A REASSESSMENT OF THE ANNAMESE WARES

by
C. Nelson Spinks

Very little bas been researched and published on that large body of
Southeast Asian ceramics commonly known as Annamese wares. There
are relatively few pieces of these wares in the more well known museums
and private collections. Sufficient information on them bas now been
developed, however, from recent finds in Indonesia and the Philippines
to warrant some comment on them and to speculate on their overall place
in the Southeast Asian ceramic spectrum.
For the most part, the Annamese wares reflect strong and unmis-
takable Chinese influences, representing part of that general sinofied
overlay found in Vietnamese culture. This point is particularly true of
Annam and Tonkin, the more northern parts of Vietnam, because of
their close proximity to southern China and their long and close cultural,
economic and political relations with the Chinese. In their ceramic
work, the Annamese potters expressed in their own native way some of
the styles and techniques of the potters of Kiangsi in Ch,ina.l
I) Succinct and accurate accounts of the Annamese wares are found in John
Alexander Pope, Chinese Porcelains in the Ardebil Shrine (Washington, D.C. :
Smithsonian Institution, Freer Gallery of Art, 1956, pp. I 0 3-05; William
Bower Honey, The Ceramic Art ofChina and Other Countries of the Far East (New
York: American Edition, The Beachhurst Press, 1954), pp, 164-66; and the
helpful comments of Soame Jenyns in his Ming Pottery and Porcelain (Ameri-
can Edition, New York: Pitman Publishing Company, n. d., passim: Annamese
wares found in the Philippines have been discussed at length by Cecilia and
Leandro Locsin, on the basis of their extensive excavations of pre-Spanish
burial sites in the Philippines, in their 01·iental Ceramics Discovered in the
Philippines, Rutland, Vermont and Tokyo, Japan: Charles E. Tuttle Company.
1967, passzm,· another excellent account of Anname'se wares, based largely on
finds in Indonesia, is E. W. Van Orsoy de Flines, Guide to the Ceramic Collec-
tion (Foreign Ceramics) Djakarta: Museum Pusat Djakarta, the English trans-
lation of the original work written in Dutch, that was published in 1969, pp.
59-68. The most detailed account of Annamese wares, but with some errors
and misconceptions, is the work of a noted Japanese ceramic specialists, Okuda
42 C. Nelson Spinks

Even less research has been undertaken or published, however,

concerning the kilns that produced the Annamese wares, or on their
potting, glazing and firing techniques. We do know, however, that these
kilns were located in the general area around Hanoi in Tonkin. For
example, at Thanh Hoa, about 175 kilometres south of Hanoi, there
were, and presumably still are, excellent deposits of kaolin and feldspar,
while other deposits of these essential ceramic materials were also
available in and around Trieu, some 52 kilometres west of Hanoi on the
main road to the seaport of Haiphong. 2
Many Annamese wares of a great variety of types were produced
for local use, and presumably are still made today, at the village of
Huong-canh, about 47t kilometres northeast of Hanoi on the main road to
Viet-tri. There was also a large pottery village at Tho-ha, four kilometres
from the provincial capital of Bac-ninh, itself some 30 kilometres
northeast of Hanoi. Bac-ninb was also of significance for its ceramic
production. In fact, its principal factory was first built in I 465 A.D.,
reportedly by Chinese potters who came to Bac-ninb from Lau-khe.
According to Vietnamese legend, Lau-khe was also where the first main-
land Chinese pqtter, one Hoang Quang Hung, allegedly settled in the 3rd
century B.C., thereby instituting the potters' craft in Annam. The first
ethnic Vietnamese potters is said to have been one Truong Trung Ai
who also settled at Lau-kbe.
Another important pottery center in Annam is Bat-trang, the name
of which literally means "Pottery Factory." This site is at a town only
about 10 kilometres due south of Hanoi on the Red River and on the road
to Ninh-binh and Than-boa. This center is said to have been established
Sei-ichi, Annam Toji Zenshu, ( "Annamese Pottery,"), Tokyo: z~~ho·I;ress·,
1954, More recently, a scholarly and critical account of the Annamesc wares
was prepared by William Willetts and published in his Ceramic Arts of South-
east Asia (Singapore: The Southeast Asia Ceramic Society, 1971) pp. 9-1
and "Descriptive Notes," pp. 30-48, with Plates Nos. 21-48, which offer
some photographs of excellent examples of Annamese wares.
2) Willetts, op. cit., pp. 9·1 0.
 A HEASSESSMENT OF TilE ANNAMESE WAl\ES 43

by potters who migrated to this site from Bo-bat, a village in Ninh- binh
province, some time between 1527 and 1533 A.D. This large ceramic
complex at Bo-bat appears to have been in continuous operation from
the time of its establishment until recent years. Its supplies of feldspar
came from Than-boa. It was an enormous complex, and it was said that
great stacks of firewood for its many kilns stood out conspicuously on
the skyline long before travellers could make out the actual town of
Bat-trang. As Mr. Willetts has noted, this town might well be called the
Ching-te-chen of Annam, while the famous French Guide Madrolle also
noted that most of Bat-trang's manufacturing processes and techniques
were adopted from those employed at the great Chinese ceramic center
at Ching-te-chen.

If Bat-trang were indeed founded in the mid-16th century, it could

not possibly have been a production center during the 15th and 14th
centuries. Bat-trang did produce, however, much of the ultra-fine under-
glaze blue porcelains that have been ranked by some critics with the best
Chinese work of the Ming Period. Consequently, such work must be
dated from the 16th century a suggestion that is further supported by
the forms of some of the Bat-trang wares. In his well known monograph
on the so called "chocolate base" Annamese wares, a Bat-trang piece is
cited to the year 1625, but with no further reference or comment,3
During the period 1400-1428, Annam was occupied by the Chinese,
the consequences of which had far-reaching effects on Annamese ceramic
wares. The traditional blue and white wares and the closely related
so-called "blue-and-whites" with their on-glaze painted enamel decora-
tion came into vogue and bad a remarkable flowering. According to
Mr. Willetts, these wares "are about all that the ceramic world knows
or understands by the term 'Annamese'." Instead, Mr. Willetts has
sensibly divided the Annamese wares into the following seven principal
categories, based on differences in their decoration and the types of
colored glazes that· were used on the monochromes :
3) Lefebre d' Argeilce, "Les c~ramiques a base chocolatee au Musee Louis Finot
de l'Ecole FranQaise d'Ex:tr~me Orient a Hanoi," Paris: 1958.
44 C. Nelson Spinks

I. Wares decorated in underglaze blue;

2. Wares enameled in dark, tomato red applied on the biscuit;
3. Wares decorated in underglaze blue but also having on-glaze
decoration of tomato red and leaf green enamels;
4. Wares decorated in underglaze iron-black pigment;
5. Cream colored monochrome wares;
6. Green glazed monochrome wares; and
7. Brown glazed monochrome wares.

Among the blue-and-white wares are many large phan type offering
trays, along with similar medium sized pieces; large yu-hu-ch' un bottle-
vase types; baluster-shaped vessels for altar use; open bowls with everted
rims, covered boxes (po-kang) miniature jars and amphorae, miniature
vessels with moulded sides, small, circular covered bowls and other covered
pieces some of which are in such zoomorphic forms as fish and crabs,
together with ewers, kendi-type water droppers, smaller globular jars,
some with and others without ring handles, and a great variety of ceramic
figurines. "In general," as Mr. Willetts bas noted, "the blue and whites
are all enclosed within the classical Chinese repertory of vessel sbapes."4
Among the underglaze iron-black wares and the three monochrome
types listed above, the shapes are more original, perhaps reflecting more
local Annamese tastes and style preferences.
Among the more frequently encountered cream-colored monochro-
mes, however, bowls, jarlets and beakers, some with S-sbaped profiles,
predominate. The apple-green copper glazed wares include cup-like
bowls with verticle impressed ribs on their outer sides, miniature jars
with moulded sides, as also found among the "blue-and-whites", together
with flat, circular covered boxes, saucer-like dishes usually having a
biscuit ring around their medallion-like central decoration, and beaker
types which are also found among the iron-black glazed decorative
group. in this category, however, are also found superbly sculptured
covered boxes in interesting zoomorphic forms, such as the crab type.
The brown glazed wares include beakers, saucer-like small dishes,
bowls, Chinese-type yu-hu-ch' un vases, and water droppers, although the
4) Willetts, op. cit., p. 12.
 A REASSESSMENT OF THE ANNA~1ESE WARES 45

true provenances of some examples of the last two groups are perhaps
less certain.

The materials used in making all these categories of wares was a

fine, smooth, homogenous paste of a putty color that is usually visible
on the bases and footrirns of the pieces, the bases of which are recessed
no more than a millimetre or two below the surface of the footrims.
At this point, it should be further noted that the footrims of
most of the Annamese wares are very neatly and carefully made, the outer
side of the footrim being skilfully chamferred at its junction with the
outerside of the vessel, while the innerside of the footrirn is similarly
charnferred with the underside of the piece. Footrirns were frequently left
in biscuit, but on the bowls and large and medium size phan-type offering
trays, the inner side of the footrim and sometimes the entire base of the
piece have been covered with a slip that appears to have been applied
while the vessel was still on the wheel, so that the slip shows signs of a
spiral motion. Moreover, it is evident that the slip was sometimes
applied by a brush after the vessel bad been removed from the wheel
and placed face down on top of it. The slip is almost invariably of a
chocolate brown color, while the glazes are usually of an oatmeal or
gum color.
Beakers of the underglaze iron-black type, or the cream colored
types, clearly show that they were fired one inside the other, each piece
separated by a circular disc-shaped pontil or stand, usually having six
projecting legs. Hence, six spur marks almost invariably appear on the
inside bottoms of each piece. There is perhaps evidence here of some
sort of connection between these Annamese wares and those of the
Sukhothai kilns of the Thai, where precisely the same sort of disc-type
stand was employed in the same manner, but each pontil having only
five instead of six legs.
Mr. Willetts and others, including the present author, have referred
to a possible connection between the Annamese wares and those of the
Sukhothai potters who worked in the painted-ware form, perhaps most
46 C. Nelson Spinks

manifest in their common used of the disc-shaped stands with projectmg

legs. The relationship becomes even more evident, however, in com-
paring certain decorative elements on the two wares, especially the man-
ner of their execution, placement, and orientation.

In his splendid catalogue of the Southeast Asian Ceramic Society's

exhibition in Singapore in 1971, Mr. Willetts cites pieces of Annarnese
and Sukhothai ware that clearly show these obvious, albeit, at times, subtle,
resemblances. For examples, Mr. Willetts' Plates Nos. 102 to 110 are
Annamese pieces that could easily be mistaken for fine examples of
Sukhothai ware, the large plates having very similar border decoration
around their rims, and floral, medallion-type designs on their centers that
closely resemble the styles, techniques and manner of execution, as well
as decoration placement, found on the large Sukhothai plates and bowls.
Again, the Annamese beakers shown by Mr. Willetts in the Plates Nos.
101, 103, 105, and 106 all have a truly Sukhuthai-esque quality about
them and their painted decorations, the Annamese plates closely resem-
bling the Sukhothai piece illustrated in Plate No. 148 of this Catalogue.
Mr. Willetts calls special attention to the manner in which some of the
leaves in the floral decorations shown on these Annamese ware pieces,
particularly with respect to the curled leaves and leaf- tips, citing a
Thai bowl sherd that appeared in Plate No. 31-A of Ram's article on
the Kalong kilns of Chiangrai Province in northern Thailand.s
Thus, as Mr. Willetts has concluded :
If we admitted the existence of the relationship, then we
must ask the question: which tradition influenced which? Bearing
in mind the fact that Sukhotbai was already established by the year
1300 and bad but a short lease on life, and that the main Anna-
mese blue~and-white series began no earlier than the end of the 14th

5) See Phraya Nakhon Pra Ram, "Tai Pottery, "Journal of the Siam Society, Vol.
XXIX, Part 1, 19 35, pp. 13-3 6, with one map, one plan and 55 Plates, based on
a paper Pray a Riim dellvered before a meeting of the Siam Society in Bangkok
·on December !0, 1935
 A HEASSESSMENT OF THE ANNAMESE \V AHES 47

century or the beginning of the 15th century, then if other Annamese

groups are contemporary with the blue-and-whites, Sukhothai must
clearly have influenced Annam. But taking into account the
rudimentary state of Sukhothai ceramic technology, which we
shall, the opposite would have seemed more likely to have been
the "case ..... Accordingly, the Annamese iron-black wares, to-
gether with the copper green, cream and brown monochromes, and
a few pieces decorated in under glaze blue .... belong to the older
phase of Annamese output .... Granted a date in the later 13th
or earlier 14th century for the Chinese blue-and-whites, then the
Annamese iron-black wares must on this basis be their near
contemporaries6.
As noted, however, there has been a strong Chinese influence in
the Annamese wares, as in other aspects of Aouam's culture. The cera-
mic wares, of course, had exceedingly close ties with South China, but
as Baron Van Orsoy de Flines has noted, "unfortunately, we know very
little about the many groups of Chinese merchants and artisans who
went back and forth between the two countries, but that they, too, made
a strong impression on the handicrafts and arts, not the least the pottery,
is undeniable."7
The Annamese wares made prior to 1400 often have flat and some-
times concave bases, undoubtedly the results of warping while being
fired. In the 15th and 16th centuries, however, most pieces of Annamese
wares have footrims of varying heights and widths, being comparatively
high on the smaller vessels and jars, while the footrirns on the larger
pieces are usually rather low and quite broad. The bases of such pieces,
however, are carefully finished with the footrirns neatly and accurately
cut. Dishes generally have rather thick footrims, rounded on their
tops.s
·-···--···-·-·-·--·~----.

6) Willetts, op. cit., p.l4. Mr. Willetts' rather confused and convoluted statement
seems to miss the point that the real resemblance between the Annamese wares
and those of the Thai Sukhothai kilns is to be found almost entirely in their
respective painted wares that followed closely the Chi-tz'u and Ts'u-chou
~~~tr~U~L .
7) E.w: Van Orsoy de Flines, op. cit., p. 64.
I

8) Ibid., p. 66.
48 C. Nelson Spinks

The late Baron Van Orsoy de Flines believed that the greater part
of the Annamese blue-and-white ,wares dates from the 14th, 15th and
early 16th centuries. During this long period many significant changes
can be detected in the manner and styles of Chinese porcelains made
immediately after 1400. Almost without exception, the decorations on
the backs of dishes and the sides of jars consist of the lotus-petal panels,
the so-called "gadroons" but with great variety in the manner and shapes
of their execution "with the earlier pieces, the work is done with conside-
rable grace and artistry, but by the middle of the above period the brush
strokes become increasingly fine and almost linear, with a rigidity and
stiffness that is unattractive, while by the end of this long period, the
pieces are again decorated more freely but at times with a carelessness
that borders on untidiness."9

Many of the later 16th century Annamese dishes and plates have
an unattractive, watery, light-green glaze, sometimes with a minute
crackle, a glaze that is often mistakenly called ce1adon. Some of these
monochrome pieces also have a rather stiff incised underglazedecoration,
usually of a floral or lotus-petal panel motif. On the bases of such pieces
inside the footrims there is usually a neat, unglazed ring band about two
ems. in width, which is covered with a brown pigment slip, as is also
found on some of the Annamese blue-and-whites.Io Some of the Anna-
mese decorated wares also have an unglazed ring band with a brown
pigment slip around the center of the piece, which frames the medallion-
li~e central decorati~n.

Plate No. 1 of the present article shows an unusually large Anna-

mese jar, approximately 70 ems. in height, its decoration depicting a
Southeast Asian hunting scene. Both the shoulder and the foot of this
jar are encircled with typical Annamese-style lotus-petal panels painted
in considerable detail.ll
9) Ibid., p, 67.
tO) Ibid., p. 68.
11) This picture originally appeared in the present writer's article, "Siam and the
Pottery Trade of Asia, "Journal of the Siam Society, Vol. XLIV, Part 2, August,
1956, pp. 61-111, where it was mistakenly identified as a Chinese jar. With
 pi(Hm: tJf Pbue J !~how the
w1th 1imihu lotuli·petal pant!~
em.:irclingtbe
flbOlOJI'Iph m Phuc No. 2 i1 the under11lde of tbe
musuat~d in lhe upper pbt)lOiUlph t)f f~hue No. :t Plale No. 4

;!.ho"''l:i n eumph: of l!ln Am:utme~~e uoderih•~e blue fx)\\~1. ahe tlural

ill executed with c<mlliderable skin nnd artllUry.
lhis cxnmple the Annnme11e pollen• effective ull>e
H~e Chinese ltll'u·t:'tl, <H lullls pod, bowl fcmn. Plate Nn 1S
•~· rm piec:.e from the no4ed Anmunellre c<-nunic collection of
Mr. D·c~an 1 '!l«tHJU Aruuune~e underglne blue f:l41irHed ware jar

\ltith four nrzL 'T'be JO\!ler p'ece mt PhHc 15 isun example t>f an Anna.
mtill:: ''.rtth ioci1ed underghu-:c dccorution in tt lotu~-petal

FmiU)•, ~mention Jbould bt directed to the !i>ttric!l t'lf Plates depic-

ware db.t~~ Cf>fnlelii Nmt 9 lo I J), fill of which are
tHikinsly similar tu Sukhi5,1ua.i ware large decmutt'!d phHc.s with their
Mllmple rim dectlnUitlf!l'l and their mcdatlion.like central nornl de~igm1,
fnunttl'.d within~t~imph: circulnr bauchl. lt ilil !lf'>CCially !iignificnnt, l bt:lh::ve,
lh~~~~ ~u uf unique Amumltfl,C ware hnge phlll::!!t were found in
lndum:.si~• by Mr. f~dward Maiflten, 11 United Statell Fureian Service
()tfii:cr. wall tr.uuimuni there (l;}r !levernl ycmr1. l would har1;1rd the
&hcrefure, th1t uu::h piece~» may l:uavt been purr:.o1dy made by the
Anrumw:Je poncu in itniuuion of SukhiS!hai wnn::, which at tbc \ime
nprnuenlly enjoyed con!liderabh: popularity itl Indcmesiu, judging by the
hu1c mm,ber11 t:Jf Sukholhai picce11 that have been found there.
The Atu:uun~H piece11 illustrated in tbe top photograph of PhHn 5
and in Platu 6. '7, and 8 are all fine eumph:1 of the ever-popular mini a.
nue covered boxe11 and miniature bowls and jnrs that were made in such
tbi~ Uhntrlllt!On, f 111.110 included I liOmcwhlll similar buntlnJ!!Ctetle r hlld photO·
J,rapb:td in Ampb~>e Kok: Satnrona, Lopburi Province, in eentnl Thailand.
illhow!n~: fit ~:roup or 'fbal butltl'lf!i toturtlilll from lbe jungle with pleees or ll
btrldo; doer'!~ o~m:11n tu~tpeDded from poles over tbelr sboulderl!.
50 . C. Nelson Spinks

large quantities by the Annamese potters, so much so that they seemingly

must have flooded the ceramic markets of Indonesia, the Philippines,
and even Siam. The lower picture in Plate 5 is an Annamese ware dish,
26 ems. in diameter and 6t ems. in height that was found on Limbok
Island, Indonesia, and is now in the Djakarta Museum. It looks exactly
like a piece of Sukhothai ware with its central stylized floral medallion
encircled by plain bands, and its simple but very arresting rim decora-
tion.
Attention is finally called to the "celadon" plate pictured in Plate
No. 14, which shows six spur marks left from the six legs of a disc-type
stand, further evidence of the possible relationship between the work of
the Annamese potters and those of the Thai at the Sukbothai kilns in
north-central Siam.
I would now like to digress by way of an epilogue to this article
and describe briefly some of the consequences of the Mongol conquest of
China in the 13th century, and the possible bearing of these developments
on the history of Annamese ceramics.
With the final fall of Lin-an (Hang-chou) to the Mongol forces in
February, 1276, what remained of the Sung army fled to the south, first to
Fukien Province, and eventually to Kwangtung Province. In March, 1277,
however, Foochow, the Sung stronghold near Canton, was taken by the
Mongols, and the Imperial family, then headed by the boy Chao Cheng,
as the Emperor Tuan-tsung, moved the Court to Mei-weinear the present-
day Kowloon Peninsula in what is now a part of modern Hong Kong.
In November, 1277, however, under mounting Mongol pressure, the Sung
forces with the Sung Court were compelled to retreat still further
southwest alongthe coast of Kwangtung, presumably with the intention
of ultimately taking refuge in the neutral states of Annam and Champa,
since both those countries had traditionally maintained friendly relations
with the Sung Court.
There then began a sizeable exodus of Sung officials, their families
and their fQllQwers t9 the~e t\V9 r~mot~ so1,1tl:!er11 countrie~. A n!Jmber
 A HEASSESSMENT OF THE ANNAMESE WARES 51
of prominent Sung officials under the leadership of a former Sung State
Minister, Ch'en 1-chung, accompanied no doubt by their families,
followers and proteges, migrated to and settled in Annam and Champa.
Once in the latter country, Ch'en 1-bhung decided to remain perma-
nently there, if possible, although some accounts contend that be
later fled to Cambodia, Java, Siam or even to Japan. According to
the Sung-shih (the official history of the Sung Dynasty), however,
when the Mongol forces finally subdued Champa in 1282, Ch'en had
already fled to the Thai Kingdom of Sukhuthai, where be reportedly died
sometime later,

Another prominent Sung official, Chang Sbih-chih, also decided to

take refuge in Annam and was accompanied to that country by many
of his Chinese folLowers and proteges, including some artists and other
craftsman who had enjoyed Chang's patronage. Following a disastrous
defeat by the Mongol forces, the infant Sung Emperor died, and Chang
Shih-chih then sought refuge in Annam.

In 1281 a Mongol embassy visiting Annam brought back to China

a book Ch'en 1-cbung had written while in exile on the twilight of the
Sung, a work known as the Erh-wang pen-mo. According to the Yiian
shih (history of the YUan Dynasty), when the Mongol forces finally
subdued Annam, they captured over 300 prominent Sung exiles then
living there. It was also noted that in 1273 a large company of these
Sung exiles had arrived at Lacat-nguyen Bay in a fleet of thirty
ships, bringing with them various Chinese trade goods, chiefly textiles
and popular Chinese medicines. Some of these Sung officials iu Annam
and Champa alsci most likely followed the time-honored custom of
serving as the patrons and sponsors of various Chinese artisans, artists,
and skilled craftsmen who undoubtedly elected, for very practical
reasons, to follow their sponsors and patrons into exile.

It is very likely, therefore, that some of the Chinese ceramic

influences so evident in the Annamese wares may well
' ' .
have come from
such a source. I would further hazard the view that some of those
Chinese ceramic influences so evident in the work of the Thai potters
S2 C. Nelson Spinks

of Sukhothai and Sawankhalok may also have reached Sukhothai by way

of Annam and Champa, rather than through the Sukhothai Kingdom's
rather infrequent and tenuous "diplomatic" relations with China, first
initiated by Sukhothai's celebrate& King Rama Gamhaeng, around the
end of the 13th century.I2

St. Petersburg Beach, Florida

January, 1976.

12) The foregoing account of Sung exiles in' Indo-China has been drawn
largely from that scholarly survey and analysis of them and their activities
by Hok-la.m Chan in his pioneer work, based on Chinese and Vietnamese
sources on this subject, "Chinese Refugees in Annam and Champa at the End
of the Sung Dynasty," Journal of Southeast Asian History, Vol. VH, No, 2,
September, 1956, pp. 1-IOi
 Plate No. 1.
An unusual Annamese painted ware jar depicting a hunting scene with two South·East
Asian appearing figures carrying pieces of venison suspended from their shoulders on
a pole. Around the base is an elongated representation of lotus petal panels. (From
the Collection of Mr. Lek Viriyaphand of Bangkok. Photographed by the author in
1956. This picture also appears in the author's "Siam and the Pottery Trade of Asia,"
JSS, Vol. XLIV, Part 2 of August, 1956, where it was, however, identified mistakenly as
a jar of Chinese provenance.
 Plate No. 2.
Base of Annamese Painted Ware Plate showing the chocolate coloured slip covering
the base, and the border decoration of lotus panels. Collection of Mr. Dean Frasche.
 Plate No. 3.
Annamese Plate with floral decoration and chocolate coloured base. Diameter: Approximately
34 em. (From the Collection of Mr. Dean Frasche). Photographed by the Author in 1954.
(/)
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 Plate No. 5.
Annamese Painted Ware Bowl. Underglaze blue-black pigment. (Collection of Mr. Dean Frasche).
Miniature Sawankhal5k Covered Bowls showing influence of the small Annamese pieces.
(Collection of Mr. Dean Frasche).

Plate No. 5.
Annamese Plate made in lmmitation of Sukhothai Ware. Diameter 26 em. Height 6 & em.
From Limbok Island, Eastern Indonesia Djakarta Museum (no. 3375).
 Plate No. 6.
Examples of small Annamese covered bowls with decoration in underglaze in blue-black
pigment. (Collection of Mr. Dean Frasche).
 Plate No. 7.
Examples of miniature Annamese jars and bowls with underglaze decoration painted
with a blue.black pigment. (Collection of Mr. Dean Frasche).
 Plate No. 8.
Additional examples of small Annamese Jars/Bowls with Underglaze blue painted
decoration. Collection of Mr. Dean Frasche.
 a.>
.....
"'
0:
 0
z
....<11
<ll

0:::
 Plate No. 14.
Miniature Annamese underglaze blue painted ware jar with ears. Collection of Mr. Dean Frasche.

Plate No. 15.

Annamese Celadon Bowl with applique lotus petal design on sides. Djakarta Museum