In the peranakan culture, Gou Da Li or betrothal ceremony is usually held 2 until 4 weeks before an actual wedding ceremony. During this ceremony the groom and the matchmaker visit the bride’s family and formally introduce himself and his family. At this ceremony, the groom offers the bride a variety of gifts that represent good fortune. These gifts were placed in a container called “Bakul Siah” which literally means auspicious basket
Unlike the three-region batiks from the North coast of Java, Tjoa’s three-region batiks such as woman’s breast cloth, head wrapper, sarong and long cloth were most likely catered to the needs of the commoners and sold at a much more affordable price.
Batik tiga negeri or “ three-region batik” is a hand drawn batik that underwent dyeing processes in three different areas, namely in Solo, Pekalongan and Lasem. One batik workshop that has been producing a wide variety of “Three-region batiks” since the beginning of the twentieth century was the Tjoa’s family batik workshop, founded by Tjoa Giok Tjiam in Solo, Central Java.
The art of Malay’s silverware is a result of over 500 years of cultural assimilation between Hinduism, Buddhism, Islam and local culture. Old Malay silversmiths were succeeded in combining the beauty and the aesthetics of Hindu and Buddhist art with the Malay Islamic custom and tradition.
This dressing table mirror was part of a set of Peranakan bridal furniture used by a Peranakan Nonya in her wedding chamber. It was probably commissioned from an artisan in Java, Dutch East Indies in the late nineteenth or early twentieth centuries. This red lacquered and gilded dressing table mirror is ornately carved and has auspicious motifs popular with Peranakan such as hummingbirds, foo dogs, peonies flowers and scrolling foliage.
Before 1930s, the use of gold and silver coins as a jewellery was popular among the Peranakans in The Dutch East Indies. Coins in denominations of 1/2, 1, 2.5 and 10 guilders were incorporated into different kinds of jewelries such as belts, bracelets, hairpins, kerosangs and pendants.
The earliest known batik “Dermayon” cloths were made in the c by batik makers who originally came from Lasem, Central Java, therefore batik “Dermayon” motifs were heavily influenced by Chinese motifs known in batik Lasem.
This pomegranate shaped wooden container box was once used as a jewelry box by a Peranakan Nyonya in Palembang, Dutch East Indies. Most probably it was presented as a gift in the hope of good fortune and fertility. Because of its elegant and attractive shape, it fits perfectly in a Peranakan style decoration.
This pair of richly decorated peafowl shaped silver bed hangings might be part of a wealthy Peranakan wedding dowry. Often such of these bed hangings were hung from the canopy of the wedding bed alongside with other bed ornaments. Beside serving as decorative ornaments, these hangings were usually ritually purified to provide blessings for the newlywed couple.
Batik Belanda is an Indonesian batik heritage which was heavily influenced by the Indo-European’s culture in the Dutch East Indies. Initially, these batiks were only worn by the Indo-dutch women. Later, they were also popular among the wealthy Chinese Peranakan women and the Javanese Nobilities
This pair of wedding curtain hooks with floral and phoenix bird paterns was once used to draw the front drapes of Peranakan bridal bed. These high purity gold and silver made curtain hooks were most probably commissioned from a highly skilled Peranakan silversmith by a distinguished Peranakan family who has a high social status at that time. The beauty of the carving reflects the true meanings of a Fenghuang, namely virtue, responsibility, propriety, credibility, and kindliness.
SDKGPAA Hamengkunegoro Sudibyo Raja Putra Narendra Mataram III was the son of Sultan Hamengkubuwono VII and Queen Hemas who became the Crown Prince of Keraton Yogyakarta in 1895 until his death in 1913
After Like their Indo-European counterparts, Peranakan entrepreneurs often adorned a piece of batik cloth with beautifully hand drawn “buketan” pattern. Flowers used in buketan, originated from the word bouquet, were usually Chinese auspicious flowers.
Before the mid-twentieth century, Cian-ap or Chanab or usually known as candy box, is set up on a Peranakan altar table commonly found in Peranakan houses in Indonesia, Malacca, Phuket, Penang and Singapore.