Thailand (Thái Lan)

French version

The emergence of the Thai people is only strengthened since the XIVth century. Nevertheless it is a very ancient people of Southern China. It is a member of the Austro-Asiatic group (Chủng Nam Á) (or Baiyue or Bách Việt in Vietnamese). It is this group French archaeologist Bernard Groslier often indicated under the name of « Thai-Vietnamese group ».

Repulsed by the Tsin of Shi Huang Di, the Thai people try to resist again and again. For Vietnamese writer Bình Nguyên Lôc, the subjects of Shu and Ba (Ba Thục) kingdoms annexed very early by the Tsin in the Szechuan (Tứ Xuyên) (1), were the Proto-Thai (or Tày). According to this writer, they belonged to the Austroasiatic group of branch Âu (or Ngu in language mường or Ngê U in Chinese mandarin (quan thoại)) to which the Thai and the Tày were attached.

For him as for other Vietnamese researchers Trần Ngọc Thêm, Nguyễn Đình Khoa, Hà Văn Tấn etc .., the Austro-Asiatic group contains 4 different subgroups: subgroup Môn-Khmer, subgroup Việt Mường (branch Lạc), subgroup Tày-Thái (branch Âu) and subgroup Mèo-Dao to which it is necessary to add the subgroup Cham, Raglai, Êdê to define the Indonesian race (or Proto-Malay) (2) (Chủng cổ Mã Lai).

The contribution of the Thai people in the foundation of the Ậu Lạc kingdom of Thục Phán (An Dương Vương) is no longer in doubt after the latter managed to eliminate last king Hùng of the Văn Lang kingdom because the name « Âu Lạc » (or Ngeou Lo) evoke obviously the union of two ethnic groups Yue of branch Âu (Proto-Thai) and branch Lạc (Proto-Viet ). Furthermore, Thục Phán originating from the royal family of Shu (Thục), an Yue of Thai branch, which shows at such a point the union and the common fate of these two ethnic groups in front of the Chinese expansion.

It is what is has been reported in Chinese historical writings ( as Kiao -tcheou wai-yu ki or Kouang-tcheou ki) but it has been refuted by some Vietnamese historians because the Shu kingdom was too far the Văn Lang kingdom. This latter has been annexed very early ( more than a half century before the foundation of the Văn Lang kingdom) by the Tsin. But according to Bình Nguyên Lộc writer, in the compagny of his trusted friends, Thục Phán having lost his homeland, was forced to seek refuge at this time in the country having the same ethnic affinity, that is to say Si Ngeou (Tây Âu) located beside the Văng Lang kingdom of the Vietnamese. Furthermore, the Chinese have no interest in falsifying history by reporting that the ruler of the Âu Lạc kingdom was the Shu prince. For this latter and his trusted friends, the requests for asylum need a certain time, which explains at least a half century in this exodus before the foundation of his Âu Lạc kingdom. Moreover, he was at the head of an army of 30.000 soldiers. It is impossible for him to assure all logistical aspects and render his army invisible during the exodus by crossing through Yunan mountainous regions administered by others ethnic ennemies or people close to the Chinese. It is likely that he needed what is necessary before his conquest with Si Ngeou people (or Proto-Thaïs). Despite the legend of the Vietnamese magic crossbow, An Dương Vương (Ngan-yang wang) was a historical personage. The discovery of his capital archeological remains (Cổ Loa, huyện Đông An, Hànội ) does not question the existence of this kingdom established about three centuries before Jesus Christ. This one was later annexed by Zhao To (Triệu Đà), founder of the Nan Yue kingdom.

 

A long common history with the Vietnamese.

The Lạc Long Quân-Âu Cơ myth insinuate so skilfully the union and the separation of two Yue ethnic groups, one being of Lạc branch (the Proto-Vietnamese) coming down to the plains by the pursuit of water courses and rivers, the other (the Proto-Thaïs) taking refuge in mountainous areas. There are the Mường in this exodus. Being close to the Vietnamese at the linguistic level, the Mường have managed to keep their ancestral customs because they were sent away and protected in high mountains. They had a social organization similar to that of the Tày and the Thaïs.

Located in Kouang Tong (Quãng Đông) and Kouang Si (Quãng Tây) provinces, the Si Ngeou (Tây Âu) kingdom is none other than the land of the Proto-Thaïs (Thai ancestors). It is here that Shu prince Thục Phán took refuge before the Văn Lang kingdom conquest. It should also be remembered that Chinese emperor Shi Houang Di had to mobilize at this time more than 500.000 soldiers for the Si Ngeou kingdom conquest after having successfully defeated the Chu kingdom (Sỡ Quốc) army with 600.000 soldiers. You have to think that in addition to the implacable resistance of its warriors, the Si Ngeou kingdom should be very large and densely populated for the commitment of the substantial military force from Shi Houang Di (Tần Thủy Hoàng).

Despite the premature death of Si Ngeou king named Yi-Hiu-Song (Dịch Hu Tống),the resistance led by the Yue of Thai branch or (Si Ngeou)(Tây Âu) succeeded in obtaining a few expected results in Southern Kouang Si with the death of general T’ou Tsiu (Uất Đồ Thư) leading a Chinese army of 500.000 men, which has been mentioned in Master Houa-nan annals (or Houai–nan –tseu in Chinese or Hoài Nam Tử in Vietnamese) written by Liu An (Lưu An), grandson of Kao-Tsou emperor (or Liu Bang), founder of Han dynasty between 164 and 173 before our era. Si Ngeou was known for the courage of its formidable warriors. This corresponds exactly to the temperament of the Thai living in the past, described by French writer and photographer Alfred Raquez:(3)

Being belligerent and adventure racer, the old-time Thai were almost constantly at war with their neighbours and often saw their successfull excursions. After each victorious campaign, the prisoners were taken with them and deported in a part of Siam territory as far away as possible from their countries of origin.

After the disappearance of this kingdom and that of Âu Lạc, the Proto-Thaï remaining in Vietnam at this time under the bosom of Zhao To (a former general of Tsin dynasty who later became the first emperor of Nan Yue kingdom) had their descendants forming properly today the ethnic minority Tày of Vietnam. Other Proto-Thaï fled to Yunnan where they united at the eighth century in Nanzhao kingdom (Nam Chiếu) then Dali (Đại Lý) where buddhism of Greater Vehicle began to take root. Unfortunaly, their attempt was in vain. Shu, Ba, Si Ngeou, Âu Lạc (5), Nan Zhao, Dali countries are part of the list of kingdoms annexed one after the other by the Chinese during their exodus. In these countries submitted, the Proto-Thaïs presence was very important. In front of the Chinese continous pressure and the Himalaya inexorable barrier, the Proto-Thaï had to get back in the Indochinese peninsular (4) by penetrating slowly like a fan in Laos, northwest region of Vietnam (Tây Bắc), northern Thailand and Upper Burma.

According to Thai historical inscriptions found in Vietnam, there are three important waves of migration initiated by the Thai of Yunnan in northwest of Vietnam during the 9th and 11th centuries. This corresponds exactly to the period where Nanzhao was annexed by Dali destroyed, in turn, three centuries later by Kubilai Khan Mongols in China. During this penetration, the Proto-Thaïs were separated into groups: the Thaï of Vietnam, the Thaï in Burma (or Shans), the Thaï in Laos (or Ai Lao in Vietnamese) and the Thaï in Northern Thailand. Each of these groups began to adopt the religion of these host countries. The Thaï of Vietnam do not have the same religion as those of other territories. They continue to keep animism (vạn vật hữu linh) or totemism.

This is not the case of the Thaï living in Northern Thailand, Upper Burma, Laos which were occupied at this time by Indianized and Buddhist theravàda Môn-Khmer kingdoms (Angkorian empire, Môn Dvaravati, Haripunchai, Lavo kingdoms etc …) after the dislocation of Indianized Funan kingdom. The Môn had a key rôle in the transmission of Theravadà Buddhism from Sinhalese tradition for Thai newcomers.


(1): Pays des pandas. C’est aussi ici qu’on a découvert la culture de Ba-Shu célèbre pour ses masques zoomorphes de Sanxingdui et pour le mystère des signes sur les armures. C’est aussi le royaume de Shu-Han (Thục Hán) de Liu Bei (Lưu Bị) à l’époque des Trois Royaumes.(Tam Quốc)

(2) Race de l’Asie du Sud-Est préhistorique.

(3): Comment s’est peuplé le Siam, ce qu’est aujourd’hui sa population. Alfred Raquez, (publié en 1903 dans le Bulletin du Comité de l’Asie Française). In: Aséanie 1, 1998. pp. 161-181.

(4) Indochina in wider sense. This is not French Indochina.

(5) The Âu Lạc kingdom of An Dương Vương was annexed by Chinese General Zhao To (Triệu Đà) who later became the founder of Nanyue kingdom. This one will be in turn under the control of Han dynasty, half a century later.


Bibliography

Water puppets (Múa rối nước)

 

French version 

muaroinuoc

Water is everywhere in Vietnam. Nothing is surprising to find it in  songs, folk dances or performing arts. It has a primordial role in  water puppets show.


Before being a popular entertainment, this spectacle is something as a ritual invocation of good harvests, indispensable facing to the natural disasters that Vietnamese farmers have often in their daily lives. Created in Vietnam in the tenth century, the spectacle of water puppets is over century after century, a performing art where one finds not only mythical characters but also Vietnamese peasants living in their daily lives behind bamboo fences.

Once the red curtain  raised, we can see a troupe of tiny articulated wooden puppets sliding underneath the water. The dragon spit fires, the tortoises are risen abruptly in front of travellers etc… The end of the spectacle is followed by  the artists’ appearance. These individuals all wear a pair of rubber boots and are immersed in waist-high water with stoicism during the spectacle.

Pictures gallery

The water puppets are the oldest form of expression founded in Vietnam. They belong to the spiritual inheritance of humanity. One finds here the heart of the Vietnamese people. It is a spectacle not to be missed if there is the occasion to visit Hanoï or Saïgon

Marionnettes sur l’eau (Múa rối nước)

 

Vietnamese version

L’eau est omniprésente au Vietnam. Rien n’est étonnant de la trouver dans les chansons, dans les danses populaires ou dans les arts du spectacle. Elle joue un rôle primordial dans le spectacle des marionnettes sur l’eau.

Avant d’être un divertissement populaire, ce spectacle est en quelque sorte un rite invocateur de bonnes récoltes indispensable face aux calamités naturelles que les paysans vietnamiens connaissent souvent dans leur vie quotidienne. Crée au Vietnam au Xème siècle par le moine Từ Đạo Hạnh, le spectacle des marionnettes sur l’eau devient au fil des siècles un art scénique où on trouve non seulement des personnages mythiques ou légendaires mais aussi des paysans vietnamiens vivant au quotidien derrière leur haie de bambous.

Une fois le rideau rouge soulevé, sont apparues de minuscules marionnettes en bois et  polychromes articulées glissant au raz de l’eau sous l’action précise guidée au moyen de longues perches, par  des artistes se cachant derrière le rideau. Les dragons se battent entre eux et crachent du feu, les tortues se dressent brusquement devant les voyageurs etc. La fin du spectacle est suivie par l’apparition des artistes ayant tous de longues cuissardes en caoutchouc et restant immergés avec stoïcisme jusqu’à la taille durant le spectacle.

Issues du delta du Fleuve Rouge, les marionnettes sur l’eau sont la plus ancienne forme d’expression propre millénaire  trouvée au Vietnam. Elles font partie du patrimoine culturel immatériel  de l’humanité. On trouve l’âme du peuple vietnamien à travers ces marionnettes. C’est un spectacle à ne pas manquer si on a l’occasion de visiter la capitale Hanoï ou Saïgon (Hồ Chí Minh Ville). 

Galerie des photos

 Ở Việt Nam nơi nào cũng có nước.  Bởi vì thế nước được nhắc đến trong các nhạc phẩm, các điệu vũ dân tộc hay là trong các nghệ thuật biểu diễn.  Nước giữ vai trò chủ yếu trong múa rối nước.  Trước  khi trở thành trò tiêu khiển dân gian,  vở  diễn nầy thông thường là một nghi lễ cầu  khẩn được mùa màng tốt đẹp trước các thiên tai mà người dân Việt thường lo sợ trong cuộc sống hằng ngày. 

Được tạo ra ở thế kỷ 10 bỡi thiền sư Từ Đạo Hạnh, múa rối nước trở thành qua bao niêu thế kỷ một  nghê thuật sân khấu truyền thống mà không những ta thấy được  các nhân vật huyền thoại trong các cổ tích mà có cả luôn  các người nông dân sống hằng ngày sau các bụi tre làng. Một khi bức màn được kéo lên thì hiện ra trên mặt nước  các nhân vật bé tí hon bằng gỗ, màu sắc rực rỡ di chuyển dưới sự  dìu dắt chính xác  của các nghệ nhân sau bức màn qua các cây sào. 

Các con rồng vật lộn phun lửa, các con rùa nổi  lên thình lình trước các khán giả. Cuối buổi trình diển thường có sự xuất hiện của các nghệ nhân, tính kiên cường dầm mình trong nước   suốt buổi trình diễn. Có nguồn gốc từ đồng Bắc bộ,  múa rối nước là một hình thức biểu hiện cá biệt có lâu đời ở Việtnam.  Nó còn là một di sản văn hóa phi vật thể của nhân loại. Tâm hồn của người dân Việt được tìm thấy qua trò rối nước nầy.  Đây là một nghệ thuật sân khấu mà người du khách không thể thiếu khi có dịp đến tham quan Hà Thành hay Saïgon.

muaroinuoc

Nguyễn Trãi (Version anglaise)

French version

Vietnamese version

I would like to give to this great Vietnamese politician a great homage by slightly modifying the two verses he composed in his poem « Improvisation » translated into French by Nguyễn Khắc Viện in Anthology of the Vietnamese Literature:

A thousand Autumns have passed, water keeps its face
A thousand generations have watched the moon similar to itself;

by my two following verses:

A thousand Autumns have passed, Vietnam keeps its independence
A thousand generations have venerated Nguyễn Trãi similar to himself.

© Đặng Anh Tuấn


One can sum up the life of this great politician by means of verse 3248 of the Vietnamese literature great classical of Nguyễn Du in 18th century:

Chữ Tài liền với chữ Tai một vần
The word Tài (Talent) rhymes perfectly with the word Tai ( Misfortune ).

to evoke not only his incredible talent but also his tragic end regretted by so many Vietnamese generations. Facing the brutal force that represented emperor Chenzu of the Ming ( Minh Thánh Tổ ) under the command of Tchang Fou ( Trương Phụ ) during his invasion of Đại Việt ( ancient name of Vietnam) in the ninth month of the year Binh Tuất (1406), Nguyễn Trãi knew how to give what Lao Tseu had said in the Book of Life and Virtue:
 

Nothing is more supple and soft in the world than water
However to attack what is hard and strong
Nothing surpass it and nobody can match it.
That the weak surpasses the strong
That the supple surpasses the hard
Everyone knows.
But nobody put this knowledge into practice
 

a tremendous conceptualization and elaborated an ingenious strategy allowing the Vietnamese, weak in number to come out victorious during that confrontation and regain their national independence after 10 years of struggle. With the landowner Lê Lợi, known later as Lê Thái Tổ and 16 comrades-in-arms tied by a pledge at Lung Nhai (1406 ), and 2000 peasants at mount Lam Sơn in the mountainous region West of Thanh Hoá, Nguyễn Trãi arrived at turning the insurrection into a war of liberation and converting a band of ill-armed peasants into a people’s army of 200,000 men strong a few years later.

The strategy known as « guerilla » was shown very effective because Nguyen Trai was successful in putting into practice the doctrine advocated by the Chinese Clausewitz, Sun Zi (Tôn Tữ) in the Spring and Autumn ( Xuân Thu ) era, based on the following variables: Virtue, Time, Land , Leadership, and Discipline in the conduct of the war. Nguyễn Trãi had an opportunity to say he preferred winning the heart of the people to citadels . When there is harmony between the leaders and the people, the latter will accept to fight until their last breath. The cause will be heard and won because Heaven takes side with the people, which Confucius had the opportunity to recall in his Canonical Books: 

Thiên căng vụ dân, dân chi sở dục, thiên tất tòng chí
Trời thương dân, dân muốn điều gì Trời cũng theo
Heaven loves people so much it grants what people ask for.

One can say that with Nguyễn Trai, the humanist inclination of Confucian doctrine has taken its full development. To make sure of the support and adhesion of the people in his war for independence, he did not hesitate to take advantage of his people’s superstition and credulity. He asked his close relations to climb up trees and use toothpicks and honey to carve the following sentence on the leaves. 

Lê Lợi vì dân, Nguyễn Trãi vì thân
Lê Lợi for the people, Nguyễn Trãi for Lê Lợi 

This attracted ants to eat the honey leaving the message marked on the leaves which were blown off by the wind into streams and other bodies of water. When people picked up the leaves as such, they believed that the message came from the will of Heaven and massively joined he war of liberation.

Humanist by conviction, he always thought not only of the sufferings of his people but also that of his enemies. He had the opportunity to emphasize in his letter to Chinese General Wang Toung ( Vương Thông ) that the duty of a commander is to dare make a decision, undo hatred, save human lives and cover the world with good deeds in order to bequeath a great name to posterity ( Quân Trung Từ Mệnh Tập ). He let defeated Chinese generals Wang Toung ( Vương Thông ), Mã Anh, Fang Chen ( Phương Chính ) go back to their country with 13000 captured soldiers, 500 junks and thousands of horses. Concerned about peace and the happiness of his people, in his masterpiece « Proclamation of the Ngô Pacification » ( Bình Ngô Ðại Cáo ) that he wrote after winning the war and driving the Chinese army out of Vietnam, he recalled that it was the time to act with wisdom for the safety of the people.

To make China not to feel humiliated by the bitter defeat and to restore above all a long lasting peace and happiness for his people, he proposed China a vassal pact with a tribute of two real-sized statues in fine metal every three years ( Ðại thần kim nhân ) in compensation for the two Chinese generals Liou Cheng ( Liễu Thăng ) and Leang Minh ( Lương Minh ) who died in combat.

In the first years of the struggle, Nguyễn Trãi knew biting and bleeding defeats many times (the death of Lê Lai, Ðinh Lễ etc… ), which forced him to take refuge at Chi Linh three times with Lê Lợi and his partisans. Despite of that, he never felt discouraged because he knew that the people fully supported him. He often compare the people with the ocean. Nguyễn Trãi had the opportunity to tell his close relations:

Dân như nước có thể chở mà có thể lật thuyền.
The people is like water which can move and sink the ship.

The remark made by his father Nguyễn Phi Khanh, captured and brought to China with other educated Vietnamese including Nguyễn An, the future builder of the forbidden Citadel in Peking, during their separation moment at the Sino-Vietnamese border, continued to be vivid in his mind and made him ever more determined in his unwavering conviction for the his just cause: 

Hữu qui phục Quốc thù, khóc hà vi dã
Hãy trở về mà trả thù cho nước, khóc lóc làm gì
You’d better go back and avenge the country, it doesn’t help crying. 

He spent whole nights in search of a strategy permitting to counter the Chinese army at the zenith of its force and terror. Being updated on the dissensions within the ranks of its adversaries, the difficulty that emperor Xuanzong of the Ming was having at the northern border with the Hungs after the disappearance of Chengzu in 1424 and the damages that the Chinese army suffered during the last military engagements in spite of their territorial success, Nguyễn Trãi did not hesitate to propose a truce to general Ma Ki. The truce was voluntarily accepted by both sides because each side thought they could take advantage of this respite either to consolidate their army in waiting for reinforcements from Kouang Si and Yunnan and a larger scale military engagement ( for the Ming ), or to rebuild an army already suffering important losses of lives and to     change the strategy in the struggle for liberation ( for the Viet ).

Taking advantage of the unfamiliarity of the terrain by the Chinese reinforcing army coming from China, he was fast in his maneuvering putting into work the  » the full and the void  » doctrine advocated by Sun Zi who had said in his work « The Art of War »:

The arm must be similar to water
Since water avoids heights and falls into hollows,
The army avoids the full and attacks the void.

which permitted him to decapitate Liou Cheng and his army in the « void » of Chi Lăng defined by Sun Zi, in the mountainous and quagmire narrow pass near Lang Son. He did not give any respite to Liou Cheng’s successor, Leang Minh to regroup the remainder of his Chinese army by setting a trap around the city of Cần Trạm. Then he took advantage of the success to rout the reinforcing army of the Chinese general ( Mộc Thanh ), which force the latter to drive off and go back alone to Yunnan ( Vân Nam )

Fearing to lose the bulk of his troops in a confrontation and worrying about saving the blood of his people, he chose to implement the policy of isolating big cities such as Nghệ An, Tây Ðô, Đồng Quan ( ancient name of the capital Hànội ) by investing all forts and small cities surrounding them, by incessantly harassing the supply troops and by neutralizing all reinforcing Chinese troops. In order to prevent the eventual return of the invaders and to disorganize their administrative structure, he placed in the liberated cities a new administration led by young and educated recruits. He did not stop sending emissaries to Chinese or Vietnamese governors of these towns to convince them to surrender under penalty of being brought to justice and sentenced to death in case of resistance. This turned out to be fruitful and rewarding because it compelled generalissimo Wang Toung and his lieutenants to surrender unconditionally as he was aware that it was impossible to hang on to Ðồng Quang any longer without reinforcement and supply. It was not only a war of liberation but also a war of nerves that Nguyen Trai has successfully conducted against the Ming.

Independence regained, he was appointed Minister of the Interior and member of the Secret Council. Known for his righteousness, he was fast to become the privileged target of the courtesans of king Lê Thái Tổ who began to take offense at his prestige. Feeling the risk of having the same fate reserved for his comrade in arms Trần Nguyên Hản and imitating the Chinese senior advisor Zhang Liang ( Trương Lương or Trương Tử Phòng ) of Han Emperor Liu Bang ( Lưu Bang or Hán Cao Tổ ), he requested king Lê Lợi to allow him to retire to mount Côn Sơn, a place he had spent his whole youth with his grand father Trần Nguyên Ðán, a former great minister regent of the Tran king, Trần Phế Ðế and the great grand son of general Trần Quang Khải, one of the Vietnamese heroes in the struggle against the Mongols of Kubilai Khan. 

It was here that he wrote a series of composed writings that recalled not only his profound attachment to nature which he made a confidant of, but also his ardent desire to give up honors and glory and to regain serenity. It was also through his poems that one finds in him a profound humanism, an extraordinary simplicity, an exemplary wisdom and an inclination to retreat and solitude. There, he has insisted that a man’s life lasted only one hundred years at the most. Sooner or later one will return to sand and dust. What counts in a man is his dignity and honor such as a blue blanket ( symbol of dignity ) that had been defended energetically by the learned Chinese Vương Hiền Chi of the Tsin dynasty during the intrusion of a burglar to his home, in his poem  » Improvisation on a Summer day » ( Hạ Nhật Mạn Thành ) or his freedom such as that of the two Chinese hermits Sào Phú and Hua Dzo of the Antiquity in his poem  » The Côn Sơn Song » ( Côn Sơn Ca ). 

In spite of his early retirement, he was accused of killing the king a few years later and was tortured in 1442 with all his family members because of the death of he young king Lê Thái Tông, in love with his young concubine Nguyễn Thị Lộ and accompanied by her to the lichee garden. One knows everything except the human heart that stays unfathomable, that was what he said in his poem « Improvisation » ( Mạn Thuật ) but that was what happened to him in spite of his foresight. His memory was restored only a few dozen years later by the great king Lê Thánh Tôn. One can keep in this scholar not only the love he always carried for his people and his country but also the respect he always knew how to keep toward his adversaries and nature. To this talented learned Vietnamese, his memory should be honored by quoting the phrase that Yveline Féray wrote in the foreword of her novel « Ten thousand Springs« : 

The tragedy of Nguyễn Trãi is that of a so great man living in a too little society

 

Pagode-pont (Chùa cầu)

pagoda_bridge

En ce qui concerne ce pont, certains historiens en attribuent la construction aux Japonais. Ces derniers l’ont-ils construit eux-mêmes ou l’ont-ils réalisé sur commande des Chinois ? C’est une énigme historique qui reste à éclaircir. D’autres experts réfutent totalement cette hypothèse. Ils estiment que ce pont doit être attribué aux Japonais dans la mesure où celui-ci était destiné à mieux signaler l’entrée du quartier japonais.

 

Regarding this bridge, some historians attribute the construction to the Japanese. The latter, did they build it for themselves  or did they realize it on Chinese request? It is the historic riddle which remains to clear up. Other experts totally refute this hypothesis. They consider that this bridge must be attributed to the Japanese in so far as this one was intended to indicate better the entrance of the Japanese district.

Văn Lang kingdom (Văn Lang)

French version
Vietnamese version

 In fact, Văn Lang referres the semi-legendary epoch of the eighteen Hùng kings or Lạc Vương (2879-257 B.C.) or 2622 years. It was the legend and the myth of the Dragon and the Immortal of whom Vietnamese are issue. This kingdom was located in the Yang Tse river basin (Sông Dương Tử) and was placed under the authority of a Hùng king . This one had been elected for his courage and his values. He had divided his kingdom into districts entrusted to his brothers known under the name « Lạc hầu » ( marquis ). His male children have the title of Quan Lang and his daughters that of Mỵ nương. His people was known under the name « Lạc Việt« . His men had a habit of tattooing their body. This « barbarian » practice, often revealed in the Chinese annals, was intended to protect men from the attacks of  water dragons (con thuồng luồng) if one believes the Vietnamese texts. It is perhaps the reason why the Chinese often designated them under the name « Qủi (daemons) ».

Loincloth and chignon constituted the usual costume of these people to which were added bronze ornaments. The Lac Viet lacquered their teeth in black, chewed betel nuts and crushed rice with their hand. The farmers practiced the cultivation of rice in flooded field. They lived in plains and coastal areas while,  in the mountainous areas of the current Việt Bắc and on part of the territory of the current Chinese province of Kuang Si,  lived the Tây Âu,  ancestors of the ethnic groups Tày, Nùng and Choang currently disseminated in the North Vietnam and in the South of China. At that epoch, the Vietnamese people lived on fishing and cultivation. They already knew how to use tree bark to make clothes, prepare rice alcohol, practice slash and burn agriculture, eat ordinary rice or sweet rice, live in houses on stilts to avoid wild animals etc… Many Vietnamese popular tales (the story of the Sweet Rice Cake, that of the Betel Quid and that of the Mountain and River Gods etc.) came  from these customs.

There is a part of reality in the history of this kingdom. The ruines of the Cổ Loa citadel (Spiral citadel) located  about 18km in the district Đồng Ánh from  Hànội and the temples of Hùng kings testifies to these indisputable vestiges with historians viewpoint.

 

HUNG_VUONG

 

Ethnic minority housing (Nhà của đồng bào thiểu số)

 

maisons_minorites

 

 

French version

Ethnic minority housing

The richness of ethnic minorities living in the Central Highlands (Tây Nguyên) of Vietnam is measured by the number of jars of rice beers found inside of their houses. These jars are distinguished by their forms, sizes and colors. Some are engraved with the bas-reliefs often illustrated by flowers or dragons.

 

 

Pictures gallery

maisons_ethnies