Title

jar

Mediumstoneware

Object number00.160.216

Institutional Credit LineCourtesy of the New Bedford Whaling Museum

DescriptionStoneware jar with lid, entirely painted with green vines and pink, red, and blue flowers including a blooming lotus blossoms.

The term ‘Peranakan’ derives from the Malay language and means “person born here.” It refers to a blend of Chinese and Malay ethnicities and is also known as Baba Nonya. The Peranakan people settled in the Malay Peninsula, Indonesian Archipelago, and the south of Thailand, along the Andaman coast and the Gulf of Thailand.

This cultural mix originated in the 15th-16th century when a group of Chinese Hokkien merchants traded in the Strait of Malacca and settled in cities such as Malacca, Penang, and Singapore. The so-called ‘Straits Chinese’ married local Malays, and their influence can be seen in many aspects of daily life, including the art of porcelain.

Peranakan porcelain, also known as Nyonya ware or Straits Chinese porcelain, has unique characteristics found only in Southeast Asia. Wealthy Peranakan Chinese commissioned Chinese traders to manufacture this colorful porcelain in China. It was first created during the era of Emperor Tongzhi of the Qing Dynasty, and production is believed to have ceased after World War II due to declining demand.

Peranakan porcelain is highly sought after by antique collectors and connoisseurs. The value of this porcelain depends on its rarity of color and size. Chinese artisans had to import pigments from foreign countries to achieve the distinctive colorfulness of Peranakan porcelain, which sets it apart from other types of porcelain manufactured in China.

Colors such as pink, yellow, and light blue are considered rare and are therefore more valuable than the more common green. Nowadays, any background color other than white is highly sought after, and larger pieces of porcelain are more valuable if they have rare colors. The decorative motifs on the ware, such as the phoenix, eight Buddhist symbols, and the cartouche, also affect the value of the porcelain. If these motifs are finely detailed and complex, the value of the porcelain is enhanced.

Peranakan families were known for their wealth, as only the richest families could afford such colorful porcelain. They often had three sets of porcelain: one for daily use with a white background, one in blue and white for funerals and the mourning period, and the most expensive set, which was used for festive occasions, had colorful backgrounds and intricate motifs.

The Peranakan people were able to achieve such vibrant colors by acquiring ingredients from foreign countries. For example, cobalt blue, which was not available in China, had to be sourced from Persia or Afghanistan. Turquoise and coral, which gave a red glaze or hue, were sourced from Tibet.

Extra-large kamchengs (bowls with lids), chupus (a type of covered jar), and vases with busy motifs and color combinations are the most valuable Peranakan porcelain pieces. This porcelain was produced for foreign markets and exported to other countries. Its value lies in its cultural significance, rather than its technical excellence or aesthetic. The busy motifs and color combinations that are considered gaudy and rough by Chinese elite or literati collectors are precisely what passionate collectors appreciate.Label Text
Peranakan or Nyonya maker once known
Peranakan Porcelain (Nyonya Porcelain) covered jar ca. 1850. Porcelain with colored glazes, 00.160.216

The term Peranakan (Nyonya) comes from the Malay language and refers to Chinese/Malaysian people –known as Baba Nonya. The Peranakan settled in the Malacca strait of Singapore, Malaysia, and Thailand in the 1500s. Wealthy Peranakan patrons commissioned Chinese traders to manufacture colorful porcelain. For its distinctive colors, like pink, yellow, and blue, artisans imported pigments from foreign countries. Turquoise and coral, which gave a red glaze or hue as seen on this covered jar, were sourced from Tibet.

This jar was made in the mid-1800s for a wealthy Peranakan client. It was probably in local ceramic kilns in Jiangxi or Fujian province, not the china manufacture center of Jingdezhen. You can see that the texture, figure, and color of this item are different from other export porcelain products on display. This is because clay quality and manufacture techniques at local kilns were not as good as Jingdezhen.

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