{"id":8346,"date":"2026-04-20T16:22:20","date_gmt":"2026-04-20T09:22:20","guid":{"rendered":"https:\/\/battrang.museum\/?post_type=journal&p=8346"},"modified":"2026-04-20T16:30:05","modified_gmt":"2026-04-20T09:30:05","slug":"on-the-experimental-nature-of-ceramics-from-layered-glazing-to-mixed-media-practices","status":"publish","type":"journal","link":"https:\/\/battrang.museum\/en\/journal\/on-the-experimental-nature-of-ceramics-from-layered-glazing-to-mixed-media-practices\/","title":{"rendered":"On the experimental nature of ceramics, from layered glazing to mixed-media practices"},"content":{"rendered":"
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On the experimental nature of ceramics, from layered glazing to mixed-media practices<\/h1>\r\n[\/vc_column_text][vc_empty_space height=”1rem” el_class=”hide-mobile”][vc_empty_space height=”3rem”][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-4 vc_col-sm-offset-2″][vc_column_text]\r\n
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Looking across the history of craft, each moment of advancement begins with research, observation, and experimentation. Ceramics follows the same trajectory.<\/strong><\/p>\r\n

At B\u00e1t Tr\u00e0ng Museum Atelier (BTMA), ceramics are approached as a living medium, shaped through ongoing investigations into surface and structure. This process begins with the signature multi-layered glazing technique developed by the late People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng<\/span>, founder of the atelier.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][vc_empty_space height=”2rem”][vc_column_text]\r\n

Words\u00a0H\u00e0 Tu\u1ea5n Minh<\/strong>\r\nBTMJ Editor\u00a0V\u0169 Chi Lam<\/strong>\r\nPhotograph L\u00ea Lai<\/strong>\r\nFloral Arrangement V\u1ef9 Nguy\u1ec5n<\/strong><\/h5>\r\n[\/vc_column_text][vc_empty_space height=”4rem”][\/vc_column][vc_column width=”7\/12″ offset=”vc_col-lg-3 vc_col-md-offset-1 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_empty_space height=”2rem”][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”8094″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”6rem”][vc_empty_space height=”6rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″ css=”.vc_custom_1635415240768{padding-right: 2rem !important;padding-left: 2rem !important;}”][vc_column_text]\r\n
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BTMA ceramics are approached as a living medium, shaped through ongoing investigations into surface and structure.\u00a0<\/span><\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n
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Layered Glazing Techniques<\/strong><\/p>\r\n

This glazing method evolves from the transformative nature of glazes under high-temperature firing. Unlike mixing pigments on a painter\u2019s palette, the process requires artisans to apply multiple glaze layers onto unfired forms entirely through intuition and experience. Before entering the kiln, these layers exist only in neutral tones. Their final appearance depends on the precise calibration of glaze thickness, firing temperature, and placement within a kiln reaching approximately 1300\u00b0C. The unpredictable interaction of fire across layered glazes, combined with relief and incised techniques, produces surfaces that read like richly modulated compositions\u2014distinct from any conventional glazing approach.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_single_image image=”377″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

The unpredictable interaction of fire on layered glazes, combined with relief and incised techniques, creates surfaces rich in tonal variation and depth.<\/h5>\r\n
Artwork from a landscape set by the late People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng, currently on display at B\u00e1t Tr\u00e0ng Museum<\/span>.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”1194″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n
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The unpredictable interaction of fire across layered glazes, combined with relief and incised techniques, produces surfaces that read like richly modulated compositions<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_row content_placement=”bottom” el_class=”btma-two-images”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”2406″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Signature multi-layered glaze technique developed by\r\nthe late People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng.<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”1rem”][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”6599″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
The multi-layered glazing process requires artisans to apply successive glaze layers entirely by intuition and experience, as all glazes appear in neutral tones prior to firing.<\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8352″ img_size=”full” alignment=”center”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Horse statue of good fortune, BTMA, illustrating the transformative nature of glazes under high-temperature firing.<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n
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\r\n\r\nForms Shaped by Culture and Everyday Life<\/strong>\r\n

Beyond glaze, ceramics at BTMA extend into explorations of form. While traditional ceramics are often associated with symmetrical, rounded structures, the atelier introduces elements drawn from culture and everyday life into new sculptural expressions. Works such as the Dragon monobloc (bia h\u01a1i)<\/i> from the Dragon of the Urbanities<\/i> collection, or the Vietnamese Turban<\/i> from the An Nam<\/i> collection, reflect this direction. These approaches also present technical challenges, particularly in maintaining structural integrity after firing. With asymmetrical forms, the task goes beyond shrinkage calculations; it requires sustained experimentation to preserve form under heat and gravity. In many cases, a kiln firing may be dedicated to only a few works\u2014or even a single piece\u2014rather than maximizing capacity. Each finished object therefore embodies not only aesthetic value but also an accumulation of material knowledge and craft expertise.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_single_image image=”4265″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

Dragon monobloc (Bia H\u01a1i)<\/i> (Dragon of the Urbanities<\/i> collection), displayed at B\u00e1t Tr\u00e0ng Museum.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”6480″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n
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These approaches also present technical challenges, particularly in maintaining structural integrity after firing.\u00a0<\/span><\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8354″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Dragon monobloc (Bia H\u01a1i)<\/i>\r\n(Dragon of the Urbanities<\/i> collection, BTMA \u00d7 dieuANH)<\/h5>\r\n[\/vc_column_text][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8356″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Dragon monobloc (Bia H\u01a1i)<\/i> (Dragon of the Urbanities<\/i> collection, BTMA \u00d7 dieuANH). The work requires extensive structural preparation to withstand heat and gravity during firing.<\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8358″ img_size=”full” alignment=”center”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Vietnamese Turban<\/i>\r\n(An Nam<\/i> collection, BTMA \u00d7 dieuANH).<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n
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\r\n\r\nA Dialogue Between Materials<\/strong>\r\n

Today, ceramics are increasingly placed in dialogue with other materials, forming part of a broader mixed-media practice. At BTMA, this can be seen in works such as the Ballerina Table Lamp<\/i> (ceramic and embroidered velvet), the TOGAN Lamp<\/i> (ceramic and composite), as well as the Vietnamese Halter Top<\/i> and Rice Grain Vase<\/i> from the An Nam<\/i> collection (ceramic and bronze). Within a single object, the solidity of ceramic may coexist with the precision of metal and the softness of textile. This interplay creates layered visual effects, allowing each material to retain its character while contributing to a cohesive spatial composition.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_single_image image=”8366″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

TOGAN Lamp<\/i> (BTMA \u00d7 BEAULO design),\r\ncombining ceramic and composite.<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”6498″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n
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This interplay creates layered visual effects, allowing each material to retain its character while contributing to a cohesive spatial composition.<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8364″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
TOGAN Lamp<\/i> (BTMA \u00d7 BEAULO design),\r\ncombining ceramic and composite.<\/h5>\r\n[\/vc_column_text][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8362″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Ballerina Table Lamp \u2013 \u201cSu\u1ed1i Ngu\u1ed3n\u201d edition<\/i> (BTMA \u00d7 Leap Art Furniture & Decor),\r\ncombining ceramic with hand-embroidered velvet.<\/h5>\r\n[\/vc_column_text][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8370″ img_size=”full” alignment=”center”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Ballerina Table Lamp<\/i> (BTMA \u00d7 Leap Art Furniture & Decor), combining ceramic with hand-embroidered velvet; awarded Interior Product of the Year at the Asia Architecture Design Awards 2023.<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”2rem”][vc_single_image image=”8377″ img_size=”full” alignment=”center”][vc_empty_space height=”1rem”][vc_column_text]\r\n
An Nam<\/i> collection (BTMA \u00d7 dieuANH)<\/span><\/h5>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″ css=”.vc_custom_1635415240768{padding-right: 2rem !important;padding-left: 2rem !important;}”][vc_column_text]\r\n
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Rooted in cultural narratives, BTMA\u2019s collections are realized through continuous experimentation in glaze, form, structure, and material integration. The result is a body of work that is functional yet refined, aligned with a contemporary reading of heritage.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][vc_single_image image=”3601″ img_size=”medium” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″][vc_column_text]\r\n

*<\/strong><\/h1>\r\n \r\n
B\u00e1t Tr\u00e0ng Museum Atelier (BTMA)\r\n<\/strong>is a ceramic workshop of nearly fifty years, operating under B\u00e1t Tr\u00e0ng Museum and run by members of the founding family to continue the legacy of People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng. BTMA focuses on researching and developing the aesthetic language of Vietnamese ceramics \u2014 from form and glaze to decorative motifs \u2014 translating these traditions into contemporary design. Alongside preserving works associated with the artisan\u2019s legacy, BTMA collaborates with artists across disciplines to explore new creative directions.<\/h5>\r\n
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