Vietnamese Crafts
Vietnamese Crafts
There are 54 ethnic groups in Vietnam, and each ethnic group has its own traditional culture. The diversity of ethnic groups is evident in Vietnam’s many traditions and cultural treasures. These treasures include various works of art found throughout the country, including sculptures, ceramics, paintings and casts in materials such as clay, stone, bronze, steel, wood and paper. The well-preserved remains prove that the Vietnamese people have a long history of traditional fine arts. For example, carvings on the walls of the Hoa Binh cave date back 10,000 years; bronze trowels found in Haiphong and bronze tools in Thanh Hoa date back to the 4th century BC. Vietnam’s traditional visual arts encompass many forms. The works of art are diverse and come from many different eras. The following sections introduce different types of Vietnamese art. [Source: Vietnam Tourism. com, Vietnam National Tourism Administration]
Vietnam is a country rich in handicrafts, thanks to the industrious, skilled and creative qualities of the Vietnamese people. Hundreds of handicrafts can be found in Vietnam today. Some of these handicrafts have gained international recognition and popularity, such as: B. Lacquerware. Although the number of paintings and sculptures produced by lacquer artists is limited, lacquer craft has become part of Vietnamese life in many forms: vases, boxes, furniture, jewelry and stationery.
Many villages are known for producing specific crafts such as lacquer boxes, furniture decorated with mother-of-pearl, brooms or conical hats. Handicrafts have long been a source of cultural pride and income for people. Due to the variety of handicrafts, it is impossible to list them one by one. Here we only introduce a few typical artifacts and their sources. In recent years, some of these crafts have industrialized and grown large enough to produce products for the export market.
Vietnamese Lacquerware and Bamboo Products
Vietnamese Lacquerware
Vietnam is famous for its lacquerware. Lacquerware is indeed typical of Vietnam, although it can also be found in other Asian countries. The resin extracted from the trees in Phu Tho province is said to be the best. Therefore, lacquerware made in Vietnam is very beautiful and durable. The people of Nam Ngu district in Thang Long (Hanoi) specialized in lacquerware as early as the 18th century. In the early days of development, lacquerware had only four colors: black, red, yellow and brown. However, due to later technical improvements, more pigment colors were produced, resulting in a wider range of lacquer colors. At present, lacquerware products made in Vietnam occupy an important position in both domestic and foreign markets. Notable products include frescoes, vases, jewelry boxes, trays, chess boards and screens. [Source: Vietnam Tourism. com, Vietnam National Tourism Administration ]
Lacquerware refers to objects, usually boxes, covered with lacquer (a processed resin). In ancient times, lacquerware was highly valued, in part because of the large amount of skilled labor required to make it. Some objects are coated with as many as 200 thin coats of paint, each of which must be dried and polished before the next can be applied. Real lacquer is the sap or resin of the subtree (urushi, thitsi, or sumac). It has a characteristic pasty buttery smell that causes a strong allergic reaction in many people. It is not uncommon for patients to have their hands swell to twice their normal size. Although artisans who use varnish are not allergic to it, they do make sure their hands are covered.
Lacquer is one of the strongest adhesives found in nature. It is resistant to water, acid, alkali and abrasion. The lacquer comes off the tree and is milky white, like the latex on rubber trees, and is traditionally made brown or black by mixing it with resin for 40 hours in an iron container. A typical piece requires about 10 coats of paint.
Bamboo Products
High-quality lacquerware takes a long time to make because many layers of lacquer are applied and each layer takes a long time to dry. At the end of the process, the paint is polished to a high gloss. Once the lacquer hardens, it becomes inert and very durable. Contrary to popular belief, paint dries best in a damp environment. Some artisans store their objects for several days in special cabinets at a temperature of 23 degrees and a humidity of 80 percent after each application of varnish.
Over time, mainly due to fluctuations in humidity, the lacquerware can crack and the gold and metal leaf used for decoration can peel off. Restoration involves meticulous cleaning, taking microscopic samples to see which material is best for reinforcing painted surfaces; using sumac varnish or synthetic resin
Bamboo and rattan (tre, may and song) are rich sources of materials used by Vietnamese artisans. The advantages of these products are that they are lightweight, durable and termite-resistant. In 1931, Vietnamese bamboo and rattan products appeared on the world market for the first time at the Paris Exposition. Since then, more than 200 items made from these materials have been sold overseas. Among the most popular are baskets, planters, lampshades and bookshelves.
Vietnamese Woodwork and Mother-of-pearl Inlaying
Vietnamese Woodwork
The production of fine wood products has experienced strong growth since the 1980s. These works of art are in great demand in both domestic and foreign markets. The most popular of these products are wooden statues and sets of wooden chairs, cabinets and beds. Currently, there are many companies engaged in the manufacture and sale of wood products. Their skilled workers make many beautiful and much appreciated products. Woodwork and wood carvings are usually found in Phu Xuyen (Ha Tay), Dong Ky (Bac Ninh), Haiphong and Hue. [Source: Vietnamtourism. com, Vietnam National Tourism Administration]
Mother-of-pearl Inlaying
Artisans who perform inlay work use different types of oyster shells and pearls in various colors. This art form requires a lot of effort as the setting process involves many steps including designing, grinding, cutting, carving, chiseling and polishing. Marquetry is widely used in the furniture industry to create tables, desks, chairs, picture frames and trays that depict various ancient stories. These stories are presented in natural scenes such as birds, butterflies, lotus ponds, and banana trees. The process of inlaying furniture adds value to woodwork. According to legend, this handicraft originated in the village of Chuon in Ha Tay Province.
Vietnamese Embroidery and Jewelry
Vietnamese Embroidery
In the past, embroidery was mostly reserved for high society, temples and pagodas. The technique of this art form is fairly simple, involving only five colors of yarn: yellow, red, green, purple and blue. At present, embroidery products are both practical and decorative. New technologies helped create new materials such as white fabrics, lampshades and lace. As a result, the embroidery industry has grown and a wide range of new products are now available, including pillowcases, bed sheets and kimonos. The most skilled embroidery is that of the human figure, using as many as 60 threads of different colours. [Source: Vietnam Tourism. com, Vietnam National Tourism Administration]
It is believed that embroidery originated in the village of Quat Dong in Hexi Province. Weaving tapestries and brocade handbags are unique works by the skillful hands of ethnic minority women living in Gaoping, Laojie and other Northwest regions. The embroidery and silk products of Van Phuc (Ha Tay), Nam Ha, Tai Binh, Hue, and Da Lat (Lam Dong) regions are well known. Wool rugs from Hanoi and Haiphong and jute rugs from Hung Yen, Haiphong, Hanoi and Taiping are very popular.
Vietnam Jewelry
As early as the 2nd century AD, the Vietnamese used gold and silver to make jewelry. The three different techniques used to create gold and silver jewelry included intricate carving, casting (involving melting metal and pouring it into the shape of a flower, lead, or bird), and more commonly working (involving polishing the metal). These three techniques can be combined to create intricate jewelry. Thanks to the flexibility of the raw material, the color of gold and the brilliance of silver, beautiful necklaces, bracelets, earrings, rings, trays and mugs are created. ~
The gold items are said to have come from the village of Dinh Cong near Hanoi and the silver items from the village of Dong Xam in Thai Binh province. Jewelry products and metal products are concentrated in Hanoi, Tai Binh, and Hung Yen, while stone products are mainly produced in Da Nang (Marhang Mountains).
Vietnamese Copper Casting and Stone Sculpture
Bronze casting is one of the most famous and enduring traditional art forms in Vietnam. With the help of technology, several ancient bronzes from all over the country have been preserved. About 3000 years ago, the ancient Vietnamese discovered how to cast copper to make brass tools, weapons and ornaments. Usher in the metal age. Some surviving brass statues bear witness to the heyday of bronze casting in Vietnam. In later years, craftsmen inherited the talents of their ancestors and created many innovative brass products that met the needs of society. [Source: Vietnam Tourism.com, Vietnam National Tourism Administration]
Vietnamese Copper Casting
Among the most famous bronzes today are a series of brass drums cast over the centuries. In addition, Hue currently exhibits brass artifacts such as the bronze cauldron of the Royal Palace (1659-1684), the bronze stele of Thien Mu Pagoda (1677), the bell of Thien Mu Pagoda (1710), the nine guns (1803-1804 ) and nine dynastic urns (1835-1837). Today only a few copper foundry villages remain, such as Ngu Xa in Hanoi, the foundry area near Hue, Phuoc Kieu (Quang Nam), Dai Bai (Bac Ninh) and Dong Son (Thanh Hoa).
Most of the traditional sculptures are made in Da Nang Province, especially around Ngu Hanh Son Mountain, located between the villages of Quan Khai and Hoa Khe. Sculptors used marble to carve a variety of high-value objects, including bracelets, ashtrays, Buddha statues, decorative flowers, leaves, trees, and animal statues such as cats and peacocks.
Stone Sculpture
Vietnamese Ceramics and Pottery
Vietnam is famous for its gorgeous “Blue de Hué” porcelain. The most beautiful creations usually feature a pearl with a fiery red tail, and the dragon is the symbol of the emperor. Like China, Vietnam has a long history of making fine ceramics. Susan Brownmiller wrote in The New York Times that Bat Village was “a whole village of narrow muddy streets, artisan workshops, tread shoes, and small cross-ventilated furnace. Women stoically mixed and stirred masses of wet clay with their feet.”
Vietnamese Ceramics
Pottery Village Bat Trang (Hanoi) is very old. According to historical documents, the products of this village were known as early as the 15th century. There are many villages producing pottery throughout the country. Some of these villages are Phu Lang in Bac Ninh Province, Huong Canh in Vinh Phuc Province, Lo Chum in Thanh Hoa Province, Thanh Ha in Hoi An (Quang Nam Province) and Bien Hoa in Dong Nai Province.
Vietnamese pottery is now widely known in the domestic and international markets. Traditional products include cookware and trays. Bat Trang’s flower bowls were exported to Sweden, cucumber pots to Russia, and tea pots to France. Vietnam has long been making porcelain. Ceramic products glazed using traditional methods are well known in Bat Trang, Dong Trieu, Thanh Ha and Haiphong. [Source: Vietnam Tourism. com, Vietnam National Tourism Administration~]
Vietnam Pottery
Bui Hoai Mai is writing a book on Vietnamese ceramics. For more information, please contact him: Jimmai@netnam.org.vn
Ancient Vietnamese Ceramics and Pottery
In prehistoric times, most designs were created with sticks on the surface of pottery while the product was still wet. All ceramic products from this period had practical domestic and culinary uses. Most Bronze Age pottery products are formed on turntables and come in a variety of styles. In addition to cookware, there are craft ceramics and tool products. Various products are decorated with engraved images and coated with an enamel-like substance of different colours. Decoration of ceramic products of that period was done using bronze tools. [Source: Vietnam Tourism. com, Vietnam National Tourism Administration ]
Ancient Vietnamese Ceramics
Iron Age ceramics were developed in all regions of the country. These products are made at low temperatures using some crude techniques. The shape and decoration of Iron Age pottery is very unique to that period. This craft has been developed from traditional experience and Chinese influence. This period also saw the emergence of architectural pottery, including bricks and tiles, and the introduction of simple animal figurines such as pigs and cows.
Phan Cam Thuong writes in his article “Historical Overview of Vietnamese Ceramics”: “Ceramic manufacturing first appeared in Vietnam at a primitive stage of the country’s development, when people abandoned wild life to live in sedentary communities and began to Invention of new tools Artifacts found in archaeological sites date back to the Middle Stone Age, about 10,000 years ago, and were found in Bac Son during the Neolithic period, when the technology for making stone tools reached its peak and became increasingly complex. Period ceramic products are also artistically featured. They are no longer humble jugs or cooking utensils. Especially Hoa Loc ceramic products are endowed with rhythmic patterns that show original geometric thinking. [Source: “A Historical Overview of Vietnamese Ceramics” by Phan Cam Thuong, Vietnam Art Books.com, VietNam Cultural Windows. Phan Cam Thuong is a researcher, art critic and writer of over 12 books in the art and art history fields. He is now a professor at the Hanoi Fine Art University and an acclaimed artist.]
“The invention of pottery may have begun by observing the effect of fire on the surface of the earth. Primitive man must have noticed that the earth became very hard where the fire passed. They began to dig holes, which were baked and made into containers, It is used to hold harvested rice or water. The various shapes of ceramic products also come from nature, such as ancient rice bowls and tableware, which are all in the shape of a hand rest, which is the shape of our hands holding spring water. The jars used as containers and The shape of the bottle is the same as the fruit.
Ancient Vietnamese Pottery
“Knitted and woven products such as baskets and bamboo cages also influenced the shape of early ceramic products. Ancient vessels were made by plastering clay before placing the knitted items in a kiln. At high temperatures, the woven cages were burned, Leave traces of ceramic containers, which become small decorative patterns. Many ancient ceramics from the Stone Age in Vietnam have traces of this decorative pattern. This may explain how the decoration on the outer surface of pottery was invented. After the advent of the pottery wheel, appeared Ceramics decorated with rhythmic patterns.
Today we can accurately reconstruct the molding and decoration process of the three phases of Bronze Age pottery art: Phung Nguyen (4000 years ago), Dong Dau (3300 years ago) and Go Mun (3000 years ago). The pottery making methods of this period are similar to those still used in rural Vietnam today. The pottery decoration techniques of the above three periods became the early models of the bronze decoration patterns in the Dongshan period. Sa Huynh and Dong Son pottery reached a very high level of technical sophistication during the Iron Age, even as precious bronzes gradually became common. What needs to be added is that the tools used in this period were mainly made of iron, the household items were mostly ceramics, and the musical instruments were mostly bronze. Known for its thickness, Sa Huynh pottery is typically made in the South for use in graves or as containers for the belongings of the deceased. The interplay between the shapes of the bronzes and the shapes of the ceramics is evident; many ancient ceramics have the same shape as the bronzes, and vice versa.
Vietnamese Ceramics and Pottery from the Period of Chinese Domination
In his article “Historical Overview of Vietnamese Ceramics,” Phan Cam Thuong writes: “During the ten centuries of Chinese rule and the ongoing struggle for independence, the Vietnamese continued to make ceramics using their traditional methods while attempting to learn and adapting techniques to the Chinese version.” Crafts [Source: “A Historical Overview of Vietnamese Ceramics” by Phan Cam Thuong, Vietnam Art Books.com, Vietnam Cultural Windows.
Vietnamese Ceramics and Pottery from the Period of Chinese Domination
“The above statement is confirmed by the pottery unearthed from Chinese tombs. These include items brought by the Han from China, items made by the Vietnamese, and items made by the Vietnamese to the specifications of Chinese customers. The vast area from Quang Ninh, Hai Duong to Bac Ninh Pottery unearthed from Chinese tombs in , has the common forms of the period: vessel-shaped bowls, tall cups with wide mouths, thin necks, large centers, and bell-shaped tall bottles (called dam xoe). tu dai dong duong (common among four generations shaped bases and terracotta house models were used in the architectural design of the dwelling.
“It is clear that bronze had an aesthetic influence on most of these ceramics; the geometric decoration and relief patterns of the ceramic products of this period are very similar to those of bronze. Due to the high complexity of technology and the use of pottery wheels, the product wall thickness (0.5 cm), solid with a high silicate content and covered with a thin yellow or white glaze.
Ceramic objects from the 8th, 9th, and 10th centuries have also been unearthed; many of them were made in the Tam Thai (three-color) ceramic style that prevailed during the Tang Dynasty. They are covered with a clear green glaze that gathers in small pieces in certain places to form various patterns, a technique known as “drop-patterning,” an unconventional term associated with a product considered so valuable. Ya name.
Vietnamese Ceramics and Pottery from the Period of Chinese Domination
Vietnamese Ceramics and Pottery in the Early Imperial Era
After more than ten centuries of Chinese rule, the Li and Tran dynasties regained their national independence. Pottery from this period achieved great success in quality and variety through mass production. Basic elements such as shapes, decorations and colored enamel are used to create beautiful products. The painted decoration is simple but very attractive. A unique engraving quality was developed and various types of enamel were applied. [Source: Vietnam Tourism. com, Vietnam National Tourism Administration]
Phan Cam Thuong writes in “An Overview of the History of Vietnamese Ceramics”: “Vietnamese ceramics experienced a remarkable creative period during the Ly Dynasty (1010-1225). Inspired by Tan Thai pottery and the Chinese Song Dynasty celadon tradition. Beautiful to the Middle East. Many ceramics from this period are elongated and covered with emerald glaze. Glaze colors vary: light gray-green, yellow-green, light green, purple Green and so on. The glaze is in different shades: light gray-green, yellow-green. Light green, purple green, etc., the decorations covered by the glaze are still clearly visible. There are also pottery with white glaze, black glaze and iron brown glaze, which are very pleasing to the eye. All ceramics are imbued with the same aesthetics emphasized in other areas of art such as Li Dynasty architecture and sculpture. [Source: “A Historical Overview of Vietnamese Ceramics” by Phan Cam Thuong, Vietnam Art Books.com, VietNam Cultural Windows
Vietnamese Ceramics and Pottery in the Early Imperial Era
“In addition to the traditional pottery center during the Ly Dynasty in Thanh Hoa and the traditional pottery center in Thang Long (now Hanoi) during the Tran Dynasty (1226-1400), other pottery centers were later developed in Quang An and Nam Dinh. According to historical documents, this Officials of the period, such as Hua Rongqiao, Dao Tianzhi and Liu Fengtu who were ambassadors to China, studied Chinese pottery making techniques and brought them back to Vietnam to teach the skills to the villagers of Bat Trang (Hanoi), Tho Ha (Bac Giang) and Phu Lang (Bac Ninh Province) Bat Trang villages specialize in the production of Gom Sac Trang (white pottery), Tho Ha in Gom Sac Do (red pottery) and Phu Lang Gom Sac Vang (yellow pottery) . The white ceramics with blue patterns produced at that time were not much different from those produced in Bat Trang village today. Tho Ha terracotta is made of terracotta and consists mainly of large containers and glazed coffins for traditional bone (or bones) reburial from corpses three years after initial burial. While Phu Lang still produces large quantities of yellow or chartreuse “eel skin” pottery, the village of Tho Ha ceased production a century ago.
“Terracotta products arose earlier than other types of pottery and have continued to evolve throughout Vietnamese history, but only between the Dinh (967-980), Ly (1009-1225) and Tran (1225-1400) dynasties reached heights of artistic excellence. Bricks were used for cobblestone foundations, walls and miniature towers, roof tiles, phoenix or dragon-shaped architectural decorations, and the construction of incense burners. The Binh Son Tower (Vinh Phuc) is 14 meters high and its history can be traced Dating back to the Tran dynasty, it is a perfect terracotta building, meticulously detailed down to the smallest detail; nothing comparable has been built since then.
“Just as glazed pottery is representative of the Le dynasty, so is the iron brown pottery of the Tran dynasty. There are two types of the latter: brown grain on a white background and white grain on a brown base. Tran dynasty pottery is large in size and simple in shape: the The utensils had a majestic and majestic appearance, conveying the warlike spirit of the Chen dynasty. Established jade green and blue-and-white glazes, or between brown and blue-and-white glazes, also appeared until Houle (1427-1527), white-glazed pottery be fully developed.
Vietnamese Ceramics and Pottery in the Late Imperial Era
From the 15th century, pottery began to use white enamel with blue patterns and improved manufacturing techniques. Today, some places still specialize in the production of ceramics, including Bac Ninh, Thanh Hoa, Nam Dinh and Hanoi provinces.
Phan Cam Thuong writes: “Based on the traditional technique of making white-blue and iron-brown glazed pottery, pottery collector and renowned craftsman Dang Huyen Thong of the Mac period (1527-1598) created a new type of decorative pottery with geometric patterns and Embossed patterns.The dynamism and majesty evoked by Dang Huyen Thong’s new pottery designs expresses the turmoil of the 17th and 18th centuries: Against the backdrop of wars that divided the country during civil wars, the art of ceramics developed alongside other crafts, along with changing villages and cities The center lasted for two hundred years. [Source: Vietnam Art Book Network, “An Overview of the History of Ceramics in Vietnam” by Phan Cam Thuong, a window on Vietnamese culture]
Vietnamese Ceramics and Pottery in the Late Imperial Era
“After the Nguyen Dynasty (1802-1945) moved their capital to Hue, they also devoted themselves to court services and ceramic crafts for daily life. New centers of porcelain and ceramic production, such as Mong Cai and Dong Nai, started to merge with the historic old centers and kilns appeared together.Porcelain trade flourished during the Qing Dynasty in China and the Nguyen Dynasty in Vietnam.Many courtiers from Asia Minor and Central Asia imported Vietnamese ceramics.
“Today, modern pottery is based on traditional ceramic-making techniques that have been used for hundreds of years. What used to be an honorable craft requiring great skill is now another growing industry. Apart from the old centers that are still functioning and existing, many Old and new communities began to use traditional methods, introducing techniques such as casting, using chemical glazes, and firing in gas or electric kilns. Many shapes and decorative products followed international aesthetic tastes, but traditional ceramics retained their own value. An industrial forest old tree in.
Bat Trang Markets Its1,000-Year-Old Ceramic
The Associated Press reported on Bat Trang: “Nguyen Trong Hung caresses a five-foot-tall porcelain vase, his weather-beaten hands spinning hypnotically on a potter’s wheel. Years of practice have made his movements look flawless. Bat Trang, a Red River village outside Hanoi that has produced pottery and earthenware for 1,000 years, is renowned for its quality and innovation in Vietnamese wares. [Source: US Associated Press, 5 December 2004]
“As communist Vietnam opened its doors to a market economy, artisans like Hung, once forced by the government to work for pennies, are now young entrepreneurs who dream of one day linking their village to France’s famous porcelain region. The ceramic artisans are in this village and we are very proud of the craft we inherited from our ancestors 1,000 years ago,” said Hong, who learned the craft at the age of five. “We hope that through this project, more people around the world will know about Bat Trang ceramics, which will help push the sales of our products to a new level.”
Bat Trang Markets Its1,000-Year-Old Ceramic
“Hung’s family and 26 others from the village of 400 ceramic producers joined a pilot project – the Bat Trang Porcelain and Ceramics Association – which began promoting their products in November. Expertise — the fund is managed by a branch of the World Bank and has committed $150,000 over two years for a website, transaction center and improved marketing — they can start selling directly to department stores in the region, starting from abroad.
In 2003, “the village, which employs an estimated 30,000 people, exported around $23 million worth of pottery. Project leader Len Cordiner hopes to double that number within the next three years. 10 to 20 years time, but we can — at least I hope — do pretty well wholesale and retail. “There are hundreds of handicraft villages across Vietnam with skilled artisans who make everything from rattan and wrought iron furniture to silk and lacquerware, but Bat Trang is like no other.
“Its history can be traced back to a place outside the ancient capital of Hoa Lo in northern Vietnam, where pottery craftsmen once gathered. In 1010, the craftsmen moved with the capital to Hanoi, and the remains of Bat Trang pottery and ceramics were unearthed at the ruins of the ancient castle — proves that even the Vietnamese royal family used wares made by villager ancestors. Bat Trang products have been found in shipwrecks throughout Southeast Asia and are exhibited in museums around the world. Foreign experts were surprised to find them, says Vietnamese historian Duong Trung Quoc , some of Bat Trang’s ancient products have more modern and sophisticated technology than expected, similar to relics found in Japan and China.”The cultural value of a product lies in its commercial strength,” he said. “It helps foreigners understand Vietnam. , the quality of the product will help them trust other Vietnamese products. “
“While each piece is still handcrafted—including intricate scenes and designs etched onto the porcelain—some homes are innovating. Hung switched from a coal-fired to a gas-fired kiln three years ago. It was 50 percent more expensive, But his creations heat more evenly, with no more coal dust or wasted time hauling fuel. Now only 30 percent of his production is exported, but Hung’s family makes about $6,370 a year, well above the national average of about $420, a major change from the poverty and deprivation of two decades ago. After the Vietnam War ended in 1975, communists forced Bat Trang villagers to make bowls and plates, a day’s work for just pennies, according to Hung. The money is just enough to buy a little over three catties of rice. As Vietnam began to open up its economy and encourage private enterprise, the village started to make money. Today, the road leading to the village is lined with pottery shops and a large open-air market by the river is thriving.
“Cordiner hopes to eventually start traveling to Bat Trang and create a niche market similar to Les Artisans d’Angkor in Siem Reap, Cambodia, where artisans produce lucrative quality souvenirs. “We draw on the city’s history and ceramics The history of production, they are closely linked,” he said. “They are visible and tangible historical evidence. “
15th Century Vietnamese Dish
Steven M. Kossak and Edith W. Watts of the Metropolitan Museum of Art describe a 15th-16th century clay bowl. 19th century, with cobalt blue underglaze decoration, and reads: “While real elephants are large and heavy, the elephant depicted in the center of this plate appears to be floating in a Chinese ‘Ruyi’ cloud. The Vietnamese are worshiped And the artistic influence of their great neighbor China began very early in the style. By the 15th century, Chinese blue and white porcelain had become famous all over the world, and Vietnamese potters were beginning to master this borrowed technique, in which designs were painted on white The surface of the porcelain was painted cobalt blue and then covered with a clear glaze before firing [Credit: Steven M. Kossak and Edith W Watts, Art of South and Southeast Asia, Metropolitan Museum of Art, New York]
Although the cloud and blue and white underglaze techniques come from China, the elephant is depicted in a completely different way. In India, the elephant was a symbol of ancient royalty. In China, elephants are imported to add pomp to royal ceremonies and processions. In Vietnam, elephants are domesticated and are an important means of transportation for transporting people and goods. Maybe that’s why the decorators of this dish drew the elephants so kindly, humorously, and affectionately. The elephant turns around as if admiring its loose fur, which is decorated with clusters of flower-like dots. The curve of his soft jaw and large eyes (with lashes) create a smiling expression. The rounded cloud pattern complements the elephant’s tusks, trunk, body and circle in the center of the bowl.
Text sources: New York Times, Washington Post, Los Angeles Times, London Times, Lonely Planet Guide, Library of Congress, Vietnam Tourism Administration. com, Vietnam National Administration of Tourism, CIA World Factbook, Compton’s Encyclopedia, The Guardian, National Geographic, Smithsonian Magazine, The New Yorker, Time, Newsweek, Reuters, Associated Press, AFP , The Wall Street Journal, The Atlantic, The Economist, Global Perspectives (Christian Science Monitor), Foreign Policy, Wikipedia, BBC, CNN, Fox News, and various websites, books, and other publications cited in this article.
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