Spotlight on Jewellery: Asian Civilisations Museum

The jewellery collection at Singapore’s Asian Civilisations Museum is more than just adornment; it tells the stories of Southeast Asia, spanning 5,000 years of history, culture, and its people.

Sense of Wander: ★★★★☆

A stunning display of 15th-century gilded silver necklaces and bangles from Java, Indonesia, captures the jewellery in a moment of timeless beauty.

SINGAPORE — While most visitors come to the Asian Civilisations Museum (ACM) for its renowned Belitung Shipwreck, which offers a peek into the trade goods that traversed the Maritime Silk Route over a thousand years ago, my top attraction lies elsewhere. As extraordinary as the shipwreck display is, it only comes second for me — I’m more drawn to ACM’s jewellery collection.

Housed in the Mary and Philbert Chin Gallery, ACM boasts the world’s first permanent exhibition dedicated solely to Southeast Asian jewellery, spanning pieces from the Neolithic period all the way to the 20th century.

Southeast Asia, with its vast expanse from mainland nations like Myanmar, Thailand, and Vietnam to the island countries of Indonesia, Singapore, and the Philippines, is a tapestry of various cultures, languages, beliefs, and traditions. This cultural diversity shines through in Southeast Asian jewellery — a term that, while broad, hints at the unique artistry and symbolism woven into each region’s adornments.

As one of the oldest art forms, jewellery has always been more than mere decoration; throughout history, people have used it to convey status, beauty, and identity. Yet in Southeast Asia, jewellery transcends this surface value. As Anne Richter — author of the first comprehensive survey on the subject — eloquently notes, body ornaments are more than “servants of human vanities.” With its roots in prehistoric times, these personal adornment come to hold deep symbolic meaning, often tied to animist beliefs or representing a cosmic worldview, connecting wearers to ancestors and supernatural realms.

With this perspective in mind, I step into ACM’s collection of Southeast Asian jewellery, eager to uncover the fascinating tales and experience the cultural legacy that each piece holds.

Mary and Philbert Chin Gallery is the first permanent gallery in the world to focus exclusively on Southeast Asian jewellery.

For those who enter the gallery via the lift, the first thing you’ll encounter is an impressive display of personal adornments arranged like a cabinet of curiosities. This intriguing layout sets the stage for what lies within: a myriad of jewellery items spanning millennia and originating from various civilisations, including India, Thailand, Vietnam, Indonesia, Philippine, and Southern China.

It soon becomes clear that gold predominates in a majority of Southeast Asian jewellery. Beyond its associations with wealth and power, gold carries deep cosmological significance. In many traditions, it symbolises a connection to the higher realms, while the craft of metalworking — creating jewellery — is often compared to the act of creating the universe itself. Intriguingly, in these societies, gold and metal are viewed as “masculine” materials, whereas textiles are considered “feminine.” This distinction often meant that it was men who typically engaged in the creation of jewellery.

Inside Singapore’s Asian Civilisations Museum lies an impressive collection of Southeast Asian jewellery, featuring pieces from Southern China (top left), India (top right), Indonesia (bottom right), and Thailand (bottom left).

This exquisite gold necklace, known as the Kaluthiru Thali, is tied around the bride’s neck by the groom on their wedding day in Tamil Nadu.

The exquisite craftsmanship of this pair of gold earplugs from Western Sumatra offers an incredible visual delight!

It’s such a pleasure to see that early metalsmiths from the region drew their inspiration either from nature or primordial symbol, using motifs such as as circles, spirals, and crescent moon. It is based on these simple shape and form that further details, through techniques such as filigree, granulation, chasing, and repoussé that are applied to the pieces, enhancing their overall beauty.

The design and techniques in Southeast Asian jewellery traditions are heavily influenced by neighboring regions such as India, China, Western Asia, and the Middle East. While local metalsmiths have embraced these imported styles, it’s essential to recognise that this process goes beyond simple imitation. Instead, it represents an interaction between indigenous traditions and external influences, resulting in a unique blend of artistry.

Among the treasures is a pair of gold earplugs from Western Sumatra, dating back to the late 19th to early 20th century. Set against a medallion-like base with a lobed contour design, the slightly concave surface is adorned with intricate filigree and granulation work, transforming these pieces into a sumptuous visual feast. It’s remarkable how such a high level of detail can be achieved on such small objects!

At the Asian Civilisations Museum, jewellery is exhibited in context, allowing visitors to reimagine how these pieces would’ve been worn on the body.

This impressive array of hairpins from Indonesia would’ve been inserted into the hair of a Peranakan bride.

A stunning collection of collar ornaments showcases intricate designs like the Eight Immortals, birds, and mythical creatures, each symbolising auspicious blessings and expressing a deep yearning for a life filled with abundance and prosperity.

Jewellery is often displayed in a way that removes it from its original context, reducing it to mere objects rather than reflecting how they would have adorned the body.

What I appreciate about the ACM’s curatorial efforts is their thoughtfully designed display cases that showcase jewellery alongside images of the wearers from the cultures these pieces originate from. This allows visitors to gain a deeper understanding of the jewellery’s original significance and how it would have been worn, offering a vivid picture of what a person would look like when fully dressed. By highlighting this intimate relationship between the adornment and its wearer, the exhibit enriches our appreciation of these beautiful creations.

The design of this headdress from Western Sumatra is closely linked to the region’s traditional architectural style.

Among the glittering items, a sumptuous headdress from Western Sumatra commands attention. Crafted from thin sheets of gold-silver alloy, its unique shape evokes the horn-like roofs (gonjong) of traditional Minangkbabau houses.

This luxurious headdress is adorned with a fern tendril motif (kaluak paku), symbolising kinship. Sprouting from the headdress are clusters of delicate flower sprigs, while a row of intricate fringes cascades down the back of the neck when worn.

Unique to the village of Solok, this headdress was made for Minangkabau women. Such pieces were considered heirlooms, commissioned by families of noble origins to crown their daughters during important occasions.

A pair of gold kawari discs from Southern Sulawesi (top) and silver amulets inscribed with numerical charts from Turkey (bottom) reflect the universal desire for protection across different cultures.

In search of protection from unseen forces, individuals from various cultures often turn to jewellery. This particular type of adornment, believed to possess magical qualities that safeguard its wearer against evil, danger, and illnesses, is commonly referred to as an amulet or talisman.

Among these protective charms are round disc-shaped amulets inscribed with the word “Allah” in Arabic, as well as geometric-patterned discs designed in pairs. A notable example is the pair of gold amulet discs, known as kawari, from Southern Sulawesi. These discs showcase a concentric geometric design, with the word “Allah” and “wa” (meaning “and”) delicately depicted using fine gold wire.

Valued for their talismanic properties, kawari discs were traditionally worn by the seafaring Bugis people of South Sulawesi. Typically worn by children from affluent families, these discs were suspended on chains — one adorning the chest and the other resting on the back.

Travellers often carried portable boxes to hold the ingredients needed for betel chewing. These boxes were usually paired with a smaller lime container known as celepa.

One intriguing object that may seem unusual to many but is quite common in Southeast Asia is the betel box. The tradition of chewing betel has deep historical roots in the region, and served as a vital component of social interaction and ritual across various ethnic groups until the mid-20th century. It played a significant role in marking important life stages, from birth to death.

For those who could afford them, intricately crafted betel sets— complete with small containers for each ingredient — became status symbols reflecting the wealth and taste of their owners. On display is an exquisite gold betel box from the Riau-Lingga Archipelago, adorned with lush tendril motifs. Such betel boxes were often treasured as family heirlooms, typically passed down through the female lineage.

This “peniti tak” brooch, attributed to Batavia, showcases a blend of foreign influences in both its design and materials.

In addition to pieces rooted in local traditions, Southeast Asian jewellery also includes items with distinctly foreign influences.

A stunning set, featuring a necklace with a crown pendant, a ring, a fingernail guard, and a brooch, reflects both European and Chinese aesthetics. The brooch, known as peniti tak, stands out with its delicate rose-cut diamonds, or intan, and intricate motifs of tendrils and flower blossoms.

This particular set is attributed to Batavia (modern-day Jakarta), a cosmopolitan port city that flourished from the 17th century to the early 20th century, and home to the hybrid culture known as Betawi.

The #SGJewelleryNow exhibition in ACM’s Jewellery Gallery sparks an intriguing dialogue between tradition and contemporary design.

My visit coincides with the museum’s inaugural contemporary jewellery show, aptly titled #SGJewelleryNow. This exhibition showcases the works of three talented Singaporean jewellery designers, including homegrown talent Edmond Chin. Founder of the bespoke jewellery brand Ecetera, Chin is not only a remarkable designer but also a generous supporter of ACM’s Jewellery Gallery. He has made a generous gift of Southeast Asian jewellery in honour of his parents, Mary and Philbert Chin. Seeing his creations displayed alongside the jewellery he donated creates an inspiring dialogue that bridges centuries of creativity.

For centuries, skilled goldsmiths in the region have crafted intricate pieces that reflect diverse local customs and beliefs, showcasing how individuals at a cultural crossroads express their identities through adornments. On this note, the Asian Civilisations Museum stands as a treasure trove of inspiration, offering us not only a stunning array of creations but also invaluable insights into the region’s multifaceted heritage through the lens of jewellery.

Reference:
Richter, A. (2000). The Jewelry of Southeast Asia. Thames & Hudson.
Ting, K. (2021). Asian Civilisations Museum: Director's Choice. Scala Arts & Heritage Publishers Ltd.