Martaban Container Jars

Martaban container jars—also known historically as Martavans—are among the most evocative and widely traded ceramics of the Indian Ocean and South China Sea worlds. Rugged, capacious, and often handsomely glazed, these stoneware jars traveled aboard junks and dhows from the 13th century onward, storing everything from water and palm wine to oils, pickles, and salted fish. For collectors and appraisers, they offer a rich field: centuries of production across multiple kiln traditions, a complex trade history, and a spectrum of forms from plain utilitarian vessels to elaborately decorated “dragon jars.”

This guide explains what Martaban jars are, how to identify and date them, what drives condition and value, and how to care for them—so you can appraise with confidence.

What Are Martaban Container Jars?

• Definition and use: Martaban jars are large, high-fired stoneware storage vessels, typically with thick walls, a short neck and mouth, and multiple lugs or handles at the shoulder for securing ropes. They were built to take punishment—dense clay bodies, robust firing, and tough iron-oxide or ash glazes.
• The name: “Martaban” refers to the port of Martaban (modern Mottama) in Lower Myanmar, an important entrepôt during the 14th–17th centuries. The term became a trade name in Arabic, Persian, Portuguese, and Spanish sources for large glazed jars shipped through or via Martaban. As a result, “Martaban” is a functional and commercial category, not a single kiln or country of manufacture.
• Geographic spread: While some jars were made in Lower Myanmar, the majority encountered in collections were produced in Southern China (Fujian and Guangdong/Guangxi), Thailand (Si Satchanalai/Sawankhalok and Sukhothai traditions), Cambodia (Khmer stoneware), and Vietnam (notably Binh Dinh/Go Sanh). They were avidly traded to the Malay world, Indonesia, the Philippines, India, Sri Lanka, and East Africa.
• Cultural role: Beyond utility, jars functioned as prestige goods and heirlooms in island Southeast Asia. In Borneo, for example, “tajau” jars carried social and ritual value, sometimes receiving names and genealogies. Such documented, indigenous provenance can strongly influence appraisal.

Manufacturing Centers and Styles

While forms overlap, broad traits help distinguish production centers and periods. Consider these as typological cues rather than absolutes; workshop variation is real.

• Southern China (Fujian and Guangdong/Guangxi, Yuan–Qing, c. 13th–19th centuries)

  • Body and paste: Dense, hard, often grey to buff fracture; sandier fabrics in later Guangdong wares.
  • Glaze: Iron-rich brown to blackish-brown, sometimes olive where thin; characteristic “tears” or streaks where glaze runs. Late examples can be thick, lustrous, almost patent-leather black.
  • Decoration: Applied molded reliefs—dragons chasing pearls, floral scrolls, lion-dogs, peony roundels; rows of raised bosses or studs. Some have impressed medallions or shop marks.
  • Handles: Strap-like lugs with pierced holes; sometimes multiple sets of four, six, or eight around the shoulder. Lugs can be squared-off or rounded; relief-decorated jars often have prominent, robust lugs.

• Thailand (Si Satchanalai/Sawankhalok and Sukhothai, c. 14th–16th centuries; later regional production continued)

  • Body: Hard stoneware, beige to light grey fracture.
  • Glaze: Olive to brown ash glazes, often semi-matte with fine speckling; pooling can create darker “olive-black” at the shoulder and under the rim.
  • Decoration: Incised lines, combed waves, or panels; generally less flamboyant than Chinese relief dragons. Some applied bosses or simple rope-impressed bands near the neck.
  • Handles: Smaller loop lugs, occasionally triangular in section. Base often shows kiln grit or sand adhesion.

• Cambodia (Khmer stoneware, Angkorian to Post-Angkorian, c. 11th–14th/15th centuries; later revivals)

  • Body: Thick, heavy walls; coarse inclusions; obvious paddle or beating marks on the interior or exterior.
  • Glaze: Dark molasses-brown to caramel; often uneven with thicker, semi-gloss patches.
  • Decoration: Simple raised bands, large applied bosses, or minimal ornament. Figurative reliefs are uncommon.

• Vietnam (Binh Dinh/Go Sanh and other centers, c. 15th–17th centuries)

  • Body: Stoneware with fine inclusions; fracture ranges grey to buff.
  • Glaze: Brown to olive-brown with occasional “clouding”; slightly granular surfaces are not unusual.
  • Decoration: Incised or applied bands; occasional stamped motifs; generally restrained compared to Chinese dragon jars.

• Myanmar (Lower Myanmar and later Twante-area production)

  • Body: Medium- to coarse-grained stoneware; sometimes thicker and more utilitarian in finish.
  • Glaze: Brown to olive-brown, sometimes patchy; local jars often show simpler glazing and fewer decorative flourishes.
  • Decoration/handles: Rope-impressed necks, stout lugs for rigging; emphasis on function.

Because trade redistributed these jars widely, discovery location does not guarantee origin. Instead, prioritize fabric, glaze, forming techniques, and ornament.

How to Identify and Date a Martaban Jar

Appraisal begins with the fabric and form, then moves to glaze behavior, handles, and decoration. Use a bright light and magnification; if safe and ethical, inspect the interior.

• Body and clay

  • Examine a clean chip or old rim knock: grey cores suggest high-fired stoneware typical of Chinese or Thai jars; buff to beige may indicate Thai/Vietnamese/Guangdong variants. Coarse, chunky temper can point to early Khmer; very sandy, later Guangdong pieces often show gritty paste.
  • Look for luting seams: Large jars were thrown in sections and joined; a faint horizontal seam or slight step mid-body is common and not a defect.

• Glaze color and flow

  • Iron glazes fire from olive to chocolate to black. Thin areas under the rim may show a warm rust tone; thick runs can produce glossy, tar-like streaks.
  • “Tears” or streaks descending from the shoulder are common in Chinese jars. Thai ash glazes often have a softer sheen with speckling.
  • Crazing is usually minimal in high-fired stoneware; if you see painted “crackle” or uniformly artificial crazing, be cautious.

• Handles (lugs)

  • Count and shape: Four, six, or eight lugs are typical. Robust, squared strap lugs are often Chinese; smaller loop lugs may suggest Thai or Vietnamese.
  • Tooling and attachment: Hand-pressed and knifed edges, with squeeze marks where the clay was thumbed onto the shoulder, are good signs of hand-worked age. Modern reproductions sometimes have overly crisp, mold-made lugs with little variance.
  • Structural use: True working lugs show abrasion or polish from ropes; purely decorative lugs may be pristine even when the body is worn.

• Decoration and motifs

  • Dragons in relief circling the shoulder are a hallmark of Chinese Yuan–Ming–Qing production. The modeling style evolves: earlier relief can be slightly naive and chunky; later Qing dragons may be more fluid and standardized.
  • Rows of bosses, lotus petals, floral scrolls, and impressed roundels are common Chinese features. Thai and Vietnamese jars lean toward incised lines and simpler bossing; Khmer jars usually remain austere.
  • Inscriptions are uncommon and often later additions. Be skeptical of fresh-looking characters cut through old glaze.

• Base and firing clues

  • Base rings can be glazed, partially glazed, or left bare; expect kiln grit or sand adhesion, especially on Thai and late Guangdong wares. Three small “spur” scars from firing supports may appear on the shoulder or base.
  • Heavily sanded bases with fused quartz grains are often late Guangdong or 19th-century southern Chinese.

• Size and proportion

  • Typical heights range from 40 to 100 cm, with very large jars exceeding that. Earlier jars can be chunkier with thicker walls; later export jars may maximize volume with higher shoulders and thinner walls.

• Patina and residues

  • Old marine accretions, lime encrustations, or betel spit staining can be convincing, but note: artificial “wreck patina” is common. Check that encrustations sit logically in recesses and are not simply glued on. Under magnification, genuine accretion integrates with micro-pits; fakes look smeared.

Dating ranges overlap, but as a working guide:

• Khmer molasses-glazed, heavy jars: c. 12th–14th centuries.
• Thai Si Satchanalai/Sukhothai olive-browns with incised decoration: c. 14th–16th centuries.
• Chinese Fujian/Guangdong dragon jars and bossed jars: c. 15th–18th centuries; increasingly standardized forms into the 19th century.
• Vietnamese Go Sanh stoneware jars: c. 15th–17th centuries.
• Later 19th–20th-century utilitarian jars across the region are plainer, often with patchier glazes and more standardized lugs.

Condition, Restoration, and Value Drivers

• Common condition points

  • Mouth/rim: Chips and knocks are typical from loading and daily use. A rounded, worn chip suggests age; a sharp-edged break may be modern.
  • Body: “Star cracks” from impact, short glaze-only hairlines, and spur scars are common. Stable internal cracks that do not ring loudly on tapping can be acceptable.
  • Lugs: Broken or reattached lugs meaningfully affect value, especially on decorated jars.
  • Glaze issues: Kiln shrinkage, pinholing, and glaze crawls occur in authentic jars. Iridescent sheen may develop on long-buried pieces; note that abrasive cleaning can remove this patina.
  • Restoration: Look for overpaint under UV light, different surface sheen, or paint bridging over chips. Professional infill can be acceptable if declared; undisclosed, large-area repainting is a red flag.

• Value drivers

  • Origin and period: Early Khmer, fine Thai, and robust Ming dragon jars generally outrank plain 19th-century utilitarian jars.
  • Decoration: High-relief dragons, crisp bosses, and complex applied motifs command premiums. Plain storage jars remain more affordable.
  • Scale and presence: Larger, well-proportioned jars with strong glaze often outperform small, squat examples.
  • Provenance: Documented indigenous heirloom use (e.g., Borneo tajau with recorded lineage), legitimate shipwreck recovery with paperwork, or old scholarly collection provenance can significantly elevate value.
  • Completeness: Original lids are rare and desirable. Functional, undistorted mouths add utility and appeal.
  • Condition: Honest wear with stable structure scores better than heavy, undisclosed restoration.

• Market snapshot (generalized)

  • Plain, later utilitarian jars: typically modest four-figure sums or lower.
  • Attractive Thai or Vietnamese jars with good glaze and lugs: mid four figures, sometimes higher.
  • Strong Chinese relief “dragon jars” or jars with exceptional provenance: high four to five figures in the right context.
  • Exceptional, named heirloom jars or museum-grade early examples: beyond the above ranges. Realized prices fluctuate by region, venue, and current taste. Use comparables from reputable sales and weigh condition and provenance carefully.

Care, Handling, and Display

• Handling: Never lift by the lugs; they were for ropes, not hands. Embrace the body with two arms, or use a padded sling with at least two people for large jars.
• Placement: Distribute weight evenly on a stable plinth. Avoid narrow stands or uneven floors that point-load the base ring.
• Environment: Stoneware is robust, but avoid freeze–thaw cycles, rapid heating (fireplaces, radiators), and persistent damp that can encourage salt efflorescence.
• Cleaning: Dry brush dust with soft bristles. If needed, wipe with slightly damp microfiber. Do not acid-wash or power-wash; these strip patina and can force salts deeper.
• Marine desalination: For genuinely marine-recovered jars, controlled desalination (soaks with regular conductivity monitoring) prevents bloom and spalling. When in doubt, consult a conservator.
• Restoration ethics: Keep documentation of any intervention. Favor reversible conservation-grade materials; avoid cementitious fillers that can crack the ceramic.

Quick Appraisal Checklist

• Confirm it is high-fired stoneware with a hard, “ringing” body.
• Note glaze color and flow; look for natural pooling, tears, and variation.
• Count and study lugs: number, shape, and attachment marks.
• Identify decoration type: relief dragons/bosses (often Chinese) vs. incised bands (often Thai/Vietnamese) vs. minimal (Khmer/ utilitarian).
• Inspect base for kiln grit/spur scars; assess paste color/texture on any old knocks.
• Look for section-luting seams mid-body; normal in large jars.
• Distinguish genuine wear and patina from added “wreck” accretions.
• Check for structural issues: star cracks, reattached lugs, extensive repaint.
• Consider provenance: indigenous heirloom history, old collection labels, or documented legal shipwreck recovery.
• Photograph measurements and details to compare with known typologies before valuing.

FAQ

Q: Why are they called “Martaban” if many weren’t made in Myanmar? A: “Martaban” was a trade term tied to the port that exported vast numbers of jars from multiple kiln regions. The name stuck as a generic label for large, brown-glazed storage jars across the maritime trade.

Q: How can I tell a 19th–20th-century garden jar from an earlier trade jar? A: Later jars often have more standardized, mold-made lugs, very thick glossy black glazes, and sandy Guangdong-type bases; decoration is usually simpler or absent. Earlier trade jars may show crisper hand-applied relief, varied lug shapes, and more nuanced glaze flow.

Q: Do marine encrustations guarantee authenticity and age? A: No. Accretions can be faked. Genuine encrustations embed in micro-pitting and accumulate logically in recesses; fakes look smeared or sit on high points. Always assess the jar’s fabric, glaze, and forming first; treat encrustations as supporting, not primary, evidence.

Q: Are lids original and important to value? A: Original lids are scarce and desirable, especially when they fit well and share matching glaze. A jar without a lid is still collectible, but a correct original cover can raise value noticeably.

Q: Is it safe to use an antique Martaban jar for food or drink? A: Not recommended. Glazes may leach trace materials, and residues from past contents can be unknown. Preserve the jar as an artifact and use inert liners if a decorative planting or storage effect is desired.

A disciplined, evidence-based approach—starting with fabric and form, then moving through glaze, handles, decoration, and base—will keep appraisals grounded. Combine typology with honest condition assessment and documented provenance, and Martaban container jars can be among the most rewarding Southeast Asian ceramics to collect and study.