I have seen he has a very very interesting biography. I cannot tell you all.
His original subject is archaeology and he has done a doctorate at the University of Hanoi exactly about the topic which he is talking today.
I have been to Vietnam for a long time. I have been to Vietnam for a long time.
I thought first this was an era but really this is a new name of the minister.
So I wrote wrongly here. I wrote Museum of History but it is really the Royal Art Museum.
And now they have changed the name.
Yes, they have changed in 992 for a touristic reason to attract more tourists I guess because there is no royalty in Vietnam anymore.
There is only communists anymore but they still have kept the name. I think to make this it's a wonderful museum.
I visited it twice in a Bao Long, Parveong, a very nice wooden building and yes I think now we are complete.
We have 27 participants from all over the world from Vietnam, from Germany and I don't know from where exactly.
I would propose the following rules. First of all, we will hear the present. For us it's also a premiere I have to say.
This is the first time we are doing this so we will also gather a lot of experiences.
First of all, we are listening all to the presentation and then you can ask questions.
The best would be if you send us your clapping hands or something so that we know that you want to ask a question.
And I would also propose to you that we raise three to four questions at one moment.
So summarily and he is answering them in order, yes, to save time also in order to limit the problems of interaction which might occur but I don't think they will occur.
So thank you very much once again, Dr. Chanduchen Son, and we are really eager to hear your presentation about the Chinese porcelains made for the Vietnamese court from the 17th century to the early 20th century.
Welcome again, and we are very eager to hear your presentation.
Thank you so much, Professor Tomak Efengbeck. This is the first time I gave my lecture so I'll talk something about our chef break in our online.
So maybe we have problem if the Wi-Fi have problem, but I hope everything will be okay later.
Today, we want to talk about the Chinese porcelains made for the Vietnamese courts. In Vietnam, we call this with many terms.
But in my dissertation for B.H.D. degree, we knew the term should be built.
This is also my study during 20 years, and then I published the book about us bringing two terms in Vietnam with, believe you, English and Vietnamese.
Today, I'm very happy to be the first guest of Vietnamese study at the University of Hamburg to talk something about my chef break in the first day of the lunar leisure.
Now, I want to start my...
Okay.
Now, I will begin soon.
From the last half of 17th century to the early 20th century, Vietnamese courts sent the invoice to China for the diplomatic relation.
Beside the diplomatic mission, the invoice also went to ceramic queues in China to commissioning the high-quality porcelain, bringing them back to Vietnam for the next of the Vietnamese courts.
Neither porcelain, those made in China, but having the Vietnamese criteria, such as the Vietnamese dynasty titles of the kings.
The decorative motif on either porcelain is affected by the Vietnamese arts, and the poems on either porcelain are written in known character, the freak of Vietnamese, or something that followed the Vietnamese feeders.
There were the very special porcelain, the products of cooperation between Vietnamese and Chinese in the past, and now they become the favorite antics with the Vietnamese and the foreign character.
Up to the present, neither porcelain pics have been known as blurred way or blue-shoe-mainland way, cobbled blue under the laser porcelain of ways. However, in my opinion, I call them a blue-shoe equal.
This is Vietnamese language. It means commissioner-pectral porcelain.
So, we want to let me talk something about the overviews of the term blurred way. This is a very widely term around the world, because almost of the Vietnamese and the foreign character, they also know about the blurred way.
The term blurred way appeared for the first time by Louis Cho-cho's article, La Cuetriong de la Ceramique Annam et la Blurred Way, published in bulletin, we committed La Chie, France, in 1990.
The article deals with the porcelain displayed in the royal palace in Hue, which, according to the authors, has been commissioned from China.
Then, the French priests and scholars, Leopold Cartier, used the term blurred way in his book, the name of the book, Indexed B.A.B.S., in 1919-1920.
Because, ascribe that the porcelain were made at the scale stopped upon chance in England in the 1780s before being purchased by King Minh Man, the second king of Manistee.
The man bought it and used the modern greatest anti-cribal and used it in the palace for our views.
After that, in the article, Leopold bloodway, Anikong Ma Ha, published in the bulletin, La associated ee-chit-dae, in the Chinoas, scholar Vuhong Che from Saigon, used the term blurred way to denote the porcelain and the Vietnamese commission from the chaos in Vietnam.
Vietnam and not though this commission from the giraffe by the Nguyen cost. I want to explain
some things because Luis Ochoa used blood away to decryble one kind of porcelain made
in giraffe and were brought to way and used in the royal palace under King Minh Man. But
Mr. Guo Hong Sheng, the scholar from Saigon, he is the former director of the historic
Museum of Saigon before 1975. He changed the name, he used blood away to denote the porcelain
made for Vietnam but not from giraffe, only from China. This is the content of the term
blood away. But nowadays, blood away is the term that foreign researchers apply for the
porcelain made in China and attracted to Vietnam, including those that are impacted by the lot
obtained costs in Tanguay, the outer region in the north of Vietnam, and the most cost
in the downtown, the inner region, the south region of Vietnam. And the station at the
during 19th century to early 20th century, and well at the tiny porcelain imitating the
porcelain with good releases to the Vietnamese people in the beginning of 20th century.
This means the term they can contain from the porcelain made from giraffe,
changed to made from China, and they changed the worldly, the content of that, not only for the
cost, but also for the common people's use. The second, we want to talk about the term
glochu, mena mui. This term also very famous in Vietnam before 1990. The first person to use
the term glochu, mena mui, weren't other than Gugongsheng in his articles and in his book,
which was published in Saigon before 1975. To denote the porcelain with the views by the king,
the lot, the Mandarin, and the common Vietnamese people had commissioned from China from the
late iteration era to the Muayi era, from 18th century to 20th century.
Co-founder by Gugongsheng, the term Vietnamese blood glochu, mena mui,
had become popular among anti-collector until now. The other term, these are two terms,
blood glochu and glochu, mena mui, were widely used. The other name,
practiced by local and foreign scholars with various interpretations,
has been given to this group of porcelain so that glochu, mena, dang, wang, wang,
or glochu, pung wang, wang dong dang wang, pung wang, pung wang santang Gung wang,
pung wang wang wang, or glochu, dang, gah, and so on and so on. It means only one
group of the porcelain made from China, but Vietnamese scholars and Vietnamese
character, there's many terms, many phrases to mention about this kind of social. But in my
opinion, I use social ego for this group of porcelain. This is the reason. And I have
researchers in this particularly family of this porcelain. I really that all of the technical
term so far is used. So far from being accurate, they are even convicted to
mis-contruing, as scholars can understand. Now, the new terminology suggested by researchers
which I have listed above are however still controversial. For this reason, I suggest the
term locio ego. It means commissioned pattern porcelain. In my opinion, this is more exactly
to recommend this kind of porcelain. And I also use the term locio ego, but we ask the
the tech term like locio ego, locio ego, to mention about us. For example, locio ego, to
this term denote porcelain commissioned from China with style and pattern
the destination by latent cost from the last half of 17th century to the end of 18th century.
This term denotes porcelain commissioned from China with size and pattern designated by the
Mu'it loss in the Nangtang, typically by Lord Mu'utu from the end of 17th century to the beginning
of 18th century. And also, this term denotes porcelain bearing Cohen's encryption in North
Creek with world commission from China at the end of 18th century. Many researchers think that
they date back to the Asian era. And the last locio ego. This technical term
denotes porcelain produced in China by commissioning this pattern
were that desired by the Vietnamese in the periods of 18th to 1925. Under the reign of
King Zalang, King Mingman, King Tiu Tiu, King Tiduk, and King Kaden. Because only five kings of
Mu'it Anakti, who was ordered the porcelain from China, all those Mu'it Anakti had 13 kings,
but only five kings sent the invoice to China during their period to order porcelain from the
royal guild in Qingcheqiang, Tianxi province in China. The term those two details bears the
following criteria. At first, we use the name lo shu. The term lo shu is used because the object
under the gut shed in lo shu is mean porcelain, not lo rog, is mean ceramics, with a great content
of calling in its ensemble. The melting of clay means that the firing temperature has exceeded
1,300 degrees, which is the temperature required to make a porcelain brought us in the true sense
of the world. The second, we use the term ego. This means sending the models and the pattern
to the guild in China, where the porcelain piece would be made as commissioners by the royal
the mandarin or the common Vietnamese people from the Vietnam. The following characteristics
have helped me confirm that neither porcelain were made in the Gikil, mean commissioner or custom
order model. Neither porcelain are made in China, but they are the Vietnamese features, so that we
count for Vietnamese characteristics of the porcelain. The first, the decoration of the features
is the Vietnamese landmark. The second, the poem is tribal of the peaks are either in no
script, which are invented by the Vietnamese, and not in view in China or in high script,
but composed by Vietnamese authors. The third, the landmark on these porcelain are the
dynamic ties of Vietnamese kings. All the geomarks, they all quite insist with the years
when the Vietnamese delegation were sent to China. The fourth, decoration pattern of the porcelain
do not follow any Chinese prototype. They bear the imprint of Vietnamese decoration's ties,
which is also seen on other materials, such as bronzer, canvas, paper, previously used in the
sculptures, architectures, and other paintings from the Latin era to the Muayi era. These porcelain
were reserved for the Vietnamese, only used in Vietnamese when we never found China at the same
time. The third term of the term, the Latin porcelain tradition, are the terms past defining
the 19 limits of the porcelain piece under consideration. Compared with other terms used,
this term is not verbose. It can furthermore serve to clarify three things.
The material used to make an object, how it's work-based, and when it go made.
That is the reason why I propose the technical term those should be built, and I
use two masterly on this group of the porcelain. Now we want to change the two special
era of those should be built, made for latent cost in the after region, Nanggawai and the northern of
Vietnam. The first, we want to talk about the starting point of the practice of commissioning
porcelain from China. On the evidence of rhetorical recast and particularly the rating
of artifacts as need to matter on the basics of the glaze, and the creative style is the comparison
with other porcelain, the Chinese porcelain. I think these porcelain were started to commission
making for the latent honesty from China around the years of 1680s. The other scholar in Vietnam
saw example with the parvitum in Saigon, he think the Chinese the starting point to orders
China the those should be built. In China maybe earlier, but I wish us in the rhetorical
evidence. I think the the first terms the Vietnamese people send the invoice to China to order
porcelain around the years of 1680s. The second, we want to talk the some kinds of
those should be built in the latent era. Those should be built in the latent era in
Nanggawai had two groups. They are bearing different marks. There are two kinds of
marks. One group, they have the market known for PN plus the one term to denote the direction
when south it's the central of the north. This is the the name of the some practices
inside the latent legend in Tangang, nowadays in Hanoi. And the second,
mark of the those should be built in latent era is very famous and now it's very passive.
The mark is a kangchung. I will show the photo of that later. First we want to talk
about the those should be built bearing bearing the marks Noyu Fu Ti Tung or somewhere.
This was the group porcelain having the mark written in under the lasers cobalt blue
including Noyu Fu Ti Tung is made for the inner central palace Noyu Fu Ti Ta.
Noyu Fu Ti Tung made for the inner palace at right Noyu Fu Ti Na made for inner
palace in the south Noyu Fu Ti Ba made for the inner palace in in the north and Noyu Fu Ti Tung
made for the inner palace in the east. As an exception the mark Noyu Fu Ti Doi made for
in the palace in the west will apply in relief on the white laser surface. The type of
those with the bearing the mark Noyu Fu Ti usual conceit of bows, dishes, tea shack, sweet tune,
brush stand, painting holders, flower vase, lamp post, beaker, brush spot and something.
And this is some photos of some kinds of Noyu Fu Ti mark of latent periods of those should be built.
We can see here the bow which mark Noyu Fu Ti Tung made for the central palace.
It really fancy right now about one billionth or one billionth and find that millionth in Vietnam
right now for one. One picks and the others you can you can see the Noyu Fu Ti Tung the blade
also about 300 million dollars per place and the other speed tune also.
This is one some kind of Noyu Fu Ti Doi and Noyu Fu Ti Na. On more of Noyu Fu Ti Na they also show
their lotus design it's very beautiful and also now the price very high price for that
Noyu Fu Ti Na the crab with the sauce and here one for Noyu Fu Ti Doi and Noyu Fu Ti Ba
just with the flower and butterfly. All more of them they have the special typical decoration
for one kind of mark this Noyu Fu Ti Doi. Noyu Fu Ti Doi also appears the decoration with chili
and cloud or raven. You can see here this is the brushbox mark of Noyu Fu Ti Doi made for the
inner palace in the east and here also they said the chili and chili and raven. And here one kind
of mark very special mark the gwai glazer. This is the father Loi Gung in the west of the west
palace inside the Khun resident in Tanglong in 17th 18th century. And the other Noyu Fu Ti Doi
building the Khun Tung Di Doi made for the principal palace gwai. This also many people
that discussed about this mark for what purpose and where and I learned from my college
Mr. Philip Jung and he lived in Paris and we confirmed this mark on Loi Tung Di Doi a
blatant error is made for the principal palace gwai inside Khun resident in Tanglong before.
These are both land were commissioned by the last Khun Gung, Khun Yang and Khun Chung. They usually
were both dishes and dishes. They are perhaps the most beautiful
approaches he gave. The clay body of the the pigs either very good pure white with every
techniques. The color of the the pigs is cobalt blue sometimes turning slightly
glittery purple. The decoration is a quiet sight. Sometimes we can come across a small teacup
bearing only two words Khun Chung. This is the black upspace for all the four words Khun Chung Di
the desires under those who give bearing the mark Khun Tung Di Di including
dragon and killing surrounding the character power or Khun. Khun's power is longevity. Khun
means glory and dragon and finished surrounding the character Khun Chung.
Here is some figures of the some pictures of the those who Khun Chung Di Di made up for the
principal palace gwai. We can see it's very good decoration and high quality
painting technique and the colors also and the glaze also is high quality.
My friend in Hanoi now he bought only one plate of dust about two billion Vietnam
no now they only for one plate and here also this is the the place where it's really
expensive and very rare. In my eyes I only see one item of this from Saigon.
In the second chapter I want to talk about those who killed in the Muen Lhong era in the
Dangkang. It means the southern of Vietnam. As you know after 1958 the Lord Muen Huan
from the north came to the south of Vietnam and then after hit the rain there was more a loss
control the southern parts of Vietnam and we call it Dangkang. With all of them they have nine
lost brings in the south Vietnam from Shong Jang the big river in Kwak Boon province
until the Muen Boon province nowadays and one of the lot of the Muen in Dangkang
Lord Muen Phu Kyu. He is a man who ordered a lot of the close to Gikil from China during 18th
century. Lord Muen Phu Kyu he is the sixth lost of the Muen lost in the south Vietnam. He ruled
from 1691st until 1725 was the one who commissioned a lot of the Roshu Gikil from China.
The Roshu Gikil during the reign of the Lord Muen Phu Kyu cheaply bows and dinner dishes
during the Mark Tung Huan written in Quang Shu script. The declaration features landscape
together with poems about Wei and many places with the book the poem composed by himself.
Until now we found six poems with the banking to deprive the content of the poem composed by
Lord Muen Phu Kyu. For example, the first the name of the poem is Tung Huan Ba Thi,
the market in Tung Huan into evening. And the second we found the name of the poem
Tien Moo Yung, the morning bell from Tien Moo, and the other also very famous and now we found about
over 10 items. The name of the poem is Tung Huan, the spring clouds at the top
of the island mountain. Island, this is the mountain in the border between Nanak City
and Tien Moo province nowadays. And the other the first poem of two we found on the Roshu Gikil,
name of Tung Thi Tien Moo, the listening to the sound of the wave at the Tung Thi Mountain.
Tung Thi Mountain now located in Nanak City and the others and Tung Yien Moo, which means
the rain in the Tung Lagoon. This is a very big lagoon in the east of Tung Hui province.
Here is some photo, it now is very rare. Only some very rich collector in Vietnam
collected neither item, not so much. It's 18th century, all of them they have two parts.
The one part, they wrote the poem of the loss in Fuktu and the other side,
they make the painting to require the content of the poem. We can see here,
yeah, this is the name of the Tung Thi Tien Moo, the name of the poem.
In addition, there are a number of both and this is with painting,
existing worded side of wave and poem in known separate with our verifies at Tung Tien Moo
during the rain developed in Fuktu. So that we found a lot of the t-shirts with known
and some of them, they are very famous place in Hui and in Nanak. For example,
downtown mountain in Nanak, in the city right now, or some sightseeing in the south of the city.
Also, the word written under the middle, for example, here is the Tung Tien Moo
composed by now Yudu. Also, they show it on the take deep place. Now, this item belong to
the one wooded monk who lived in Saigon. It's also very, very rare and very fancy for us.
All of these thoughts, the back of which has a known script poem with the title is the
Thung Thi Lo, a painting of Thung Thi Mountain in the Nazi D and the other also known script.
All of them were recognized by the Vietnamese scholars and collector. This daughter
Barcelona is the World Commission under Yui Lost in the Nanak, 18th century.
And the other, the first chapter, we want to talk about the No Xiu Tifil in the Taishion Era.
First, we want to answer the question, who commissioner making No Xiu Tifil in the
Taishion Era? In my opinion, the first landmark, Tung Wan, with the known poem
inscribed on them were commissioned by two invoices, were sent by Taishion entity to China
in 1789 and 1790.
We know the name of the the delegation by Hoang Thang ambassador and Hung Tif, ambassador
to Beijing in 1789 and 1790. The second, we want to talk about
some special items of No Xiu Tifil, commissioner making during the Taishion Era.
At first, we found the resource with land cap and figures with two verses in known script.
You can see in the known, this is the known script, not time, not time.
And the other also, the resource with land cap and figures with two verses in known script also
now in all of Vietnam, we count about six items at the same decoration and send the poem like this
in the photo you can see. This is the No Xiu Tifil under Taishion Era. Taishion is very short
melody in way from the Taishion start from the area in 1771 and then Quang Tung become a king
in way in 1788 and then he died in 1792 and after that his son Quang Tung become a king until 1822
and my only 14 years they became the dynasty in the area and that boy the porcelain of Taishion
area is not so much like the lot of Muen or the lot of Muen honestly later. You can see here
there's some tea plate, tea sauce and the white hot under the order by Taishion Era.
This is typical to recognize this is the mark of the No Xiu Tifil under Taishion Era.
The main group of porcelain No Xiu Tifil we want to talk this evening. This is No Xiu Tifil
in the Muen era. First we want to talk about relationship between the mission and the
commissioning of No Xiu Tifil in the Muen era. From the historical recourse by the Muen dynasty
and by the research of the researcher in Vietnam and on a process I can certify that in the Muen
various under the reign of five kings Jalong, Minh Man, QT, and Kain. At least 42 missions were sent
to China for various proposals and then they are the people who ordered to make porcelain from China
from an dynasty. The other person they don't go to the other king of an entity they became
the ruler in way of very short term because in the middle of 19th century the Vietnam faced with the
French invasion and that boy the some king they have no opportunity to send delegation come to
China and then they don't order the porcelain from China except fighting at eye recommendables.
No Xiu Tifil under the Muen era. In my research I found 52 year mark corresponding to the term
when 25 out of the 45 mission were sent to China. On more of them they used the reign mark like
Tiu Tifil this is the reign mark of the Muen dynasty and they used this mark to
the growth on the base of the item of the porcelain order from China.
And the invoice sent to China were cheaply charged with asking for kinship confirmment
and paying gratitude and announcing the role of curators or conveying
co-regulation and addition they also had to purchase goods for the cost including porcelain.
And these are the ring no Xiu Tifil for the cost the many invite commission the porcelain for
themselves and souvenir gift on offering two places of worship of their own clans.
For example when they send one or two ambassadors lead the one invite to China
they start from way to Hanoi and then come along to Lan Sheng from Lan Sheng to
Beijing they must clog to the Gen Z and they order the porcelain there
not only for the cost for the king's use but also for themselves and then they went back from
Beijing they stopped one soft arm in the Gen Z and they collect the porcelain
words order and bring back to Vietnam and very there are one person very famous name
this man is Dan Hui Du he ordered many
Lu Xiu Tifil very good quality and with the family shrine and family mark of this area
in 1868. Also after that in the end of the 19th century many business in Hanoi
they also send the delegation come to China to order the porcelain and they use the geomark
or the special mark like Hanoi Di Xiu or Hanoi Kwak in fact
the private mark ordered by the owner of this porcelain from the north of Vietnam end of 19th
century until early 20th century under King Tituk and King Hui Di
I want to show some photo of Lu Xiu Tifil by King Zou you can see here
this is the one boat they set the earliest of the Lu Xiu Tifil
ordered from Muen Anasti in 1804 by King Zou and now this item belong to
Hui Museum of Royal Fire where I go before here this also two poem
two boat with the known poem by under order by King Zou
with the mark the coming of new gay Eastman 1810 Lu Xiu Tifil during the Zallang Mark
now belong to one private collector in Ho Chi Minh City we have only I see by my
eyes only two items about that only two very rare and this we saw many
items not only in Vietnam but also in America in France in Japan or somewhere with the question
with my heart my apologies and heart equation with the two verses of loan
but this is also ordered under Zallang Mark the first king of Muen Anasti
and here this is very special tipos belong to the Hanoi National Fire Museum
with the mark of Zallang Minh Tao the shape of the tipos like the
this mark of Zallang Minh Tao the tipos with the cup enjoying the moonlight
and the other you can see it's very special here Vietnam have Thệ Lộc bạc
Thệ Lộc bạc is mean the Vietnamese poem with two sentences the one is six characters and the
other with eight characters and this is the special poem of Vietnam and the Chinese people
they don't use the style of this and that's why when the Vietnamese order the Chinese potter
write the poem in the tip place and they cannot recognize with the other eight characters
and that they may mix like for example here might be the first sentence and the second sentence
but the potter groans
with the first sentence with eight characters and the other said
Vietnam is very special case we found this item in Tuyu City in Tuyu Province by the private
collector Dr. Tung and here is very famous items from Vietnam but now they have popped to the other
collector from Japan already this under Guin Minh Mạn. Guin Minh Mạn in order to make a lot of
things very big size like a musk or the flower pot to display inside the royal palace in great
inside a royal city and he also ordered some kites above you you can see with the Minh Mạn
new k plus the Nyeh character this is the symbols of the Nyeh Mạn dynasty because all of
the king of Nyeh Mạn dynasty they have the name and the name this is the Chinese name they always
have the the use the Nyeh Stok like one part of the name of the the king of Nyeh that's why
King Minh Mạn orders the Nyeh in like a special mark up here on the Roshu Jigil order from China
we can see here with the lamp house with the boat also here also with the poem with the Nyeh Mạn
also with the decoration of phoenix and dragon also Nyeh Mạn. Nyeh is the symbol of Noshu Jigil
under King Minh Mạn and King Tiduk especially King Minh. The first king of Mạn energy order
the mark with Nyeh and the jewel with two three kings Minh Mạn, Tiduk and Tiduk but Minh Mạn
the first king to use Nyeh like the symbol in the mark on Roshu Jigil and here this is also a very big
vast order by King Minh to display in front of the Taiwan palace and in the some garden inside
imperial city of way under his king and his period we can see here and the others the by the king
order by King Tiduk we can see the offertory fruit trees with the coiling dragon pattern
and mark Tiduk also ordered some kind of boat with Tiduk Nyeh also Nyeh Mạn energy is made
for Tiduk or made during the Tiduk Nyeh we can see many parts of the boat the plate and the
two rings ordered with the coiling dragon this is a typical decoration of dragon under Tiduk
period it's really easy to recognize this kind of porcelain commissioned by King Tiduk
you can see here also the tea set tea plate and teapot also use the coiling dragon pattern also
mark Tidim Dao he also and the other king of Tiduk he also ordered with dragon like this is the
war no this the this means the post used in the pit post game this one one kind of game
uh war played by King Tiduk and King Kain and King Barai later this is a very popular games
inside imperial city in the 19th century under the ruler of King Tiduk and King Barai
and the other the lamp top you you can see this is one one kind of the King Tiduk order the
postland and the other we can see the postland uh made order by Nang Hui Du
Nang Hui Du he the high ranking Mandarin he went to China two times the first time in 1865
and the second time in 1868 uh 57 and he stayed there during one year and he went to Vietnam in 1868
and he ordered to make more many kind of porcelain for his family etc in his homeland
uh about 10 kilometers uh from the north of the city and now we can go there and we can see
something a war displayed inside uh his uh etc uh in in in his uh homeland we can see
many kind he ordered from China yeah it's the meter Nang Hui Du he used very special mark
with the the circle but he used many character not only four or two
tiny character uh like the the other uh mark uh popular mark under minority he used many uh
consecutive trails of talking tiny character to use mark and he offered this leader postland
to the accent of his clan we can see here this all of order by Nang Hui Du
we can see
and one decoration he had relation uh uh relevant with the one story by his family
and the other he kind of kind of also ordered uh tiny porcelain but not from uh 10c
because uh after uh Vietnam and uh French uh site one
twitter um in uh Yapuk in 1884 and Vietnam stopped to send the diplomatic delegation from Hui
to China and that's why uh he couldn't he could not send the invoice from way to China to order
porcelain uh he only sent the some uh like the merchant or some private people go to Guangtong
uh in uh Guangzhou in Guangtong to order the some porcelain to prepare for uh ceremony of 40
year's birthday uh of him in 1924 and that's why the quality of porcelain uh ordered by
king kind of in not so high quality this is very normal uh the gray is uh very thick and the the
the gray is not the the the gray not so not so white and the cobalt blue is the
the magnetic cobalt blue did not hide uh in qualities like the uh blue uh under
order by the the other king before but uh also very uh this is very special he also ordered the
multi-color uh multi-color uh decoration and multi-color uh decoration for porcelain
from Guangtong this be the uh flower past order in 1924 uh two uh ceremony to prepare for
his ceremony for 40 years birthday in 19 1924 in Hui and only king couldn't order the uh
multi-color porcelain from China the other king uh he don't they don't they did not do that
later i want to talk about the three uh class of the porcelain first the
those it means the porcelain uh for king jews and those the Mandarin porcelain and those the
common people porcelain because in Vietnam uh at that time not only the
Vietnamese cost commissioner uh the those people from China but also Mandarin all the other people
the if they have the opportunity uh go to China they also order the high quality China
uh porcelain from China and bring back uh two Jews in their family and their house and that
why we there are three great uh of the porcelain the high quality uh you see those only for the
king's youth and the others the second the mandolin porcelain close to Guangdong for men
mandolin and their family Jews and the other close to yin yung they can uh the people common
people can order and can you and he also show on the uh free market in the Hanoi and Inuit area
yeah this uh some people we can recognize my decoration uh all by the mark uh by the quality
of the clay the quality of the laser and the quality of blue cobble to recognize this kind
uh is those are those are those uh depending on the many many characteristics we can recognize
yeah those are the orders from the second
class one Jews or men's youth from China not from jusio it means the state uh state
girls of the chin and teeth in the chin tuchen uh genshi province that why the quality is not
so good we can recognize to easy easy to recognize the three kinds of lotion
the the finally we want to talk about some kinds of mark on lotion detail uh porcelain
the mark is one of the important traits to identify the lotion detail the mark in the form
of the climatic type set at uh this on chinese is major uh porcelain
that's confirmed that the pigs were commissioned by vietnamese and they were not produced for
climatic use in china because we also i also came to study in in china many times also with
many kind of look the the porcelain with middle mark only appears in vietnam in 19th century
until early 20th century we came out found the the porcelain with this middle mark in china
because this is special for vietnamese and the other caribou they use the name of the
luna years like
these are mark these are the same the years when when anarchy sent many delegation from
way to Beijing and the mandarin they use the name when they came to china to order
in the chinese porcelain you with geomark this is the one kind
and the other mark they also use the special mark by uh their hobby or special mark by
uh their poem or something uh for example like a mark by uh created by dahuitus
and they are the other the mark for the ocean uh equal by uh common people they only use the normal
from china uh for example but we can recognize this middle porcelain also made by china
but follow vietnamese peoples because also they use vietnamese as new chinese character
but they decoration up the on be the porcelain they follow vietnamese criteria
with the four characters i i explained before when i start to the the lecture this evening
and this either uh i make
recognize all kinds of uh march on uh we found in vietnam but some kinds of mark we can we can
see on the chinese porcelain for chinese people's use but the same mark but different the style
different the shape different the colors or different the decoration and just i want to show
uh some kind of mark the one character two character four character and many character
this either also the strong true grip or little rich grip we found it on the little giggle
thank you for uh attention