Exploring the centuries of Kim Lan pottery village

When it comes to pottery villages in Hanoi, Bát Tràng is often the first that comes to mind. However, within Hanoi lies another ancient place, Kim Lan pottery village, situated in close proximity to Bát Tràng and falling under the Gia Lâm district (Hanoi). As the Lunar New Year approaches and spring unfolds, the residents of this ancient village are bustling to supply the finest products to meet the Tet shopping demands of the people.

Overview about the history of Kim Lan pottery village

Kim Lan ancient pottery village is located in Kim Lan Commune, Gia Lam District, Hanoi City. Situated to the east of Hanoi’s center, approximately 16 km away from Hoan Kiem Lake, Kim Lan covers an area of 2.92 km2, running along the northern bank of the Bac Hung Hai River. To the south, it extends to the Van Duc ferry with a length of about 1596m. The width at the northern point, from the Xuan Quan dike to the Red River bank, is 348m, and the village’s southern boundary along Highway 179 from Bo Do to the Red River is 684m. The eastern border connects with Xuan Quan Commune (Van Giang – Hung Yen), while the western border faces the Red River, beyond which are Thuy Linh, Linh Nam, and Hoang Mai District.

Kim Lan pottery village, over a thousand years old, has been verified through artifacts displayed at the Vietnam History Museum and the Kim Lan Pottery Museum in Hanoi. Proudly known as the “Ceramic Capital of Thang Long’s Household Items” Kim Lan supplied bricks for General Cao Bien’s construction of Dai La before becoming renowned for its traditional pottery craft.

To understand the history of my village, it’s essential to explore the formation of the name “Ke Suon” in Nom characters. In this context, “Ke” refers to a specific community or group living in a particular area, such as Ke Noi (Noi Village, Hanoi), Ke Buoi (Buoi Village, Hanoi), Ke Sat (Sat Village, Hai Duong), and Ke Suon (Suon Village, Kim Lan).

During the Chinese invasions of our country, under the feudal dynasties, each village had to adopt a written name (Hán-Việt characters) for documentation purposes. Unlike the Nom name, which usually consists of a single word, the written name typically has at least two words. Villages that existed before the Northern domination needed both Nom and written names, while those established during feudal times had only written names and no Nom names or “Ke.” This helps distinguish ancient villages from more recent ones.

The history of Kim Lan pottery village

Kim Lan village, with its Nom name being Ke Xuon, may have its roots in reading the word “Xuong” (meaning “skylight” or “main entrance in a palace”) incorrectly, leading to the adoption of the Nom name Ke Suon. According to one interpretation, this is derived from the inscription on a bell cast in 1797 at the Cả Pagoda, with the phrase ‘khanh luu xuong ap’ (“door to the sky, main gate in the palace”).

Over the centuries of extracting white clay for pottery, as resources depleted, many workshops transitioned to producing ceramics, and when the clay sources were exhausted, Kim Lan transformed into an agricultural area, cultivating strawberries and silkworms, and growing crops like corn, sweet potatoes, and peanuts. Meanwhile, Bat Trang village shifted towards trade, finding clay sources in provinces such as Truc Thon (Hai Duong) and Phu Tho. Bat Trang later became the famous pottery and ceramic trading hub.

Research conducted during the construction of the North Bac Hung Hai irrigation project in the late 1950s revealed traces of ancient ceramics and products from Bat Trang in the area near Kim Lan. However, relying on collections of pottery artifacts at the Vietnam History Museum and private collectors, the more accurate history of pottery production in Bat Trang was traced back to the 16th to 18th centuries. In contrast, archaeological evidence has demonstrated that Kim Lan produced ceramics from the 9th century, establishing it as the original pottery village of ancient Thang Long.

So why isn’t Kim Lan as well-known as Bat Trang, even though it is situated in the middle of Hanoi? Nguyen Duc Tri, Vice Chairman of Kim Lan Commune, believes it’s not due to a decline in the quality of Kim Lan ceramics but rather limited investment and the superior business acumen of Bat Trang. Kim Lan villagers have been focused on craftsmanship rather than commerce, leading to their ceramics often being recognized under Bat Trang’s name.

Around 1958, during the construction of the South Bac Hung Hai irrigation project (near Kim Lan), traces of residence and ceramic products from the ancient Bat Trang village were discovered. Despite this, Kim Lan’s ceramics remained overshadowed by Bat Trang’s rising popularity, driven by favorable geography and increased commerce, attracting local and international traders and tourists. Kim Lan faced a decline as Bat Trang became the prominent pottery hub, easily accessible to visitors. The historical separation of Kim Lan and Bat Trang into distinct communes further contributed to Kim Lan’s obscurity.

Despite the challenges, Kim Lan persisted in pottery production. By the late 1970s, some households resumed ceramic production, focusing on creating bowls, dishes, and various other items. Gradually, Kim Lan rejuvenated, with every family having one or two kilns, providing employment and substantial income. At one point, Kim Lan pottery faced high demand, but the market became saturated, leading to a reduction in value.

Between 2002 and 2009, Kim Lan pottery experienced a revival, exporting ceramics to countries like South Korea, the United States, and Japan. The primary export was flower pots. However, after 2009, Kim Lan ceramics faced another crisis, competing with Chinese ceramics, resulting in around 250 active households. Dedicated individuals within the community invested in and revamped their production methods, transitioning from traditional kilns to gas-fired ones. Presently, Kim Lan’s ceramic products mainly include affordable and practical items like worship utensils, flower vases, flowerpots, and construction bricks, widely distributed across the country.

Kim Lan boasts the first communal-level pottery museum in the country, displaying excavated ancient ceramics to help visitors understand its rich history. The village currently has over 300 households involved in ceramic production.

Nguyen Van Nhat, a master with over 30 years of experience in Kim Lan pottery, emphasizes the need for innovation to compete with market trends. Nhat highlights that products from his workshop are labeled with the workshop’s name to assert value and build a brand.

Developing and reviving a traditional craft village requires collective effort, not only from the local community but also support from local authorities and relevant government agencies. It is hoped that, in the near future, Kim Lan’s pottery village will genuinely be restored and further developed, becoming a renowned destination for both local and international tourists.

Every Tet season, Kim Lan’s kilns are vibrant with pre-orders, even extending beyond the Lunar New Year. Despite the challenges posed by the COVID-19 pandemic this year, Kim Lan’s ceramic products maintain their quality and artistic value. Artisans of Kim Lan put their passion and creativity into each product, aiming to bring unique and aesthetically pleasing artworks to visitors, symbolizing prosperity, peace, and luck for the new year.

After over 40 years of preservation and development, Kim Lan now has multiple generations of ceramic artisans. With a growing scale, the Kim Lan Pottery Association was established in July 2014, comprising over 170 members. The village has nearly 300 households investing in ceramic kilns. Kim Lan’s ceramic products primarily serve domestic consumer needs, with demand often surpassing supply. Customers willing to place orders, even for a single container, must give at least a 10-day notice.

The history of Kim Lan pottery village

According to Dao Viet Binh, the Chairman of the Kim Lan Pottery Association, Kim Lan’s ceramic products are mainly household items such as bricks, tiles (for traditional roofs of communal houses and pagodas, as well as decorative elements in ancient-style homes), worship items (incense bowls, flower vases, ceremonial trays, commemorative cups, etc.), chum (a type of lamp), baskets, and flower vases. Kim Lan ceramics are closely associated with every family, catering to the diverse needs of various consumer groups.

Currently, some households in Kim Lan focus on crafting handmade products, achieving high incomes. Taking us to the ceramic workshop of Pham Van Nguyen’s family in Thon 3, one of the young ceramists, Binh enthusiastically explains that producing handcrafted ceramics is a rare endeavor in Kim Lan, as it is a high-end product requiring much effort and time. Handcrafted ceramics are not mass-produced and have a production value 4 to 8 times higher than machine-made ceramics. Nguyen further explains that making handcrafted ceramics involves emotions, and the journey can be challenging, especially when the product doesn’t meet expectations due to factors like poor clay quality or miscalculations in dimensions.

Despite the challenges, handcrafted ceramics remain a niche market in Kim Lan, with the unique and exquisite products attracting both local and international customers. The workshop of Pham Van Nguyen employs 15-20 workers with monthly incomes ranging from 7 to 15 million VND per person, while skilled artisans earn up to 25-30 million VND per person per month.”

Current production capacity of Kim Lan pottery village

The current production situation in Kim Lan pottery village reveals that out of the total 430 households in the village, 45 households are engaged in pottery making, while the remaining 385 households are involved in producing ceramics. The primary focus of production includes a variety of items such as plant pots, ceramic stools, flower vases, pumpkin baskets, incense bowls, and ceramics for construction.

Kim Lan pottery village is renowned for its diverse and rich production of ceramic products, ranging from household items like plates, bowls, and cups to decorative pieces such as plant pots, flower vases, and lanterns. These products are highly functional, adding elegance and sophistication to the living spaces of families. Additionally, Kim Lan ceramics are often chosen as meaningful gifts for family and friends during festive occasions.

Diversity of Kim Lan pottery

Diversity of Kim Lan pottery

The diversity of Kim Lan pottery is a testament to the rich heritage and skilled craftsmanship of this traditional Vietnamese village. Renowned for its versatility, Kim Lan pottery encompasses a wide array of products that cater to various functional and aesthetic needs. One notable aspect of the diversity lies in the range of pottery types, including but not limited to plant pots, ceramic stools, wine fermentation jars, and flower vases. Each category showcases a unique blend of artistry and functionality, meeting the diverse demands of both practical use and decorative purposes.

Plant pots

Sourced from the rich tradition of Kim Lan, the plant pots stand out as exemplars of meticulous craftsmanship. Fashioned with precision from quality clay, these pots undergo a comprehensive process, including intricate shaping and high-temperature firing, resulting in products that seamlessly balance durability and aesthetics. The diverse range of sizes and designs caters to a wide spectrum of preferences, offering options from modest and compact to larger, more intricately adorned plant pots.

What distinguishes these pots is not just their visual appeal but also their functional versatility. Revered for their natural beauty, these plant pots have become a favored choice for adorning both interior and exterior spaces. The pots’ ability to endure diverse weather conditions further adds to their appeal, making them reliable and practical additions to any gardening or decorative endeavor.

In essence, the plant pots from Kim Lan encapsulate the essence of traditional craftsmanship, combining artistic finesse with practical utility to elevate the experience of gardening and home décor.

Ceramic stools

The traditional ceramic stools hailing from Kim Lan are distinguished by their low and wide structure, creating a unique and versatile piece of furniture. Meticulously crafted from high-quality clay, these stools transcend their functional roles as tables or seating and seamlessly contribute to interior decor. The distinct design, coupled with the inherent sturdiness of the material, positions them as multifaceted additions suitable for both indoor and outdoor settings.

Beyond their utility as practical furniture items, these ceramic stools from Kim Lan exhibit a timeless aesthetic appeal. The artistry involved in their creation ensures that they serve not only as functional pieces but also as captivating elements of interior design. The durability of the clay material further extends their use to outdoor spaces, adding to their versatility.

The traditional ceramic stools of Kim Lan encapsulate a harmonious blend of functionality and aesthetic appeal, making them not just furniture pieces but also expressions of craftsmanship that enhance the ambiance of any space..

Wine fermentation jars

Wine fermentation jars on display, highlighting their craftsmanship and decorative elements

Kim Lan pottery village stands out for its renowned wine fermentation jars, a product that not only holds functional significance but also carries deep cultural value. These jars, meticulously crafted from clay and subjected to high-temperature firing, come in an array of sizes and designs, showcasing the rich diversity of this traditional art.

These wine fermentation jars play a pivotal role in the age-old practices of wine-making, embodying the essence of tradition and craftsmanship. However, they transcend their utilitarian purpose to become cultural artifacts appreciated for their artistic qualities. Adorned with intricate patterns and designs, these jars metamorphose into captivating pieces that seamlessly marry functionality with cultural expression.

Each jar from Kim Lan is a testament to the village’s commitment to preserving and celebrating its cultural heritage. The meticulous craftsmanship and attention to detail not only ensure the jars’ effectiveness in wine fermentation but also elevate them to the status of artistic treasures, reflecting the intersection of functionality and cultural richness within the realm of pottery.

Flower vases

The flower vases originating from Kim Lan pottery village are distinguished by their exquisite elegance and a wide range of choices. Skillfully crafted in various sizes, styles, and colors, these vases emerge as captivating embellishments for interior spaces. Regardless of whether they boast a simplistic charm or intricate designs, these vases are purposefully designed to harmonize with the inherent beauty of flowers.

The diverse selection of flower vases caters to different preferences, making them versatile pieces of home decor. From minimalist designs that exude a timeless appeal to more ornate options that capture attention, these vases effortlessly become focal points within living spaces. Beyond their functional role of holding flowers, they contribute significantly to the overall aesthetic appeal of home interiors, adding a touch of sophistication and natural beauty to any room.

Visitors to Kim Lan pottery village not only have the chance to admire these products but also to engage in hands-on experiences, such as shaping their own ceramic items. The village’s commitment to preserving traditional craftsmanship while adapting to contemporary tastes is evident in the wide array of products it offers. Each piece reflects not just functionality but also the artistic spirit and cultural heritage of the region.

The history of the name “Kim Lan pottery village” throughout different periods

According to local folklore, ancient Vietnamese people settled in Kim Lan from a distant past. In the 18th Hung Vuong period, Princess Tien Dung, traveling along the Red River through the territory of Kim Lan pottery village, was captivated by the exceptionally beautiful natural scenery. She decided to stop and rest before heading to Chu Xa Village to meet Chu Dong Tu. In the year 40 AD, during the Hai Ba Trung uprising, a detachment of Hai Ba Trung’s forces marched from Luy Lau through various villages, including Giong Bac, to Phung Cong Village (now all part of Van Giang district, Hung Yen). They reached Kim Lan pottery village and crossed the Red River to Long Bien to continue their pursuit of the enemy.

The legend of the ancient Vietnamese settling early in the Red River delta is further supported by archaeological evidence. Along the Red River banks in the Kim Lan area, from Ham Rong to Canh Trien, villagers discovered numerous ancient pottery artifacts. In early 2001, the Vietnam Archaeological Institute excavated the Kim Lan pottery kiln site. With the rich artifacts obtained from the excavation, scientists concluded that Kim Lan is an ancient village with a history of 1000 to 2000 years.

During the Northern domination period, Kim Lan continuously had resident communities. According to the genealogy of the Han Academy, compiled by Doctor Nguyen Binh, during the reign of King Ly Tong of the Tang Dynasty, in the 6th Ham Thong year (866), Cao Bien was appointed as a military commander to govern Vietnam. As a knowledgeable scholar in astronomy and geography, skilled in casting spells to enchant people, Cao Bien often traveled to scenic places. Once, while passing through Kinh Bac, Thuan An Prefecture, he reached the Kim Lan area and was impressed by its beautiful landscape, describing it as picturesque with harmonious mountains and rivers. Cao Bien decided to stay and establish a camp for “promoting agricultural skills, facilitating convenience, warding off harm, and preserving customs”. After Cao Bien returned to the North, Kim Lan villagers sculpted statues and built temples to worship him (Cao Bien in the Main Temple, Trac Linh in the Upper Temple, and Chu Viet in the Side Temple).

Kim Lan pottery village has an ancient tradition of prohibiting children from flying kites, serving as evidence for this event and reflecting the harmony between the core of history and religious customs. Throughout the Dinh, Le, Ly, and Tran dynasties, the enlightened figures who contributed to the national salvation were honored as “Bloodline Virtuous Gods”. Many jars with inscriptions such as Khai Nguyen (712), Thai Binh (970), Thien Phuc (984), and various ceramics dating from the 7th-10th centuries to the 15th-18th centuries affirmed the continuity of the village.

Kim Lan village, also called Son Village, is located on the northern bank of the Nhị Hà River and, before 1945, belonged to Dong Du district, Gia Lam district, Thuan An Prefecture, Bac Ninh province. The name Kim Lan’s origin is unknown, but in the village’s legend compiled by Doctor Nguyen Binh in 1472, it was mentioned as “Xa Kim Lan, huyen Gia Lam, phu Thuan An, dao Kinh Bac”.

In the late 19th century, according to Dinh Xuan Vinh, the author of the book “Handbook of Vietnamese Place Names,” under the Nguyen dynasty, due to avoiding the use of the name of Lord Nguyen Phuc Lan, Kim Lan changed its name to Kim Quan. Based on existing evidence, it can be inferred that the name Kim Lan changed to Kim Quan around before 1870, as indicated by the Han characters on the bell in the village’s temple, cast in 1797, stating, “Kinh Bac territory, Thuan An Prefecture, Gia Lam district, Kim Lan parish”. The flat gong of the temple cast in Tân Dậu 1861 also indicated the village’s name as Kim Lan, while the one cast in Canh Ngo, Tự Đức’s 24th year (1871), stated Kim Quan.

The book ” Tên làng tên xã Việt Nam đầu thế kỷ XIX ” states that, during the late Le and early Nguyen dynasties, Kim Lan was an independent parish under Dong Du district, Thuan An Prefecture. In 1912, Gia Lam district was separated from Thuan Thanh Prefecture (Thuan An) and moved to Tu Son Prefecture.

Exploring the centuries of Kim Lan ancient pottery village

In 1948, three parishes, Kim Quan, Bat Trang, and Giang Cao, were merged into a single commune named Quang Minh, under Gia Lam district, Bac Ninh province. In February 1949, Gia Lam district moved to Hung Yen province, and in November 1949, it returned to Bac Ninh.

In 1958, after the construction of the Bac Hung Hai River, the Kim Quan village was located to the south, and the Bat Trang and Giang Cao villages were on the north side of the river. To facilitate daily activities, the government issued Decree No. 301-NĐ-CQTT, separating Kim Lan from Quang Minh commune to establish a new commune.

At this time, with no more naming restrictions, Kim Lan reverted to its ancient name, Kim Lan village, under Gia Lam district, Bac Ninh province. On April 20, 1961, the National Assembly of the Democratic Republic of Vietnam approved the Government’s resolution on the first expansion of Hanoi’s administrative boundaries, incorporating Kim Lan commune and 14 communes of Gia Lam district into Hanoi.

Today, Kim Lan commune covers an area of 2.92 square kilometers, running from the north along the Bac Hung Hai River to the south at the Van Duc ferry about 1596 meters long. The width at the northernmost point from the Xuân Quan embankment to the Red River bank is 348 meters, and the width at the southernmost point bordering Route 179 from Bờ Đó to the Red River is 684 meters. To the east, it borders Xuan Quan commune (Van Giang district, Hung Yen province), to the west is the Red River, and across the river is Thuy Linh hamlet, formerly part of Lĩnh Nam commune, Thanh Tri district, now part of Linh Nam ward, Hoang Mai district, since January 1, 2004.

Kim Lan is situated in an ancient land. The Dai Nam Thuc Luc book, the Provincial section for Bac Ninh, states that in Xuân Lũng commune (later changed to Xuân Lan), Gia Lam district, there is a temple dedicated to Emperor Trieu Vu. Trieu Vu, whose courtesy name is Da, was from Chân Định district (in China). During the Qin Dynasty, Trieu Da served as a commander in Long Chau, later becoming a lieutenant in Nam Hai. The Han Dynasty posthumously honored him as the King of Nam Viet, and he later proclaimed himself Emperor Trieu Vu. He had eight queens and many sons. After his death, his descendants moved to Kim Lan, with the eldest son settling in Kim Thanh and the second son in Kim Lu. The third son traveled westward and founded Son Nam village. The fourth son went north and established Vong Ngoc village. The fifth son headed southeast and established Ninh Dao village. The sixth son moved to the southwest and founded Hai Thinh village. The seventh son traveled south and founded Đinh Cao village. The eighth son moved northeast and founded Tây Sơn village.

Kim Lan has many historical and cultural relics, including the communal house and temples. The communal house, built in 1533, was dedicated to Cao Bien and Trac Linh. The Main Temple, built in 1677, was dedicated to Cao Bien, while the Upper Temple, built in 1689, was dedicated to Trac Linh. The Side Temple, built in 1710, was dedicated to Chu Viet. The communal house has undergone renovations and expansions over the centuries.

The communal house and temples reflect the spiritual and cultural values of Kim Lan villagers. In addition to the communal house and temples, Kim Lan is also known for its traditional crafts, such as pottery and wood carving. The pottery kilns in Kim Lan have been active for centuries, producing various ceramic products.

Kim Lan pottery village has experienced significant changes over the years, from being an ancient place with a rich history to becoming part of the modern administrative system. Throughout its history, Kim Lan has preserved its cultural heritage and traditions, making it a unique and meaningful place in the Red River delta.

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