The Peranakan Mansion: A Historical Insight

The Peranakan Mansion on Church Street, Georgetown, Penang in Malaysia, is a remarkable monument dedicated to the aspirations of Kapitan Cina Chung Keng Kwee.

Originally from China, Chung emigrated to Penang, gaining prominence within the Hai San secret society that governed mining labor in Perak. Upon rising to power and being named superintendent of the Chinese community in Penang (Kapitan Cina), Chung acquired property along Church Street, constructing a large two-storey townhouse combined with a family temple.

His residence, named “Hai Kee Chan” or Sea Remembrance Store, showcases the Straits Eclectic architectural style favored by the Peranakan community, despite Chung not being one himself. This aesthetic effectively merges elements from diverse cultural backgrounds, reflecting the melting pot that is Malaysian history.

Completed in 1895, Hai Kee Chan features an impressive courtyard echoing traditional Chinese townhouses, complemented by elaborate ironwork sourced from Glasgow, Scotland. The residence includes elegantly decorated anterooms where Chung’s concubines and children gather, the full-length French windows inviting views of bustling Church Street.

The Peranakan Museum’s Decline and Rebirth

Unfortunately, the family’s fortunes dwindled after World War II, leaving the Hai Kee Chan in disrepair throughout much of the 20th century. However, a renaissance began when Penang architect and native Peranakan, Peter Soon, acquired the property. A dedicated collector of authentic Peranakan antiques, Soon embarked on restoring the house to its former glory.

Today, the Hai Kee Chan is celebrated as the Peranakan Mansion. Soon’s extensive collection of over 1,000 Peranakan artifacts adorns the Mansion’s interior, vividly depicting the opulent lifestyle of the upper class during Chung’s era.

Touring the Main Hallway

The Peranakan Mansion, located at 29 Lebuh Gereja (Church Street) on the eastern side of Georgetown, welcomes visitors. The mansion is open from 9:30 am to 5 pm, with daily tours scheduled at 11:30 am and 3:30 pm. Upon entering, guests are greeted by a stunning central atrium, typical of affluent business residences. The origins of the materials are diverse, with Chinese carvings sharing space with Staffordshire tiles from England and iron columns from Glasgow.

Visitors may explore various rooms surrounding the central atrium or ascend the staircase to the second floor. The first stop on the tour introduces the elegant ladies’ anteroom on the ground floor.

Exploring the Ladies’ Quarters

Within the household of forward-thinking Chung, women were traditionally expected to maintain a lower profile. However, the ladies were fortunate to enjoy luxurious yet secluded quarters on the ground floor, where Chung’s four wives and numerous daughters likely spent their days engaged in card games or gossip.

The room is adorned with antiques from the late 19th century, featuring mirrors, mother-of-pearl inlaid furniture, a deck of cheki cards, a spittoon for betel nut chewers, and traditional food baskets essential for Peranakan culture.

Admiring the Masterwork on the Doors

The doors leading to the ladies’ quarters boast intricately carved wooden screens showcasing exquisite filigree, shrubbery, and birds, all carved from single pieces of wood. To accomplish this, Chung employed seven master carvers from Guangzhou, whose craftsmanship is reflected in the work.

Dining in the Grand Dining Hall

Adjacent to the main living area, the grand dining room served as the scene for Chung’s meals with distinguished guests. This room features large mirrors on opposite walls, an ingenious addition that allowed Chung to discreetly monitor guests entering through the front door or navigating stairs.

The Cultural Significance of “English” and “Chinese” Rooms

As Kapitan Cina, Chung engaged with multiple communities across Penang and Perak, striving to ensure guests felt welcome. The two rooms flanking the dining hall each exhibit vastly different styles, reflective of the cultures with which Chung interacted. The “English” room showcases European furnishings and decorations, ideal for hosting British colonial administrators. Conversely, the “Chinese” room features traditional décor, with mother-of-pearl inlaid furniture and elegant blue Chinese vases.

The Second-Storey Private Quarters

The upper floors serve as private living quarters for Chung and his family, featuring portraits of Chung, his wife, and his parents, dressed in traditional attire indicative of the second rank of mandarins. This honor was bestowed upon Chung by the Manchu Emperors, recognizing his contributions to Imperial interests in China and Vietnam.

Viewing the Bridal Suite

Visitors can explore two distinct bedrooms on the upper floor, one adorned in traditional Peranakan style and the other a “bridal suite” reflecting early 20th-century tastes. Traditional Peranakan expectations demanded that ladies excel in embroidery, cooking, and the creation of intricate beaded slippers known as kasot manek.

The Bridal Gown on Display

The bridal suite offers a glimpse into evolving wedding traditions, featuring a bed with a modern wedding gown. The transition from elaborate 19th-century wedding attire to the more simplistic white wedding gowns and tuxedos reflects the Peranakan’s adoption of British fashions.

Exploring the Peranakan Jewelry Museum

Next to the Mansion, an adjacent building has undergone extensive renovations to become Peter Soon’s jewelry museum, showcasing an impressive array of bracelets, earrings, tiaras, and traditional kerosang brooches, essential for holding Peranakan kebaya tops together.

The Chung Ancestral Temple Next to the Peranakan Mansion

A narrow passageway leads from the Mansion to the Chung Ancestral Temple, which remains under the stewardship of the Chung family. Completed in 1899, the temple was constructed to traditional specifications by skilled artisans brought from China. Four generations of Chung ancestors, starting with Kapitan Chung, are honored here; images of the Kapitan’s descendants line the main altar.

The ancestral temple is characterized by gold-leaf encrusted panels, stucco sculptures depicting cherished Chinese folk tales, and “door gods” guarding the entrance. The motif of bats—symbolic of good fortune in Chinese culture—can be found in the temple’s furnishings, with real bats often roosting in the rafters above.