KOREA FOUNDATION

In Southeast Asia, kendi were used both for religious ceremonies and more widely on a daily basis. It is easy to find depictions of devata and ordinary people alike using kendi in the reliefs or murals of ancient temple sites found in the ASEAN region (Photos 1 and 2). The level of sophistication involved in production of kendi varied significantly according to the user’s social class and the jug’s purpose. Those used for religious ceremonies or by the royal families were created with high quality clay and were therefore strong and highly durable. In comparison, practicality was more important for kendi that were meant to be used on a daily basis. These were made with coarse clay and broke more easily, but their plain and simple nature has its own unique appeal.

The development of kendi in Southeast Asian countries can be largely divided into the periods before and after the 10th century. Most kendi made before the 10th century were created out of earthenware, which involved molding clay into a particular shape and baking it. After the 10th century, however, advanced techniques from China were adapted and glazed ware kendi became more prevalent. This involved applying glaze to more refined clay of a higher quality and baking it at a high temperature. It is said that production of porcelain is only possible with the availability of the three elements of earth, fire, and technique. In Southeast Asia, the mass production of porcelain began in the 14th and 15th centuries. Based on this, we can see it took more than three centuries for these more advanced pottery techniques to become mainstream.

Interestingly, it appears that porcelain kendi were only produced in the mainland countries of Southeast Asia. Vietnam, which was heavily culturally influenced by China due to geographical proximity, is known as the first Southeast Asian country to begin producing porcelain. In Vietnam, kendi were made of blue and white porcelain and exported back to China and other Southeast Asian countries. Vietnamese Kendi were frequently decorated with auspicious symbols often used on Chinese porcelain pieces, such as phoenixes, lions, giraffes, and dragons, as well as with arabesque patterns and chrysanthemum designs (Photo 3).

Meanwhile, kendi produced in Thailand and Myanmar exhibit features that reflect a more indigenous Southeast Asian culture, differentiating them from Chinese porcelain pieces. These two countries produced kendi in celadon porcelain or in dark greens and deep chocolate browns. It is suspected that green and brown glaze were used because they were relatively cheaper than cobalt blue pigment. Kendi made in Thailand and Myanmar also display unique variations in the shape of the bottle. Pieces of elephant- and peacock-shaped kendi are great examples of the Buddhist influence in this region (Photo 4).

On the other hand, kendi produced in the island nations of Southeast Asia were mainly made of earthenware until the 16th century. From the 19th century on, kendi were produced as metalware using brass and silver. These metalware kendi then became regalia that represented the authority of the sultans of these island nations. The 19th century metalware kendi on display in the Islamic Arts Museum Malaysia are larger in size than porcelain kendi and come in a greater variety of shapes (Photo 5). Patterns of geometric symbols are carved into the surface, exhibiting the cultural influence of Islam in the region.

As such, the kendi of Southeast Asia are pieces of cultural heritage that represent the cultural flexibility of the ASEAN countries, each of which has actively adapted to external influences to transform them into something of their own. Through kendi, which reflect the various religious and cultural backgrounds of the region, one can enjoy the aesthetic preferences of each ASEAN country.