In the early 20th century, archaeologists from the Ecole française d’Extrême-Orient (Louis Pajot, Olov Jansen) discovered a large number of Bronze Age artefacts in the Mã valley, notably in the village of Ðồng Sơn.
Among these finds are musical instruments, in particular drums. These are decorated with figurative motifs depicting stylized animals and scenes from daily life. But the most remarkable of these drums remains that of Ngọc Lũ. This is a cylinder 63 cm high and 79 cm in diameter. It was purchased by EFEO at the 1902 exhibition and auction in Hanoi for the price of 550 piasters at the time. It is arguably the finest drum ever found in Asia. On its upper side are motifs mixed with various ritual subjects: herds of deer, waterfowl, houses on stilts etc… The Austrian archaeologist Heine-Geldern was the first to propose the name Đồng Sơn for this culture. Since then, the culture has been known as the Ðồng Sơn or Dongsonian culture. According to researchers Louis Bezacier and Nguyễn Phúc Long, the art of Đồng Sơn represents only the final phase of a long evolution of bronze metallurgy from the Gò Bông (late Phùng Nguyên) , Đồng Dậu and Gò Mun eras and corresponds to the period when it reached perfection and acquired prestige and influence in Southeast Asia and the Pacific.
According to researcher Hà Văn Tấn, the culture of Đồng Sơn has its roots among the proto-Dongsonian cultures discovered, which gradually enable it to have remarkable creations. The art of Đồng Sơn emerged on the basis of Neolithic industry, as the first bronze objects can be found alongside carved stone instruments and pottery with a still Neolithic character. To look for the origins of the Dongsonian in the north or west of Vietnam, as several researchers have done, is to put forward a hypothesis that has no scientific basis. Dongsonian art is also in contact with the art of the Warring Kingdoms (Houai-style daggers from the Wu-Yue kingdom). The ancient bronzes found in Vietnam are totally different from those of the Shang and Chu dynasties in China, both in the creation of charming forms and in decoration and alloying. We can say without hesitation that this is a purely local production with very little influence from Chinese bronzes.
Đồng Sơn culture
(500 B.C. – 43 A.C.)
Thanks to the discoveries of bronze ploughing implements (ploughshares) found at Vạn Thắng and Sơn Tây reported by Vietnamese researchers in their book entitled “Les premiers vestiges de l’Âge de bronze au Vietnam p 110-113, Hànội 1963)(1), the Proto-Vietnamese already knew how to plough their rice fields. This invalidates the old Chinese thesis that the Proto-Vietnamese didn’t know how to plough before the Han conquest. They had to learn from the governors Si Kouang (Tích Quan) and Ren Yan (Nhâm Diên) how to grow rice and how to live and dress (Livre des Han postérieurs). One of the characteristics of Dongsonian bronze lies in the subtle blend of copper, tin and lead elements, depending on the type of tool produced (battle axe, crossbow trigger, spear point, ploughshare, hoe, dagger, etc.). According to Vietnamese researcher Nguyễn Phúc Long, ancient bronze drums found in North Vietnam have a much higher lead content than those from archaic China, in the order of 27.8% for the former versus 0.55% for the latter.
Beauty and skill are not lacking either in the decoration of the various objects found with the creatures living in the rice fields (toad, pelican, turtle, buffalo etc.). For some time now, despite the proximity of a multi-cultural country like China, there has been unanimous agreement on the singularity of this age-old culture, which originated with the rice-growing peasants, whose feet were buried in the mud of the flooded fields and who were close to nature. It is contemporary with the Sa Huỳnh and Đồng Nai cultures of central and southern Vietnam today.