The high-fired glazed stoneware ceramics that were produced at the kilns in the Kingdom of Sukhothai from the 13th – 16th century are the pride of Thailand and much coveted by curators of museums and private collectors around the world. Although beautiful red earthenware unglazed urns and other artifacts dating back to 3600BC have been excavated at Ban Chiang, the zenith of ceramic production in Siam (Thailand) is frequently cited as Sawakhalok jars, plates, bowls, and vases in celadon (light green) and dark brown glaze from the 15th century.
Confusion sometimes arises over the nomenclature of antique Thai ceramics from this period. The term Sawankhalok is generally used interchangeably with ceramics from the city of Si Satchanalai in the Kingdom of Sukhothai, although it is also used to refer to a much wider area covering many hundreds of kilns in central Thailand. Ceramics produced in Sukhothai city are distinct from Si Satchanalai / Sawankhalok wares and comparisons of clay are made; Sukhothai is known for its courser clay with a high iron content, resulting in black specks. Studies of excavations sites at Ban Noi indicate that the production of glazed ceramics began in Si Satchanalai earlier than in Sukhothai. Another term encountered in the study of ceramics from this period is Sangkalok, a Thai term for ceramics made in both Si Satchanalai and Sukhothai during the Sukhothai period. As a side note, although the Lanna Kingdom in the north of Thailand produced beautiful glazed stoneware during the same period, it was not known to be exported.
Sawankhalok / Si Satchanalai & Sukhothai Ceramics (13th -16thC)
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. Sawankhalok ware was also exported to Japan and the Middle-East. The export of both Thai and Vietnamese ceramics experienced a surge when the Chinese imperial court placed a ban on foreign export during the Ming period, leaving a gap to be filled. For the duration of the 15th century, Thailand and Vietnam became the most important suppliers of ceramics to the SE Asian market. During the first half of the 15thC Vietnamese and Thai iron-painted ware were popular but by the latter part of the 15th century it was Thai celadon and Vietnamese blue and white wares that were in demand.
A deeper understanding of Thai trade ceramics during this period has been made possible largely by studies of the maritime trade in Southeast Asia, in particular shipwrecked junks carrying ceramics to Indonesia and the Philippines. Over the past 22 years some 10 shipwrecks have been discovered in the gulf of Thailand and the South China Sea. Often amongst the cargo were Chinese ceramics for which stronger dating was possible thanks to detailed records, allowing the basis of a chronology of Thai ceramics to be formed. The foremost expert in the field was the late Dr Brown whose book, “The Ming Gap and Shipwreck Ceramics in Southeast Asia- Towards a Chronology of Thai Trade Ware” was published in 2009.
Excavations in Indonesia and the Philippines and recoveries from shipwrecks indicate that the iron-painted black fish and floral motif plates constituted the first wave of popular Thai ceramics in SE Asia, probably originating from the kilns of Sukhothai. The earliest Sukhothai iron-painted wares were discovered at the Turiang shipwreck dated around the late 14th century. Thai wares made up around 35% of the cargo and included some Sawankhalok celadon jars and vases. Early Sukhothai wares were sparsely decorated with fish or floral motifs. More elaborate decoration was present on pieces from the Nanyang wreck dated to the 1420-30s.
By this time large celadon plates (also termed shallow bowls) from the Sawankhalok kilns were in production. In the 1450-60’s iron-painted wares lost popularity to Thai Celadon and Vietnamese blue and white wares though production of iron-painted ware continued in a reduced capacity and consisted of mainly jars, plates and bowls. Usually a circular scar of the support disc could be seen on the base.
The Royal Nanhai Shipwreck
Another wreck that has provided important information on the chronology of Thai trade ceramics is known as the Royal Nanhai Wreck, a Siamese junk that is thought to have sunk off the coast of Malaysia in the South China Sea around mid 15th century, supported by carbon 14 dating corresponding to 1400 A.D +/- 70 years. The junk was transporting over 20,000 pieces of green and brown glazed celadon ceramics to Eastern Java. The wreck was discovered in 1992. Most of the Thai cargo consisted of celadon ware from the famous Si Satchanalai kilns as well as black glazed stoneware jars with lids. The presence of blue and white Chinese porcelain confirmed a dating of the cargo to the mid-late 1400s. Of the some 20,000 pieces on board, only 20% were recoverable, with nearly 3,000 pieces going to the National Museum in Kuala Lumpur. A small number of pieces became available for sale, allowing some of the finest 15th century Si Satchanalai ceramics ever seen to be offered to private collectors and museums around the world, including the Victoria & Albert Museum in London. Very few pieces remain available for sale today.
By 1500, during the Ming Hongzhi period in China, blue and white wares emerged as the most highly demanded ceramics in Southeast Asia. Thai celadon and brown wares lost favor and as demand fell so did the quality- dramatically. In an effort to revive Thai ceramics exports in the 16th century, Thai potters introduced decorations in underglaze iron-painted black and created a niche in cover boxes, kendi and bowls. It was also during the 16th century that opaque white glaze wares were introduced. By the middle of the 16th century the Burmese invaded Siam in the first of the Burmese-Siamese wars, effectively ending production at the Sawankhalok and Sukhothai kilns. In the centuries that followed, unglazed stoneware was produced at Singburi and near Ayutthaya and Chinese and Japanese blue and white wares were imported for everyday use. In the early 20th century the production of ceramics began to thrive in Chiang Mai and Lampang, both in celadon and blue and white ware, some of which was influenced by Chinese designs. The ceramics featured in this article are currently available – just click on the photos for more details.
