15-16세기 베트남 청화백자 생산과 특징

Abstract

This study is mainly concentrated on three components: the characteristics of Vietnamese blue and white porcelains in the 15th and 16th century which were produced by certain distinguished type of kilns, the possibility of women participated in making ceramics and eminent shape and patterns of the Vietnamese blue and white ware. In the early time, Vietnamese blue and white pottery has not actively studied yet. Most of the researches has focused on certain porcelains; characters and features of which were largely influenced by Chinese blue and white porcelains. Hence, this paper will navigate the characteristics of Vietnamese blue and white china to suggest different views by reflecting a field survey in Vietnam and researches of local scholars. The Vietnamese blue and white porcelains were for everyday use and were highly valued trade goods. In 15-16 century, due to the advance of ceramics production methods and background of Haijin policy(sea ban), Vietnam exported their porcelains to Southeast Asia, Ryukyu Kingdom, Egypt, Turkey. The exported porcelains were produced in kilns in northern Vietnam and there are some opinions that the Vietnamese kilns imitated Chinese kilns style. However, as a result of the inspection of kiln structure in Chu Đậu region, which is a representative production site of the blue and white porcelains, it seems that these kilns show different characteristics from Chinese dragon kilns and Mantou kilns. Therefore, it is strongly believed that the style of Chu Dau kiln is not an imitation, but just a reinterpretation of that of Chinese kilns. In addition, there was a notable history in that Vietnamese women appeared to have involved in ceramics industry though it was not common for the women to work in Ming-dynasty and Joseon Dynasty. Some findings which can support this idea were found. One is that female names were frequently described in a certain letter about the inscription of <Large bulbous bottle with peony scroll> displayed at Topkapi Saray Museum in Istanbul. Another is that some of the products made around the areas of Chu Dau were appeared to have been made by Nguyen Thi Dinh, a female ceramic maker. Based on these, it can be said that there is high possibility of women involved in ceramics industry in Vietnam. Besides, Vietnamese blue and white china has unique characteristics in the products is largely in forms of animal figures and specialized articles such as kundika (kendi). Animal figurative porcelains and patterns are particularly reflected in the shapes of naturally found animals such as elephant, parrot, blowfish, water buffalo, and so on. Rather than that of imaginary Chinese animal characters like Dragon and Phoenix, Kundika (kendi) is also different from most East Asian kundika (kendi): it has low height, long spout without handle. To sum up, Vietnamese blue and white porcelains of the 15th and 16th Centuries were not simply imitations of Chinese pottery. They selectively embraced the influence of Chinese style choosing only those elements that suited the unique and native aesthetic of Vietnam. In addition, the meaning of Vietnamese ceramics can be found in looking at ceramics export, production method of ceramics and Vietnamese ceramics style.