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In the traditional tea set, that is, the utensils used for brewing and enjoying tea, the teapot holds a central position. Therefore, surviving specimens from the Ly Dynasty are often considered an important source of information for identifying the technical and aesthetic level of Dai Viet pottery. Ly Dynasty pottery (11th-13th centuries) is notable for two main glaze types: jade glaze and brown glaze (brown floral glaze). Products from this period mainly served daily life and Buddhism, including teapots, bowls, plates, and pagoda models.
These two teapots belong to the celadon glaze style, showcasing the characteristics of Dai Viet pottery from the 11th-13th centuries.
In Hanoi, the Ly Dynasty celadon teapot in the collection of cultural researcher Dinh Hong Cuong is an artifact from the restored generation, preserving the typical characteristics of the ancient aristocratic pottery. Before becoming a valuable piece in the collection, this teapot was the result of a meticulous research process. Through careful copying and analysis of ancient artifacts, the artisan successfully unearthed layers of the visual language and characteristic crafting techniques of the 11th-13th centuries.
The imprint of Dai Viet in the design of jade-glazed teapots during the Ly Dynasty.
Unlike later ceramic styles which gradually shifted towards slender designs, celadon ceramics from the Ly Dynasty emphasized solidity and fullness, creating a sense of visual stability. The teapot body is rounded, and the shoulder is organized with overlapping lotus petal bands, directly mimicking natural forms.
According to research documents, the thickness of the ceramic walls was calculated precisely to ensure relatively even heat retention, a crucial practical characteristic for tea ware during the Ly-Tran dynasties. This shows that ancient artisans not only cared about outward beauty but also deeply understood the experience of tea drinkers.
The celadon effect and symbolic language
The core element that gives the ceramic teapots of this period their soul is the jade-green glaze with its characteristic translucent blue color and subtle reflectivity. To achieve this effect, the ceramic body must be made from carefully selected white clay or kaolin, then fired at extreme temperatures from 1100°C to 1300°C to achieve high cohesion. Another special feature is the skillful use of the artisans to engrave patterns into the body before applying the glaze. During firing, the glaze melts and settles thicker in the engraved grooves, creating natural shades of light and dark, allowing the patterns to appear delicately beneath the smooth surface without appearing ostentatious.
The translucent turquoise glaze creates varying shades of light and dark at the engraved lines.
During the Ly Dynasty, the vitality of Buddhist culture was evident in its brilliant development, playing the role of the national religion with a positive, engaged philosophy, integrating Confucianism and Taoism with national identity. Buddhism during this period did not withdraw from society but built a society based on "virtuous rule," taking compassion as its foundation, and spreading throughout education, literature, architecture, and a simple way of life.
Double lotus petal motifs are embossed on the shoulder of the teapot, a common motif in Ly Dynasty ceramics.
Therefore, the symbolic system on teapots from this period was also strongly influenced by Buddhist culture. If the embossed lotus motif on the shoulder of the teapot symbolizes solemnity and elegance, then the recessed carvings on the body suggest grace and serenity. The harmonious combination of raised and recessed elements reflects a balanced aesthetic trend, knowing when to exercise restraint between strong expressive details.
The lotus petal motif is associated with Buddhist influence.
The main motif on the teapot's shoulder is the lotus petal. In Ly Dynasty art, the lotus flower appeared in high density, reflecting the profound influence of Buddhism on the contemporary spiritual life. The technique of creating raised lotus motifs emphasizes the solemnity and vitality of the design, while the recessed carvings on the body create a more delicate and light feel. The combination of these two techniques, raised and recessed, reflects an aesthetic trend that harmonizes strong expression with restraint in detail.
The teapot handle is shaped like a sleeping parrot, creating a balance with the spout.
Notably, the "dragon spout - parrot handle" structure on this artifact contains profound philosophical implications about balance. The spout is sculpted in the shape of a dragon's head, a symbol of power and dynamism, contrasting sharply with the handle, which resembles a sleeping parrot, representing stillness. These two seemingly unrelated symbols, placed side-by-side, not only create visual balance but also represent the Đại Việt potters' interpretation of the yin-yang philosophy in their art.
Mr. Dinh Hong Cuong stated: "The design, the intricate patterns, the double lotus motifs, and the dragon-spleen and parrot-handle structure of the artifact are quite closely modeled after the museum artifacts. The turquoise glaze color is currently about 80-90% similar to the original."
Ly-Tran period celadon pottery is often considered by experts to be one of the pinnacles of Vietnamese pottery. Relatively intact artifacts provide a basis for comparison in the study of manufacturing techniques and artistic language.
The teapot in Mr. Dinh Hong Cuong's collection is therefore valuable as a visual document about tea ware from Dai Viet. Through its glaze, structural form, and decorative system, the artifact shows that the level of material processing and aesthetic thinking of Vietnamese artisans had reached a high level of perfection from an early period.
