ジャワ発見のベトナム産タイルの図柄について : イスラーム文化との交流をめぐって (特集 文化史)

Abstract

Among the varieties of Vietnamese ceramics, one finds tiles produced in the latter half of the 15th century, and the majority of these mainly blue and white tiles can only be found on the island of Java in Indonesia. The shapes include hexagonal and cross-shaped types that are seldom found among Chinese ceramics. A current example of their use is found in the tiles of the Great Mosque of Demak on which animal motifs are common. Among the fragments excavated from the Trowulan site of the Hindu kingdom of Majapahit a variety of geometric patterns are prominent. The designs of Vietnamese ceramics discovered in Indonesia share motifs with the tiles. Yuan blue and white porcelain that is closely related to that of Vietnamese stoneware is found in two styles at Trowulan, the Zhizheng style and a simplified style that are shared with those from the Firuz Shah palace site in Delhi. There are also two types among the fragments of Vietnamese ceramics excavated from Western Asia, those whose patterns are similar to the blue and white Yuan porcelain and those that developed in a unique fashion. The route of the distribution of the Zhizheng style can be divided into two stages on the basis of excavated materials at the Trowulan and Firuz Shah palace sites and also those in Okinawa. The first stage (from the mid to latter 14th century) began in Yuan China, spread to Majapahit, and then to Tughlug. The second stage (from early to mid 15th century) began in Ming China, spread to the Ryukyu, then Majapahit, and finally Western Asia. Vietnamese blue and white ceramics began to be exported during the second stage. Then in the latter half of the 15th century, as is indicated by the sunken ship of Pandanan, they were shipped to Java along with Champa ceramics. Likely having learned techniques from the Muslim people of Champa, the potters of the northern portion of Vietnam responded to special orders for tiles based on the tradition of Yuan blue and white porcelain. There tiles with an Islamic sensibility as seen in the Yuan blue and white porcelain themselves and those produced in response to the orders from the early stage of Islamic Java were produced at the same time. The Vietnamese produced tiles have been used in the Great Mosque of Demak can be seen as the result of the start of the increasingly active maritime interchange that was centered around Islam after the fall of the Mongol Empire.