{"id":5966,"date":"2025-11-25T15:32:34","date_gmt":"2025-11-25T15:32:34","guid":{"rendered":"https:\/\/art.qweb.com.vn\/?p=5966"},"modified":"2025-12-03T02:23:12","modified_gmt":"2025-12-03T02:23:12","slug":"moc-gom-bien-hoa-dau-xua-con-mai-2","status":"publish","type":"post","link":"https:\/\/artnation.vn\/en\/moc-gom-bien-hoa-dau-xua-con-mai-2\/","title":{"rendered":"Bien Hoa ceramic stamps, a mark for life"},"content":{"rendered":"

The short and simple name \u201cBien Hoa ceramics\u201d refers to a ceramics line made by the Ceramics Department of the Bien Hoa School of Fine Arts, established by the French in the former Bien Hoa province. Within the scope of this essay, I will skip a rather long section on the history of the formation and development of the school and its Ceramics Department. Instead, I will repeat the rallying call to Vietnamese students: “Look at your own traditions”, made by French couple Robert and Mariette Balick, the school’s superintendent and teacher from 1923 to 1950. They were the ones who laid the groundwork for Bien Hoa ceramics’ glorious path. In particular, they emphasised the spirit of drawing from tradition \u2013 reviving, modifying, and perfecting it to suit new concepts, in the context of the Western art revolution which saw the rise of movements including Art Nouveau, Art Deco, as well as Japonisme and Chinoiserie influences. This modernisation process seemed to have been a driving force, encouraging the school\u2019s administrators to produce a larger number of artistic ceramic products, participate in international exhibits, and sell to various markets. True to its former name, \u00c9cole d\u2019Art Indig\u00e8ne de Bienhoa \u2013 The School of Bien Hoa Indigenous Arts, the Vietnamese locals were trained and subsequently brought profits back to the so-called Motherland thanks to their craftsmanship and labour. (The school adopted this name in September 1913).<\/span><\/p>\n

As a collector dedicated to ancient Southeast Asian religious artefacts, antique and medieval jewellery, and Bien Hoa ceramics, I hold Bien Hoa ceramics in high regard. Having sourced and owned multiple artefacts from this line, I have come to realise that collecting Bi\u00ean H\u00f2a ceramics is not only about preserving and appreciating past generations’ endeavours or discovering with pleasure the art and techniques of the old Bien Hoa school, it also means establishing a promising investment channel. Most Bien Hoa ceramic pieces are still considered antiques (under 100 years old); however, many have passed the centennial mark, with others approaching the 100-year threshold for becoming classified as antiquities. Collecting antiques that eventually become true relics adds an extra element of thrill to the work.<\/span><\/p>\n

\u201cAs a collector dedicated to ancient Southeast Asian religious artefacts, antique and medieval jewellery, and Bien Hoa ceramics, I hold Bien Hoa ceramics in high regard.\u201d<\/b><\/p>\n

In terms of commercial value, Bien Hoa ceramics have steadily increased in price over time as more people engage in collecting and exchanging them, although there have been periods of reaching a plateau, not unlike other collectible items. The greatest advantage of collecting Bien Hoa ceramics is their high authenticity. Thanks to this factor, this ceramics line is among the safest choices for those who love to collect and are about to start building a collection of antiques.<\/span><\/p>\n

As for artistic value, Bien Hoa ceramics have established a strong reputation during their development. In France, Bien Hoa ceramics are carefully preserved in museums such as the National Ceramics Museum of S\u00e8vres and Mus\u00e9e du Quai Branly \u2013 Jacques Chirac. In Vietnam, they are displayed in prestigious interior spaces, including historical residences like Emperor Bao Dai\u2019s Third Palace in Da Lat and the Independence Palace in Saigon. They are also held in collections at the Vietnam Fine Arts Museum and the Ho Chi Minh City Museum of Fine Arts. Presently, certain pieces are also present in the private homes of collectors. Here, Bien Hoa ceramics serve their original purpose as envisioned by the school’s founders: to decorate, aestheticise, and add elegance to interior spaces.<\/span><\/p>\n

Instead, I would like to share several insights on how to identify and authenticate the stamps found on ceramics from the Bien Hoa School of Fine Arts, which could be helpful for collectors and researchers of this ceramic line.<\/span><\/p>\n

The stamps are the most easily recognisable feature of a Bien Hoa ceramic, typically found on the base of the product. In the vernacular of enthusiasts, this base is called the<\/span> \u201cbottom.<\/span>\u201d However, there are exceptions where some pieces may be stamped in other locations (as commonly seen in statues), or they may not carry any stamp at all. In such cases, authenticating the piece requires more experience to assess the object based on other qualities.<\/span><\/p>\n

Most Bien Hoa ceramics have a stamp on the base with two Chinese characters \u201cBi\u00ean H\u00f2a” written in simplified Chinese: \u8fb9\u548c. Some may wonder whether Bien Hoa ceramics only date from after 1955, as simplified Chinese characters were used post-1955. However, this is not the case. Many sources state that simplified Chinese characters first appeared as early as 420 AD. Around 1955, to eradicate illiteracy and improve general education, the People’s Republic of China launched a writing reform that used simple characters passed down among the populace, resulting in the official simplified Chinese character set in 1964, which has been in wide use until today.<\/span><\/p>\n

\u201cMost Bien Hoa ceramics have a stamp on the base with two Chinese characters \u201cBi\u00ean H\u00f2a” written in simplified Chinese: \u8fb9\u548c.\u201d<\/b><\/p>\n

The stamp with the alternative characters \u8fb9\u548c is the most commonly found. It features the character “Bi\u00ean” (\u8fb9) on top and “H\u00f2a” (\u548c) on the bottom. Bien Hoa ceramic collectors and traders often refer to this stamp as the “AXE” stamp, pronounced “a-xe.” This colloquial name arises from the easiest identifying feature: the “Mouth” radical (\u53e3) in the character H\u00f2a (\u548c) has a shape that resembles the letter “A” from the alphabet when viewed upside down.<\/span><\/p>\n

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The AXE stamp featuring the Chinese characters \u8fb9\u548c written in a stylised manner, with Bien (\u8fb9) positioned above and Hoa (\u548c) below.<\/figcaption><\/figure>\n
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The AXE stamp viewed upside down, with the “mouth” radical (\u53e3) of the character Hoa (\u548c) resembling the letter “A\u201d.<\/figcaption><\/figure>\n

Other strokes of the Chinese characters in this stamp resemble the letters \u201cX\u201d and \u201cE,\u201d which leads collectors to use the name “AXE” to describe Bien Hoa ceramics with this stamp, which are estimated to have been produced from the 1940s to the 1960s. The AXE stamp has a few similar variations, but it is still easily recognised by the “Mouth” radical (\u53e3) resembling the letter “A\u201d.<\/span><\/p>\n