Palace of Year: One year in, the Hong Kong Palace Museum has forged its own identity as a world-class cultural landmark

Enchanting and enriching 1.3 million visitors in its first year, Hong Kong Palace Museum is an unmissable addition to the Kowloon cityscape. From afar, the grandeur of its distinguished façade draws the eye. Inside its breathtaking space, 12 outstanding exhibitions have held court in as many months, each displaying a wealth of multimedia components, an innovative approach to curating, and a distinctive cultural perspective.

Also Read: Colour Harmony: Andrew Yuen’s Evolution From Boyhood Treasure Hunter To Guardian Of Culture

On the occasion of its first anniversary, the HKPM is well into its stride and looking confidently to the future. Since it opened its doors to the public on 3 July 2022, the museum has cultivated strong partnerships in the areas of academic and cultural exchange, in addition to showcasing some of the finest artefacts from its namesake in Beijing and other significant cultural institutions around the globe. Its presence has strengthened the dialogue between world civilisations and Hong Kong’s status as an East-meets-West cultural hub.

We are delighted to celebrate this important milestone. In the past year, the museum has brought moments of delight and amazement to the viewing public. We would like to express our deep gratitude to the Palace Museum for loaning such precious objects for display in Hong Kong, and to our donours and patrons for their generous donations and support. Kudos must go to our curatorial and operational teams for their professionalism and dedication. The museum has been empowered by the overwhelming support of the general public and visitors from around the world,” says Winnie Tam Wan-chi, Chairman of the Hong Kong Palace Museum Board. “We vow to continue to present exceptional exhibitions and programmes at the HKPM with the aim of promoting Chinese culture to a global audience, in accordance with the National 14th Five-Year Plan to develop Hong Kong into an East-meets-West centre for international cultural exchange.”

Beijing Assistance

The Palace Museum in Beijing, which houses an immense collection of classical Chinese art and artefacts, and the West Kowloon Cultural District joined hands to create the Hong Kong Palace Museum in 2015-16. The cooperation was announced in December 2016 and billed as a gift from the central government to mark the upcoming 20th anniversary of the return of Hong Kong to China.

As a result of the partnership, the Beijing museum lends items to the Hong Kong museum for both long- and short-term exhibitions. For those counting, a total of 914 items from the former’s 1.86-million-strong collection were secured for the HKPM’s inaugural shows.

The loan is the biggest granted by the Beijing institution since its founding in 1925 and features pottery, jade, bronze, costumes, jewellery, paintings, calligraphy and other national treasures – the majority showing in Hong Kong for the first time. The most priceless pieces appear for three months before being returned home to rest in accordance with established exhibition practice.
Hong Kong Exclusive

Despite the connection between the two organisations, the Hong Kong museum has forged its own identity. The HKPM team arranges loans from other esteemed institutions besides the Palace Museum. Upon its opening in July last year – one day later than planned due to a typhoon – more than 100 works borrowed from other museums and institutions in Hong Kong, as well as 13 pieces on loan from the Musée du Louvre in Paris, were invitingly in situ.

Multimedia creations from six local contemporary artists were also presented in its first exhibition, and ongoing efforts have been made to attract young people and foster an understanding of Chinese culture on a global scale.

The HKPM’s 84,000 square feet of exhibition space are spread across nine galleries over the seven-storey building designed by local architect Rocco Yim. Each gallery has a different topic, such as life, architecture, design, or art in the Forbidden City, where its Beijing counterpart is housed.

Now Showing

In the fifth three-month rotation of treasures on loan from the Palace Museum, 51 splendid works will be exhibited in Galleries 1, 2 and 5 until September 2023. Most pieces in this impressive display have not been seen in Hong Kong before and they aptly mark the HKPM’s first-anniversary milestone. They include two Grade One national treasures: a Ming-dynasty ewer resembling a pine tree and a Qing-dynasty brush pot shaped like a Chinese cabbage by renowned bamboo carvers Pu Cheng and Feng Xijue respectively. These extraordinary works headline the must-see show ‘The Quest for Originality: Contemporary Design and Traditional Craft in Dialogue’ in Gallery 5.

A recently acquired scene from The Grand Imperial Wedding of the Guangxu Emperor called “Presenting the Empress’s Investiture Book and Seal at the Hall of Union” is one of the highlights of ‘Entering the Forbidden City: Collection, Architecture and Heritage’, the presentation in Gallery 1. It is joined by the only surviving gold seal of an empress in the Palace Museum collection.

In Gallery 2, ‘From Dawn to Dusk: Life in the Forbidden City’ includes “The Maze”, a print from the Twenty Views of European-style Mansions in the Garden of Perfect Brightness series that showcases the magnificent scenery at Yuanmingyuan Park (the Old Summer Palace). This set of Qing-dynasty prints of the famed imperial garden reflects the integration of European and Chinese painting styles and landscaping features at the time.

A Gift that Keeps on Giving

A portion of China’s imperial treasures is housed at the National Palace Museum in Taipei, having been removed from the mainland during the civil war in the 1940s. The HKPM has been looking into potential collaborations with the Taiwan museum, but due to the latter’s rigorous policies regarding the loan of artworks and artefacts abroad, there are presently no plans to share collections.

However, for the recently minted Director of the HKPM Board, Andrew Yuen, introducing Chinese arts and culture to a wider audience fits his broader vision. “My hope for the Hong Kong Palace Museum still is to be the bridge between the other two ‘Palace-tinians’, between China and Taiwan,” he says.

Alluding to the museum’s genesis as an anniversary present to Hong Kong, Yuen adds: “I hope that Hong Kongers can make time to appreciate our rich Chinese culture. After all, the HKPM is built as a gift for us here in Hong Kong, so we should treasure it and feel special about having such a venue.

“From the moment you step foot in the museum, you will feel its grandeur and importance. This is really one of a kind. The plan, after all, is not to be a branch of the one in Beijing. The Hong Kong Palace Museum is really distinct from its namesake and we plan to keep it that way.”

Ultimately, the Hong Kong Palace Museum is a public venue that aims to incorporate art into everyday life rather than only being a place for those who study art and culture. It goes beyond.

Click here to visit the museum.

All Fired Up: The art of modern ceramics

What is it about ceramics that attracts and intrigues? For the many who seek out fine china or artisanal pieces for their home, they encapsulate a sense of mystery while offering a comforting quality that relaxes the mind. Their very nature is a paradox, fragile yet durable at the same time.

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu touch ceramics — (Photo courtesy of Touch Ceramics)

Ceramic works have seen a boom in interest among the younger generation – a growing trend, whether they are looking to create or collect. Although the craft is rooted deep in Chinese history – in their humble beginnings they were everyday receptacles such as cookware, tableware, flasks and vases – the focus now lies in contemporary artistic designs. But what exactly makes ceramics worth buying and collecting?

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu touch ceramics kintugi enders wong — (Enders Wong of Touch Ceramics; Photo courtesy of Touch Ceramics)

For starters, every handmade piece is a one-of-a-kind creation. “Ceramic artists are extraordinarily hardworking,” says Enders Wong, the ceramic and kintsugi artist behind local gallery Touch Ceramics. “The medium can be hard to control and predict until you’ve actually finished firing the pieces and opened the kiln. In that way, with every piece that is created – every thought, experiment, discovery and care that is put into the work – the artist is actually giving more than they take,” he opines.

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu touch ceramics kintsugi (2) — (Photo courtesy of Touch Ceramics)

Wong works with high-temperature ceramics and glass predominately. His sculptural pieces and kintsugi works typically take three months to perfect, from planning to finish, with the majority of time dedicated to conceptualising rather than the actual production. Wong’s process is very different to those working in conventional ceramics, though. “I reverse the sequence of traditional ceramic works to create new artworks,” he explains. “For example, I will do a glaze firing first, then pour slip on for another round of firing. This creates a peeling effect that is unlike the usual smooth surface of traditional wares. Using traditional techniques [melded with] my own approach allows me to chaSpotllenge myself and find my own unique style.”

“With every ceramic piece that is created – every thought, experiment, discovery and care that is put into the work – the artist is actually giving more than they take”

Also Read: The Arts of Survival: Hong Kong’s disappearing crafts

Made by Hand
There is a misconception that there is very little artistry in creating modern ceramics; given today’s advanced technology, people might assume that the pieces are mass-produced. This notion is refuted by Julie Progin and Jesse McLin, founders of Hong Kong-based design studio Latitude 22N, who stress that handcrafting is still the most constructive way to make ceramics, not to mention the most liberating for the creative mind. “Technology is something we try to disengage with whenever possible,” says Progin, “We like to work with our hands. With clay we can create forms almost as we conceive them. It’s very spontaneous and it allows us to quickly get a feel of what we want to make.”

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu latitude 22N — (Julie Progin and Jesse McLin of Latitude 22N; Photo courtesy of Latitude 22N)

“We also benefit from skills that complement one another,” adds her artistic partner and husband McLin. “Julie may spend more time on the computer sketching and composing patterns, whilst I prefer to experiment directly with the clay to see what works and what doesn’t.”

The duo shies away from trends in ceramic design, preferring to draw from their different backgrounds and experiences to find a fresh perspective on preserving tradition and conceptualising meaningful, innovative ideas. “We love to investigate materials, push their boundaries and invent new processes which eventually lead to new works,” says Progin.

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu latitude 22N (4) — (Photo courtesy of Latitude 22N)

This is clearly evident upon stepping into their studio. In a “library of experiments”, samples reveal the pair’s extensive investigations and document mistakes, tests and past works. It shows everything they’ve done – what works, what doesn’t, and what is yet to be discovered.

Clearly, mastering ceramics isn’t as simple as throwing clay on a turntable and shaping it to perfection. The research and development phase alone might take Progin and McLin two weeks or four, while their production time ranges upwards from a month to eight months and more. Small batches of their porcelain tableware, lighting and accessory collections, as well as uniquely shaped creations that require careful treatment, are all handmade in their studio. For large projects and collaborations that require specific skills such as hand-painting, carving or gliding, they will partner with various workshops. Having a team in a second studio in Jingdezhen, China’s porcelain capital, allows them to scale up production when required.

Connecting with Clay
The value of a ceramic work is not about its price, but the connection one has with it. For some, the pieces sit behind the glass of a display cabinet to be admired; for others collecting ceramics is a deeply personal and intimate way of interacting with everyday objects and appreciating art. Since each represents a piece of the artist, a bond between creator and owner is forged. At least this is what young local ceramic artist Allen Chiu, founder of Water Ceramics, believes.

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu water ceramics — (Photo courtesy of Water Ceramics)

Just four years ago Chiu was fresh out of college with an art degree from the US, but not a single job offer lined up. Then, finally, she landed some work at a small ceramics studio and discovered her calling. As a one-woman team in her studio in Hong Kong, she not only handles production, sales, marketing and customer service, but also teaches pottery classes. But it is her background in fine arts, Western oil painting and collage that defines her distinctive aesthetic. Chiu’s works offer a soothing sense of Japanese-style minimalism with a vivid splash of colour that elicits joy.

A new generation of Hong Kong ceramic artists are merging cultures through earthware gafencu (2) — (Photo courtesy of Water Ceramics)

Unlike paintings and sculptures, ceramics are multifaceted in form, marrying traditional artisanal craft with aesthetic beauty, and communicating different cultural and historical narratives. Whilst being unique pieces that resonate with their collector, they are also more accessible to the ordinary person. As the famous English ceramic designer, Susie Copper, once said: “Pottery… is a practical and lasting form of art. Not everyone can afford original paintings, but most people can afford pottery.”

Also Read: Pottery, flower arrangement and more. New skills to pick up to expand your horizons

Yung Kee: A new look at the iconic Cantonese eatery

In a city where restaurants rise and fall according to the admittedly fickle tastes of its discerning diners, Yung Kee is a singular success story. Indeed, the Cantonese eatery is something of an institution, having recently celebrated its 80th anniversary. Despite being internationally renowned today, its roots, however, are humble to the extreme.

yung kee 2022 80 year anniverary gafencu dining renovation — Newly renovated dining room at Yung Kee

Having begun as a dai pai dong in 1936, Yung Kee moved to a sturdier location in Wing Lok Street in 1942. Two years later, though, during Hong Kong’s occupation by the Japanese, the site was razed by US bombers and had to be rebuilt. Two decades on, Yung Kee finally found its forever home on Wellington Street, and to mark its landmark 80th year, the restaurant underwent significant renovations.

Yvonne Kam, Third-generation owner yung kee 2022 80 year anniverary gafencu dining — Yvonne Kam, Third-generation owner of Yung Kee

“With the new refurbishment, we’ve ensured that each floor provides a different type of atmosphere to suit diners’ different needs,” says third-generation owner Yvonne Kam. “The ground floor is more for light dining, while the first floor has a ’50s / ’60s teahouse vibe. At the top is our formal dining area, replete with a stunning Dragon Phoenix Hall. We’ve even interspersed various pieces of memorabilia and artworks from Yung Kee’s past, so it’s almost like eating within a majestic living-history museum – one that has evolved alongside the city’s rapid culinary development.”

Multiple nods to the restaurant’s legacy are indeed to be found, from the painstakingly restored handcrafted Italian tiles that were fitted on the first floor in 1964 and the original signage that now graces the contemporary bar area, to the beautifully maintained gold-plated, traditional dragon and phoenix statues and custom-made art punctuating the second-floor grand hall.

dim sum yung kee 2022 80 year anniverary gafencu dining -1 — Yung Kee steamed shrimp and scallop dumpling

Amid this august environment, we kick off our own tasting with a duo of signature dim-sum dishes – Steamed Shrimp and Scallop Dumpling and Supreme Soup Pork Dumpling. The former encompasses delightfully delicate oceanic flavours, while the latter features a single oversized dumpling brimming with soup and a soft pork stuffing.

yung kee 2022 80 year anniverary gafencu dining 1 — Yung Kee Roasted Pigeon Legs and Stir-fried Pigeon Fillet

Next to arrive is Roasted Pigeon Legs and Stir-fried Pigeon Fillet, an updated combination of two disparate dishes. Here, the plump bird’s legs have been deboned then sewn up, so not one iota of flavour or moisture can escape. Roasted to perfection, each mouthful combines succulent meat with crispy skin. The fillets, meanwhile, are beautifully tender, with the accompanying asparagus slivers and lily bulb petals adding a welcome textural element.

yung kee 2022 80 year anniverary gafencu dining — Yung Kee Crispy Toast with Mixed Shrimps and Lobster Tail

Another new addition to the menu then hoves into view – Crispy Toast with Mixed Shrimps and Lobster Tail. An elevated interpretation of a dim-sum favourite (shrimp toast), this particular iteration sees the base layer of bread covered with a decadent lobster tail, which is then sprinkled with sakura shrimp for a dash of added texture. Crunchy yet subtly flavoured, this is a guaranteed hit for any shellfish aficionado.

yung kee 2022 80 year anniverary gafencu dining goose — Yung Kee Signature Charcoal Roasted Goose

Rounding out our delicious tasting is a return to that Yung Kee classic – Signature Charcoal Roasted Goose. “The secret behind our iconic roast goose is our Chinese charcoal grill,” explains Kam. “We have the last remaining one in the CBD area, as the government no longer issues new licences for them. By slow-roasting the goose in it, the meat retains a succulent flavour while simultaneously being given a uniquely fragrant smokiness.”

That’s not all, though. The bird in question is no ordinary goose. It’s a purebred black-maned Chinese goose, carefully chosen for its juicy flesh, which is then bathed in a secret marinade that locks in extra flavour. The result is an explosion of fat, meat and saltiness with every bite – a powerfully addictive combination that keeps you coming back for more. Small wonder, then, that this dish, more than any other at Yung Kee, has kept eager epicureans in thrall across the decades.

Yung Kee. 32-40 Wellington Street, Central. (852) 2522 1624. yungkee.com.hk

(Text: Tenzing Thoundup)

On Old Town Time: The ultimate Lijiang travel guide

There’s something mystical about Lijiang. More specifically, there’s something mystical about the Old Town of this famed Yunnan city. Perhaps it’s the meandering waterways, or the maze of cobbled streets lined with old-fashioned wooden houses. Perhaps it’s the plethora of ethnic-minority folk in traditional costumes. Whatever the case may be, Lijiang’s colourful sights and undeniably nostalgic aura have enchanted and enticed travellers for centuries, and latterly seen it immortalised as a UNESCO World Heritage Site.

The political, commercial and cultural hub of the Naxi people since the seventh century AD, Lijiang subsequently came under the auspices of the Yuan, Ming and Qing dynasties of China. Yet, for many centuries, it was ruled by a single family, the Mu Clan. Thanks to a strategic position along the ancient Tea Horse Road – a network of caravan paths that traversed Sichuan, Yunnan, Burma and the Indian subcontinent – it was a crossroads for multiple ethnicities, and today remains a cultural melting pot that offers fascinating insights into China’s diverse indigenous populations.

Beyond that, however, Lijiang is blessed with splendid natural wonders, be it the soaring Jade Dragon Snow Peak, the impressive Tiger Leaping Gorge canyon or the tranquil Black Dragon Pool. Onward, then, to our round-up of the most visit-worthy spots in this compelling Chinese city.

Heritage Trail

Quaint, charming and romantically nostalgic, the Old Town of Lijiang in modern-day Guzheng district is understandably the city’s biggest tourist attraction. Given the confluence of picturesque waterways, 354 criss-crossing bridges and traditional Ming dynasty (1368-1644 AD) architecture, strolling along its cobblestone streets is akin to being transported back to much simpler times.

A UNESCO heritage location since 1997, it also affords a revealing window into the vibrant cultures of the Naxi, Bai and Tibetan minorities. Visitors can sample local delicacies such as chickpea bean jelly and baba (stuffed flat bread that can be either sweet or salty), and – if they’re lucky – catch a spontaneous circle dance led by women wearing colourful costumes. Trying on and perhaps purchasing these ornate garments is also a highlight of a stay here.

Yunnan Clan

Temple in the Jade Spring Park in Lijiang, China.

Located within the Old Town, Mufu Palace was once the residence of the Mu family, the hereditary chieftains who ruled the region until 1723. Though little is known about the clan’s origins, they governed the town well before Lijiang was incorporated into the newly risen Ming dynasty in the 14th century. In recognition of their legitimacy under the new regime, the Hongwu Emperor gave its then-leader, A-chia A-te, the Chinese name ‘Mu De’, with ‘Mu’ henceforth becoming the family’s official surname.

In its heyday, the Mufu Palace spanned some 16 acres. Sadly, military battles during the Qing dynasty would see much of its structure razed to the ground. Thankfully, the government initiated a complete rebuilding at the end of the 20th century, and today the complex not only offers an intimate look at both the official and personal quarters of the Mu clan, but also showcases an interesting blend of the Yuan, Ming and Qing architectural styles.

On Dragon Pond

Jade_Dragon_Snow_Mountain_Lijiang, China Gafencu Travel March 2022 — Jade Dragon Snow Mountain, Lijiang China

A short walk north of the Old Town lies the resplendent Black Dragon Pool, set against the stunning backdrop of the snow-capped Jade Dragon Snow Mountain – the region’s tallest mountain at 5,596m. Built in 1737, it is officially listed in the government’s ‘Collection of Famous Pools in China’ and is part of the scenic Jade Spring Park. Perhaps one of the town’s most photogenic places, the pond abuts several beauty spots, including the Longshen Temple – also constructed in 1737 – the Moon-Embracing Pavilion and the Forest of Stone Steles. The latter is a museum housing some 3,000 steles – or standing stone slabs – with the most historically significant revealing the evolution of Naxi culture across the ages from the Tang dynasty (618 – 907 AD) to the 20th century.

Leaping Tiger

Lijiang, China Tiger Leaping Gorge Gafencu Travel March 2022 (2) — Tiger Leaping Gorge in Yunnan, China,

For those eager to explore beyond Lijiang, a trip to the Tiger Leaping Gorge may be just the ticket. Situated 60km from the town proper, the awe-inspiring gorge stretches some 15km along the Jinsha River, which wends its way between the towering Jade Dragon Snow Mountain and the neighbouring 5,396m Haba Snow Mountain. It is the deepest river canyon in China, with a staggering drop of 3,900m from mountaintop to river bed.

Avid hikers may choose to walk its entire length, but most tourists are drawn to one spot in particular – the narrowest point of the gorge with a boulder perched in the middle. Why, you may ask? Because this is the spot where, according to legend, a tiger being tracked by a hunter found itself trapped between the gushing waters and certain death. In a bid to escape, the feline took a literal leap of faith and reached the other side of the 25m-wide expanse by jumping to and from the aforementioned boulder, thus finding freedom and giving the gorge its name.

Ladies of the Lake

Lijiang, China lugu lake Gafencu Travel March 2022 — Lugu Lake, Liajing, China

Explorers willing to undertake the four-hour drive to Lugu Lake (on the border of Yunnan and Sichuan) will find their patience rewarded. Known as the ‘pearl of the plateau’, the lake – the highest in Yunnan and the third deepest in China – boasts crystal-clear waters surrounded by verdant mountains. Comprising four peninsulas and six islands, its shores are home to many ethnic minorities, including the Norzu, Yi, Pumi, Tibetan and those close relatives of the Naxi, the matriarchal Mosuo people.

There’s much to see and do here, so opting for at least an overnight stay is highly recommended. Through tour operators in Lijiang, you can arrange such experiences as canoeing through the pristine water, cycling along its perimeter, visiting the various villages that dot the lake’s shores, and partaking in a thrilling bonfire party where the locals don traditional garb and sing and dance into the night. If you’re feeling particularly daring, you can even sample some homegrown spirits, join in the festivities and soak up some of the indigenous Mosuo charm.

(Text: Tenzing Thondup)

Your fate this Year of the Tiger 2022

A prosperous year is in the stars – though some animals are likely to prosper more than others. Generally, though, the Year of the Tiger is billed to be an auspicious one, setting an even playing field for all 12 Chinese zodiac signs. Yet, as the balance of energies between yin and yang shifts, unpredictable and often challenging circumstances will arise in the wake of a changing landscape.

The year ahead will find finances, romance and health in flux, but those who are cautious in their investments and choose their friends wisely will be better positioned to profit down the line. If you have the patience and resilience to weather the rocky road ahead, the later months will bring monetary reward and, yes, luck in love.
Here’s what’s on the slate for each animal sign of the Chinese zodiac…

Tiger
1950, 1962, 1974, 1986, 1998, 2010, 2022
Since it’s the Year of the Tiger, the self-confident, competitive feline will be in conflict with Tai Sui, the Guardian God of the Year, meaning major life changes are expected for those born under the sign. If marriage and children were not on the cards last year, 2022 may bring a proposal – or a break up. But the fierce feline has also been blessed by the powerful relationship star, which offers hope to singletons looking to settle down. Issues may also arise over health and finances; be cautious, Tigers, when you decide to travel or invest.

Rabbit
1939, 1951, 1963, 1975, 1987, 1999, 2011
Under the star of temporary relationships, those born in the zodiac sign of the Rabbit are likely to enjoy a sudden shift in positive attention from colleagues and superiors. This may enable these gentle, skilful creatures to work more efficiently, boosting their career prospects or business ventures to immediate reward. But Rabbits should be wary of temptations this year. Their increased popularity and positive influence on those around them could elevate their luck in love – or it might backfire. Avoid any potential messy situation as a possible love triangle will only end messily.

Dragon
1940, 1952, 1964, 1976, 1988, 2000, 2012
Dragons are in a distant union with the year’s guardian god, implying that fortune will appear in the form of aid or support from afar. There’s a good chance that foreign investments and international partnerships will prosper. Business travel is likely to result in a successful deal, but hard work will be required before any discernible pay off. Dragons shouldn’t be afraid of asserting themselves to control their destiny this year – which is no huge leap for these intelligent, ambitious creatures.

Snake
1941, 1953, 1965, 1977, 1989, 2001, 2013
While Snakes enjoyed seamless social interaction last year, the tide has now turned and they are likely to be plagued by gossip and trivial disputes. Although career and finances will not be heavily affected by this negative energy, if small matters are not settled promptly, they may become weighty and troublesome, affecting mood, temperament, memory and relationships. The insightful Snake might find it helpful to cut back on outside entertainment and spend quality time with family and those who’ve always had their back.

Horse
1942, 1954, 1966, 1978, 1990, 2002, 2014
Horses are in harmony with the guardian god of the year, affording them greater stability and improved relationships at work and home. Reaping the benefits of a helpful support system, these active, energetic animals should be able to ascend their respective social and career ladders, thus expanding their inner circle and boosting their reputation. However, success may also spawn jealousy and petty disputes. Don’t be blindsided; stay competitive yet humble so you can canter smoothly through the year.

Goat
1943, 1955, 1967, 1979, 1991, 2003, 2015
2021 was a turbulent year for the shy, amicable Goat, but their luck is about to turn. A change in relationship, career and / or living environment will provide a more comfortable building block. New partners, children and homes will be sources of joy, while a profitable return affords a surer footing. So, if you have been putting off that large, indulgent purchase, this year would be the best time to treat yourself, though bear in mind that the larger the sum, the heavier the bill.

Monkey
1944, 1956, 1968, 1980, 1992, 2004, 2016
Last year the witty, adventurous Monkey was blessed by the relationship star, but now a shift in fortune may prompt a proposal, pregnancy or even a break-up. For the uncommitted, this is the year to discuss long-term matters like marriage or children. While this instability may have Monkeys scrambling for solutions, they are advised to pace themselves lest they make decisions they live to regret. Outside such matters of the heart, though, the lucky stars are aligned with their sign; big problems should get smaller, and small problems disappear.

Rooster
1945, 1957, 1969, 1981, 1993, 2005, 2017
2021 was an exciting year for the talented Rooster. But come 2022, their happy rollercoaster of life will slow down, perhaps too much so. They might experience a sudden dip in motivation and energy as they hit a career bump, or their personal or relationship goals stagnate. While these resourceful, courageous creatures are often itching for change, they are advised to proceed with caution and consider each decision carefully, since it could determine their fortune for the rest of the year.

Dog
1946, 1958, 1970, 1982, 1994, 2006, 2018
More money, more time and more capital – Dogs are blessed with abundance and prosperity in 2022, although personal circumstances and health issues may tell a different story. These loyal, prudent creatures are advised to avoid gossip and adopt a healthier diet to stay lucky and energetic. Business affairs abroad may also reap rewards, while local opportunities wane. Stay connected to the latest trends in order to build stronger professional relationships; there is no limit to Dogs learning new tricks this year.

Pig
1947, 1959, 1971, 1983, 1995, 2007, 2019
The diligent, amiable Pig is fortunately in sync with the guardian god of 2022, meaning they are less likely to face major upheaval in their romantic, career or home life. They may bask in the glow of this auspicious energy for the next couple of years, thanks to their habit of sticking to routine, especially when confronted by unexpected events. While it’s best to avoid changing jobs now – the economy may not improve until the second half of the year – push for that promotion you’ve been eyeing, or strengthen your existing network to boost the chance of your lucky star turning mishap into marvel.

Rat
1948, 1960, 1972, 1984, 1996, 2008, 2020
Rats will find it harder to get along with others as they undergo a major upheaval, either in terms of living space – it is said to be an auspicious year for Rats to move house – or travelling to a new place. Though they are likely to be on unstable ground for the first few months of the year, there will be no significant downturns in their situation. Liberated by the change in scenery, these quick-witted, versatile souls are advised to learn a new skill and hone it – before further shifts befall them towards the end of the year.

Ox
1949, 1961, 1973, 1985, 1997, 2009, 2021
Love is in the air for Oxen this year. The relationship star is shining over them, boosting interpersonal liaisons. Good fortune and abundance hover on the horizon as well; all these dependable, decisive animals must do is push past the mishaps and misfortunes lingering from last year. With the way then clear for luck to work its magic, the Ox will be led to bigger and better wins in their personal and professional lives.

Frock of Ages: Qipao remains as a dress to impress…

One of the most iconic ethnic costumes, the qipao is an elegant Chinese dress that manages to be rooted in tradition while reflecting the modernisation and female liberation inherent in Chinese culture. After the style was briefly eclipsed by Western fashion, it is now experiencing a resurgence in popularity among young fashion aficionados, not only in Hong Kong, but all over the world.

Unlike its contemporary incarnation, the 17th-19th century take on the qipao favoured a boxy, loose-fitting banner gown made of silk, typically worn by members of nobility above loose fitting trousers or a skirt. It wasn’t until after the end of the Qing dynasty in 1911, a time when women incorporated robes that had traditionally been worn by men into their own wardrobes, that it became seen as a statement of female empowerment and freedom.

The rising popularity of the qipao in the ’20s resulted in simpler designs and understated colours, quite unlike the many vibrant and patterned qipaos worn today. There were, however, a number of classic details that remained consistent throughout that give the qipao its distinctive characteristics, most notably its Mandarin collar and front-slanted slits, which close from the neck down to the side with traditional pankou knots.

In the ’30s, the traditional gown surged in popularity, rippling out from the fashion epicentre of China, Shanghai, to the rest of the country. At the time, the most popular designs were characterised by stylish embroidery and the use of trim piping on all edges. There was also a notable Western influence, resulting in the adoption of longer dresses (instead of robes) with narrow cuffs and a move away from the trousers and skirt combinations altogether.

Overtime, the hems and the sleeves both became shorter and shorter, while bell sleeves, which barely hung over the elbows, and slits on one side of the dress became popular, creating a kind of Westernised qipao. This allowed women to move more freely as the layers were lighter and more convenient to wear during every day activities, such as working, riding a bike, driving a car or even dancing. Still, the conservative requirement to fully cover a woman’s body remained firmly in place, with the typical dress still tailored to cover the neck, décolletage and back.

The qipao style first made its way into Hong Kong in the ’60s, whereupon it became known as the cheongsam, literally meaning ‘long robe’ in Cantonese. As off-the-peg clothes were still rare at the time, cheongsams tended to be custom-tailored and hand-sewn. It was, however, a golden era for qipao / cheongsam, with the style even finding itself taking centrestage in such Hollywood blockbusters as The World of Suzie Wong and In the Mood for Love.

As Hong Kong began to evolve into Asia’s primary financial hub, every international luxury brand gravitated towards the city. Perhaps inevitable, the qipao, once an everyday fashion statement on the part of sophisticated local women, eventually faded from use in favour of Western fashions, only occasionally resurfacing for formal occasions, such as Chinese New Year, weddings, diplomatic events or beauty pageants.

“The qipao is experiencing a resurgence in popularity among fashion aficionados all over the world”

More recently, its popularity has soared, not only among young local urban fashion enthusiasts, but also around the world. Indeed, proof of its classic and timeless allure came when it featured on the runways of Dolce & Gabanna’s and Gucci’s fall collections in 2016 and 2017 respectively. It has also again found favour in Hollywood films, becoming a feature in an array of TV shows and movies, including Friends, Spider-Man, Australia and Pearl Harbour.

Of late, it even excited accusations of cultural appropriation on a number of social media platforms when a US teenager chose to wear the Chinese national dress to her prom. In 2017, in arguably a bid to enshrine its origin, the sewing techniques of the Hong Kong-style Cheongsam and Kwan Kwa Wedding Costume were listed on the first ‘Representative List of the Intangible Cultural Heritage of Hong Kong, as issued by the Leisure and Cultural Services Department.

Ultimately, its reputation as a hugely elegant garment remains intact, one that is wholly in key with the idiosyncratic style and curvaceous silhouette of the fortunate client. In terms of variants, it is now frequently layered with a qipao jacket or a Chinese silk-embroidered shawl. While some might argue that not everyone can carry off the qipao / cheongsam, a skilled tailor would disagree, maintaining that it is his job to ensure that it can.

The quality of any cheongsam stems from just how well the sewing skills of the master tailor in question can harmoniously unite the body and dress. To this end, every measurement is strictly taken, before the fabric is meticulously cut and painstakingly sewn. In addition, every customers’ individual style and way of life are also factored in when working on the dress. For the master craftsman, no detail – no matter how minute – is overlooked, from the decorative motifs (such as the embroidery and the pankou buttons) to the choice of fabric (typically silk or lace).

Today, a custom-made cheongsam can cost anything between HK$3,000 to HK$20,000 on average depending on the details and take anywhere between three days and a week to be completed. Although nowhere near as widespread as they once were, there are still a number of cheongsam tailors in the city who have been in the industry since the style’s ’60s heyday. Many of these continue to use traditional techniques, while happily catering to both modern-day and more legacy tastes.
Why not check out the city’s leading cheongsam tailors, all of whom offer custom designs in both contemporary and classic styles…

Where to go:

Mei Wah
76 Queen’s Road West, Sheung Wan
A family business now in its third-generation and one of the last dedicated qipao tailors in Hong Kong, proprietor Kan Hong-wing is known to be meticulous when it come to measurements, while adhering to such traditional techniques as hand stitching / embroidery and the creation of his own floral-button designs.
Price: HK$4,000 – HK$20,000

Linva Tailor
38 Cochrane Street, Central
Well-known for custom-making some of the most stunning dresses for those in the mood for love, cheongsam tailor Leung Ching-wah has been dazzling clients with a versatile display of colours, patterns and custom designs since 1965.
Price: HK$2,000 – HK$6,000

Blanc de Chine
Shop 122-123, 1/F, Landmark, Prince’s Building, Central
The high-end fashion label is a designer of contemporary cheongsams with a western finesse, which have often been worn by celebrities, including Anita Mui, Michelle Yeoh, Loletta Chu and Karen Mok.
Price: HK$7,000 – HK$30,000

Classics Anew
This womenswear label is acclaimed for its contemporary flair and combination of traditional Chinese aesthetics and organic fabrics, such as cotton, linen, denim and silk, when it comes to reimagining cheongsams in a more sustainable style.
Price: HK$ 2,500 – HK$ 6, 800

A day-by-day guide to celebrating Lunar New Year

Chinese New Year is an important occasion that strictly follows customs, rules and superstitions that reflect on the values and tradition of Chinese culture. Below, we track the highlights of the 15-day festivities.

According to the Chinese calendar, the Chinese New Year begins with the first full moon on the first day of the first lunar month (February for 2021). Also known as Lunar New Year or Spring Festival, it is the longest holiday in Hong Kong and its festivities stretch for 15 days, ending with the Lantern Festival. During these 15 days, celebratory feasts, family reunions, honouring ancestors and praying to the gods are all part of celebrating this auspicious time of the year to welcome in happiness and good fortune.

First day (初一)

The first day of the new lunar year is an important day that symbolises a fresh start. Families pay a visit to their elders, particularly the most senior of the household, to pay bài nián (New Year’s wishes). Guests traditionally arrive bearing lucky fruits such as tangerines, oranges and pomelos and are welcomed with tea, fruits and a variety of candied treats, typically served in a round tray with eight compartments called a ‘Tray of Togetherness’, meant to sweeten one’s year and to symbolize the unity of a family.

Second day (開年)

The second lunar day is dedicated to visit the in-laws. Married women will visit their side of the family, often bearing red pockets to give to the young. Sweet fried dumplings called Yau Gok (油角) in the shape of ingots are prepared to bring a luckier and more prosperous year. Lion dances and Chinese operas are usual forms of neighbourhood entertainment, and firecrackers are also lit to ward off evil spirits.

Third day (初郝)

The third day of the New Year is one that carries with it many taboos. Although it is a day dedicated to visiting the grave of ancestors, staying out for too long and house visiting is considered bad luck as it is believed that evil spirits roam the earth on this day. Arguments and making fire are also best avoided to ward off bad spirits and poor emotions for the year ahead.

Fourth day (初四)
On the fourth lunar day, all businesses closed during the prior festivities will reopen and everyday activities begin to return to normal, including cleaning and sweeping. According to legends, this day is dedicated to the God of Wealth. People tend to stay at home to welcome in wealth, prosperity and abundance as it is believed that the deity will pay visits to homes on this day.

Fifth day (初五)
This day marks a day to drive away the Ghost of Poverty by getting rid of old clothes, broken items and throwing out garbage. As it is believed that keeping rugged and broken objects will attract poverty.

Seventh day, (人日)

The seventh lunar day is known as Day of Men, also known as renrì (people day). It is mankind’s birthday, a day on which every person grows a year older. The occasion is celebrated with yet another feast comprising of ingredients that have symbolic meanings related to improved health, such as fish- a symbol of abundance, vegetables and a dish called Seven Gem Porridge consisting of kale, leek, mustard leaves, celery, garlic, spring vegetable and thick leaf vegetable for prosperity and vigour.

Eight to Fourteenth day

The following days after renrì are dedicated to specific deities such as the the God of Millet and the God of Stone. Incense and candles are burnt in honour of these deities, and the days leading up to the 15th lunar day are spent preparing for the closing of the new year festivities also known as Lantern Festival.

Fifteenth day (元宵節)
The 15th day marks the first full moon after the Spring Festival and of the New Year festivities. Known as Lantern Festival, vibrant displays of lanterns decorate the streets and homes to guide lost spirits home. Another reunion dinner is prepared to celebrate the bonds of friends, family, nature and the deities that bless the year with prosperity and good fortune. Mandarin oranges and sweet glutinous rice balls called ‘tong yuen’, are significant parts of the feast, symbolizing good fortune, reunion and togetherness.

Safeguarding the Community Exhibition Touches China’s Intangible Roots

Safeguarding the Community: An Intangible Cultural Heritage New Media Exhibition – a part of the Hong Kong Culture Festival – explores China’s forgotten cultural roots, creating a bridge between the past and the present.

Running from now till 10 October 2018, the Safeguarding the Community exhibition does just that – brings back memories of a culture long lost and safeguards the society against collective amnesia. Divided into eight zones, the exhibition delves into various periods in Chinese history – the feuds during the Ming and Qing dynasties, the intricacies of the Fujian martial arts, various rites and rituals thought to ward off evil spirits like the fire dragon dance, Hakka unicorn dance and many more.

At the heart of this exhibition is the evocative use of digital media to connect the dots with the past. Hence we see artists like Stanley Wong create fire dragon dance animations using visual effects and an interactive Wokou scroll from Tokyo University that shows the battle between the Ming kings and the Wokou pirates vividly.

Thanks to technology, the past unfurls before our eyes – and that is exactly where the success of the exhibition lies.

Safeguarding the Community: An Intangible Cultural Heritage New Media Exhibition
14 September to 10 October, 2018
Monday to Sunday, 9am – 8pm
Free Admission