Lucky Home Collections 宏承軒

We are deeply humbled and honoured by Dzongsar Jamyang Khyentse Rinpoche’s gracious visit to our gallery in Bangsar today. Rinpoche has been a pillar of strength and inspiration to us throughout the years, encouraging us to approach our work with creativity, sincerity and integrity, while serving our clients and the wider community in good faith. We are profoundly grateful for Rinpoche’s presence, guidance and blessings. Thank you, Rinpoche.

今天，我們深感謙卑與榮幸，恭迎宗薩蔣揚欽哲仁波切慈悲蒞臨敝店宏承軒。多年來，仁波切一直是我們堅定的精神支柱與源源不絕的啟發，勉勵我們以創意、真誠與正直之心投入工作，並秉持善念與誠信服務每一位客戶及更廣大的社群。我們由衷感恩仁波切的蒞臨、指引與加持。感恩仁波切。

A new container has landed, bringing with it a fresh trove of curious finds, storied forms, bold colours and unexpected treasures, each waiting to begin a new chapter in your home.

新一櫃珍藏翩然而至，滿載別具意趣的巧思、歲月沉澱的形韻、鮮明動人的色彩與意想不到的珍品，只待走進您的家中，續寫一段嶄新的故事。

An elegant expression of Chinese refinement, this blackwood everted fl**ge altar table is distinguished by its graceful proportions, gently upturned ends, and richly polished dark surface. Delicate mother of pearl inlays animate the façade with figures of the Eight Immortals, interspersed with floral and auspicious motifs that shimmer subtly against the deep tone of the timber. The openwork apron beneath adds sculptural depth while preserving the table’s light and balanced silhouette. Traditionally suited for the display of sacred objects and ancestral offerings, a table of this character may serve beautifully as a shrine table, while its stately proportions also make it an elegant statement piece for a foyer or reception hall.

一件盡顯中式雅韻的黑木翹頭供案，以端莊修長的比例、兩端微微上翹的案頭，以及溫潤深沉的木色，展現含蓄而雋永的古典氣韻。案面正中細緻鑲嵌螺鈿八仙人物，並穿插花卉與吉祥紋飾，瑩潤的螺鈿光澤在深色木質的映襯下若隱若現，平添一份華美而不張揚的韻致。下方鏤空牙板雕飾流暢，在豐富整體層次之餘，依然保持輕盈而均衡的輪廓。此類供案傳統上適宜陳設神聖器物及祖先供品，可作為莊重雅致的供桌使用；其挺拔大方的尺度與氣度，置於玄關或迎賓廳堂之中，亦能成為一件極具風格與文化意蘊的陳設焦點。

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A vibrant composition of colour and auspicious symbolism. At the centre stands [1] a newly made hand-painted side cabinet depicting magpies perched among blooming peonies, symbols of joy, prosperity, and beauty. Beside it is [2] a modern Chinese turquoise blue bedside cabinet, available as a pair, bringing a refreshing contemporary accent to the setting.

一隅明麗雅致的陳設，以鮮明色彩與吉祥寓意相互交織。 [1] 一座新製手繪邊櫃，喜鵲棲息於盛放的牡丹花枝之間，寓意喜悅臨門、富貴繁盛與美好祥瑞。旁側的 [2] 現代中式湖水藍床頭櫃成對可選，以清新的色調與簡潔造型，為整體空間注入一抹輕盈而當代的氣息。

Resting above is [3] an old Javanese brass Hamsa made circa 1950s, the divine swan associated with purity and wisdom. [4] A contemporary large green-glazed vase filled with flowers adds warmth and natural texture, while [5] a set of creative circular wooden ornaments inspired by traditional Chinese coins completes the arrangement with a subtle symbol of prosperity and abundance.

其上陳設 [3] 一件約製於1950年代的爪哇黃銅神鳥 Hamsa；這一神聖的天鵝意象象徵純潔與智慧，為空間增添一份古樸而深邃的文化韻味。[4] 一只當代大型綠釉花瓶盛載繁花，以沉靜釉色與自然姿態為畫面增添溫潤氣息；最後以 [5] 一組取材自中國古錢造型的創意圓形木雕飾件作結，含蓄寄寓財富匯聚、豐盛富足之意。

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[1] An exceptionally refined work of glass shard relief depicts the auspicious theme of Hock Lock Siew Hee (福祿壽喜), rendered with remarkable intricacy and narrative richness. At the heart of the composition stand the revered Sanxing, accompanied by graceful maidens, one bearing an elegant ewer and another holding a ceremonial fan. Before them, a young attendant dramatically unfurls a calligraphic scroll inscribed 「富朝一品」, adding a further expression of rank, prosperity, and distinction to the scene. A frolicsome child animates the composition with youthful vitality, while Shouxing, the venerable God of Longevity, gazes upon him with a gentle and benevolent presence.

[1] 一幅極為精緻華美的嵌玻璃浮雕，以「福祿壽喜」為吉祥主題，構圖繁麗細膩，敘事意趣盎然。畫面中央，備受尊崇的三星並立其間，身旁侍立著姿態婉約的仕女，一人手持精緻執壺，另一人輕執團扇。前方，一名少年侍從徐徐展開題有「富朝一品」的書法卷軸，為整體畫面更添富貴顯達、尊榮不凡之意。另一名嬉遊孩童則為構圖注入天真活潑的生氣，而慈眉善目的壽星公正含笑凝望，流露出長者般溫厚慈祥的神韻。

The central porcelain panel is further flanked by a pair of glass shard calligraphic couplets inscribed 「福如東海大，壽比南山長」, meaning “May your blessings be as vast as the Eastern Sea, and your longevity as enduring as the Southern Mountain.”

中央瓷畫兩側另配一副剪瓷書法楹聯，題曰「福如東海大，壽比南山長」，寓意福澤如東海般浩瀚無垠，壽命如南山般綿延長久。字句與中央的福祿壽喜題材相互呼應，將對福運綿長、富貴安康與延年益壽的美好祈願融匯於一體。

Qing era, circa 1880. Teochew craftsmanship, acquired from Penang Peranakan private collections.
清代，約1880年。潮州工藝。購藏自檳城峇峇娘惹私人收藏。

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At the centre stands a teakwood dining table with an elegant marble top, accompanied by a set of classic bentwood chairs. Dining ensembles of this character reflect a fascinating convergence of Eastern European and Asian domestic traditions, with similar bentwood furniture once widely found across Eastern Europe before becoming a familiar sight in the more refined kopitiams and affluent Peranakan homes of Melaka and Penang.

中央陳設一張柚木大理石面餐桌，搭配一組經典的曲木椅，簡潔優雅之中流露出跨越地域的時代風韻。這類家具展現了東歐與亞洲生活美學的巧妙交融，相似的曲木家具昔日廣泛流行於東歐地區，其後亦逐漸融入南洋社會，常見於較為講究的傳統咖啡店，以及馬六甲與檳城富裕峇峇娘惹家族的宅邸之中。

Within the traditional Baba Nyonya residence, such a setting would often occupy the reception hall, the first formal space encountered upon entering the home. Here, the host would receive and entertain visitors, offering refreshments and conversation in a setting that quietly conveyed the family’s hospitality, social standing, and cosmopolitan taste.

在傳統峇峇娘惹宅邸中，這樣的桌椅組合往往陳設於迎客廳，亦即賓客步入家門後首先進入的正式空間。主人會在此迎接來訪親友，以茶點款待，在閒談敘舊之間盡顯待客之道。看似日常的陳設，實則含蓄映照出一個家族的殷勤好客、社會地位，以及兼容中西、放眼世界的雅致品味。

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At the centre stands an ornate teakwood display cabinet, conceived as both a practical storage piece and an elegant showcase for treasured possessions. The cabinet is crowned by an exuberantly carved cresting that departs from conventional Chinese iconography. Rather than the familiar pair of dragons contesting the flaming pearl, the master carver has portrayed two dragons pursuing a royal crown, an uncommon motif. Equally remarkable is the substitution of the traditional phoenixes with a pair of majestic eagles, reflecting a fascinating synthesis of Chinese symbolism and Western decorative influences that characterised the eclectic tastes of affluent Peranakan families.

華麗柚木展示櫃，兼具實用收納與珍藏展示功能。櫃頂飾以繁複精緻的雕刻冠飾，其設計突破了傳統中式裝飾語彙。工匠並未採用常見的「雙龍戲珠」構圖，而是雕以雙龍共逐王冠，此一罕見題材更添尊貴與獨特意趣。尤為引人注目的是，兩側原應出現的鳳凰則改以一對雄鷹取而代之，展現出中西裝飾藝術相互交融的特色，充分反映出富裕峇峇娘惹家族兼容並蓄、博採眾長的美學品味。

The cabinet's glazed doors reveal a thoughtfully arranged interior of illuminated display shelves, originally intended for exhibiting prized heirlooms such as kamcheng, paso Shanghai, fine porcelain, lacquerware, treasured curios, or even an esteemed personal library. Executed in richly figured teakwood and elevated upon boldly carved claw feet, the cabinet embodies the Peranakan appreciation for refined craftsmanship, cultural eclecticism, and the graceful presentation of objects collected across generations.

玻璃櫃門後設有層架展示空間，配合柔和燈光，原為陳列峇峇娘惹家族珍藏而設，無論是蓋盅（Kamcheng）、花瓶等各種精美瓷器、漆器、古玩雅器，抑或珍愛的藏書，皆能於其中優雅陳設。整體以紋理細膩的柚木製成，並立於雕工遒勁有力的獸爪足之上，充分體現峇峇娘惹對精湛工藝、多元文化融合，以及世代珍藏優雅展示的重視。

Circa 1920s. Penang.
約二十世紀二十年代。檳城。

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Five Ornate Chanaps in Different Shapes and Themes.

五種風格不同的饌盒：造型與吉祥題材的藝術呈現

Among the finest decorative furnishings commissioned by affluent Peranakan families in Melaka and Penang were the chanaps (饌盒), ceremonial presentation stands and ornate serving platforms that occupied a prominent position within reception halls, ancestral spaces, and upon the Samkai offering table. Beyond their practical function as stands for porcelain, tea wares, flower arrangements, or celebratory offerings, chanaps embodied the aspirations, values, and cultural refinement of the Straits Chinese community.

馬六甲與檳城富裕峇峇娘惹家族的常見陳設器物之中，饌盒（Chanap）堪稱最為精美華麗的代表之一。此類禮儀陳設臺座廣泛陳列於大廳、祖先廳堂以及三界公（天公）供桌之上，佔據空間中的顯要位置。饌盒不僅作為瓷器、茶具、花卉及節慶供品的承托器具，更承載著海峽華人社群對福澤、家聲與文化品味的追求與寄託。

Distinguished by their varied silhouettes, symbolic iconography, and intricate craftsmanship, these include tortoiseshell-shaped, hexagonal, rectangular, octagonal, and lobed forms, each enriched with auspicious narratives derived from Chinese history, literature, and folklore.

饌盒造型豐富多樣，兼具象徵寓意與精湛工藝，常見形式包括龜甲形、六角形、長方形及花葉形等。其裝飾題材多取材自中國歷史掌故、文學典籍與民間傳說，以寓意吉祥的故事場景寄託對家族興旺、福壽綿延的美好願景。

The tortoiseshell-shaped chanap, inspired by the geometric pattern of the tortoise shell, was especially esteemed as a symbol of longevity, resilience, and heavenly blessing. This chanap features the celebrated scene of 「郭子儀拜壽」, depicting the grand birthday celebration of Guo Ziyi, the illustrious Tang dynasty general revered as the embodiment of prosperity, honour, longevity, and the flourishing of successive generations.

龜甲形饌盒以龜殼紋理為靈感，其造型尤受推崇，被視為長壽、堅韌與天賜福澤的象徵。飾以「郭子儀拜壽」圖景，描繪唐代名將郭子儀壽宴盛況。郭子儀素被視為富貴榮華、福壽雙全及子孫昌盛的化身，因此成為華人傳統裝飾藝術中最受歡迎的吉祥題材之一。

Hexagonal chanaps are distinguished by their balanced architectural proportions, embellished with scenes of 「麻姑獻壽桃」, portraying the immortal maiden Magu presenting peaches of immortality to celebrate a celestial birthday.

六角形饌盒則以端莊勻稱的結構比例見長，裝飾題材為「麻姑獻壽桃」。畫面描繪仙女麻姑手捧仙桃，前往天界祝賀壽辰，以此寓意身體康健、福壽綿長，以及來自天界的祥瑞庇佑。

Rectangular chanaps are among the most versatile and imposing examples, here depicting the heroic narrative of 「薛仁貴出征」. The celebrated Tang dynasty general Xue Rengui is shown departing for military campaign accompanied by retainers, mounted warriors, banners, and attendants, symbolising loyalty, courage, perseverance, and honourable achievement.

長方形饌盒則屬於最為用途廣泛的類型，其裝飾題材為「薛仁貴出征」。畫中唐代名將薛仁貴率領隨從、騎兵與旗幟儀仗整裝待發，展現忠誠、勇毅、堅忍不拔與功業顯達的精神內涵，寄寓主人建功立業、光宗耀祖的理想。

The rarest and most priced lobed or foliate chanaps bear the auspicious theme of 「福祿壽喜財」. This assemblage of blessings encompasses happiness, official success, longevity, joyous occasions, and material abundance, reflecting the aspirations of Peranakan families for prosperity across successive generations.

花葉形饌盒飾以「福祿壽喜財」題材，集福氣、官祿、長壽、喜慶與財富於一體，寄寓家族繁榮興盛、世代昌隆、福澤不絕的美好願景，充分體現峇峇娘惹家庭對家道永續與子孫昌盛的期盼。

A distinctive characteristic shared by many chanaps is the inclusion of a pair of swivelling guardian lions positioned beneath the platform. These exquisitely carved lions serve not merely as embellishments but also as potent symbols of authority, protection, and auspicious guardianship.

許多饌盒的臺座下方常雕有一對可旋轉的瑞獅。這些雕工精湛的祥獅不僅作為裝飾細節，更被賦予鎮宅辟邪、彰顯權威與護佑吉祥的重要寓意。

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At the centre stands [1] a monumental Teochew luohan daybed, masterfully constructed from hardwood and distinguished by its imposing proportions, raised platform, and protective three-sided railings. Traditionally placed within the principal reception hall of affluent residences, the luohan bed served as a multifunctional furnishing for receiving distinguished guests, scholarly pursuits, leisurely reclining, and afternoon repose. More than a piece of furniture, it symbolised refinement, social status, and the cultivated lifestyle of the scholar-gentry. The railings are exquisitely decorated in the distinctive Teochew gold tracing technique (描金), where delicate gilded linework animates the dark lacquered surfaces with elegant floral and auspicious motifs.
雄偉壯麗的[1] 潮州羅漢榻造型恢宏。昔日羅漢床多置於富裕宅第的正廳之中，既是接待貴賓、談經論道、品茗會友之所，亦可供閒坐、午憩與修身養性之用。它不僅是一件家具，更象徵著主人的身份地位、文化修養與文人雅士的生活品味。床欄飾以極具潮州地方特色的描金工藝，細膩流暢的金線勾勒出繁花瑞草與吉祥紋樣，使深色漆木更添典雅華貴之韻。

Dominating the central back panel is an elaborate narrative depicting the celebrated birthday banquet of Guo Ziyi (郭子儀), the illustrious Tang dynasty general revered as the embodiment of longevity, honour, prosperity, and the flourishing of successive generations. The lively composition is populated with attendants, musicians, officials, and members of the Guo household gathered in joyous celebration. Particularly notable are the attendants carrying an honorary plaque inscribed 「汾陽世家」, literally "The House of Fenyang," a title bestowed upon Guo Ziyi after he was enfeoffed as the Prince of Fenyang (汾陽王).

床背中央雕刻以唐代名將郭子儀（郭令公）祝壽盛宴為主題，構圖恢宏而生動。郭子儀素有「福、祿、壽、喜」兼備的象徵意義，被後世尊奉為富貴長壽、子孫昌盛的典範。畫面中侍從、樂師、文武官員及郭氏族人齊聚一堂，共賀壽辰，洋溢著喜慶祥和的氛圍。其中尤以侍從高舉題有「汾陽世家」匾額最為醒目。「汾陽」乃郭子儀受封汾陽王之封號，「汾陽世家」遂成為顯赫門第、福澤綿延、世代榮昌的吉祥象徵，亦是中國傳統家具裝飾中最具代表性的祝頌題材之一。

Positioned above the luohan daybed is [2] a framed Peranakan embroidered tokwi (桌圍), originally created as a ceremonial table skirt for the principal square offering table used during traditional Baba Nyonya wedding rites. Such textiles were suspended on the front side of the offering table, forming an elegant embroidered enclosure for the ceremonial gifts, offerings, and ritual objects presented during the marriage celebrations. Richly worked in gold couching and coloured silk embroidery upon a vibrant crimson satin ground, the tokwi embodies both the technical brilliance of needlework and the ceremonial splendour of the Straits Chinese wedding tradition.

羅漢床上方懸掛著一幅裝框展示的[2] 娘惹桌圍（Tokwi／桌圍），原為峇峇娘惹傳統婚禮中覆掛於主供桌前方的禮儀織品，而非壁面裝飾。婚禮期間，桌圍環繞方形供桌垂掛，圍飾著陳列於桌上的聘禮、供品與各式禮儀器物，使整座供桌更顯莊嚴華麗，成為婚禮儀式的重要視覺焦點。作品以鮮紅緞地為底，運用盤金繡及彩色絲線精工繡製，充分展現海峽華人刺繡工藝的卓越技藝，以及峇峇娘惹婚嫁文化的華美與隆重。

The central medallion depicts a magnificent pair of phoenixes (fenghuang) amidst flourishing peonies and blossoming branches. The paired phoenixes, long regarded as the supreme emblem of feminine virtue, marital harmony, and conjugal happiness, symbolise the union of bride and groom, while the peonies represent wealth, honour, and prosperity. Surrounding the medallion are elaborate embroidered motifs of flowering vases, endless knots, fruits, and auspicious treasures, all executed with remarkable precision in couched gold threads. Particularly striking are the pair of monumental ritual vases flanking the central scene, bearing the longevity emblem (壽), reinforcing blessings for enduring happiness, abundance, fertility, and the continuation of the family lineage.

圓形主紋飾描繪一對鳳凰（鳳凰）翱翔於牡丹與繁花之間，羽色華麗，姿態高雅。鳳凰自古被視為女性美德、婚姻和諧與百年好合的最高象徵，雙鳳更寓意新人成雙成對、琴瑟和鳴；盛放的牡丹則象徵富貴榮華、功名顯達。圍繞中央圖案四周，繡有花瓶、盤長結、瑞果及各式吉祥寶物等紋樣，皆以細膩的盤金繡工藝精心完成。其中兩側高大的禮器花瓶尤為醒目，瓶身飾有「壽」字紋章，寓意福壽延綿、家道昌隆、多子多孫，寄託著對新婚夫婦與家族世代繁衍、生生不息的美好祝願。

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