functions as an , where each base letter inherently represents a ending in the vowel /a/. To indicate other vowels, four primary diacritics are employed, modifying the inherent /a/ sound of the . These diacritics are positioned relative to the base letter: the sign for /i/ (𑻳, U+11EF3) appears above the , the sign for /u/ (𑻴, U+11EF4) below it, the sign for /e/ (𑻵, U+11EF5) to the left, and the sign for /o/ (𑻶, U+11EF6) to the right. Syllables are formed by combining a base consonant with these vowel diacritics when the vowel is not /a/. For example, the consonant for /k/ (𑻠, U+11EE0) with the /i/ diacritic yields ki (𑻠𑻳), while with the /u/ diacritic it forms ku (𑻠𑻴). In some cases, two vowel diacritics may combine with a single base consonant to represent diphthongs or abbreviated forms, such as duu rendered as the /d/ consonant (𑻧, U+11EE7) followed by two /u/ signs (𑻧𑻴𑻴). The script's logical encoding order follows the consonant first, then the diacritics, though visual rendering adjusts positions accordingly, with the /e/ sign prepending despite its post-consonant encoding. Standalone vowels, including /a/, are represented using a dedicated vowel carrier character (𑻱, U+11EF1) combined with the appropriate diacritic, such as 𑻱𑻳 for /i/. The Makasar script lacks a dedicated or killer mark to suppress the inherent /a/ on , unlike many other Brahmic-derived scripts. Vowel-less , which occur in consonant clusters or final positions, are thus implied through contextual omission rather than explicit marking, with the inherent /a/ persisting in isolation but neutralized in connected forms based on orthographic convention. This approach aligns with the script's traditions, where boundaries and are determined by linguistic context rather than diacritical intervention.

Punctuation and Special Orthographic Rules

The Makasar script employs a limited set of punctuation marks to structure texts, primarily consisting of the passimbang (𑻷), which functions as a delimiter for pauses, sentence ends, or word boundaries, akin to a comma or period in other writing systems. This mark, rendered as three vertical dots, is placed after syntactic units of varying length, depending on scribal practice, and helps segment continuous text into readable chunks. Additionally, a section-end marker (𑻸), depicted as six dots arranged in a triangular form, is used to indicate the conclusion of larger textual divisions, such as chapters or stanzas in manuscripts. Traditional Makasar texts are written in , without spaces between words, requiring readers to rely on contextual cues, prosody, and familiarity with the language to discern boundaries. This absence of word spacing aligns with the script's nature, where syllable-based units flow continuously, though some later manuscripts and printed editions from the mid-19th century onward introduced spaces for clarity. The passimbang often serves as the primary visual aid for disambiguating these seamless sequences. Special orthographic rules address and repeated elements, as the script lacks dedicated markers for consonant clusters or codas. , or the lengthening of , is typically represented by repeating the full aksara (- ) for adjacent identical , such as 𑻤𑻤 for //. For more concise notation, particularly in reduplicated forms, double diacritics may follow a single to imply , as in 𑻧𑻴𑻴 for /dudu/, where the second sign evokes the prior without restating it. The angka (𑻲), a borrowed from Javanese influences, can also duplicate the onset of the preceding , allowing flexible variation in the repeated and aiding abbreviation in poetic or dense . These conventions ensure phonetic distinctions without complicating the script's inherently open- structure.

Linguistic and Orthographic Features

Phonetic Ambiguities

The Makasar script, as an abugida derived from Brahmic traditions, exhibits significant phonetic ambiguities primarily due to the systematic omission of coda consonants in syllable representation. Unlike scripts that explicitly mark syllable-final sounds, the Makasar orthography does not indicate consonants at the end of syllables, such as nasals, glottals, or stops, resulting in sequences like -CV- (consonant-vowel) being interpretable in multiple ways based on the reader's knowledge of Makassarese phonology. For instance, a bisyllabic form written as 𑻤𑻤 (ba-ba) could represent up to nine possible pronunciations, including baba (open syllables), babang (with velar nasal coda), baba' (with glottal stop), or combinations thereof, with resolution depending entirely on contextual cues within the language's syllable structure, which permits only limited coda possibilities like /ŋ/ or /ʔ/. This omission extends to a lack of distinct markers for nasalization and final stops, further complicating readability. Nasalized vowels, which occur in Makassarese when adjacent to nasal consonants within the same syllable (e.g., /ẽ/, /ĩ/), receive no dedicated diacritic or symbol in the script, relying instead on the phonological context where nasal harmony or assimilation provides the necessary disambiguation. Similarly, final stops such as /p/, /t/, /k/, or the glottal /ʔ/—common in word-final positions—are not represented, as the script lacks a virama-like killer to suppress the inherent vowel /a/ or any explicit coda notation, leading to potential conflation with open syllables. In rare cases, scribes employed the Bugis-derived ancaq (a schwa-like mark) to optionally indicate final nasals, particularly in pedagogical or explanatory contexts, but this was not standard and did not address stops or broader nasalization. These ambiguities have profoundly influenced the transcription and interpretation of historical Makasar , sparking scholarly debates over accurate reconstruction. For example, in the 19th-century tragic love poem preserved in manuscript NB Boeg 67 of the B. Matthes collection, the use of ancaq to mark final nasals (e.g., in forms like siriŋ '') was interpreted by Matthes as an informal aid for less experienced readers, possibly introduced by informants during dictation, rather than an inherent orthographic feature, leading to discussions on whether such marks reflect dialectal variations or scribal interventions. Broader transcription challenges arise in chronicles like the Gowa and Talloq annals (e.g., KITLV manuscript 668/216 from the mid-18th century), where absent codas and irregular —lacking consistent separators—resulted in ambiguous phrases, such as nakanrei pepe' balla' datoka potentially misread as nakanrei pepe' balanda tokka' ('eat porridge with foreigners' vs. 'eat porridge tightly'), requiring philological expertise to align with historical and linguistic context. Such issues have prompted modern scholars to advocate for standardized systems, like those developed by Matthes and Cense, to mitigate interpretive errors in digitizing and studying these texts.

Representation of Repeated Consonants and Clusters

In the Makasar script, an abugida derived from Brahmic traditions, repeated consonants and geminates are handled through specialized orthographic conventions that prioritize efficiency and abbreviation, avoiding the full duplication of consonant letters where possible. A key device is the consonant reduplicator, termed angka (𑢖), which repeats the onset consonant of the immediately preceding syllable while preserving the inherent vowel /a/. This marker enables compact representation of gemination without redundant lettering; for instance, the sequence 𑢍𑢓𑢖 denotes rura, where the angka duplicates the ra (𑢓) syllable. For cases involving identical contiguous syllables, which often imply repetition across syllables, the script employs double vowel diacritics attached to a single base to abbreviate the form. This method signifies or succinctly; an example is 𑢇𑢓𑢓 for du·u (abbreviating dudu), with the doubled upper sign (𑢓) indicating the repeated element. Such techniques reflect 's syllabic structure, where inherent s facilitate these markers, though they can introduce interpretive ambiguities resolved by context. Consonant clusters, including those arising from geminates in complex sequences, are not typically represented via stacked forms or virama-like vowel killers, as the script historically omits syllable-final consonants. Instead, prenasalized clusters (e.g., /mpa/, /ŋka/)—prevalent in Makassarese —are either sequenced linearly or implied, lacking the dedicated conjunct letters found in related Buginese variants. In straightforward gemination, doubled aksara may be used explicitly, such as ᨀᨀ for kakka, but this practice is less common than abbreviation methods due to potential redundancy. Post-Islamization in the , the script adapted to incorporate loanwords bearing complex clusters, often from religious terminology. A notable innovation is the end-of-text marker (𑢙), stylized from the Arabic tammat ("finished"), used in manuscripts to denote completion and accommodate borrowed consonant sequences in Islamic texts without altering core . These adaptations highlight the script's flexibility for external influences while maintaining its Brahmic foundations.

Traditional Usage and Examples

Contexts of Use in Makassarese Society

The Makasar script was primarily employed in manuscripts produced by rulers and nobles in historical Makassarese society, serving as the medium for recording chronicles, genealogies, and administrative diaries that documented the lineages, , and key events of the . These texts, often known as lontaraq bilang or "counting manuscripts," were maintained at the courts of kingdoms like Gowa and Talloq, reflecting the script's role in official and aristocratic documentation from the onward. In these contexts, the script played a crucial role in preserving realistic historical records, capturing chronologically ordered accounts of political developments, such as wars and diplomatic relations, alongside details of daily life, including births, deaths, marriages, and administrative decisions. This factual orientation distinguished Makassarese from the more mythical narratives prevalent in Buginese , emphasizing empirical events over legendary or epic elements to maintain reliable societal and historical continuity. Following the adoption of in the early , the content of Makasar-script manuscripts increasingly incorporated terms and references to Islamic practices, such as prayers, Qur'anic recitations, and Hijri dates, while the script's pre-Islamic form and structure remained unchanged. This adaptation allowed the script to document the Islamization of Makassarese society, including conversions and religious infrastructure like mosques, without altering its orthographic essentials. By the , the script had largely become obsolete, supplanted by the Lontara script and alphabet under colonial influence.

Notable Texts and Manuscripts

The Gowa Chronicle, a foundational historical of the Gowa kingdom, survives in multiple manuscripts dating to the 17th and 18th centuries, with key versions described around 1670 and 1759, though some compilations extend into the mid-18th century. This text recounts the reigns of Gowa rulers from mythical origins through pre-colonial expansions, emphasizing genealogies, conquests, and the adoption of in 1605, serving as a for Makassarese . While primarily historical, it incorporates epic elements akin to the La Galigo tradition, blending cosmology and royal legitimacy in its opening invocations to commemorate rulers' names for posterity. At least ten complete manuscripts exist, often written on lontar palm leaves in the Makasar script, highlighting its role in preserving elite oral histories. Elite diaries, known as lontaraq bilang or "counting manuscripts," document the daily affairs of Gowa and Talloq rulers from the 1630s to 1751, with over 2,360 dated entries averaging 19 per year. These , attributed to scribes under the Vorsten van Gowa, record births, deaths, marriages, military campaigns, diplomatic exchanges, and natural events, such as the 1626 conquest of and irrigation projects in 1624. Manuscripts like those in the collection (e.g., KIT 668/216) and ANRI 16/6 employ the Makasar script, occasionally with serang modifications for Islamic terms, reflecting meticulous record-keeping among the . This practice underscores the societal emphasis on elite documentation to maintain political continuity amid 17th- and 18th-century upheavals. Treaty documents, including the 1667 Bongaya Treaty (Cappaya Bongaya), illustrate the script's diplomatic applications, with Makasar versions recording the peace terms imposed by the VOC on Gowa after prolonged conflict. Signed on 18 November 1667, the treaty stipulated Gowa's subordination, trade restrictions, and alliances with former enemies like , events detailed in contemporary lontaraq bilang entries that capture the war's resolution and its socioeconomic impacts. Surviving copies in Makasar script, preserved alongside and renditions, highlight the treaty's role in marking the decline of Makassarese .

Comparisons and Relations

Differences from Lontara Script

The Makasar script consists of 18 basic consonant letters, each representing a syllable with an inherent vowel /a/, whereas the Lontara script (used primarily for Bugis) features an expanded set of 23 basic letters, including dedicated forms for pre-nasalized consonant clusters such as /ŋka/ (represented as ᨃ), /mpa/ (ᨇ), /nra/ (ᨋ), and /ɲca/ (ᨏ), which are absent in Makasar. These additional ligatures in Lontara accommodate specific phonetic needs of the Bugis language, resulting in a more complex inventory compared to the streamlined Makasar set. Visually, Makasar letters exhibit more angular and compact forms, often resembling silhouettes—a trait reflected in its alternative name, jangang-jangang ( script)—making them suitable for ink-based writing on . In contrast, Lontara letters are characterized by elongated, four-cornered shapes, known in as urupu sulapa eppa (four-cornered letters), which align with the 's traditional use for incising palm leaves. For instance, the Makasar letter for // (𑻠) appears more curved and contained than its Lontara counterpart (ᨀ), highlighting these stylistic divergences despite their shared principles. Orthographically, Makasar employs a simpler system for vowels, lacking Lontara's dedicated for the sound /ə/, which requires alternative notations or omissions in Makasar texts. This results in fewer vowel modifiers overall in Makasar (four dependent signs versus Lontara's five), streamlining formation but potentially introducing ambiguities for certain sounds not native to Makassarese . Additionally, Makasar uses a unique consonant reduplicator (𑻲) to abbreviate repeated s, differing from Lontara's reliance on full repetition or other cluster forms.

Broader Connections to Brahmic Scripts

The Makasar script belongs to the expansive Brahmic family of writing systems, which originated from the ancient Brahmi script of India, attested from the 3rd century BCE and widely disseminated through trade and cultural exchanges. In Southeast Asia, this descent typically occurred via southern Indian branches such as the Pallava script (3rd–8th centuries CE), which influenced early regional adaptations before further evolution through intermediaries like the Kawi script of ancient Java (8th–15th centuries CE). The Makasar script, emerging in South Sulawesi by at least the 17th century, reflects this lineage as an abugida tailored for the Makassarese language, with its introduction likely facilitated by Javanese cultural and mercantile contacts. Central to its Brahmic heritage is the structure, where each base glyph carries an inherent /a/ , modified by dependent diacritics positioned above, below, or beside the to denote other or silence the inherent one—a convention shared with scripts like Balinese, , and Rejang. This syllabic organization, devoid of a dedicated (-killer mark), aligns with the phonetic needs of Austronesian languages and mirrors adaptations in other insular Southeast Asian Brahmic variants, though Makasar handles rare clusters via its reduplicator mark rather than stacking. For instance, the Makasar script's 18 core and notations parallel the in Javanese-derived systems, emphasizing visual economy for inscription on perishable media like lontar palm leaves. While unified by these foundational traits, the Makasar script exhibits regional distinctions in , such as angular, linear letter forms optimized for left-to-right writing on organic substrates, contrasting with the more cursive or rounded profiles of mainland like , which evolved under Mon-Khmer linguistic pressures and influences. These adaptations highlight how Brahmic systems fragmented into localized branches, with variants prioritizing simplicity and phonetic fidelity for Makassarese sounds absent in Javanese prototypes, such as unique nasal and glottal representations. Unlike its close regional counterpart, the for Buginese, Makasar maintains a more compact repertoire without certain ligatures.

Modern Encoding and Revival

Unicode Implementation

The Makasar script was added to the Standard in version 11.0, released in June 2018. It is encoded in the dedicated Makasar block spanning U+11EE0 to U+11EFF, which allocates 32 code points, of which 25 are assigned to support the script's characters. These include 18 letters (U+11EE0–U+11EF1), 4 combining signs (U+11EF3–U+11EF6), 1 consonant reduplicator (U+11EF2), and 2 punctuation marks (U+11EF7–U+11EF8). The encoding model follows Unicode's logical order principle for Brahmic-derived scripts, treating the 18 consonants as base characters and the vowel signs as combining marks that attach above, below, or to the side of the base . This approach avoids precomposed forms, instead relying on rendering engines to handle positioning, such as reordering the prepending vowel sign E (U+11EF5) before the consonant. The consonant reduplicator (U+11EF2, known as angka) doubles the preceding consonant without an intervening , while the includes passimbang (U+11EF7, three vertical dots for word or phrase separation) and end-of-section marker (U+11EF8, a six-dot ). This structure enables faithful digital representation of historical Makasar texts, which lack representations for codas. Efforts to propose the Makasar script for began with scholar Christopher Miller's Unicode Technical Note #35 in March 2011, which surveyed unencoded and Philippine scripts and highlighted Makasar's need for recognition. Miller's work continued through preliminary documents in 2015 (e.g., L2/15-100), leading to a revised proposal by Anshuman Pandey in November 2015 (L2/15-233), which incorporated feedback from script experts and adjusted the allocation from the initially suggested U+11ED0–U+11EFF to the final range. This proposal, building on Miller's research from 2011–2015, was accepted, enabling the script's inclusion three years later.

Digital Fonts and Contemporary Applications

The development of digital fonts for the Makasar script has enabled its rendering in modern computing environments, building on its Unicode encoding in the Makasar block (U+11EE0–U+11EFF). One key font is Salapa Jangang, designed specifically for the script's characters, including consonants, vowels, combinations, conjuncts, and numerals, allowing for accurate digital representation of historical texts. This font facilitates conversion and display tools, such as those in script mapping software, supporting the full character set proposed in Standard version 11.0. Additionally, ’s Serif Makasar, part of the comprehensive Noto font family, provides serif-style glyphs for 30 characters with features for script-specific shaping, ensuring harmonized across languages and promoting accessibility in web and print media. In contemporary applications, the Makasar script appears in digital archives dedicated to Southeast Asian manuscripts, where fonts like Salapa Jangang and Noto Serif Makasar aid in the transcription and visualization of digitized lontara' collections containing Makassarese content. For instance, projects by the British Library's Endangered Archives Programme have digitized Old Makasar manuscripts to preserve and make them accessible, focusing on scholarly access rather than widespread public use. initiatives in , such as the Aksara keyboard app, integrate support for encoded scripts like Makasar to enable input in educational tools and websites, contributing to documentation amid efforts to revitalize writing systems. By 2025, software support for the Makasar script has improved through broader adoption in operating systems like Windows and mobile platforms, with apps such as Palontaraki allowing users to compose and share text in related Sulawesi scripts, though direct Makasar usage remains niche. However, adoption is limited due to the script's historical obsolescence and the dominance of in modern Makassarese communication, with no major revival movements documented beyond academic and occasional cultural festivals promoting regional scripts. These efforts underscore a focus on preservation over active revival, constrained by low community demand and technical complexities in complex script rendering.

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