Vietnamese culture : Ceramics - Woodblocks
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Viettouch
Minh Bui
Bat Trang Ceramics
Vietnamese ceramic craft has a long history dating back
thousands of year. Archeological findings at Vinh Phu
province indicates pottery turning wheels existed in Viet
Nam about 5,000 years ago. During the Ly's (11-13th
century), the Tran's (13-15th century), the Le's (15-16th
century) and the Mac's (16th century), Viet Nam produced
large amount of ceramic wares for its domestic consumption
and trade to many East and South East Asian countries and as
far as to the Middle East. Of the many ceramic-producing
villages in Viet Nam, Bat Trang village was the most famous.
Bat Trang Ceramics through History
Bat Trang is generally referred to a commune of two
villages, Bat Trang and Giang Cao, situated in the outskirts
of Hanoi along the bank of Hong (Red) river. According to
Vietnamese annals, migrant potters from Thanh Hoa province
established Bat Trang village in the mid-14th century. Being
conveniently located near the capital city, and with readily
access of river transportation, Bat Trang soon became an
important industrial and commercial center. At the time, the
area had numerous deposits of white clay necessary for
production of ceramic wares. These factors helped the Bat
Trang ceramic craft to flourish and its products were widely
circulated to other regions of the country.
In the late 15th century, Bat Trang had been well known for
producing the best quality ceramics in the country. Many of
these ceramic pieces were customized for aristocratic
families and religious needs. These pieces included
inscription of the year of production, the name of the
patron and the potter's name. Vietnamese annals also
recorded in the 16th century, Bat Trang ceramics were
offered as tribute to China in numerous occasions. Following
terrestrial discoveries in Asia in the early 17th century,
many European countries rushed to the Far East to set up
bases for commerce trading. Vietnamese ceramic industry
continued to prosper, especially during the Mac's reign.
Multiple shipments of ceramics were exported to Japan where
the Bat Trang style was enthusiastically adapted by local
kilns as "Kochi (Giao Chi) ware". Dutch, English and
Portuguese merchants purchased Vietnamese ceramics in the
hundred of thousands to resell in Malaya, Sumatra and
Bangal.
From the end of 17th, particularly in the 18th century,
Vietnamese ceramics exported to South East Asian countries
declined rapidly when the Chinese resumed its ceramic
exports. Bat Trang ceramics were no longer exported and its
products served mainly the domestic market.
Today, Bat Trang still turn out large quantity of ceramic
wares for both domestic and export markets. New designs and
models as well as reproductions of ancient styles and glazes
are very well received by art connoisseurs everywhere.
Characteristics of Bat Trang Ceramic Wares
The National Museum of Viet Nam History possesses a
comprehensive collection of Bat Trang ceramic wares, which
date from the 14th to the 19th century. The collection is
divided in three groups of ware of different features and
styles:
Utilitarian ware (plates, bowls, teacups, kettles, wine
bottles, flowerpots and vases): This type of ware has a
thicker and heavier body compared to the Chinese ceramics.
The utilitarian wares are mostly covered with ivory, moss
green or brown glaze. Common designs used on utilitarian
wares were sacred and ordinary animals such as dragon,
phoenix, tortoise, horse, tiger, bird, floral scroll, and
landscape scenery.
Cult ware (lamp stands, candle holders, incense burner and
altar boxes): This type of Bat Trang ceramics were produced
predominantly for religious needs. Many of these pieces,
especially the lamp stands, carried intricate molding
applied around the body. Bat Trang cult wares are well known
for their elaborate design and meticulous crafting.
Decorative objects (house models, altars, statues and
architectural fixtures): These objects usually carried very
complex design of mythical and religious theme. Bat Trang
tiles and architectural fixtures are also known to be used
in the construction of the imperial court in Hue in the
early 1800's.
References: Gom Bat Trang The Ky 14-19th
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Woodblocks
Vietnamese Folk Art - Dong Ho Woodblock Printing
Dong Ho (DDo^ng Ho^`) woodblock printing has existed since
the 1700's. For hundred of years, the village of Dong Ho
which is located outside of Hanoi, produces the popular
decorative paintings that are used especially for the Têt
(New Year) holidays and other celebrated festivals
throughout the year. The ®¢ông Hô` painting is well
recognizable with its folk subject, its picture painted in
bold outline with warm and vibrant colors.
Woodblock printing has always been a familial craft passed
on for generations of artist in the ®¢ông Hô` village. Each
year after the rice harvest, all members of the family pitch
in the production of the paintings for sale at the Têt.
Adults and children, depending on skills and capabilities,
share the work from making the silk paper to printing and
coloring the paintings. The production of a painting starts
with a design pattern that is engraved on the woodblock. The
first print is made on silk paper using a paste of finely
ground sea shell. Successive presses are then made to add
different colors to the picture. All colors used in the
®¢ông Hô` painting are natural ingredients such as charcoal
for black color, ochre for red, yams for brown, and day
lilies for yellow.
The most common subjects of DDo^ng Ho^` painting are folk
themes depicting ordinary daily life or domestic animals
that live around the peasants such as rooster, hen and
chicklets, pig and piglets. Other favorite subjects are
scenes from popular legends or historical tales of national
heroes and heroines of the past such as the Trung sisters,
Trieu Thi Trinh, young king ®¢inh Bô Linh playing
battlefield (co lau tap tran).
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