Vietnamese Ceramics History: Ancient Pottery, Trade, and Craftsmanship

Vietnamese Ceramics: A Long, Layered History

Vietnamese ceramics have been around for thousands of years. This art form began long before Chinese rule. Archaeologists have found ancient pottery in Vietnam that proves this deep, early start.

After China took control, Vietnamese ceramics started to show some Chinese influence. But local potters didn’t just copy. They blended Chinese elements with native ideas. They also picked up styles from other nearby cultures like Champa, Cambodia, and India. Over time, what came out of Vietnam looked more and more like its own thing, not just a mix of others.

Trade, Influence, and Independent Style

Vietnamese pottery wasn’t just for home use. It was a major trade item. Pottery moved between Vietnam and other parts of Asia across many different time periods. Even early on, Vietnamese kilns were producing high-fired ceramics. Some of the oldest white-glazed pieces found in Vietnam are older than any similar ceramics discovered in China. These came from Thanh Hoa tombs and prove just how early and advanced Vietnamese pottery was.

In the earliest periods, local potters followed the styles of Dongsonian culture. This was especially true in the works of the Luo Yue people. But things changed under Chinese rule. As Chinese influence grew, the native Dong Son styles started to fade.

After Vietnam gained its freedom in 938 CE, potters began creating work that stood on its own. It no longer mirrored Chinese trends. During the Ly and Tran dynasties, ceramic styles grew into something clearly Vietnamese. This was when you started to see the creamy-white celadon glaze and white-brown gốm hoa nâu. These ceramics carried their own look and feel. They didn’t follow Chinese patterns.

Designs during the Ly era often featured dragons called Nāga. You’d also find images of lotus flowers, the Bodhi leaf, makaras, water patterns, and Buddha. These showed up not just on pottery but also on steles and temple bricks. Cham writing even appeared on the terracotta used in religious buildings.

Exports and Global Reach

Vietnam started shipping out ceramics by the late 1200s. By the 1300s and 1400s, Vietnamese pottery was turning up in Japan, the Philippines, and Indonesia. Coins from the same period have been found in those places too. This proves that Vietnam was part of a strong trade network. People across Asia wanted these ceramic goods.

When China occupied Vietnam again in the 1400s, the potters took on a new technique. They began using cobalt underglaze, which was already big in global trade. Their blue-and-white ceramics became popular. Some used cobalt from the Middle East, which gave a rich, bright blue. But that pigment cost more. Others used a darker, cheaper cobalt from Yunnan, China.

Even with this borrowed element, Vietnamese potters kept doing things their way. They worked the cobalt into designs that still looked and felt local.

Vietnamese Ceramics in Southeast Asia’s Trade Networks

By the 1400s, Vietnamese pottery had taken over the Southeast Asian market. In Trowulan, the capital of the Majapahit Empire, about 80 percent of all imported ceramics came from Vietnam. Thai ceramics made up the other 20 percent.

In the Philippines, Vietnamese ceramics made up between 1.5 to 5 percent of the total finds across the islands. Thai pottery, by contrast, accounted for 20 to 40 percent. West Asia also received a small share of Vietnamese ceramics during the same period. While it wasn’t a major export destination, the presence of Vietnamese wares there shows how far their reach had grown.

Modern Vietnamese Ceramics and Export Growth

Vietnam still makes traditional ceramics, and there’s strong local demand for them. But in recent years, production has moved more toward international export. One of the main production hubs is Lái Thiêu in the south. Factories there now turn out ceramics for global markets while keeping ties to older techniques.

Hanoi’s Ceramic Road: A Modern Landmark

A standout piece of modern ceramic art is the Hanoi Ceramic Mosaic Mural. It runs for about 4 kilometers along the dyke wall in Hanoi. This huge public artwork was made to mark the 1000-year anniversary of the city. The mural features bright tiles and designs that tell stories from Vietnamese history and culture. It shows how ceramics, old and new, remain tied to national identity.

Cát Tiên: A Link to an Ancient Civilization

Cát Tiên is an archaeological site found inside Cát Tiên National Park in southern Vietnam. It was discovered by accident in 1985. The site stretches from Quảng Ngãi Commune to Đức Phổ Commune, but most of the key finds come from Cát Tiên District in Lâm Đồng Province. The people who lived there built the site between the 4th and 9th centuries CE. Many ceramic pieces were uncovered here, giving a rare look into an old, unnamed civilization that once thrived in the southern highlands.

Bát Tràng Ceramics: Craftsmanship with Centuries of History

Bát Tràng is a village near Hanoi known for its fine porcelain and pottery. Ceramic making in Bát Tràng dates back to at least 1352, and likely earlier. The area has high-quality clay that’s perfect for crafting detailed, durable ceramics.

Over time, Bát Tràng ceramics earned a strong reputation. Their bowls, jars, and vases were considered just as good as those from Chu Đậu. Later, potters from Đồng Nai, Phu Lang, and Ninh Thuận joined the craft scene. By the 14th century CE, Bát Tràng pottery had become a key export, traded across Southeast Asia and the Far East by both Vietnamese and foreign merchants.

Today, Bát Tràng is still active. The village continues to make ceramic dishes, bowls, and vases for both local buyers and international markets. Japan is one of the top export destinations. While the old wooden kilns are still around, gas kilns are now more common. Most steps in the pottery process are still done by hand, keeping the tradition alive.

There’s also been a change in decoration methods. Artists now sometimes use screen printing on rice paper, mostly for religious items like incense burners. But traditional brushwork is still widely used, too.

Bát Tràng also holds onto its history in other ways. A few old family houses remain, filled with rare ceramics from the 14th century. Some of the large vases and bowls still show the classic designs from that golden age of Vietnamese pottery.

The Bát Tràng Museum: Preserving Ceramic Heritage

The village is also home to Vietnam’s first private ceramic museum, the Bát Tràng Museum, also called the Museum of Ceramic Art by Vũ Thắng. This space holds a collection that reflects the long tradition and evolving craft of Bát Tràng ceramics. It’s a place that honors both the makers and the culture that shaped their work.

Chu Đậu Ceramics and the Rise of Vietnamese Blue-and-White Ware

Chu Đậu, located in Nam Sách east of Hanoi, wasn’t widely known until 1983. That’s when its ceramics were rediscovered, which led to several digs between 1986 and 1991. Production in the village likely began in the 1200s. The peak came in the 1400s and 1500s, with a steady decline through the 1600s.

One key moment for Chu Đậu ceramics came when the Ming dynasty in China stopped trading with the outside world between 1436 and 1465. This left a massive gap in the market. Vietnamese potters filled that gap with blue-and-white porcelain. For about 150 years, Vietnamese ceramics dominated trade routes across Asia and beyond.

Pottery from this period has been found in Japan, across Southeast Asia, and even as far west as Turkey, Egypt, and Tanzania. These exports included vases, bowls, and jars that showed Vietnamese craftsmanship at its height.

One famous Chu Đậu vase, signed by a woman named Bùi and dated 1450, is now in the Topkapi Palace Museum in Istanbul. That vase shows how skilled the artisans were and how widely their work traveled.

Hội An Shipwreck and Annam Ware

A major find tied to Chu Đậu was the Hội An shipwreck. This vessel, found about 22 miles off central Vietnam’s coast in the South China Sea, was full of Vietnamese ceramics from the mid to late 1400s. Most of these came from kilns in the Red River Delta, especially Chu Đậu. Since most good-quality pieces had been exported, the kilns mainly held broken items or wasters. The shipwreck, though, was loaded with intact examples, giving a rare look at what was being traded at the time.

In 1996, over 250,000 whole ceramic pieces were brought up from the wreck. Around 10 percent of the most unique items were kept by the Vietnamese government for museum collections. The rest were sold at auction to help cover the cost of the recovery.

In Japan, Chu Đậu pieces were called An’nan wares. These were highly valued, especially during the 1500s and 1600s. Some were used in tea ceremonies, even though the high-footed bowls were first made for food. These bowls had wide, flared rims, tall bases, cobalt floral designs, and stacked unglazed rings inside. Many were finished with a brown wash on the bottom. Sizes usually ranged from 9 to 15 centimeters.

Pieces of these Vietnamese ceramics were also found on Kyūshū island in Japan. Some fragments dated back as early as 1330. Historians still aren’t sure if Japanese buyers traveled to Vietnam, if Vietnamese traders sailed to Japan, or if it all went through China. But by the early 1600s, records show that Japanese settlers were already living in Hội An.

Trade Disruptions and Decline

Vietnam’s ceramic trade took some serious hits over time. After Vietnam invaded Champa in 1471, Cham merchant activity dropped. That hurt trade routes. Then, during the 1500s, Vietnam’s internal civil wars made it hard to keep exports steady. The arrival of Portuguese and Spanish powers in Southeast Asia shook things up even more. The Portuguese took over Malacca, which changed the way goods moved in the region. Their ships started stopping in Brunei on the way to Macao, since China had allowed the Portuguese to lease Macao. That change pulled business away from Vietnamese ports.

Cham Kilns at Go Sanh: Brown-Glazed Stoneware

Besides Chu Đậu, Vietnam had other centers of ceramic production. One was at Go Sanh, in modern-day Bình Định Province, near the old Cham capital of Vijaya. Here, 20 kilns have been found, all tied to the Champa Kingdom. These kilns made brown-glazed stoneware jars with a distinct Cham style.

The kilns at Go Sanh were rebuilt many times, which means they were in use for a long period. Go Sanh jars have been discovered in places like Borneo, the Philippines, and in shipwrecks such as the Pandanan wreck. These finds prove that Cham pottery, like Vietnamese ware, was part of regional trade networks across Southeast Asia.

 

Vietnamese Ceramics in the Malay Archipelago

Vietnam had close ties with China for a long time. So did Japan, Korea, and Thailand. Because of this, it makes sense that Chinese ceramic techniques spread to those countries. Vietnam picked up these skills early on, but at first, potters only made ceramics for local use.

Later, Vietnamese pottery started showing up in the Malay region, but not throughout all of its history. These exports only happened during certain windows. Usually, it was when Chinese ceramics became harder to get. When China's kilns slowed down production or when the country shut itself off from foreign trade, Vietnam stepped in to fill the gap.

Trade Gaps and Vietnamese Export Waves

China had major ceramic hubs like Jingdezhen. When these centers paused or limited exports, it created a supply problem across Asia. During these times, Vietnamese ceramics started flowing into trade networks in the South China Sea. Some of these ceramics tried to mimic Chinese designs that were suddenly missing from the market. Others developed their own appeal and were traded for their unique value.

Sometimes, Vietnamese pottery was made to fill specific requests. One example is the wall tiles sent to Majapahit in the 1400s. Another is a rougher type of pottery made in the 1600s, likely based on direct orders from abroad.

Shipwrecks and Ceramic Clues

Since the 1970s, researchers have taken a closer look at Vietnamese trade pottery. Books and reports have mapped out the key types used in trade. More recently, shipwrecks have helped paint a clearer picture of how far these ceramics traveled and how they were used. The sunken ships carried not just products, but proof of how trade was shaped by supply and demand.

One of the earliest deep dives into this topic focused on the collection at Museum Pusat in Jakarta. That collection holds a wide range of Vietnamese pieces. What’s more, they come from many different places. This variety shows how widely Vietnamese pottery spread across Indonesia.

Widespread Reach Across Southeast Asia

Vietnamese ceramics were found in Java, Sumatra, Sulawesi, and Kalimantan. They also turned up in Bali, Sumba, Sumbawa, Ternate, Maluku, and Halmahera. In northern Borneo, pieces have been recorded in Sabah, Sarawak, and Brunei. The same types have shown up in Peninsular Malaysia and the Philippines, too. All of this points to strong trade networks that moved Vietnamese pottery across the entire region.

Selective Trade and Specific Designs

Not every kind of Vietnamese ceramic made it into trade. Only certain styles were exported, based on what people wanted. Most of the pieces that traveled had forms and decorations that were already in demand.

One strange detail is that lime pots, which were very common in Vietnamese ceramic output, didn’t show up much at old Malay sites. This is surprising, since betel chewing was common in the region. Lime pots might exist in private or museum collections, but they don’t appear often in excavated trade sites. So they likely weren’t part of the main export batch.

This suggests that Vietnamese ceramic exports weren’t just random. They were shaped by what buyers wanted, what was missing from the market, and what potters could make to fill that need.

Vietnamese Export Ceramics in the 14th Century

In the early 1300s, Vietnam started exporting pottery in larger numbers across Southeast Asia. Some of the first pieces to reach places like Malaysia were bowls with black underglaze decoration and others with a single-tone glaze. These bowls were often designed with a simple floral spray in the center, usually thought to be a chrysanthemum. Around the inner rim, you’d see thin, scrolling lines, and the outside had a wider band of the same pattern.

This decoration was painted directly onto a smooth, cream-colored clay body. A thin ivory glaze went over it. Inside the bowls, there were usually five small triangle marks. These were left behind by the supports used during firing. The same marks showed up on the plain-glazed bowls from the same time, showing that both types came from the same production period.

A shipwreck off Malaysia’s east coast carried both types of these bowls. That cargo confirms they were exported together. But even without that discovery, their shared shapes, glaze colors, and firing marks already proved they came from the same period.

Vietnamese Ceramics Found Across the Malay World

These early export bowls weren’t just found in one spot. Archaeologists have dug them up at Trowulan, the capital of Majapahit, a major Javanese kingdom. They also turned up in Bukit Hasang on Sumatra’s west coast. Many other sites in the region have produced similar finds. Museums across Southeast Asia now display them.

One early attempt to date these bowls came from Japan. A black underglaze bowl was found in a temple in northern Kyushu, near a wooden plate dated to 1330. Some experts have questioned that date, but the bowl’s style closely matches early Yuan blue-and-white porcelain from China.

Influence from Yuan China and Jingdezhen Kilns

The cobalt blue painting technique didn’t start in East Asia until the 14th century. Chinese potters in Jingdezhen were the first to get it right. By the mid-1300s, they were making blue-and-white porcelain with complex designs. The most famous examples are the temple vases, dated 1351, from the Percival David collection in London.

But not all Jingdezhen porcelain was fancy. There was also a plainer type made for everyday use. These pieces were thick, with a loose, hand-painted flower design in the center. That simple look became popular in Southeast Asian markets.

Vietnamese potters clearly took notice. Their black underglaze bowls share the same basic style. Both show a single flower in the middle, drawn in a calligraphic style, with rough scrollwork on the outside. Vietnamese potters weren’t just copying. They were making something that fit what Southeast Asia wanted: ceramics that looked like Jingdezhen’s simple blue-and-white ware but with their own touch.

This connection shows how Vietnamese pottery adapted to market demand, while still keeping a distinct identity. They followed trends from China, but they made those ideas their own.

Vietnamese Ceramics Respond to 14th Century Market Changes

By the mid-1300s, problems in Jingdezhen caused some Chinese kilns to shut down or slow production. That disruption forced merchants to look elsewhere to fill orders for ceramics. Vietnam became one of the main alternatives. At that time, Vietnamese potters had not yet mastered cobalt blue underglaze, so they kept producing what they knew best: iron-black underglaze ware.

Thailand also tried to meet demand. Potters in Sri Satchanalai created bowls with black-painted flower motifs in the center. But this style didn’t last. Thai ceramics dropped the design entirely, while Vietnamese black-decorated ware kept gaining traction. Merchants preferred the Vietnamese pieces, both for their quality and because Vietnam would eventually figure out how to work with cobalt blue, too.

Rise of Vietnamese Blue and White Ceramics

Vietnamese potters gradually shifted from black underglaze to blue underglaze in the first half of the 1400s. Some pieces from this transition period show both black and blue decoration on the same surface. The designs were simple at first. Over time, they became more refined, with layered patterns and detailed brushwork.

The decorations often centered on flowers or animals, framed by clean line borders. These were mixed with bands of scrolling plants, geometric shapes, or abstract designs. Potters started using more diverse forms, too. One standout example is a bottle found in the Topkapi Palace in Istanbul, dated to the mid-15th century. It reflects the peak of Vietnamese blue-and-white style.

Most of the exports from this time were bowls and dishes, though covered boxes were common too. These blue-and-white wares have been recovered from multiple shipwrecks. Some were found near Pandanan Island in the southern Philippines. Others came from the Hoi An wreck off Vietnam’s central coast. Pieces have also turned up inland, in places like West Java’s Banten Girang, Barus in Sumatra, and Brunei’s old capital Kota Batu. Trowulan, the capital of the Majapahit kingdom, held a large number of these exports, too. All this shows strong demand across Southeast Asia during the 1400s.

By the end of the century, Vietnamese kilns were producing polychrome ceramics too. These traveled along the same trade routes, likely around the same time Chinese overglaze enamel wares started circulating.

Monochrome Ceramics and Regional Variety

Though not as widespread as blue-and-white ware, Vietnamese monochrome ceramics from the 15th century also made it into the trade networks. These were usually glazed in cream, yellow-brown, or apple-green. Inside, they had biscuit rings and shallow designs molded into the cavetto area.

Thai kilns were more dominant in the celadon market, though. Their pieces, especially from the northern region, closely matched the turquoise hues of Chinese Longquan ware. They were widely accepted across Southeast Asia.

In Central Vietnam, the Binh Dinh kilns produced a large amount of monochrome ware in the second half of the 1400s. These bowls often had an unglazed stacking ring inside and were made from fine, gray-toned clay that sometimes turned reddish after firing. The glazes ranged from green to golden brown. Over half the cargo from the Pandanan shipwreck consisted of these pieces, showing just how important they were in 15th-century trade.

Vietnam’s ceramic industry during this period was flexible, responsive, and competitive. As Chinese supply faltered, Vietnamese potters stepped in with strong alternatives. Their work not only met demand but also shaped the look and flow of Southeast Asian trade ceramics throughout the 1400s.

Vietnamese Ceramics in the Malay World Trade Network

In the Malay World, Vietnamese bowls filled the gap left by Chinese ceramics. After Chinese exports from Fujian slowed down, these Vietnamese-made bowls started showing up in many places across Southeast Asia. You can find them in settlement sites like Banten Girang in West Java, Bukit Hasang in Sumatra, and Trowulan in East Java. The same thing happened at Angkor Thom in Cambodia. There, Vietnamese bowls appeared alongside Longquan celadons from Zhejiang. These were mostly simple, unglazed bowls with biscuit rings, a common everyday type.

The kilns in present-day Binh Dinh, once close to Vijaya, the old capital of Champa, began producing these same bowl styles during the second half of the 1400s. They were made to meet rising demand after Chinese exports dried up. These kilns stepped in when the usual supply chain broke down.

But this didn’t last forever. Vietnamese blue-and-white ceramics may have still been made into the 1500s, but their international trade slowed or stopped early in that century. By then, Chinese kilns, especially the ones in Jingdezhen, were back in the global market with their famous blue-and-white porcelain. Once those products returned, traders switched back to China. This change shows how much the trade networks still leaned on China, even after Vietnam had carved out a strong ceramic trade of its own.

Meeting Custom Demand with Unique Vietnamese Craftsmanship

One thing that made Vietnamese ceramics stand out was how fast they could adjust to what buyers wanted. A good example is what archaeologists found in Trowulan, the old capital of the Majapahit kingdom in Java. There, they dug up lots of decorative ceramics - brightly glazed, molded into shapes like animals and figures. Many of these were used as water droppers. Some probably served daily needs. Others were for rituals.

Even more striking were the glazed wall tiles. These tiles don’t show up in other parts of the Malay World, which makes it clear that Majapahit had ordered them specifically. The biggest collection of these tiles isn’t in Trowulan, though. It’s found on the prayer hall of the Masjid Agung in Demak, the oldest mosque in Java. You’ll see more on the gate at the mosque in Kudus, and at the Sunan Bonang Mausoleum in Tuban.

The tiles are painted mostly in underglaze blue, sometimes mixed with green and red enamels. Their shapes change depending on the layout of the surface design. Each tile holds its own pattern, boxed into panels with borders. The designs often feature flowers or small animals. Some of these motifs look a lot like the carvings on the Panataran temple. The tiles were built with care: tall sides about 4 centimeters high, a recessed back, and crossbars for strength.

One Islamic tile from Trowulan, now kept at the Museum Pusat in Jakarta, matches the structure of Vietnamese tiles. That suggests Majapahit leaders asked their Vietnamese suppliers to make these colorful tiles just for them.

In China, tile-making for buildings has a long history. But using ceramic tiles to decorate walls really took off in Islamic architecture. That influence likely shaped what Majapahit wanted.

What all this shows is how quickly Vietnamese producers could adapt. They didn’t just make bulk pottery. They handled custom orders, adjusted to unique styles, and delivered what clients needed. That level of flexibility, combined with speed and organization, made them serious players in the trade networks of Southeast Asia.

Vietnamese Jars in the Malay World

Vietnamese jars were rare in the Malay world. In contrast, Thai and Chinese jars were far more common. For example, only a few Vietnamese jars were recovered from the Brunei shipwreck. These may have belonged to passengers or held something rare. Thai jars, which were heavy, tough, and glazed in black, were ideal for long sea journeys. In the Hoi An shipwreck off Cù Lao Chàm, a wide mix of Vietnamese ceramics was found. But the larger jars in the cargo were all Thai.

Vietnamese Ceramics in the 1600s

Vietnamese pottery exports to the Malay world during the 17th century didn’t get much attention until recently. Not many pieces have been found, and several of those can be confused with coarse Chinese wares. This is especially true for small fragments. These Vietnamese pieces ended up in Southeast Asia mostly because China was under pressure. In the second half of the 1600s, Chinese ceramic exports slowed down. This was caused by conflict between the Ming loyalists and the new Qing rulers. The southern ports, especially in Fujian, were hit hard. Many kilns closed due to the chaos from the Manchu conquest, which disrupted trade across the region.

At the same time, the Dutch East India Company took control over much of the trade routes in the South Seas. Their records, known as the Dagh-registers, show what was carried on both European and Asian ships. As Chinese exports dropped, Japanese porcelain from Arita stepped in. It was high quality and met the Dutch demand for Chinese-style goods. Vietnamese wares were shipped mostly on Chinese junks. These were listed as "coarse ware." Most of these items were headed for Japan or other Southeast Asian ports like Banten and Batavia.

Banten, on the north coast of Java, was a powerful trade center in the 1500s and 1600s. It thrived on pepper exports and had a very active port. Vietnamese ceramics likely reached nearby sites like Tirtayasa and Pasar Ikan in Batavia. These sites have also yielded Japanese ceramics from the late 1600s, so it’s reasonable to expect Vietnamese wares in the same layers.

What the Pottery Looked Like

Most Vietnamese ceramics traded at the time were bowls. These were made with coarse clay. The inside had an unglazed ring, and a design was painted using iron underglaze. A clear glaze was added over that. The painted decorations were simple: curved strokes drawn quickly or flower-like motifs that were stamped or printed.

Ceramics from Tonkin and Binh Dinh entered international trade late. They didn’t follow a steady export flow. Instead, they filled the gap during specific times when Chinese supplies dropped. Only certain styles were selected for trade. These pieces were close in quality to what Chinese kilns usually sent abroad.

Vietnamese ceramics entered existing trade markets that already had fixed tastes. Merchants and trading communities played a key role in shaping what potters produced. Demand pushed kilns to focus on what they could make best. This led to certain potteries becoming known for specific styles.

Vietnamese jars were rarely exported in this period. Thai jars from Singburi were better built for transport. They were strong, durable, and easy to reuse. Celadon ware also didn’t come from Vietnam in large numbers. Thai kilns at Sri Satchanalai made celadons with a clear, glassy turquoise glaze. These could match Chinese Longquan celadons and were more in line with what buyers wanted.

Even the simpler bowls from Binh Dinh, with their plain monochrome glaze and unglazed rings, were made to meet the need for everyday goods. These replaced the types that once came from Fujian.

One special case stands out. The Majapahit court placed an order for decorated tiles. Only Vietnamese kilns were able to meet the demand, thanks to their skill with underglaze blue and multi-color designs. This shows how flexible and capable the Vietnamese potters were when a unique order came in.

Trade Networks and Merchant Demand

Merchants were smart about where to source their ceramics. They turned to Vietnam for underglaze blue pieces. They went to Thailand for celadons and jars. And when Chinese exports resumed in the early 1500s, they returned to Chinese suppliers. This shows how well-organized and long-lasting these trade networks were. Most of them were still controlled by Chinese merchant groups.

In Southeast Asia, ceramics were just one of many goods being traded. Silk and other products moved through the same ports and ships. Trade was complex and well-managed. Ports had to be ready to handle all kinds of cargo. Vietnamese ceramics only filled a short-term gap. They never created a lasting or direct trade link between Vietnam and the Malay world. The entire trade system stayed under the control of Chinese trading communities, who acted based on their own economic needs.

 

The Special Asian Blog Collection:

1. Ceramic Production in Southeast Asia: Historical Periods, Styles, and Techniques

2. History of Ceramics in the Malay Region: Ancient Pottery, Cultural Heritage, and Trade in Southeast Asia

3. Vietnamese Ceramics History: Ancient Pottery, Trade, and Craftsmanship

4. Traditional Philippine Pottery: Tapayan Jars, Earthenware, and Indigenous Ceramic Heritage

5. History of Thai Ceramics and Traditional Pottery Art

6. Southeast Asian Ceramics: Khmer, Lao, and Burmese Pottery Traditions

7. Historic Southeast Asian Shipwrecks with Ancient Ceramics: Maritime Trade and Sunken Treasures

8. Top Museums in Asia for Southeast Asian Ceramics: Where to See Ancient Pottery and Porcelain