Orientations Magazine

Orientations Magazine An authoritative source on Asian art with stories of amazing places & incredible art collections.

Our articles are written by the world's foremost scholars in their field and every issue also includes market news and developments.

Holiday Special: Buy Two Digital Subscriptions for the Price of One!(Offer available until 31 December 2025)Looking for ...
30/11/2025

Holiday Special: Buy Two Digital Subscriptions for the Price of One!
(Offer available until 31 December 2025)

Looking for the perfect holiday gift for a friend, family member, or colleague? 🎁

Treat them (and yourself) to an annual digital subscription to Orientations. Enjoy unlimited access to our full digital archive, featuring issues dating back to 2004.

To claim this offer, email us at [email protected]

Peacocks are most evident in the context of weddings, when homes were filled with auspicious symbols. Wealthy Peranakan ...
27/11/2025

Peacocks are most evident in the context of weddings, when homes were filled with auspicious symbols. Wealthy Peranakan families commissioned elaborately embroidered wedding ensembles for the bride and groom, along with other decorative textiles for the wedding chamber. Peacocks frequently appear in these textiles, either on their own or in combination with other typical Chinese symbolic fauna such as phoenixes, qilins (a mythical composite creature), and butterflies. A groom's wedding jacket from Malacca reflects the influence of Qing dynasty (1644-1911) Fujian wedding customs on Peranakan weddings, which endured well into the twentieth century. The noble peacock is also an expression of raja sehari, the Malay concept of honouring the bride and groom as king and queen for the day.

Read more in Peter Lee and Diane Chee's 'Peacock Power: Beauty and Symbolism Across Cultures' in the Nov/Dec 2025 issue of Orientations. Click the link in our bio to get a copy! 🦚

1. Baju panjang (long jacket) India, Coromandel Coast, early 18th century; tailored in Sumatra, Indonesia Cotton, drawn and painted, mordant and resist dyed; length 140.8 cm Asian Civilisations Museum, Singapore

2. Panel of twelve tiles with Murugan and Paravani Saji Tile Works (Japan), early 20th century Glazed earthenware; 15 X 15.1 cm (each) Asian Civilisations Museum, Singapore

3. Pair of kamchengs China; Qing dynasty, Guanxu reign (1875-1908), late 19th century Porcelain; 35.5 34 cm Left: Asian Civilisations Museum, Singapore Right: Peranakan Museum, Singapore

4. Peacock Zhao Shao'ang (Chinese, 1905-1998), June 1951 (fifth month of the xinmao year) Hanging scroll, ink and colour on paper; 404 X 94 cm Asian Civilisations Museum, Singapore

The image and materiality of peacocks in Peranakan culture exemplify these complexities. With its iridescent plumage and...
25/11/2025

The image and materiality of peacocks in Peranakan culture exemplify these complexities. With its iridescent plumage and magnificent tail, the peacock has captured the imaginations of peoples across Asia for centuries. Native to the continent, it has come to symbolise beauty, power, and divinity as well as prosperity, valiance, and, at times, vanity and immoderation. In art, peacocks function as both sacred emblems and ornaments. In the Peranakan context they are depicted in a diverse range of European and Asian styles, primarily on textiles and jewels.

Read more in 'Peacock Power: Beauty and Symbolism Across Cultures' by Peter Lee and Diane Chee in our Nov/Dec 2025 issue of Orientations. Click the link in our bio to get your own copy! 🦚

1. Rank badge for a third-rank civil official China; Qing dynasty (1644-1911), late 17th or early 18th century Peacock feathers, gold thread, silk; 35.3 35 cm Courtesy of the Chris Hall Collection

2. Kain panjang (long cloth) Indonesia, Java, Pekalongan, 1940s, Cotton (drawn batik); 244.5 x 109 cm, Peranakan Museum, Singapore

3. Rosewater sprinkler India, Gujarat, Kutch, 18th century Silver; height 26 cm Asian Civilisations Museum, Singapore

The unpredictability of dice and cards led to these games being associated with divine intervention, where a lucky win c...
20/11/2025

The unpredictability of dice and cards led to these games being associated with divine intervention, where a lucky win could signal divine favour; a loss, cosmic disapproval. Some games also became tools for learning. Gyan chaupar, the original form of Snakes and Ladders, served as a metaphor for life, reflecting its uncertainties and rewards (image 1). Created by Jain and Hindu communities in Western India, the game board is a visual representation of philosophical principles. Each square includes an action or attitude that leads either to the player's piece being elevated through the voice of a repentant player undone by dice. Similar anxieties surface elsewhere: in Japan, the backgammon-like game ban-sugoroku was so closely associated with gambling that it was banned as early as 689 CE.

Read more in Zhao Feng and Shi Liu's 'Documenting Silk Heritage: A Global Collaboration for 'A Comprehensive Collection of Chinese Silks'' in our most recent issue of Orientations! Click the link in our bio to read more! 🐍

1. Gyan chaupar board India; early 20th century Cotton with pigments; 63 X 70 cm Asian Civilisations Museum (202500337)

2. Folding games board Western India; second half of the 16th century Indian rosewood, teakwood, ivory, coloured mastic; 18.5 X 61 X 61 cm Asian Civilisations Museum

3. Figural xiangqi set China; 18th century Stained ivory and wood; various heights Private collection, Portugal

4. Covered box, showing literati playing weiqi China; Ming dynasty (1368-1644) Lacquered wood, mother-of-pearl, metal; 26.5 X 24 X 13 cm Asian Civilisations Museum (2023-00142)

The urge to play is as old as civilisation itself. Across cultures and centuries, games have been a way to pass the time...
17/11/2025

The urge to play is as old as civilisation itself. Across cultures and centuries, games have been a way to pass the time, test skills, foster connection, and, at times, simply to win. They have also served as a powerful mirror of society, reflecting its values and beliefs. A new exhibition at the Asian Civilisations Museum in Singapore, 'Let's Play! The Art and Design of Asian Games' (5 September 2025 7 June 2026), explores the development, transmission, and design of board games that first emerged in Asia. From the swift exchange of congkak shells to the quiet precision of go, these games assume strikingly diverse forms.

Read more in Noorashikin Zulkifli and Malvika Agarwal's 'Let's Play! The Art and Design of Asian Games' in our most recent issue of Orientations! Click the link in our bio to read more! 🤍

1. Ladies Playing Ban-Sugoroku By Yoshu Chikanobu (1838-1912); Meiji period (1868-1912), 1896 Woodblock print, ink and colour on paper; 35.6 X 24.1 cm Asian Civilisations Museum

2. Scenes from The Tale of Genji (detail) By Watanabe Hiroteru (1778-1838); Edo period, early 19th century Pair of hanging scrolls, ink, colour, and gold pigment on silk; height 248 cm Asian Civilisations Museum

3. Hyakunin isshu karuta set (detail) Japan; Edo period, late 18th or early 19th century Paper, lacquer, gold; 5.5 X 8 cm (each card) Asian Civilisations Museum

During the early trade period (2nd century BCE-3rd century CE), Chinese silk travelled along the Silk Roads to the Roman...
13/11/2025

During the early trade period (2nd century BCE-3rd century CE), Chinese silk travelled along the Silk Roads to the Roman Empire, where it became a luxury item among the aristocracy. While few physical remnants survive from this era, Chinese damask and jin silk fragments excavated at Palmyra testify to these early commercial connections. Further evidence comes from 8th century twill fabrics discovered at Birka, Sweden, demonstrating the continuous westward flow of Chinese silks into Europe.

Read more in Zhao Feng and Shi Liu's 'Documenting Silk Heritage: A Global Collaboration for 'A Comprehensive Collection of Chinese Silks'' in our most recent issue of Orientations! Click the link in our bio to read more! 🐉

1. Dance-dress China, Tibet; 19th century Brocaded satin, satin damask, cotton tabby; 147 X 172.5 cm The British Museum, London © The Trustees of the British Museum

2. Phoenix-and-Flowers Embroidered Light Yellow Silk-Padded Robe China, Jingzhou; Warring States Period (475-221 BCE) Excavated in 1982 from Tomb No. 1 at Mashan, Jingzhou Jin silk, silk floss, embroidery on silk; length: 165 cm, cuff to cuff: 194 cm Jingzhou Museum, Jingzhou Photo © Jingzhou Museum, Jingzhou

3. Robe with yellow and blue checks masterpieces, a catalogue of China, Minfeng, Xinjiang; Eastern Han, Wei, approximately 150 plates, and and Jin Dynasties (25-420 CE) Unearthed from M3 of Niya Cemetery the corresponding catalogue no. 1 in Minfeng, Xinjiang, in 1995 entries. Jin silk; length: 122 cm, cuff to cuff: 225 cm Cultural Relics and Archaeology Institute of Xinjiang Uygur Autonomous Region Photo © Cultural Relics and Archaeology Institute of Xinjiang Uygur Autonomous Region

Liang Yi Museum and Orientations present,  'Jade and Wood: A Material Conversation' (A Dialogue Between Two Distinguishe...
08/11/2025

Liang Yi Museum and Orientations present, 'Jade and Wood: A Material Conversation' (A Dialogue Between Two Distinguished Private Collections, Marking the Debut of Jade Masterpieces from the K Collection.)

Hong Kong – and Orientations is pleased to present Jade andWood: A Material Conversation, an exceptional exhibition pairing 25 jade masterpieces from the esteemed K Collection with 25 superlative hardwood furniture pieces from the museum's founding collection formed by Peter Fung. This pairing demonstrates the intrinsic relationship between these materials in literati culture, where jade's purity and wood's warmth created aesthetic harmony in scholarly environments. This carefully curated presentation will run from 30th October 2025 to 16th April 2026, offering visitors a rare opportunity to appreciate these complementary materials within the Chinese scholarly tradition.

Photos by Mark French

Renew your Orientations subscription now, and receive 50% off past issues! Email us at info@orientations.com.hk when ren...
07/11/2025

Renew your Orientations subscription now, and receive 50% off past issues!

Email us at [email protected] when renewing your subscription to claim this offer.

Around the World: NovemberYour monthly guide to must-see exhibitions and events worldwide across Asian and Middle Easter...
06/11/2025

Around the World: November

Your monthly guide to must-see exhibitions and events worldwide across Asian and Middle Eastern art!

1. "Korean Treasures: Collected, Cherished, Shared", the National Museum of Asian Art, Washington, 8 November 2025 to 1 February, 2026


2. "Robert Rauschenberg and Asia", M+, Hong Kong, 22 November 2025 to 26 April 2026
+, Museum of Visual Culture

3. "Araya Rasdjarmrearnsook: The Bouquet and the Wreath", Jameel Arts Centre, Dubai, 6 November 2025 to 8 March 2026


4. "Japanese Jewels: Imperial Silver Bonbonnières", University Museum and Art Gallery, Hong Kong University, 5 November 2025 to 8 February 2026


5. "Image Keepers: Photographic Works from the Sharjah Art Foundation Collection", Sharjah Art Foundation, UAE, 8 November 2025 to 26 April 2026


Let us know if you visit any of these exhibitions, and tag us in your photos! 📸

The study of textile archaeology in China traces its origins to the early 20th century, when foreign explorers such as S...
05/11/2025

The study of textile archaeology in China traces its origins to the early 20th century, when foreign explorers such as Sven Hedin from Sweden, Aurel Stein from Britain, and Paul Pelliot from France ventured into the northwest of China, including Xinjiang, Gansu, and Inner Mongolia. Their expeditions uncovered numerous cultural relics, including a wealth of textiles, which were subsequently dispersed to museums around the world. While these discoveries laid the foundation for a global understanding of Chinese silk, they also resulted in the widespread scattering of China's cultural heritage.

Read more in Zhao Feng and Shi Liu's 'Documenting Silk Heritage: A Global Collaboration for 'A Comprehensive Collection of Chinese Silks'' in our most recent issue of Orientations! Click the link in our bio to read more! 🤍

1. Eleven-Headed Guanyin China, Suzhou; Qing dynasty, Qianlong period (1736-1795), 1778 Silk and metal thread embroidery; 142.2 X 85.1 cm The Metropolitan Museum of Art; Bequest of William Christian Paul, 1929

2. Textile fragment with the character shou China (probably); 1300-1400 Silk, five-end satin damask; 40 X 30 cm Victoria and Albert Museum, London Photo © Victoria and Albert Museum, London

3. Bedcover with mermaids, flowers, and birds in Canton-style embroidery China, Guangzhou; first half of 18th century Satin with embroidery; 315 X 212 cm (without tassels) Guangdong Museum Photo © Guangdong Museum, Guangzhou

Happy Halloween! Read all about the supernatural, ghosts, and spirits in Japanese printmaking practices in Kit Brooks an...
31/10/2025

Happy Halloween!

Read all about the supernatural, ghosts, and spirits in Japanese printmaking practices in Kit Brooks and Frank Feltens' 'Staging the Supernatural Ghosts and the Theatre in Japanese Prints' in our Sep/Oct 2024 issue of the magazine to get in the spooky mood!

Read the full article for free on our website by clicking the link below! 👻

https://orientations.squarespace.com/highlights/staging-the-supernatural-ghosts-and-the-theatre-in-japanese-prints

1. Ōkawa Hachizō I as Oiwa and Ichikawa Sukejirō as Takuetsu in the play Tōkaidō Yotsuya kaidan
By Utagawa Hirosada (act. 1825–75); 1848
Woodblock print: ink and colour on paper; 26.2 × 18.9 cm
National Museum of Asian Art The Pearl and Seymour Moskowitz Collection

2. Seki Sanjūrō III as Naosuke Gonbei (right), Kataoka Nizaemon VIII as Tamiya Iemon and Bandō Hikosaburō V as the Ghost of Kobotoke Kohei (Kobotoke Kohei bōrei) (centre), and Bandō Hikosaburō V as Satō Yomoshichi (left)
By Utagawa Kunisada (1786–1865); 1861, 7th month
Woodblock print: ink and colour on paper; 37.5 × 25.4 cm (each)
National Museum of Asian Art, The Pearl and Seymour Moskowitz Collection

3. Ōkawa Hachizō I as Oiwa and Ichikawa Sukejirō as Takuetsu in the play Tōkaidō Yotsuya kaidan
By Utagawa Hirosada (act. 1825–75); 1848
Woodblock print: ink and colour on paper; 26.2 × 18.9 cm
National Museum of Asian Art The Pearl and Seymour Moskowitz Collection

4. Nakamura Shikan IV as Sakata Kintoki and Onoe Baikō (Kakunosuke) as Usui Sadamitsu (right); Sawamura Tanosuke III as Usugumo, Actually the Spirit of a Spider (Jitsu wa kumo no sei) (centre); Nakamura Chūtarō as Urabe no Suetake and Ichikawa Kuzō III as Watanabe no Tsuna (left)
By Utagawa Toyokuni IV (1823–80); 1864, 10th month
Woodblock print: ink and colour on paper; 35.8 × 24.7 cm (each)
National Museum of Asian Art The Pearl and Seymour Moskowitz Collection

5. Tsuchigumo, from the series One Hundred Noh Plays (Nōgaku hyakuban)
By Tsukioka Kōgyo (1869–1927); 1922–25
Woodblock print: ink and colour on paper; 37.8 × 25.4 cm
National Museum of Asian Art The Pearl and Seymour Moskowitz Collection

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