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 19th
or early 20th 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 4th
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 17th and early 18th
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 19th or early 20th 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 18th
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.
