Cây Mai Pottery – Beauty endures through time

The artistry of Cây Mai Pottery has stood the test of time, weaving a rich tapestry of beauty that transcends generations. Rooted in the historic soil of the Southeastern region of Vietnam, this traditional pottery, known as Cây Mai, bears witness to the intricate craftsmanship and enduring allure that have characterized it for centuries. This article delves into the profound legacy of Cây Mai Pottery, exploring its origins, evolution, and the timeless elegance it continues to exude.

“Ancient Saigon Pottery Village” – The birthplace of the Cây Mai Pottery

The passage discusses the historical significance of the pottery village in Old Saigon, particularly focusing on the Cây Mai Pottery. It refers to a map of Phủ Gia Định drawn by Trần Văn Học in 1815, where the place name “Xóm Lò gốm” (Pottery Village) is marked. This village was one of the renowned craft villages in ancient Saigon.

The map and on-site surveys reveal various pottery villages in the area, such as Phú Giáo – Gò cây Mai, Phú Định – Phú Lâm, and Hòa Lục. There are also associated water channels (rạch) named Lò Gốm, and other related names like Lò Siêu, Xóm Đất.

The text mentions a specific pottery village called Cây Mai, which is documented in the Gia Định thành thông chí (1820) book. It notes that in 1772, the Ruột Ngựa canal was dug to connect from Sa Giang to the north, reaching Lò Gốm.

The pottery industry in this region likely originated before 1772, possibly in the early 18th century, with the first pottery kilns producing in the present-day districts of 6, 8, and 11 (Chợ Lớn) in Ho Chi Minh City. The remnants include the Cây Mai Pottery area and the ancient pottery kiln site in Hưng Lợi (Ward 16, District 8). Several famous kilns from that time, such as cây Keo, Phú Lâm, Bửu Nguyên, and Đông Hòa, specialized in crafting clay pottery, brown glazed pottery, and white glazed pottery.

The Cây Mai Pottery site, situated behind Cây Mai Pagoda, had a small canal flowing from Gò Cây Mai, running through Nguyễn Thị Nhỏ street to Lê Quang Sung street, pouring into Cây Gõ bridge, and flowing into Lò Gốm canal. Unfortunately, the latter canal has been filled. This route served as the transportation path for both raw materials and finished pottery products from Cây Mai.

Stages of the development of Cây Mai pottery

Early stage – Production of water jars (Lu Chứa Nước)

The initial phase of Cây Mai pottery production focused on crafting water jars, commonly known as Lu Chứa Nước or Lò Lu. These jars came in two main sizes: large ones with a capacity of around 200 liters and smaller ones with a capacity of approximately 120 liters. The local residents also referred to them as “lu 5 đôi nước” and “lu 3 đôi nước.”

In addition to water jars, the pottery kilns in the Cây Mai area diversified their production to include various other items:

Small-Mouthed Jars (Hũ): These jars likely had smaller openings and served specific purposes.
Basins (Chậu): The production extended to crafting basins of different sizes, catering to various needs.
Urns (Vịm): The mention of urns indicates a range of pottery items with a specific shape or function.
Flower Pots (Chậu Bông): The kilns also produced flower pots, suggesting an expansion into decorative and horticultural pottery.

This diversification of products indicates a maturation and expansion of the pottery-making craft in the Cây Mai area. The community not only produced utilitarian items like water jars but also ventured into crafting a variety of vessels and containers, demonstrating the evolution and adaptability of Cây Mai pottery over different stages of development.

Second stage – The artistic evolution of “Hưng Lợi Diêu” pottery

In the second phase of development for “Hưng Lợi diêu” pottery, the artisans demonstrated a remarkable diversity in their creations. The category of unglazed items, known as “bỏ bạch,” took center stage, embodying simplicity and functionality. Noteworthy among these were the distinctive “nồi lẩu” – cooking pots equipped with lids and handles, perfectly designed for culinary endeavors. Complementing this, the “siêu nấu nước” emerged as a specialized vessel, showcasing the artisans’ ingenuity in catering to various needs.

Adding a touch of finesse to the collection, the craftsmen ventured into the realm of thin white pottery (“gốm trắng mỏng”). This delicate variety, though distinct from the unglazed pieces, contributed a sense of refinement, appealing both aesthetically and functionally.

A striking feature of this period was the strategic use of dual glazing within specific items. The interior of the cooking pots and water boiling devices, coated in brown glaze, served not only an ornamental purpose but also functioned as a preventive measure against leakage, embodying a harmonious blend of practicality and artistry.

The palette expanded further with the introduction of colored glazed products. Brown-men items, such as differently sized boxes and pots, adorned the collection, while yellow-men items added a vibrant touch. Amidst this variety, the flower pots (“chậu bông”) stood out as true works of art. Crafted from delicate clay, they assumed round or hexagonal shapes and were adorned with multicolored glazes, featuring intricate floral patterns like “bát tiên,” “tùng lộc,” and “mai điểu.”

In essence, this phase revealed not only the artisans’ technical prowess but also their keen understanding of the dual aspects of form and function. The “Hưng Lợi diêu” pottery, with its diversified and thoughtfully crafted range, emerged as a testament to the rich artistic heritage and craftsmanship of the era.

Cây Mai Pottery – Beauty endures through time

Third stage: A blossoming tapestry of ceramic mastery

As the wheels of Cây Mai pottery turned into the third phase of production, a captivating array of ceramic marvels unfolded, revealing the artisans’ mastery over their craft. This period, characterized by diverse and intricate creations, marked a significant chapter in the pottery’s evolution.

In this stage, the once humble kilns expanded their repertoire to encompass a spectrum of functional and ornamental items. The utilitarian focus broadened to include:

Tableware: Bowls, plates, and dishes of various shapes and sizes became staples of Cây Mai pottery, reflecting the artisans’ adeptness in catering to daily life needs.
Teaware: Embracing the prevalent tea-drinking culture, the kilns began crafting teapots and tea cups, adding an aesthetic dimension to the region’s tea rituals.
Celebratory Items: Bottles and wine jars, both practical and ceremonial, made their debut, signifying the artisans’ ability to blend functionality with celebration.
Spoons of Art: The artisanal touch extended to spoons, with each piece showcasing not only functionality but also a distinctive artistic flair.
Colored Enamel Pottery: An era of color dawned upon Cây Mai pottery, introducing a vibrant palette including white, blue, green, brown, and yellow. The ceramics adorned with these hues added a new dimension to the kilns’ offerings.

Beyond the functional aspects, the pottery embraced artistic expressions with inscriptions like “Kim ngọc” and “Việt Lợi.” These enigmatic markings hinted at potential connections to specific workshops, craftsmen, or perhaps, commissioned orders from discerning patrons.

Decorative pottery and spiritual artifacts:

Ornamental Embellishments: Beyond the pragmatism of daily items, Cây Mai pottery delved into the realm of decorative pedestals and ornamental basins, showcasing the artisans’ ability to transform clay into artistic statements.
Spiritual Significance: The kilns extended their craft to religious artifacts, producing incense burners, candle holders, and religious statues. These artifacts not only spoke of craftsmanship but also carried profound spiritual symbolism.
Architectural Flourishes: The artisans ventured into crafting architectural embellishments, featuring figurines of dragons, elephants, horses, and other symbolic statues, enriching the visual landscape of the pottery.

In contemporary times, the legacy of Cây Mai pottery persists, albeit in a different form. The terracotta and glazed pottery produced today often embody decorative statues, worship artifacts, and religious symbols. These artifacts find sanctuary not only in religious institutions but also in the homes of those who cherish and safeguard their cultural heritage.

Saigon pottery, with its own distinctive identity, often bears inscriptions indicating the year of production and specific kiln marks. Notable examples include the inscriptions found on the statues of Giám Trai at Giac Vien Pagoda and various statues at Thien Hau Temple, each inscription carrying a piece of Saigon’s historical mosaic.

The journey of Cây Mai pottery is a testament to the resilience and adaptability of a craft that has not only weathered the sands of time but has also evolved into a living legacy. From the simplicity of daily utility to the intricate expressions of art and spirituality, Cây Mai pottery stands as an enduring symbol of Saigon’s cultural tapestry, echoing the stories of artisans who shaped clay into works of timeless beauty.

Characteristics of Cây Mai Pottery

Common and artistic pottery

The repertoire of Cây Mai pottery from the kiln site encompasses a variety of large-sized, common pottery items. These include everyday items with artistic embellishments, adding aesthetic value to functional objects. Additionally, the product range extends to water conduits, sculptures made from terracotta, and vibrantly colored glazed ceramics.

Characteristics of Cây Mai Pottery

Unique products from the late 19th to early 20th century

The late 19th and early 20th centuries mark a distinctive phase in Cây Mai pottery, characterized by the production of uniquely crafted and characteristic items. The introduction of colored glazes revolutionizes the landscape, offering a rich palette including white, blue, green, brown, and yellow. This period sees the creation of diverse forms, such as bowls, cups, plates, and spoons, showcasing the versatility of these high-quality, colored ceramics.

Decorative pottery reflecting artistic mastery

Cây Mai pottery extends beyond the realm of practicality to embrace decorative elements that reflect the pinnacle of artistic mastery:

Functional Art: Unique and characteristic items include ornate stands, and decorative plant pots, demonstrating the fusion of functionality and aesthetics.
Religious Artifacts: The pottery repertoire extends into the realm of religious artifacts, featuring items like incense burners, candle holders, sacrificial offerings, and religious statues. These pieces bear intricate detailing and are integral to religious ceremonies.
Architectural Embellishments: The artistic expression is not confined to individual items but extends to architectural elements. Various forms, including dragons, elephants, horses, and miniature figurines, serve as decorative components in architectural contexts, contributing to the visual richness of buildings.

Cây Mai pottery, with its diverse range of utilitarian and artistic products, stands as a testament to the craftsmanship of its artisans. From common household items to intricately designed decorative pieces, each product is a reflection of the rich history and artistic evolution of Cây Mai pottery, capturing the essence of its cultural significance and timeless appeal.

Material and making process of Cây Mai Pottery

Raw material

The soul of Cây Mai pottery lies in the raw materials extracted from the surrounding region, predominantly characterized by various shades of gray, soft, clayey soils. These soils, ranging from white-gray to smooth white hues, form the foundation for crafting both traditional earthenware and the refined glazed ceramics known as “sành.”

Gray and soft clays, found in abundance, serve as the primary ingredients for earthenware. The distinctive colors, whether white-gray or smooth white, determine the ultimate use of the clay in either traditional or glazed pottery.

Crafting process

The crafting journey commences with the harvested clay, expertly mounded using bamboo sticks before undergoing a process of kneading and piling. This clay amalgam is then left to ferment and mature. Before shaping, water is introduced, and the clay is kneaded once more until achieving a pliable consistency.

Hand-making process of Cây Mai Pottery

Shaping on the potter’s wheel: The transformation begins on a potter’s wheel, a spinning canvas with an 80cm diameter, positioned close to the ground. For larger items, molds made of plaster are employed, intricately piecing together multiple segments.

Kiln – The crucible of transformation: The Cây Mai kilns, resembling either bottle or dragon-shaped structures, stretch impressively up to 20m or 25m in length. The kiln’s incline ranges from 15oC to 180oC.

Temperature Monitoring: Along the kiln’s length, a series of small openings, each measuring 8x10cm, serve as windows into the fiery core, allowing artisans to monitor the temperature during the firing process.
Stacking Technique: In a departure from the conventional method of stacking pottery within protective casings, Cây Mai artisans often nest smaller pieces within larger ones, optimizing space and allowing for more efficient firing.

Firing duration: The culmination of the process unfolds over an average period of two days, where the pottery undergoes a metamorphic journey in the crucible of heat.

The art of Cây Mai pottery is not merely about shaping clay; it’s a harmonious interplay between the earth’s elements and the skillful hands that mold it. From the humble beginnings of raw materials to the fiery embrace of the kiln, each step in the process contributes to the legacy of Cây Mai, a craft that stands as a testament to the fusion of tradition and artistry.

The vanishing legacy of Cây Mai Pottery

Unique yet elusive: In the intricate tapestry of time, the unique artistry of Cây Mai pottery stands as a testament to Vietnam’s rich cultural heritage. Regrettably, this distinguished lineage now only survives within historical relics, spiritual sanctuaries, or private residences.
Relics in worship and daily life: Within historical sites, Cây Mai pottery often finds a purpose in sacred worship, while in homes, it manifests as functional objects. Terracotta sculptures, hailed as the epitome of artistic value within the Cây Mai lineage, have become increasingly challenging to acquire.
Diminished artistry in museums: Even in prestigious institutions like the Fine Arts Museum and Ho Chi Minh City Museum, artifacts from Cây Mai Village showcase diminished intricacy or incomplete forms compared to those preserved by collector P.H.V.
Auctioning heritage: A poignant example is the auction of a pair of Cây Mai pottery stands from the historic Đồng Hòa kiln on the Asium website in Paris in 2018. The rarity of such artifacts on the global stage underscores the challenges faced in preserving this cultural legacy.
The historical echo: The late 19th to early 20th centuries marked the pinnacle of Cây Mai pottery production in South Vietnam. French researchers like Derbès and Péralle documented the thriving industry, with 30 kilns in Chợ Lớn producing millions of bricks, tiles, and ceramics annually.
Foreign recognition and repatriation efforts: Cây Mai pottery gained international acclaim, receiving a Silver Medal at the 1880 Southern Vietnam exhibition. Repatriation efforts by collectors like P.H.V bring these prized artifacts back home, rekindling a connection severed by historical upheavals.
Reflections of a collector: In P.H.V’s contemplations, the melancholy of Vietnam’s historical upheavals surfaces. Countless cultural treasures dispersed globally, with notable collections found in France, serve as poignant reminders of a fragmented heritage.
Challenges and the call for national strategy: The challenges in reclaiming Vietnam’s lost treasures prompt reflection on Dr. Phạm Quốc Quân’s call for a national strategy. This strategy, aimed at repatriating cultural artifacts, underscores the importance of national pride, economic development, and the active involvement of society.

As Cây Mai pottery dwindles into obscurity, the urgent need to safeguard Vietnam’s cultural heritage emerges. The tireless efforts of private collectors, museums, and scholars reflect a collective endeavor to revive and celebrate a cultural legacy that deserves to thrive within the nation’s narrative.

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Cây Mai Pottery – Beauty endures through time