enticz: 2013

Thursday, December 19, 2013

Nyonya Undergarments

The camisoles worn by Nyonyas under their kebaya were made of cotton and were usually stitched by the Nyonyas themselves, although sometimes they were sent out for tailoring. Early camisoles worn under the translucent kebaya had long sleeves and high collars, much like the undershirts worn with the baju panjang. They were usually buttoned up the front or back. Sometimes they were made with pockets, presumably for carrying small items. Over time, the camisole list its sleeves and became more like a vest.

Later, most camisoles had assumed a more tapered shape, rather like a corset. Shoulder straps became thinner and breast cups more pronounced. They came in various colours to match the colour of the kebaya's fabric. Most featured lace or simple scallop-embroidered borders but a few were enhanced with quite extensive embroidery work, which was visible through the voile of the kebaya.

In the 1950s, most Nyonya had abandoned the camisole in favour of the brassiere. Brassieres were the European introduction, also during the 1950s or 1960s. They heralded a trend towards more rounded silhouettes in local women's fashion.

Although a brassiere was visible under the kebaya, the question of modesty was never an issue among Nyonyas. Unlike the Malay women, Nyonyas never saw it as breaching any code of modesty wearing them. However, some older Nyonyas did not approve of the practice and continued wearing the old-fashioned camisole. Today, brassieres are commonly accepted among Nyonyas as the normal support wear for kebaya.

Pictures below show the four camisoles for use under the kebaya. Camisoles 2, 3 and 4 features different patterns of crochet works.

Camisole 1
Early camisole worn under the translucent kebaya with long sleeves and high collar, much like the undershirts worn with the baju panjang.

Camisole 1

Camisole 2

Camisole 3

Camisole 4

Sunday, December 1, 2013

Nyonya Baju Panjang

Prior to the emergence of the short kebaya in the late 1920s, Nyonyas wore the traditional Malay costume called baju panjang. In Malay, baju panjang literally means long dress and refers to the tunic, a loose, calf-length garment with sleeves that taper at the wrists, but the term is invariably used to refer to the complete outfit. The tapered sleeves allowed Nyonyas to eat with their fingers and bangles to be shown off. Like the later kebaya, the tunic was worn with a sarung (either printed batik imported from Indonesia or woven fabric) and was secured with a set of kerongsang.

The baju panjang has a long history, dating as far back as the 16th century. However, its use among the Nyonyas came about only in the 19th century. Like the kebaya, the baju panjang was not indigenous to the Nyonyas but was borrowed from the Malays who themselves probably borrowed it from elsewhere.

The origins of the baju panjang and the source from which the Malays took it have not been proven. Some researchers believe that the kebaya could have come from the Arabic word "habaya", a long tunic that opened in front. This is not entirely satisfactory since the kebaya looks nothing like the habaya. Nevertheless, the claim that the baju panjang may have come from Arabic culture is highly possible in so far as Islam came to the Malay Peninsula in the 15th century. Since Islam discourages women from revealing their heads, chests, arms and legs in public, thus, all areas covered by the baju panjang except the head, we can assume that Malay women began to wear the baju panjang ever since. The theory that the baju panjang was brought to the Malay Peninsula by Muslim traders also makes sense in that covering up was not part of the dress code of many Southeast Asian women. Prior to Islam, women would have dressed in fewer layers because of the hot, humid climate, and also because animistic, Hindu and Buddhist societies imposed no such restrictions.

By the time the first Baba Nyonya communities emerged in the Straits Settlements, Islam was already firmly established. It is highly likely that the first Nyonyas, influenced by prevailing trends in the dress of Malay women, adopted the baju panjang. This may have been encouraged by their Chinese husbands who would have considered the baju panjang appropriate and not so very different from the Chinese attire.

There are other possible sources of borrowing. For example, the cut of the baju panjang is quite similar to the traditional Burmese high-necked, long-sleeved tunic worn by both men and women. Indeed, the jasmine-crowned chignons worn by Penang Nyonyas show definite Burmese influence. The baju panjang also bears a distant resemblance to the Chinese robes and the Japanese kimono. However, these could be mere coincidences. The baju panjang's unique pair of triangular underarm gussets differentiates it from most other robe-like garments worn by women in the region. Moreover, the Nyonya's use of the sarung and of brooches to fasten the tunic points is to a Malay tradition.

The Nyonyas were to make a few changes to the Malay tradition, especially in the use of lighter, more transparent materials. Malay women in adherence to Islamic laws governing modesty, shunned the translucency of voile or other materials and wore only opaque cotton or silk. Moreover, the Nyonyas did not wear the 'selendang' (headscarf) which Malay women would use to cover their heads in public.

The baju panjang worn by the Nyonyas were made from a variety of materials according to the fashion of the time. In the early 1900s, most tunics were cut from cotton cloth imported from Indonesia. That produced in the Celebes was called 'kain Bugis' (Bugis cloth), and was decorated with small checks. Batik cloth from Java was also patterned with small, geometric motifs. In early examples of the baju panjang, the colours are sombre, ranging from black to ochres and earthy reds.

In the 1910s, when factory-milled textiles were introduced to the East, French and Swiss voile and organdie became the fashion. In the 1920s, German organdie featuring white-thread embroidery, called 'lace cloth' by the Nyonyas, as well as colourful printed voile, often with bold floral designs, were the rage.

Because these fashionable imported fabrics were so transparent, Nyonyas were forced to wear a long-sleeved, jacket-like garment with a stand-up collar under their tunics. This was visible under the V-shaped neckline of the baju panjang. Called a 'baju dalam' (Malay for 'undershirt'), it was made of white cotton and ended at the hips. It was fastened with stud-like buttons which could be removed when washing. In the privacy of their homes, Nyonyas wore this short undershirt with a sarung. Only when they entertained in the home or when they went out would they put the transparent tunic on top.

Before the baju panjang was worn, the separate pieces of the ensemble tunic, sarung and undershirt would be heavily starched and pressed. During drying, the sarung would be stretched between parallel bars to remove any creases. When the entire ensemble was worn, complete with an intricately combed hair bun, powdered cheeks and jewellery, a Nyonya would look exceptionally regal.

For formal and ceremonial occasions, such as weddings, a Nyonya would pin a sapu tangan (handkerchief), a large square cloth folded into a triangle, across the right or left shoulder of her baju panjang. To keep cool in her layers of clothing, she would keep a hand-held fan close by.

The baju panjang is no longer worn today by the Nyonyas. The last Nyonya in Malacca to wear it as everyday dress passed away in the late 1970s, and like most traditional forms of dress in this global, it can only be seen during cultural exhibitions. Sadly, not many examples of the baju panjang exist and their rarity has made them collectors' items. However, they are not as highly valued among collectors of Baba Nyonya paraphernalia as they do not signify the apotheosis of Baba Nyonya culture in the way that the kebaya does. Nevertheless, the baju panjang forms an important part of the Nyonya kebaya story.

Javanese cotton batik baju panjang.

Baju panjang of woven cotton cloth called Bugis cloth by the Malays.

Knee-length baju panjang made from German organdie called 'German cloth' or 'stiff fibre' by shopkeepers in various pastel shades. Organdie baju panjang were most often starched, so that they stood as stiff as tents.

Knee-length baju panjang made from German organdie called 'German cloth' or 'stiff fibre'.

Floral printed voile baju panjang.

Tuesday, November 12, 2013

Qing Dynasty Plates

Pictures below show the two plates which are spontaneously painted with attractive leaping carp motifs from the Qing Dynasty. The carps are drawn with blue oxide and red under glaze. It is believed to be originated from Fujian Province, China.

For Chinese, fish is representing abundance and regeneration. Therefore, they are one of the most popular Chinese and Asian ceramic motif. Either moulded or incised, the fish is symbolising harmony.

To be more specific, carp was an auspicious animal and a sign of state examination success in ancient China. Hence, it was a popular motif on ancient Chinese porcelains.

Plate 1
Diameter : 25cm

Plate 1

Plate 2
Diameter : 23cm

Plate 2

Friday, November 1, 2013

'Kitchen Qing' Blue And White Porcelains

Pictures below show the Chinese blue and white porcelain bowls and plates from my collection. The decorations includes a lingzhi fungus (Glossy Ganoderma) motif in the center medallion, a fungus scroll at the mouth-rim, and a lotus scroll above a band of lotus panels on the exterior.

Blue and white porcelain of this type was exported to Southeast Asia from China in the late 19th and early twentieth centuries. The designs drawn on these porcelains particularly neat and without any shading. As such, they are finer examples of 'kitchen Qing' than normally encountered.

Highly durable, blue and white dishes was used on a daily basis in the Straits Chinese kitchen for both dining and for making offerings on the household altar, on account of the blue and white colouring being associated with mourning.

The sacred lingzhi fungus is the emblem of immortality and longevity. In combination with the lotus flower which is the emblem of summer and fruitfulness, the bowl represents everything the Chinese symbolism preaches, a rich and long life.