THE DETERIOATION OF CULTURAL IMPACT THROUGH MASS

PRODUCTION

Introduction
Despite contextual realignments, tradition remains indelible through different platforms in pertinent to its
time’s status. However, the tradition’s authenticity and impact are confronted with the flourishing
modernised process of mass production. This is further elaborated through the following three artefacts.
The ‘Drinking Horn’ from the British Museum, was produced in the late medieval era 15 th century in
Denmark, which is antecedent to the industrial revolution of Europe. This artefact is not only seen as the
embodiment of Norse mythology, but also a physical manifestation of medieval Viking’s culture. The
retainment of its structure fundamentally reflects the interminable medieval era and stays aloof from
modernization. The ‘Satsuma Ware with Children’ from the Powerhouse Museum elucidates the
commencement of Japan’s industrialization during Meiji period (1868-1912). This artefact essentially
engaged an international trade market that attracted abundant foreigners, utilizing exquisite decorations
and figures that oriented with their predilections and tastes. Despite being subjected to mass production,
Japan’s tradition is still articulated through the intricate designs, hence emitting some cultural impact. The
‘Blue and white porcelain USB’, given as a souvenir from my uncle in China, magnifies the fragmented
nature of China’s traditional culture fused into an anti-cultural revolution. The luxurious blue and white
porcelain material is integrated into a modern mass-produced object that’s accessible to anyone,
questioning the impact of China’s extravagant culture as it is being quelled by advanced technology. Yet,
all these artefacts signify a monumental point in their culture’s history, thus sustaining the traditional
ideologies and stories’ longevity through contemporary lenses.

Drinking Horn: Pre-industrial era and strong cultural impact

The Drinking Horn, a ceremonial accessory utilised during late medieval era, can be perceived as a
quintessential artefact for the sustainment of authenticity and distinctiveness in its traditional culture,
specifically, the Scandinavian Vikings. We are scrutinising how this artefact, belonging to an archaic
period antecedent to the world’s indulgence in industrialization and modernization, segregates itself from
the arduous realm of mass production.
Formal Analysis
The Drinking Horn is ‘mounted in copper gilf’. In the bygone era of medieval Viking, copper played
beneficial roles in the Middle ages’ economy, being extremely malleable for shaping tools and relatively
easy to mine. Contemplating under a medieval analogical prospect, copper symbolized ‘the relationship
of God to His creation’. This was surmised by the fact that copper scientifically commences as an
illuminative gold, similar to god’s initial creation as holiness, then becoming green, like the earth’s
inundation of blooming plants. The holy and bright connotation of copper made itself one of the most
precious metals during Medieval Viking era. These were most likely used by ‘individuals of higher status
and in the royal courts of these ancient civilization’. Because it embraces an exquisite, opulent outlook, it
reinforces how this was only used in special or monumental occasions, which is true since it known as a
cultural accessory in ritual, ceremonial toasting. It should also be noted that important customs and
ceremonial symbols are often associated to the divine. Hence, drinking horn is also believed to be a
symbol for abundance of life, ‘a necessary implement to praise the divine’.
It also ‘bears an inscription with leaves between the words – potvm devs benedicat’. The use of its
original language, Latin, emphasizes on their absolute cultural authenticity, and the crux of Medieval
Scandinavian culture. Because Latin is an obsolete language, the inscription of words remains nebulous to
the audience, creating disparities between modernized context and traditional, cultural significances.
Hence, this enables the artefact to evade the influence of mass production, as it embodies traditional
ideologies of medieval culture like the use of Latin and maintains its cultural impact.
Additionally, the drinking horn also comprises ‘a hand engraved with foliage passes round the middle of
the horn, and from it proceed two bird’s claws forming the feet of the vessel’. The authentic
representation of a horn is usually carved out of a cattle or buffalo’s horn, however, for the purpose of
embellishment, precious metals such as copper, silver or gold are used as the main material. Nevertheless,
the shape of a horn still is retained, despite differing purposes. This shows how farming and agriculture
was an essential aspect of Medieval Viking culture, and can be conspicuously conveyed purposefully
through its horn design. Thus, their traditional ideology of agriculture is perennial, and maintain its
cultural impact on modern audience. The bird talon represents that of a fantastical creature in Norse
mythology, a Griffin. With a lion’s body and an eagle’s head, the griffin was ‘a favourite decorative motif
in the ancient Middle Eastern and Mediterranean lands’. In Medieval lore, individuals claimed griffin as
an embodiment of heraldry, representing strength and intrepidness. Although, through a modern lens, it
‘has been surrendered to the realm of fantasy’, evident in pop-culture such as the Harry Potter series and
Percy Jackson Series. Yet, such sublime, unique artefact enables modern audience to gain an interesting
insight into the medieval Viking culture and how the retainment of its abnormal structure isolates itself
from the modernized realm of mass production.
Semiotic analysis
As mentioned previously, the drinking horn was traditionally used as an important accessory in the
culture of ritual toasting during the medieval Viking era. Consolidating from the formal analysis, a
normal individual would not drink out of this, as there is a plethora of divine connotation such as God’s
creation and mythological symbolization. However, because of the excessive implementation of specific
medieval Scandinavian ideologies on such artefact, it has transcended through time and made its history
incorrigible in contemporary society. It even became an influence to surfeit of pop-cultural references
such as constructing Game of Thrones’ drinking culture, enlightening contemporary audience of medieval
traditional culture under a modern institution. Inglehart states that “it works both ways: sometimes
institutions shape cultural values, and sometimes culture shapes institutions” (Inglehart 1997). Thus, it
can be generally surmised that if the objects’ form remains maintained, its cultural impact remains
formidable to the point that it is influential.
Additionally, the sustainment of its authentic form can also be perceived as a physical manifestation of
the medieval Viking culture, as it was physically integrated into the culture of ritual toasting. Hence, it is
utilized as a narrating mechanism to instill younger generations with the medieval Scandinavian culture,
which creates longevity in its culture. Its form of lore and cohesion to history for modern audience is
evident in its depiction of the story ‘Mead of Poetry’. One of the fascinating stories told in Norse
mythology during the medieval era, it was described as an ‘intoxicating beverage that makes anyone who
drinks it a poet or scholar’. (Lindow 2001) This story also had divine connotation, resolving around
‘god’s quest for magical mead brewed from the blood of the wise Kvasir and the source of poetic
inspiration’, aggrandizing the exquisiteness of its culture. Hypothetically, in modern context, drinking is
seen as a social event, hence this story is more susceptible to be spread around. So, while it does stray
away from its original purpose, the drinking horn technically still maintains its culture, thus it inevitably
emits strong cultural impact in our modernized world.
Satsuma ware with children: Early industrialisation and minimal cultural impact
Unlike the Drinking horn, the ‘Satsuma ware with children’ symbolizes the commencement of
industrialization in Japan during the Meiji Period, leading to what Japan’s booming economy is today.
Although beautifully embellished with an intricate design of ecstatic Japanese children, penetrating
deeper into the history of this artefact reveals its intake of modernization in production and trade markets.
Being manufactured during the late 19th century Meiji Japan, we analyse the initial desiccation of its
originality and tradition with early emergence of industrialization and western influences. Both objects,
however, do indeed share similar purposes in modern era with decorative purposes, whilst conveying
narratives through design.
Formal Analysis
It is vital to consider the meticulous design patterns embedded into this artefact that allows foreigners to
be reminded of the essence of Japanese culture.
The Satsuma ware with children is ‘wide and shallow and decorated in golds and blacks on a cream
ground’. The golds and blacks on the cream ground are an incongruous mix of colours, however, such
discrepancy constructs a story for foreigners to gain insight on Japanese culture. The cream ground can be
symbolized as the foundations of Japan, including the ideological system, beliefs and values during the
Meiji Era. This is accompanied with kanji, books and ceramics that all consolidate how traditional Japan
systemizes. However, it is splattered with black, which in their culture, is considered ‘the colour of night,
and of evil’. This is a re-interpretation of the corruption, concealed scandals and other predicaments that
transpired within the Meiji Institution. In relevance to this report, these black blotches can also reinforce
the gradual erosion of the traditional ideologies within Japan from adopting Western framework, hence
reminding users of the decrease in quality and novelty of Japanese cultural impact. Yet, the golds are seen
on children and the items on the artefact, which associates with optimism, happiness and prestige. This
elucidates the beauty of the traditional items and the hope that Japanese children carry under the
corrupted system of Japan. The sense of prestige reinforces the formidability of their culture, hence still
maintains minimal cultural impact.
The ‘interior of the bowl has design of people’(specifically children) all seems to be wearing ragged
clothing, indicative of commoner’s status. Stories of Japan are articulated through visual representation;
hence, the children’s buoyant poses create a story of playfulness. Altogether, it can be reinforced that
commoners are at the most happy and pure figures under the bleakness of Meiji Government. It could
also represent children’s indulgence in wealth as the aftermath of a successful international trade with
foreigners, reflecting Meiji Japan’s economic change and modernization. However, the artistic style of
the design is reminiscent of the art ‘Ukiyo-e’ during Edo Period (1603-1868). This period was a
significant time that enabled Japan’s ‘literature, philosophy and arts’ culture to be distinguishable from
the rest of the world, with ‘both the subjects and styles of painting diversified significantly’ (Yonemura,
2016). It can be deduced that this plate was made with the purpose of a narrating mechanism, like the
drinking horn, to instill foreigner’s with profound insight into the sublimity of Japan’s culture. Thus,
modern audience will be reminded of a period that was a crux of Japan’s traditional culture through this
design, despite displaying stories that record the process of its modernization. Ultimately, creating a
minimal cultural impact on the edge of early industrialization.
Semiotic Analysis
While the formal analysis of the Satsuma ware does re-engage contemporary audience with the
indelibility of Japanese traditional culture through strong visual representations, this artefact still
embodies the history, in which, Meiji Japan had commenced losing their cultural impact with the rise of
industrialization.
The satsuma ware can be envisioned as one of the rudimentary products that enabled Japan’s profoundly
booming economy, yet it is still a victim of mass production. The Meiji era was essentially Japan’s
success in modernization, adopting western political, social, and economic institutions, thus enabling
flourishment for new export markets and the introduction of new foreign techniques. The bombardment
of international attraction essentially spurs an alteration in traditional designs of satsuma ware to the
modernized production of ‘Satsuma Nishikide’, ultimately effacing its traditional significances in Japan’s
history. The ‘Satsuma ware with children’ uses overglaze enamels ‘decorated with designs of flowers and
human figures’, as ‘foreigners’ taste gradually became more sophisticated’ and ‘showed a tendency to
become more interested in traditional delicate and refined Japanese taste’ (Hanzan 1700s). Alteration in
alignment with foreigner’s penchant results to the ignorance and disregardance of Japan’s fundamental
principles and culture. Hence, the notion of sustaining focus on economic liability in lieu of its authentic
traditional design has led to the suppression of cultural impact.
By following the growing demand of oversea customers, established lines of production declines and
experimentation of new styles begins instead, exploiting newly imported western technology.
Consequently, “small-scale, cottage industry style workshops were increasingly unable to cope with the
requirements of mass production” (Conant 2006). The immense reliance, yet unfamiliarity on mass
production causes ramifications like the depreciation in quality and novelty, due to the ‘costs to human’s
creativity’. Thus, the formidability of Japan’s traditional essence becomes covert and obscure, indicative
when astute westerners increasingly were able to ‘distinguish between shoddy export ware and better-
quality ceramics’ (Conant 2006). Therefore, a heavy decline in the popularity and practice of traditional
equipment and production method causes deterioration to Japan’s cultural impact of its traditional
ideologies on modern audience.
Additionally, the integration of western influences and methodologies altered a ‘change in psychology of
people and the mount of production in Japan’ (Slade 2020). Thus, with the accruing use of mass
production, Japan became flooded with cheap manufactured products that would engage an international
trade with industrial Europe and America. There were two fundamental periods where Satsuma ware was
prevalent, ‘Ko-satsuma’, which were the original plain dark clay made in 1600s, and ‘Kyo-satsuma’, the
overglaze elaborate designs during Meiji Era. The discrepancy between two periods are conspicuously
stark, indicating the discrete perspective and the psychological mindset of each time. It is abundantly
evident that the Meiji Period’s Satsuma ware is perceived as nothing more than just a mass-produced
product as a contribution to Japan’s reputation and international economic relationships. British ceramic
collector James Bowes described how modern wares made and decorated at factories in the vicinity of
Tokyo and Yokohama, mainly between 1870 and 1880, were distributed throughout England as ‘ancient
Sastuma’ so that collectors everywhere were deceived as to what was and what was not ‘real satsuma’
(Bowes 1890). Hence, while the Drinking Horn maintained authenticity throughout time, Satsuma wares
experienced otherwise, with copious amount of change in styles and forms that led to the depreciation in
its cultural impact on us.

Blue and white porcelain USB: 21st Century modern era and scarce cultural impact
The blue and white porcelain USB is the embodiment of ancient China’s traditional culture through a
modern lens. However, its material is embedded with a rich, opulent history that not only distinguished
China’s cultural ideologies from the rest of the world, but also enraptured global consumers. This makes
China one of the first countries that gained power and prosperity from the engagement of international
trade and mass-production. Like Satsuma wares, it phased through a myriad of different forms and
features, initially being made into exquisite vases during the Tang Dynasty (618-907), into astonishingly
a small contemporary USB stick. The flabbergasting differences and purposes displays the dense
progression of modernization over the centuries of China, thus causing their essence of traditionality to
fragment within 21st century society. We analyse how traditional cultures of ancient China is channeled to
modern audience during our era, and the scarce cultural impact it has compared to the previous two
artefacts.
Formal Analysis
Imbued with a poignant representation of post-modernism, it is important to consider how the physical
outlook indicates what remained as a traditional aspect of China and what did not.

Despite our world’s heritage prevailing through a copious amount of contextual shifts, traditional
ideologies of distinct cultures still adhere to the contemporary society today.

Yet, all these artefacts signifies a monumental point in their culture’s history, thus comprises the
traditional ideologies and stories that transcends to modern audience through contemporary lenses.