Beyond the Aesthetic: What Draws Collectors to Authentic Asian Antiques

September 7th, 2026


Living spaces today are increasingly dominated by mass-produced furniture and fleeting interior trends lacking in any real meaning. Yet, step into a room anchored by a pair of devotional Teppanom angels flanking a bronze Buddha statue, a gracefully aged Burmese lacquered vessel, an intricately patterned hand-woven silk wall hanging, a 15th-century Sawankhalok ceramic jar, or a framed gilded Kammavaca manuscript, and the entire atmosphere transforms. Artifacts sourced from the cultural hubs of Chiang Mai, Hoi An, Luang Prabang, or Mandalay, to name a few, bring an undeniable depth and story into the home, replacing factory-made uniformity with warmth, soul, and a grounding sense of living history.


Collectors don’t acquire Asian antiques merely to fill space. They are drawn by a profound human desire for cultural connection, historical continuity, and spiritual resonance. What is it about these timeless treasures that exerts such a magnetic pull? Here are ten compelling reasons why genuine antiques from across the region continue to fascinate and inspire.


10 Reasons People Buy Asian Antiques

1. Direct Links to Epochs and Empires

Southeast Asian antiques are physical portals to remarkable civilizational history. Holding a genuine antique connects us directly to the artisans, courts, and everyday lives of past eras—whether it is a Sukhothai-era ceramic bowl, an 18th-century bronze bell, a Hmong hill-tribe silver recast from French silver coins, or a centuries-old Burmese bronze Chinthe’. Owning these pieces allows us to safeguard a tangible fragment of regional history.

2. Exceptional Traditional Craftsmanship

Long before industrial manufacturing, regional master artisans spent months—sometimes years—perfecting single objects using traditional, labor-intensive techniques. From hand-carved teak architectural panels and complex lost-wax bronze casting to utilitarian lacquerware objects and hand-woven hill-tribe textiles, the skill and durability embedded in authentic antiques far exceeds what modern mass production can achieve.

3. The Unreplicable Character of Natural Age

Time works alongside nature to leave a distinct mark on regional antiquities. Decades or centuries of tropical humidity, natural handling, and mineral exposure produce a rich, authentic patina—such as the deep, lustrous sheen on aged teak and rosewood, the soft wear on Burmese lacquerware, the smoothed surfaces of a 16th-century opium weight, or the delicate encrustation on excavated shipwreck ceramics. These visual signatures grant genuine antiques a depth and soul that artificial distressing can never imitate.

4. The Miracle of Survival Against the Odds

Consider the formidable challenges facing historical artifacts in Southeast Asia: tropical heat, intense humidity, wood-boring insects, monsoon cycles, wars, shifting trade routes, and changing architectural styles. Most everyday objects were eventually lost or destroyed. For a 15th–16th century Sawankhalok celadon ceramic plate to survive centuries of daily use, shifting empires, and environmental exposure intact is nothing short of a miracle. The antiques that survive today are true historical victors, carrying a profound sense of rarity and endurance into modern settings.

5. Tangible Value in Rare Artifacts

While contemporary home furnishings depreciate rapidly, authentic, well-documented regional antiques—particularly museum-quality ceramics, textiles, and sacred art—frequently retain their worth or appreciate over time. For serious collectors throughout Asia and internationally, acquiring these pieces serves a dual purpose: enriching a home while maintaining a valuable, tangible cultural asset.

6. Sustainable Heritage Preservation

Collecting antiques is a natural extension of sustainable living and heritage preservation. Choosing vintage and antique pieces over newly manufactured items reduces the demand for raw timber extraction and industrial production. More importantly, it keeps historical treasures within the community and under active conservation, honoring existing craftsmanship rather than contributing to throwaway consumer culture.

7. Rich Organic Textures and Tactile Presence

In a modern world dominated by glass screens and synthetic materials, Asian antiques offer an earthy, grounding sensory experience. The weight of centuries-old bronze, the cool surface of carved marble, the distinct aroma of aged lacquer, and the subtle hand-hewn ridges on carved wooden panels offer a tactile connection that modern materials simply cannot replicate.

8. The Thrill of Discovery Across Markets

For many enthusiasts, the thrill lies in the hunt. Navigating the historic markets of Chiang Mai, searching through estate sales in Singapore, or seeking out reputable dealers in Bangkok, Hanoi, or Vientiane offers an exhilarating experience. Uncovering an underappreciated piece or researching the precise provenance of a rare artifact provides a unique sense of accomplishment and intellectual satisfaction.

9. Cultural Nostalgia and Heritage Connection

Antiques often serve as personal and cultural anchors. For members of the Southeast Asian diaspora and local collectors alike, living with a 15th-century Sawankhalok ceramic jar, traditional textiles like shawls from the Naga, or a Buddha statue cast in bronze evokes a comforting connection to the spiritual world, and regional identity in a rapidly modernizing world.

10. Distinctive, Culturally Rich Spaces

Incorporating Southeast Asian antiques allows homeowners and interior designers to break away from uniform, catalog-driven aesthetics. Mixing regional antiques with contemporary architecture creates timeless, eclectic interiors—whether pairing a minimalistic room with a bold Burmese lacquer hsun-ok or anchoring a modern dining room with a pair of rustic Javanese Loro Blonyo wood carving statues.

The Honor of Cultural Guardianship

Ultimately, collectors of genuine Asian antiquities come to realize they are not permanent owners, but temporary custodians, embracing the honor of cultural guardianship. Caring for an object that has already outlived generations—and ensuring it survives in excellent condition for the next steward—provides a rewarding sense of purpose that far transcends simple consumerism.

Genuine Antique Elephant Opium Weights Vs Fake Imposters

October 19th, 2023

We recently listed several authentic antique bronze elephant opium weights that we managed to find recently in Northern Thailand and Laos. Elephant weights are indeed rare nowadays and finding these elusive little treasures elicits a quite a buzz. You can view these elephant weights here: Antique Opium Weights

Before listing them we did a search on elephant opium weights and were disappointed to see that that the vast majority of them were modern reproductions presented as the genuine article, many in sets. Fake or reproduction elephant opium weights are generally easy to spot, especially if you are familiar with originals. The form is ugly, the alloy composition inferior, no signs of genuine wear, and a telltale patina that openly confesses its imposter status. Caveat emptor.

Below are photos of several fake antique elephant weights currently listed on the internet by unscrupulous sellers .

Fake elephant opium weights

Below are photos of the genuine elephant weights that we recently listed on sabai designs gallery.

genuine elephant opium weights from Thailand and Laos
verification marks of antique elephant opium weights
Bases of elephant opium weights

According to Gear*, while elephant weights are found occasionally in Laos, Burma, and Yunnan, there is little doubt that the origin of elephant weights was in north-west Siam, the former Lan-Na kingdom of Siam (Thailand) and not Laos, the former Lan Chang. It’s thought that elephant weights made their first appearance in Siam as early as 1581AD. By the 1800s a variety of animal weights were in use and even traded as currency and include birds, snakes, buffalo, rabbits, dogs, horses and monkeys. Elephant weights were cast in Phongsali, northern Laos, and Siam. It is widely agreed that the animal weights of Siam and Laos were generally much less accurate than Burmese weights. Genuine elephant weights have a distinct patina combining elements of dark grey, silvery, rusty brown.

* Earth to Heaven: The Royal Animal-Shaped Weights of the Burmese Empire Paperback , 2002 by Joan & Donald Gear

Opium weights, including the elephant, were often adjusted to match the modified mass unit scale (which varied over time) by removing a little alloy from the base of the weight or adding a nugget of metal. Laotian and Siamese opium weights were generally less accurate than Burmese weights. The mass scales varied from 11.8 grams to 16.3 grams. In 1826AD the mass unit was reported as 11.8 grams.

It is reported in the Annals of Chiangmai that in 1460 AD, the Siamese adopted the Chinese word peng to refer to a particular mass and today is used to refer to the bronze animal weights in general. In 1558 AD, Chiang Mai, the capital of the La-Na Kingdom, was sacked by the Burmese who destroyed the weights and measures system, and along with it, the currency of the kakim silver ingot. The Burmese introduced their own floral ingot as well its own standardization of weights and measures. It is likely that elephant weights were cast at this time and continued to be produced after the Burmese lost control in the second half of the 18th century. Following the departure of the Burmese, other animal shaped figurines made their appearance and it has been suggested that other than serve as weights, they were used as currency. By 1858 Siam began producing machine made coins eliminating the need for bronze figurines to serve as currency. Even so, animal shaped figurines continued to be cast. The elephant weights listed on our site were most likely cast in the late 18th – 19th century.

antique bronze elephant opium weights
antique elephant opium weight

Asian Antiques from Vietnam

October 6th, 2019

We recently listed a collection of antiques and vintage textiles originating from various provinces throughout Vietnam. Most pieces belong to one of the 53 ethnic minorities living in the country, including the Hmong, Yao, Tai-Dum, and Katu peoples. A few pieces were created by Kinh majority people.

The richness of Vietnam’s various ethnic groups provides a diverse array of artifacts, each distinct in design, influenced by the spiritual belief system held by that culture, from Taoism to Animism.

Our small collection includes antique silver tribal jewellery and tribal textiles, as well as unique artifacts including a silver and bronze tobacco pipe, a 15th century shipwreck pot, a Taoist wood printing block, an ancient bronze spearhead, and an architectural element in the form of a dragon.

We hope that you find these pieces interesting. They represent both a fascinating part of the history of the region as well as wonderful expressions of the unique creativity of the peoples that produced them.

Antique Silver Tribal Jewellery
Antique Tribal Silver Hairpins – Tai_Dum Left & Hmong Right
Antique Tribal Hairpins
Antique Tribal Hairpins – Left Tai-Dum, Right Hmong
Antique Hill Tribe Silver Jewellery
Antique Tribal Earrings – Left Yao, Right Hmong
Antique Hmong Silver Jewellery
Antique Hmong Hill Tribe Silver Soul Lock Pendant & Earrings
Antiques from Vietnam
Antique Silver/Bronze Tobacco Pipe (Kinh) & Taoist Printing Woodblock (Yao)
Vietnamese Antique Dragon Wood Carving
Antique Architectural Element (Kinh)
Ancient Bronze Spearhead Vietnam
Ancient Bronze Spearhead 400BC – 100AD Mekong Delta
Vintage Hmong Baby Slippers
Vintage Embroidered Hmong Baby Slippers
Antique Hmong Textiles Baby Carriers
Vintage Hmong Baby Carriers

Asian Antiques from Burma (Myanmar)

December 29th, 2018

We recently returned from a trip to Burma and visited the markets and antique shops of Yangon. Predictably, we found that the availability of genuine antiques has diminished significantly since our last visit. Long gone are the days of seeing tables and shelves filled with exotic offerings from Burma’s past including opium weights, bronze bells, lacquerware, Nat spirit statues, architectural pieces, Buddhist art and various other fascinating objet d’art.

We did manage to bring back a small collection of artifacts including a particularly charming Nat spirit wooden statue, well known to the Burmese as Mei Wunna, the flower-eating ogress of Mount Popa, along with a few antique bronze bells, a beautifully decorated antique lacquerware kun-it, a rare antique tattoo pen and a small collection of the much sought after handmade Chin textiles, including a very rare antique heirloom piece.

Featured below is a collection of images from Yangon as well as the various artifacts from Burma that are currently available in the gallery. If you find any items that pique your interest please email us at info@sabaidesignsgallery.com

Asian antiques: bronze bells Burma
Antique Bronze Bells from Burma
Asian Antique: Burmese Lacquerware
Antique Burmese Lacquerware Kun-It
Asian Antiques: Antique Burmese Bronze Tattoo Pen
Antique Burmese Bronze Tattoo Pen
Asian antique Chin textile
Antique Chin Textile Burma
Handwoven Chin Textile
Handwoven Chin Textile
Chin Textiles Burma
Handwoven Chin Textile Burma
Chin Textile from Burma - Handwoven
Chin Textile from Burma – Handwoven
Tribal textiles from Burma
Handwoven Chin Textile from Burma
Travel Yangon Burma
Life in Yangon, Burma
Travel Yangon, Burma
Life in Yangon, Myanmar
Scenes from Yangon, Burma
Scenes from Yangon, Burma
Shwedagon Pagoda, Yangon, Burma
Shwedagon Pagoda, Yangon, Burma
Shwedagon Pagoda, Yangon, Burma
Scenes from Shwedagon Pagoda, Yangon, Burma
Shwedagon Pagoda, Yangon, Burma
Shwedagon Pagoda, Yangon, Burma
Shwedagon Pagoda, Yangon, Myanmar
Shwedagon Pagoda, Yangon, Myanmar
Shwedagon Pagoda, Yangon, Burma
Shwedagon Pagoda, Yangon, Burma
Gilded Shwedagon Pagoda, Yangon, Burma
Gilded Shwedagon Pagoda, Yangon, Burma

The Tradition of Wood Carving in Southeast Asia

December 30th, 2017

Southeast Asia has always been thickly forested, so it was natural that the first material to be used for artistic purposes should have been wood, though because of its lack of durability, it is hard to trace the earliest examples of wood carving in the region.  The wood carving tradition, dating back to ancient times, prevailed even after the use of metals and stone emerged. Wood carving flourished long after the great age of stone sculpture and stone architecture, which ended in the 13th century.

Nowhere has the tradition of wood carving in Southeast Asia been more prolific and impressive than Burma. Temples and palaces were richly decorated with highly detailed roof edges, gates, Buddha images, images of monks, effigies of celestial beings, doorways and panels, and windows all carved from hardwood in designs uniquely Burmese. Wood carvings of religious significance were often gilded and decorated with a glittering mosaic of stained glass.

Antique Wood Carvings
Gilded Buddhist Antique Wood Carvings from Burma and Laos

The work was done with a variety of different sized chisels and mallets made from tamarind wood of varying weights, depending on the degree of detail required. Apprenticeships under the guidance of a master carver with several decades of experience lasted as long as ten years. Burmese wood carving is noted for its wonderful spatial arrangement, sense of freedom, and flow. Mostly, work was done in teak to survive the rigours of a climate of intense heat and humidity followed by long dry periods. For highly articulate work, Burmese carvers preferred fine-grained woods such as yindaik, similar to ebony. Popular designs imitated foliage such as vines with flowing outlines, and the use of holes to create a sense of depth with light and shadow.

Buddha images were sensitively carved with the objective of conveying a sense of peace, equanimity, and faithfully portraying the countenance of one who has overcome suffering in the world. The flowing lines of the Buddha’s robes, the tranquil facial expression, and detailed bases such as the lotus pedestal, all contribute to producing works of art that inspire reverence amongst devotees.

Buddha Wood Carvings
Burmese Buddha Statues and Pair of Teppanom Angels Carved from Wood
Burmese Buddhist Wood Carvings of Monks
Antique Wood Carvings of Monks from Burma

Nat spirits were also carved in wood, and while less refined in execution than Buddhist images, were highly expressive. There are 37 ‘official’ Nats and there are said to be as many as 2000 lower Nats of various forms. A favourite Nat of ours is Nga Pyi, Rider of the White Horse (shown below), who was executed for his tardiness in delivering an important message on behalf of a prince.

Antique Burmese Nat Wood Carvings
Burmese Nat Spirit Wood Carvings

Even utilitarian objects in Burma were decorated with attractive forms carved from wood, such as the ox cart, which in the past would have on its bow an ornament carved from wood. An example of this is featured below; the Feng Huang, said to be a mythical bird of infinite grace.

Antique Wood Carving
Antique Burmese Ox Cart Ornament, Javanese Husband and Wife Statues, and Ox Wood Carving

Wood carvings other than those from Burma featured in this blog include a wonderful pair of rare 19th century statues from Java, Indonesia, known as ‘husband and wife statues’, a pair of antique Thai roof gable ornaments decorated in lichen, a Buddhist panel from Laos, and a rare shamanic ritual printing woodblock from Vietnam.

Antique Wood Carving
Antique Naga Wood Carvings and Roof Gables
Antique Wood Carvings
Antique Saddle Ornament, Opium Weight / Scales Box, Shamanic Woodblock

Antique wood carvings have a unique organic quality and possess the sense of presence instilled in objects lovingly made by hand in times past, before the homogeneous conformity of factory produced goods became commonplace.

Asian Antiques
Asian Antiques
Asian Antiques
Asian Home Decor

Antique Tribal Silver Jewellery from the Hill Tribes of Southeast Asia

August 16th, 2017

Jewellery and ornamentation is an integral part of Southeast Asian hill tribe cultures, and in the past the value of almost everything was measured in terms of silver. History taught the hill tribe groups that paper money could become worthless overnight and so silver became their trusted currency. In Peoples of the Golden Triangle by Paul and Elaine Lewis, it is stated that, ‘They feel happy and secure when they are loaded down with silver, beads and other valuables’.

Hill Tribe Women of Southeast Asian Wearing Silver Jewellery

In the past, French silver coins were melted down and fashioned into a wonderful variety of forms by highly skilled silversmiths, whom today have all but vanished. Modern silver hill tribe jewellery is markedly inferior in terms of both materials and execution. The vast majority of genuine antique silver hill tribe jewellery has been sold off for cash by villagers long ago, and the pieces that we offer in our gallery represent the remaining trickle of antique silver that becomes available sporadically, a few pieces at a time.

Specific styles of silver jewellery were favoured by the distinct hill tribe groups including the Hmong (White Hmong & Blue Hmong) , Lisu, Mien (Yao), Akha, Wa/Lawa, Karen, Shan, and Lahu. The most prolific and skilled producers of silver jewellery and ornamentation appear to have been the Hmong and the Mien.

Antique Dragon Head Silver Bracelets Worn by the Hmong and Mien (Yao)
Antique Silver Hill Tribe Bracelets

Silver was of special significance to the Hmong and symbolized wealth and the essence of a good life.  At the time of the Hmong New Year, all the family silver jewellery is worn and displayed. Three styles of earrings were favoured by the Hmong; one shaped like an arrow, with the shaft bent to form a circle. Another is an elongated S shape with a pointed plug which passes through the earlobe. The third and more recent is a design of a small silver hook with several small dangles hanging from it. Both men and women wear heavy, engraved silver bracelets as well as flat engraved bracelets. Solid or hollow neck rings are also worn alone or in sets of up to six. Heavy silver chains from which hang lock shaped pendants are also very important to the Hmong and are said to help lock the soul in the body. A variety of silver hair ornaments were also worn traditionally by women, some in the shape of opium poppies (the Hmong were very successful growers of opium poppies).  During the Hmong New year, which falls at the end of the harvest season between November and December, the quantity of silver displayed in previous times was impressive.

Antique Silver Soul Lock Pendants from the Hmong

In Mien (Yao) villages, women and children would wear silver neck rings, sometimes multi-tiered, on festive occasions. From hooked rings, women would suspend silver chains with bells, balls, and dangles attached. Mien women, like the Hmong, wear arrow-shaped earrings with the shafts forming a circle, along with a variety of rings. Heavy silver bracelets were also popular and worn on the left wrist. Also popular amongst Mien women were silver butterflies, birds, flowers, and geometric designs. Soul lock pendants as worn by the Hmong were also worn by the Mien.

The Hmong and Mien (Yao) Wearing Silver Jewellery

The majority of the antique silver jewellery that we offer comes from the Hmong groups of Laos and occasionally the Mien (Yao). There are certain designs that were shared by both groups such as the circular arrow earrings and various styles of bracelets. Featured here are a few examples of antique hill tribe silver jewellery acquired on a recent trip to Laos. Click on any of the photographs featured to be taken to our antique tribal jewellery category.

Antique Silver Hairpins from the Hmong of Laos
Antique Silver Hairpins from the Hmong of Laos
Antique Silver Box from the Hmong

The Ancient Monuments of Mahabalipuram, India

February 20th, 2017

We recently returned from a trip to south India and in this blog are sharing a collection of photos, mostly taken in Mahabalipuram, as well as some photos of a few artifacts that we acquired in India.

Mahabalipuram was an ancient seaport of the Pallavas, who ruled from nearby Kancheepuram between 300 A.D – 800 A.D. Though ravaged by sea, wind and time, the sculptural treasures of Mahabalipuram are testament to the magnificence of ancient Dravidian art and temple architecture.  King Mahendravarman (580-630 AD) was a renowned patron of fine arts and devoted much of his time and wealth to nurturing these arts. Historians have written about the importance of Mahabalipuram as a leading port for trade and excavators have recovered coins in the area from ancient Rome, China, Persia and other nations.

Pancha Rathas or The Five Rathas (630-680AD), Mahabalipuram
Pancha Rathas or The Five Rathas (630-680AD), Mahabalipuram, Tamil Nadu, India. UNESCO World Heritage Site
Life on the beach in front of Shore Temple, Mahabalipuram, India
Life on the beach in front of Shore Temple, Mahabalipuram, India
Shore Temple, Mahabalipuram, Tamil Nadu, India
Shore Temple built by Narasimha Varman II (690-715 AD). It is the only survivor of seven such temples built, the rest having fallen to the ravages of the sea.
Shore Temple, Mahabalipuram, India.
Shore Temple, Mahabalipuram, India.
People of Mahabalipuram, India
People of Mahabalipuram, India
Varaha Cave Temple, Mahabalipuram, India
Varaha Cave Temple, Mahabalipuram, India. Inside the cave temple are two sculptures representing two incarnations of Lord Vishnu.
Pilgrims from Kerala visiting the ancient temples of Mahabalipuram.
Pilgrims from Kerala visiting the ancient temples of Mahabalipuram.
Arjuna's Penance
Arjuna’s Penance, a brilliant bas-relief, hailed as one of major glories of Indian art and the largest of its kind in the world, carved into a huge rock canvass measuring 96 ft long and 43 ft high.
Beautifully carved sculptures of Lord Vishnu, Brahma, and Shiva at the Five Rathas, Mahabalipuram.
Beautifully carved sculptures of Lord Vishnu, Brahma, and Shiva at the Five Rathas, Mahabalipuram.
Original Mughal paintings of the emperor with consorts painted in watercolors on antique paper with 24K gilding.
Original Mughal paintings of the emperor with consorts painted in watercolors on antique paper with 24K gilding.
Mughal Paintings
A superb pair of original Mughal paintings depicting Shah Jahan, the great 17thC Mughal emperor, and his beloved wife, Mumtaz Mahal, for whom the incredible Taj Mahal was constructed as a tomb following her premature death.
Indian antiques
Bidriware zinc and silver vase, Tibetan jade and silver bowl, and Tibetan singing bowl.
Rosewood jewelry box and teak spice box from from Chettinad, Tamil Nadu, India.
Rosewood jewelry box and teak spice box from from Chettinad, Tamil Nadu, India.

Asian Home Décor by sabai designs gallery

December 31st, 2016

In this last blog for 2016 we are featuring a small collection of artifacts from Southeast Asia in a home setting. We wish all of our customers a very happy New Year in 2017.

This photo features an antique Burmese bell, Nat Spirit wood carving, lacquerware hsun-ok and a bronze Buddha and wood carving monk from Thailand.
This photo features an antique Burmese bell, Nat Spirit wood carving, lacquerware hsun-ok and a bronze Buddha and wood carving of a monk from Thailand.
Burmese style standing Buddha statue carved from wood.
Burmese style standing Buddha statue carved from wood.
Silk wall hanging from Laos, lacquerware box, teppanom angels, and altar sculpture from Burma.
Silk wall hanging from Laos, lacquerware box, teppanom angels, and altar sculpture from Burma.
Featuring Hmong silver torque and necklace, bronze Burmese bell.
Featuring Hmong silver torque and necklace, bronze Burmese bell.
Featuring etching by Vorakorn, Burmese lacquerware box, silk wall hanging from Laos, and Indonesian wood carvings.
Featuring etching by Vorakorn, Burmese lacquerware box, silk wall hanging from Laos, and Indonesian wood carvings.
Asian home decor - Entrance
Asian home decor – Entrance
Asian Home Decor - Dining Room
Asian Home Decor – Dining Room

Antique Tribal Silver Jewellery from the Hmong

September 21st, 2016

Having recently returned from a trip to Laos, we wanted to showcase the beautiful tribal jewellery created by the talented Hmong silversmiths of the past. Antique Hmong silver jewellery was made using high content silver and is superior to the work being done today, including the fake Hmong jewellery found in markets and online.

Traditional Hmong Designs on Silver Antique Bracelets
Traditional Hmong Designs on Antique Silver Bracelets

The Hmong, (also known as Meo or Miao) are a strong willed hill tribe people thought to have originated in Southern China some 3,000 years ago. Today the Hmong are found throughout Southeast Asia, the result of significant migration provoked by persecution from the Chinese during the 18th and 19th centuries.  The Hmong were the first hill tribe group to successfully cultivate opium and are known to be shrewd entrepreneurs. Despite the pressures to conform to life in the 21st century, ancient Hmong culture is proving robust to dissolution with much of their customs, traditions and beliefs remaining intact. While the opium poppy fields have largely been replaced with food crops and children are now often educated in local schools, most born into this distinct culture remain proudly Hmong.

Hmong Girls in Traditional Costume
Hmong Girls in Traditional Costume

The Hmong’s love of silver and silversmith skills are widely known and admired. In the past, households acquired as much silver as possible, and during New Year all the families’ silver came out on display.  As the New Year approached, Hmong silversmiths would melt silver bars and old neckbands to repair jewellery and create new ornaments for the coming celebrations.

Hmong Silversmith at Work 20th Century
Hmong Silversmith at Work 20th Century

In the early part of last century, silver was often obtained through melting French silver coins. Silver jewellery was to the Hmong more than a mere decorative show of wealth, but also a representation of their spiritual beliefs. Silver neck rings with lock shaped pendants were given to children in the ‘naming ceremony’ to keep the restless soul from prematurely leaving the body.

Other common forms of jewellery worn by the Hmong include solid or hollow silver torques, flat or hollow bracelets with engraved designs, earrings in a variety of styles, and cone shaped rings often worn on every finger, as well as hairpins; some in the shape of the opium poppy. A single pair of silver earrings could take a master up to five days to complete and one mistake could ruin days of work.  We’ve included a few images of antique Hmong jewellery acquired on our most recent trip to Laos and now available in the gallery. The last image is of one of the loveliest examples of Hmong silver work we’ve seen to date – a 19th century medicine box from Luang Prabang, where the Hmong have lived for centuries.

Antique Hmong Silver Jewelry
Antique Hmong Silver Bracelets
Antique Tribal Jewellery
Antique Hmong Silver Earrings
Antique Hmong Tribal Jewelry
Antique Hmong Silver Hairpins
Antique Hmong Silver Neck Rings with Soul Lock Pendants
Antique Hmong Silver Neck Rings with Soul Lock Pendants
Antique Silver Jewelry
Antique Hmong Silver Torques
Antique Hmong Silver Soul Lock Pendants
Antique Hmong Silver Soul Lock Pendants
Antique Silver Medicine Box
19th Century Hmong Silver Medicine Box

View Tribal Jewellery Collection

Copyright sabai designs gallery 2016

Asian Home Décor from sabai designs gallery

December 17th, 2015

In our last post for the year we are featuring a selection of photographs of Asian antiques, artifacts and textiles from our gallery in an Asian home décor setting. We wish all of the visitors to our gallery a happy holiday season and offer our best wishes for 2016.

Burmese Buddha Statue
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor
Asian Antiques
Asian Antique Home Decor