Pottery

In the early Christian era, it may have been the Vietnamese who discovered the secrets of glaring; ivory-coloured glazes, not light brown as found in Chinese ceramics, were applied to every item. The History Museum in Hanoi holds two items typical of this period: a water jar shaped like the head of an elephant and a terracotta tray decorated with three fish and a band consisting of circular motifs popularly used on bronze items during the Dong Son period.

From the 11^th century onwards, the recovery of national independence constituted a major driving force in the development of pottery making. Outlines became more varied and glazes more brilliant. The lotus theme inspired by the spread of Buddhism frequently appeared on bowls, plates, vessels and trays with stylised floral circular motifs.

During this period Vietnamese celadon green glazes appeared, which many people mistook for Chinese jade-green celadon prior to new archaeological discoveries, particularly in Van Don, a busy commercial port from the 11^th to the 15^th century.

Ornamental fish, ceramics by Le Ngoc Han.	Peal-glazed ceramics.

As this green glaze could only be subjected  to temperatures 100°C down on those usually used in clay firing, another type of clay requiring approximately the same tiring temperature as the glaze had to be found - a difficult problem that was solved during this same period.

At the 10^th century royal capital of Hoa Lu and in the district of Thien Truong (native district of the 13^th and 14^th century Tran dynasty), square bricks decorated with leaf patterns and a floral border have been found. These and other ceramic motifs were used al that lime in the construction of various monuments.

From the 15^th century onwards, ceramic items coated with a white glaze over decorative blue motifs began to appear. Articles in common use, bowls and plates in particular, were mass-produced in different locations, the most famous of these being Tho Ha and Huong Canh.

Pottery jar made in Phu Lang village.	Plates and bowls for daily use in rural areas.

Ceramic items were exported to Japan, where historical records relate that from the 17^th century, Japanese artisans often recreated the models and techniques used in 'Kotchi' pottery - Koichi is the Japanese transcription of the words Giao Chi, the ancient name of Vietnam.

Bat Trang village, located on the Red river just 15 kilometres from the centre of Hanoi, is the most famous of all the pottery centres. In the Vietnam of old, young men would promise their lovers they would build for them houses using Bat Trang bricks. This village, according to legend, has a well established tradition of brick-making going back at least five centuries.

Young woman with traditional musical instrument, ceramics by Vu Nham.

It was the clay, kaolin and oxides found in the surrounding areas that were used to produce items for daily use and others of greater value. The familiar Bat Trang rice bowl was sold throughout the country while objects of great artistic value were displayed at the Louvre in Paris and museums in Malaysia and Indonesia. Bat Trang pottery reached its peak during the 18^th century and beginning of the 19^th.

Its workshops also produce a fine brown earthenware, teapots and teacups coated with red glaze, and smooth glared vases decorated with dragon motifs and (lowers tinted with a clay containing iron. Up until quite recently the traditional and rudimentary technology was still being widely used.

The clay was ground to a powder and mixed with water to form a paste. This was moulded into shape using a pottery wheel, then coated with a white glaze. By adding powdered ash and other substances, a variety of glares could be created and mineral oxides used to colour them.

Well-known pottery-making centres in southern Vietnam include Lai  Thieu  and Bien Hoa near Ho Chi Minh City.

The Gioi World Publishers