Where Vietnamese heritage comes alive: Inside the living legacy of Minh Long ceramics

As a young leader shaping this historic museum, how did you approach the project?

When our family envisioned the Minh Long Ceramics Museum, we shared a mutual ambition that this place should not merely archive our brand’s history, but also tell a broader story about Vietnamese ceramic culture through the ages. At the time, I was only in my early thirties. I knew I didn’t want a static exhibition where artifacts sat frozen behind glass cabinets. I wanted the museum to live and breathe with the times. 

Therefore, we leaned into a more contemporary spirit inspired by modern European museums where visitors can experience, connect emotionally and sense the artistry behind each masterpiece. While some details in the museum speak a Western design language, the core remains unmistakably Vietnamese. This artistic dialogue creates the openness which allows visitors of any age or background to connect with the exhibition in their own way.

What do you hope youngsters will take away from their visit? 

I want them to feel a profound sense of pride in Vietnamese cultural identity, the sophistication of our craftsmanship, and the enduring resilience of our ceramic heritage.

In reality, many young people still see ceramics as a strenuous, outdated industry that is somewhat detached from modern life. They are often more drawn to trendier, white-collar professions in comfortable offices. This belief has made young talent recruitment challenging, despite our proactive outreach to universities through scholarships and career opportunities. But through that, I have realised that the problem is not young people but more in the way we tell the story of the craft. 

The modern ceramics industry is far from isolated as many imagine. Fields such as electrical and electronics engineering, mechanics, automation, robotics, software, design, and art all play a part in creating the final product. This is exactly how Minh Long operates today. Ultimately, the true pride lies not just in the work itself, but in what we create together - objects of immense value that require time, mastery, and patience, making them irreplaceable.

Read more: Hands-on holiday: 9 pottery studios in Asia for the slow traveller

Is the museum more of a gallery for Minh Long’s masterpieces or a cultural asset to be preserved?

Many people think porcelain products are simply clay and glaze, but for us, those elements are neither the beginning nor the end. Behind every creation is immense labor, intellectual depth, thoughtful execution and many layers of accumulated heritage. That is the reason why I want the museum to unveil the history and cultural imprints of the craft beyond the exhibition itself.

We have also expanded the visitor experience. People can immerse themselves in the production process, see how raw materials are selected, what technologies are used, and what quality standards are established. By understanding the full journey, I hope that every time they appreciate a creation, they will truly appreciate and connect with the real value behind it.

But attracting the youth to a museum is often seen as an uphill battle, is it?

I don't think it's difficult, provided we understand what they are searching for. 

For young people, a museum visit is more than just sightseeing. They seek experiences, spaces for check-in pics to share on social media. So there need to be touchpoints that are appealing enough to make them want to step inside in the first place. We need these initial aesthetic touchpoints to draw them in. But the real magic lies in what happens next: transforming that initial visual attraction into genuine curiosity, which naturally guides them deeper into the history, culture, and value of the craft.

Despite nearly two decades in development, the museum is still not fully complete. What is the reason behind this? 

Because many of the works are completely new technical and artistic challenges. A certain glaze might look perfect on one creation but fail on another. A formula that succeeds on one piece may need to be reinvented from scratch for a different structure. These are things that cannot be solved by money or resources alone. They demand time, experimentation, and patience to pursue an idea all the way through until it becomes exactly what was envisioned from the start.

The museum includes a space that recreates a traditional ceramic village. Is there a conflict between tradition and modern technology?

Not if we understand what lies at the core of preservation. In the age of the 4th Industrial Revolution, every manufacturing sector must evolve, and ceramics is no exception. The craft village represents the roots of our heritage where technique, aesthetics, and the spirit of craftsmanship were formed over generations. Technology, on the other hand, is the tool of the present, allowing those values to flourish and reach younger generations in new ways. One preserves depth, the other expands possibility. 

By placing these two elements side by side, what we are aiming for is not a reconstruction of the past, but a way for visitors to see a stream of heritage that continues into the present.

How do you interpret the idea of “renewing heritage without distorting it”?  

To simply put, what must remain is the cultural roots, while what should be renewed is the execution. The core values of culture do not change, but the way we communicate them must adapt to contemporary life. 

Take, for example, the “Four Seasons Lotus” mural at our museum which represents a deeply familiar symbol. By depicting it across spring, summer, autumn, and winter, the artwork offers more than just visual beauty but also a sense of time’s movement, of cyclical renewal and continuity. The narrative does not need to be direct, it can unfold visually, allowing each individual to discover their own layer of meaning.

In that sense, heritage becomes fresh through storytelling, without ever changing at its core.

In such a cultural space, should “luxury” serve as a visual experience or cultural depth? 

For me, luxury in a cultural context is the depth of the experience. It may begin with the visual, but it certainly does not end there. When visitors take the time to observe, explore, and connect, they discover that value lies in the layers beneath: the story, the aesthetics, the art, the technique, and the mindset of the craft. 

Therefore, true luxury is not defined by what one sees, but by how much one understands and feels of what is before their eyes.

This article is adapted from the original story “Nơi di sản “sống” cùng thời đại” by Lữ Ý Nhi & Sovy Han, first published on Tatler Vietnam.

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