Exploring 14 celebrated Vietnamese ceramic village

Amidst the vibrant tapestry of Vietnamese culture and artistry, 14 extraordinary ceramic villages stand as testament to the timeless craft. Join us on an enchanting journey to explore these cultural treasures, each resonating with the echoes of generations that have shaped their enduring legacy.

The brief history of Vietnamese ceramics

Origins and influences of early Vietnamese ceramics

Located in the Southeast Asian region, bordering China – a country considered the cradle of civilization, the land of ceramics with a history spanning over 10,000 years, Vietnam is also one of the countries with an early presence in the pottery craft. Archaeological evidence has determined that ceramics appeared in Vietnam around ten thousand years ago, during the Hoa Binh cultural period (late phase) in Bac Son.

Prehistoric ceramics in Vietnam were hand-built, molded by hand, and fired outdoors at a temperature of around 700°C. The raw material was coarse pottery clay, mainly made from soil mixed with crushed shells and plant ashes. Simple decorative patterns on the exterior, such as crosshatches, wave patterns, comb patterns, were created when the product was still wet, some were made using a beating table or a pointed stick for drawing or scratching. With the development of the metal age, traditional Vietnamese ceramics underwent innovations, transitioning from hand-building techniques to shaping with a potter’s wheel, resulting in a rich variety of product types and designs, exemplified by the ceramics of the pre-Dong Son period (Phung Nguyen – Dong Dao – Go Mun culture). Alongside cooking products, there were ceramics for storage, eating utensils, jewelry, tools, and artistic ceramics. It can be said that since its inception, ceramics have become widespread, playing a dominant role and always maintaining a significant position in the lives of prehistoric residents.

However, it wasn’t until the early centuries AD that Vietnamese ceramics saw a significant technological leap. During this period, along with new techniques in ceramic production popular in China, such as mold-making, assembling components before pouring the mold, glazing, and firing in high-temperature kilns, the Vietnamese, with their existing traditional skills and experience, both preserved their cultural heritage and flexibly absorbed new technical factors. This led to the creation of distinctive ceramics, enriching the cultural heritage of the country and making it one of the few countries in the world with a long-standing and continuously developing pottery craft.

Origins and influences of early Vietnamese ceramics

Technological advancements in ceramics during the Dong Son period

If, in the pre-Dong Son period, no specialized production centers were discovered because the ceramic products were mostly self-sufficient and self-supplied, with simple and compact production processes, then in this period, numerous large-scale pottery production centers emerged. Kilns in Tam Tho (Thanh Hoa), Thanh Lang, Lung Ngoai, Dong Dao (Vinh Phuc), Dai Lai, Luy Lau, Duong Xa (Bac Ninh), appeared alongside the transition from hand-built techniques to shaping techniques using a potter’s wheel. They created a variety of product types and designs, with the prominent ones being ceramics from the pre-Dong Son period (Phung Nguyen – Dong Dao – Go Mun culture). Besides cooking products, there were ceramics for storage, eating utensils, jewelry, and artistic ceramics. It can be said that since its inception, ceramics have become widespread, playing a dominant role and always maintaining a significant position in the lives of prehistoric residents.

Diversification and export growth of ceramics in Ly-Tran Dynasty

In the 10th century, a historical turning point occurred. Dai Co Viet achieved independence and ushered in a period of cultural renaissance for Dai Viet. The pottery craft during the Ly – Tran period experienced strong development, playing an important role in the economic and cultural recovery and development, creating a distinctive character with a rich variety and diverse decoration of artistic forms.

In terms of technique, the ceramic kilns during the Ly – Tran period experienced significant advancements. This era saw the adoption of various types of kilns, including beehive kilns, lying kilns, and even dragon kilns, to elevate firing temperatures for products up to 1,200°C – 1,280°C. The stacking firing technique using props was widely applied to many types of products, showcasing a high level of ceramic production. Archaeological excavations at sites like Tam Tho pottery kiln revealed a highly specialized division of labor, with distinct areas for clay refining, shaping (pottery), drying, and firing.

During the Ly – Tran period, Vietnamese ceramics underwent classification into distinct types: jade-glazed ceramics, white ceramics, brown ceramics, green ceramics, brown flower ceramics, and blue flower ceramics. These ceramics displayed a unique variety in terms of form and artistic decoration, differentiating them from the ceramic complexes in China. Notably, Vietnamese ceramics established their identity by embracing various artistic forms and intricate decorations.

For instance, jade-glazed ceramics in Vietnam featured a rich palette of colors, including shades of green, grayish-yellow, and lemon yellow. These ceramics, primarily made from clay mixed with a small amount of kaolin, were fired using stacking techniques, leaving distinct marks on the products. Despite lacking aesthetic finesse, the high production quantities of these ceramics met market demands.

White ceramics, another significant category, were characterized by their subdued brilliance and delicate lines. While not as luminous as the white ceramics from the Song – Yuan period in China, Vietnamese white ceramics demonstrated a refined texture, with slender forms such as lampstands, basins, and plates.

Brown flower ceramics, with white flower on brown and brown flower on white backgrounds, represented a unique Vietnamese style absent in the ceramic histories of other nations. This distinctive technique involved scraping the ceramic surface to create a decorative pattern, followed by the application of brown enamel. The resulting pieces, with their contrasting white and brown elements, showcased the ingenuity of Vietnamese potters. The decorative motifs, characterized by free-flowing lines and a lack of strict patterns, often drew inspiration from Buddhist themes, such as lotus flowers and chrysanthemums.

Moreover, when examining the shapes and decorative patterns on brown flower ceramics from the Ly – Tran period, researchers identified similarities with patterns from the Dong Son bronze drum culture, which predates this era by over 1,000 years. This discovery suggests the enduring influence of Dong Son cultural traditions on the subconscious of Vietnamese craftsmen, serving as an artistic inspiration for their ceramic creations.

During the 15th century, the export of Vietnamese ceramics experienced significant growth

During the 15th century, the export of Vietnamese ceramics experienced significant growth, contributing to the development of the ceramic industry. Historical records note the active engagement of Vietnam in trading and exchanging goods with various countries, such as Java (Indonesia), Lộ Lạc, and Xiêm La (Thailand). The establishment of the Vân Đồn port by King Lý Anh Tông in 1149 marked a crucial step in facilitating maritime trade, including the exchange of Vietnamese ceramics with foreign nations. The archaeological discoveries along the coasts of Vân Đồn, Vạn Ninh (Móng Cái), and pre-port areas in Hoàng Tân (Yên Hưng), Bến Bang, and Gạo Rang (Hoành Bồ) in Quảng Ninh Province revealed numerous fragments of Tran-period ceramics, including jade-glazed ceramics, white ceramics, brown ceramics, brown flower ceramics, and pre-glazed ceramics, providing tangible evidence of Vietnam’s ceramic exports.

In the 15th century, during the early Le dynasty, Vietnamese ceramics underwent significant transformations, representing a period of vigorous development in the country’s economic and cultural realms. The ceramics from this period served both domestic and international markets, with various types of ceramics exported to different countries. Notably, white ceramics with blue drawings, multicolored ceramics with gold drawings, and white ceramics with printed patterns became popular products in the export market.

The late 17th century and early 18th century witnessed substantial international and regional changes. The Ming dynasty abandoned its maritime prohibition policy, leading to an influx of Chinese ceramics into the Southeast Asian market. In Japan, there was a notable expansion in the domestic ceramic industry. Simultaneously, Western countries embarked on the Industrial Revolution, creating demand for new consumer goods. Domestically, the restriction of foreign trade policies by the Trịnh – Nguyễn government (in the 18th century) and the Nguyễn dynasty (in the 19th century) resulted in a decline in Vietnam’s foreign trade relations and reduced ceramic exports. Traditional ceramic export centers, once thriving in previous centuries, gradually declined.

Bát Tràng as a traditional ceramic hub

In that context, Bát Tràng – a traditional pottery village since the 14th century – also faced challenges as the export market for ceramics dwindled. However, it managed to endure and thrive due to a widespread domestic market for various types of household items, religious artifacts, decorative pieces, and custom-made items catering to diverse tastes. Therefore, Bát Tràng is one of the few traditional pottery production centers that still exists and develops to this day.

Bát Tràng pottery features five different types of glazes, each characteristic of different periods. White glaze with blue decorations emerged in the late 14th century and continues to exist, displaying shades ranging from blue-gray to dark black. Brown glaze has been present since the early establishment of the Bát Tràng pottery village but is primarily used for embellishment or as a background for other glazes. Ivory white glaze became popular from the 17th to the 19th centuries, characterized by its thinness, ivory yellow color, and gloss, suitable for intricate decorations. Jade glaze, used in combination with ivory white and brown glazes, creates a distinctive triple-layered glaze typical of Bát Tràng pottery from the 16th to 17th centuries. Crackled glaze, the latest to appear, emerged in the late 16th century and continuously developed until the 19th century. This unique glaze, renowned for its creation through the differential contraction between the ceramic body and the glaze, is often associated with the traditional identity of Bát Tràng pottery.

With a long history and a distinct artistic flow that converges the cultural essence of the nation, Vietnamese pottery has become a subject of passion for researchers and collectors. Many have dedicated significant time and effort to study, collect, and curate valuable collections. It can be said that the history of Vietnamese art is largely reflected through pottery.

Exploring 14 famous ceramic villages in Vietnam

Despite the ups and downs of the country’s history, there are certain craft villages that have managed to endure. These include places like Tho Ha, Bat Trang, Chu Dau, Phu Lang, Dong Trieu, Phuoc Tich, Thanh Ha, Bau Truc, Bien Hoa, Chanh Nghia, Tan Phuoc Khanh, Vinh Long, Cay Mai, and Lai Thieu, among which some have unfortunately lost their traditional crafts.

Chu Dau ceramic village

Chu Dau ceramic village is one of the earliest ceramic villages in Vietnam. Despite experiencing a decline and loss of traditional practices, the village has left a lasting legacy in the world of ceramics.

The origins of Chu Dau ceramics can be traced back to the 14th century, reaching its peak during the 15th and 16th centuries. Unfortunately, due to the disruptions caused by wars, the ancient art of Chu Dau ceramics faced a decline and eventual loss. However, in 2001, efforts were made to revive and restore the art, focusing on materials, techniques, and styles.

Chu Dau ceramics are crafted from white clay extracted from Truc Thon, Hai Duong. The clay is carefully prepared, mixed with additives, and shaped by skilled artisans on pottery wheels. This meticulous handcrafting process sets Chu Dau ceramics apart from other pottery.

The distinctive feature of Chu Dau ceramics lies in its intricate patterns that reflect Vietnamese life, beliefs, philosophies, and the soul of the people. Common motifs include lotus flowers, chrysanthemums, and Vietnamese mythical birds. The decorative patterns are applied through an underglaze painting technique, where the design is applied before the glazing process.

Today, Chu Dau ceramics are produced using traditional handmade methods, offering three main product lines: replicas of ancient ceramics, household items, and export goods. Among these, the most renowned and favored are the blue ceramics with floral motifs, and iconic pieces such as the dragon wine pot, the Five Elements cup, and the Tiger amulet jar.

Chu Dau Ceramic Village continues to thrive as a testament to Vietnam’s rich ceramic heritage.

Address: Thai Tan commune, Nam Sach district, Hai Duong province.

Bat Trang craft village

Situated over 12 km southeast of Hanoi’s city center along the Red River, Bat Trang ceramic village has flourished into a renowned traditional craft village, celebrated for its exquisite ceramic products. Historically, the village’s advantageous location on a high clayey mound near the river facilitated ceramic production.

Originating in the Ly Dynasty, Bat Trang boasts over 500 years of history, marked by a myriad of historical fluctuations. Despite enduring numerous ups and downs, the village has evolved and thrived. The ceramic products from Bat Trang are highly esteemed for their quality, diverse designs, and categorization into functional groups, including household ceramics, artistic ceramics, construction ceramics, personal altar ceramics, and decorative ceramics. Presently, Bat Trang hosts over 600 production facilities, primarily operated by local households within the village.

Bat Trang ceramics are circulated nationwide and even internationally. The village is not only a producer of nationally recognized ceramic products but also a well-known tourist destination in Hanoi.

Address: Bat Trang Commune, Gia Lam District, Hanoi.

Phu Lang ceramic village

Phu Lang ceramic village shares its formation and development history with Bat Trang village, but it distinguishes itself by predominantly producing household items, bowls, and jars using red clay shaped on a potter’s wheel. In recent years, the village has experienced a revitalization led by determined artisans committed to changing and rebuilding its once-fading reputation. Although the designs of Phu Lang ceramics may not be as diverse as those of Bat Trang, significant progress has been made, combining traditional values with modern techniques to breathe new life into Phu Lang ceramics.

In contrast to the white clay of Bat Trang or the ceramics of Tho Ha, Phu Lang’s products are crafted from red clay, specifically sourced from Thong Vat and Cung Khiem in Bac Giang. The clay undergoes a meticulous process involving exposure, mixing, soaking, and shaping on a potter’s wheel.

Once the product takes shape, it is left to dry until the touch no longer feels sticky. The artisans then refine the product according to their desired shapes before letting it dry further. Subsequent steps involve carving, glazing, and applying unique finishes such as lizard skin, squash, or stone crab.

The glaze is created from a mixture of forest ash, live lime, crushed pipestone, and white volcanic ash. After the raw materials are prepared, they are mixed, dried, ground into powder, and combined with water to create a thick, honey-like liquid. While the product is still moist, a thin layer of glaze is brushed onto its surface using a brush with animal hair, followed by drying.

Apart from creating distinctive glazes, Phu Lang ceramics also stand out due to the unique wood-fired kiln technique, which produces distinct patterns on the surface that cannot be replicated by any other firing method. After the glazing, coloring, and drying processes, the products are fired in a kiln at 1,000 degrees Celsius for three continuous days and nights.

The light pink clay, when fired at high temperatures, transforms into a color reminiscent of chicken liver, often referred to as lizard skin. High-quality Phu Lang ceramics must exhibit this lizard skin color and produce a resonant sound when tapped.

The decorative motifs on Phu Lang ceramics often revolve around traditional themes such as the four supernatural creatures or rural landscapes. The village’s ceramic products primarily focus on three main categories: ceramics for worship, household ceramics, and artistic ceramics.

Visitors to Phu Lang have the opportunity to delve into the history of the craft, create their ceramic products, and explore the unique charm of Phu Lang ceramics.

Address: Phu Lang Village, Phu Lang Commune, Que Vo District, Bac Ninh Province.

Tho Ha ceramic village

Located nearly 50km north of Hanoi in Viet Yen District, Bac Giang Province, Tho Ha village is renowned for its traditional ceramic craft and ancient architectural ensemble, deeply rooted in the culture of the Northern Delta residents. Tho Ha’s unique position is defined by being surrounded on three sides by the Cau River, with lush green hills on one side. Access to the village requires crossing the river by ferry, contributing to the sensation of stepping into a distinct ancient world.

The ceramic craft in Tho Ha blossomed from the 14th century, establishing it as one of the three oldest ceramic centers in Vietnam, alongside Phu Lang and Bat Trang. While sharing similarities with Phu Lang ceramics, Tho Ha has persevered, whereas Phu Lang has faded into obscurity.

Throughout its ceramic heritage, Tho Ha stands as a cradle of the craft. From the inception of ceramic production until the early 1990s, the entire village thrived on this craft. Tho Ha ceramics possess distinctive features: impermeability, a bell-like resonance, and a smooth reddish-brown enamel. The prosperity of the ceramic trade significantly enhanced the villagers’ quality of life, enabling the construction of impressive architectural structures such as communal houses, temples, and village gates.

The village’s communal houses, represented by its temple, showcase a spiritual and cultural space with unique architecture reflecting the distinct style of the Le Dynasty. The narrow lanes and alleys surrounding the temple add to Tho Ha’s serene charm. Walking through these alleys, one feels immersed in the atmosphere of an oil painting, with the characteristic hues of ancient tiled roofs. It’s a glimpse into a truly ancient architectural style.

Address: Van Ha Commune, Viet Yen District, Bac Giang Province.

Phuoc Tich ceramic village

Phuoc Tich ceramic village, situated in Thua Thien-Hue province, specializes in crafting ceramics for the royalty, particularly during the Nguyen dynasty. The primary material used is a type of gray-black clay, shaping into various products such as pots, terracotta, and teapots. Over time, the village faced decline, and recent attempts by authorities to revive it with an emphasis on artistic production have yet to yield significant success.

Established in 1470, Phuoc Tich gained fame throughout the imperial city of Hue for its ceramic craftsmanship. This craft, with a history spanning over 500 years, was once a tribute to the kings, sustaining generations of residents in this small village.

Phuoc Tich ceramics were renowned throughout Central Vietnam, not only for producing household items like trays, pots, basins, teapots, and vases but also for adorning the Nguyen dynasty’s royal court with exquisite artifacts. Many of these items, now considered antique treasures, are preserved in the Hue Royal Fine Arts Museum.

The primary raw material for Phuoc Tich ceramics is sourced from Dien Khanh, going through several stages of clay preparation, shaping, and cooling. Various tools, such as embroidery tools, clay scrapers, shaping tables, foot pedals, measuring rings, molds, and bamboo sticks, assist in the crafting process. The pieces are then fired in various types of kilns.

Craftsmen in Phuoc Tich have created timeless products like ritual tools (lu, hong, ang, doc, trinh, thong, hu), cooking utensils (sie, noi, am, bowl), and other daily items (binh voi, binh hoa). The ceremonial fan, used during royal ceremonies, is a source of pride for the people of Con Duong land.

In contemporary times, despite the competition from industrial plastic products, Phuoc Tich remains a well-known village. Handcrafted products continue to be an integral part of people’s lives, residing in their memories for an extended period.

Address: Phuoc Phu Hamlet, Phong Hoa Commune, Phong Dien District, Thua Thien Hue Province.

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