WHEN KENNIE TING LIVED IN NEW YORK in 2011, he carried a camera with him wherever he went. He would take pictures of street signs, manholes, fire escapes, scaff olding and just about anything everyone else ignored – but which he found fascinating in their form, construction and detail.

"I loved studying the small details," he says. "I loved how they came together harmoniously to create the big picture. I keep these pictures still on my website called 100 Ways To See (100waystosee.com) even though I no longer entertain my earlier ambition of becoming a street photographer."

Mr Ting returned to Singapore in 2012 and joined the National Heritage Board. He gradually rose to become the director of the Asian Civilisations Museum and Peranakan Museum, both admired for their ornate artefacts from decades or centuries ago.

Today he's surrounded by antiquities steeped in history and mythology – a far cry from street signs and manholes. But he thinks the appreciation of any object requires the same few steps: analysing its material and construction, understanding the emotional or visceral response it elicits, and examining how it connects to history and society.

He says: "To be honest, I really started to hone my appreciation of antiquities and decorative art while on the job. When I started going to Asian Art In London, Asian Art Week in New York and The European Fine Art Fair (annual events where dealers and auction houses specialising in Asian art gather), I began to look at these valuable objects in greater detail and have information-packed conversations with the dealers and auction houses. My predecessor, former ACM director Alan Chong, also taught me a lot about aesthetics."

ASIAN INSPIRATION

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Those who have met Mr Ting recognise him as something of a raconteur: He loves telling historical tales of cities, empires, trade and travel. He's even written a book titled The Romance Of The Grand Tour: 100 Years Of Travel In South East Asia (2015) which looks at a bygone era of travel in the region. He's also written Singapore Chronicles: Heritage (2015) and Singapore 1819: A Living Legacy (2019) which tell the history of the country through its heritage.

"I've always been interested in history. When my father was in the military, he would return from his travels with all kinds of exotic objects, such as a huge rug or a steering wheel of a ship. These objects used to fuel my interest in faraway lands and cultures."

Among his favourite objects in the ACM collection is a baju panjang (long dress) from Southern Sumatra dated around 1725 – 1750 and made from cotton cloth imported from India's Coromandel Coast. Its exuberant floral design was inspired by the Mughal period's (1526 – 1857) naturalistic style, which was also popular throughout Europe.

"We tend to think of South-east Asia as not having much of a fashion history. But that's not true at all. Many communities, including the nobility of South-east Asia, were absolutely fashionable. Asia, in fact, has been a source of all kinds of craft and luxury goods throughout history. And we have proof of it right here."

Another favourite object is a pair of blue jars made in China around 1736 – 1745, with gilded bronze dragon mounts made in France around 1745 - 1749. The distinctive blue glaze was perfected in China during the reign of the Qianlong emperor, while the exquisite dragon figurines were crafted in Paris during the reign of Louis XV.

"These jars embody the mutual exchange of ideas and aesthetics between East and West in the 18th century. East Asian aesthetic is traditionally austere – hence the monochromatic blue. But when the jars were exported to Europe, a more Baroque sensibility kicked in and you suddenly have these dramatic dragons affixed to the jars.

"Culture does not thrive in silos. It draws strength from a mutual exchange of ideas and inspiration."

A GROUNDING IN AESTHETICS

When Mr Ting took over the leadership of ACM in 2016, he was determined to steer the museum towards the future. He expanded the museum's focus on antiquities to simultaneously embrace the now. Recent popular exhibitions include a showcase of Chinese fashion designer Guo Pei's flamboyant couture dresses as well as Russel Wong's evocative contemporary photographs of Kyoto.

"The museum should celebrate not just the artefacts of past eras, but also the art and design of our times. In fact, I feel that that's what's missing here in Singapore – an understanding of what is beauty, what is aesthetics, what are the things that ground everything around us from fashion and furniture design to architecture and urban planning. I want the museum to gradually answer these questions."

Ting says anyone can hone their sense of aesthetics. Besides visiting museums, of course, "try travelling again when the world's borders have opened up. But try travelling in the region instead of going to Europe or the US. Because there's actually a lot in South-east Asia to appreciate, whether it's the traditional art and culture of Jakarta or the rich architectural heritage of Phnom Penh. There's so much beauty right here in this region."