VOlUME 05 ISSUE 06 June 2026
Pham Tan Phuoc
Thu Dau Mot University, Ho Chi Minh City
DOI : https://doi.org/10.58806/ijsshmr.2026.v5i6n03Google Scholar Download Pdf
ABSTRACT
This article presents research results on the process of aesthetic adaptation and functional transformation of Vietnamese ceramic elephant stools in the context of export and international integration during the period 1975–2025. Based on the methods of art history, formal analysis, sociology of art, and field ethnography, the study surveyed and evaluated the influence of the international market on the decorative forms, glazes, and expressive techniques of ceramic elephant stools at three typical ceramic centers: Bat Trang, Lai Thieu, and Bien Hoa. Research results show that the export market has become an important driver promoting changes in sculptural language and decorative motifs, creating a multidimensional aesthetic adaptation process between national identity and international taste requirements. The contradiction between preserving identity and meeting market demands is a current reality, but it also creates positive compatibilities when many artisans have succeeded in combining traditional elements with contemporary requirements, enhancing the aesthetic value and competitiveness of the products. The study also points out significant differences in the degree and method of adaptation among the ceramic centers, reflecting the historical, technical, and cultural specificities of each locality.
KEYWORDS:ceramic elephant stools, ceramic export, cultural integration, aesthetic adaptation, functional transformation, Bat Trang, Lai Thieu, Bien Hoa, national identity, international taste.
REFERENCES1) Becker, H. S. (1982). Art worlds. University of California Press.
2) Ministry of Industry and Trade. (2016). Report on Vietnam handicraft industry: Status and development solutions. Hanoi.
3) Guy, J. S. (1997). Vietnamese ceramics. In J. Stevenson & J. S. Guy (Eds.), Vietnamese ceramics: A separate tradition (pp. 13–52). Art Media Resources.
4) Vietnam Association of Fine Arts. (2015). Contemporary Vietnamese plastic arts: Trends and prospects. My Thuat.
5) Kerr, R., & Ayers, J. (2002). Ceramic legacy of Asia's maritime trade. University of Michigan Press.
6) Le Thi Lien. (2003). Bat Trang ceramics in history. Historical Studies, (3), 45–58.
7) Nguyen Quoc Thong. (2005). Vietnamese fine arts from the 11th to the 18th century. My Thuat.
8) Nguyen Quoc Thong. (2010). Sculptural language in traditional Vietnamese decorative arts. Art Research Journal, (2), 12–25.
9) Phan Cam Thuong. (2009). Vietnamese folk fine arts: Identification and exploitation. My Thuat.
10) Department of Culture, Sports and Tourism of Binh Duong Province. (2018). Dossier for intangible cultural heritage of Lai Thieu ceramic craft. Binh Duong.
11) Stevenson, J., & Guy, J. S. (Eds.). (1997). Vietnamese ceramics: A separate tradition. Art Media Resources.
12) General Statistics Office. (2020). Statistical Yearbook of Vietnam 2019. Statistical Publishing House.
13) Tran Khanh Chuong. (2006). Contemporary Vietnamese artistic ceramics. Culture and Arts Journal, (8), 34–42.
14) UNESCO. (2017). Viet Nam cultural heritage. Retrieved March 15, 2024, from https://www.unesco.org/en/viet-nam/cultural-heritage
15) Vo Van Tuong. (2000). Bien Hoa ceramics: Tradition and development. Dong Nai.
16) World Trade Organization. (2007). Accession of Viet Nam: Report of the working party. WTO. Retrieved March 20, 2024, from https://www.wto.org/english/thewto_e/acc_e/completeacc_e.htm
Cite this Article:Phuoc, P. T. (2026). Ceramic Elephant Stools in the Flow of Export and Integration: Aesthetic Adaptation and Functional Transformation at Vietnamese Ceramic Centers (1975–2025). INTERNATIONAL JOURNAL OF SOCIAL SCIENCE HUMANITY & MANAGEMENT RESEARCHS, 5(6), 1320-1329. https://doi.org/10.58806/ijsshmr.2026.v5i6n03