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Inside the Hong Kong collectors’ society that treats its antiques like ‘babies’

Hundreds of exceptional works go on show at HKMoA as a famously discreet circle of collectors marks its 65th year

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The Engaging Past Wisdom: Min Chiu Society at Sixty-five exhibition at HKMoA includes a pendant of a dancing woman, dating back to the 3rd century BC. Photo: Jocelyn Tam
Aaina Bhargava
For Dr Maria Mok Kar-wing, staging an exhibition of more than 500 priceless items tickled her maternal instincts. “It was more like handling 500 babies,” says the director of the Hong Kong Museum of Art (HKMoA) of organising “Engaging Past Wisdom: Min Chiu Society at Sixty-five”. “The collectors are their parents and these treasures are their babies.”

Never mind that some of them are thousands of years old. The infants in question are, in fact, Chinese antiques, and their “parents” as such are members of the prestigious Min Chiu Society, a group of art collectors dedicated to the preservation and appreciation of classical Chinese arts and crafts.

Established in 1960 with 15 members including founding chairman Hu Jenmou, the Min Chiu Society intentionally operates under the radar. Besides its quinquennial exhibition, its collections and activities are not publicised.
Go with the Wind (1968), a diptych by the late Lalan, part of the “Engaging Past Wisdom: Min Chiu Society at Sixty-five” exhibition. Photo: Jocelyn Tam
Go with the Wind (1968), a diptych by the late Lalan, part of the “Engaging Past Wisdom: Min Chiu Society at Sixty-five” exhibition. Photo: Jocelyn Tam
“That is the intention: it’s a closed society, and we’re very low key,” says Lawrence Chan Wing-tat, chairman of the group. Passion for Chinese antiquities is a common factor among members, who come from various professional backgrounds and include industrialists, bankers, architects, doctors and lawyers. Chan himself has a background in advertising but is also known for his Dawentang Collection, which is highly regarded for its imperial porcelain from the Ming and Qing dynasties.
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We’re seated in the museum’s conference room, sipping hot oolong tea from porcelain cups and looking out of the floor-to-ceiling windows at the uninterrupted view of Hong Kong Island across Victoria Harbour. It’s an unusual moment of reflection found in a typically fast-paced, anxiety-ridden Hong Kong day.

“Most of our activities are dedicated to learning about these antiques and preserving their history,” says Chan. “We’re intensely passionate about gaining knowledge.”

Dr Maria Mok (left), director of the Hong Kong Museum of Art, and Lawrence Chan, chairman of the Min Chiu Society. Photo: Jocelyn Tam
Dr Maria Mok (left), director of the Hong Kong Museum of Art, and Lawrence Chan, chairman of the Min Chiu Society. Photo: Jocelyn Tam

Bridging the gap between collecting and connoisseurship, real luxury is derived from appreciating an object’s exquisite craftsmanship and understanding the historical context in which it was conceived.

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