Vietnamese ceramics refers to ceramic art and pottery as a form of Vietnamese art and industry. Vietnamese pottery and ceramics has a long history spanning back to thousands of years ago, including long before Chinese domination, as archeological evidence supports. Much of Vietnamese pottery and ceramics after the Chinese-domination era was largely influenced by Chinese ceramics, but has developed over time to be distinctly Vietnamese. Vietnamese potters combined indigenous and Chinese elements. They also experimented with both original and individual styles as well as incorporated features from other cultures, such as Cambodia, India and Champa. Vietnamese ceramics were an essential part of the trade between Vietnam and its neighbors during pre-modern times through all the periods.
History
Neolithic
The early Luo Yue ceramics has dominated aboriginal characteristics of Dongsonian culture.
Chinese domination
During the Chinese domination periods, the local Dong Son culture started fading away and Vietnamese ceramics were being influenced by Chinese ceramics.
Classical period
After reclaiming independence from China in 938, the Vietnamese craftsman under sovereign royal rules began designing and manufacturing ceramic productions independently of China. Vietnamese Lý-Trần period's creamy-white celadon and white-brown gốm hoa nâu ceramics have local characteristics and are distinctly different from Chinese ceramics. Dragon "Nāga" decoration and motif became common during the Ly period, and appeared on steles, ceramics, along with Bodhi leaf, lotus, water, makara (मकर) and Buddha. Cham script were inscribed on terracotta bricks used for constructing religious buildings.
The Vietnamese had begun exporting their ceramic productions at least since late 13th century to 14th century. According to archaeological findings in Vietnam and other countries from the 14th century, some Vietnamese ceramics and coins dated 1330 have been recovered from the sites in Japan, the Philippines, and Indonesia. During the 15th-century Chinese occupation of Vietnam, Vietnamese potters readily adopted cobalt underglaze, which had already gained popularity in export markets. Vietnamese blue-and-white wares sometimes featured two types of cobalt pigment: Middle Eastern cobalt yielded a vivid blue but was more expensive than the darker cobalt from Yunnan, China. During the 15th century, around 80% of Southeast Asian ceramic products imported to Trowulan, capital of Majapahit Empire were Vietnamese products, and 20% were Thai. In the Philippines, Vietnamese ceramics comprise 1.5–5% of ceramics found on the archipelago, while accounting for 20-40% ofThai ceramics. Vietnamese ceramics also made up a small quantity in the 15th-century West Asian market.
Modern While ceramic wares in the traditional style are still being produced and enjoy popularity, modern ceramics are increasingly produced for export. Ceramic production centers include Lái Thiêu in southern Vietnam. One of the noteworthy examples of modern ceramic art is the Hanoi Ceramic Mosaic Mural, which is affixed on the wall of the dyke system of Hanoi. With a length of about 4 km, the Ceramic Road is one of the major projects that were developed on the occasion of the Millennial Anniversary of Hanoi.
Cát Tiên
The Cát Tiên archaeological site in south Vietnam is site located in Cát Tiên National Park. Accidentally discovered in 1985, this site ranges from Quảng Ngãi Commune to Đức Phổ Commune, with the main archaeological artefacts concentrating in Quảng Ngãi, Cát Tiên District, Lâm Đồng Province, southern Tây Nguyên. The unknown civilization which developed this site inhabited it between the 4th century and 9th centuries CE. A number of ceramic wares were found at this site.
Bát Tràng
Bát Tràng porcelain and pottery is a type of ceramics made in the village of Bát Tràng, now merged into suburban Hanoi. The earliest refer of Bát Tràng kilns was in 1352. The village is located in an area rich in clay suitable for making fine ceramic. Bát Tràng ceramics were esteemed with products rivaling that of Chu Đậu, and later joined by pottery from Đồng Nai, Phu Lang, and Ninh Thuận. The history of pottery production in the village can be traced back as far as the 14th century CE, and in subsequent centuries having been a popular manufactured product extensively traded by local merchants as well as European trading ships throughout Southeast Asia and the Far East. Bát Tràng nowadays still continues producing bowls, dishes and vases not only for the local market but also for exporting to Japan, one of the important market of Vietnamese ceramics. The gas kiln is more and more popular than electric or tradition wooden kiln. Beside the traditional decoration technique by brush, it appears recently the decoration technique using screen printing on rice paper. The new technique is applied mainly for the producing religious products like incense burners. But all other processes of making vessels are still very much handmade which is very important. There is another beautiful thing of Bát Tràng that is the old family houses. It is left only two or three this kind of old house which still keep the spirit of old Bat Trang, where it is found the big size vases, or bowls with the decorations from the 14th century, the most popular period of Bat Trang Ceramics. There are a number of private museums inside Bat Trang including Bat Trang Museum of Viet soul art and Center of Vietnam Quintessential Handicraft
Chu Đậu
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