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Được mệnh danh là « Tiểu Venice của phương Đông », phố cổ Lệ Giang, nằm ở tỉnh Vân Nam, tây nam Trung Quốc, dưới chân núi Ngọc Long Tuyết Sơn, nổi bật với vẻ đẹp quyến rũ như tranh vẽ. Vẻ đẹp này đến từ sự hiện diện của hàng trăm con kênh phân nhánh từ ba con sông  trên núi. Những con kênh này uốn lượn qua các con phố hẹp và đan chen lấn  với  nhau khiến tạo cho du khách có cảm tưởng đang thất  lạc ở trong mê cung.  Năm 1997,  phố cổ  Lệ Giang  được ghi vào danh sách  Di sản Thế giới với tư cách là « một thành phố cổ kính nổi bật nằm trong khung cảnh ngoạn mục ». Từ thế kỷ 12, phố cổ Lijiang đã là một trung tâm thương mại quan trọng giữa Tứ Xuyên, Vân Nam và Tây Tạng, cho phép phần phía nam của Con đường Tơ lụa kết nối với các tuyến đường trà và ngựa cổ xưa.

Đến đây, du khách sẽ ngẩn ngơ trước vẻ đẹp hoài cổ  của viên ngọc qúi kiến trúc Mộc Phủ, nơi đây đã từng là dinh thự của dòng họ Mộc, những người cai trị vùng Lệ Giang suốt 470 năm từ thế kỷ 13 đến đầu thế kỷ 20. Chỉ cần đi một vòng ở phố cổ, bạn sẽ bị cuốn hút bởi các mái ngói nhà cổ kính, các  cầu gỗ, những con ngõ  hẽm nhỏ lát đá, tràn ngập sắc hoa và  các đèn lồng đỏ. 

Đây cũng là nơi sinh sống của người Nạp Tây (Naxi), một dân tộc thiểu số trong 56 dân tộc thiểu số của Trung Hoa ngày nay. Người Nạp Tây có nguồn gốc từ  những người Khương sống du cư ở vùng đất Tậy Tạng  vào thời cổ . Chính vì vậy trong văn hóa của họ thường thấy có sự pha trộn văn  hóa của người Tạng với người Hán nhất là trong âm nhạc. Họ còn  hệ thống chữ viết tượng hình Đông Ba  duy nhất trên thế giới còn được sử dụng cho đến ngày nay, gắn liền với văn hóa và tín ngưỡng của họ.

Người Nạp Tây sinh ra cho đến khi qua đời, đều sống trong nhà của mẹ tức là họ là những người theo chế độ mẫu hệ.  Vì có cấu trúc gia đình mẫu hệ nên sau khi hôn nhân  thì người chồng cư trú bên vợ, người thừa kế tài  sản là phụ nữ.

Surnommée la « Petite Venise de l’Orient » et  située dans la province du Yunnan, au sud-ouest de la Chine, au pied de la montagne enneigée du Dragon de Jade, la vieille ville de Lijiang, est réputée pour sa beauté pittoresque. Celle-ci tient à la présence de centaines de canaux prenant leur source dans les trois rivières de montagne. Ces canaux serpentent à travers d’étroites ruelles et s’entrelacent, ce qui donne aux visiteurs l’impression de se perdre dans un labyrinthe. En 1997, la vieille ville de Lijiang a été inscrite sur la Liste du patrimoine mondial en tant que « ville ancienne exceptionnelle dans un cadre spectaculaire ». Depuis le XIIème siècle, la vieille ville de Lijiang est un important carrefour commercial entre le Sichuan, le Yunnan et le Tibet, permettant  la partie sud de la Route de la Soie de rejoindre  les anciennes routes du thé et des chevaux. C’est ici que les visiteurs seront captivés par la beauté empreinte de nostalgie du manoir de la famille Mu, un joyau architectural précieux servant jadis de résidence à la famille Mu, qui régna sur Lijiang durant 470 ans, du XIIIème  au début du XXème  siècle. Une promenade dans la vieille ville vous enchantera avec ses anciens toits, ses ponts de bois, ses ruelles pavées et étroites débordant de fleurs et de lanternes rouges.

Cette région est abritée également par le peuple Naxi, l’une des 56 minorités ethniques de  la Chine d’aujourd’hui. Les Naxi sont issus  du peuple nomade Qiang qui vivait autrefois au Tibet. C’est pourquoi  leur culture présente souvent un mélange d’influences tibétaines et chinoises Han, notamment dans leur musique. Ils possèdent également le système d’écriture pictographique unique Dongba, le seul de son genre au monde encore utilisé aujourd’hui et étroitement associé à leur culture et à leurs croyances.

Les Naxi vivent dans la maison de leur mère de la naissance jusqu’à la mort, ce qui correspond à un système matriarcal. De ce fait, après le mariage, ils vivent  toujours chez leur épouse et l’héritage revient aux filles.

Nicknamed the « Little Venice of the East » and located in Yunnan province, in southwestern China, at the foot of the snow-capped Jade Dragon Mountain, the old town of Lijiang is renowned for its picturesque beauty. This is due to the presence of hundreds of canals originating from the three mountain rivers. These canals wind through narrow alleys and intertwine, giving visitors the impression of getting lost in a labyrinth. In 1997, the old town of Lijiang was inscribed on the World Heritage List as an « exceptional ancient town in a spectacular setting ». Since the 12th century, the old town of Lijiang has been an important trading hub between Sichuan, Yunnan and Tibet, allowing the southern part of the Silk Road to join the ancient tea and horse routes.

Here, visitors will be captivated by the nostalgic beauty of the Mu family mansion, a precious architectural gem that once served as the residence of the Mu family, who ruled Lijiang for 470 years, from the 13th century to the early 20th century. A stroll through the old town will enchant you with its ancient roofs, wooden bridges, narrow cobbled streets overflowing with flowers and red lanterns.

This region is also home to the Naxi people, one of the 56 ethnic minorities in China today. The Naxi descend from the nomadic Qiang people who once lived in Tibet. That is why their culture often presents a mix of Tibetan and Han Chinese influences, especially in their music. They also possess the unique Dongba pictographic writing system, the only one of its kind in the world still in use today and closely associated with their culture and beliefs.

The Naxi live in their mother’s house from birth until death, which corresponds to a matriarchal system. As a result, after marriage, they always live at their wife’s home and inheritance goes to the daughters.

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Hổ Khiêu Hiệp

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Hổ Khiếu Hiệp mà người Hoa gọi là hẻm núi hổ nhảy được hình thành trên dòng sông Kim Sa (Jinsha), một nhánh của sông Dương Tử. Nó là một danh thắng nổi tiếng nằm cách xa thành phố Lệ Giang 60 cây số về phía bắc thuộc tỉnh Vân Nam và xa Trung Đạo (Zhong Dao) nay là Shangrila một trăm cây số. Nó dài khoảng 16 cây số nằm giữa hai núi Tuyết Ngọc Long (Yulong Xue Shan) cao 5596 thước và núi tuyết Cáp Ba (Haba Xue Shan) cao 5396 thước với một loạt 18 ghềnh thác được bao quanh bởi những vách đá dựng đứng, vực sâu hun hút, có 2000 thước, và được cho là hẻm núi sông sâu nhất thế giới.

Truyền thuyết còn kể rằng có một con hổ đã nhảy từ bờ này sang bờ kia để thoát khỏi một thợ săn… nhưng lối đi hẹp nhất hiện nay chỉ là 30 thước. Khi bạn nhìn thấy sức mạnh của dòng sông cuồn cuộn ở phía dưới chân bạn thì bạn sẽ hiểu vì sao cú nhảy ấy nó lại trở thành huyền thoại.

Dân cư sống ở nơi nầy là người Nạp Tây (Naxi). Đây là một trong 56 dân tộc thiểu số sống ở Vân Nam và tộc người duy nhất còn dùng hình tượng chữ (dongba). Họ có nguồn gốc từ người Khương sống định cư trên cao nguyên Tây Tạng vào thời cổ. Họ sống rải rác ở các làng mạc của các thị trấn và mưu sống bằng nghề sản xuất ngũ cốc và du lịch ngày nay. Chớ trước đó họ cùng người Hán, người Tạng hay thường dùng qua nhiều thế kỷ các con đường mòn dành cho lừa đi về những nơi tiêu thụ trà và các hàng hóa khác như lông thú, xạ hương,muối vân vân.. ở các vùng cao nguyên Tây Tạng và Trung Quốc (Đại Lý, Lệ Giang và Đức Kinh (Shangrila). Bởi vậy màng lưới của các con đường mòn nầy nó mới có tên gọi là đường trà hay trong tiếng quan thoại chámgudào dù nó không nổi tiếng như con đường tơ lụa mà chúng ta biết nhưng phong cảnh nó rất ngoạn mục theo lời kể của những người thích đi bộ đường dài (trekking).

Etant connues sous le nom chinois 虎跳峡 (Hu tiào xiá), les gorges du Saut du Tigre,  se sont formées sur la rivière Jinsha, un affluent du Yangtsé. Ce site pittoresque se situe à 60 kilomètres au nord de Lijiang, dans la province du Yunnan, et à 100 kilomètres de Zhongdao (aujourd’hui Shangri-La). Longues d’environ 16 kilomètres, elles s’étendent entre le Yulong Xue Shan ( 5596 mètres d’altitude) et le Haba Xue Shan (5396 mètres d’altitude), offrant un série de 18 rapides et de cascades entourés de falaises abruptes et d’une gorge profonde de 2000 mètres, ce qui leur vaut d’être considérées comme les gorges fluviales les plus profondes du monde.

La légende raconte qu’un tigre aurait sauté d’une rive à l’autre pour échapper à un chasseur… mais le passage le plus étroit ne mesure que 30 mètres de large. Face à la puissance de la rivière tumultueuse, on comprend aisément pourquoi ce saut est devenu légendaire.

Les habitants de cette région sont les Naxi. Ils font partie des 56 minorités ethniques du Yunnan et sont les seuls à utiliser encore l’écriture Dongba (pictogramme). Ils descendent du peuple Qiang, installé sur le plateau tibétain depuis l’Antiquité. Ils vivent dispersés dans les villages des bourgades, et tirent leurs revenus de la production céréalière et du tourisme. Autrefois, ils empruntaient, avec les Han et les Tibétains, les sentiers muletiers pour se rendre sur les marchés du plateau tibétain et de la Chine (Dali, Lijiang et Dejing/Shangrila) avec leurs produits (fourrure, musc, sel, thé etc. Ce réseau de sentiers est ainsi appelé la Route du Thé, ou « chámgudào » en mandarin. Bien que moins célèbre que la Route de la Soie, elle offre des paysages à couper le souffle, selon les amateurs de la randonnée.

Being known in pinying 虎跳峡 (Hu tiào xiá) by the Chinese, Tiger Leaping Gorge was formed on the Jinsha River, a tributary of the Yangtze River. It is a famous scenic spot located 60 kilometers north of Lijiang City in Yunnan Province and 100 kilometers from Zhong Dao, now Shangrila. It is about 16 kilometers long, situated between two mountains: Jade Dragon Snow Mountain (Yulong Xue Shan) at 5596 meters and Haba Snow Mountain (Haba Xue Shan) at 5396 meters, featuring a serie of 18 rapids surrounded by steep cliffs and a deep abyss of 2000 meters, considered the deepest river gorge in the world.

Legend has it that a tiger once jumped from one bank to the other to escape a hunter… but the narrowest passage today is only 30 meters. When you see the power of the rushing river below your feet, you will understand why that leap became a legend.

The inhabitants of this region are the Naxi. They are part of the 56 ethnic minorities of Yunnan and are the only ones still using the Dongba script. They descend from the Qiang people, who settled on the Tibetan plateau since ancient times. They live scattered in villages of small towns, earning their income from cereal production and tourism. In the past, they, along with the Han and Tibetans, used mule trails to reach the markets of the Tibetan plateau and China (Dali, Lijiang, and Dejing/Shangrila) with their products (fur, musk, salt, tea, etc.). This network of trails is thus called the Tea Horse Road, or « chámgudào » in pinying. Although less famous than the Silk Road, it offers breathtaking landscapes, according to hiking enthusiasts.

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Nụ tầm xuân (Saule Marsault pleureur)

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Nụ tầm xuân là tên gọi của một loài cây thuộc chi Liễu, có tên là Liễu tơ (Pussy willow) hay Liễu dê (Salix caprea). Sở dĩ có tên gọi này là vì hoa của nó mọc ra các sợi lông tơ mềm mại như lông mèo. Nụ tầm xuân thường được xem là biểu tượng của sự sinh sôi nảy nở, đâm chồi nảy lộc, thịnh vượng và may mắn. Những nhánh cây nụ tầm xuân với hoa nhỏ mọc quanh thân đại diện cho sự khởi đầu vẹn tròn, thuận lợi và tràn đầy hy vọng.

Trên thực tế, nụ tầm xuân chỉ mang sắc trắng thuần khiết, vô cùng tinh khôi. Nhưng khi chiêm ngưỡng những nhánh nụ tầm xuân được trưng bày trong các hội chợ hoa xuân ngày Tết, bạn sẽ bắt gặp những bó tầm xuân với nhiều màu sắc rực rỡ như: đỏ, vàng, cam, xanh, hồng, tím,…

Nụ tầm xuân est le nom d’une plante appartenant au genre Saule, appelée Saule marsault (Pussy willow) ou Saule des chèvres (Salix caprea). Ce nom vient du fait que ses fleurs produisent des poils doux et soyeux semblables à ceux d’un chat. Ses bourgeons sont souvent perçus comme  le symbole de croissance, d’épanouissement, de prospérité et de chance. Les branches de cette plante, avec leurs petites fleurs qui s’épanouissent autour de la tige, représentent un nouveau départ prometteur, propice  et plein d’espoir.

En réalité, ces bourgeons  sont d’un blanc immaculé, d’une pureté exceptionnelle. Mais en admirant les branches de cette plante en fleurs exposées lors de la visite marchés aux fleurs printaniers durant le nouvel an lunaire, on découvre des bouquets de fleurs aux couleurs éclatantes : rouge, jaune, orange, vert, rose, violet, et bien d’autres encore.

Nụ tầm xuân is the name of a plant belonging to the willow genus, called Pussy willow or Goat willow (Salix caprea). This name comes from the fact that its flowers produce soft and silky hairs similar to those of a cat. Its buds are often seen as the symbol of growth, blossoming, prosperity, and luck. The branches of this plant, with their small flowers blooming around the stem, represent a promising and hopeful new beginning.

In reality, these buds are immaculate white, of exceptional purity. But when admiring the flowering branches of this plant displayed at spring flower markets during  the Lunar New Year, one discovers bouquets of flowers in bright colors: red, yellow, orange, green, pink, purple, and many more.

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Cái tên Hồ Thị Kỷ ít ai để ý nói đến nhiều như Chợ Lớn của người Hoa nhưng với việt kiều ở Cao Miên thì tên nầy rất quen thuộc vì từ sau năm 1975 thì nơi nầy cùng chợ trở nên địa điểm tựu hợp rất nhiều dân Việt ở Cao Miên hay thường đựợc gọi là khu Pétrus Ký. Nay thì nó được khách du lịch nước ngoài ưa thích vì nó không những là thiên đàng ẩm thực mà còn là vườn hoa Đà Lạt thu nhỏ  giữa lòng  thành phố Saigon. Đến đây bạn có thể lựa chọn nhiều món ăn lắm nhưng bạn có dám ăn hay không ? Từ c ác món ăn vặt đến các món ăn chính, từ các món ăn Cao Miên, Thái Lan  đến các món ăn của người Việt hay người Hoa. Có những món ăn trở thành đặc sản hiếm có  ở Saigon như các loại khô cá Biển Hồ, bún num bo chóc, bánh lọt xào, chè xôi xiêm hay chè bí. Nhiều khách đến đây lúc đầu để ăn trãi nghiệm nhưng sau đó lại thích trở lại ăn trong đó có mình nữa như món xôi xiêm nước dừa hay chè bí của em Có. Những ngày trước Tết chợ bán hoa đông người không  đếm xuể, không có lối đi vào chợ. Giá cả cũng phải chăng so với những nơi khác. Đây là một nơi bạn không thể bỏ qua khi bạn đến thành phố Saïgon.

Le nom Hồ Thị Kỷ est moins souvent mentionné que Cholon des Chinois, mais pour les Vietnamiens vivant au Cambodge, il est très familier car depuis 1975, cet endroit et le marché sont devenus un lieu de rassemblement de nombreux Vietnamiens rentrés du Cambodge, souvent appelé le quartier Pétrus Ký. Aujourd’hui, il est très apprécié par les touristes étrangers car ce n’est pas seulement un paradis culinaire, mais aussi un jardin floral de Đà Lạt en miniature au cœur de la ville de Saïgon. Ici, vous pouvez choisir de nombreux plats, mais osez-vous les manger ou non? Des snacks proposent des plats simples jusqu’aux  plats principaux, des plats cambodgiens,  thaïlandais jusqu’aux plats vietnamiens ou chinois. Certains plats sont devenus des spécialités « rares » à Saïgon, comme les différents types de poisson séché du Grand Lac Tonlé Sap, le bún num bo chóc, le bánh lọt sauté, le chè xôi xiêm ou le chè bí. Beaucoup de visiteurs viennent d’abord ici pour goûter, mais ils aiment  y revenir ensuite. C’est  aussi mon cas pour des plats comme le xôi xiêm au lait de coco ou le chè bí de Madame Có. Les jours précédant le Tết, le marché aux fleurs est bondé de gens. Il est  impossible de trouver un passage pour y entrer. Les prix sont aussi raisonnables comparés à d’autres endroits. C’est un lieu que vous ne pouvez pas manquer lors de votre passage à Saïgon.

The name Hồ Thị Kỷ is mentioned less often than Cholon by the Chinese, but for Vietnamese people living in Cambodia, this name is very familiar because since 1975, this place and the market have become a gathering spot for many Vietnamese returning from Cambodia, often called the Pétrus Ký neighborhood. Today, it is highly appreciated by foreign tourists because it is not only a culinary paradise but also a miniature Đà Lạt flower garden in the heart of Saigon city. Here, you can choose many dishes, but do you dare to eat them? Snacks offer simple dishes up to main courses, Cambodian, Thai dishes up to Vietnamese or Chinese dishes. Some dishes have become rare specialties in Saigon, such as the various types of dried fish from the Great Tonlé Sap lake, bún num bo chóc, sautéed bánh lọt, chè xôi xiêm, or chè bí. Many visitors come here first to taste, but then they like to return, including me, for dishes like xôi xiêm with coconut milk or chè bí of Mrs Có. In the days leading up to Tết, the flower market is crowded with people. It is impossible to find a passage to enter. The prices are also reasonable compared to other places. It is a place you cannot miss when you visit Saigon.

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The hospitality that Rama I extended to Nguyễn Ánh later served as the basis for the development of the future relationship between the two countries. It is not unrelated to Nguyễn Ánh’s careful conduct in seeking an appropriate solution to manage the dual suzerainty over Laos and Cambodia with the Thais. According to the Vietnamese researcher Nguyễn Thế Anh, these countries were considered at that time as children raised together by Siam and Vietnam, the former arrogating the title of father and the latter the title of mother. This dual dependence is known in the Thai language as « song faifa. » According to Siamese sources, Nguyễn Ánh sent six times from Gia Định to Bangkok silver and gold trees, a sign of allegiance between 1788 and 1801. (2). In a letter addressed to Rama I before his return to Gia Định, Nguyễn Ánh agreed to be placed under the protectorate of Siam in case he succeeded in restoring his power. Did Đại Nam (the former name of Vietnam) accept being a mandala state?

There are several reasons to refute this hypothesis. First, Đại Nam was not under the influence of Theravada Buddhism and did not have the Indianized culture as was the case with Cambodia and Laos because the religious role plays an important part in the mandala defined by the researcher O. Wolter. Siam had so far tried to extend its influence and control in regions where the Thais were more or less established and where the Indianized culture was visible.

This is not the case for Vietnam. Chakri and his predecessor Taksin had already failed in this endeavor in Cochinchina, which was nevertheless a new land because there was a significant Vietnamese colony with a different culture. Vassalage seems unlikely. The truth is never known, but one can rely on the fact that to acknowledge the benefits of Ralma I, Nguyễn Ánh could adopt this understandable behavior which was never incompatible with his temperament and especially with his Confucian spirit, in which ingratitude was not a part.

One always finds in him the gratitude and kindness that cannot later be refuted with Pigneau de Béhaine, who devoted much effort to convincing him to convert to Catholicism. During his reign, there was no persecution of Catholics, which can be interpreted as a recognition of Pigneau de Béhaine. From this point of view, one can see in him the principle of humanity (đạo làm người) by honoring both the gratitude towards those who protected him during 25 years of hardships and the revenge against those who killed all his relatives and family. (debt must be repaid, vengeance must be taken)

At the time of his enthronement in 1803 in Huế, Nguyễn Ánh received a crown offered by King Rama I but immediately returned it because he did not accept being treated as a vassal king and receiving the title that the Siamese King Rama I was accustomed to granting to his vassals. This behavior disproves the accusation that has always been made against Nguyễn Ánh.

For some Vietnamese historians, Nguyễn Ánh is a traitor because he brought in foreigners and gave them the opportunity to occupy Vietnam. The Vietnamese expression « Đem rắn cắn gà nhà » (Introducing the snake to bite the home chicken) is often attached to Nguyễn Ánh. It is unfair to label him a traitor because, in the difficult context he was in, there was no reason not to act as he did as a human being when he was at the brink of despair. Probably the following expression « Tương kế tựu kế » (Combining a stratagem of circumstance) suits him better, although there is a risk of playing into the hands of foreigners. It should also be recalled that the Tây Sơn had the opportunity to send an emissary to Rama I in 1789 with the aim of neutralizing Nguyễn Ánh using the stratagem (Điệu hổ ly sơn (Luring the tiger away from the mountain)), but this attempt was in vain due to Rama I’s refusal. (3)

Being intelligent, courageous, and resigned like the king of the Yue Gou Jian (Cẫu Tiển) from the Spring and Autumn period (Xuân Thu), he should have known the consequences of his act. There is not only Gia Long but also thousands of people who accepted to follow him and bear the heavy responsibility of bringing foreigners into the country to counter the Tây Sơn. Are they all traitors? This is a thorny question to which it is difficult to give an affirmative answer and a hasty condemnation without first having a sense of fairness and without being swayed by partisan opinions when one knows that Nguyễn Huệ remains the most adored hero by the Vietnamese for his military genius.

Disappointed by Gia Long’s refusal, Rama I showed no sign of resentment but found justification in the cultural difference. In Rama I, we find not only wisdom but also understanding. He wanted to deal henceforth on an equal footing with him. This equal treatment can be interpreted as a « privileged » bilateral relationship between the elder and the younger in mutual respect. Each of them should know that they needed the other even if it was an alliance of circumstance. Their countries were respectively threatened by formidable enemies, Burma and China.

Their special relationship did not fade over time because Rama I fell in love in the meantime with Nguyễn Ánh’s sister. It is not known what became of her (his wife or his concubine). However, there was a love poem that Rama I dedicated to her and which continued to be sung even in the 1970s during the annual royal boat procession.

As for Nguyễn Ánh (or Gia Long), during his reign, he avoided military confrontation with Thailand over the thorny Cambodian and Laotian issues. Before his death, Gia Long repeatedly reminded his successor Minh Mạng to perpetuate the friendship he had managed to establish with Rama I and to consider Siam as a respectable ally in the Indochinese peninsula (4). This was later justified by Minh Mạng’s refusal to attack Siam at the request of the Burmese.

According to researcher Nguyễn Thế Anh, in continental Southeast Asia, out of about twenty important principalities around 1400, only three kingdoms remained that managed to establish themselves at the beginning of the 19th century as regional powers, among which were Siam and Đại Việt, one advancing eastward and the other southward at the expense of the Hinduized states (Laos, Cambodia, Champa). This conflict of interests intensified increasingly after the death of Rama I and Nguyễn Ánh.

Their successors (Minh Mạng, Thiệu Trị on the Vietnamese side and Rama III on the Siamese side) were entangled in the problem of succession of the Cambodian kings who kept fighting among themselves and seeking their help and protection. They were henceforth guided by a policy of colonialism and annexation which led them to confront each other militarily twice in 1833 and 1841 on Cambodian and Vietnamese territories and to find at the end of each confrontation a compromise agreement in their favor and to the detriment of their respective protégés.

The temporary alliance is no longer taken into account. The rivalry, which was becoming increasingly visible between the two competing countries Đại Nam and Siam, now rules out any rapprochement and any possible alliance. Even their policies are completely different, one aligning with the Chinese model to avoid any contact with Western colonialists and the other with the Japanese model to advocate the opening of borders.

The Khmer capital Phnom Penh was at one time occupied by the Vietnamese army of General Trương Minh Giảng while the regions of Western Cambodia (Siem Reap, Battambang, Sisophon) were in the hands of the Thais. According to the French historian Philippe Conrad, the king of Cambodia was considered a mere governor of the king of Siam. The royal insignia (golden sword, crown seal) were confiscated and held in Bangkok. The arrival of the French in Indochina put an end to their dual suzerainty over Cambodia and Laos. It allowed the Cambodian and Laotian protégés to recover part of their territory in the hands of the Vietnamese and the Thais. Đại Nam under Emperor Tự Đức had to face the French colonial authorities who had annexed the six provinces of Nam Bộ (Cochinchina).

Thanks to the foresight of their kings (particularly that of Chulalongkorn or Rama V), the Thais, relying on the rivalry policy between the English and the French, managed to maintain their independence at the cost of territorial concessions (the Burmese and Malay territories occupied were returned to the English and the Laotian and Khmer territories to the French). They chose a flexible foreign policy (chính sách cây sậy) like the reed that adapts to the wind. It is no coincidence to see the sacred union of the three Thai princes at the dawn of the Thai nation in 1287 and the submission to the Sino-Mongol troops of Kublai Khan.

It is this synthetic policy of adaptation that allows them to stay away from colonial wars, always side with the victors, and exist today as a flourishing nation despite their late emergence (dating from the early 14th century) in mainland Southeast Asia.

Pictures of Venice of the East (Vọng các)

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(1) Bùi Quang Tùng: Professeur, membre scientifique de EFEO. Auteur de plusieurs ouvrages sur le Vietnam.
(2) P.R.R.I, p. 113.
(3) Pool, Peter A.: The Vietnamese in Thailand, p 32, note 3.

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There are victories and defeats on both sides. Leading an army of 20,000 men and a fleet, Taksin succeeded in driving out, after a ten-day siege, Mo Shi-Lin (Mạc Tiên Tứ in Vietnamese), the son of Mạc Cửu, from Hà Tiên. He was a significant Chinese ally of the Nguyễn lords and the protector of the son of the last king of the Ayutthaya dynasty, Chao Chuy (Chiêu Thúy). The latter continued to be one of the potential contenders for the crown and a daily concern for Taksin. Due to his military setbacks at Châu Đốc and in the Sadec region, Taksin was forced to accept the peace treaty offered by Mạc Thiên Tứ and to abandon Hà Tiên in ruins in exchange for the return of Prince Chiêu Thúy, the release of Mạc Thiên Tứ’s daughter who was captured at the fall of Hà Tiên, and the maintenance on the Cambodian throne of a pro-Thai king named Ang Non.

Upon his return, Chiêu Thúy was executed along with his brother who was captured in Cambodia. As for Lord Nguyễn Phúc Thuần (later known as Duệ Tông), troubled by the rebellion of the « Tây Sơn brothers (Western Peasants), » he was forced to endorse this agreement and temporarily allow the Thais free rein in their territorial expansion policy over Laos and Cambodia. But the truce was short-lived for Mạc Thiên Tứ because in the meantime, he was pursued by the Tây Sơn who had succeeded in taking Gia Định (or Saigon) in 1776 and capturing Lord Nguyễn Phúc Thuần in Cà Mau. He had to seek refuge with his family and subordinates with Taksin in Thonburi (Thailand). However, the latter, obsessed and consumed by so much suspicion and distrust, ended up executing his family and subordinates, among whom was Prince Tôn Thất Xuân. To preserve his dignity and honor, Mạc Thiên Tứ committed suicide in September 1780 by swallowing a gold coin. Taksin’s distrust became increasingly overwhelming to the point where it turned into a mental illness accompanied by paranoid and tyrannical behavior.

It is one of the common traits of great politicians (Ts’ao Ts’ao (Tào Tháo) of the Three Kingdoms, Qin Shi Huang Di (Tần Thủy Hoàng) for example). It is this mistrust that later led him to imprison his close associates, particularly the family of his son-in-law Chakri, who was engaged in a military campaign in Cambodia against the Vietnamese of the young prince Nguyễn Ánh. Chakri (the future King Rama I) was forced to make a pact with Nguyễn Ánh’s lieutenants, Nguyễn Hữu Thùy and Hồ văn Lân. They sent him a knife, a sword, and a flag as a sign of their support against Taksin. Having managed to return in time when a coup d’état overthrew the latter, the Siamese general Chaophraya Mahakasatsuk (or Chakri) thus became King Rama I and the founder of the Chakri dynasty.

His advent allowed the closure of the Thonburi dynasty and its replacement by the new dynasty with the transfer of the capital to Bangkok. It was here that King Rama I attempted to restore the Ayutthaya style through his royal palace (Bangkok). The establishment of the new capital did not correspond to a renewal of Siamese art. Rama I was interested in continuing the unfinished work of King Taksin the Great in the march eastward. He did not hesitate to mount a military expedition to assist Crown Prince Nguyễn Ánh in his struggle against the Tây Sơn. Unfortunately, this Vietnamo-Siamese expedition was crushed in 1783 in the Rạch Gầm-Xoài Mút canals of today’s Tiền Giang province by the strategist king Nguyễn Huệ. Of the Siamese army initially composed of at least 50,000 men and 300 junks, only 2,000 men managed to pass through Cambodia to return to Thailand.

Taking advantage of the geographical unfamiliarity of the terrain (địa lợi) and the military underestimation of the enemies, Nguyễn Huệ avoided a frontal engagement at Sadec and quickly succeeded in thwarting the Siamese invasion in the canals near Mỹ Tho. Nguyễn Huệ needed a swift victory because he knew that the Trịnh in Northern Vietnam could take advantage of this opportunity to invade Qui Nhơn in central Vietnam.

Hunted like a wild beast and plunged into the abyss of sadness, Nguyễn Ánh was forced to exile himself to Bangkok, accompanied by about thirty mandarins and approximately 200 soldiers for a short period (from 1785 to 1787). He was later joined by 5,000 soldiers under General Nguyễn Huỳnh Đức. According to Vietnamese professor Bùi Quang Tùng (1), many refugees preferred to stay in Thailand and marry Siamese women.

Policy of rapprochement with Việtnam

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Vietnamese version

With the first great Thai kingdom of Sukhothai, a new civilization emerged that knew how to take advantage of indigenous culture under the impetus of an exceptional and equally remarkable personality, King Rama Khamheng. For Georges Coedès, the Thais were remarkable assimilators. Instead of destroying everything that belonged to the former masters (Mon-Khmers) as the Vietnamese did during the conquest of Champa, the Thais tried to appropriate it and rediscover themes in the old Mon-Khmer repertoires to create a new, unique style, allowing local traditions to show through in architecture (chedis) and statuary (Buddhas). Mahayana was henceforth abandoned in favor of Theravada Buddhism, to which Thai aesthetics were entirely devoted. This obviously drew its iconographic and plastic formulas from Khmer art and that of Dvaravati (Mon).

The blossoming of Sukhothai art testifies to a will for innovation and remarkable vitality despite certain Sinhalese, Burmese, and Khmer influences. This is seen in the great creation of Buddha iconography. These Buddhas, represented in human form, were sculpted according to very precise rules that Thai artists had to meticulously respect. According to Bernard Groslier, there is a slight exaggeration in the beauty of these works in order to accentuate stylization and show the originality of a new and dynamic society. The excessive elongation found in the arms and ears and the excessive deformation of the upper bun clearly reflect the lack of realism.

Despite this, the Buddhist sculpture of Sukhothai undoubtedly testifies to an entirely original art and a period when the Thai nation needed a cultural and religious identity and a distinct personality illustrated by the example found in the creation of the Walking Buddha. Its graceful form cannot go unnoticed and manages to penetrate the Thai people. A fluidity is found in the movement of this Buddha. Its appearance is both light and serene. Its oval-shaped head, perfectly arched eyebrows in a semicircle extended by a long aquiline nose, its curly hair topped with a long flame (uṇīsa) (Sinhalese tradition), its mouth surrounded by a double line (Khmer tradition), its clothes clinging to the body are the characteristic features of the Buddhist art of Sukhothai.

Despite this, the Buddhist sculpture of Sukhothai undeniably bears witness to an entirely original art and a period when the Thai nation needed a cultural and religious identity and a distinct personality illustrated by the example found in the creation of the Walking Buddha. Its graceful form cannot go unnoticed and manages to penetrate the Thai people. A fluidity is found in the movement of this Buddha. Its appearance is both light and serene. Its oval-shaped head, perfectly arched semicircular eyebrows extended by a long aquiline nose, its curly hair topped with a long flame (unîsa) (Sinhala tradition), its mouth surrounded by a double line (Khmer tradition), its clothes clinging to the body are the characteristic features of the Buddhist art of Sukhothai.

Under the reign of Rama Khamheng (or Rama the Brave), a new society was formed from the Mon-Khmer heritage. This society found its administrative and social model from the Mongols. The Thai script was created and based on the Khmer cursive script, which had its distant origin in southern India. Theravada Buddhism was adopted as the state religion. Despite this, animism continued to persist, as evidenced by the cult of the spirit of the land mentioned by Rama Khamheng. He established on a hill near Sukhothai an altar dedicated to a spirit named Phra Khapung Phi, superior to all other spirits to ensure the prosperity of the kingdom. It was his responsibility to honor this cult every year. This same mindset was also seen at the beginning of the 20th century in Vietnam with the ritual ceremony of Nam Giao (Huế) celebrated by the emperor, as being the Son of Heaven, he was supposed to ask each year for the protection and blessing of Heaven for the country. (Similarly in China with the Temple of Heaven (Thiên Đàn) in Beijing).

It is not surprising to still find nowadays this tradition, this idea of the superior spirit in the Emerald Buddha (or Phra Keo Morakot), the palladium of Thailand and protector of the Chakri dynasty in the chapel of the royal palace in Bangkok. For Bernard Groslier, the parallelism is not gratuitous: the Thais belong to the primitive world of Chinese thought. Questions arise from this comparison because one cannot ignore that, similar to the Vietnamese, the Thais were part of the Cent Yue group, most of whose ethnicities were animists and belonged to the agricultural world. They were accustomed to honoring the cult of the spirits of the land, agriculture, or the village before coming under Chinese influence. Rama Khamheng succeeded in establishing diplomatic relations with Kublai Khan’s China. He encouraged the arrival and settlement of Chinese artisans in the capital. With their expertise, the kingdom of Sukhothai soon became known for its famous Sawankhalok ceramics.

Kingdom of Ayutthaya

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• Kuala Lumpur
• Malacca
• Putrajava
• Batu

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New Year Bính Ngọ (17 February 2026)

Version française
Version vietnamienne

The word “Tết” is derived from the word “tiết”, which in the Sino-Vietnamese dictionary means the bamboo stalk (or đốt tre) in the strict sense or in the broader sense the period or space of time determined according to the climate in the year. In Vietnam, there are numerous Tết such as Tết Trung Thu (or mid-autumn festival), Tết Thanh Minh (festival of the dead), Tết Đoan Ngọ (or purge festival) etc. but the most important Tết is Tết Nguyên Đán ( 節元旦) or Tết Cả in Vietnamese culture.

For the majority of Vietnamese, Tet evokes a magic period of the year when everyone forgets his or her misfortune or misery during the previous year. It is the start of the new year in the lunar calendar. Rich or poor, young or old, everyone is going to celebrate it with solemnity and cheerfulness. It is the moment to dream and to recover hope.

It is also the period when peasants let their fields take a break while hoping to have better crops next year thanks to the renewal of nourishing nature. That is why in one of the Vietnamese folk songs, the following verses are found:
  
Một năm là mười hai kỳ
Em ngồi em tính có gi` chẳng ra
Tháng giêng ăn Tết ở nhà
Tháng hai rỗi rãi quay ra nuôi tầm

Twelve months make a year,
You can count them with no difficulty.
The first month, you stay home enjoying Tet,
Free the second month, you can turn raising silk worms.
It is also the festival of friendship but above all that of the cult of ancestors and genies.

According to historians, the celebration of this festival goes back to the Han Chinese domination (i.e. in the first century of Christian era). The preparation of this festival is very meticulous and requires long days in advance. Seven days before Têt, there is the farewell ceremony to the genies of the Kitchen (Ông Táo). The latter comes back to earth on the night of the thirtieth day of the twelfth month of the lunar year. In the village, in front of each house is set up a bamboo pole (or cây nêu) possibly reaching several meters.

One finds at the top of this pole offerings, votive papers and terra cotta tablets, while at its foot there is a design of a crossbow whose point is directed toward the outside. It is an old Buddhist tradition that helps prevent demons and ghosts from entering. It is also in the village that one finds again the ambiance of festival with the preparations of Tet. It is also on this occasion that the whole family is gathered from the youngest to the oldest around the cooking pot to steam cook the sweet rice cake.

Year of the fire horse 

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According to writer Phạm Huỳnh, Tết is the sanctification, glorification, exaltation of family religion and ancestor worship. It’s also when the whole family, from the youngest to the oldest, gathers around the cooking pot to steam the rice cake. On this day, the whole family comes together under the eye of the ancestors, whose tablets are uncovered on the carefully cleaned and richly decorated altar. On New year’eve (or đêm giao thừa), the head of the family lights incense sticks on the altar to invite the souls of the ancestors to spend Tet with the living. It is an occasion for the head of the family to pass on to his children the tradition of the cult of ancestors and teach them the rites of the cult.

Everyone, from the youngest to the oldest takes turn to bow down before the altar, each having a moving idea about the dead and imploring their help for the realization of deep wishes. One finds on the altar during the days of Tết not only refined dishes, hand picked fruits, cakes, especially the sweet rice cake and cups of tea or water, but also branches of flowering peach tree. The latter are chosen in such a way that they bloom during the festival of Tết.

Tet is also the festival of children. They put on the most beautiful of their dresses and play together in the fireworks on the street. They receive from adults a red envelope containing a bill or a coin that would bring them luck for the whole year

As for adults, they go in procession in pagodas and try to know their future by pulling each a divinatory stick. It is also the occasion to obey certain elementary rules that all Vietnamese must know: banning bad words, toning down all quarrels, not touching broom, avoiding to be the first to show up at someone’s house on the first day of the year.

It is also the occasion to see the unicorn dance ( Múa Lân ) or the Dragon dance. This animal whose head is magnificently decorated and whose body is carried by several dancers, waves to the rhythm of the sound of drum. It is always accompanied by another smiling and portbellied dancer wearing a saffron robe (Ông Ðịa). It is the dance-combat between men and animals, between the Good and the Evil that is always ended up with the triumph of men over animals.

The festivities of Tết last for a week or even a month in certain villages. But because of the difficulties of life, it is the habit nowadays to stop working only during the first three days of the years.

Each year is symbolized by a cycle of 12 animals:

Tý, Sủu, Dần, Mẹo, Thìn, Tị, Ngọ, Mùi, Thân, Dậu, Tuất , Hợi

Rat, Buffalo, Tiger, Cat, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, Pig

From his or her birth each individual possesses an astral sign which is symbolized by the symbol animal of the year of birth.

Moreover, each symbol animal is associated with one of the five celestial elements  (Wu Xing)(ou Ngũ Hành in Vietnamese):

Thủy, Hỏa, Mộc, Kim, Thổ
Water, Fire, Wood, Metal and Earth.

chosen among the names of 10 heavenly stems grouped in pairs  (Jia, yi, Bing, ding, Wu, ji, geng,xin, ren, gui))(or Hệ Can in vietnamese  Giáp, Ất, Bính, Đinh, Mậu, Kĩ, Canh, Tân, Nhâm, Qúi: [Giáp, Ất] =Wood (Mộc), [Bính, Đinh]=Fire (Hỏa), [Mậu,Kĩ]=Earth (Thổ), [Canh, Tân]=Metal (Kim), [Nhâm,Qúi]=Water (Thủy))

That is why this year is the year of Fire horse. It only comes back every sixty years (i.e. 1906, 1966, 2026, 2086 etc.). In the Annals of our history, there were two Tets the Vietnamese people remember for a long time: it was the Tet that allowed emperor Quang Trung to reconquer our capital Hànội in 1788 against the Qing and the Tết Mậu Thân in 1968 in South Vietnam. 

For every Vietnamese, Tết is an infinitely happy period that has the advantage of being renewed every year, allowing them to live for a few days in a kind of elation and satisfaction despite the ups and downs of life. Even poor people want to have a radiant life for a new Tết like the famous poet Trần Tế Xương in his poem entitled: The New Year.

Friend, don’t think that in this Tết I’m poor!
I haven’t yet taken the money out of my safe
My chrysanthemum wine, they’re slow to bring it;
And lotus tea, the price to be debated,
For the sweet cakes, I feared they would run
In the heat, as well as the pork pies.
Too bad, let’s wait until next year
Friends, don’t think I’m poor this Tet!

   Traditions maintained in occasion of New Year 

• • • • Let’s talk about the horse in the Year of the Fire Horse
      • Sweet cake rice (Bánh chưng bánh giày)
      • The cult of ancestors (Thờ cúng tổ tiên)
      • Myth  of the household geniuses ( Chuyện Táo Quân)
      • Ritual stal of Tết (Sử tích cây nêu)
      • Old calligrapher (Ông đồ già)
      • lion dance (Múa lân sư)
      • Parallel sentences (Doanh Thiếp)
      • Pussy Willow’s buds (Nụ Tầm Xuân)
      • The beginnings of the new year ( Saigon, 2026)

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Nouvel an Bính Ngọ (17 février 2026)

Version vietnamienne

Version anglaise

Le mot «Tết»  est issu du mot « tiết » qui signifie dans le dictionnaire sino-vietnamien le tronçon  de bambou (ou đốt tre) au sens strict  ou au sens large  la période ou un espace de temps déterminé en fonction du climat dans l’année.

Au Vietnam, il existe de nombreux Tết  tels que Tết Trung Thu (ou fête de la mi -automne), Tết Thanh Minh (fête des morts), Tết Đoan Ngọ (ou fête de purge) etc. mais le Tết le plus important est Tết Nguyên Đán ( 節元旦) ou Tết Cả dans la culture vietnamienne.

C’est aussi la période où les paysans laissent reposer leurs champs tout en espérant avoir de meilleures récoltes l’année prochaine grâce au renouveau de la nature nourricière. C’est pourquoi dans l’une des chansons populaires vietnamiennes on trouve les vers suivants:

Một năm là mười hai kỳ
Em ngồi em tính có gi` chẳng ra
Tháng giêng ăn Tết ở nhà
Tháng hai rỗi rãi quay ra nuôi tầm

Une année comporte douze mois
Assis, je peux les compter sans difficultés
Au premier mois je reste à la maison pour fêter le Têt
Au deuxième mois je peux commencer avec mon temps disponible, l’élevage des vers à soie.

C’est aussi la fête de l’amitié mais surtout celle du culte des ancêtres et des génies. D’après les historiens, la célébration de cette fête remonte à l’époque de la domination chinoise des Han (au premier siècle de l’ère chrétienne). La préparation de cette fête est très minutieuse et nécessite de longs jours à l’avance. Sept jours avant le Têt, il y a la cérémonie d’adieu au génie du Foyer (Ông Táo). Celui-ci revient sur terre dans la nuit du Têt au trentième jour du douzième mois lunaire. Dans le village, devant chaque maison est dressée une perche de bambou (ou Cây Nêu) pouvant atteindre plusieurs mètres. 

On trouve sur cette perche des offrandes, des papiers votifs et des tablettes en argile cuite vibrant avec sonorité au gré du vent pour éloigner les esprits. C’est une vieille tradition bouddhique  permettant d’interdire l’accès aux démons et aux fantômes. C’est aussi dans le village qu’on retrouve l’ambiance de fête avec les préparatifs du Têt.

Selon l’écrivain Phạm Huỳnh, le Tết est la sanctification, la glorification, l’exaltation de la religion familiale et du culte des ancêtres. C’est aussi à cette occasion que toute la famille s’est réunie du plus jeune jusqu’au plus âgé autour de la marmite pour faire cuire  le gâteau de riz à la vapeur.  Elle se retrouve ce jour-là au grand complet sous l’œil des ancêtres dont les tablettes sont découvertes sur l’autel  nettoyé  avec soin et richement décoré. La veille du nouvel an (ou đêm giao thừa), le chef de famille allume les bâtonnets d’encens sur l’autel pour inviter les âmes des ancêtres à venir passer le Têt avec les vivants.

C’est une occasion pour le chef de famille de transmettre à ses enfants la tradition du culte des ancêtres et de leur apprendre les rites du culte. Tout le monde, du plus jeune jusqu’au plus âgé se relaie pour se prosterner devant l’autel, en ayant chacun une pensée émue pour les défunts et en implorant leur aide pour la réalisation de vœux profonds. On trouve non seulement durant les jours du Têt, sur l’autel, tous les plats raffinés, des fruits triés sur le volet, des gâteaux, en particulier le gâteau de riz gluant et des tasses de thé ou d’eau mais aussi les branches de pêchers (au nord Vietnam)  ou de cerisiers (au sud Vietnam)  en fleurs. Celles-ci sont choisies de manière que les fleurs éclosent durant les fêtes du Têt. Des présents apportés par les enfants  aux mânes des ancêtres  sont  aussi visibles sur l’autel pour faciliter leurs besoins dans l’autre vie. Le Têt n’est pas seulement la fête des vivants mais il est aussi la fête des morts. C’est aussi durant les trois premiers jours du Tết que ces derniers participent activement à la vie de leur famille et de leurs descendants. On les invoque aux deux principaux repas deux fois par jour. La fin du troisième jour, les mânes sont censés retourner dans l’autre monde et continuent à étendre sur les descendants les bienfaits de leur protection.

Le Tết est aussi le moment de faire revivre une vieille tradition culturelle. On voit apparaître dans des endroits publics un grand nombre de lettrés des temps modernes (ou des maîtres calligraphes). Ils sont prêts à faire des traits artistiques dans l’écriture comme le  vol du dragon et la danse de phénix à l’encre de Chine sur les papiers d’un rouge  vermillon étalés sur les trottoirs  avec leur tour de main. Cela permet à ceux qui les leur demandent  parmi les passants de pouvoir les exposer devant leur maison et de rendre cette dernière encore plus belle. De telles sentences ne manquent pas d’être visibles autour des portes des maisons ou sur les colonnes d’une pagode ou d’un temple:

Thịt mỡ dưa hành câu đối đỏ
Cây nêu tràng pháo bánh chưng xanh

Viande grasse, légumes salés, sentences parallèles rouges
Mâts du Tết, chapelets de pétards, gâteaux de riz du nouvel an.

Ou

Thiên tăng tuế nguyệt nhân tăng thọ
Xuân mãn càn khôn, phúc mãn đường

Du moment que le ciel a encore des mois et des années, vous vivez encore plus longtemps
Du moment que le printemps arrive de nouveau sur terre, votre maisonnée est inondée de nouveau  de bonheur.

Ou

Niên niên tăng phú qúi
Nhật nhật thọ vinh hoa.

Que les richesses s’accumulent au fil des années
Que la gloire et le bonheur vous comblent  au fil des jours.

Le Têt est aussi la fête des enfants. Ceux-ci sont parés de leurs plus beaux habits et s’amusent ensemble aux pétards dans les rues. Ils reçoivent des adultes une enveloppe rouge contenant un billet ou une pièce de monnaie qui leur porte chance durant toute l’année.  Quand aux adultes, ils se rendent en procession dans les pagodes et essaient de connaître leur avenir en tirant chacun une baguette divinatoire. C’est aussi l’occasion de respecter certaines règles élémentaires que tout Vietnamien doit savoir: bannir les gros mots, mettre en sourdine toutes les querelles, ne pas toucher au balai, éviter de se présenter chez quelqu’un le premier jour de l’année etc… durant toute l’année. C’est aussi l’occasion de voir la danse de la licorne (Múa Lân) ou la danse du Dragon. Cet animal dont la tête est  décorée magnifiquement et dont le corps est porté par plusieurs danseurs ondule au rythme des sons des tambourins. Il est toujours accompagné par un autre danseur hilare et ventru agitant son éventail et portant une robe de couleur safran (Ông Ðịa). C’est la danse-combat entre l’homme et l’animal, entre le Bien et le Mal qui se termine toujours par le triomphe de l’homme sur l’animal.

Les festivités du Têt se prolongent durant une semaine voire un mois dans certains villages. Mais à cause des difficultés de la vie, il est coutume de cesser de travailler seulement aujourd’hui durant les trois premiers jours de l’année.

Dans l’horoscope vietnamien,  les signes astrologiques sont au nombre de douze et ils sont symbolisés par les douze animaux suivants: Rat, Buffle, Tigre, Chat, Dragon, Serpent, Cheval, Chèvre, Singe, Coq, Chien et Cochon qui se succèdent dans un ordre très précis. Contrairement à l’astrologie occidentale, le signe astrologique n’est pas déterminé en fonction du mois de naissance mais plutôt selon l’année de naissance. Chaque individu possède un signe astrologique  qui est symbolisé par l’association de l’un de ces animaux  trouvés  dans les douze branches terrestres et l’un des cinq éléments célestes (Wu Xing)(ou Ngũ Hành en vietnamien): Thủy, Hỏa, Mộc, Kim, Thổ
Eau, Feu, Bois, Métal et Terre. Par exemple cette année est l’année du Cheval de feu (Bính Ngọ)

Le mot Bính est choisi parmi les  noms des 10 troncs célestes (ou thập thiên can en vietnamien) groupés 2 par 2 à partir du Yin et Yang et de la théorie des 5 éléments (Wuxing): Giáp, Ất, Bính, Đinh, Mậu, Kĩ, Canh, Tân, Nhâm, Qúi): [Giáp, Ất] =Bois (Mộc), [Bính, Đinh]=Feu (Hỏa), [Mậu,Kĩ]=Terre (Thổ), [Canh, Tân]=Métal (Kim),[Nhâm,Quý]=Eau (Thủy)).  Ce mot Bính appartient ainsi  à l’élément  Feu. 

C’est pourquoi cette année est l’année Tết Bính Ngọ (Année du Cheval de Feu ). On ne la retrouve que tous les soixante ans (càd 1906, 1966, 2026, 2086 etc.). Dans les Annales de notre histoire, il y a eu deux Tết dont les Vietnamiens se souviennent longtemps: c’est le Têt qui permit à l’empereur Quang Trung de reconquérir notre capitale Hanoï en 1788 contre les Qing et le Tết Mậu Thân en 1968 au Sud-Vietnam. 

Le Tết est pour chacun des Vietnamiens une période infiniment heureuse  qui a l’avantage de se renouveler tous les ans et qui lui permet de vivre durant quelques jours dans une sorte d’allégresse et d’avoir une satisfaction malgré les aléas de la vie. Même pauvre, on a envie d’avoir une vie radieuse pour un  nouvel Tết comme le célèbre poète Trần Tế Xương dans son poème intitulé: Le nouvel an (*)

Ami, ne croyez pas qu’en ce Tết je sois pauvre!
Je n’ai pas encore retiré l’argent de mon coffre
Mon vin de chrysanthème, on tarde à l’apporter;
Et le thé au lotus, le prix à débattre,
Pour les gâteaux sucrés, j’ai craint qu’ils ne coulent
À la chaleur, de même que les pâtés de porc.
Allons, tant pis, attendons l’an prochain
Amis, ne croyez pas qu’en ce Têt je sois pauvre!

(*) Trích ra trong quyển sách có tựa đề : Các con cò trên cánh đồng lúa. Lê Thành Khôi. Nhà Xuất Bản Gallimard.
Extrait du livre intitulé « Aigrettes sur la rizière ». Auteur Lê Thành Khôi. Connaissances de l’Orient. Gallimard.

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