Han Wu Di empire: Annexion (VA)


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At the time when Zhang Qian was tasked in the year -126 with seeking alliances to encircle the Xiongnu, they continued to launch increasingly deadly raids, resulting in several thousand Chinese dead or captive living in the frontier commanderies (Dai, Yanmen, or Shang) in northern China. This forced Wudi, now more confident in consolidating his power and his rear positions, to adopt a new policy towards these « barbarians. » From then on, Chinese offensives aimed at preventing the Xiongnu from concentrating on the edge of Chinese territory became more frequent.

The first success occurred in the autumn of -128 in the Yuyang region with Wei Qing, the new hero of the Chinese army. This was followed by other brilliant and decisive conquests in the spring of -121, led by Huo Qubing, the son of Wei Qing‘s elder sister and « champion of the army, » who was exceptionally granted the title of Guanjun by Wudi. He chose a new tactic of striking like lightning at the head of the Xiongnu armies deep within their territory, which allowed the Chinese to reconquer the Ordos, the entire area south of the Yellow River loop (Hoàng Hà), to establish the commanderies of Shuofang and Wuyuan, and to deport people into the conquered zones with the aim of providing significant long-term logistics to the army in pursuing enemies into other distant and unknown regions.

The empire of Wudi had the means to implement this colonization policy with a population of 50 million inhabitants at that time. It is estimated that more than 2 million Chinese were relocated under Wudi’s reign along the northern border. This policy paid off because these agricultural colonies definitively became, a few years later, the reliable bulwark of China against these « barbarians. » This reminds us of the policy of the Vietnamese in the conquest of Champa and the Mekong Delta and that of the Chinese in today’s Tibet. The incessant harassment by the Xiongnu, agitated like wasps disturbed from their nests, forced Wudi to change tactics by now prioritizing the northern front and temporarily abandoning all his territorial ambitions in the southwest of his empire in the Yunnan region and in the kingdom of Nanyue (Nam Việt), which once included northern Vietnam.

Thanks to the following unchanging strategy:

1°) Attack and push back the Xiongnu as far as possible into their territories by surprise.

2°) Deport populations affected by floods or condemned people into the conquered areas of their Xiongnu adversaries and create new commanderies there. This is the case of the commanderies of Jiuquan, Dunhuang, Zhangye, and Wuwei along the Gansu corridor.

3°) Weaken the Xiongnu by playing the division card and attract the new Xiongnu allies with the tribute system. (creation of five independent allied states (or shuguo) serving as a buffer between his empire and the enemy Xiongnu under his reign)

Wudi thus succeeded in slowing down the momentum of the belligerent Xiongnu. They were forced to transfer their headquarters near Lake Baikal (Siberia) and loosen their grip on all of Eastern Turkestan.

This allowed Wudi to have free hands and regain the expansionist desire towards the South and Northeast to secure trade and gain other allies since Zhang Qian had tried to hint at the existence of a direct route to reach the kingdom of Shendu (India) from the kingdom of Shu (conquered by Shi Huang Di during the Spring and Autumn period (or Chunqiu, 722-453 BC). Zhang Qian had this instinctive deduction during his stay in Daxia (Bactria) where he discovered the products of Shu (bamboo, fabrics, etc.) transported via this direct access route. Wudi tried to reuse the same strategy he had chosen for the Xiongnu.

Annexation of the Southern Kingdoms

Taking advantage of the dissent among the Yue and the death of the king of Nanyue Zhao Yingqi (Triệu Anh Tề), Wudi found the opportunity to incorporate the kingdom of Nanyue into his empire. Since the new king Zhao Xing (Triệu Ái Đế) was only 6 years old, the regency fell to his mother, a Chinese woman named Jiu (Cù Thị). She never hid her attraction to her former homeland as she was very unpopular with her Yue subjects. Wudi tried to bribe her by proposing a deal aimed at incorporating the kingdom of Nanyue into his empire in exchange for royal titles. This plan was aborted due to a coup organized by the prime minister Lü Jia, supported largely by the Yue. This treacherous queen, her son, the new king, and the Han officials were massacred by Lü Jia and his Yue supporters. They installed the new king Zhao Jiande (Triệu Dương Đế), whose mother was a Yue. Furious, Wudi could not let such an affront go unpunished when he had the opportunity to definitively appropriate a region known for its natural wealth and for its ports Canton and Hepu facilitating access to the South Sea. According to Chinese merchants, the economy was flourishing in Nanyue because it had not only pearls, rhinoceros horns, and turtle shells but also precious stones and tree essences. These exotic products would thus become fashionable items at the Han court.

The military expedition was led by General Lu Bode (Lộ Bác Đức) with one hundred thousand sailors from tower ships sent to the site to suppress the Nanyue revolt. He was assisted in this mission by Yang Pu (Dương Bộc), known for his cruel and ruthless nature towards his victims like a hawk on its prey. However, magnanimous Lu Bode played on his reputation and invited his enemies to surrender. He managed to gain the allegiance of the Yue at the end of the military confrontation. As for Lü Jia and his young king Zhao Jiande, they were captured in the spring of 111 BC during their escape. Their heads were displayed at the north gate of the Chang An (Trường An) palace. Known for its regional supremacy, the defeat of Nanyue sounded the death knell for Yue hopes and forced others to submit to the Han. This was the case for the Western Ou (Tây Âu) and the king of Cangwu (Guangxi) (Quảng Tây), as well as the Yelang kingdom (Dạ Lang), which at that time straddled the territories of Guizhou (Quí Châu) and Guangxi. Northern Vietnam was also occupied by the Chinese, who attempted to push their advantage as far as Rinan in Annam.

Wudi divided Northern Vietnam into two commanderies: Jiaozhi (Giao Chỉ) and Jiuzhen (Cửu Chân). The administrative capital of Jiaozhi was initially at Miling (Mê Linh), then later transferred to Lũy Lâu in Bắc Ninh province.

Faced with the disintegration of Minyue (Mân Việt) and the resistance of part of its population (Dong Yue) (Đông Việt), which Wudi considered a source of future trouble, he did not hesitate to use drastic measures. He issued a decree allowing the population of this kingdom to be emptied in 111 BC by deporting all the natives to another area located between the Huai River and the Yangtze River.

Thanks to the conquest of the Yue and Yelang territories, Wudi succeeded in making contact for the first time with the kingdom of Dian and understanding its importance. He soon sent envoys there to convince King Changqian of this kingdom to come to Chang’an to pledge allegiance. Faced with Changqian’s reluctance, Wudi ordered the liquidation of all hostile tribes, particularly the Laojin and Mimo, who attempted to block the southern route mentioned by Zhang Qian to reach Daxia and Central Asia. It was reported that more than twenty thousand enemies were killed or captured during this intervention. King Changqian of Dian was forced to surrender with his subjects. Instead of punishing him, Wudi spared him due to his distant Chinese ancestry and, like the king of Yelang, gave him the royal investiture seal to administer the annexed territory. His kingdom was henceforth transformed into the commandery of Yzhou in 109 BC. Thus ended the annexation of southwestern China (Yunnan) by Wudi.

According to the historian Sima Qian, the issue of relations between the Chinese and the Southwestern barbarians arose because someone saw a « ju » sauce in Panyu (Canton) and the people of Daxia possessed bamboo canes from Qiong (a Southwestern tribe) to humorously recall that Wudi was initially interested only in the existence of the southern route to Daxia for trade. The colonization of the South began to gain momentum while allowing the local Yue aristocracy greater autonomy, as had been granted to the king of Dian. Meanwhile, to separate the Xiongnu from their tributaries, the Wuhuan and Donghu horse herders, Wudi’s army was soon established in Manchuria. Between 109 and 106 BC, Wudi’s army occupied the northern half of the Korean peninsula and established four commanderies there: Letun in the northwest, Zhenfan on the west coast, Lintu in the east, and Xuantu in the north.

 
After a long reign of 54 years, Han Wudi died in 87 BC, leaving China drained and ruined, much like Louis XIV left France eighteen centuries later. While the military campaigns led by Wudi brought the Han dynasty to the height of its glory and power, they exhausted the public finances. The beginning of his reign corresponds to the Yang period during which the people had enough to eat, as Sima Qian wrote in his historical memoirs. The grain stores were well filled, as was the public treasury.

The empire was stable. This was largely due to the effort of its predecessor Jing Di to govern throughout a 17-year reign according to the Taoist precept: Rule with minimum intervention. (Wu wei er zhi). Corvées and taxes were greatly reduced. Unfortunately, the splendors of the court accompanied by expensive diplomacy towards the Xiongnu and vassal countries (tribute system) and annexationist policies swallowed up all the human and economic wealth of the country, which allowed Yang to shift into Yin, where landowners (nobles and officials) monopolized all the irrigated lands by buying them at low prices from impoverished peasants. The situation was catastrophic: the rich got richer, the poor got poorer. The people of the capital Luoyang lived in excess and insolence, wearing fine brocades, pearls, and jade, while the fate of the poor worsened, some preferring to become private or government slaves. Disasters and floods spared the country no more. Meanwhile, intrigues and debauchery multiplied at the Han court at the end of the 1st century. Imperial power was weakened by various factions, rivalries between imperial wives, and the machinations of their relatives, which allowed Wang Mang, an ambitious regent minister, to take advantage by poisoning the young Emperor Pingdi (Han Bingdi) (9 years old) in the year 5 AD and usurp the throne with the help of his aunt, Empress Dowager Wang of the empire.

[Reading: Tomb of the Han princes: on quest of immortality]

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Han Wu Di empire: Silk road (VA)

Han Wu Di empire

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Politically, the empire of Wudi began to be more firmly established as the renovation of Confucianism offered ambitious and talented people from the common class the opportunity to access important positions in the administration, which until then had been held by the old guard mainly composed of nobles, Taoists, and followers of Huanglao. Thanks to the examination system, merit now replaced birth privileges. However, his empire was not yet safe from rebellion and rivalries, which continued to run rampant in the Han court. The failure of separatism (in 122 BC) by Lord Liu An, known for his encyclopedic work Huainanzi on the knowledge of the time, testified to the difficulty of bringing the nobility under control, even after about fifteen years of Wudi’s reign.

Like his father, Emperor Jindi (Han Jing Di), who had experienced during his reign the revolt organized by the coalition of seven kingdoms led in 154 BC by Prince Wu, Wudi decided to carry through the systematic dismantling of the fiefs of the lords in order to prevent any attempt at rebellion. From then on, the apanage no longer belonged solely to the eldest son of the deceased vassal king but had to be shared among all his sons.

They played no political role apart from the privilege of wealth that their fief provided them. Through this clever fragmentation, it only takes a few generations of succession to make important principalities disappear and disperse their forces. Moreover, he appointed for each region a traveling inspector (thứ sử) responsible for controlling and supervising not only the powerful families but also the prefects. As for the court rivalries, Wudi skillfully took advantage of them by encouraging confrontation and competition among his advisors in sometimes fruitless debates in order to consolidate a powerful but just and moral central power. By appointing a secretariat responsible for examining the reports and petitions of the ministers, he effectively removed the role of the prime minister. It was with this in mind that he strengthened the autocratic nature of his reign. He pardoned no fault when one of his advisors or generals committed one.This was the case of the extraordinary archer Li Guang (Lý Quảng), nicknamed « the flying general » by the Xiongnu. He was demoted for the fault of having gotten lost in the desert with his soldiers during an engagement against the Xiongnu. But his punishment was commuted to a substitute fine. The redemption of penalties and fines was very common during the Han period. Even the defense’s plea risked endangering the defender’s life as he was accused of deceiving the emperor.

This is the case of the famous historian Sima Qian (Tư Mã Thiên) who was sentenced to castration for defending the family of the officer Li Ling (Lý Lăng), grandson of General Li Guang, accused of joining the Xiongnu. The measures taken by Wudi in many areas testified to the worst legalist methods. His advisors and generals were at the mercy of his judgments. They could be easily dismissed from their positions for minor faults before being promoted elsewhere. Rewards and punishments were part of the course of action that Wudi adopted for his collaborators. Their fear allowed Wudi to develop his art of governing wisely. It is rare to find officials under Wudi’s reign holding their positions for more than five years except for Gongsunhe, his minister of carriages, who could keep his position for more than thirty years. Only the scholar Dong Zhongdhu knew how to withdraw from the court at the right time to avoid disgrace.

On the economic front, on the advice of Sang Hongyang (Công Tôn Hoằng), he abolished the law allowing the rich to mint coins, extract salt by evaporation, and cast iron. From then on, the state monopolized these operations to increase its revenues. To help the peasants, the state bought certain goods in surplus when their prices fell and resold them at better prices in case of shortage.

This measure aimed to control price fluctuations and prevent speculation by large merchants. It was also the state’s responsibility to ensure the control of the circulation of goods through the junshu (or state transport offices). Wudi created a tax on the goods (carts, livestock, boats, etc.) of merchants and moneylenders, who were responsible for declaring their capital. In case of fraud, they risked losing their property and being punished with two years of military service at the border.

According to the documents of the historian Sima Qian, the beginning of his reign was favored by six decades of gradual recovery of productive forces encouraged by his predecessors. The state treasury showed a surplus. The population was well clothed and fed. This early period of his reign was known as the yang period, characterized by political stability along with an abundance of food for a population estimated at over 50 million inhabitants according to the first large-scale census in the year 2 AD mentioned by Sima Qian in his historical memoirs. According to the French sinologist Marcel Granet, the policy adopted by Wudi reflected a revolutionary character.

Wudi only cared about his immediate interest, tried to find case-by-case solutions to urgent problems, abandoned them once resolved, and used collaborators for a short time in order to achieve the desired result. When these collaborators became known for their exploits and became too « dangerous, » he decided to eliminate them. The mistrust of a tyrant surrounded by legalist advisors lacking great depth of mind prevented China at that time from seizing the rare opportunity to become a solid and organized country.

His empire could falter overnight. The Xiongnu remained a major concern for Wudi despite the heqin policy adopted so far by his predecessors. Their insubordination and insolence continued to humiliate the Han. To defeat an enemy as elusive as the Xiongnu, Wudi was forced to reorganize his army and make it more capable of mobility, with the objective of dislodging the adversary and seizing their cattle at the heart of their camp through rapid raids with a small number of horsemen, as was done by the Xiongnu. For this reason, the use of chariots was abandoned in military engagements.

Then it was necessary to abandon the tradition of officials wearing the traditional robe in favor of trousers so as not to be hindered in their riding and to overcome the reluctance of the soldiers to mount horses because their legs-apart position was associated with the squatting position used by ordinary people. This tactic allowed strikes against the Xiongnu but did not succeed in subduing them definitively. That is why Wudi had to opt for other measures, among which were the improvement of the road network, which was not only the backbone of the economic system but also the key to success in transporting troops and supplies. There are now postal stations on the Han roads, stables for horses, inns for officials, lodging houses for ordinary travelers, and even jails for prisoners. Over the centuries, the road network thus became the key factor in military expansion and an effective tool for the cultural penetration of the Han. It is only rivaled by the Roman network.


The reign of Wudi marks the golden age of the Han dynasty. It was under this reign that Vietnam was annexed in 111 BC. This was the first Chinese domination lasting nearly 1000 years. 

Bibliographic references.

  • Précis d’histoire de Chine. Editions de langues étrangères. Beijing
  • Văn Hóa Nam Chiếu-Đại Lý. Nhà xuất bản văn hóa thông tin. Hànội 2004
  • La grande époque de Wudi. Editions You Feng. Dominique Lelièvre. 2001
  • Lịch sử văn minh Trung Hoa. Will Durant. Nguyễn Hiến Lê dịch. NBX Nhà văn hóa thông tin. 2006

This road network also requires, along the entire northern border in the Gansu region, the installation of several garrisons around their watchtowers, some of which are 18 meters high, with the purpose of monitoring the movement of the Xiongnu, signaling it with smoke signals, protecting those who use the road, and engaging in defensive actions in coordination with the general staff. The victory of the Han also depends on other factors as important as this road network. Supplying provisions for the garrisons is often a daily challenge, not to mention the major difficulties encountered by Wudi’s army in pursuing the Xiongnu beyond the border into unknown regions. This requires the deployment of a large number of horses and gradually improved knowledge of the terrain through map drawing and locating water points, as well as collaboration with local populations. Sometimes, it is essential to quickly replenish the cavalry in case of significant losses. An example can be cited from the Ferghana campaign against the Dayuan in 104 BC. Of the 60,000 soldiers engaged and 3,000 horses taken, Wudi’s general, Li Guanli, returned with 10,000 soldiers and 1,000 horses. For this, the Han court had to encourage people to raise horses for remounts, set the price of a stallion at a fairly high standard price, and promote the introduction of new breeds from western regions.

The rapid reconstitution of the cavalry proves essential in distant expeditions. It is not unrelated to the constantly increasing number of stud farms and the improvement of fodder through the planting of alfalfa (Chi linh lăng), whose seeds were brought back by Zhuang Qian (Trương Khiên) during his exploration mission in Central Asia. It was through this mission that Zhuang Qian discovered in the Ferghana Valley (today’s Uzbekistan) the magnificent horses that sweated blood (*)(ngựa hãn huyết) and brought back in 114 BC some specimens of the same breed offered by the Wusun, allies of Wudi in Central Asia. Their size, speed, and strength pleased Wudi, a great horse enthusiast. But their performance is supposed to be less impressive than that of the Dayun (Ferghana). Thanks to harder hooves, the horses of the Dayun can travel a thousand li per day. Envious of having the horses of the latter, Wudi organized a military expedition against the Dayuan, who made the mistake of refusing to offer them in exchange for gifts. He later did not hesitate to give these equines the name of « heavenly horses » (tianma) (thiên mã). These thus became symbols of power and prestige because Wudi felt humiliated and vexed by the refusal of a small kingdom lost in the Ferghana Valley.

The cost of the military expedition was exorbitant not only in equipment and horses but also in human lives, resulting in a rather mixed outcome with about thirty celestial horses and three thousand more ordinary stallions and mares. Yet Wudi’s army was carefully selected, largely composed of professional soldiers and convicts, as well as cavalry provided by the commanderies of the border regions. These enlisted soldiers had to be capable of remarkable physical endurance, able to undertake long marches and besiege a city. According to the historian Sima Qian, it was not death in combat or lack of supplies that caused these significant losses, but rather thirst and the generals’ obsession with winning the war at all costs, as their lives depended on the success or failure of these operations. Rewards and severe punishments, including death sentences, were part of what Wudi reserved for them without any illusions upon their return to China. Brave generals were forced to commit suicide or surrender to the enemy (Li Quian, Li Ling, Li Guanli, etc.). The Ferghana campaign was completed in just one year (Spring of the year -102 to Spring of the year -101).

Birth of the Silk Road

From now on, after the Ferghana campaign, all the kingdoms located along the route taken by the Han army (later known as the « Silk Road ») accepted the vassalage of China except the Xiongnu. To fight the latter, Wudi first tried to seek alliances with the enemies of the Xiongnu, the Da Yuezhi (or Great Yuezhi) by sending a delegation led by Zhuang Qian to Central Asia in 139 BC. However, he did not succeed in completing his mission because he was held captive by the Xiongnu for 10 years before managing to escape and during his flight discovered Ferghana (Dayuan), Sogdiana (the region of Samarkand), Bactria (present-day Turkmenistan), and the northern part of present-day Afghanistan. On the other hand, upon his return to China in 126 BC, he reported to Wudi. This allowed him to learn about the countries Zhuang Qian had visited and to mention not only the possibility of reaching the kingdom of Shendu (India) from Shu (Sichuan) but also the power of a distant empire called Daquin (the Roman Empire). In the absence of allies against the Xiongnu, it was now possible to find trading partners interested in Chinese products: silk, lacquerware, iron tools, etc., in exchange for jade, horses, and fur.

The Silk Road was thus born and became the link between the East and the West. It was only in the year 115 BCE that Zhuang Qian was once again entrusted by Wudi with a new diplomatic mission to the western regions. This time, he succeeded in bringing back not only a wide variety of plants and natural products (alfalfa, wine, grapes, nuts, pomegranates, beans, woolens, carpets, etc.) but also horse breeders, the Wusun. Impressed by the splendor and wealth of the Han court, they later agreed to join the enterprise proposed by Wudi and implicitly recognized China’s suzerainty. This alliance was followed by the sending of a Chinese princess of royal blood to the king of the Wusun, who had the opportunity to twice inform Wudi of the warlike intentions of the Xiongnu during this alliance.

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TWO WORLDS, TWO EMPIRES:

Around the year 100 AD, the Han Empire was comparable to that of Rome. The economy of the former was essentially based on peasants, while that of the latter relied on slavery.

 

 

Han Dynasty (VA)

 
Han Dynasty

for  four centuries (From 206 BC -220 AD)

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The Chinese are proud to be the sons of the Han. They feel better treated under the Han dynasty because it managed to give them relative freedom and practiced a policy of appeasement and cultural unification, which was missing after years of blind absolutism, wars, and atrocities under the first short-lived Qin dynasty from 221 to 206 BC. This dynasty was founded by Zheng Ying, the ruler of a peripheral kingdom in the northwest of China, descended from the non-Chinese Rong tribe from the steppes. Yet, thanks to the administrative and legislative reforms successively undertaken by the legalists Shang Yang (Thương Ưởng), Han Fei (Hàn Phi), and Li Si (Lý Tư), the latter known as Shi Huang Di, he succeeded in giving them a centralized and unified empire after fierce struggles against the six rival states (Warring States Period) (Chiến Quốc), not to mention the annexation of the Ba and Shu kingdoms in the Sichuan province (Tứ Xuyên) in 316 BC. To prevent any signs of resistance and local particularities, he adopted the policy of population transfer to the north and northwest. More than 100,000 wealthy and influential people belonging to the former states of Chu (Sỡ Quốc) and Qi (Tề Quốc) were relocated in 198 BC to the capital.

To expand his empire, he soon launched military expeditions not only to the North against the Xiongnu (Hung Nô) but also to the south in Fujian (Phúc Kiến), Guangdong (Quảng Đông), Guangxi (Quảng Tây), and Northern Vietnam (Giao Chỉ). It was in these southern regions that, after his death, one of his generals named Zhao To (or Triệu Đà), allied with the Yue, founded the kingdom of Nan Yue (or Nam Việt), which Vietnamese historians still consider their territory because it succeeded in annexing in the meantime the Âu Lạc kingdom of the Vietnamese. Eliminating several rival generals and emerging victorious from the final confrontation with the brilliant descendant of the general Xiang Yang (Hạng Yên) of Chu, Xiang Yu (Hạng Vũ), the former uneducated relay leader turned bandit chief Liu Bang (Lưu Bang), who came from the common class, proclaimed himself emperor in 202, established his capital at Chang’an (not far from present-day Xi’an), and thus founded the Han dynasty. He will go down in history under the name Gaozu (Hán Cao Tổ). His rise was due neither to birth nor family but rather to his talent in managing the abilities of his three companions, each having a decisive role in the conquest of power: governance with Xiao He (Tiêu Hà), strategy with Zhang Liang (Trương Lương), and military tactics with Han Xin (Hàn Tín).

According to the French historian René Grousset, Liu Bang was the beneficiary of the work accomplished by the genius Qin Shi Huang Di, who had created from scratch the imperial centralization and Chinese unity. During sixty years of reign, Gao Zu’s successors had to face problems of intrigue and insubordination due to their laissez-faire and appeasement policies, raised by the empire’s nobility, as well as frequent invasions by the Xiongnu coming from Central Mongolia. These were probably the Protomongols or Proto-Turks. They constituted a formidable threat to the Han dynasty since they were unified under the command of Mao Dun (Mặc Đốn) (209-174 BC). They would later do the same in Europe with Attila.

Hostilities between the Han and the Xiongnu took place in 201 when the latter invaded Shanxi. Gaozu nearly got captured on the Baideng plateau near Pingcheng in northern Shanxi. He owed his salvation only to cunning by having Mao Dun hold the portrait of a Chinese beauty. During this confrontation, he realized that his cavalry remained the Achilles’ heel of his army, which was largely composed of infantry. This was not the case for the Xiongnu (Hung nô) with the astonishing mobility of their cavalry. They were accustomed from a young age to riding sheep and shooting birds with bow and arrows.

They were skilled in handling a bow and serving in the cavalry during wartime. Moreover, these individuals, regardless of their qualities as horsemen, had the small Mongolian horse whose endurance was well established. Gaozu understood the necessity of equipping his army with an equivalent force. Since the number of stud farms remained very limited at that time in the commanderies, his successor, Emperor Wendy, had to resort to a decree stipulating that each family sending a horse to the state would be exempt from conscription for three of its members.

Furthermore, in the Han army, there was no difference between riding horses and draft horses because they belonged to the same breed. Chinese steeds were recognized by their massive bodies, short legs, and broad necks, and they were much less resilient. To consolidate power within his empire and to buy time in strengthening his cavalry, Gaozu was forced to sign a friendship pact known as heqin in 198 with the shanyu Modu (or Maodun). He had to send him an annual tribute consisting of a fixed quantity of silks, liquors, rice, and foodstuffs in exchange for the cessation of hostilities. Additionally, a princess from the royal family was given in marriage to the shanyu (emperor of the Xiongnu).

It is a way for China to buy peace at a high price in the hope of not being attacked by the Xiongnu and to sinicize the barbarians because their emperor thus became the son-in-law of the Han court. Chinese poetry is not lacking in sneers and complaints, comparing the princess to a « Chinese partridge » given in marriage to the « wild bird of the North. » There is Chinese contempt in the designation of these barbarians by the word « Xiongnu, » which means « fierce slave. » The most famous case remains that of the concubine Wang Zhao Jun (Vương Chiêu Quân) during the reign of Emperor Yuandi (Hán nguyên Đế).

This reminds us of the same approach later used by the Vietnamese king Trần Nhân Tôn with Princess Huyền Trân Công Chúa to ally with Champa’s Jaya Sinhavarman III (Chế Mân) in the struggle against Kublai Khan’s Mongols and with the aim of obtaining in exchange the two territories of Châu Ô and Châu Rí. There is also irony about her fate, comparing her to a cinnamon tree growing in the middle of the forest and letting itself be climbed by a « Yao » or a « Mường. »

Beyond the heavy tribute, the Great Wall of China remains an essential barrier to mark the boundary between two worlds: the barbarian and the civilized, the steppe and culture. This tribute policy, which the Chinese called « gifts, » was not very profitable for the Han court but it showed how weak it was compared to the nomads because it always had to be on the defensive. Sometimes their provocation was unbearable and humiliating when the insatiable Modu set his mind on nothing less than marrying the Dowager Empress Lü Hu, the main wife of Emperor Gaozu, through his letter. However, under Chinese influence, the Xiongnu began to develop a taste for luxury in their way of dressing in silk imported from China, stylizing plaques, belt buckles in bronze or gold in their animal art similar to that of the Scythians, building fortified cities while preserving their traditional yurts, etc.

From the reign of Wendi, the Chinese contribution, to which monetary payments must be added, was always increasing significantly. Despite this, the insatiable Xiongnu continued to sporadically launch new raids. They soon had to face a worthy rival Chinese emperor. Wudi (Martial Emperor) is his reign name.

Nothing was initially planned for him to ascend to the highest position of the empire, but thanks to palace intrigues, he was enthroned at the age of 15 upon the death of his father, Emperor Jindi, in 141 BC.
 

Hán Vũ Đế
Emperor Wu Di (Hán Vũ Đế)

According to legend, when he was still young, he was tested by Emperor Jindi to determine if he was intelligent or not. His answer pleased him so much that Jindi undertook to educate him and changed his name to Che: the intelligent. At the beginning of his reign, he faced some difficulties with his reforms due to the laxity of his predecessors, advocated by the Daodejing (Đạo Đức Kinh), and the oversight of his relatives, particularly that of his mother Wang (who died in 126 BC) and his grandmother, the great Empress Dowager Dou (Đậu Thái hậu), supported by the court nobility. This nobility was mainly composed of supporters of huanglao (a movement favoring individual fulfillment and legalism in government) and Taoists. Her death in 135 BC allowed him to better consolidate his power and take the reins of government upon the death of his maternal uncle and prime minister Tian Fen (Điền Phần) in 131 BC. From then on, the slightest criticism of his policy was considered a crime of lèse-majesté. He thus became the absolute monarch of the empire.

This did not prevent him from listening to his advisers while respecting laws, rites, and customs. He called upon new men, scholars (or boshis), among whom was a scholar named Dong Zhongshu (Đổng Trọng Thư), a specialist in the Chronicle of Spring and Autumn (Chunqiu). On his advice, Wudi adopted Confucianism adapted to his time with various contributions, particularly borrowings from Legalism and the theory of Yin and Yang and the Five Elements. This was reflected in practice by a new, more coherent doctrine encompassing politics, the individual, and society. The rites were celebrated according to the prescriptions of the texts.

Morality, righteousness (yi), and perfect knowledge of the Classics were criteria for selecting officials in the administration through an examination. In 124 BC, Wudi founded near Chang An the great university (taixue), a kind of imperial academy dedicated to the study of Confucius’s texts. Confucianism began to spread to all layers of society. In 104 BC, Wudi abandoned the Qin calendar in favor of a calendar that took into account the first day of the first lunar month of spring instead of the first day of the tenth lunar month, often in February of the year. This is the calendar that the Chinese continue to use to this day. This did not prevent him from listening to his advisors while respecting laws, rites, and customs. He called upon new men, scholars (or boshis), among whom was the scholar Dong Zhongshu (Đổng Trọng Thư), a specialist in the Spring and Autumn Annals (Chunqiu). On the advice of the latter, Wudi adopted Confucianism adapted to his time with various contributions, particularly borrowings from Legalism and the theory of Yin and Yang and the Five Elements. This was reflected in practice by a new, more coherent doctrine that included politics, the individual, and society. The rites were celebrated in accordance with the prescriptions of the texts.

Morality, righteousness (yi), and perfect knowledge of the Classics were criteria for selecting officials in the administration through an examination. In 124 BC, Wudi founded near Chang An the great university (taixue), a kind of imperial academy dedicated to the study of Confucius’ texts. Confucianism began to permeate all layers of society. In 104 BC, Wudi abandoned the Qin calendar in favor of a calendar that took into account the first day of the first lunar month of spring instead of the first day of the tenth lunar month, often in February of the year. This is the calendar that the Chinese continue to use to this day.

Then, by finding the virtue of the earth from the fact that Liu Bang came from the common people, Wudi henceforth adopted the element « Earth » and chose the color yellow associated with it as the imperial color of the Han because this choice was established according to the teaching of the Five Elements (Wu Xing) (Ngũ Hành). By its color,

white (Metal) (Kim) for the Shang-Yin (Ân–Thương)
red (Fire) (Hỏa) for the Zhou (Châu)
black (Water) (Thủy) for the Qin (Tần)
yellow (Earth) (Thổ) for the Han (Hán),

each element has a particular meaning. Each dynasty established its power under the protection of this element. Wudi chose the element « Earth » to neutralize the « Water » of the Qin. Taking the example of the first emperor of China (Shi Huang Di) of the Qin dynasty, it is observed that he symbolically justified his right to rule because only water, represented by the color black, could destroy the power of the king of the Zhou who was under the sign of the fire element (red color). Similarly, the Zhou dynasty had succeeded in taking power from King Di Xin (in Vietnamese Trụ Vương or Đế Tân) of the Shang dynasty because the fire element of the Zhou dynasty could melt the metal, the protective element of the Shang dynasty. The Xia dynasty would probably be associated with the color green if its existence were confirmed. The succession of Chinese dynasties results in the following pattern corresponding to the cycle of destruction or domination in Wuxing:

Earth—> Water—> Fire —> Metal—> Wood

This new concept of the cosmic order of things now inspires the organization of China’s relations with other countries or the king’s relations with the people. Analogous to the purple North Star around which stars of different sizes revolve, Wudi’s China places itself at the center around which peoples of different importance revolve, each in its place. Being the Son of Heaven, the emperor placed at the center of his empire is the link between heaven and the people. He governs through justice and rites. His power is entrusted by Heaven. That is why when people obey him, they also comply with Heaven’s wishes. He is never accountable to the people but is judged only by Heaven through signs of good or bad omens on earth (natural disasters, earthquakes, good or bad harvests, floods, etc.). The three cardinal guides (the ruler guides the subject, the father guides the son, and the husband guides the wife) (Tam Cương) and the five permanent virtues (benevolence, righteousness, propriety, knowledge, and sincerity) (Ngũ Thường) become effective tools not only to consolidate the absolute power of the emperor but also to maintain order in feudal society.

More than 200 works from 27 institutions and museums unveil Chinese society under the Han dynasty.

Guimet Museum of Asian Arts

Phoenix-shaped lamp 

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Bronze drums (Part 2,VA)

 

soleil_dongsonThe star appears in the center of the drums

Bronze drums debates

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In this important study on bronze drums, he distinguishes 4 main types:

In type I, the bronze drum is of imposing size. It consists of three distinct parts: a conical base, a straight or slightly inclined cylindrical body, and a bulging part (or tang in Vietnamese) that ends at the meeting point of the drumhead with an edge. For Heger type I drums belonging to the last period of the Bronze Age and dating from the 1st and 2nd centuries AD, various motifs (figures, birds, boats, stilt houses) and concentric zones with a raised star in the center with a number of rays appear on the drumhead (Ngọc Lũ, Hoàng Hạ, Sông Ðà, Thựơng Lâm, Quảng Xương, etc.). Its resonating body has 4 pairs of handles.

In type II, the drumhead overhangs its bulging part which, together with its slightly flared straight part towards the bottom, forms the resonating body of the drum. Moreover, it has only two pairs of handles. These drums have been discovered in the habitation area of the Mường ethnic minorities. The drumhead is richly decorated with 4 or 6 toads, even elephants and turtles in relief. These animals are placed counterclockwise. The motifs are so stylized as to become unrecognizable. A large number of drums of this type have been found in Vietnam, in southern China and the Malay Archipelago.

In type III, the drums are always equipped with a plate on which toads are stacked in limited numbers. These amphibians are aligned counterclockwise. There is an elongation of the cylindrical body up to the lower edge without much flaring. The handles are small and elegant. The distribution area of these drums is mainly to the west of the Trường Sơn mountain range, in Thailand, Laos, Myanmar, and Yunnan.

In type IV, these are copies of type I drums. Sometimes there are Chinese characters. They are found in large numbers in Yunnan (China). The plate fits directly onto the body and never overhangs. These drums are generally small in size. The star in the middle of the plate always has twelve rays corresponding to the duodenary cycle (12 earthly branches). They are found in Vietnam in the northern border region among the Lo Lo and Pupe ethnic minorities.

In general, the ornamentation is considered rich in information on the plate (or tympanum), particularly that of type Heger I: warriors armed with crossbows or javelins, humans adorned with bird feathers, musicians playing the khène or handling castanets, women wearing loincloths pounding rice in a mortar, fish, stylized birds, deer, ritual canoe races, funeral rituals, etc.

Regarding the ornamentation found on the drum body, there are significant differences from one drum to another in terms of themes and animal representations. The order of decoration seems arbitrary. It can be observed that many drums have no ornamentation on their bodies. However, this is not the case for the drumheads. The ornamentation with concentric circles presents an identical structure from one drum to another. On the other hand, the figurative character found on the drumheads of the earliest drums (Ngọc Lũ, Hoàng Hạ, Sông Ðà, Cổ Loa, Moulié, etc.) increasingly evolves towards abstraction and geometrization. Despite this, the overall structure, particularly the orientation of the drum, is generally maintained by the presence of a minimal circle of four birds, which gives the drumheads a sacred character and the drums their true raison d’être.

According to Catherine Noppe, curator of the Oriental Collections at the Royal Museum of Mariemont, the Dongson culture was the origin of a number of specific forms recognizable in decoration. In the repertoire of geometric motifs, there are dots, dotted circles, triangles, diamonds, straight lines, and spirals.

The concentric circles and straight lines used to organize the decoration into precise zones (on the drums or vessels) attest to a desire for clarity and readability necessary for the identification of a decoration often abundant, integrating both animals and figures.

In many debates and writings, there is a tendency to focus on dating and ornamentation. Until today, Vietnamese archaeologists believe that Heger’s general classification structure remains valid because, for them, the fundamental criterion to respect is ornamentation. The finer, more complex, and more numerous the motifs visible in the decoration, the easier it is to prove the origin. This is why they concentrate their efforts on details and propose dividing Heger Type I into several subtypes. This is not the case for Chinese archaeologists who find Heger’s classification obsolete since the discovery of a large number of drums in southern China (Yunnan, Guangxi, and Guangdong). Moreover, according to them, originality should be expressed through simplicity in ornamentation and size. Initially divided over Heger’s classification due to regional affinities (between the Chinese supporters from Guangxi and Yunnan), they have managed to unify their viewpoints and now accept Heger’s classification while adding another type which they have called under the name of  » Pre Heger-I » since the discovery of several bronze drums (Wanjiaba (Vạn Gia Bá), Yunnan) believed to belong to the « Pre Heger I » type in 1975 and 1976.

They claim that these were earlier than those of Ðồng Sơn (Ngọc Lũ, Sông Ðà (Moulié), Hoàng Hạ, Sông Hồng (Gillet), etc.) based on the radiocarbon dating of funerary objects found at the same time as these drums. For them, the important criteria to consider in determining the antiquity of the drum are as follows: its large face, its trunk being reduced from three to two parts, and its less complex decoration. There is no doubt that the oldest bronze drums originated from Yunnan. Unfortunately, their beliefs have been endorsed neither by the global scientific community nor by Vietnamese archaeologists. According to the latter, the dating of bronze drums could not be based solely on the radiocarbon dating of funerary objects because the margin of error would be too high, around 235 years, based on their experience with a piece of wood from a coffin. But there are other factors that should be taken into consideration. This is the case with the example of the bronze drum found in a burial at Việt Khê. Radiocarbon dating indicates that the tomb was 2480 ± 100 years old before 1950 CE (Common Era) or around 530 BCE (Before the Common Era). However, based on its decorative style, the bronze drum could have been made only between the 3rd and 6th centuries BCE.

Besides radiocarbon dating, there is a total divergence between Chinese and Vietnamese archaeologists in the interpretation of the decoration. This is important as it can help archaeologists identify the ethnic and geographical affiliations since it reflects the spiritual life of the people who invented this drum. Each side tries to provide its own interpretation regarding the stilt bird, the amphibian, and the boat.

The stilt bird:

This flying bird seen on the bronze drum with a long beak and long legs is very familiar to the Vietnamese because it is indeed the heron. It is obvious to see it depicted on the bronze drum as it symbolizes the labor and diligence of the proto-Vietnamese. It is part of their daily life. It is often seen accompanying Vietnamese farmers in the rice fields. It is mentioned many times in their popular poems. Thanks to recent linguistic research, the term Văn Lang used to designate the kingdom of the Hùng kings during the Đông Sơn period is nothing other than the phonetic transcription in Chinese characters of an ancient Austro-Asiatic word: vlang, meaning a large stilt bird. Similarly, the name of the Hùng clan known as « Hồng Bàng » also refers to a stilt bird related to the heron.

For the Chinese, the heron is considered the accompanying bird, after death, of the soul towards immortality (cỡi hạc qui tiên). It is a long tradition to decorate drums with heron motifs in the central plains of China. The spread of this belief first becomes visible in the area of the Chu principality (Sỡ Quốc) and then among other ethnic groups in southern China. This is undoubtedly Chinese influence.

The amphibian

It can be seen on certain bronze drums, particularly those of the Heger I type belonging to the last period of the Bronze Age and dating from the 1st and 2nd centuries AD (late drums) (or trống muộn Heger I). Chinese archaeologists believe that the small amphibians found on the faces of these drums are frogs used for ornamental purposes without any special meaning. However, for the Vietnamese, the presence of frogs on the drum surface suggests that the drum could be a rain drum because, according to Vietnamese tradition, there is a close kinship between amphibians and Heaven:
Toads and frogs are the uncles of the Lord Heaven
Beware those who mistreat them; they will be punished accordingly.

Their presence can be explained by beliefs common to all peoples of southern Asia: the croaking of amphibians announces the rain essential for the sown fields.

The boat:

For the Chinese, the boat is mentioned to reflect the ancient tradition of the annual ritual race in the Chu kingdom during the Warring States period. This custom aims to honor the memory of the famous poet Qu Yuan (Khuất Nguyên). He committed suicide in 278 BC to denounce the endemic corruption of his time in this kingdom, which was later annexed by the Qin. For the Vietnamese, opinions are divided. Some share the same view as the Chinese, opting for the theme of the « Paddled Boat » because it is more detailed and visible on certain drums (Sông Đà, Miếu Môn, Làng Vạc, etc.), but others continue to think of funerary ceremonies. This is a thesis defended by Goloubew (1929), citing ethnographic examples of the Dayak (Borneo), and has become the dominant thesis today in popular writings.

This custom is still practiced today by the Dayak, who were formerly established on the eastern coast of Indochina. They still believe in the existence, in the middle of the ocean, of a mysterious island where their ancestors enjoy supreme happiness. It is this golden boat (or boat of the dead) that can be seen depicted on the Hoàng Hạ and Ngọc Lữ drums with warriors without paddles, ready to fight the malevolent spirits that threaten them in the afterlife. This mystical theme is essentially based on the funerary cult, an ancient tradition known by the Dayak who, born near the rivers and close to the coasts, should one day return to their distant paradise by taking this ghost boat upon their death.

The Tiwah (lễ chiêu hồn) or the festival of the dead continues to be celebrated to this day by the Dayak of Borneo. The canoe-shaped coffins (mộ thuyền) found in Dong Son burials (Việt Khê for example) are not unrelated to this tradition. It is important to recall that, being dolichocephalic Indonesians (Deniker) (or Austroasiatics), the Dayak Ot-Danom and Olo-ngadju had a hierarchical organization identical to that which still exists among the Mường of the Black River (Sông Ðà), an ethnic minority close to the present-day Vietnamese. The power of their chiefs is considered hereditary.

Besides the Sino-Vietnamese disagreements mentioned above, there remains an important element pitting several theories against each other. It is the star depicted at the center of the drum’s plateau. The number of rays varies from one drum to another. On the Ngọc Lũ drum, there are 14 rays while the Hoàng Hạ drum has two more. As for the Vienna drum, it has only 12 rays. It is unlikely that this central star with multiple rays is a star, as people of that time could not have seen it larger than the one they observed in the sky. There is only one star larger than the others around which scenes of life are arranged in rhythm with the seasons. Could it be anything other than the sun?

In an agrarian society, the sun and rain are needed to fertilize the soil and have good harvests. The French archaeologist M. Colani, who discovered the Hoà Bình culture in 1926, held this view when speaking of a solar cult in Indochina. (7). But this hypothesis was contested by the Australian anthropologist and historian Helmut Loofs-Wissova. He rejects the idea that the inter-radial triangles are passive decorative elements. There is no reason to think of a celestial body, but these triangles should be considered as the product of a differentiation into « quarters. » He went further in his approach by considering that these drums are like regalia (quyền trượng). He explains their dispersion by the desire of local chiefs wishing to have the grace of ritual authority (but not political) located somewhere in northern Vietnam and having the power to give them bronze drums, like the papacy in the West with regalia. This hypothesis cannot be corroborated first by the presence of dotted circles, simple or concentric, found abundantly on the ornaments and weapons of warriors disguised as spirit-men, as these have long been known as heliacal symbols in prehistoric Western art (on Caucasian and Hispanic bronzes).

Moreover, after the annexation of the Giao Chỉ territory by the Chinese, the distribution of bronze drums continued to spread towards Southeast Asia. It seems unthinkable to imagine that there exists in this territory an independent political or religious power without the agreement of the Han (or Chinese). Those who are only the destroyers of bronze drums in the manner of their general Ma Yuan cannot use them as regalia. Although this theory is appealing, it seems less convincing.

According to the beliefs of the Austroasiatic peoples, the drum is not only a sacred instrument but also a living fetish. By designating the drum with the word « trống » in Vietnamese, it is known to be masculine. It is customary to refer to the rooster with the word « gà trống or gà sống. » Similar to the Yue’s knife (Alain Thote), it must be nourished with blood, alcohol, and rice. It is awakened from time to time during ritual ceremonies by strikes of a mallet at the center of its surface, where the sun is depicted symbolizing the driving force of the gift of life. It is also here that its soul and magical power reside.

Being of a yang nature and always accompanied by gongs (of a Yin nature) which the Mường, close cousins of the Vietnamese, consider as a stylized representation of the woman’s chest in ritual festivals, it is charged with protecting not only the village but also the clan or tribe that must demonstrate its legitimacy in possessing it and its ability to maintain it with remarkable regularity. Sometimes its prestige can go beyond its regional sphere, and its capacity for rallying and mobilization is considerable. It can express its wrath through the voice of a female medium (kruu) among the Kantou of the Annamite Range (Trường Sơn), as reported by Yves Goudineau in his article entitled « Bronze Drums and Ceremonial Circumambulations » (BEFEO, Volume 87, no. 2, pp. 553-578).

In northern Vietnam and in Yunnan province, there is a strange custom of getting rid of the bronze drum. Considered a living fetish, the drum is given its birthday (a grand celebration) but it can also be « killed » by piercing the center of its drumhead where the sun is depicted, as this symbolizes the generative force of the gift of life. By destroying it in this way, it is believed that one destroys not only its soul but also the symbol of power of the tribe or clan that owns it and its magical power, in order to prevent later revenge. This also explains the behavior of the Chinese general Ma Yuan during the repression against the Giao Chi. That is why during archaeological excavations in northern Vietnam, drums are sometimes found with the center of the drumhead completely pierced.

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[Bronze drums: Part 3, VA]

 

Bronze drums (Part 1,VA)

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Until today, the bronze drums continue to sow discord between the Vietnamese and Chinese scientific communities. For the Vietnamese, the bronze drums are the prodigious and ingenious invention of peasant metallurgists during the time of the Hùng kings, the founding fathers of the Văn Lang kingdom. It was in the Red River delta that the French archaeologist Louis Pajot unearthed several of these drums at Ðồng Sơn (Thanh Hoá province) in 1924, along with other remarkable objects (figurines, ceremonial daggers, axes, ornaments, etc.), thus providing evidence of a highly sophisticated bronze metallurgy and a culture dating back at least 600 years before Christ. The Vietnamese find not only their origin in this re-excavated culture (or Đông Sơn culture) but also the pride of reconnecting with the thread of their history. For the French researcher Jacques Népote, these drums become the national reference of the Vietnamese people. For the Chinese, the bronze drums were invented by the Pu/Liao (Bộc Việt), a Yue ethnic minority from Yunnan (Vân Nam). It is evident that the authorship of this invention belongs to them, aiming to demonstrate the success of the process of mixing and cultural exchange among the ethnic groups of China and to give China the opportunity to create and showcase the fascinating multi-ethnic culture of the Chinese nation.

Despite this bone of contention, the Vietnamese and the Chinese unanimously acknowledge that the area where the first bronze drums were invented encompasses only southern China and northern present-day Vietnam, although a large number of bronze drums have been continuously discovered across a wide geographical area including Thailand, Cambodia, Laos, Myanmar, Indonesia, and the eastern Sunda Islands. Despite their dispersion and distribution over a very vast territory, fundamental cultural affinities are noted among populations that at first glance appear very different, some protohistoric and others almost contemporary. Initially, in the Chinese province of Yunnan where the Red River originates, the bronze drum has been attested since the 6th century BCE and continued to be used until the 1st century, just before the annexation of the Dian kingdom (Điền Quốc) by the Han (or Chinese). The bronze chests intended to contain local currency (or cowries), discovered at Shizhaishan (Jinning) and bearing on their upper part a multitude of figures or animals in sacrificial scenes, clearly testify to the indisputable affinities between the Dian kingdom and the Dongsonian culture.

Then among the populations of the Highlands (the Joraï, the Bahnar, or the Hodrung) in Vietnam, the drum cult is found at a recent date. Kept in the communal house built on stilts, the drum is taken down only to call the men to the buffalo sacrifice and funeral ceremonies. The eminent French anthropologist Yves Goudineau described and reported the sacrificial ceremony during his multiple observations among the Kantou of the Annamite Trường Sơn mountain range, a ceremony involving bronze drums (or Lakham) believed to ensure the circularity and progression of the rounds necessary for a cosmogonic refoundation.

These sacred instruments are perceived by the Kantou villagers as the legacy of a transcendence. The presence of these drums is also visible among the Karen of Burma. Finally, further from Vietnam, on the island of Alor (Eastern Sunda), the drum is used as an emblem of power and rank, as currency, as a wedding gift, etc. Here, the drum is known as the « mokko. » Its role is close to that of the bronze drums of Ðồng Sơn. Its prototype remains the famous « Moon of Pedjeng » (Bali), whose geometric decoration is close to the Dong Son tradition. This one is gigantic and nearly 2 meters high.

More than 65 citadels spread across the territories of the Bai Yue responded favorably to the call of the uprising led by the Vietnamese heroines Trưng Trắc and Trưng Nhị. Perhaps this is why, under Chinese domination, the Yue (which included the proto-Vietnamese or the Giao Chi) hid and buried all the bronze drums in the ground for fear of them being confiscated and destroyed by the radical method of Ma Yuan. This could explain the reason for the burial and location of a large number of bronze drums in the territory of the Bai Yue (Bách Việt) (Guangxi (Quảng Tây), Guangdong (Quảng Đông), Hunan (Hồ Nam), Yunnan (Vân Nam), Northern Vietnam (Bắc Bộ Vietnam)) during the conquest of the Qin and Han dynasties. The issuance of the edict by Empress Kao (Lữ Hậu) in 179 BC, stipulating that it was forbidden to deliver plowing instruments to the Yue, is not unrelated to the Yue’s reluctance towards forced assimilation by the Chinese.

In Chinese annals, bronze drums were mentioned with contempt because they belonged to southern barbarians (the Man Di or the Bai Yue). It was only from the Ming dynasty that the Chinese began to speak of them in a less arrogant tone after the Chinese ambassador Trần Lương Trung of the Yuan dynasty (or Mongols (Nguyên triều)) mentioned the drum in his poem entitled « Cảm sự (Resentment) » during his visit to Vietnam under the reign of King Trần Nhân Tôn (1291).

Bóng lòe gươm sắc lòng thêm đắng
Tiếng rộn trống đồng tóc đốm hoa.

The shimmering shadow of the sharp sword makes us more bitter
The tumultuous sound of the bronze drum makes our hair speckled with white.

He was frightened when he thought about the war started by the Vietnamese against the Mongols to the sound of their drum.

On the other hand, in Chinese poems, it is never recognized that the bronze drums are part of the cultural heritage of the Han. It is considered perfectly normal that they are the product of the people of the South (the Yue or the Man). This fact is not doubted many times in Chinese poems, some lines of which are excerpted below:

Ngõa bôi lưu hải khách
Ðồng cổ trại giang thần

Chén sành lưu khách biển
Trống đồng tế thần sông

The earthenware bowl holds back the traveling sailor,
The bronze drum announces the offering to the river spirit.

in the poem « Tiễn khách về Nam (Accompanying the traveler to the South) » by Hứa Hồn.

Thử dạ khả liên giang thượng nguyệt
Di ca đồng cổ bất thăng sầu !

Ðêm nay trăng sáng trên sông
Trống đồng hát rơ cho lòng buồn thương

or

The moon of this night shimmers on the river
The barbarians’ song to the sound of the drum arouses painful regrets.

in the poem titled « Thành Hà văn dĩ ca » by the famous Chinese poet of the Tang dynasty, Trần Vũ.
In 1924, a villager from Ðồng Sơn (Thanh Hoá) recovered a large number of objects including bronze drums after the soil was eroded by the flow of the Mã river. He sold them to the archaeologist Louis Pajot, who did not hesitate to report this fact to the French School of the Far East (École Française d’Extrême-Orient). They later asked him to be responsible for all excavation work at the Ðồng Sơn site.

But it was in Phủ Lý that the first drum was discovered in 1902. Other identical drums were acquired in 1903 at the Long Ðội Sơn bonzerie and in the village of Ngọc Lữ (Hà Nam province) by the French School of the Far East. During these archaeological excavations begun in 1924 around the Ðồng Sơn hill, it was realized that a strange culture with canoe-tombs was being uncovered.

These are actually boats made from a single piece of wood, sometimes reaching up to 4.5 meters in length, each containing a deceased person surrounded by a whole set of funerary furniture: ornaments, halberds, parade daggers, axes, containers (situlas, vases, tripods), pottery, and musical instruments (bells, small bells). Moreover, in this funerary skiff are objects of quite large dimensions and recognizable: bronze drums, some measuring more than 90 cm in diameter and one meter in height. Their shape is generally very simple: a cylindrical box with a single slightly flared bottom forming the upper part of the drum. On this sounding surface, there is at its center a multi-pointed star which is struck with a mallet. Four double handles are attached to the body and the middle part of the drum to facilitate suspension or transport using metal chains or plant fiber ropes. These drums were cast using a clay mold, into which a bronze and lead alloy was poured.

The Austrian archaeologist Heine-Geldern was the first to propose the name of the Đồng Sơn site for this re-excavated culture. Since then, this culture has been known as « Dongsonian. » However, it is to the Austrian scholar Franz Heger that much credit is due for the classification of these drums. Based on 165 drums obtained through purchases, gifts, or accidental discoveries among bronze workers or ethnic minorities, he managed to accomplish a remarkable classification work that still has a significant influence in the global scientific community today, serving as an essential reference for the study of bronze drums. His work was compiled into two volumes (Alte Metaltrommeln aus Südostasien) published in Leipzig in 1902.

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[Bronze drums: Part 2, VA]
[Bronze drums: Part 3, VA]

Pagoda of Vietnam (VA: Part 2)

 
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It is called « Thầy or master » because it was here that the Buddhist monk Từ Đạo Hạnh invented and taught the local population a unique art form: water puppet theater. There is also the Côn Sơn pagoda located on the mountain of the same name, 60 km from Hanoi in Hải Dương province. Comprising about twenty buildings, it is nestled in the pine forest at the top of a staircase with several hundred steps. It was here, upon withdrawing from political life, that the famous humanist Nguyễn Trãi left us an unforgettable poem entitled « The Song of Côn Sơn (Côn Sơn Ca) » in which he described the magnificent landscape of this mountain and attempted to summarize the life of a man who can only last at most a hundred years and for whom everyone seeks what they desire before finally returning to grass and dust. But the most visited pagoda remains the Perfume Pagoda (Chùa Hương). This is actually a complex of buildings constructed in the mountain cliffs. Located 60 km southwest of the capital, it is one of the national sanctuaries frequented by most Vietnamese along with the Bà Chúa Xứ Pagoda (Châu Đốc) near the Cambodian border during the Tết festival.In central Vietnam, the pagoda of the Celestial Lady (Chùa Thiên Mụ), located opposite the Perfume River (sông Hương), is full of charm, while in the south, in Tây Ninh province, not far from Saigon, nestles on the Black Lady Mountain (núi Bà Đen) a pagoda bearing the same name.

In the capital Hanoi alone, there are at least 130 pagodas in the surrounding area. There are as many villages as there are pagodas. It is difficult to list them all. But due to the whims of time and the ravages caused by war, there are very few buildings that have managed to keep intact the architectural and sculptural style dating from the Lý, Trần, and Lê dynasties.

Sometimes human wrongdoing is responsible for the destruction of certain famous pagodas. This is the case of the Báo Thiên pagoda, whose site was ceded to the French colonial authorities for the construction of the neo-Gothic style Saint Joseph church that can be seen today in the heart of the capital, not far from the famous Lake of the Restored Sword (Hồ Hoàn Kiếm) (Hanoi). Generally speaking, most of today’s pagodas visibly bear traces of restoration and renovation under the Nguyễn dynasty. However, their ritual objects, stone and bronze statues have been less altered and have retained their original state over the centuries.Moreover, when moving into the central and southern parts of Vietnam, one realizes that Cham and Khmer influences are not absent in the architecture of the pagodas, as these territories formerly belonged respectively to the kingdoms of Champa and Funan.

Despite the considerable number of pagodas and the variety of their sizes, the arrangement of their buildings remains unchanging. It is easy to recognize thanks to the following six famous Chinese characters: Nhất, Nhị, Tam, Đinh, Công, and Quốc (or 一, 二, 三, 丁, 工, and in Chinese). Simplicity is visible in the model identified by the first character Nhất, where the buildings follow one single transverse row facing the porch (Tam Quan). This is what is found in most village pagodas that receive no state subsidies or in the Mekong Delta in southern Vietnam. The second character Nhị, meaning « two, » clearly recalls the arrangement of two parallel transverse rows facing the porch. This layout has the advantage of having at least three side doors and leads to a courtyard where vegetation is lush and omnipresent thanks to groves of shrubs and potted flowers. Sometimes there is a pond with lotuses and water lilies, which inevitably evokes serenity in harmony with nature.

With the third Tam character, there are three parallel transverse rows often connected in the middle by small bridges or a corridor. This is the case with the Kim Liên Pagoda (Hanoi) and Tây Phương Pagoda (Hà Tây). The first row corresponds to a group of buildings, the first of which is often called the « front hall » or tiền đường. Sometimes known by the Vietnamese name « bái đường, » this hall is used to receive all the faithful. It is protected at its entrance by guardian deities (or dvàrapalàs or hộ pháp) who, with threatening features, wear armor and display their weapons (halberd, helmet, etc.). Sometimes, alongside this front hall, the ten kings of hell (Thập điện diêm vương or Yamas) are enthroned, or in the corridor, the 18 arhats (Phật La Hán) in their various postures. This is the case in the Keo Pagoda (Chùa Keo), where the 18 arhats are present in the front hall. Sometimes there are also earth spirits or the protective spirit of the pagoda’s property (Đức Ông). One of the characteristics of the Vietnamese pagoda is the presence of the mother goddess Mẫu Hạnh (Liễu Hạnh Công Chúa), one of the four figures worshiped by the Vietnamese. Her veneration is visible, for example, in the front hall of the Mía Pagoda (Chùa Mía, Hà Tây). Then, in a second building slightly elevated compared to the first, there are incense burners as well as a stone stele recounting the history of the pagoda. That is why it is called « nhà thiêu hương (or incense burning hall). » It is also at the back of this building that there is an altar in front of which the monks recite prayers with the faithful while striking a wooden bell (mõ) and an inverted bronze bell (chuông). It is sometimes possible to find the bell in this group of buildings if the bell tower location (gác chuông) is not planned next to (or above) the porch. Regardless of the size of the pagoda, there must be at least three buildings in this first row.

 

After this, we come to the most important row of the pagoda, which corresponds to the main altar hall (thượng điện). This is where the pantheon, as rich as it is hierarchical, is located. It is spread over three pedestals. On the highest pedestal, against the back wall, is the altar of the Buddhas of the Three Eras (Tam Thế). On this altar, according to the Mahayana Buddhism conception (Phật Giáo Đại Thừa), are three statues representing the Past (Quá Khứ), the Present (Hiện Tại), and the Future (Vị Lai), each seated on a lotus throne. On the second pedestal, slightly lower than the first, sit the three statues known as the three existences, with Amitabha Buddha (Phật A Di Đà) in the middle, the Bodhisattva Avalokitecvara on the left (Bồ Tát Quan Âm), and the Bodhisattva Mahasthamaprapta on the right (Bồ Tát Đại Thế Chí). Generally, Amitabha Buddha is of a more imposing stature compared to the other two. Their presence reflects the importance that Vietnamese people place on the existence of the Pure Land (Tịnh Độ) in Buddhism.

This belief is so popular among Vietnamese people because, according to them, there exists the Western Paradise (Sukhàvati or Tây Phương cực lạc) presided over by the Buddha of Infinite Light (Amitabha), to which he guides the souls of the dead. By invoking his name, the devotee could access this paradise through their request for grace from the Bodhisattva Avalokitecvara acting as an intercessor. According to the Vietnamese researcher Nguyễn Thế Anh, it was the monk Thảo Đường, brought back to the country by King Lý Thánh Tôn during his military expedition to Champa (Đồng Dương), who proposed this method of enlightenment through intuition and the numbing of the mind by reciting the name of Buddha. This is also why Vietnamese Buddhists have the habit of saying A Di Đà (Amitabha) instead of the word « hello » when they meet.
pagode4

Diagram of the interior arrangement of the
pagoda with the character Công

Finally, on the lowest and widest pedestal, larger than the other two, are Cakyamouni, the Buddha of the Present, and his two greatest disciples: Kasyapa (Đại Ca Diếp) and his cousin Ananda (Tôn Giả A Nan). In some pagodas, there is a fourth pedestal on which stands the Buddha of the Future, Maitreya, with the bodhisattva Samantabhadra (Phổ Hiền Bồ Tát), symbolizing practice on his right, and the bodhisattva Manjusri (Bồ Tát Văn Thù Sư Lợi), symbolizing wisdom on his left. The number of statues displayed on the altars varies depending on the fame of the pagoda in question. This is largely due to offerings from the faithful. This is the case with the Mía Pagoda (Chùa Mía), which has 287 statues, and the Trăm Gian Pagoda (Hà Tây) with 153 statues, etc.

As for the last row of the pagoda (or hậu đường), it corresponds to the rear hall and has a multifunctional character. Some pagodas reserve it for the residence of the monks (tăng đường). Others use it as a place of worship for spirits or heroes such as Mạc Đĩnh Chi (Chùa Dâu pagoda) or Đặng Tiến Đông (Trăm Gian pagoda, Hà Tây). This is why it is customary to say: tiền Phật hậu Thần (Buddha in front and Spirits behind). It is the opposite layout that should be found in a temple (đình): Tiền Thần, Hậu Phật (Spirits in front and Buddha behind). Sometimes there is a bell tower or a pavilion for the souls of the deceased.

Sometimes, a room or an altar is reserved for those who have invested a lot of money in the construction or maintenance of the pagoda. Most of the donors were women, those who had a notable influence in state affairs. This is the case of Princess Mía, one of the concubines of Lord Trịnh. A special altar was reserved for her in the Mía pagoda, close to that of the Buddha. In the Bút Tháp pagoda, there is even a room dedicated to the veneration of female donors such as the great queen Trịnh Thị Ngọc Cúc, and the princesses Lê Thị Ngọc Duyên and Trịnh Thị Ngọc Cơ. These are figures who financially contributed to the construction of this pagoda in the 17th century.

In the backyard of the pagoda, one can find either a garden with stupas or a pond with water lilies. This is the case of the Phát Tích pagoda, whose backyard features 32 stupas of different sizes in its garden. Sometimes, the interior layout of the Vietnamese pagoda takes the shape of the character Đinh (丁). This is the fourth sign of the decimal cycle used in the Chinese calendar. This is the case of the Nhất Trụ pagoda, built by the Vietnamese king Lê Đại Hành in Hoa Lư (Ninh Bình), the ancient capital of Vietnam, and the Phúc Lâm pagoda (Tuyên Quang), erected under the Trần dynasty (13th-14th century).

The character that most Vietnamese pagodas often use in their interior layout remains the character Công (). Besides the main rows detailed inside the pagoda, there are two long corridors connecting the front hall (tiền đường) to the rear hall (hậu đường). This creates a frame in the shape of a rectangle, thus encompassing the main rows previously mentioned in the character Tam. This arrangement has the appearance of the character Công inside the pagoda, but from the outside, it gives the impression of having the character Quốc () with the frame completed by the two long corridors.

[Return RELIGION]

Pagoda of Vietnam (VA: Part 1)

Thân là nguồn sinh diệt, Pháp tính vẫn như xưa

We are subject to the laws of birth and death.

But the nature of the Buddha remains the same over time.

Zen monk  Thuần Chân of the  Vinitaruci  sect (1101)

pagoda

Version vietnamienne
Version française

Unlike the word Đền (or temple), which refers to the place where a famous person (hero, king, or deity) is venerated, the word « Chùa » (or pagoda) is used solely to indicate the place where Buddha is honored. Before constructing this building, it is essential to carefully examine its location because it needs to be erected in harmony with the surrounding nature. However, unlike pagodas found in China, India, or Cambodia, monumentality and grandeur are not among the selection criteria for this construction. That is why the basic materials used are primarily wood, brick, and tile. The pagoda does not necessarily dominate the surrounding buildings. It can be found in almost every village. Similar to the communal house (or đình), it revives for most Vietnamese people the image of their village and, by extension, that of their homeland. It continues to exert a captivating appeal on them.

pagode0
It is more visited than the communal house because no hierarchical barrier is visible there. It is absolute equality among humans, the motto preached by Buddha himself for sharing and delivering human suffering. Even in this serious and solemn setting, one sometimes finds classical theater performances (hát bội) in its courtyard. This is not the case with the people’s house (or communal house) where notability must be strictly respected. Hierarchical discrimination is more or less visible. Even the authority of the king (Phép vua thua lệ làng) cannot influence this village custom. That is why the pagoda is closer than ever to the Vietnamese. It is customary to say: Đất vua, Chùa làng, phong cảnh Bụt (The land belongs to the king, the pagoda to the village, the landscape to Buddha) to recall not only the closeness and the privileged and intimate connection of the pagoda with its villagers but also the harmony with nature.

icone_lotus
Its role is predominant in the social life of the village, so much so that the pagoda is often mentioned in popular poems:

Ðầu làng có một cây đa,
Cuối làng cây thị, đàng xa ngôi chùa.

There is a banyan tree at the top of the village,
At the other end, there is a golden apple tree, and further away, a pagoda.

or

Rủ nhau xuống bể mò cua,
Lên non bẻ củi, vào chùa nghe kinh.

Rushing down to the sea to feel for crabs,
Climbing the mountain to gather firewood, entering the pagoda to listen to the sutras.

This shows how deeply attached the Vietnamese are to the sea and the mountain for sustenance and to the pagoda for spiritual nourishment. The pagoda is, in a way, their ideal and spiritual refuge in the face of natural calamities and the uncertainties they often encounter in their daily lives.

Until today, the origin of the word « Chùa » has not yet been clarified. No connection has been found in the etymology of the Chinese word « tự » (pagoda). According to some specialists, its origin should be sought in the Pali word « thupa » or « stupa » written in Sanskrit, because at the beginning of its construction, the Vietnamese pagoda resembled a stupa. Since the Vietnamese are accustomed to shortening the syllabic pronunciation of foreign-imported words, the word « stupa » thus became the word « stu » or « thu, » quickly evolving over the years into the word « chùa. » According to the Vietnamese researcher Hà Văn Tấn, this is only a hypothesis.

As for the word « Chiền » found in the ancient Vietnamese language (tiếng Việt cổ), it is used today in association with the word « Chùa » to refer to pagoda architecture. However, this word « Chiền » was often mentioned alone in the past to designate the pagoda. This is what was found in the poem titled « Chiền vắng âm thanh (deserted pagoda, solitary refuge) » by King Trần Nhân Tôn or that of Nguyễn Trãi « Cảnh ở tự chiền (or Landscape of the pagoda). » For many people, this word « Chiền » originates either from the Pali word « cetiya » or from the Sanskrit word « Caitya » to designate, in any case, the altar of the Buddha.

The construction of the pagoda requires as much time as effort in the preliminary research and exploration of the land. The site must strictly meet a certain number of criteria defined in geomancy because, according to the Vietnamese, this science could exert either a harmful or beneficial influence on the social life of villagers. The monk Khổng Lộ of the Vô Ngôn Thông sect (1016-1094), advisor to the Lý dynasty, had the opportunity to address this subject in one of his poems with the following verse: Tuyển đắc long xà địa khả cư (Choosing the land of dragons and snakes allows for peaceful dwelling) (or the choice of the best land can bring daily comfort in life).

We are used to building the pagoda either on a hill or a mound or on a sufficiently elevated area so that it can overlook the villagers’ homes. That is why the expression « Lên Chùa (or going to the pagoda), » undeniably linked to the topography of the pagoda, is commonly used by Vietnamese people even when the building in question is located on flat ground.

In most pagodas, especially those located in the North of Vietnam, the setting is both serene, mystical, and magnificent. Watercourses, mountains, hills, streams, etc., are always present, sometimes creating breathtaking landscapes due to their harmonious integration with nature. This is the case of the Master’s Pagoda (Chùa Thầy) between mountain and water. It perches on Mount Thầy in Hà Tây province, 20 km from the capital Hanoi.

[READING MORE]

Chùa Chiền Việt Nam: Phần 2 (Version vietnamienne)

 

pagode2

Version française
Version anglaise

Chúng ta tự gọi là « Thầy » vì chính tại đây, nhà sư Từ Đạo Hạnh đã sáng tạo và truyền dạy cho người dân địa phương một loại hình nghệ thuật độc đáo: múa rối nước. Ngoài ra còn có chùa Côn Sơn nằm trên ngọn núi cùng tên, cách Hànội 60km, thuộc tỉnh Hải Dương. Chùa gồm khoảng hai mươi tòa nhà, ẩn mình trong rừng thông, trên đỉnh một cầu thang dài vài trăm bậc. Chính tại đây, sau khi từ giã sự nghiệp chính trị, nhà nhân văn nổi tiếng Nguyễn Trãi đã để lại cho chúng ta một bài thơ khó quên mang tên « Côn Sơn Ca« , trong đó ông mô tả cảnh quan hùng vĩ của ngọn núi này và cố gắng tóm tắt cuộc đời của một người chỉ có thể sống tối đa một trăm năm và người mà mọi người đều tìm kiếm những gì mình mong muốn trước khi cuối cùng trở về với cỏ và bụi. Nhưng ngôi chùa được viếng thăm nhiều nhất vẫn là Chùa Hương. Trên thực tế, đây là một quần thể các công trình được xây dựng trên vách núi.

Nằm cách thủ đô 60 km về phía tây nam, đây là một trong những thánh địa quốc gia được hầu hết người Việt Nam lui tới, cùng với chùa Bà Chúa Xứ (Châu Đốc) gần biên giới Campuchia vào dịp Tết. Ở miền Trung Việt Nam, Chùa Thiên Mụ, nằm đối diện sông Hương, không hề kém phần quyến rũ, trong khi ở phía nam, tại tỉnh Tây Ninh, không xa Sài Gòn, nằm nép mình trên núi Bà Đen (núi Bà Đen), một ngôi chùa cùng tên.

Chỉ riêng tại thủ đô Hà Nội, đã có ít nhất 130 ngôi chùa ở khu vực lân cận. Số lượng chùa cũng nhiều như số làng. Thật khó để liệt kê hết. Tuy nhiên, do sự biến đổi của thời gian và sự tàn phá của chiến tranh, chỉ còn một số ít công trình vẫn giữ được nguyên vẹn phong cách kiến ​​trúc và điêu khắc có từ thời Lý, Trần và Lê.

Đôi khi sự tàn phá của con người là nguyên nhân dẫn đến sự phá hủy một số ngôi chùa nổi tiếng. Đây là trường hợp của chùa Báo Thiên, nơi mà địa điểm đã được nhượng lại cho chính quyền thực dân Pháp để xây dựng nhà thờ Thánh Giuse theo phong cách tân Gothic mà ngày nay có thể được nhìn thấy ở trung tâm thủ đô, không xa Hồ Hoàn Kiếm nổi tiếng (Hà Nội). Nhìn chung, hầu hết các ngôi chùa ngày nay vẫn còn lưu giữ rõ ràng dấu vết của việc trùng tu và tôn tạo dưới thời nhà Nguyễn. Mặt khác, các đồ vật tôn giáo, tượng đá và đồng của họ ít bị thay đổi và vẫn giữ được trạng thái ban đầu qua nhiều thế kỷ. Hơn nữa, khi chúng ta di chuyển vào miền Trung và miền Nam Việt Nam, chúng ta nhận thấy rằng ảnh hưởng của Chăm và Khmer không vắng mặt trong kiến ​​trúc của các ngôi chùa vì những lãnh thổ này trong quá khứ lần lượt thuộc về các vương quốc ChampaFunan.Mặc dù số lượng chùa chiền rất nhiều và quy mô đa dạng, nhưng cách sắp xếp các công trình kiến ​​trúc của chúng vẫn không thay đổi. Điều này dễ dàng nhận ra qua 6 chữ Hán nổi tiếng sau: Nhất, Nhị, Tam, Đinh, Công và Quốc (hay 一, 二, 三, 丁, 工trong tiếng Trung). Sự đơn giản thể hiện rõ qua mẫu hình được xác định bởi chữ đầu tiên Nhất, trong đó các công trình kiến ​​trúc nối tiếp nhau thành một hàng ngang duy nhất hướng ra hiên nhà (Tam Quan).

Đây là hình ảnh thường thấy ở hầu hết các ngôi chùa ở các làng quê không có trợ cấp nhà nước hoặc ở Đồng bằng sông Cửu Long ở miền Nam Việt Nam. Chữ thứ hai Nhị có nghĩa là « hai » gợi nhớ đến cách sắp xếp hai hàng ngang song song hướng ra hiên nhà. Ngôi chùa này có ưu điểm là có ít nhất ba cửa phụ và dẫn vào một khoảng sân nơi thảm thực vật tươi tốt và hiện diện khắp nơi nhờ những bụi cây rậm rạp và hoa trồng trong chậu. Đôi khi chúng ta thấy mình đang ở giữa một ao sen và súng, không khỏi gợi nhớ đến sự thanh bình hòa hợp với thiên nhiên. Với chữ Tam thứ ba, có ba hàng ngang song song thường được nối với nhau ở giữa bằng những cây cầu nhỏ hoặc một hành lang. Đây là trường hợp của chùa Kim Liên (Hà Nội) và chùa Tây Phương (Hà Tây). Hàng đầu tiên tương ứng với một nhóm các tòa nhà, tòa nhà đầu tiên thường được gọi là « tiền đường ». Đôi khi được gọi bằng tên tiếng Việt là « bái đường », tòa nhà này được sử dụng để tiếp đón tất cả các tín đồ. Nó được bảo vệ tại lối vào bởi các vị thần hộ mệnh (hoặc dvàrapalàs hoặc hộ pháp), những người, với những nét mặt đe dọa, mặc áo giáp và trưng bày vũ khí của họ (giáo, mũ sắt, v.v.). Đôi khi, mười vị vua của địa ngục (Thập điện diêm vương hoặc Yamas) ngồi trên ngai vàng bên cạnh phòng trước này, hoặc 18 vị La Hán (Phật La Hán) trong các tư thế khác nhau của họ trong hành lang. Đây là trường hợp của chùa (Chùa Keo), nơi 18 vị La Hán hiện diện trong phòng trước. Đôi khi còn có thần đất hoặc thần bảo vệ tài sản của chùa (Đức Ông).

Một trong những đặc điểm của chùa Việt Nam là sự hiện diện của mẫu thần Mẫu Hạnh (Liễu Hạnh Công Chúa), một trong bốn vị thần được người Việt Nam thờ phụng. Sự tôn kính của bà có thể thấy rõ ở gian trước của chùa Mía (Chùa Mía, Hà Tây). Sau đó, trong một tòa nhà thứ hai cao hơn một chút so với tòa nhà thứ nhất, có những lư hương cũng như tấm bia đá kể lại câu chuyện về ngôi chùa. Đây là lý do tại sao nó được gọi là « nhà thiêu hương ». Cũng ở phía sau của tòa nhà này có một bàn thờ, phía trước có các nhà sư tụng kinh cùng các tín đồ bằng cách đánh một chiếc chuông gỗ (mõ) và một chiếc chuông đồng úp ngược (chông). Đôi khi có thể tìm thấy chuông trong nhóm các tòa nhà này nếu vị trí của tháp chuông (gác chuông) không được quy hoạch bên cạnh (hoặc trên sàn) hiên nhà. Bất kể kích thước của ngôi chùa, phải có ít nhất ba tòa nhà cho hàng đầu tiên này.Sau đó, chúng ta thấy hàng quan trọng nhất của ngôi chùa tương ứng với phòng của các bàn thờ chính (thượng điện). Đây là nơi chúng ta có đền thờ phong phú và có thứ bậc. Nó được phân bổ trên ba bệ. Trên bệ cao nhất dựa vào bức tường phía sau, chúng ta thấy bàn thờ của các vị Phật của Ba Thời Đại (Tam Thế). Trên bàn thờ này, trong khái niệm Phật giáo Màhayàna (Phật Giáo Đại Thừa), xuất hiện ba bức tượng đại diện cho Quá khứ (Quá Khứ), Hiện tại (Hiện tại) và Tương lai (Vị Lai), mỗi bức tượng ngồi trên một tòa sen.

Trên bệ thứ hai, được đặt thấp hơn bệ thứ nhất một chút, là ba bức tượng được gọi là ba hiện hữu, với Đức Phật A Di Đà (Phật A Di Đà) ở giữa, Bồ Tát Quán Thế Âm ở bên trái (Bồ Tát Quan Âm) và Bồ Tát Đại Thế Chí ở bên phải (Bồ Tát Đại Thế Chí). Nhìn chung, Đức Phật A Di Đà có vóc dáng uy nghi hơn hai vị kia. Sự hiện diện của Ngài chứng minh tầm quan trọng của người Việt đối với sự tồn tại của Tịnh Độ trong Phật giáo. Niềm tin này rất phổ biến trong người Việt Nam vì theo họ, có cõi Tây Phương Cực Lạc (Sukhàvati hay Tây Phương Cực Lạc) do Đức Phật Vô Lượng Quang (Amitabha) chủ trì và là nơi dẫn dắt linh hồn người chết. Bằng cách gọi tên ngài, tín đồ có thể đến được cõi này nhờ lời cầu xin ân sủng từ Bồ Tát Quán Thế Âm làm người cầu thay. Theo nhà nghiên cứu Việt Nam Nguyễn Thế Anh, chính nhà sư Thảo Đường được vua Lý Thánh Tôn đưa về nước trong chuyến viễn chinh sang Chiêm Thành (Đồng Dương), người đã đề xuất quá trình giác ngộ này bằng trực giác và làm tê liệt tâm trí bằng cách niệm danh hiệu Đức Phật. Đây cũng là lý do tại sao Phật tử Việt Nam thường nói A Di Đà (Amitabha) thay vì từ « xin chào » khi gặp nhau. 

Sơ đồ bố trí nội thất của chùa chữ Công

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 Cuối cùng, trên bệ cuối cùng, thấp hơn và rộng hơn hai bệ kia, là tượng Phật Thích Ca Mâu Ni, Đức Phật của Hiện Tại, và hai vị đại đệ tử của ngài: Đại Ca Diếp (Kasyapa) và Tôn Giả A Nan (Ananda). Ở một số chùa, có bệ thứ tư mô tả Đức Phật của Tương Lai, Di Lặc, bên phải là Bồ Tát Phổ Hiền Bồ Tát, biểu tượng của sự thực hành, và bên trái là Bồ Tát Văn Thù Sư Lợi, biểu tượng của trí tuệ. Số lượng tượng được trưng bày trên các bệ thờ khác nhau tùy thuộc vào danh tiếng của ngôi chùa. Phần lớn là nhờ vào sự cúng dường của các tín đồ. Đó là trường hợp chùa Mía có 287 bức tượng, chùa Trăm Gian (Hà Tây) có 153 bức tượng, v.v.Hàng cuối cùng của chùa (hay hậu đường) tương ứng với gian sau và có tính chất đa chức năng. Một số chùa dành nơi này làm nơi ở của người tu hành (tăng đường). Một số chùa khác lại dùng làm nơi thờ cúng các bậc hiền tài, anh hùng như Mạc Đĩnh Chi (chùa Dâu) hay Đặng Tiến Đông (chùa Trăm Gian, Hà Tây). Chính vì vậy mà chúng ta thường nói: tiền Phật hậu Thần (trước Phật, sau Thần). Đây là mô hình ngược lại mà chúng ta thường thấy ở đình chùa: Tiền Thần, Hậu Phật. (trước Phật, sau Phật). Đôi khi có gác chuông hoặc lầu Manes dành cho người đã khuất. 

Đôi khi, một căn phòng hoặc bàn thờ được dành riêng cho những người đã đầu tư nhiều tiền vào việc xây dựng hoặc bảo trì chùa. Hầu hết những người cúng dường là phụ nữ, những người có ảnh hưởng đáng kể đến các vấn đề của nhà nước. Đây là trường hợp của công chúa Mía, một trong những phi tần của Chúa Trịnh. Một bàn thờ gần với bàn thờ của Đức Phật đã được dành riêng cho bà tại chùa Mía. Trong chùa Bút Tháp, có một phòng dành riêng để tôn kính những người cúng dường nữ như hoàng hậu Trịnh Thị Ngọc Cúc, các công chúa Lê Thị Ngọc DuyênTrịnh Thị Ngọc Cơ. Đây là những người đã đóng góp tài chính cho việc xây dựng ngôi chùa này vào thế kỷ 17.

 Phía sau chùa, người ta có thể tìm thấy một khu vườn với các bảo tháp hoặc một ao súng. Đây là trường hợp của chùa Phát Tích, với sân sau có 32 bảo tháp với kích thước khác nhau trong vườn. Hình dạng của chữ Đinh () đôi khi được tìm thấy trong bố cục bên trong của chùa Việt Nam. Đây là dấu hiệu thứ tư của chu kỳ thập phân được sử dụng trong lịch Trung Quốc. Đây là trường hợp của chùa Nhất Trụ do vua Việt Nam Lê Đại Hành xây dựng tại Hoa Lư (Ninh Bình), cố đô của Việt Nam, và chùa Phúc Lâm (Tuyên Quang) được xây dựng dưới thời nhà Trần (thế kỷ 13-14).

Chữ mà hầu hết các ngôi chùa Việt Nam thường sử dụng trong thiết kế nội thất là chữ Công (). Bên cạnh các dãy chính được thiết kế tỉ mỉ bên trong chùa, còn có hai hành lang dài nối tiền đường với hậu đường. Điều này tạo thành một khung hình chữ nhật, bao quanh các dãy chính đã được đề cập trước đó trong chữ Tam. Cách sắp xếp này trông giống chữ Công bên trong chùa, nhưng nhìn từ bên ngoài lại giống chữ Quốc (), với khung được hoàn thiện bởi hai hành lang dài.

[Return RELIGION]

 

Champa buddhism (VA, Part 3)

Vương triều chàm Indrapura

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is compared to what we see today at the Champa Sculpture Museum in Da Nang.

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French version
Vietnamnese version

Unfortunately, for an unknown reason, its distinctive attributes were broken and confiscated by the office of the Bình Định People’s Committee, which currently oversees the Đồng Dương site. They have not been returned to the Cham Museum in Đà Nẵng to this day, despite the piece being exhibited to the public for a long time. This is why the bronze statue continues to be the subject of various iconographic interpretations. Based on the information provided (the photos) at the time he conducted an in-depth study in 1984, Jean Boisselier thought it represented Tara. For this, he tried to rely on the idols of Đại Hữu, the codification of the deity’s gestures (mudra), the rank in the Buddhist pantheon, the ornamentation of the adornments (nànàlankàravati), the importance of the gaze, and the existence of the third eye to successfully identify the deity.

Some Vietnamese researchers see in this statue the wife Lakshmi of Vishnu because one of its two distinctive attributes includes the conch (con ốc). For the Vietnamese researcher Ngô Văn Doanh, there is no doubt about the identity of this deity. It is indeed Laksmindra-Lokesvara because, for him, each distinctive attribute has a particular meaning. The lotus symbolizes beauty and purity. As for the conch, it symbolizes the propagation of Buddha’s teaching and awakening after the sleep of ignorance.

This is also the hypothesis long accepted by Vietnamese researchers. According to the Thai specialist Nanda Chutiwongs, this magnificent bronze is called Prajnàpàramità (Perfection of Wisdom). But this does not diminish the conviction of most specialists who, like Jean Boisselier, continue to see in this exceptional bronze the alluring goddess Tara, whose heavy breasts remain one of the prominent features found in her early youth. She is always the consort of the bodhisattva Avalokitesvara.

Recently, in the report on archaeology that took place in 2019 in Hanoi, researchers Trần Kỳ Phương and Nguyễn Thị Tú Anh had the opportunity to redefine the name of the bronze statue, Tara, based on the decorative image of the Buddha found in the statue’s hair, the distinctive attributes (the lotus and the conch) in her two hands, as well as the hand gesture. According to these Vietnamese researchers, Tara is the female incarnation of the meditation Buddha Amoghasiddhi, heir of the historical Buddha Shakyamuni in tantric Buddhism (Tibet).

He was often seated under the fan spread by the seven-headed cobra Mucalinda, known as « Effective Success. » In iconography, he often held a sword in his left hand and a significant gesture recognizable under the term « Abhayamudra (or absence of fear) » in his right hand during his meditation.

That is why the decorative image of the small Buddha, corresponding exactly to what is described, is found on the hair of the bronze statue. Moreover, this statue is green in color all over the body. This is also the identity of the dhyani Buddha Amoghasiddhi. If the lotus symbolizes purity, the conch and the gesture of his hand under the conch correspond well to the dharmacakra mudra, setting in motion the wheel of the Dharma law.

According to researchers Trần Kỳ Phương and Nguyễn Thị Tú Anh, the Yunnan region was once a relay zone intended to facilitate the spread of Tibetan religion and art throughout Southeast Asia via the route called the « Tea and Horse Road. » It was also the place where tantric Buddhism was revered by everyone, from the people to the king, and where the production of bronze bodhisattvas Lokesvara and Tara destined for Southeast Asia was extremely important from the 7th or 8th century onward.

That is why the veneration of the bodhisattvas Lokesvara or Tara was not unusual in Chămpa. Until now, no statue of Lokesvara has appeared or been discovered at Đồng Dương, particularly at the Buddhist monastery, because it was here that King Indravarman II erected a temple to venerate his protective Buddha Lokesvara. He even associated his own name with that of the bodhisattva Lokesvara to give this Buddhist site the name Laksmindra-Lokesvara.

That is why there is no doubt about the existence of the statue of Lokesvara. It is an enigma without explanation to this day. According to researcher Trần Kỳ Phương, it is possible that this statue was made of bronze and is the same size as that of Tara. It must have been placed on the altar at the same time as Tara’s when the honor was first given at that time. Perhaps after this glorification in its honor, it was moved elsewhere or buried in the ground because of the war.

In the second enclosure, there is a long waiting hall (or mandapa) (2) that Henri Parmentier called « the hall with windows » in his description. Then, in the third enclosure (3), there is a large pillared hall, about thirty meters long. It is probably the prayer hall of the monks (vihara) where a majestic imposing statue of Buddha sits, to whom the second altar is dedicated, with a base decorated in relief and surrounded by two haloed attendants. This Buddhist site was recognized by the Vietnamese authorities as a national heritage of the country in May 2001. The blinding destruction caused by American bombing during the war years left only one intact gopura tower at this site, which the local population calls « Tháp sáng » (or tower of light) because it is open to the four directions, letting in the light. Despite this, this site continues to revive a glorious past with its great monastery, which was at one time one of the renowned religious intellectual centers in Southeast Asia. It was here that, after his brilliant victory over Champa in 985, the Vietnamese king Lê Đại Hành (or Lê Hoàn) brought back to Vietnam an Indian monk (Thiên Trúc) who was staying at this monastery. In 1069, the great Vietnamese king Lý Thánh Tôn managed to capture a famous Chinese monk, Thảo Đường, here during his victory over Champa. But it was also here in 1301 that the founding king of the Vietnamese Zen school (Phái Trúc Lâm Yên Tử), Trần Nhân Tôn, accompanied by the Vietnamese monk Đại Việt and received by the talented Cham king Jaya Simhavarman III (Chế Mân in Vietnamese), the future husband of Princess Huyền Trân, spent 9 months meditating in this religious center. 

For the French researcher Jean Boisselier, Cham sculpture was always closely linked to history. Notable changes have been observed in the development of Cham sculpture, particularly statuary, in connection with historical events, changes of dynasties, or the relations that Champa had with its neighbors (Vietnam or Cambodia). That is why one cannot ignore that a change of dynasty encourages a creative momentum in the development of Cham sculpture, which is distinguished by a new particular style now known under the name « Đồng Dương. »


icones_dongduong2icones_dongduong1Phong cách  Đồng Dương


This one cannot go unnoticed due to its following facial features: prominent eyebrows connected in a continuous, sinuous line rising up to the hairline, thick lips with the corners turned up, a mustache sometimes mistaken for the upper lip, and a flat nose, wide from the front and aquiline in profile, a narrow forehead, and a short chin. The absence of a smile is noteworthy. This style continued to develop alongside Mahayana Buddhism in other regions of Champa under the reigns of the immediate successors of the Buddhist king Indravarman II. They continued to particularly venerate Avalokitesvara and to adopt Buddhism as the state religion. This is known from royal inscriptions. This is the case with the Ratna-Lokesvara sanctuary, which King Jaya Simhavarman I, the nephew of King Indravarman II, patronized. This sanctuary has been located at Đại Hữu in the Quảng Bình region. In this sacred place, a large number of Buddhist sculptures have been unearthed. Then around Mỹ Đức in the same province of Quảng Bình, a Buddhist complex was discovered with architectural and decorative similarities to those found at Đại Hữu and Đồng Dương.

Buddhist faith is not absent either in Phong Nha, where some caves used as places of worship still retain their imprint over the years. Finally, a temple dedicated to the deity Mahïndra-Lokesvarà was erected in 1914 in Kon Klor (Kontum) by a chief named Mahïndravarman. There were even two pilgrimages organized by a high dignitary on the orders of King Yàvadvipapura (Java) with the aim of deepening the siddhayatra (or mystical knowledge), as reported by the inscriptions of Nhan Biểu dating from 911 AD.

Cham dynasty of Indrapura


Bouddha statue, Thăng Bình, Quảng Nam

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854-898     Indravarman II (Dịch-lợi Nhân-đà-la-bạt-ma)
898-903     Jaya Simharvarman I (Xà-da Tăng-gia-bạt-ma)
905-910     Bhadravarman III (Xà-da Ha-la-bạt-ma)
910-960     Indravarman III (Xà-da Nhân-đức-man)
960-971     Jaya Indravarman I (Dịch-lợi Nhân-di-bàn)
971-982     Paramesvara Varman I (Dịch-lợi Bế- Mĩ Thuế)
982-986     Indravarman IV (Dịch-lợi Nhân-đà-la-bạt-ma)
986-988     Lưu Kế Tông
989-997     Vijaya shri Harivarman II (Dịch-lợi Băng-vương-la)
997-1007   Yan Pu Ku Vijaya Shri (Thất-ly Bì-xà-da-bạt-ma)
1007-1010  Harivarman III (Dịch-lợi Ha-lê-bạt-ma)
1010-1018  Paramesvara Varman II (Thi Nặc Bài Ma Diệp)
1020-1030  Vikranta Varman II (Thi Nặc Bài Ma Diệp)
1030-1044  Jaya Simhavarman II (Sạ Đẩu)


This Buddhist faith began to seriously falter in the face of the invasion of the people from the North (the Vietnamese) who had just been freed from Chinese oppression. These, led by the new king Lê Đại Hành, did not hesitate to sack the capital Indrapura in 982 after the Cham king Parameçvaravarman I (Ba Mĩ Thuế) had clumsily and for an unknown reason detained two Vietnamese emissaries Từ Mục and Ngô Tử Canh and openly supported Ngô Tiên, son of the liberator king of the Vietnamese nation, Ngô Quyền, in the power struggle.

Mahayana Buddhism did not allow the Cham kings to find everything they needed in their struggle against the Vietnamese enemies. They began to doubt the wisdom of this religion when it failed to attract the local population until then. It remained the personal religion of choice for the elites and their Cham kings. They preferred to seek their salvation in the worship of their destructive god Shiva in order to better protect their victories and to enable them to resist, more or less, the foreign invaders (Chinese, Mon, Khmer, and Vietnamese) in the creation, maintenance, and survival of their nation.

Their perpetual belligerence, probably inspired by Shaivism, became a strong argument and a legitimate justification first for the Chinese and then for the Vietnamese to carry out military interventions and gradually annex their territory in the march southward (Nam Tiến).

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Bibliographic references


Avalokitesvara: name of a bodhisattva representing the infinite compassion of the Buddha.
Bodhisattva: being destined for enlightenment (Bồ tát)
Dharma: moral law (Đạo pháp)
Lokesvara: lord of the world. Designation of a Buddha or Avalokitesvara.
Mandapa: religious building with columns within the temple enclosure.
Tara: the one who saves. Female counterpart of Avalokitesvara. Highly revered in India and Tibet.
Vishnu: God who maintains the world between its creation by Brahma and its destruction by Shiva.

 

Champa Buddhism (VA: Part 2)

 
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Version vietnamienne
Version française

The discovery of a large number of Mahayana elements, particularly statues of the deity Avalokitesvara, the most popular and revered icon of Mahayana Buddhism, undeniably marks the strengthening of its establishment and doctrine in Champa and testifies to the benevolence of the Cham sovereigns. This special royal consideration allowed it to remain a secondary religion, living for several centuries in the shadow of Hinduism, patiently awaiting its time of glory and influence. It was in the 8th and 9th centuries that, after embracing certain countries such as the Khmer Empire and the kingdoms of Srivijaya and Sailendra, Mahayana Buddhism found its full flourishing in accordance with the arrival of the new ruling Bhrgu lineage in the person of Indravarman II. It is also in the Chinese annals (for example, Tân Đường Thư) that the name « Tchan-Tcheng » (or Campapura (Chiêm Thành in Vietnamese)) appeared for the first time, replacing Huanwang (Hoàn Vương), which had until then been linked to the royal lineage of Prathivindravarman of the South (Kauthara) (Nha Trang).
Having transferred the capital to Indrapura (near Hội An) (or Faifo) in the Amaravati region (Quảng Nam and Quảng Ngãi), Indravarman II showed a particular personal inclination towards Mahayana Buddhism despite maintaining Shaivism as the state religion. It cannot be ignored that King Indravarman II had the opportunity to recall in his royal inscriptions that sovereignty over Champa had come to him solely by the favor of destiny and thanks to merits acquired in many previous existences. It seems that through this teaching, he was more or less attached to the doctrine of Buddhism, particularly to the accomplishment of spreading the Dharma, more than any other Cham king who found his salvation in union with Shiva. According to Georges Coedès, he was designated by Vikrântavarman III, who died without offspring, at the request of the great sages of the kingdom. What is remembered about this king is his Buddhist fervor, his extraordinary wisdom, and his unwavering faith in Lokesvara (Lord of the World). In 875, he had an important Buddhist temple erected in his capital Indrapura on the Đồng Dương site, not far from the Mỹ Sơn sanctuary where the national god Shiva Bhadresvara resided, and he entirely dedicated it to his personal god, Laksmindra-Lokesvara.
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We also see in the choice of the name of this temple a practice now used by the Cham sovereigns, always associating the name of the protective deity with that of the donor of the establishment. Despite the primary worship of Shiva for his devastating powers and brilliant victories in protecting the kingdom, the veneration of Lokesvara, representing a Buddha or Avalokitesvara (a bodhisattva), symbolizes not only peace and benevolence but also the protection of this deity over the country and its inhabitants, so much so that Hinduism and Buddhism, although different philosophically and religiously, can now coexist in Champa. According to the French archaeologist Henri Parmentier, the Buddhist site Đồng Dương also seems to encompass the king’s residence located at what is today called « ao vuông » (square-shaped pond). It appears that there is a secret water current that can communicate with a well located one kilometer to the east of the site. The construction of this site demonstrates a desire for innovation in grouping many isolated buildings within an imposing architectural achievement where the presence of Chinese and Indian influences is undeniable.
This is what is discovered in the general plan of this site. In its architecture and sculpture, certain aspects of the borrowing from Chinese art can be seen in terms of monumentality and power, while in the composition of the liturgical scenes and narrative panels there is an impeccable fidelity to the decorative conventions found in the temples of western India.

The construction of this site develops along an east-west axis 1300 meters long, with numerous brick buildings spread across three successive enclosures, each controlled by an entrance pavilion guarded by formidable and terrifying stone guardians (dvarapala). According to Henri Parmentier‘s description, it was in the western half of the first enclosure that he found in 1905 the most important sanctuary (1), probably housing the statue of Laksmindra-Lokesvara to whom the site was dedicated in 875 by King Indravarman II. This main sanctuary is preceded by a tower open to the four cardinal points (thap sang) and surrounded by 9 small temples arranged in a well-ordered layout.
For most Vietnamese researchers, the great masterpiece of bronze art that a peasant found by chance in 1978 while looking to collect some bricks in the ruins near the first enclosure, often referred to as Tara (Phật mẫu Tara), is none other than the statue of Laksmindra-Lokesvara (Quan Âm chuẩn đề). It is indeed Avalokitesvara appearing in a feminine form as a Bodhisattva (Bồ tát Quán Thế Âm) because in both hands, at the time of its discovery, a lotus and a conch were found.[Reading more]

[Champa buddhism: Part 3]