Out of the Mould

Prior to the mid 1980 s, little was known to
outsiders of the rich artistic heritage of
Vietnam. This was particularly so for ceramics.
This book looks at the current state of sculptural
ceramics in Vietnam in a period of rapid change. It
examines the transition from a craft to an art based
practice in Hà N i during the 20th and early 21st
centuries. The book uses Al is Riegl's writings as
a model, which disregard any hierarchy within
artistic disciplines. In recent years, ceramics has
resumed its place as one of the major art forms in
Vietnam, in contrast to its relegation to
a 'decorative', as opposed to a 'fine art', form in
the discourse of the French colonial era. The
history of sculptural ceramics in Vietnam is
discussed, as is ceramic practice and lineages of
potters in ceramic producing villages around Hà
N i. The transition in ceramics practice is
discussed in terms of the effect of changing
conditions for the education of ceramicists, in
institutional structures and in the art market and
exhibitions structure. Finally, the book examines
the role which ceramics has played in the emergence
of installation art in Vietnam.

Autorentext

Ann Proctor is an art historian specialising in Asian Art. With degrees from the University of Sydney and the Australian National University, she teaches at the National Art School in Sydney, Australia.

Klappentext

Prior to the mid 1980's, little was known to outsiders of the rich artistic heritage of Vietnam. This was particularly so for ceramics. This book looks at the current state of sculptural ceramics in Vietnam in a period of rapid change. It examines the transition from a craft to an art based practice in Hà N i during the 20th and early 21st centuries. The book uses Alois Riegl's writings as a model, which disregard any hierarchy within artistic disciplines. In recent years, ceramics has resumed its place as one of the major art forms in Vietnam, in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. The history of sculptural ceramics in Vietnam is discussed, as is ceramic practice and lineages of potters in ceramic producing villages around Hà N i. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, in institutional structures and in the art market and exhibitions structure. Finally, the book examines the role which ceramics has played in the emergence of installation art in Vietnam.