十五世紀黎朝（1428-1788）之建立代表了越南史上的黃金時代的開始。在黎朝統一政權以及穩固的官僚制度之下，當時的越南在農業、科技、文學、工藝與貿易各方面都得以蓬勃發展。雖然文獻記載和傳世瓷器均提供十五世紀越南陶業發展情況的充分證據，但是截至目前學界仍無法依據考古發現來確立該時期出土陶瓷的絕對年代。本文作者先介紹越南考古學家有關十五世紀陶瓷編年問題所歸納的相對指標，即包括了出土陶瓷在考古遺跡中層位的評估，其樣式與紀年傳世瓷器的比對，以及其裝飾圖案與石碑或木雕等其他紀年文物的比較。研究成果顯示，十五世紀越南窯業的單色釉陶瓷方面，繼承前代傳統平緩地發展，在褐色釉瓷方面生產量則減少，而在青花瓷的生產與外銷則呈現空前的發展。其次，作者探討這一時期越南陶瓷史所透露的社會文化訊息。作者指出，與越南傳統陶業並非直接相關的青花瓷，以其嫻熟的燒製技術清晰地反映越南陶業所受中國文化的影響；越南外銷瓷在十五世紀亞洲貿易市場佔有率之所以無足輕重，則主要是受制於官方外銷政策之約束，以及當時窯業生產力之限制。

　　　　　The 15th century is considered a golden age in Vietnamese's history, especially after the establishment of the Le dynasty in 1428. It saw the establishment of a unified nation with a strong feudal and bureaucratic government, intensified agriculture, advances in science and literature, and a continued development of crafts and trade. In contrast to the existence of ample reference to ceramic production in literary as well as transmitted materials, archaeological excavations have not yet yielded absolute dates for 15th century Vietnamese wares. In this article, the author first discusses criteria developed by Vietnamese's archaeologists for the dating of ceramics of the period. From a combined assessment of cultural levels of excavation sites, comparison with dated wears, and comparison of decorative elements with non-ceramic dated material such as stones steles and wood sculptures, a general picture of 15th century ceramics has begun to emerge. Major features have been distinguished: a sustained development of monochrome ceramics from previous centuries, decline of brown-decorated ceramics, flourishing production and export of blue-and-white wares, and a continuity in style until the establishment of the Mac dynasty in 1527. The author furthermore indicates certain social and economic implications of these findings. While the social role of ceramic wares is illustrated in historical sources, production of sophisticated blue-and-white wares stylistically unlike earlier Vietnamese ceramics clearly reflects Chinese cultural influences, as well as the existence of stable institutions. The fact that manufacturers personally signed their products reveals that the role of the individual was now recognized as a creative force in Vietnamese society. The small market share held by Vietnamese export ceramics in the international market of the time, was a result of limits imposed by foreign trade policies as well as by production capacity.