24/05/2026
A vibrant composition celebrating the exuberance of Tibetan decorative arts. At the centre stands [1] a Tibetan cabinet and accompanying side tables, entirely hand painted in vivid mineral pigments and richly adorned with scrolling floral motifs, lotus blooms, and auspicious emblems characteristic of Tibetan decorative tradition. Further enriching the composition is [2] an ornate Baba Nyonya keong teng, or leading lantern, placed upon the cabinet. Finely embroidered with human figures and crowned with the auspicious Double Happiness character 囍, the piece was traditionally carried during Peranakan wedding processions, symbolising joy, union, and blessings for the newlyweds. Anchoring the wall above is [3] a Qing era carved panel repurposed from the upper section of a canopy bed. The elongated architectural element retains its original lacquered surfaces and gilded details, with inset decorative panels and finely carved brackets that once formed part of an elaborate sleeping enclosure.
一幅洋溢著藏地藝術華彩與生命力的空間構圖。居於中央的是 [1] 一組藏式櫃與邊几,以礦物顏料全手工繪製而成,通體飾以纏枝花卉、蓮花紋與各式吉祥寶相,充分展現藏傳藝術濃郁而燦爛的裝飾美學。進一步點綴其間的是 [2] 一件精緻華美的峇峇娘惹「香燈」(Keong Teng,迎親燈),安置於櫃面之上。燈身繡有人物圖像,頂部飾以象徵喜慶團圓的「囍」字紋樣。此類香燈昔日常見於娘惹婚禮迎親儀式之中,寓意姻緣美滿、福澤綿延,為空間增添一抹濃厚的人文氣息與祝福意涵。牆面上方懸掛的是 [3] 一件清代雕花構件,原為拔步床上部床罩結構之一部分,後重新轉化為壁面裝飾。其修長的形制仍保留原有漆面與描金細節,鑲嵌式裝飾板配以精巧斗拱雕件,昔日曾構築華麗寢居空間的一隅。如今化作壁飾,不僅延續傳統工藝之美,也為整體陳設增添層次豐富的歷史韻味。
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