Closely aligned to the elements of nature, the pottery reflects the cultural and religious heritage of the people of the region.
Everyday earthenware found in Brunei, Burma, Cambodia, Indonesia, Malaysia, the Philippines, and Thailand have common features.
The finds, collectively called the Ban Chiang cultural tradition after a village in the region, have produced quantities of earthenware pots that were used for cooking, storage, and funeral rites.
Sites that have yielded Ban chiang pottery encompass a large area extending well beyond the village of Ban Chiang, and confirm that the technology for making pottery was known in the pre-historic period.
Southeast Asia was identified in broad terms, such as "Further India", "East India", "India outside the Ganges", or "the Orient Beyond India" A miniature map of the 1599 by Giovanni Boteor (1540-1617) shows Southeast Asia in remarkably good proportions, particularly the coastline of the mainland region.
The percept that pottery origins in Southeast Asia were long standing emerged in the mid- 1960s with the discovery of unglazed earthenware on the northern Khorat Plateau in north-eastern Thailand, which revealed an extensive pre-historic civilization previously unknown.
vii)Indeed, Southeast Asia abounds with appealing utilitarian pottery.
Robust, balanced forms made for domestic use are an integral part of daily life.
On early maps drawn by European cartographers in the sixteenth century any geographical area east of India was named generically.The development and level of technological achievement of pottery production in Southeast Asia varied amongst the countries.Vietnam reached the highest degree of skill at the earliest date.Production of pottery for utilitarian use continues today in Southeast Asia and the methods and materials remain basically unchanged.A stylistic comparison of earthenware from prehistoric to modern times suggests that production has been uninterrupted, but archaeological support is lacking.In 1997 he searched for his roots and moved back to the Philippines, where he slowly metamorphosed into an individualistic and nationalistic artist with a keen and hungry eye for Southeast Asia’s indigenous forms.