The exhibition is flush with images of the range of commonly acquired décor from China and the Far East. There are large Foo Dogs (imperial guardian lions) in magenta alongside comparatively smaller Three Wise Monkeys in muted tones of oranges and greens, to name a few. They are reminders of the distant fascinations by colonisers, floridly applied on vases or playfully situated in the interiors of their living quarters. Within the Asian region, these were idols that protected, warded off negative qi (energy), and attracted prosperity to sacred spaces or to their caretakers. In “Orientale,” they stand together like structures built to guard the delicate yet empowered female figures, no longer on the sidelines. Mudan, or translated from Chinese as “peony,” is a painting of such a woman front and centre on the composition. The “king of flowers” blooms across her face with traces of its path lingering on her clothing, signalling the honour she has acquired in line with her value in society.

While the oriental has not yet fully separated from its association with the “exotic,” a broader audience has now come to appreciate what these objects stand for beyond their decorative presence. So, too, is the importance of women in the patriarchy as Xandrine suggests throughout the exhibition. The men now stand side by side rather than at the forefront. The women now command their roles, not as convenient surface embellishments, but as equally important members of a thriving and harmonious place to live in.

Text by Sayoka Takemura