{"id":7527,"date":"2026-07-27T10:29:29","date_gmt":"2026-07-27T10:29:29","guid":{"rendered":"https:\/\/artnation.vn\/en\/?p=7527"},"modified":"2026-07-27T10:29:29","modified_gmt":"2026-07-27T10:29:29","slug":"the-radiance-long-carried","status":"publish","type":"post","link":"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/","title":{"rendered":"The Radiance Long Carried"},"content":{"rendered":"

\u0110\u1ecdc phi\u00ean b\u1ea3n ti\u1ebfng Vi\u1ec7t t\u1ea1i \u0111\u00e2y<\/span><\/a>.<\/em><\/span><\/p>\n

Your research trajectory has been significantly shaped by your encounter with Vietnamese ceramics exported into the Philippines in the 14\u1d57\u02b0<\/b>\u00a0and 15\u1d57\u02b0<\/b>\u00a0centuries. Could you bring our readers back to that moment of discovery?<\/b><\/span><\/p>\n

My earliest connection with Vietnamese culture began in the 1960s when I married Nguyen Kim Long from Sadec, recipient of a Colombo Plan Scholarship. From Australia we moved to Papua New Guinea for four years and moved again in 1979 to the Philippines where we lived for 20 years. At that time spouses of foreign employees were not permitted to work. When friends suggested I join a group called Museum Volunteers of the Philippines, I casually attended a lecture given by a group member.\u00b9<\/span> The topic was \u201cTrade Ceramics in the Philippines\u201d about which I knew nothing. After watching a stream of Chinese ceramics projected onto the screen, suddenly a different group appeared, modest in size, blue-and-white, described as Vietnamese imported in the 14\u1d57\u02b0<\/span> and 15\u1d57\u02b0<\/span>\u00a0centuries. This marked the beginning of my journey.<\/span><\/span><\/p>\n

\"\"
Kerry Nguyen-Long with the book \u201cA Thousand Years of Stoneware Jars in the Philippines\u201d (1992), co-authored while living in the Philippines.<\/span><\/em><\/figcaption><\/figure>\n

I soon joined The Ceramics Society of the Philippines and learnt to identify imported Vietnamese ceramics, although at that time, little was known about them. My curiosity about the kiln sites that had produced those export ceramics would have to wait until the 1980s when excavations began in Hai Duong province. Some years later I met the late Tuyet Nguyet, publisher and founding editor of the Hong Kong-based international magazine \u201cArts of Asia\u201d and she encouraged me to write on the arts of Vietnam, and in 1999 I became a Contributing Editor of the magazine.<\/span><\/p>\n

When you began your research in the 80s, English-language literature on Vietnamese arts was relatively sparse and often framed by Western-centric assumptions. Looking at the landscape today, would you say the field has progressed in any manifest respects?<\/b><\/span><\/p>\n

The historical lack of respect towards Vietnamese arts in conjunction with Sinocentric perspectives are deep-rooted, so resolution of this issue takes time. One example serves to illustrate: Statuary transported to France by Gustave Dumoutier shown at the Universal Exhibition of Paris in 1889 was subsequently offered to various museums but thereafter neglected in following decades, leading to doubts about whether they had been inventoried. Mistaken attribution saw them exhibited as Chinese, dated Five Dynasties (907-960) or Song (960-1279).\u00b2<\/span> There are now attempts to rectify this untoward event. Incremental improvements can be seen: Vietnamese experts have engaged with some overseas museums in correcting attributions \u2013 and more of this would help \u2013 while some non-Vietnamese working in this field are now proficient in Vietnamese, but miniscule in number. I think it is correct to say most major museums around the world are now more aware of these problems. Since few researchers outside Vietnam have the necessary expertise, formal twinning arrangements could help address this issue. Vietnam\u2019s current generation of young researchers, empowered by strong linguistic skills, are uniquely positioned to take the lead and tackle these challenges.<\/span><\/span><\/p>\n

Having visited various artisans at work, how do you perceive the intersection between art and craft in the context of Vietnamese art history? Does such a clear-cut distinction truly exist, in your view?<\/b><\/span><\/p>\n

I consider the several terms used to categorise the arts confusing. French teachers at L\u2019Ecole des Beaux-arts de l\u2019Indochine introduced the term \u201dfine arts,\u201d a European concept associated with aesthetics rather than anything practical, and its use would cleave Vietnam\u2019s traditional concept of art craft. \u201cPlastic arts\u201d is another term that gained currency in Vietnam. Commonly associated with ceramics or sculptures, the term can also include visual arts that create the illusion of form, as in some paintings. My preference is the term \u201cvisual arts,\u201d which embraces all art forms associated with the sense of sight with no distinction between fine, decorative, or applied arts.<\/span><\/p>\n

\"\"
Model of Ngo Mon Gate. Ivory, stone, mother of pearl. Vietnam Museum of History, Ho Chi Minh City. No dating details.<\/span><\/em><\/figcaption><\/figure>\n

In a recent interview, your artist daughter, Mai Nguyen-Long, mentioned that she \u201ccame to view [your] research and publications as an act of resistance to counter the erasure and destruction [you] experienced to achieve understanding.\u201d<\/b>\u00b3<\/strong> Do you see your work in this light?<\/b><\/span><\/p>\n

My research on the visual arts of Vietnam has a singular purpose \u2013 to bring knowledge of Vietnamese arts to the English language, international world. When I began my research, there was a truly deplorable lack of information. Particularly galling were publications which either omitted Vietnam altogether or referenced it in a few terse sentences, dismissing its arts as derivative of those of China and repeating cliches that originated in the French colonial period. Vietnam has had to contend with serious setbacks consequent on colonialism, successive destructive wars, and political constraints. For the researcher, the lack of an ordered archival system and the loss of records require patience and simply working with what is available.<\/span><\/p>\n

\"\"
Field trip observing discarded shards from Cay kiln site, Ke Sat River, Hai Duong Province, 2000.<\/span><\/em><\/figcaption><\/figure>\n

But, think of it for a moment: could any written record from antiquity match the stunning visual impact of dancers carved on stone and wooden beams, emerging from the ground into our present era as testaments to the Cham artisans’ contributions in the Ly Dynasty? In the past, priorities and financial constraints led to the deterioration of vulnerable stored artifacts in the Royal Antiquities Collection of the Nguyen Dynasty, but this has now been rectified. I actively seek out information on such happenings, and am deeply indebted to Vietnam\u2019s researchers, past and present. To improve my understanding, I visited excavation sites, artisan workshops, artists’ studios, and always sought opportunities to examine artifacts. At this point, I must acknowledge my husband for his assiduous translations of Vietnamese language publications important to my research. He has also served as my photographer and has translated into English important books on the arts.<\/span>\u2074<\/span><\/p>\n

Your recent major work, \u201cVietnam Visual Arts in History Religion & Culture\u201d serves as the successor to your earlier book \u201cArts of Vietnam 1009-1945\u201d (2013). What do you consider the most vital inclusions and\/or revisions in this new edition?<\/b><\/span><\/p>\n

Major revisions to my 2023 publication included conclusions from two major archaeological sites, the Ba Dinh excavation site in Hanoi and the Cham Island shipwreck site off Hoi An \u2013 described as the most important archaeological sites in the nation\u2019s history. The final report on the Ba Dinh site was published in 2020, long after 2013, which was the year \u201cArts of Vietnam 1009-1945\u201d<\/span> was published.\u2075<\/span> Although the book had dealt with both subjects, it was without the benefit of final reports, and in view of that, a rewrite was important to present the findings with sufficient strength and clarity.<\/span><\/span><\/p>\n

On the Cham Island site, the final report on dating was particularly important since it was early established the shipwreck was a virtual time capsule with ceramics on board, deemed co-eva and of different qualities. In a later publication, chief archaeologist Mensun Bound poetically described the cargo as a single grand artistic statement and went on to write: \u201cAlthough it was a style that had one eye resolutely fixed on China it was a style uniquely and indefeasibly Vietnamese.\u201d\u2076<\/span> He also wrote of the best painted ceramics: \u201cOccasionally in a nation\u2019s history, when circumstances are right, everything comes together in a sunburst of creativity. And so, it was in Vietnam at the time of the Hoi An wreck, not only because it gives us a precious keyhole-size glimpse of life in the Red River Delta as it was 500 years ago, but more than that, because it represents a discrete, synchronized moment of a nation in renaissance. A moment that has been largely lost to learning because of an absence of material knowledge.\u201d\u2077 <\/span>Perfectly enunciated! I understood the significance of this site very early on, but with the final report on dating finally accessible, I was compelled to rewrite.<\/span><\/span><\/p>\n

\"\"
With historian researcher Truong Ngoc Tuong discussing limepots. 1996.<\/span><\/em><\/figcaption><\/figure>\n

Your last chapter mentions the exposure of Vietnamese artists to Japanese art in the 1940s \u2013 a connection you\u2019ve previously traced from Tran Van Can\u2019s earlier work to Phung Pham\u2019s later woodcuts. In your view, what insights could we gain from a more robust pan-Asian comparative framework?<\/b><\/span><\/p>\n

In fact, the relationship between Vietnam and Japan is longstanding. In earlier centuries, the Japanese were intrigued by Vietnam\u2019s ceramics with their so-called rustic style (<\/span>moc mac<\/span><\/i>), which gelled with tea ceremony philosophy; it is suggested that most of them arrived in Japan in the late sixteenth century.\u2078<\/span> Furthermore, the journal \u201cVietnam Cultural Window,\u201d March 2002 issue features a short article that includes information on a vocational school in Hanoi founded by the Hanoi Chamber of Commerce where two Japanese instructors trained local teachers and taught lacquer painting and metal casting. But I could find no other information. At this same time, other Vietnamese artists were also interacting with Japan\u2019s artisans. Hoang Trong Phu (1872-1940), Governor of Ha Dong from 1910, sent artisans to Japan to study lacquer, silverware, and carpentry. Despite his work promoting Ha Dong\u2019s crafts, including authoring a book detailing its 136 crafts, his efforts seem largely forgotten. <\/span>T<\/span>hese brief references suggest there is much more to both share and learn from working within such a pan-Asian framework.<\/span><\/span><\/p>\n

Looking ahead, what are some research gaps you think are worthwhile to address in future Vietnamese arts scholarships?<\/b><\/span><\/p>\n

At this present time in Vietnam\u2019s history, there is so much opportunity and various subjects waiting for systematic research, from ivory, silver and jewellery crafts across the centuries, to production centres such as in Sa Dec. Neither am I aware of any diachronic research on Vietnam\u2019s furniture. Hoang Trong Phu\u2019s contribution also warrants research. Equipped with new technologies and competence in different foreign languages, the new generation of assiduous researchers will bring to light new information and new perspectives as never before.<\/span><\/p>\n

\"\"
Book launch, \u201cArts of Vietnam (1009-1945),\u201d 2013. On steps of The Gioi Publishers.<\/em><\/span><\/figcaption><\/figure>\n

Words: Ace L\u00ea & Nh\u1eadt Anh<\/strong><\/span>
\nTranslation: Nh\u1eadt Anh<\/strong><\/span><\/p>\n

[1] Museum Volunteers of the Philippines is a group primarily composed of expatriate women who, unable to follow their original professions, dedicate their time to studying Philippine history, culture, and arts.<\/span>
\n[2] Pierre Baptiste, \u201cUne statue de Quan \u00c2m \u00e0 mille bras au mus\u00e9e Guimet \u00c0 propos d’une r\u00e9attribution (A Thousand-Armed Avalokite\u015bvara Statue at the Mus\u00e9e Guimet: Regarding a Re-attribution,\u201d in \u201cArts du Vietnam: nouvelles approches (Arts of Vietnam: New Approaches),\u201d Presses Universitaires de Rennes (2015), pp. 205-212.<\/span>
\n[3] Janet McKenzie, \u201cMai Nguyen-Long \u2013 Interview,\u201d studio international (2026).<\/span>
\n[4] They include: \u201cBat Trang Ceramics 14th-19th Centuries\u201d by Phan Huy Le, Nguyen Dinh Chien, and Nguyen Quang Ngoc, The Gioi Publishers (1995); \u201cHandbook of Vietnamese Ceramics with Inscriptions from the Fifteenth to Nineteenth Centuries\u201d by Nguyen Dinh Chien, National Museum of Vietnamese History (1999); \u201cVietnamese Blue and White\u201d by Bui Minh Tri and Kerry Nguyen-Long, Social Sciences Publishing House (2001).<\/span>
\n[5] Tong Trung Tin, \u201cThang Long Civilization \u2013 Archaeological Evidence,\u201d Hanoi Publishing House (2020).<\/span>
\n[6] Mensun Bound and Mark Frary, \u201cWonders in the Deep: Extraordinary Shipwreck Discoveries from Spanish Gold to Shackleton\u2019s Bible,\u201d Simon & Schuster UK Ltd. (2024), pp. 101.<\/span>
\n[7] Ibid<\/span>
\n[8] Louise Allison Cort, \u201dVietnamese Ceramics in Japanese Contexts\u201d in \u201cVietnamese Ceramics: A Separate Tradition,\u201d edited by John Stevenson and John Guy, Arts Media Resources with Avery Press, 1997, pp. 63-83.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A conversation with historian Kerry Nguyen-Long on her journey of researching and bringing Vietnam’s antique heritage and visual culture to the world.<\/p>\n","protected":false},"author":5,"featured_media":7551,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19],"tags":[148,146,147],"class_list":["post-7527","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-salon","tag-antiquity","tag-kerry-nguyen-long","tag-southeast-asian-visual-cultures"],"acf":[],"yoast_head":"\nThe Radiance Long Carried - Art Nation<\/title>\n<meta name=\"description\" content=\"For over two decades, art historian Kerry Nguyen-Long has published an extensive body of work on Southeast Asian visual cultures and antiquities. In this dialogue, she reflects on the evolution of her scholarship and her recent milestone, \u201cVietnam Visual Arts in History Religion & Culture\u201d (The Gioi Publishers, 2023), a seminal publication honoured with the \u201cNational Award for External Information\u201d by the Vietnamese Government in 2023.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Radiance Long Carried\" \/>\n<meta property=\"og:description\" content=\"For over two decades, art historian Kerry Nguyen-Long has published an extensive body of work on Southeast Asian visual cultures and antiquities. In this dialogue, she reflects on the evolution of her scholarship and her recent milestone, \u201cVietnam Visual Arts in History Religion & Culture\u201d (The Gioi Publishers, 2023), a seminal publication honoured with the \u201cNational Award for External Information\u201d by the Vietnamese Government in 2023.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/\" \/>\n<meta property=\"og:site_name\" content=\"Art Nation\" \/>\n<meta property=\"article:published_time\" content=\"2026-07-27T10:29:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/artnation.vn\/en\/wp-content\/uploads\/2026\/07\/luZdPYyQ.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"768\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Art Nation\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Art Nation\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/\"},\"author\":{\"name\":\"Art Nation\",\"@id\":\"https:\/\/artnation.vn\/en\/#\/schema\/person\/bbc53c251ece846325437c3476449d7a\"},\"headline\":\"The Radiance Long Carried\",\"datePublished\":\"2026-07-27T10:29:29+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/\"},\"wordCount\":1932,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/artnation.vn\/en\/wp-content\/uploads\/2026\/07\/luZdPYyQ.webp\",\"keywords\":[\"Antiquity\",\"Kerry Nguyen-Long\",\"Southeast Asian visual cultures\"],\"articleSection\":[\"[Art]Salon\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/\",\"url\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/\",\"name\":\"The Radiance Long Carried - Art Nation\",\"isPartOf\":{\"@id\":\"https:\/\/artnation.vn\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/artnation.vn\/en\/the-radiance-long-carried\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/artnation.vn\/en\/wp-content\/uploads\/2026\/07\/luZdPYyQ.webp\",\"datePublished\":\"2026-07-27T10:29:29+00:00\",\"author\":{\"@id\":\"https:\/\/artnation.vn\/en\/#\/schema\/person\/bbc53c251ece846325437c3476449d7a\"},\"description\":\"For over two decades, art historian Kerry Nguyen-Long has published an extensive body of work on Southeast Asian visual cultures and antiquities. 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