Was madam Wellington Koo the first global glamazon?

I took advantage of The Asian Civilisation Museum`s offer of half-price tickets on Friday night to see two super-interesting exhibitions.  The first one – Devotion and Desire – celebrates cross cultural art in Asia, from Indian tortoise-shell jewellery boxes, fine Chinese ceramics, Southeast Asian figures carved in wood, to exquisite bridal gowns.

This richly coloured robe and skirt dates from late 19^th or early 20^th century, and is made of silk, gold threat and cotton. It was worn at Peranakan wedding, which was a grand affair.

The Peranakans are well known blended communities, whose descendants were foreign traders who married local women. They would adopt many cultural traits from their new homes in the Malay, while still holding onto their original culture whether from China, India or Europe. Like many Peranakans, Oei  Hui-Ian, later known as madam Wellington Koo, was the daughter of a wealthy businessman. Raised in European splendour in Java and Singapore, and educated in Christian schools, she married a Chinese diplomat, and travelled throughout the world. Since her childhood, she successfully operated in several cultures, wearing haute couture, as well as sarong kebaya and cheongsam.  The first global glamazon perhaps?

This portrait of madam Wellingtom Koo was made in 1921 by Charles Tharp – oil on canvas.

Head of a bodhisattva Gandhara made in terracotta around 4^th century, captured my imagination, as it is so realistic, and so beautifully made.

 

This chair mixes European and Indian motives and stylistic interpretation. Ebony furniture was made in the 17^th and early 18^th centuries on the Coromandel Coast, in Sri Lanka and Java.

Lacquer Across Asia is an accompanying exhibition to the Devotion and Desire, and dazzled me with several large scale, shiny and highly decorative pieces.

This offering vessel, in form of a hintha bird, has been made in Myanmar, Mandalay in late 19^th or early 20^th century, from lacquered and gilded wood, mirrors and inlaid glass.  

This carved and lacquered figure of Buddha makes a huge impression because of its size and bright colour – the red paint on the folds of the robe, and blue pigment around the moulded hair curls.  It came from China, in 18^th century and was made from wood, cloth, lacquer, plaster, paint and gold leaf. Often in Buddhist tradition, many more layers of lacquer, varnish and gold leaf would be added over time.

 

Lacquer –obtained from the sap of trees in China and Southeast Asia – has been highly coveted for millennia as it is very durable as well as attractive; and having seen so many stunning examples here, I am eager to purchase some lacquer pieces for my homes.