History of Thai Ceramics and Traditional Pottery Art

Thai ceramics are a deep part of Thailand’s artistic and cultural identity. They’ve been around for thousands of years, going all the way back to around 3600 BCE. While Chinese ceramics later shaped many styles, Thai pottery never copied blindly. It kept its own voice by blending native designs, local tastes, and traditional methods.

Over time, Thai pottery became more than just everyday tools or decoration. These items played a key role in trade and diplomacy, especially during the feudal era. As different kingdoms rose and fell, Thai ceramics kept evolving, always reflecting the culture and values of the people who made them.

Ancient Roots of Thai Pottery

The oldest known Thai ceramics came from Ban Chiang. These date back to about 3600 BCE. The pieces from this period were mostly unglazed and made from red clay. Pottery from Ban Chiang includes spoons, jars, vases, and pots. Many of them carry simple carved patterns, like spirals and lines. These early forms were handmade, with basic tools and natural materials.

Another early center was Ban Kao. The pottery here is thinner than Ban Chiang’s and often made with red or black clay. These pieces sometimes have a light glaze and simple geometric designs. They were also mostly handmade and used in daily life or for burial offerings.

The Mon people, who lived in Hariphunchai between 200 and 1000 CE, also created distinct ceramic works. These included small figurines, religious tablets, and pieces used in buildings. Made from red clay and left unglazed, these items reflect the spiritual and artistic side of early Thai culture.

Sukhothai Period: Thai Ceramics Rise in Style

By the 14th century, Thai ceramics reached a new level. The Sukhothai period produced many refined styles, which are still admired and collected today. This era saw the rise of several famous ceramic types, including Sukhothai ware, Sawankhalok ware, Si Satchanalai ware, Kalong ware, and Sankampaeng ware.

These ceramics often came with a green or creamy glaze and were made from smooth, fine clay. Common forms included bowls, jars, animal figures, and storage boxes. Artists used a white slip base to bring out the details and give the glaze a clean finish. Many of these pieces were fired in large kilns that let craftsmen mass-produce work without losing quality.

What makes Sukhothai ceramics stand out is their balance of function and design. They weren’t just made for looks. People used them every day. But at the same time, each piece showed skill, care, and strong attention to detail. This style became a major export product and was shipped across Asia.

Ayutthaya Period: Craft Meets Commerce

In the 17th and 18th centuries, ceramic art flourished again under the Ayutthaya Kingdom. Artisans began making a wider range of goods, including bowls, roof tiles, painted plates, and religious items. These were often enameled or painted by hand using a white clay base. The work during this time combined practicality with rich decoration.

Many designs included Buddhist themes or symbols tied to royal life. Trade was still key, and Ayutthaya ceramics made their way to different corners of Asia. Their bright colors and polished surfaces made them popular in markets far beyond Thailand.

Bangkok Period and Modern Styles

By the 18th century, Thai ceramics changed again. The Benjarong style became a favorite in the Bangkok area. The word “Benjarong” means “five colors,” and that’s what sets this style apart. These pieces are colorful, bold, and packed with detail. They were inspired by Chinese porcelain but turned into something unique using Thai patterns and religious designs.

Later, in the 19th century, a related style called Lai Nam Thong emerged. It followed a similar aesthetic but often used gold highlights instead of multiple colors. This gave it a more royal, polished feel. Today, both Benjarong and Lai Nam Thong are still made and remain popular in decorative arts, gift markets, and ceremonial events.

Key Thai Ceramic Styles and Kilns by Region

Ban Chiang ceramics are some of the oldest, dating from 3400 BCE to 200 CE. They’re handmade from red clay and decorated with spiral carvings and basic patterns. No glaze was used.

Ban Kao ceramics come from around 2000 to 500 BCE. These are also handmade but tend to be thinner. They feature red and black clay, with some basic glazing and geometric designs.

The Mon people made ceramics between 200 and 1000 CE in Hariphunchai. Their work includes religious figures and carvings made from unglazed red clay.

Sukhothai ware, from the 14th to 16th century, includes animal figures, bowls, and lidded boxes. These use a creamy glaze over fine clay and often have a light green finish.

Kalong and Sankampaeng wares, also from the Sukhothai period, are glazed stoneware. These styles focused on dishes and bowls, made with care and fine detailing.

Sawankhalok and Si Satchanalai wares, made during the same era, followed similar patterns. These items are known for their soft glaze and detailed animal shapes.

Ayutthaya ceramics from the 17th and 18th centuries brought new shapes like pedestal plates and decorative roof tiles. These pieces used painted enamel and smooth white slip.

Benjarong, which began in the 18th century, is all about color. These items are painted by hand in five bright shades and often reflect royal or spiritual themes.

Lai Nam Thong, from the 19th century onward, focuses on gold instead of color, offering a simpler but more regal finish.

Why Thai Ceramics Matter Today

Thai ceramics tell stories about trade, religion, daily life, and how people expressed themselves. From simple red clay jars to detailed gold-painted bowls, each piece shows skill, care, and a deep sense of style. Whether you’re looking at ancient artifacts or modern works, Thai ceramics keep one foot in the past while staying relevant in the present.

This art form continues to inspire and evolve. And as collectors, designers, and artists revisit traditional methods, Thai pottery remains a living part of Thai culture. It’s one of the best examples of how art, history, and craftsmanship can work together to shape something timeless.

 

Ban Chiang: The Start of Thai Pottery

The earliest known Thai ceramics came from Ban Chiang, located in what is now Udon Thani Province. These pieces date back to about 3600 BCE and mark the beginning of ceramic craftsmanship in Thailand. The Ban Chiang ceramics were made from earthenware clay. Early examples were simple and undecorated, mostly shaped as cylinders and rounded vases. Over time, the pottery became more detailed. Later pieces were carved with spiral patterns and geometric lines. Most of these ceramics had axial perforations, meaning holes were made across the center. That detail shows that people back then already used tools and understood basic production methods.

Ban Kao Ceramics: Thinner, Smoother, and More Refined

The second major prehistoric ceramic site is Ban Kao, found in Kanchanaburi Province. These ceramics were noticeably different from those of Ban Chiang. They were thinner, smoother, and had a glossy surface. The variety in shapes and styles was wide, and some forms looked a lot like Han Chinese bronze ware. These finds suggest there was outside influence, or at least some shared ideas between early Thai and Chinese cultures.

Mon Ceramics: Religion in Clay

By the 1st century CE, the Mon people rose as a strong force in the region. They used ceramics not just for storage or cooking but also in religious settings. Mon ceramics often came in the shape of small figures or sacred symbols. Some were used to decorate temple walls or buildings. These early forms show how pottery in Thailand went from everyday tools to spiritual objects.

Khmer Ceramics: Overlooked but Unique

Around the 9th century CE, the Khmers came into power. While their stone and bronze sculptures are well-known, less attention has been given to their ceramics. But the pottery they left behind is still worth noting. Khmer ceramics often included animal-like designs and were finished with a dark brown glaze. Even if they aren’t as widely studied, these works still show creativity and cultural value.

Sukhothai and Sawankhalok: The Golden Age of Thai Pottery

Traditional Thai ceramics are best known through the styles developed in Sukhothai and Sawankhalok. These two centers produced some of the most refined and sought-after Thai pottery.

Sukhothai ceramics were covered in a creamy white slip and decorated using black designs. They were then coated in a light or greenish glaze. The most well-known kiln site from this period was Si Satchanalai. Pieces from this area can now be found in museums around the world.

Sawankhalok pottery is often seen as even more carefully made than Sukhothai ware. These ceramics are incised, meaning designs were carved into the surface before firing. Many pieces feature animal forms, a common theme in traditional Thai pottery. Today, both Sukhothai and Sawankhalok styles are still produced and sold, especially to markets in the Philippines and Indonesia.

Haripunjaya Ceramics: A Separate Path in Northern Thailand

The kilns at Haripunjaya, located in what is now Lamphun Province, stand out from the rest. Even though this area is in Northern Thailand, its ceramics are different due to its older Mon-Khmer roots. The founding of the Haripunjaya Kingdom is traced back to around 750 CE. According to ancient texts, a site once used by the Khmers to dig clay became known as Pot Pond because it provided materials for making pottery.

Haripunjaya ceramics are made from red earthenware and are usually left unglazed. Most of the pieces are tall-necked vases or urns, not plates or bowls. These vessels likely had a ceremonial purpose. Some were probably used to hold cremation ashes. Decorations on these items include red paint or slip and carved details. While no exact dating system exists, similar pottery found at nearby burial sites points to a time range between the late 14th and mid-16th centuries.

The Kalong Kilns: Rediscovered and Studied

Kalong kilns were first discovered in 1933, but serious study didn’t happen until decades later. In fact, when researcher Roxanna Brown wrote her thesis in 1977, these kilns were still mostly unknown. That changed when a local villager claimed he found a kiln after having a dream about it. Once uncovered, the site was excavated and later opened to the public.

Over one hundred kilns have now been reported at Kalong, though only one has been fully studied. These kilns used cross-draft firing methods. Builders created the kiln by covering a bamboo frame with clay, which was typical for Northern Thai kilns. This method contrasts with the brick kilns used in Sukhothai and Sawankhalok.

Based on the structure and style, experts believe the Kalong kilns were active between 1300 and 1550. The discovery of this site helped fill gaps in the history of Thai ceramics and gave more insight into how pottery was made and used in Northern Thailand.

Kalong Ceramics: Fine Craftsmanship and Unique Designs

Kalong ceramics are known for their smooth, light-colored clay body. This fine-grained whitish clay likely played a big role in where the kilns were placed. The quality of this clay also helped Kalong pottery earn a reputation as some of the finest ever made in Thailand. The work is thin, balanced, and consistently well-crafted, often made with wide, stable bases.

One of the standout features of Kalong ware is the use of black underglaze. These decorations often show abstract shapes, including a bird or bat pattern, sometimes called the “black crow” design. But Kalong potters didn’t only stick to black motifs. They also produced celadon, solid black, brown, green, and even lead-glazed monochromes.

One rare glaze, called “rain-cloud grey,” is only found in Kalong pieces. This glaze has a soft, cloudy tint, light and slightly see-through, with a subtle grey tone. It sets Kalong ware apart from any other Thai ceramic style.

During excavations, broken ceramics and kiln furniture have been found at Kalong sites. These include things like bowls, long tubular supports, raised platforms, and tripod-shaped stands. They give a clear look into how the potters fired and supported their work inside the kilns.

Sukhothai Period and the Si Satchanalai Kilns

Some of the most famous Thai ceramics come from the Sukhothai period, especially from the kilns of Si Satchanalai. This historic town sits near modern-day Sawankalok in north-central Thailand. The period started in the 13th century CE and lasted until the 16th century, peaking artistically in the 14th century.

Ceramics from Si Satchanalai became highly valued, not just in Thailand, but across the region. Sukhothai traded them widely, sending them by sea to neighboring countries. Many pieces have been recovered from shipwrecks found in the Gulf of Thailand, the Andaman Sea, and surrounding waters. These underwater finds confirm how important ceramic exports were to the Sukhothai economy.

In 1950, locals digging near Wat Chedi Sao stumbled on the first of many old kilns. Today, several groups of ancient brick kilns are known to exist in the rice fields around the temple. These kilns made thick, dark clay jars and bottles. The glazes vary from drippy black to lighter brown. Some ceramic figures of humped bulls have also been found, though their exact purpose is unknown. The clay used here is rough and dark, often with mottled red or brown surfaces.

Nakorn Thai: A Smaller Sukhothai Kiln Site

East of Sukhothai, a small group of six kilns was located in Nakorn Thai. Though the exact discovery date isn’t recorded, these kilns were studied in 1984 by the Thai-Adelaide project. The site mainly produced unglazed stoneware, likely active during the late 13th and early 14th centuries.

Nan Kilns: A Recent Discovery

Some of the most recently studied Thai ceramic kilns were found in Nan. Bangkok University’s Fine Arts Department excavated four in-ground kilns there in 1984. The sites had been damaged by farming, but they still held a range of ceramic pieces.

Most of what was found fits into three categories: dishes, jars, and mortars. Many of these came with saggers and other kiln supports. The colors used included plain olive, brown, and black. There were also celadon pieces and jars made with two tones using a single glaze and a whitish slip beneath.

Dishes from Nan often had scoop-like shapes and were covered with a clear glaze over pale slip. The clay here is especially distinctive. It’s dark grey, nearly black, with tiny white specks. But when fired, the outside could turn orange or even brown, depending on conditions inside the kiln.

A few bowls showed underglaze iron patterns that looked a lot like earlier styles. These decorations, though simple, connect Nan pottery to broader Thai ceramic traditions.

Fine Paste Ware: Thin, Smooth, and Light

Another standout ceramic type is known as Fine Paste Ware. These earthenware pieces are known for their smooth, soft clay that feels almost chalky. This fine texture lets artists shape very thin, hard vessels with clean lines and sharp detail.

When fired, the outer layer turns white or light tan, while the core stays grey. This contrast in color makes these pieces easy to identify. They are also valued for how light they feel in the hand, showing both skill and precision in the firing process.

Fine Paste Ware adds yet another layer to Thailand’s long ceramic history, showing the wide range of materials and styles potters used across different regions and centuries.

Fine Paste Ware: Thin Clay, Ritual Use, and Widespread Trade

Fine Paste Ware includes bowls, covers, lids, and other vessels, but most of what’s been found are kendis. A kendi is a kind of water container, often linked to religious ceremonies and spiritual rites. These vessels were usually used to pour or store water during rituals, making them more than just practical items.

Even though we know what they are, we still don’t know exactly where all Fine Paste Wares come from. To be sure, we’d need lab tests to check their chemical makeup. What we do know is that the clay used for them is nearly pure kaolin, a fine white clay formed from weathered feldspar. This clay only exists in two places in Southeast Asia: East Java and the isthmus of southern Thailand. That makes the spread of Fine Paste Ware across the region especially interesting.

So far, no kiln sites have been discovered in East Java. But at Pa-O in southern Thailand, six updraft kilns have been found and studied. Shards from Pa-O show high levels of iron oxide, which may explain the reddish tint in some Fine Paste pieces.

Many Fine Paste kendis have turned up in shipwrecks, especially in the Intan and Java Sea wrecks from between the 10th and 13th centuries. Other fragments have been found in the Philippines, East Java, north Sumatra, and Singapore, dating from the 9th to 14th centuries. The wide reach of these finds shows that kendis weren’t just local. They were traded often, which raises new questions about how ceramics moved through Southeast Asia in that era.

Phan Kilns: High-Quality Celadon from Northern Thailand

After Kalong and Sankampaeng, the Phan kilns rank as the third-largest ceramic production site in northern Thailand. Around 40 kilns have been found there, grouped into two main areas. Of those, 15 sites have been excavated. These kilns were active for only a short time, likely just a few decades during the 15th century, but the work they produced stood out.

Phan potters focused almost entirely on celadon. Only a small number of pieces were made with olive glaze. The celadon quality was higher than what you’d find at Sawankhalok. The glaze was applied evenly and came out smooth, clear, and bright. Unlike Sawankhalok ceramics, which often show heavy glaze pooling or drip marks, Phan celadon kept a clean, polished look. The surface was thin and crackled just enough to give it texture.

The celadon color is soft and subtle, often a pale green with hints of grey or yellow. It’s hard to capture in photos because the shade is so light. The shapes are neat and well-proportioned, showing strong craftsmanship. The clay body is also unusual. It has a soft, almost glowing look, without obvious specks. Unlike the speckled clays of Sukhothai or Sawankhalok, Phan clay has fine, uneven tones, usually beige over grey.

Most Phan ceramics are basic tableware like bowls, plates, and dishes. But potters also made some rare forms, including small jars, bird-shaped kendis, and elephant figures. The designs were often etched lightly under the glaze using sharp tools. Some decorations were made with a three- or four-pronged point, giving a fine, lined look that was still clean after firing.

Phan ceramics may have only been made for a short time, but their level of detail and polish made them some of the most refined ceramic works in Thai history.

The Phayao Kilns: Lost Legacy of Northern Thai Pottery

The kilns at Phayao tell a story that mixes legend, migration, and forgotten craft. It's believed they were set up around the mid-1400s, after the governor of Sawankhalok fled political conflict in 1447. According to the story, he took skilled potters with him from central Thailand. Later, the king of Chiangmai appointed him governor of Phayao. Though the kilns were reported in the 1950s, no full excavation has ever taken place, leaving most details about the site unclear.

What we do know comes from surviving fragments. The pottery from Phayao looks a lot like Sankampaeng ware. Most pieces have a dark grey or black clay body. Some were painted with a white slip, giving the glaze a lighter tone after firing. This technique matches what’s seen in Sankampaeng ceramics, known for their smooth brown finishes.

Phayao also made plates using olive, brown, and celadon glazes. One style stands out. It’s a dish with a wide, curved rim that turns outward - what some call a scoop-mouth shape. This kind of dish, like one found at the Tak Om Koi burial site, had an unglazed rim. It also had two fish stamped into the center and a faded olive-brown glaze over its dark body. Most of the glaze has worn off, but you can still see the quality of the original work.

These wide-rimmed dishes weren’t stacked the way most glazed ceramics are. Instead of resting foot-to-foot in the kiln, they were fired rim-to-rim. This method left the rims unglazed, helping us confirm how they were made. The technique mirrors what we know from collapsed kiln loads at Sawankhalok, showing a close connection in both style and method.

Still, much about Phayao pottery remains unknown. We don’t yet understand how the site related to nearby centers like Kalong, Wang Nua, or Phan. We don’t know why Phayao needed its own kiln site or how it stood apart from the others. Even the date the site was founded is uncertain. There’s little information on how the workshops operated or who ran them.

Right now, the only way to identify true Phayao ware is through chemical analysis. This process is expensive and rarely done, which means many pieces likely go unrecognized. More fieldwork and lab research are needed to learn the full story behind these forgotten kilns.

 

Phitsanulok: A Political Change and Ceramic Expansion

Around 1430, the capital of Sukhothai moved east to Phitsanulok. This change turned the city into the new political hub. Later, between 1463 and 1488, King Trailok moved the Ayutthaya capital there as well, aiming to position himself better for military campaigns against Chiangmai.

This period of transition led to growth in the local economy, and pottery production followed. Two large brick kilns were excavated in 1984. Most of the ceramic pieces found there date to the 15th century and follow the Sawankhalok tradition. These included stoneware jars and other basic vessels made for everyday use. Some were earthenware, and others had only slight traces of glaze.

The pottery found suggests that artisans from Sawankhalok may have moved to Phitsanulok during this time, setting up new kilns to serve the growing population and rising demand. This migration would explain the strong stylistic overlap between Phitsanulok ceramics and Sawankhalok ware.

Some jars show a faint glaze near the shoulder. This glaze wasn’t always applied by hand. Instead, it likely formed as a natural byproduct of firing iron-rich clay in wood-burning kilns. This is called a fly-ash glaze. As the heat built up, ash from the wood would settle onto the clay surface, creating a thin, glassy coat in olive or black tones.

Radiocarbon dating from one of the kilns points to the 14th century. But the style of the ceramics, along with items recovered from the Koh Khram shipwreck, suggests that production continued into the 15th century. That wreck carried many examples of these wares, giving us a clearer picture of what was being made and traded during that time.

Both Phayao and Phitsanulok show how political changes, migration, and market needs shaped the ceramic traditions of Northern Thailand. These lesser-known sites may not get as much attention as Sukhothai or Sawankhalok, but they played a real part in the region’s craft history. There’s still much to learn, and every new find could change what we think we know.

Sankampaeng Kilns: Underrated Pottery of Northern Thailand

Sankampaeng sits about 25 kilometers east of Chiangmai, not far from Kalong. The site came to light in 1952, thanks to Thai archaeologist Kraisri Nimmanahaeminda. Alongside the kilns, he found a stone stele inscribed with a message that mentioned the building of a Buddhist pagoda in 1488 and a royal gift of 25 slave families. He guessed that some of those slaves were potters, and based on that, he placed the kilns in the late 15th century.

But the inscription doesn't actually confirm the date of the kilns. It only ties the site to a time period. So while the kilns may date to that era, there's no solid proof. What we do know is that 83 kilns were found in the area. Only seven had been excavated by 1970. These were in-ground kilns, small and partly sunken. The upper parts were shaped from compacted earth mixed with broken brick. This design is close to kiln styles used in Laos.

Structurally, they follow the same basic layout as other Thai cross-draft kilns. They’re oval, with a firebox slightly lower than the main chamber. Nimmanahaeminda even noted that similar kilns were still being used by Tai communities in China’s Yunnan Province as late as the 1900s.

Because of damage to the kiln sites, there’s no way to date them precisely. Most experts agree that the Sankampaeng kilns were active somewhere between the 14th and 16th centuries.

Sankampaeng Ceramic Styles and Marks

Sankampaeng ware is best known for its underglaze iron decoration. Many of these designs feature two stamped fish in the center of the plates. One plate found at the Tak Om Koi burial site has this design. It also shows the signature flat, unglazed mouth rim, a detail that Sankampaeng shares with Phayao pottery.

Most of the ceramic sherds from Sankampaeng include green, black, and two-tone glazes. Some pieces were left unglazed. The most common finds are jars, bottles, mortars, and small to medium basins. Plates and dishes are frequent too. Many were fired directly on the kiln floor, which left gritty marks on the base.

The base of one plate shows circular rings, a sign that the clay was cord-cut while spinning on a potter’s wheel. If the rings had been straight, it would suggest the vessel was cut from a still wheel instead. The clay body of this plate is also easy to identify. It’s blotchy because sand was mixed into the clay. That speckled effect is common in Sankampaeng ceramics. The colors vary a lot - from buff, to light brown, to dark grey.

Types of Sankampaeng Glazes

Sankampaeng ware falls into two main glaze categories. First, there’s the celadon-type glaze. Sometimes it turns out as true celadon, but usually it's a thin, grayish green. This glaze is often applied over a white slip. The brush strokes in the slip can usually be seen running horizontally around the vessel, a side effect of applying it while the piece spun on a wheel.

The second glaze type is made up of brown and black monochromes. These also use the same white slip method underneath the glaze. This detail, the slip application, the brush lines, and the soft glaze color, helps link these wares back to Sankampaeng, even when the kiln origin is uncertain.

Sawankhalok and Si Satchanalai Kilns: A Wider Network

The names Sawankhalok and Si Satchanalai are often used for a huge number of kilns across central Thailand. By the mid-1300s, these kilns were working at full scale. They turned out a wide range of ceramic types that fall into four main groups.

First were the unglazed pieces, made for everyday storage and use. Second came the monochromes: plain white, black, brown, olive, and celadon glazes. The third category featured brown glaze with incised lines filled in with white clay. Finally, there were underglaze iron-decorated wares, like fish or floral motifs painted beneath a clear glaze.

The clay in Sawankhalok and Si Satchanalai ware is finer than that used in Sukhothai ceramics. It’s easy to tell them apart by the black specks scattered throughout the surface. These specks come from the iron-rich clay. Some pieces even show red or silver inclusions. Most shapes from these kilns are straightforward. They focused on practical items like jars, bottles, kendis, bowls, and flat plates.

Sankampaeng in the Bigger Picture

Sankampaeng didn’t work in isolation. Its pottery shows clear connections to both nearby and distant traditions. While it had its own features: sand in the clay, stamped fish designs, slip-glazed surfaces, it still fits into the broader world of Thai ceramics.

The kilns at Sawankhalok and Si Satchanalai were massive and consistent. But sites like Sankampaeng add texture to the story. They reveal how local techniques and materials shaped the way ceramics looked, felt, and functioned. These smaller kiln groups may not match the fame of the larger centers, but they show just how rich and layered Thai ceramic history really is.

Early Sawankhalok and Si Satchanalai Ceramics

The first Sawankhalok and Si Satchanalai wares featured simple but striking decorations. Most dishes had flower designs painted in iron underglaze at the center, with fish drawn around the inner rim. This flower-and-fish pattern shows up often in shipwrecks from around 1370, especially the Turiang wreck. These early pieces were among Thailand’s first major ceramic exports. They reflect both artistic skill and a clear focus on visual storytelling using local themes.

Experts like Roxanna Brown and Sten Sjostrand built a timeline of these wares by studying shipwrecks. The Turiang ship carried Si Satchanalai dishes decorated with those early floral and fish designs. But later wrecks, like the Nanyang (around 1380), Longquan (1400), and Royal Nanhai (1460), carried celadon plates instead. These green-glazed plates became the top export from Thailand through the end of the 1400s. Then, Burmese celadon took their place in the shipping trade, starting in the Hongzhi period (after 1488). Still, Thai celadon bowls and jars with ring handles kept showing up until the early 1500s.

The Kendi and Symbolism in Form

Sawankhalok kilns also made kendis, a type of water vessel. Most had spouts shaped like a nipple, called mammiform spouts. But there were also standout pieces shaped like geese. Some of these goose-shaped kendis were painted in brown or black underglaze. Others came in pure white or celadon green. The goose was not a random choice, for it was linked to the Hindu god Brahma, who was believed to ride a goose. That blend of function and symbolism gives these kendis a unique place in Thai ceramic art.

Monochrome Glazes and Market Changes

By around 1400, celadon became common in Sawankhalok. But even as glazes transformed, the basic forms stayed mostly the same. Black and brown monochrome pieces were also made, though not as widely. These darker wares were likely meant for different markets. Some show up in the same early wrecks, like the Turiang. Despite some kiln sites being damaged over time, the presence of these items helps map their development.

Late Sawankhalok: Style Changes and Decline

In the final years of Sawankhalok production, the look of the ceramics changed again. Celadon faded out, while black underglaze boxes returned to the spotlight. These box designs became the main decorative focus and show up in later shipwrecks, like those from the Zhengde and Jiajing periods, which stretched from 1505 to 1566. Sawankhalok production slowed and finally stopped around 1584.

Trade Routes and Regional Influence

Thai ceramics from Sawankhalok made their way across Asia. In the Philippines, a large number of pieces have been found at old sites like Calatagan, dating to the 14th and 15th centuries. On the mainland, Sawankhalok wares showed up at Angkor in Cambodia after 1350. These finds suggest Thai ceramics kept moving through trade networks without major gaps. That stands in contrast to Vietnamese ceramics, which were exported in waves with breaks in between.

Kiln Clusters and Production Roles

The Sawankhalok area had three main kiln clusters, each with its own focus. Ban Pa Yang made parts for buildings. Tukatha, which means "dolls" in Thai, produced figurines. Ban Ko Noi handled ‘Mon’-inspired pottery and the earliest underglaze designs. Dishes from Ban Ko Noi carried the same flower-and-fish designs found on the Turiang wreck. These images had no clear foreign influence and may have been purely local creations.

All three kiln sites show similar pottery fragments, even though each had its own specialty. Figurines from Tukatha were often tied to local rituals, especially ones meant to call rain or promote fertility. These weren’t just art objects. They had cultural meaning and were part of seasonal or spiritual traditions.

 

Figurines and Rituals: Misinterpretation and Material Fragility

Some Thai figurines have been found in places like Banten Lama, West Java, often missing their heads. This led some early researchers to think they might have been used in sacrificial rituals. But later studies challenged that theory. Scholars like Guérin and Van Oenen pointed out that the heads probably broke off because the connection between the head and body was weak. This breakage is common and likely happened after the figurines were made or buried.

These figurines include both male and female forms. Male ones often hold fighting cocks instead of children. Others carry fans, jars, or different props. While some researchers wanted to label these as a distinct type linked to ritual sacrifice, there’s no solid proof. More likely, they were just part of a broader group of clay figures that included humans, animals, and mythical beings like demons.

Hunchback Figures and Magical Themes

There are many examples of hunchback figurines across Thailand. Some have also turned up in North Sumatra and South Sulawesi. These figures vary in quality and style. Sometimes they’re mistaken for women because the hair is pulled back and pinned. But they actually represent male figures.

The true use of these figurines isn’t clear. One theory suggests they might represent shamans or magicians. Their strange postures and odd features hint at some kind of supernatural or spiritual role, but without written records, that remains a guess.

Celadon Production in Si Satchanalai

By the 1400s, the kilns at Si Satchanalai were producing high-quality celadon. This is confirmed by leftover wasters found at the kiln sites and by the cargo found on several shipwrecks. The Nanyang wreck, dated around 1380, carried celadon plates. The Longquan wreck from about 1400 and the Royal Nanhai wreck around 1460 also had large amounts of Thai celadon in their holds. These ships help map the growth of celadon production and trade in the region.

The Royal Nanhai also carried two other types of ceramics common to Sawankhalok and Si Satchanalai. These included monochrome white-glazed wares and plain brown-glazed pieces. Along with underglaze iron-painted dishes, this variety shows how wide the ceramic output had become by the mid-1400s.

Materials, Firing, and Color Effects

Si Satchanalai ceramics were made from stoneware and fired at high temperatures. The fired body tends to be grey with black specks. These black spots come from the iron oxide in the clay. When fired, the iron shows up as red, black, or shiny silver flecks across the surface.

Some reddish areas, especially on the base of broken figurines, come from firing conditions. If the kiln has low oxygen during firing (a reducing atmosphere), parts of the piece turn red. When the ceramic cools and hits oxygen again, those same areas can re-oxidize, leaving reddish stains or tints. This kind of firing marks a key part of the ceramic’s look and texture.

Si Satchanalai Kilns: A Center of Thai Ceramic Production

The kilns of Si Satchanalai have been known and studied since the late 1800s. They are some of the most researched in Thai pottery history. The name "Si Satchanalai" doesn’t just refer to one location. It covers over 600 kiln sites spread across three main areas: Ban Ko Noi, Tukatha, and Ban Pa Yang. These kilns are close to the actual walled town of Si Satchanalai, which sits about 10 kilometers from Ban Ko Noi in central Thailand.

For a long time, the wares made here were called Sawankhalok and thought to be different from Sukhothai ceramics. Before full excavations began in the 1970s and 1980s, many people believed that potters first worked in Sukhothai and later moved to Si Satchanalai after the clay in Sukhothai ran out.

But deeper study showed that wasn’t accurate. Si Satchanalai had its own long-running production history. The ceramics made there didn’t come after Sukhothai, as they developed alongside it. Today, both sites are recognized as major centers of Thai ceramic art, with their own styles, techniques, and trade histories.

New Evidence About Thai Ceramic Origins and Trade

Fresh discoveries have changed how we understand Thai ceramics. It used to be believed that Sukhothai and Sawankhalok wares developed at different times. That’s no longer true. Both were found together at the Tak Om Koi burial sites near the Thai-Myanmar border and also on the Koh Khram shipwreck in the Gulf of Thailand. These findings prove the kilns were active at the same time.

Dig sites have also confirmed that Ban Ko Noi had the oldest kiln used for making Thai glazed pottery. This site likely dates back to around the 1300s. Unfortunately, it’s been damaged too much for accurate dating. We won’t get clearer results until someone runs a chemical analysis on the ceramic pieces.

Singburi: A Pottery Hub Born From Conflict

Singburi became a key pottery site during a chaotic period. When the Burmese invaded in the 1550s, many potters from the north may have escaped to safer ground. That’s how Singburi may have started. Pottery from this site dates from the late 1500s through the early 1600s. Some of these jars were even found near Africa. One batch was discovered in 1613, when a Dutch ship called the Witte Leeuw sank.

Singburi pottery is mostly made up of large unglazed stoneware storage jars. These jars often have thick loop handles and baluster shapes. Some also show stamped designs on the shoulder area. You’ll find elephants and other symbols. Other items include basins that look a lot like those from Phitsanulok. Excavations at Singburi began in 1988. It’s likely the site stayed active until Ayutthaya fell to the Burmese in 1767.

Jars from Singburi were found on multiple shipwrecks, including the Witte Leeuw, the Royal Nanhai, and the Koh Khram. That shows how far Thai pottery was traded by sea.

Debunking the Legend of Chinese Potters in Sukhothai

There’s a story that Chinese craftsmen moved to Sukhothai in the late 1200s and started the Thai stoneware tradition. But no records from that time back this up. And some facts suggest otherwise.

According to expert Roxanna Brown, there are clear differences between Thai and Chinese ceramics. Thai kilns used certain design features not seen in China. For example, they used tubular supports during firing, and their motifs were unique. Some elements show more in common with Vietnamese ceramics than with Chinese ones.

Sukhothai’s Rise and Its Ceramic Boom

The Sukhothai Kingdom was formed sometime between 1220 and 1250 CE. Thai records say it broke away from the Khmer Empire during this time. Khmer history also notes a war with Siam around the same period. By 1300, Sukhothai kilns were running at full scale, showing a link between the rise of the kingdom and the rise in ceramic production.

Sukhothai is best known for its stoneware dishes, plates, and bowls. These often have a fish drawn in the center, surrounded by one to three circles. The decoration is done in black underglaze. One sign of Sukhothai pottery is the scar left by the spur supports. There are usually five of these marks, spaced evenly around the piece. Sometimes they’re placed within the fish drawing itself. Another marker is the white slip on the bottom and a coarse, gritty body in shades of grey or brown with tiny white particles mixed in.

Roxanna Brown described the fish paintings on Sukhothai pottery as “free, lively, and summary,” showing movement and ease. This stands out compared to the stiffer fish drawings found on Sawankhalok ware.

Shipwrecks Prove Overlap of Thai Ceramic Production

It was once thought that Sukhothai and Sawankhalok wares came from different periods. Shipwrecks tell a different story. Both styles were clearly made at the same time, especially during the early 1400s.

On the Turiang wreck, dated around 1370, there were more Sukhothai pieces than Sawankhalok ones. The Longquan wreck from around 1400 also carried Sukhothai wares. Other wrecks like those near Koh Khram and Rayong, dated between 1380 and 1500, carried Thai ceramics too. This proves there was strong overseas demand for them.

The pieces found on the Turiang even suggest that Thailand and Vietnam were exporting decorated underglaze ceramics earlier than previously thought. Thai ceramic exports picked up speed around the time the Ming Dynasty took control in China, from 1368 to 1644. During this time, China banned private overseas trade and turned its kilns at Jingdezhen into official court factories. That opened the door for Thai potters to step in and fill the demand for glazed pottery across Asia. They held this market strong until the late 1500s, when China returned to international trade and reclaimed its place.

Suphanburi: A Lesser-Known Kiln Site

Suphanburi is another important ceramic site, though it’s not well understood. Excavations took place in 1985 and 1986. Most of the pieces found were unglazed stoneware jars. These were similar to jars made in Phitsanulok and Singburi. We don’t know much else about Suphanburi’s production, but some of its pottery has turned up in Okinawa. These finds were often mixed with Martaban jars and underglaze-decorated pieces from Vietnam, showing how far this ware might have traveled.

Wang Nua: Celadon Craft from Northern Thailand

Wang Nua is about 30 kilometers south of Kalong and was discovered in 1970. Out of 25 kilns found, only 11 were dug up during the 1972 excavations. Most of the pieces recovered were celadons, reinforcing the idea that kilns in northern Thailand had a specific focus and skill set.

Many of the items from Wang Nua were basic in shape and finish. But now and then, rare fine examples showed up. One of the best finds came from the Tak Om Koi burial sites, including a plate that stands out for its detail and quality.

The kilns at Wang Nua were cross-draft bank kilns, cut right into the hillside. These simple structures were made from hardened clay and shaped by repeated firings. They date to the late 1300s or early 1400s.

One classic trait of Wang Nua ware is its scalloped mouth-rim. Brown compared it to the edge of a pie crust, made by gently pinching the rim inward. Other markers include an unglazed base, a brownish-grey ceramic body, and carved rings inside the bowl. The glaze is green and comes in different shades. Sometimes it’s light and watery. Other times it looks more opaque, with a yellow-green tint. Usually, the glaze is thinner on the outside than on the inside.

Bencharong and Lai Nam Thong: Bangkok’s Ceramic Legacy

Bangkok became the capital of Thailand in 1782. From that time forward, Bencharong and Lai Nam Thong ceramics took the spotlight. Bencharong, which means “five colors,” first appeared in the late Ayutthaya period during the 1700s. It’s a hand-painted ceramic with enamel designs painted over the glaze. At first, Bencharong was made in China but designed by Thai artists for Thai royalty. These pieces were made for the elite and were never for everyday use.

Lai Nam Thong developed in the 1800s. It’s a more luxurious version of Bencharong. Instead of colored enamel, it features gold decoration. Both types were collected by wealthy families and used in formal settings.

A Museum for Thai Ceramics

To help preserve and study this history, the Southeast Asian Ceramics Museum opened in Bangkok in 2005. It holds a wide range of pottery from across the region, including many rare Thai pieces. This museum helps keep the legacy of Thai ceramics alive for scholars, collectors, and everyday visitors who want to understand how much this art form has shaped Thai culture.

 

The Special Asian Blog Collection:

1. Ceramic Production in Southeast Asia: Historical Periods, Styles, and Techniques

2. History of Ceramics in the Malay Region: Ancient Pottery, Cultural Heritage, and Trade in Southeast Asia

3. Vietnamese Ceramics History: Ancient Pottery, Trade, and Craftsmanship

4. Traditional Philippine Pottery: Tapayan Jars, Earthenware, and Indigenous Ceramic Heritage

5. History of Thai Ceramics and Traditional Pottery Art

6. Southeast Asian Ceramics: Khmer, Lao, and Burmese Pottery Traditions

7. Historic Southeast Asian Shipwrecks with Ancient Ceramics: Maritime Trade and Sunken Treasures

8. Top Museums in Asia for Southeast Asian Ceramics: Where to See Ancient Pottery and Porcelain