Ewers with lids, stoneware with incised design and celadon glaze, height 20 cm, stoneware with cream and iron underglaze, height 21 cm, stoneware with pale olive-green glaze and iron brown splotches, height 21 cm, Trần dynasty (1225-1400), Vietnam, MacLean Collection. Photography: © MacLean Collection.

The ceramics of China have been famous for centuries and clearly influenced ceramic production in nearby Southeast Asian countries. This may be the most apparent in Vietnamese ceramics, as parts of the country were closely aligned to China for nearly one thousand years. Although, Vietnamese potters inherently introduced local styles and motifs to their work.

Many other regions brought their own styling and techniques to the ceramic tradition, as well. In what is modern day north and central Thailand, ceramic production flourished between the 14th and 16th centuries, with iron-black under glazed wares and Sawankhalok celadon produced for an export market that was dominated by Chinese blue-and-white wares. While in Burma, a green and white glazed ware was produced during the 16th century, only to be identified in the late 20th century.

These ceramics are under represented in museums around the world and have a greater artistic validity than is largely recognized. Most importantly, to this day these wares reflect the cultural nature of these three countries.

Vietnamese Ceramics

After separating from China in 938, the Vietnamese began making their ceramics with new indigenous styles and production techniques. The Chinese-styled ceramics catering to the colonial ruling class were no longer made and new wares reflecting traditional Vietnamese society and culture were popularized. Buddhist motifs were often reproduced on the ceramic vessels, which mostly included lotus and chrysanthemum, but hibiscus, peony, fish, birds, and animal motifs were also featured. The color brown was also introduced to enhance the white and ivory-white glazed wares.

Celadon pottery was also popularized in the Lý-Trần dynasty (1009–1400), reflecting Vietnamese Buddhist art. These ceramics are recognized as they ranged from a very light green to leaf green to a brownish or yellowish green. The ceramics produced during this period are nearly identical to similar Song wares, thanks to diplomatic relations between the two.

Most of the Vietnamese ceramics in this collection are illustrated in the March 2004 “Arts of Asia” Magazine.

Storage jar, Vietnam, Lý-Trần dynasty (1009-1400), 12th-14th century. Stoneware with incised design and cream and brown glaze, height 33 cm, MacLean Collection. Photography: © MacLean Collection.

Large storage vessels such as this were the most revolutionary styles at the time. Identifiable by the brown paint applied to the carved design, these vessels featured motifs such as flowers, animals, fish and birds, which were new to Vietnamese ceramics. Scholars point out these innovations as “combining painting with sculpture.”
This piece almost certainly once had a lid.

Storage Jar with Lid, Vietnam, Lý-Trần dynasty (1009-1400), 11th century. Stoneware with incised design, H. 18 cm, MacLean Collection. Photography: © MacLean Collection.

Some covered pots of this era were unglazed. Simply sculpted saw-tooth patterns were carved at the base and on the shoulder of this pot.

Chrysanthemum Petal Shaped Dish, Vietnam, Trần dynasty (1225–1400), Stoneware with pale green glaze, D. 16.5 cm, MacLean Collection. Photography: © MacLean Collection.

Chrysanthemum Petal Shaped Bowl, Vietnam, Trần dynasty (1225–1400). Stoneware with cream glaze, D. 10 cm, MacLean Collection. Photography: © MacLean Collection.

This small bowl particularly mirrors the accomplishments of Song and Yuan dynasty Chinese potters.

Ewers with lids, stoneware with incised design and celadon glaze, height 20 cm, stoneware with cream and iron underglaze, height 21 cm, stoneware with pale olive-green glaze and iron brown splotches, height 21 cm, Trần dynasty (1225-1400), Vietnam, MacLean Collection. Photography: © MacLean Collection.

Patterns were incised or molded into the interiors and exteriors of monochrome ceramics. The ewers and covered pots of the Ly-Tran dynasty were either celadon, white or ivory-white glazed wares with undecorated bodies or incised horizontal floral/leaf patterns.
The lids on the left two ewers allude to lotus leaves. Those lids may be associated with the base. The ewer on the right has an original lid and is certainly influenced by a Yuan dynasty export ware produced at the Longquan kilns in China.

Bowl, Vietnam, Trần dynasty (1225–1400). Stoneware with mold impressed design and caramel brown glaze, D. 16.2 cm, MacLean Collection. Photography: © MacLean Collection.

In the center are the Chinese characters guanyao “official ware” surrounded by a mold impressed floral and leaf motif. The notched rim creates a distinct pattern under the glaze.

Bowl, Vietnam, Trần dynasty (1225–1400). Stoneware with mold impressed design and dark brown glaze, D. 16 cm, MacLean Collection. Photography: © MacLean Collection.

Deep Dish, Vietnam, 15th–16th century, Lê-Mac dynasty (1427–1789), Stoneware with underglaze blue and polychrome enamel, D. 34 cm, MacLean Collection. Photography: © MacLean Collection. 

Numerous examples of polychrome over underglaze blue decoration were found in the “Hoi An Hoard” shipwreck dated to late 15th century. It is possible this piece was from a shipwreck, but is unknown. Some shipwreck examples show glaze degradation and even crustacean shells still adhered to the surface.

Large Dish, Vietnam, 15th–16th century, Lê-Mac dynasty (1427–1789). Stoneware with underglaze cobalt blue decoration, D. 36 cm, MacLean Collection. Photography: © MacLean Collection.

The main decorative motifs behind the blue-and-white as well as polychrome wares, were usually animals, birds, fish and flower/leaf sprays. These designs contrast with those of the more simple lines on the brown-painted ceramics of the Lý-Trần dynasty. Designs that were commonly seen on traditional Chinese wares, including the dragon, phoenix and qilin were also characteristic of Lê-Mac ceramics.

Thai Ceramics

The old Siamese capitals of Sukhothai and Si Satchanalai were famous for their pottery production. These kilns flourished between the 14th and 16th century and have only been excavated in the late 20th century. In Si Satchanalai, the pottery excavated is primarily grayish-white stoneware with a gray-green colored celadon glaze. Decoration was typically achieved by carving the ware, and consisted of floral designs, such as chrysanthemums. The most common forms of ceramic excavated at these kilns are bowls, dishes, boxes, ewers, kendis, bottles, and jarlets. 

Another common type of ware found is one that consists of an iron-black painted underglaze and animal motifs. This type of pottery resembles the form and technology of Vietnamese ceramics from the Tran, Le, and Mac dynasties and Chinese ceramics from the Yuan and Ming dynasties. 

Though they were significantly less popular than the Chinese blue-and-white ceramics of the Ming dynasty, these wares reached a height of export throughout Asia during this period. 

Large Bowl. 15th century, Si Satchanalai, Ko Noi kiln, Thailand. Stoneware with incised decoration and celadon glaze, D. 32 cm, MacLean Collection. Photography: © MacLean Collection.

This is a fine example and classic product of the Si Satchanalai kilns.

Bowl, 15th century, Sukhothai, Thailand. Stoneware with translucent cream and iron-black underglaze, D. 28 cm, MacLean Collection. Photography: © MacLean Collection.

Between the 13th and 16th centuries, ceramic wares from the hundreds of kilns located along the Yom River in Si Satchanalai as well as from Sukhothai city were exported in vast quantities to Indonesia and the Philippines where demand was great.

Bowl, 15th century, Si Satchanalai, Ko Noi kiln, Thailand. Stoneware with translucent green and iron-black underglaze, D. 25.5 cm, MacLean Collection. Photography: © MacLean Collection.

The kiln sites of Si Satchanalai are some of the best-known for Thai ceramics since the late 19th century. Wares created in these kilns were high-fired stoneware and are identifiable by their bodies that have a greyish hue with black spots. This is due to the clay’s high iron oxide content, making the iron appear as black, red or silvery in color. 

Large Bowl, 14th century, Si Satchanalai, Ko Noi kiln, Thailand. Stoneware with slip and olive brown glaze, D. 30.5 cm, MacLean Collection. Photography: © MacLean Collection.

This rare piece is Sawankhalok “Mon” type. It features a “quasi” barbed rim possibly enabling rim-to-rim stacking in the kiln.

Dish, 16th century, Kalong, Thailand. Stoneware with cream slip, translucent green and iron-black underglaze, D. 21.5 cm, MacLean Collection. Photography: © MacLean Collection.

The Ming dynasty blue-and-white wares dominated the ceramic trade with the West. In their own effort, Thai potters began creating export wares featuring decoration in underglaze iron-black, with a specialty in covered boxes, pouring vessels, and bowls.

Large Bowl, 15th century, Si Satchanalai, Ko Noi kiln, Thailand. Stoneware with translucent green and iron-black underglaze, D. 28.5 cm, MacLean Collection. Photography: © MacLean Collection.

Pedestal Dish, 15th century, Sukhothai, Thailand. Stoneware with translucent green and iron-black underglaze, H. 17.3 x D. 27.5 cm, MacLean Collection. Photography: © MacLean Collection. 

Dish, 16th century, Myanmar (Burma). Stoneware with green and white glaze, D. 28 cm. Photography: © MacLean Collection.

Burmese green-and-white wares imitated Chinese blue-and-white wares. The glazing technique is different in that the green is an overglaze on top of the white glaze, whereas the Chinese blue is underglazed then covered in a translucent glaze.

Some of the first known pieces were excavated at Tak, a burial site discovered in northern Thailand about 1984. The above example was bought by Bluett (London) from the famous collector Fredrick Knight, and later sold in 1987 at a height of interest in Southeast Asian ceramics. It is consistent with a number of published pieces and is an excellent example of Burmese green-and-white ware.

Provenance: courtesy Dominic Jellinick.

Exhibition from January 2019 through summer 2019.

This exhibition is in conjunction with the exhibition "Passion for Form: Selections of Southeast Asian Art from the MacLean Collection." A two-part catalog was produced for these two exhibitions.