The museum is styled like a typical Peranakan home. Peranakans are very fond of pastel colors and intricate designs. When I first saw the building, I was quite shocked. It is strikingly similar to my old WordPress theme, Springley. It made wonder if it is possible for art to be passed down by blood…
This is the setting where lap chai occurs. Lap chai is a gift-exchange ceremony that takes place one day before the wedding day.
And here is an example of the gifts the groom will bring to the bride’s family.
During lap chai, the bride and groom are to serve each other’s parents with tea as a symbol of filial piety and symbol of being accepted into the family.
This is the newlywed’s bedroom. So pretty! But the bed sure looks uncomfortable. :S
And here’s part of the wedding procession. I would like to point out
that the groom’s clothes are very reminiscent of Chinese zombies. For
the longest time, I’ve wondered why Chinese zombies are always portrayed
with Qing Dynasty clothes. Do shed some light, if you know!
Talking about zombies, Peranakans were highly superstitious people, which isn’t too surprising since they were heavily influenced by their Chinese ancestors. They had all sorts of amulets to protect themselves from evil. These amulets are called tangkal.
Peranakans had a penchant for naming their houses. As an aside, this could be my house since that’s my last name on the nanyate-esque lanterns.
Here’s a shot of Peranakan tableware. As with their houses, most of the tableware are in brightly colored shades of pastel with patterns dominated by flowers, butterflies, phoenixes and dragons.
This is a closeup of a Peranakan kamcheng lid. The detail is amazing! Peranakans meticulously pay the same attention to detail in everything they do. I marvel at their patience and at the same time wonder how bored one must of been to design everything with such intricacy.
These people clearly have never heard of Facebook.
As with Chinese women of long ago, most Peranakan women were not allowed to leave the house. So they killed time by embroidering and making gorgeous wallets, shoes and clothes.
Here are some Peranakan purses made with beads.
Here is more hand-embroidery to be later turned into shoes.
To save the best for last, this is how Peranakan women dressed. It’s a fancier version of the traditional Malay attire Kebaya. For the rich, it’s made of imported Chinese silk and hand-embroidered with all sorts of flowers.
grandmother still dresses this way whenever she goes out. It’s very
elegant. I really wouldn’t mind a modernized version of this as my
future wedding dress.
Anyway, I hope you found this entry enlightening. There are lots of more of the museum that I did not cover since the entry is already getting way too long. (It’s also taking me forever to resize, watermark and saturate those photos!)
峇峇娘惹（拚音：Bābā Niángrě），或稱土生華人（馬來語：Baba Nyonya）是指十五世紀初期定居在滿剌伽（馬六甲）、滿者伯夷國和室利佛逝國（印尼）和淡馬錫（新加坡）一帶的中國明朝移民後裔。峇峇娘惹也包括少數在唐宋時期定居此地的唐人，但目前沒有來源證明唐宋已有唐人定居此地，所以一般上峇峇娘惹都是指明朝移民後裔。這些唐宋明後裔的文化在一定程度上受到當地馬來人或其他非華人族群的影響。男性稱為峇峇，女性稱為娘惹。六十年代以前峇峇娘惹在馬來西亞是土著身份（Bumiputra)，但由於某些政黨政治因素而被馬來西亞政府歸類為華人（也就是馬來西亞華人），從此失去了土著身份。峇峇娘惹今天在馬來西亞憲法上的身份和十九世紀後期來的“新客”無分別。
由於英國殖民統治馬來亞，故當年大多數土生華人接受英語教育，懂得三種語言能夠同時接觸中國人，馬來人和英國人，也因為他們懂得三種語言的緣故，在英政府統治期間有大部分土生華人從事國家行政和公務員職位。由於長期和英國人交往，有很多土生華人皈依基督教。漸漸地土生華人也就成為了海峽殖民地(檳城，馬六甲和新加坡)有影響力的一個團體，並也被稱為“King's Chinese ” （國王的華人）同時也效忠英女王。 由於土生華人“土生土長”的身份又受到英政府的重用，生活基本上已經屬於富裕，故把後期到來的華人和華工區分為新客。影視作品