从“家屋”到“画廊”：新马娘惹瓷的绘画文化、 收藏递变与身份表征

From “Household” to “Gallery”: The Pictorial Culture, Collecting Shifts, and Identity Representation of Peranakan Porcelain in Singapore and Malaysia

Abstract

摘要

娘惹瓷是 15 世纪以来中国移民文化与马来本土文化、西方殖民文化在漫长历 史中碰撞、融合与创新的物质结晶，是新马一带峇峇娘惹族群最具代表性的物质 文化遗产之一。本文通过梳理其在十九世纪末至二十一世纪初之间的绘画纹饰和 收藏递变，深入研究这些视觉艺术作品从最初作为宅邸内部装饰的私人性抑或家 族性的艺术形式，逐步演变为在画廊、博物馆等公开场所展出与流通的收藏品和 商品的转变过程，进而探讨这一文化载体如何成为峇峇娘惹身份认同与文化适应 的符号。

Abstract
Peranakan porcelain is a material crystallisation of the long historical processes of encounter, fusion, and innovation among Chinese migrant culture, indigenous Malay culture, and Western colonial culture since the 15th century. It stands as one of the most representative forms of material cultural heritage within the Baba-Nyonya community in Singapore and Malaysia. This article traces the evolution of its pictorial motifs and patterns, as well as shifts in its modes of collection from the late 19th century to the early 21st century. It examines how these visual heritage objects, originally functioning as private or family-oriented decorative forms within domestic spaces, gradually transformed into collectible and commodified items displayed and circulated in public venues such as galleries and museums. It further explores how this cultural medium functions as a marker of Baba-Nyonya identity and a form of cultural adaptation.