Peranakan porcelain: Inside Malaysia’s largest heritage Kamcheng collection

His personal collection, which focuses on (but certainly not limited to) kamcheng, tingkat (porcelain tiffin carriers), and sweetmeat trays, has grown remarkably since he returned to Penang in 2007.

In a relatively short time, he has amassed over 100 kamcheng, believed to be one of the largest collections of this particular genre in the world. This stunning assemblage of Straits Chinese material heritage is now documented in his recently published book, “The Chris Ong Collection,” offering readers intimate glimpses into this carefully curated treasury.

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This deep appreciation for Peranakan ceramics was instilled early in Ong’s life through his grandmother’s precious collection. When she moved in with the family when he was four or five years old, she brought with her - though officially limited to two suitcases - her most essential pieces, those required for prayers and ancestral worship.

These ceremonial pieces, brought out only for special occasions throughout the year, were predominantly blue and white, their significance deeply rooted in Chinese tradition.

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“The blue and whites were fundamental to ancestor offerings,” Ong explains, noting that in Chinese society, cobalt blue was the closest ceramic artisans could get to black, the traditional colour of mourning.

This cultural significance has led to his personal categorisation of his collection into what he terms ‘happy and sad wares’—pieces for festive occasions and those reserved for funerals and death anniversaries. 

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In the Peranakan households of Ong’s youth, ceramics went far beyond mere decoration. They were essential props in an elaborate domestic theatre of social customs and family traditions.

In middle-class households, the ‘batik wear’ - blue and white pieces with distinctive chrysanthemum scrolls - served dual purposes as kitchen implements and ceremonial vessels. These pieces witnessed rare occasions when Ong’s grandmother would cook - not for the living, but for ancestral offerings, a tradition he now helps preserve through his collection.

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 His collecting journey began in his early teens, inspired by his grandmother’s laments about lost family porcelain. His first acquisitions were the ‘Shanghai porcelain’ pieces - pink phoenix and peony plates used for weddings and happy occasions.

These pieces, ubiquitous in middle-class households of the early 20th century, were essential for home entertaining in an era before restaurants and hotels became common venues for celebrations - a heritage that now finds new life in his hotel properties. 

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The ceramics of his collection paint a vivid picture of Peranakan social life, particularly in the tradition of Tok Panjang - long table dining that reflected the community’s adaptation of British customs. In larger households, separate tables would be arranged for men and women, with multiple rotations of diners sharing the same settings throughout an event.

This practice revealed how Peranakan culture masterfully balanced Chinese traditions - where round tables were preferred for their auspicious lack of sharp corners - with British colonial influences, a cultural fusion that Ong celebrates in his heritage hotels today. 

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 In the intricate world of Peranakan ceramics, authentication requires a multifaceted approach, as Ong has learned through decades of collecting. Rather than seeking outliers or unique pieces, he advocates for understanding the common threads that run through these cultural artefacts.

“The key is familiarity with the standards,” he explains. “When you’ve handled enough pieces, you develop an almost instinctive understanding of what’s authentic.” This expertise now benefits not only his personal collection but also helps ensure the authenticity of pieces displayed throughout his heritage properties. 

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This knowledge comes from careful attention to detail - examining brush strokes under magnifying glasses, understanding the weight of pieces (older ceramics become lighter over time), and recognising the work of master artists versus apprentices.

The largest kamcheng pieces, for instance, typically showcase the finest artistry, while smaller pieces often reveal the learning curves of apprentice craftsmen - nuances that enrich the stories he shares with his hotel guests and fellow collectors alike. 

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The market for Peranakan ceramics has undergone significant transformation in the digital age. Online auctions and greater transparency have changed how these pieces are valued and traded. While standard pieces maintain consistent pricing, rare authentic items command significant premiums.

However, the costs of acquisition have risen, with auction house commissions reaching 25-30%, plus additional expenses for logistics and customs duties when purchasing internationally. Yet these challenges haven’t deterred Ong’s mission to preserve and share these cultural treasures.

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Drawing from his experiences, including encounters with unscrupulous dealers, Ong emphasises the importance of measured scepticism in collecting. “Pay top dollar for the best piece you want to own,” he advises, “because you never know when such a piece will appear again.”

Yet he maintains a pragmatic approach to collecting, and viewing pieces as beautiful cultural artefacts rather than emotional attachments - an approach that allows him to share them generously with the public through his hotels and publications.

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For new collectors, Ong recommends starting with19th-century blue and white pieces, which offer both aesthetic value and historical significance at relatively accessible prices.

These pieces, some as affordable as modern tableware, provide an entry point into collecting while maintaining authentic connections to Peranakan heritage - a gateway he helps facilitate through his various preservation efforts. 

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The challenge of incorporating these traditional pieces into modern spaces has inspired creative solutions, evident in both his personal collection and his hotels.

Rather than trying to recreate traditional Peranakan interiors wholesale, Ong demonstrates how single authentic pieces can serve as inspiration points from which modern interpretations can flow - whether through projected designs, custom textiles, or contemporary adaptations of traditional motifs.

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His vision for sharing this cultural heritage extends across multiple platforms - from his hotels that allow guests to live among these treasures, to “The Chris Ong Collection,” his book that serves as both a memoir and guide to his stunning collection. Through its pages, readers experience what feels like an afternoon with Ong as he walks through his collection, sharing the stories behind each piece. Through seasoned photojournalist Nicky Almasy’s lens and Ong’s narrative, the book brings a fresh perspective to these cherished pieces. Beautifully documented in print, the collection is available at Chris Ong’s heritage hotels and Hikayat bookstore in Penang, allowing readers to take home a piece of this cultural legacy. 

In both his roles as hotelier and collector, Ong has created a living legacy of Peranakan culture. His hotels serve as contemporary showcases for traditional craftsmanship, while his personal collection, documented and shared through his book, ensures these pieces and their stories endure. Together, these parallel pursuits work in harmony to preserve and celebrate the rich material heritage of Straits Chinese culture, making it accessible to future generations while maintaining its historical integrity.

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