Vietnamese Pottery: Inside the Craft Villages That Keep a 4,000-Year Legacy Alive

1. Introduction: The Clay of the Delta and the Fire of the Coast

The history of Vietnamese pottery is a narrative of resilience, adaptation, and a profound, intimate dialogue with the natural environment. It is a tradition that spans millennia, evolving from the coarse, cord-marked earthenware of the Neolithic era to the sophisticated, "jade-like" porcelains of the dynastic periods, and finally to the vibrant, eclectic fusion of the modern era. To understand Vietnamese pottery is to understand the geological and cultural dualities of the nation itself: the tension between the Sinitic influences of the Red River Delta in the north and the Austronesian, maritime spirit of the Champa civilization in the south.

Unlike the ceramic traditions of China, which often strove for an ideal of imperial perfection—flawless symmetry, pure whiteness, and rigid control—Vietnamese pottery have historically embraced a different aesthetic philosophy. It is an aesthetic of spontaneity, of "controlled accident," and of distinct tactile warmth. Whether it is the ivory-glazed bowls of the Ly Dynasty with their unglazed "chocolate bottoms," the rugged, eel-skin textures of Phu Lang stoneware, or the smoke-stained, hand-shaped vessels of the Cham people, Vietnamese pottery retains the "breath of the earth" (hơi thở của đất).

This report serves as a comprehensive foundational document for analyzing this rich heritage. It moves beyond a mere chronological listing of dynasties to examine the technological innovations, the complex web of maritime trade, and the distinct visual vocabulary that allowed Vietnamese artisans to carve out a unique identity in the shadow of the Chinese ceramic giant. We will explore how geopolitical shifts—such as the Ming Dynasty's maritime trade bans—inadvertently turned Vietnam into a global export powerhouse in the 15th century, and how the ancient techniques of the Cham people provide a living window into the prehistoric past of Southeast Asia.

Vietnamese potter shaping clay bowls in a traditional village workshop.

2. The Indigenous Substratum: Prehistory to the Han Interaction (c. 10,000 BC – 10th Century AD)

The genesis of Vietnamese pottery does not begin with Chinese colonization, but millennia prior, rooted in the indigenous cultures of the Hoabinhian and Bacsonian periods.

2.1 The Sa Huynh Culture: The Maritime Potters

The Sa Huynh culture (c. 1000 BC – 200 AD), centered in present-day central and southern Vietnam, represents the most sophisticated expression of Iron Age ceramic production in the region. These people were master seafarers, controlling trade routes that connected the Vietnamese coast to the Philippines, Taiwan, and Thailand.

The Burial Jar Phenomenon:

The defining characteristic of Sa Huynh ceramics is the large-scale burial jar. These vessels, often reaching over a meter in height, were used for secondary interments—a practice indicating a complex belief system regarding the afterlife.

• Material Composition: The clay used was locally sourced, often mixed with sand or crushed seashells as temper to prevent cracking during the low-temperature open firing. This resulted in a porous but durable earthenware body.

• Decorative Techniques: Sa Huynh potters utilized incision and impression techniques. Common motifs included geometric patterns, "saw-tooth" designs, and cord-marking, which not only provided aesthetic texture but also improved the grip and thermal shock resistance of the vessels.

• The "Lingling-o": While often associated with jade, the Sa Huynh culture also produced ceramic versions of the lingling-o—a double-headed or penannular ear ornament. These artifacts serve as archaeological markers, tracing the Sa Huynh trade network across the South China Sea.

The discovery of sites like Xom Oc on Ly Son Island reveals a continuous occupation where the ceramic typology evolves from purely functional to ritualistic. The pottery here shares a "red-slipped" tradition with other Austronesian cultures, suggesting that Vietnam was part of a vast maritime cultural sphere long before it became part of the Sinitic sphere.

Reconstructed Sa Huynh burial jars, early examples of Vietnamese pottery.

2.2 The "Giao Chi" Era and the Han-Viet Synthesis

With the conquest of the Red River Delta by the Han Dynasty (111 BC), Vietnam entered a millennium of Chinese political domination, known as the Giao Chi period. However, in the realm of ceramics, this was a period of technological transfer rather than total displacement.

The Introduction of Stoneware:

The most significant contribution of this era was the introduction of the high-temperature kiln and the potter's wheel. Excavations of Han-style brick tombs in Thanh Hoa and the Red River Delta have yielded vessels that mimic Chinese bronze shapes—tripods, steamers, and wine jars—reproduced in ceramic.

The Tam Tho Kilns:

The Tam Tho kiln complex in Thanh Hoa province offers the earliest evidence of a localized industry adapting imported technology. Here, potters produced wares using fine-grain, off-white local clay. Crucially, they began experimenting with glazes. Early examples show "intentional drops of green glaze," a primitive ash glaze that represents the ancestor of the sophisticated celadons that would follow. These early attempts at glazing were not merely decorative; they made the vessels impermeable, a significant leap in utility over the porous Sa Huynh earthenware.

This period established the technical foundation for the future: the understanding of kiln physics, the purification of clay, and the chemistry of wood-ash glazes.

3. The Assertion of Identity: The Ly and Tran Dynasties (11th–14th Centuries)

The restoration of Vietnamese independence in the 10th century and the subsequent rise of the Ly Dynasty (1009–1225) marked the beginning of a Golden Age for Vietnamese pottery. This was an era where pottery became a medium for state-building, religious expression, and cultural differentiation.

3.1 The Ly Dynasty: Buddhism and Elegance

The Ly Dynasty established Buddhism as the state religion, and the ceramic art of this period is suffused with spiritual iconography. The lotus, symbolizing purity rising from the mud, became the omnipresent motif.

Technological Innovation: The Inlaid Brown Wares:

One of the most distinct contributions of the Ly potter was the development of "inlaid" ceramics (gốm hoa nâu). This technique involved a labor-intensive process:

1. The vessel was shaped from white clay.

2. The artisan would incise the design (usually lotus petals, warriors, or floral scrolls) into the leather-hard body.

3. The background glaze was scraped away, and the incised lines were filled with an iron-oxide rich slip (brown glaze).

4. The entire vessel was covered in a clear ivory glaze and fired.

The result was a striking, high-contrast design where the brown pattern floated against an ivory background. This "sgraffito-like" technique gave Ly ceramics a graphic boldness that distinguished them from the monochrome Song Dynasty wares of China. It was a style that prioritized line and contrast over the depth of glaze alone.

Architectural Ceramics:

The Ly court undertook massive temple construction projects, driving a demand for architectural terra cotta. Excavations have revealed stupa bricks carved with dragons flanking a central bodhi leaf—a synthesis of royal power (dragon) and spiritual authority (bodhi).6 These were not molded industrially but often hand-carved with a degree of detail that elevated them to high relief sculpture.

3.2 The Tran Dynasty: Robustness and the "Chocolate Bottom"

The transition to the Tran Dynasty (1225–1400) coincided with a shift in aesthetic sensibility. The Tran rulers, who successfully repelled three Mongol invasions, fostered a culture of martial vigor and robustness. Ceramic forms became heavier, thicker, and more practical.

The "Chocolate Bottom" (Đáy Chocolate):

Perhaps the most famous diagnostic feature of Vietnamese ceramics from the late 13th to 14th centuries is the application of a chocolate-brown wash to the unglazed base of bowls and dishes.

• Theories of Origin: Scholars debate the purpose of this brown slip. Some argue it was purely aesthetic, a way to finish the foot cleanly. Others suggest it strengthened the base or prevented the clay from sticking to kiln furniture.

• Significance: regardless of intent, the "chocolate bottom" became a signature of Vietnamese production, allowing collectors and archaeologists to instantly distinguish Vietnamese celadons and white wares from their Chinese counterparts.

The Rise of Iron-Brush Painting:

During the Tran period, the labor-intensive inlay technique gave way to direct painting with iron-brown pigment under glaze. This allowed for greater spontaneity. Artisans painted rapid, calligraphic designs of chrysanthemums, bamboo, and birds. This shift from "carving" to "painting" was a critical precursor to the blue-and-white revolution that would follow.

Traditional Vietnamese Pottery bowl with lotus motif and chocolate-brown foot.

4. The Maritime Golden Age: Export Ceramics and the Blue & White Revolution (14th–17th Centuries)

The 14th to 17th centuries represented a pivotal era where Vietnamese ceramics moved from a domestic industry to a global commodity. This expansion was driven by a geopolitical accident: the Ming Dynasty's "Haijin" (Sea Ban) policy, which restricted Chinese private trade. Vietnamese kilns stepped in to fill the vacuum, supplying the markets of Southeast Asia, Japan, and the Middle East.

4.1 The Chu Dau Phenomenon

The village of Chu Dau in Hai Duong province emerged as the epicenter of this export boom. Chu Dau wares are celebrated for their technical perfection, described in historical texts as "thin as paper, clear as jade, white as ivory, ringing like a bell".

Vietnamese Blue and White (Hoa Lam) vs. Chinese Blue and White:

While influenced by the Yuan and Ming blue-and-white traditions, Vietnamese artisans developed a distinct visual language:

1. The Pigment: Vietnamese cobalt (often imported from the Middle East or Yunnan) was applied with a different binding agent, leading to a tendency to "run" or blur slightly in the kiln. This created a soft, misty effect known in Japan as shiboride ("blue bleeding"). Far from being considered a defect, this softness was prized by Japanese tea masters for its dreamlike quality.

2. The Brushwork: Chinese painting tended to be formal, outlined, and symmetrical. Vietnamese painting was fluid, calligraphic, and spontaneous. The artisans painted what they saw in the Delta: wading egrets, swimming fish, dragonflies, and banana leaves, rather than the formalized mythological landscapes of China.

3. The Dragonfly Motif: One specific motif that became a hallmark of Vietnamese export ware was the dragonfly. Painted with just a few swift strokes, it captured the insect's fragility and movement, a testament to the "sketch-like" quality of Vietnamese folk art.

4.2 The Testimony of Shipwrecks

Marine archaeology has revolutionized our understanding of this period. The seabed of the South China Sea is littered with the evidence of Vietnam's ceramic power.

Shipwreck Name	Date	Location	Primary Cargo	Historical Significance
Cu Lao Cham (Hoi An Hoard)	c. 1450-1500	Off Hoi An	Chu Dau Blue & White	The most significant discovery of Vietnamese ceramics. Over 200,000 artifacts recovered. The cargo included unique forms like pouring vessels (kendis) shaped like phoenixes and parrots, tailored for the Islamic markets of Indonesia and the Philippines.
Vung Tau Wreck	c. 1690	Off Con Dao	Chinese Kangxi Porcelain	Marks the decline of Vietnamese exports. The cargo was Chinese blue-and-white bound for Batavia (Dutch), showing that China had reclaimed the market after the lifting of the ban. However, the presence of the wreck in Vietnamese waters highlights the continued strategic importance of the coast.
Ca Mau Wreck	c. 1723-1735	Off Ca Mau	Chinese Yongzheng Porcelain	Contained 130,000 pieces, including tea sets and "Bleu de Hue" precursors. It demonstrates the shift in taste toward the refined, thin porcelains of the Qing dynasty.15

The Hoi An Hoard Analysis:

The excavation of the Cu Lao Cham wreck revealed the sophistication of the Vietnamese ceramic industry. The presence of multi-colored enamels (red, green, yellow) applied over the glaze (Bencharong style precursors) proved that Vietnamese potters had mastered overglaze enameling techniques by the 15th century, a technology previously thought to be rare outside China at that time. The sheer uniformity of the thousands of bowls found suggests an early form of industrial mass production, yet the hand-painted nature ensured no two pieces were identical.

5. The Northern Village Typologies: Bat Trang and Phu Lang

In the Red River Delta, ceramic production is organized around "craft villages" (làng nghề), ancient communities where the entire population is involved in the trade. The two most prominent, Bat Trang and Phu Lang, represent opposing aesthetic and technical poles: the refined and the rustic.

5.1 Bat Trang: The Kilns of the Capital

Located just outside Hanoi (Thang Long), Bat Trang has been active since the 14th century. Its location was strategic, utilizing the white clay deposits of the region and the Red River for transport.

The Five Great Glazes of Bat Trang:

Bat Trang is famous for its mastery of diverse glaze recipes:

1. Men Lam (Cobalt Blue): The classic blue-and-white. In the 19th century, this often darkened to a deep, almost black-blue, known as tu thanh.

2. Men Nau (Brown): Used for rimming vessels (to prevent chipping) and for defining relief patterns.

3. Men Ngoc (Celadon/Moss Green): A thick, opaque glaze often used on incense burners and altar sets.

4. Men Ran (Crackle Glaze): This is Bat Trang's most iconic technical achievement. Developed in the 16th century, this glaze is engineered to have a different coefficient of thermal expansion than the clay body. Upon cooling, the glaze shatters into a network of fine cracks (crazing). Artisans then rub ink or brown wash into these cracks to highlight the pattern. It creates an aesthetic of instant antiquity and "wabi-sabi" appreciation of imperfection.

5. Men Trang Nga (Ivory White): The foundational glaze for polychrome wares.

Kiln Technology:

Historically, Bat Trang utilized the Lo Bau (Gourd Kiln), a series of connected chambers built on a slope. This design allowed heat from the lower chamber to rise and pre-heat the upper chambers, a highly efficient use of fuel. Firing a Lo Bau was a community event, taking days of constant stoking with wood to reach temperatures exceeding 1200°C.

Display of Bat Trang Vietnamese pottery with blue-and-white and crackle glazes.

5.2 Phu Lang: The Soul of the Earth

While Bat Trang pursued the refinement of white clay, Phu Lang (Bac Ninh province) embraced the ruggedness of red clay.

• Material: The clay is sourced from the Thong Vat and Cung Khiem areas, rich in iron, firing to a reddish-brown stoneware.

• The "Eel Skin" Glaze (Men Da Luon): This is the hallmark of Phu Lang. The glaze is composed of wood ash (from specific local trees), slaked lime, crushed pebbles, and alluvial mud. It is not a mineral glaze in the modern sense but a "natural ash" glaze. When fired, it melts into a thick, variegated surface that ranges from yellowish-brown to deep greenish-black, resembling the skin of an eel.

• Aesthetic: Phu Lang wares are architectural and sculptural. They rely on "embossing" (relief carving) rather than painting. Common subjects include sacred animals (mythical lions, horses) and geometric borders. The aesthetic is heavy, somber, and deeply connected to the rural landscape.

6. The Cham Legacy: Bau Truc and the Architecture of Fire

Moving to the South Central Coast, we encounter a ceramic tradition that is fundamentally different from the glazed stoneware of the North. The Cham people, descendants of the Champa kingdom, preserve a pottery lineage that links directly back to the Sa Huynh culture.

6.1 Bau Truc: The Living Fossil

Bau Truc village in Ninh Thuan province holds the distinction of being one of the oldest pottery villages in Southeast Asia. In 2022, UNESCO inscribed the art of Cham pottery making on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding.²⁴

The "Human Wheel" Technique:

In almost every other pottery tradition, the potter sits and the wheel turns. In Bau Truc, the potter moves around the jar.

• The artisan places a lump of clay on a static pedestal.

• She (it is a matriarchal craft, passed from mother to daughter) walks backward in circles around the pedestal, shaping the clay with her hands and simple wooden paddles.

• This "choreography" of creation results in vessels that are not perfectly symmetrical but possess a dynamic, organic balance.

The Open Firing Ritual:

Bau Truc does not use built kilns. The pottery is fired in the open air.

• The Stack: Vessels are stacked in a pile, interlayered with wood, straw, and rice husks.

• The Fire: The bonfire burns at a relatively low temperature (around 600-800°C).

• The Coloring: As the fire dies down, artisans may spray extracts from the Thi tree (a local fruit tree) onto the hot pots. Where the extract hits, it creates distinctive dark brown or black spots. This creates the "fire cloud" effect—random, beautiful patterns of oxidation and reduction that ensure no two pots are alike.

6.2 Go Sanh: The Lost Glazed Tradition

It is a common misconception that the Cham only produced earthenware. Archaeological excavations at the Go Sanh kiln complex (Binh Dinh province, the site of the ancient Cham capital Vijaya) prove otherwise. Between the 13th and 15th centuries, Cham potters produced glazed stoneware, including celadons and brown wares, likely for export. These wares are distinguished by a "purplish" unglazed foot ring and a brittle clay body. The disappearance of this technology following the decline of the Champa kingdom remains one of the great tragedies of Vietnamese art history.

7. The Southern Fusion: Colonialism, Migration, and the "Bien Hoa" Style (19th–20th Centuries)

The colonization of Cochinchina by the French and the migration of Chinese potters from Fujian and Guangdong to the south created a melting pot of styles in the 19th and early 20th centuries.

7.1 Cay Mai: The Lost Ceramics of Saigon

In the Cholon district of Saigon, the Cay Mai kilns (active 19th century) produced high-quality ceramics for the urban environment. Founded by Chinese immigrants, Cay Mai ceramics were characterized by a "colored hard ceramic" body and the use of vibrant, low-fire enamels in malachite green, brownish-yellow, and black. These were used extensively for roof tiles, temple friezes, and garden statuary. The Cay Mai tradition died out as urbanization forced the kilns to move, but its DNA survives in the ceramics of Lai Thieu.

7.2 Bien Hoa: The Academic Synthesis

The Bien Hoa School of Applied Arts (École des Arts Appliqués de Bien Hoa), established by the French in 1903, formalized the study of ceramics.

• The Balick Influence: Under the direction of Robert and Mariette Balick, the school merged local craftsmanship with Western chemistry and Art Deco design principles.

• Vert de Bien Hoa (Bien Hoa Green): The school achieved fame for a specific copper-green glaze, known as Vert de Bien Hoa. It is a speckled, matte green that mimics the patina of ancient bronze. When applied to vessels carved with incised patterns of Cham dancers or elephants, it created a unique "Indochinese" style that won gold medals at international exhibitions in Paris.

7.3 Lai Thieu and Song Be: The People's Pottery

While Bien Hoa catered to the elite, the kilns of Lai Thieu (Binh Duong) produced for the masses.

• Song Be Ware: Named after the former province, these are the famous "Chicken Bowls" (bát con gà) found in street stalls across the south.

• Aesthetic: They are characterized by a creamy, off-white slip and rapid, freehand painting of roosters, banana trees, and strawberries. They were fired at lower temperatures, making them fragile but cheap. Today, they are prized for their nostalgia and their unpretentious, folk-art quality.

8. "Bleu de Hue": The Court's Porcelain and the Sovereignty of Design

A unique chapter in Vietnamese ceramics is the Bleu de Hue (Hue Blue) ware. These porcelains were used by the Nguyen Dynasty court but were not made in Vietnam.

• The Mechanism: The Vietnamese court, lacking the technology to produce ultra-thin, high-temperature porcelain like Jingdezhen, would commission wares from Chinese kilns.

• The Sovereignty: Crucially, the design was strictly Vietnamese. Court artists would draw the patterns—landscapes of Vietnam, poems in Nom script, or specific dynastic symbols—and send them to China to be copied.

• Noi Phu: The highest quality pieces bear the mark Noi Phu ("Inner Court"), designating them for the royal household.

• Identification: Bleu de Hue can be distinguished from standard Chinese export ware by the specific, often softer shade of blue, the presence of Vietnamese poetry, and the frequent addition of silver or copper bands on the rims (a Vietnamese preservation technique).

9. Vietnamese Pottery: A Living Legacy Carried Through Fire, Craft, and Modern Creation

Vietnamese pottery is more than a craft — it is a cultural memory shaped by rivers, coastlines, and centuries of artistry. From the ancient burial jars of the Sa Huynh people, the spiritual elegance of Ly–Tran inlaid wares, to the world-famous blue-and-white ceramics of Chu Dau, each era added a new layer to the nation’s ceramic soul. What makes Vietnamese pottery truly unique is its harmony between technique and imperfection: glazes that softly bleed, brushstrokes that feel alive, and forms that carry the warm touch of handcraft rather than mechanical precision.

Today, this lineage continues not only in traditional craft villages like Bat Trang, Phu Lang, and Bau Truc — but also through modern manufacturers who bring Vietnamese ceramic identity into contemporary design.Lam Thanh Pottery, founded in 1999, is one of the companies proudly inheriting and elevating this heritage. With diverse materials such as terracotta, cement, polystone, and ceramic glazes, Lam Thanh blends traditional craftsmanship with modern production to serve garden centers, nurseries, wholesalers, and décor brands worldwide. Their collections reflect the same spirit that defines Vietnamese pottery: earthy authenticity, handcrafted details, and a dedication to both beauty and function.

As global appreciation for Vietnamese ceramics continues to rise, Lam Thanh Pottery stands among the makers keeping this legacy vibrant — crafting planters and décor pieces that carry the timeless warmth of Vietnamese clay into homes, gardens, and landscapes across the world.

10. Conclusion

The story of Vietnamese pottery is one of a distinct, tenacious soul. It is a tradition that learned from the best of the Chinese kilns but refused to simply copy them. It took the dragon and made it playful; it took the lotus and made it wild; it took the blue pigment and allowed it to bleed into the glaze like ink on rice paper.

From the matriarchs of Bau Truc walking backwards around their clay to the merchant ships of the 15th century carrying Chu Dau vases to Topkapi Palace, Vietnamese ceramics have always been a bridge—between the delta and the sea, between the sacred and the profane, and between the past and the present. Today, as collectors hunt for the "chocolate bottoms" of the Tran dynasty and young hipsters buy revived Song Be bowls, the fire of the Vietnamese kiln remains as vibrant as ever.

Comparative Timeline of Major Vietnamese Ceramic Eras

Era	Approximate Date	Key Characteristics	Diagnostic Features
Sa Huynh	1000 BC - 200 AD	Earthenware, Maritime trade	Large burial jars, cord-marking, red slip.
Giao Chi (Han-Tang)	1st - 10th C. AD	Early Stoneware, Technical Transfer	Han-style shapes, primitive ash glaze (Tam Tho).
Ly Dynasty	1009 - 1225	Buddhist influence, Elegance	Inlaid brown designs (Hoa Nau), Lotus motifs, Emerald celadons.
Tran Dynasty	1225 - 1400	Robustness, Martial spirit	Thicker potting, Chocolate Bottom, Iron-brown painting.
Export Era (Le/Mac)	1400 - 1700	Global Trade, Mass Production	Blue & White (Hoa Lam), Dragonfly motifs, Overglaze enamels.
Nguyen / Colonial	1802 - 1945	Courtly & Folk divergence	Bleu de Hue (Court), Vert de Bien Hoa (Art School), Song Be (Folk).