Vietnamese ceramics

Dragon "Nāga" decoration and motif became common during the Ly period, and appeared on steles, ceramics, along with Bodhi leaf, lotus, water, makara (मकर) and Buddha.

[6] According to archaeological findings in Vietnam and other countries from the 14th century, some Vietnamese ceramics and coins dated 1330 have been recovered from the sites in Japan, the Philippines, and Indonesia.

[7] During the 15th-century Chinese occupation of Vietnam, Vietnamese potters readily adopted cobalt underglaze, which had already gained popularity in export markets.

With a length of about 4 km, the Ceramic Road is one of the major projects that were developed on the occasion of the Millennial Anniversary of Hanoi.

Bát Tràng ceramics were esteemed with products rivaling that of Chu Đậu, and later joined by pottery from Đồng Nai, Phu Lang, and Ninh Thuận.

[6] From 1436 to 1465, China's Ming dynasty abruptly ceased trade with the outside world, creating a commercial vacuum that allowed Vietnamese blue-and-white ceramics to monopolize the markets for about 150 years.

[8] This is the place which is mentioned in the famous vase signed by a woman named Bui and dated 1450 in the Topkapi Saray Museum, Istanbul.

[16] Due to the so-called Nanban trade in the 16th-17th century, fragments of Vietnamese ceramic were found in a northern part of Kyūshū island.

Vietnamese history records showed that when Lord Nguyễn Hoàng founded Hội An port at the beginning of the 17th century, hundreds of Japanese residents were already there.

One of the more famous items is An'nan wares (安南焼), which were exported to Japan and used in Japanese tea ceremony although the high-footed bowls were originally used for food.

The provenance of the pieces was known to be the kilns of the Red River Delta (such as Chu Đậu) because excavations in the region had been ongoing since their discovery in 1983.

When the wreck was found there was excitement among collectors and archaeologists, for it promised the first cargo consisting solely of Vietnamese wares.

10% of unique ware was kept by the government for national museums, while the rest was allowed to be auctioned off to pay for recovery costs.