Gia Long ( Founder of Nguyễn dynasty)

 

Gia Long

French version
Vietnamese version
Pictures gallery

Gia Long is the imperial title prince Nguyễn Phúc Ánh took in 1802 for his reign at the time of the reunification of the Vietnam empire which extended from the border of Lạng Sơn to the point of Cà Mau on the gulf of Siam.

Gia long results from the combination of two following words: Gia and Long (Gia being a word extracted from the name Gia Định, the ancient city of Saïgon and Long that of the name Thăng Long, the ancient capital Hànội). During the 25 years of fighting against the Tây Sơn, he roamed the whole Cochinchina. He knew perfectly well all the corners of the Mekong delta. Prince Nguyễn Ánh was so attached to the people of the South and in particular to Saigon city that he was khnown at the time as « General Gia Định« .

Before the unification of Vietnam (1801), the last survivor of the Nguyen was hunted down several times by the Tây Sơn ( or the people from the West ) of Nguyễn Huệ. He owed his safe life to a French missionary Pierre Joseph Pigneaux de Behaine who shared with him his meal brought in by a confidant, P. Paul Nghi, and who did not hesitate to organize his escape in the Cancau principality of Mạc Thiên Tứ, the son of his allied Mạc Cửu Hà Tiên region) after the assassination of Nguyễn Huệ. Vương by the Tây Sơn, which is told by the British John Barrow in his book «  Voyage in Cochichina » in 1793.

The tough life he experienced during his years of vicissitude gave his partisans an occasion to interpret later his exploits and perils that he succeeded in overcoming as a sign of God’s will in helping him to regain the throne. The grotto of coins (Hang Tiên) in the region of Ha Tien, accessible nowaday by boat, evokes the souvenir of the young prince Nguyễn Ánh, who took shelter there with his troops while waiting for French reinforcements. One  finds coins left by pirates. Vietnamese sayings go with his exploits, such as:

« Kỳ đà cản mũi »

The varanus is in front of the prow

to mean a task cannot be done because of the obstruction of someone. Thanks to the presence of a monitor that blocked his junk on its way to the sea, he was narrowly saved because his enemies were waiting for him there. Another time in the region of Ha Tien, his junk was bothered by the presence of snakes. He was forced to give order to his subordinates to row faster so as not to be pursued by the snakes. This allowed him to reach Phú Quốc island sooner and avoid the trap set by his adversaries. That is why a Vietnamese saying goes:

« Gặp rắn thì đi, gặp qui thì về »

to mean it is possible to keep going when encountering snakes and it is better to go back when encountering turtles.

Thoughout historical accounts, it is noted that Nguyen Anh was lucky during the years of fighting with the Tây Sơn. One time he was chased by the enemies. He was forced to cross a river by swimming. He was aware that the river was infested with crocodiles. He had to resort to buffaloes that splashed about the riverside to take him over. Even the perilous rescue of his boat engulfed by waves by the young intrepid Lê Vân Duyệt (15 years of age ) who later became his talented general, in a stormy night was the object of prophecy discussed for so many years by the people of Long Hưng Tây village before the event took place.

In spite of these facts having something to do with legitimizing by divine protection the struggle led by Nguyễn Ánh, it is not fair to ignore the qualities in this outstanding personage. He did not have the genius of strategy of his adversary, general Nguyễn Huệ. But he had an incommensurable patience parallel only to that of Gou Jian (or Cẩu Tiễn in Vietnamese ), the prince of Yue in the North at the episode of Spring and Autumn ( thời Xuân Thu )( 476 B.C ) who waited long years to get ready for revenge against Fu Chai (Phù Sai) the Wu State’s sovereign ( nuớc Ngô của Ngũ Tử Tư ).

He was gifted at being able to recruit as subordinates individuals of valor ( Võ Tánh, Lê Văn Duyệt, Nguyễn Văn Thành etc.) and grant to frienship a particular signification during his reign, which has been noted towards French missionary Pigneaux de Behaine or his French lieutenants Jean Baptist Chaigneau ( Nguyễn Văn Thắng), Philippe Vaniera, Olivier Puymanel or Siamese king Rama I ( or Chakkri ).

In acknowledgement of the debt that Nguyễn Ánh had let him go back safe and sound with his army to rescue his imprisoned family, the latter was fast to offer many years of hospitality to prince Nguyễn Ánh and his suite when he was forced to take refuge in Bangkok after his scathing defeats against the Tây Sơn at Mỹ Tho (1785).

Nguyễn Ánh was a brave and tough man. With him it seems like there is no one in the South who dares to oppose him. To repay the debt toward his family assassinated by the Tay Son, he remained unruffled before the tortures he reserved for his adversaries. The vanquished enemies were put to death by appalling tortures. Men were torn and women and children were stamped by elephants. Their corpses were thown in the field for crows to eat. It was the fate reserved for the female general Bùi Thị Xuân, the son of emperor Nguyễn Huệ, king Nguyễn Quang Toản etc.

This pact of friendship was born in a military confrontation between his lieutenant Nguyễn Hữu Thùy and Chakkri which was still a general sent by the Siamese king Taksim (Trịnh Quốc Anh ).

Before the volte-face of Taksim imprisoning his family, Chakkri was forced to compromise with Nguyen Anh and return to Bangkok to overthrow Taksim. To recognize this debt and to assist Nguyen Anh to recover the throne, Chakkri sent an army of 50,000 men which was completely decimated in 1785 by the strategist Nguyễn Huệ in the western Mékong (Mỹ Tho).

For political reasons, he did not hesitate to kill people who had served him with devotion when he was still a young prince hunted down by the Tây Sơn. It is the case of Nguyễn Văn Thành, Ðặng Trần Thường. That is why he was ofen compared to Liu Bang (Lưu Bang), the great Han emperor having reserved the same treatment toward his comrades-in-arm. Despite that, he was also seen as a man of the heart. He was fast to render great homage to his comrade-in-arm Nguyễn Văn Thành whom he forced to commit suicide for a calomnious insinuation and burst into tear before the altar set up in honor of the latter. He ordered freedom for his family and restitution of confiscated possessions and titles. One also finds his profound attachment to his subordinates’ lives through the message addressed to his brother-in-law, general Võ Tánh in charge of defending Qui Nhơn or to Pigneaux de Behaine, his spiritual father, military advisor through the ceremony arranged at the funeral of the latter, which was reported by Father Lelabrousse at the Missions Etrangeres on April 24, 1800.

He was also a seducing warrior. His consideration toward queen Ngọc Bích, the young wife of his adversary, young king Cảnh Thịnh (son of king Quang Trung) was exemplary. She was crying out when she saw a very majestuous man standing in front of her:

-General Gia Ðịnh, what do you want of me?

He smiled and answered her with kindness:

Don’t be afraid and stop crying please. General Gia Dinh will be more gentle than a Tay Son one. This residence remains the same for you despite of the change of ownership.

Since his gentleness and his will to conquer the heart of the queen was so strong the latter could not resist. She became thus his first rank concubine and had two sons with him. She was married two times to two kings (Cảnh Thình and Gia Long) and was the last daughter of the Lê kings. That is why the two implacable adversaries became « brothers-in-law » because Nguyễn Huệ was the spouse of Ngọc Hân and Gia Long that of Ngọc Bích. It is also for the latter that a Vietnamese saying goes:

Số đâu mà số lạ lùng
Con vua mà lấy hai chồng làm vua

What a bizarre fate she has
Daughter of a king, she got twice married to kings.

In spite of his reputation of being a warrior hardened by years of war and vicissitudes, he was also as vulnerable as any ordinary man. A great number of worries has come upon him that he did not wish to hide and reveal to his confidant, Frenchmen Jean-Baptiste Chaigneau: 

Ruling country is easier than managing a harem.
This was revealed by Michel, the son of J.B. Chaigneau in his journal « Le Moniteur de la Flotte » in 1858.

Despite the treaty initialed at Versailles in 1787 by Counts de Vergennes and de Montmorin for king Louis XVI and by his son Nguyễn Phúc Cảnh witnessed by bishop of Adran, Pigneaux de Behaine, the collaboration of a great number of French subordinates in his ranks and his interest in science and Western techniques, he continued adopting a very ambiguous policy toward the Europeans, in particular the missionaries. Was this benevolent attitude due to the friendship he tried to honor toward his friend Pigneaux de Behaine or to his open mindedness like KangXi in China aiming at better utilizing the catholic missionaries’s competences?

One keeps asking these questions up to now. However, one knows that throughout the construction of the Purple City, the maintenance of the mandarinal system, the reform of the Le code based on that of the Qing in China, he appeared to be more than never an admirer of the Ming and Qing dynsties, a convinced Confucianist and a more retrograde emperor. During his last years, he began a policy of folding back by choosing as his successor prince Nguyễn Phúc Ðảm supported by most of the Confucianist mandarins in lieu of the children of prince Cảnh who deceased of an illness. The prince known under the name of Minh Mang did not hesitate to do away with the children and wife of Cảnh (Mỹ Ðường) and gave the Europeans an opportunity, especially the French government to intervene militarily, by deliberately leading an anti-western and anti-catholic policy and thus renewing a policy in line with the Chinese policy. Nguyen Anh could have become a great emperor at the image of a Japanese « Meiji » when he had the advantage of being circled by a great number of Frenchmen including his private physician (a certain Despiaux) and he had an open mind to Western techniques and sciences.

It is a shame for Vietnam to have lost an opportunity to enter the era of modernization.

It was unfortunate for the Vietnamese people to have written later their history with blood and tears

He does not deserve being forgotten in our history because he arrived at enlarging our territory and unifying the country under his banner. But he is no longer a great emperor of Vietnam because grandeur is measured by not only the enlargement of Vietnam but also by the good deeds he brought to the Vietnamese people and by the magnanimity toward his adversaries.

It is regrettable to say so because Nguyễn Ánh with the qualities he showed us during his 25 years of vicissitude could have done better to his country and people more than any other kings of Vietnam (including king Quang Trung).

 

Galerie des photos

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Concubines under the Nguyễn dynasty (Cung tần mỹ nữ)

French version

 

 

Trong cunq quế âm thầm chiếc bóng
Ðêm năm canh trông ngóng lần lần
Khoảnh làm chi bầy chúa xuân
Chơi hoa cho rữa nhị dần lại thôi.

In the royal genaeceum, I stay alone with my shadow,
All night long, I eagerly wait for his visit.
Instantly, many springs have gone by,
He ceased coming in as this flower is withering.

Ôn Như Hầu

Except Gia Long, the founder and Bảo Ðại, the last emperor of the Nguyen dynasty no emperors of this dynasty granted a title to their principal spouse during their reign. No historic documents found today show why there was that systematic refusal since the application of Minh Mang’s decree. On the contrary, only this spouse received her title after her disappearance.

First imperial concubine ( Nhất giai Phi ) ( 1st rank )
Second imperial concubine ( Nhị Giai Phi ) (  2nd rank )
Superior concubines ( from 3rd to  4th rank ) (Tam Giai TânTứ Giai Tân ), simples concubines ( from 5th to 9th rank ) ( Ngũ Giai Tiếp Dư , Lục Giai Tiếp Dư, Thất Giai Quí Nhân, Bát Giai Mỹ  Nhân, Cữu Giai Tài Nhân ).

Then came the Ladies of the Court, next, the subordinate servants. It was estimated that those women along with the eunuchs, the queen mothers and the emperor made up a purple forbidden society of Huế. The status of those women (even that of the servants) no matter what it was, went up considerably when they gave birth to a son.
Speaking of those concubines, it is impossible not to evoke the love story of Nguyễn Phi, the future empress Thừa Thiên Cao Hoàng Hậu with prince Nguyễn Ánh, the future emperor Gia Long. This one, beaten by the Tây Sơn (or the peasants of the West) in the Fall of 1783, had to take refuge on the Phú Quốc Island. He had to send his son Nguyễn Phúc Cảnh, 4 years old, accompanied by archbishop Pigneau de Behaine to France to ask for military aid before king Louis XVI (Treaty of Versailles 1787), and took refuge in Bangkok ( Thailand) waiting for French reinforcement. Before the time of separation, he hastened to cut a gold bar into two halves and gave one to his spouse, Nguyễn Phi telling her:

Our son has already gone. I am about to leave you to resettle in Thailand. You stay here to take care of our queen mother. I do not know the date of my return nor the place of our reunion . I leave with you this half gold bar as the token of our love. We will have the chance to see each other later if God helps us to defeat the Tây Sơn.

During Nguyễn Anh’s years of exile and setback in his reconquest of power, Nguyên Phi continued to take care her mother-in-law, queen Hiếu Khương (spouse of Nguyễn Phúc Luân ) and to make uniforms for recruits. She arrived at overcoming all the difficulties destined to her family and showed her courage and bravery in escaping traps set up by their adversaries.

Thanks to his perseverance and stubbornness, Nguyễn Ánh succeeded in defeating the Tây Sơn in 1802 and became our emperor Gia Long. The day following their touching reunion, he asked her about the other half of the gold bar he had given her at the moment of their separation. She went looking for it and gave it back to him. Seeing the half of the bar in the state of shining, emperor Gia Long was so touched he told his spouse Nguyễn Phi:

This gold that you succeeded in keeping in its splendor during our difficult and eventful years shows well the blessings and grace of God for our reunion today. We should not forget that and should talk about it to our children.

Then he reassembled the two halves of the gold bar to make it whole again and gave it to Nguyễn Phi. This gold bar later became under the reign of Minh Mạng, not only the symbol of eternal love between Nguyễn Ánh and his spouse Nguyễn Phi but also an object of veneration found on the altar of emperor Gia Long and empress Thừa Thiên Cao Hoàng Hậu in the Ðiện Phụng Thiên temple in the purple city of Huê.

No one was surprised that thanks to his daughter Ngô Thị Chánh, former Tây Sơn general Ngô Vân Sở was spared from summary execution by emperor Gia Long during the victory over the Tay Son, because his daughter was the favorite concubine of his crown prince Nguyễn Phúc Ðảm, our future emperor Minh Mang. When this one acceded to power, he did not hesitate to grant her all the favors uniquely reserved up until then for his principal spouse. This concubine, when alive, often had the chance to tell the emperor:

Even you love me as such, the day I decease, I will be alone in my tomb empty-handed.

That was why when she died a few years later, the emperor followed her to the place of burial taking with him two ounces of gold. He then asked the eunuch to open the two hands of the concubine. The emperor himself put an ounces of gold in each hand saying with emotion:

I give you two ounces of gold so that you do not go empty-handed.

One found this love fifty years later in poet emperor Tự Ðức. At the funeral of his favorite concubine, he composed a poem entitled « Khóc Bằng Phi » whose two following verses immortalized love and affection emperor Tự Ðức reserved for his concubine Bằng Phi:

Ðập cổ- kính ra, tìm lấy bóng
Xếp tàn-y lại để dành hơi

I break the old mirror to find your shadow
I fold your fading clothes to keep your warmth.

Cung tần mỹ nữ

 
Under the Nguyen dysnasty, the genaeceum took an important dimension. To consolidate his authority and gain fidelity from his subordinates, emperor Gia Long himself did not hesitate to establish the politics of alliance in taking for concubines most of the daughter of the subordinates. This was revealed by his confidant, the French mandarin J.B. Chaigneau in his  » Souvenirs of Huế 1864 « . But sometimes the concubine of the emperor may be issue of a different medium. It is the case of the concubine of emperor Thành Thái, the father of Duy Tân. This concubine was the rower of a ferry boat in the region of Kim Long known for the charm and grace of its inhabitants. That is why people did not hesitate to sing the following popular song to evoke the idyllic love that emperor Thanh Thai reserved for the charming rower of the ferry and his audacity to disguise himself as a common traveler to visit Kim Long.

Kim Long có gái mỹ miều
Trẩm yêu trẩm nhớ trẩm liều trẩm đi

Kim Long is known for its charming girls
I love, I miss, I dare and I go.

One beautiful morning of our new year, Thành Thái intrigued by the charm of the Kim Long region decided to go there alone. He disguise himself as a young traveler to visit that famous region. On his way back, he had to take the ferry the rower of which was a charming girl. Seeing her timid in gait with her red cheeks under the overwhelming sun, emperor Thành Thái began to flirt with her and tease her with this idea, saying:

Miss, do you like to marry the emperor?

Stunned by this hazardous proposal, the girl looked attentively at him and replied with sincerity: Don’t you talk nonsense, they are going to cut off you head.

Seeing her in a fearful state, the emperor was determined to bother her more: That’s right, what I have proposed with you. If you agree, I will be the intermediary in the matter! Caught by a sense of decency, she hid her face behind her arm. On the ferry, among the passengers, there was an older and well dressed person. This one, having heard their conversation, did not hesitate to push on by saying to the girl:

Miss, just say « Yes » and see what happens!

Encouraged by the daring advice, the ferry rower responded promptly: Yes Happy to know the consent of the rower, Thành Thái stood up, went toward the rower and said with tenderness:

My dear concubine, you may rest. Let me take care of rowing the ferry for you.

Everyone was surprised by that statement and finally knew that they were in front of young emperor Thành Thái, known for his anti-French activities, deposed and exiled later by the French authorities to the Reunion island because of his excess in « madness ». When the ferry reached the Nghinh Lương dock, Thành Thái ordered the passengers to pay for their tickets and led the young rower into the forbidden city.

Generally speaking, the concubines lived surrounded by Ladies of the Court, eunuchs and devoted their time in embroidering and weaving. Some died without ever having received the emperor’s favor, or having got out of the palace.

A famous poet of 18th century Nguyễn Gia Thiều known under the name of Ôn Như Hầu (because of his title), had denounced the injustice inflicted upon these women, their sadness and isolation, in his work  » Cung Oán Ngâm Khúc » (or Sadness of the Palace ). Others enjoyed their status of a favorite but none was equal to Ỷ Lan, the favorite of Lý Thánh Tôn of the Lý dynasty, who had assumed brilliantly the regency of the kingdom during her husband’s campaign against Champa.

[Return Huế]

Concubines sous la dynastie des Nguyễn (Cung tần mỹ nữ)

English version

Vietnamese version

Trong cunq quế âm thầm chiếc bóng
Ðêm năm canh trông ngóng lần lần
Khoảnh làm chi bầy chúa xuân
Chơi hoa cho rữa nhị dần lại thôi.

Dans le gynécée royal, je suis toute seule avec mon ombre
Tout le long de la nuit, j’attends avec impatience sa visite
Plusieurs printemps ont été partis instantanément
Il cessait de venir et je suis comme une fleur qui se fane.

Ôn Như Hầu Lire la suite

The Vietnamese bra

French and Vietnamese versions

yem_dao
Being an integral element  of four-part dress, Yếm is the most popular bra worn by Vietnamese women in the past. One finds in its manufacture a silk or cotton fabric square, the ends of which  are fixed by the straps tying behind the back and at the neck  level.This is intended to cover and support the chest for leaving  naked the rest of the body’s upper part. Yếm causes not only lure of seduction but also pleasant freshness during summer days. However in winter, it becomes a kind of the underwear above which is added the four-part dress,  thus allowing  Vietnamese women to protect themselves against the severe cold.

In the Vietnamese tradition, the wasp waist is one of the distinctive traits  of female beauty. Perhaps that’s why the birth of this bra is linked to this tradition intended   to emphasize  the line of the women’s body by giving it the shape of the segmented body of the wasp. 

This bra  was worn by all sections of the population without exception. But the notion of color differentiates between the categories of people wearing it. The brown colour is intended for  farmers while  educated girls prefer the harmonious, elegant and discrete colors. For the elderly, the dark remains the most widely used. Despite this observation, it is possible to see Yếm with eccentric colours.

Pictures gallery

One does not known its origin but  Yếm was appeared for the first time in the 11th century under the Lý dynasty. It underwent many changes over time before being again recently an glamourous fashion article, competitor of « Áo dài ». In  old days, it was accompanied by wearing a skirt and a turban cloth (black or brown) or a scarf ending with a « Crow beak » at the  front top. (khăn vuôn mõ quạ). It is only during the reign of  Minh Mạng emperor  that the black pants was  imposed instead of the skirt.

Yếm is an inexhaustible source for Vietnamese poets among which is  famous Hồ Xuân Hương. She has had the opportunity to describe not only the romantic and glamourous image of this Vietnamese undershirt but also the innocence of a young girl living in a society ruled by Confucian immutable ethic, in her poem entitled « the girl asleep in the daytime » (Thiếu nữ ngủ ngày).

Mùa hè hây hẩy gió nồm đông
Thiếu nữ nằm chơi quá giấc nồng
Lược trúc lỏng cài trên mái tóc
Yếm đào trễ xuống dưới nương long
Ðôi gò Bông đảo sương còn ngậm
Môt lạch đào nguyên suối chưa thông
Quân tử dùng dằng đi chẳng dứt
Ði thì cũng dở ở không xong.

Summer breeze is sporadically blowing,
Lying down the young girl slides into sleeping.
Her bamboo comb loosely attached to her hair,
Her pink bra below her waist dropped down fair.
On these two Elysian mounds, the nectar is still remaining,
In that one Fairy rivulet, the current seems to stop flowing.
At such a view, the gentleman hesitated,
Odd to leave, yet inconvenient if he stayed.

Yếm is mentioned so many times in  popular poems. It reflects the strength and intensity of the love through these two following verses:

Trời mưa trời gió kìn kìn.
Đắp đôi dải yếm hơn nghìn chăn bông.

It’s raining and it made the wind with intensity.
To be covered with a pair of Yếm better than to get thousand duvets

 

It is difficult to leave the person we fell in love unless we have become this undershirt to retain her. That is what we have in the two verses below:

Kiếp sau đừng hóa ra người
Hóa ra dải yếm buộc người tình nhân.

In the future life, one should not be born a man
But it is necessary to be transformed into undershirt to retain the lover.

[Return TRADITIONS]

Museum of Champa sculpture (Bảo tàng viện Điêu Khắc Cổ)

French version
Vietnamese version
Picture gallery

phatmau_tara

Before it became the Champa Sculpture Museum today, it was known as the Sculpture Garden in the distant past. It was here that they began to collect and preserve for the most part, under the aegis of archaeologist-architect Henri Parmentier and members of the French School of the Far East (EFEO) in the late 19th century all the artifacts found  during archaeological excavations in the central regions (from the Hoành Sơn Anamitic Range, Quảng Bình in the north to Bình Thuận (Phan Thiết) in the south) where an ancient Indochinese kingdom existed known in the early 2nd century as Linyi and then Huanwang and finally Champa until its annexation by Vietnam in 1471. Opened to the public in 1919, this museum initially took the name of its founder « Henri Parmentier Museum » and housed 190 artifacts among which was the famous pedestal of the Buddhist site Đồng Dương.

Then the museum did not cease to expand since 1975 to reach today an area of 2,000 m² out of a total of more than 6,600 m² and to acquire in the year 1978 the great masterpiece of bronze art, the statue of Laksmindra-Lokesvara (Quan Âm chuẩn đề) often known as Tara. It becomes over the decades the unique museum in the world in the field of Champa art. It allows the tourist to also know the chronology of Champa history as all styles are present through artifacts from the famous sites Mỹ Sơn, Đồng Dương, Trà Kiệu and Pô Nagar (Nha Trang). For French researcher Jean Boisselier, Chame sculpture is always closely linked to history. Despite the evolution of styles throughout its history, chame sculpture continues to keep the same divine and animal creatures in a constant theme. This is a museum not to be missed if one has the opportunity to visit Đà Nẵng

  • Mỹ Sơn E1 style (Phong cách E1)
  • Chính Lộ style (Phong cách Chính Lộ )
  • Đồng Dương style (Phong cách Đồng Dương)
  • Tháp Mắm style … (Phong cách Tháp Mắm)

Picture gallery

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style_thapmam

 

  • Mỹ Sơn E1 style : vivacity in ornamentation, dedicacy in the details..style_dongduong
  • Khương Mỹ style : gentleness in the faces, harmony and symmetry…
  • Trà kiệu style : beauty in the adornments, the half-smile, the development of feminine beauty ( fully developed breasts, new freedom in the hips etc ..)
  • Đồng Dương style :typical facial appearance (protruding eyebrowns, thick lips with the corners…
  • Tháp Mắm style : art reached in its limits with a lack of realism and extravagance….

[Return to CHAMPA]

Politique de rapprochement avec le Vietnam (Thaïlande)

Version vietnamienne

Version anglaise

L’hospitalité que Rama 1er a réservée à Nguyễn Ánh servira de base plus tard au développement de la future relation entre les deux pays. Elle n’est pas étrangère à la conduite attentionnée de Nguyễn Ánh dans la recherche d’une solution adéquate pour gérer la double suzeraineté sur le Laos et sur le Cambodge avec les Thaïs. Selon le checheur vietnamien Nguyển Thế Anh, ces pays furent considérés à cette époque comme des enfants élevés ensemble par le Siam et le Vietnam, le premier s’arrogeant le titre du père et le second le titre de mère. Cette double dépendance est connue en langue thaïe sous le nom « song faifa« . Selon les sources siamoises, Nguyễn Ánh envoya 6 fois de Gia Định à Bangkok des arbres d’argent et d’or, signe d’allégeance entre 1788 et 1801. (2). Dans une lettre adressée à Rama 1er avant son retour à Gia Đinh, Nguyễn Ánh accepta d’être placé sous le protectorat du Siam au cas où il réussirait à rétablir son pouvoir. Le Đại Nam (ancien nom du Vietnam) accepta-t-il d’être un état de mandala? Il y a plusieurs raisons de réfuter cette hypothèse. D’abord le Đại Nam n’était pas sous l’influence du bouddhisme théravadà et n’avait pas non plus la culture indianisée comme cela a été avec le Cambodge et le Laos car le rôle religieux joue un rôle important dans le mandala défini par le chercheur O. Wolter. Le Siam tenta d’étendre jusqu’alors son influence et son emprise dans les régions où les Thaïs étaient plus ou moins implantés et où la culture indianisée était visible.

Ce n’est pas le cas du Vietnam. Chakri et son prédécesseur Taksin ont déjà échoué dans cette démarche en Cochinchine qui était pourtant une terre neuve car il y avait une colonie vietnamienne importante de culture différente. La vassalité paraît improbable. On ne connait jamais la vérité mais on peut s’appuyer sur le fait que pour reconnaître les bienfaits du Ralma 1er, Nguyễn Ánh pourrait adopter ce comportement compréhensible qui n’était jamais incompatible à son tempérament et surtout à son esprit confucianiste dont l’ingratitude ne faisait pas partie. On trouve toujours en lui la reconnaissance et la gentillesse qu’on ne pourra pas réfuter plus tard avec Pigneau de Béhaine ayant consacré beaucoup d’effort pour le convaincre de se convertir au catholicisme. Sous son règne, il n’y avait pas la persécution des catholiques qu’on peut interpréter comme une reconnaissance envers Pigneau de Béhaine. De ce point de vue, on peut voir en lui le principe d’humanité (đạo làm người) en honorant à la fois la gratitude envers ceux qui l’avaient protégé durant les 25 années de vicissitudes et la vengeance envers ceux qui avaient tué tous ses proches et sa famille. (thù phải trả, nợ phải đền)

Au moment de son intronisation en 1803 à Huế, Nguyễn Ánh reçut une couronne offerte par le roi Rama 1er mais il la lui retourna tout de suite car il n’accepta pas d’être traité comme un roi vassal et de recevoir le titre que le roi siamois Rama 1er était habitué à accorder à ses vassaux. Ce comportement déjuge l’accusation qu’on a toujours sur Nguyễn Ánh.

Pour certains historiens vietnamiens, Nguyễn Ánh est un traître car il fait venir les étrangers et leur donne l’occasion d’occuper le Vietnam. On aime à coller l’expression vietnamienne « Đem rắn cắn gà nhà » (Introduire le serpent pour mordre le poulet de la maison) à Nguyễn Ánh. Il est injuste de le taxer de trahison car dans le contexte difficile où il était, il n’y a aucune raison de ne pas agir comme lui en tant que humain lorsqu’il était au gouffre du désespoir. Probablement l’expression suivante « Tương kế tựu kế ( Combiner un stratagème de circonstance) lui convient mieux bien qu’il y ait un risque de faire le jeu des étrangers. Il faut rappeler aussi que les Tây Sơn eurent l’occasion d’envoyer un émissaire auprès de Rama 1er en 1789 dans le but de neutraliser Nguyễn Ánh avec le stratagème ( Điệu hổ ly sơn ( Éloigner le tigre loin de la montagne) mais cette tentative fut vaine à cause du refus de Rama 1er. (3)

Etant intelligent, courageux et résigné à l’image du roi des Yue Gou Jian (Cẫu Tiển) de la période des Printemps et des Automnes (Xuân Thu), il devrait connaître les conséquences de son acte. Il y a non seulement Gia Long mais aussi des milliers de gens ayant accepté de le suivre et d’assumer cette lourde responsabilité de faire venir les étrangers dans le pays pour contrer les Tây Sơn. Sont-ils tous des traîtres? C’est une question épineuse à laquelle il est difficile de donner une réponse affirmative et une condamnation hâtive sans avoir au préalable le sens de l’équité et sans se laisser convaincre par des opinions partisanes lorsqu’on sait que Nguyễn Huệ reste toujours le héros le plus adulé par les Vietnamiens pour son génie militaire.

Déçu par le refus de Gia Long, Rama 1er, ne montra aucun signe de rancune mais il trouva la justification dans la différence culturelle. On trouve en Rama 1er non seulement la sagesse mais aussi la compréhension. Il voudrait traiter désormais d’égal à égal avec lui. Ce traitement égalitaire peut être interprété comme une relation bilatérale « privilégiée » entre l’aîné et le jeune dans le respect mutuel. Chacun d’eux devrait savoir qu’il avait besoin de l’autre même il s’agit d’une alliance de circonstance. Leurs pays étaient guettés respectivement par des ennemis redoutables qu’étaient la Birmanie et la Chine.

Leur relation privilégiée ne s’estompa pas au fil du temps du fait que Rama 1er tomba amoureux entre-temps de la sœur de Nguyễn Ánh. On ne sait pas ce qu’elle deviendrait (sa femme ou sa concubine). Par contre il y avait un poème d’amour que Rama 1er lui a dédié et qui continuait à se chanter encore dans les années 1970 durant la procession annuelle des barques royales.

Quant à Nguyễn Ánh ( ou Gia Long ), durant son règne, il évita d’affronter militairement la Thaïlande sur les problèmes épineux cambodgien et laotien. Avant sa mort, Gia Long ne cessa pas de rappeler à son successeur Minh Mạng de perpétuer cette relation d’amitié qu’il avait réussi à établir avec Rama 1er et de considérer le Siam comme un allié respectable dans la péninsule indochinoise (4). Cela se justifiera plus tard par le refus de Minh Mạng d’attaquer le Siam à la demande des Birmans.

Selon le chercheur Nguyễn Thế Anh, dans l’Asie du Sud Est continentale, sur une vingtaine de principautés importantes vers 1400, il ne restait que trois royaumes qui réussirent à s’imposer au début du XIXème siècle en tant que puissances régionales parmi lesquelles figuraient le Siam et le Đại Việt, l’un entamant la marche vers l’Est et l’autre vers le Sud au détriment des états hindouisés (Laos, Cambodge, Champa). Ce conflit d’intérêts s’intensifia de plus en plus à la disparition de Rama 1er et de Nguyễn Ánh.

Leurs successeurs ( Minh Mạng, Thiệu Trị du côté vietnamien et Rama III du côté siamois) furent empêtrés par le problème de succession des rois cambodgiens qui ne cessaient pas de se battre entre eux et de solliciter leur aide et leur protection. Ils furent guidés dès lors par la politique de colonialisme et d’annexion qui les amena à se confronter militairement 2 fois en 1833 et en 1841 sur les territoires cambodgien et vietnamien et à trouver à la fin de chaque confrontation un compromis d’entente en leur faveur et au détriment de leurs protégés respectifs. L’alliance de circonstance n’est plus prise en compte. La rivalité qui devenait de plus en plus visible entre les deux pays concurrents Đại Nam et Siam, éloigne désormais tout rapprochement et toute alliance possible. Même leur politique est tout à fait différente, l’un s’alignant sur le modèle chinois pour éviter tout contact avec les colonialistes occidentaux et l’autre sur le modèle japonais pour prôner l’ouverture des frontières.

La capitale khmère Phnom Penh fut occupée à une certaine époque par l’armée vietnamienne du général Trương Minh Giảng tandis que les régions de l’Ouest cambodgien ( Siem Reap, Battambang, Sisophon) étaient aux mains des Thaïs. Selon l’historien français Philippe Conrad, le roi du Cambodge était considéré comme un simple gouverneur du roi de Siam. Les insignes royaux ( épée d’or, sceau de la couronne) étaient confisqués et détenus à Bangkok. L’arrivée des Français en Indochine mit fin à leur double suzeraineté sur le Cambodge et le Laos. Elle permit aux protégés cambodgien et laotien de récupérer une partie de leur territoire aux mains des Vietnamiens et des Thaïs. Le Đại Nam de l’empereur Tự Đức dut faire face aux autorités coloniales françaises qui avaient annexé les six provinces de Nam Bộ (Cochinchine). Grâce à la clairvoyance de leurs rois (en particulier celle de Chulalongkorn ou Rama V) , les Thaïs s’appuyant sur la politique de rivalité entre les Anglais et les Français, réussirent à garder leur indépendance au prix de leurs concessions territoriales (les territoires birmans et malais occupés rendus aux Anglais et les territoires laotien et khmer aux Français). Ils optèrent une politique étrangère flexible (chính sách cây sậy) comme le roseau qui s’adapte au gré du vent. Ce n’est pas un hasard de voir l’union sacrée des trois princes thaïs aux prémices de la nation thaïe en 1287 et la soumission face aux troupes sino-mongoles de Kubilai Khan.

C’est cette politique synthétique d’adaptation qui leur permet d’être à l’écart des guerres coloniales, de se ranger toujours du côté des vainqueurs et d’exister jusqu’à aujourd’hui en tant que nation florissante malgré leur émergence tardive ( datant du début du 14ème siècle ) dans l’Asie du Sud Est continentale

Photos de Venise de l’Orient (Vọng Các)

[Retour à la page Thaïlande]


(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.

Conflits larvés avec le Việtnam (Thaïlande)

Version vietnamienne

Version anglaise


Il y a des victoires et des défaites de chaque côté. En conduisant une armée de 20.000 hommes et une flotte, Taksin réussit à chasser après un siège de dix jours, Mo Shi-Lin (Mạc Tiên Tứ en vietnamien) le fils de Mạc Cửu) de Hà Tiên. C’est un allié chinois de poids des seigneurs Nguyễn et le protecteur du fils du dernier roi de la dynastie d’Ayutthaya, Chao Chuy (Chiêu Thúy). Celui-ci continue à être l’un des compétiteurs éventuels à la couronne et un sujet d’inquiétude journalière pour Taksin. À cause de ses revers militaires à Châu Đốc et dans la région de Sadec, Taksin fut obligé d’accepter le traité de paix offert par Mạc Thiên Tứ et d’abandonner Hà Tiên en ruines en échange du retour du prince Chiêu Thúy, de la remise en liberté de la fille de Mạc Thiên Tứ capturée au moment de la chute de Hà Tiên et du maintien sur le trône cambodgien un roi pro-Thaï de nom Ang Non.

Dès son retour, Chiêu Thúy fut exécuté ainsi que son frère capturé au Cambodge. Quant au seigneur Nguyễn Phúc Thuần (connu plus tard sous le nom Duệ Tông ), mis en difficulté par la révolte des frères « Tây Sơn (Paysans de l’Ouest) », il fut obligé de cautionner cet accord et de laisser temporairement aux Thaïs le champ libre dans leur politique d’expansion territoriale sur le Laos et le Cambodge. Mais le trêve fut de courte durée pour Mạc Thiên Tứ car entre-temps, il fut poursuivi par les Tây Sơn ayant réussi à prendre Gia Định (ou Saïgon) en 1776 et à capturer le seigneur Nguyễn Phúc Thuần à Cà Mau. Il dut trouver refuge avec sa famille et ses subordonnés auprès de Taksin à Thonburi (Thailande). Mais ce dernier, obsédé et habité par tant de soupçons et de méfiance, finit d’exécuter sa famille et ses subordonnés parmi lesquels figurait le prince Tôn Thất Xuân. Pour préserver sa dignité et son honneur, Mạc Thiên Tứ se suicida en septembre 1780 en avalant une rondelle d’or. La méfiance de Taksin est de plus en plus envahissante jusqu’au point où elle devient une maladie mentale accompagnée par un comportement paranoïaque et tyrannique.

Rạch Gầm- Xoài Mút

Tableau du Musée national de Saïgon

C’est l’un des traits communs des grands hommes politiques (Ts’ao Ts’ao ( Tào Tháo) des Trois Royaumes, Qin Shi Huang Di (Tần Thủy Hoàng) par exemple). C’est cette méfiance qui le pousse à emprisonner plus tard ses proches en particulier la famille de son gendre Chakri qui était en train de s’engager dans une campagne militaire au Cambodge contre les Vietnamiens du jeune prince Nguyễn Ánh. Chakri ( futur roi Rama 1er) fut obligé de pactiser avec les lieutenants de Nguyễn Ánh, Nguyễn Hữu Thùy et Hồ văn Lân. Ceux-ci lui envoyèrent un couteau, une épée et un drapeau en signe de leur soutien contre Taksin. Ayant réussi de rentrer à temps au moment où éclata un coup d’état renversant ce dernier, le général siamois Chaophraya Mahakasatsuk (ou Chakri) devint ainsi le roi Rama I et le fondateur de la dynastie Chakri.

Son avènement permet de clore la dynastie de Thonburi et de la remplacer par la nouvelle dynastie avec le transfert de la capitale à Bangkok. C’est ici que le roi Rama 1er tenta de restaurer le style Ayutthaya à travers son palais royal (Bangkok). L’installation de la nouvelle capitale ne correspond pas à un renouvellement de l’art siamois. Rama 1er s’intéressa à poursuivre l’oeuvre inachevée de Taksin le Grand dans la marche vers l’Est. Il n’hésita pas à monter une expédition militaire pour aider le prince héritier Nguyễn Ánh dans sa lutte contre les Tây Sơn. Malheureusement, cette expédition vietnamo-siamoise fut écrasée en 1783 dans les arroyos Rạch Gầm- Xoài Mút de la province Tiền Giang d’aujourd’hui par le roi stratège Nguyễn Huệ. De l’armée siamoise constituée d’au moins de 50.000 hommes et de 300 jonques au départ, il ne restait que 2000 hommes ayant réussi de passer par le Cambodge pour rentrer en Thailande.

Profitant de la méconnaissance géographique du terrain (đia lợi) et de la sous-évaluation militaire des ennemis, Nguyễn Huệ évita l’engagement frontal à Sadec et réussit à faire échouer très vite l’invasion siamoise dans les arroyos proches de Mỹ Tho. Nguyễn Huệ avait besoin d’une victoire éclair car il savait que les Trịnh au Nord Vietnam pouvaient profiter de cette occasion pour envahir Qui Nhơn dans le centre du Vietnam.

Traqué comme une bête fauve et plongé dans l’abîme de tristesse, Nguyễn Ánh fut obligé de s’exiler à Bangkok, accompagné d’une trentaine de mandarins et d’environ 200 soldats pour une courte durée (de 1785 à 1787). Puis il fut rejoint plus tard par les 5000 soldats du général Nguyễn Huỳnh Đức. Selon le professeur vietnamien Bùi Quang Tùng (1), beaucoup de réfugiés préférèrent de rester en Thaïlande et de se marier avec les Siamoises.

Politique de rapprochement avec le Việtnam

[Retour à la page Thailande]

(1) Bùi Quang Tùng: Professeur, membre scientifique de EFEO. Auteur de plusieurs ouvrages sur le Vietnam.


Bibliographie

Pool, Peter A.: The Vietnamese in Thailand, Cornell University Press. 1970. 180pp

The diplomatic worldviews of Siam and Vietnam in the pre-colonial period (1780s – 1850s). Morragotwong Phumplab, National university of Singapore, 2011.

Đại Nam Thực Lục (7 fascicules).

 

Une longue histoire commune avec les Vietnamiens (Thaïlande)

English version

 

Le mythe Lạc Long Quân-Âu Cơ insinue avec adresse l’union et la séparation de deux ethnies Yue, l’une de branche Lạc ( les proto-Vietnamiens) descendant dans les plaines fertiles en suivant les cours d’eau et les rivières et l’autre de branche Âu ( les proto-Thaïs) se réfugiant dans les régions montagneuses. Il y a les Mường dans cet exode. Proches des Vietnamiens au niveau linguistique, les Mường ont réussi à garder les coutumes ancestrales car ils étaient refoulés et protégés dans les montagnes. Ceux-ci ont eu une organisation sociale semblable à celle des Tày et des Thaïs.

Situé dans les provinces Kouang Tong (Quãng Đông ) et Kouang Si (Quãng Tây), le royaume de Si Ngeou (Tây Âu) n’est autre que le pays des proto-Thaïs (les ancêtres des Thaïs). C’est ici que se réfugia le prince de Shu Thục Phán avant la conquête du royaume Văn Lang. Il faut rappeler aussi que l’empereur chinois Shi Houang Di dut mobiliser à cette époque plus de 500.000 soldats dans la conquête du royaume de Si Ngeou après avoir réussi à défaire l’armée du royaume de Chu (ou Sỡ) avec 600.000 hommes. On doit penser qu’outre la résitance implacable de ses guerriers, le royaume de Si Ngeou devrait être de taille importante et assez peuplé pour que Shi Houang Di (Tần Thủy Hoàng) engage une force militaire importante.

Malgré la mort prématurée d’un roi Si Ngeou de nom Yi-Hiu-Song (Dịch Hu Tống), la résistance menée par les Yue de branche Thai ou (Si Ngeou)(Tây Âu) réussit à obtenir quelques succès escomptés dans la région du Kouang Si méridional avec la mort d’un général T’ou Tsiu (Uất Đồ Thư) à la tête d’une armée chinoise de 500.000 hommes, ce qui a été noté dans les annales du Maître Houa-nan (ou Houai–nan –tseu en chinois ou Hoài Nam Tử en vietnamien ) écrites par Liu An (Lưu An), petit-fils de l’empereur Kao-Tsou (ou Liu Bang), fondateur de la dynastie des Han entre les années 164 et 173 avant notre ère.

Si Ngeou était connu pour la valeur de ses guerriers redoutables. Cela correspond exactement au tempérament des Thaïs d’autrefois décrit par l’écrivain et photographe français Alfred Raquez:(3)

Les Siamois d’autrefois, belliqueux et coureurs d’aventures, furent presque continuellement en guerre avec leurs voisins et souvent virent leurs expéditions couronnées de succès. À la suite de chaque campagne heureuse, ils emmenaient avec eux des prisonniers et les établissaient sur une partie du territoire de Siam, aussi éloignée que possible de leur pays d’origine.

Après la disparition de ce royaume et celle de Âu Lạc, les proto-Thaïs qui restèrent au Vietnam à cette époque sous le giron de Zhao To (un ancien général chinois des Tsin devenu plus tard le premier empereur du royaume de Nanyue) avaient leurs descendants formant bien aujourd’hui la minorité ethnique Tày du Vietnam. Les autres proto-Thaïs s’enfuirent vers le Yunnan où ils s’unirent au VIII ème siècle au royaume de Nanzhao (Nam Chiếu) puis à celui de Dali (Đại Lý) où le bouddhisme du grand véhicule (Phật Giáo Đại Thừa) commença à s’implanter. Malheureusement, leur tentative fut vaine. Les pays Shu, Ba, Si Ngeou, Âu Lạc (5), Nan Zhao, Dali font partie de la liste des pays annexés l’un après l’autre par les Chinois durant leur exode. Dans ces pays soumis, la présence des proto-Thaïs était assez importante. Face à cette pression chinoise sans relâche et à la barrière inexorable de l’Himalaya, les proto-Thaïs furent obligés de redescendre dans la péninsule indochinoise (4) en s’infiltrant lentement en éventail dans le Laos, le Nord-Ouest du Vietnam (Tây Bắc), le nord de la Thailande et la haute Birmanie.

Le mythe Lạc Long Quân-Âu Cơ insinue avec adresse l’union et la séparation de deux ethnies Yue, l’une de branche Lạc ( les proto-Vietnamiens) descendant dans les plaines fertiles en suivant les cours d’eau et les rivières et l’autre de branche Âu ( les proto-Thaïs) se réfugiant dans les régions montagneuses. Il y a les Mường dans cet exode. Proches des Vietnamiens au niveau linguistique, les Mường ont réussi à garder les coutumes ancestrales car ils étaient refoulés et protégés dans les montagnes. Ceux-ci ont eu une organisation sociale semblable à celle des Tày et des Thaïs.

Situé dans les provinces Kouang Tong (Quãng Đông ) et Kouang Si (Quãng Tây), le royaume de Si Ngeou (Tây Âu) n’est autre que le pays des proto-Thaïs (les ancêtres des Thaïs). C’est ici que se réfugia le prince de Shu Thục Phán avant la conquête du royaume Văn Lang. Il faut rappeler aussi que l’empereur chinois Shi Houang Di dut mobiliser à cette époque plus de 500.000 soldats dans la conquête du royaume de Si Ngeou après avoir réussi à défaire l’armée du royaume de Chu (ou Sỡ) avec 600.000 hommes. On doit penser qu’outre la résitance implacable de ses guerriers, le royaume de Si Ngeou devrait être de taille importante et assez peuplé pour que Shi Houang Di (Tần Thủy Hoàng) engage une force militaire importante.

Malgré la mort prématurée d’un roi Si Ngeou de nom Yi-Hiu-Song (Dịch Hu Tống), la résistance menée par les Yue de branche Thai ou (Si Ngeou)(Tây Âu) réussit à obtenir quelques succès escomptés dans la région du Kouang Si méridional avec la mort d’un général T’ou Tsiu (Uất Đồ Thư) à la tête d’une armée chinoise de 500.000 hommes, ce qui a été noté dans les annales du Maître Houa-nan (ou Houai–nan –tseu en chinois ou Hoài Nam Tử en vietnamien ) écrites par Liu An (Lưu An), petit-fils de l’empereur Kao-Tsou (ou Liu Bang), fondateur de la dynastie des Han entre les années 164 et 173 avant notre ère.

Si Ngeou était connu pour la valeur de ses guerriers redoutables. Cela correspond exactement au tempérament des Thaïs d’autrefois décrit par l’écrivain et photographe français Alfred Raquez:(3)

Les Siamois d’autrefois, belliqueux et coureurs d’aventures, furent presque continuellement en guerre avec leurs voisins et souvent virent leurs expéditions couronnées de succès. À la suite de chaque campagne heureuse, ils emmenaient avec eux des prisonniers et les établissaient sur une partie du territoire de Siam, aussi éloignée que possible de leur pays d’origine.

Après la disparition de ce royaume et celle de Âu Lạc, les proto-Thaïs qui restèrent au Vietnam à cette époque sous le giron de Zhao To (un ancien général chinois des Tsin devenu plus tard le premier empereur du royaume de Nanyue) avaient leurs descendants formant bien aujourd’hui la minorité ethnique Tày du Vietnam. Les autres proto-Thaïs s’enfuirent vers le Yunnan où ils s’unirent au VIII ème siècle au royaume de Nanzhao (Nam Chiếu) puis à celui de Dali (Đại Lý) où le bouddhisme du grand véhicule (Phật Giáo Đại Thừa) commença à s’implanter. Malheureusement, leur tentative fut vaine. Les pays Shu, Ba, Si Ngeou, Âu Lạc (5), Nan Zhao, Dali font partie de la liste des pays annexés l’un après l’autre par les Chinois durant leur exode. Dans ces pays soumis, la présence des proto-Thaïs était assez importante. Face à cette pression chinoise sans relâche et à la barrière inexorable de l’Himalaya, les proto-Thaïs furent obligés de redescendre dans la péninsule indochinoise (4) en s’infiltrant lentement en éventail dans le Laos, le Nord-Ouest du Vietnam (Tây Bắc), le nord de la Thailande et la haute Birmanie.


(4) Indochine au sens large. Ce n’est pas l’Indochine française.

(5) Le royaume Âu Lạc de An Dương Vương fut annexé par le général chinois Zhao To (Triệu Đà) devenant plus tard le fondateur du royaume de Nanyue. Celui-ci passera à son tour sous le contrôle des Han un demi-siècle plus tard.


Bibliographie:

(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.

Culinary art ( Nghệ Thuật Ẩm Thực của người Việt)

 
amthucvn

French version

Vietnamese people grant a great importance to the culinary art, in particular to their eating. It is the first necessity in their daily life and culture. Nothing is more amazing to see the use of « an » as the prefix in a great number of words. Among them we find: ăn nói ( to speak ), ăn mặc ( to wear ), ăn ở ( to live ), ăn tiêu ( to consume ), ăn ngủ ( to sleep ), ăn trộm ( to steal ), ăn gian ( to cheat ), ăn hiếp ( to bully ) and so on…It is usually said: Trời đánh tránh bữa ăn to means even God dare not disturb the Vietnamese during their meal.


Their eating is carefully elaborated according to the concept of Yin and Yang and the five elements (Thuyết Âm Dương Ngũ Hành) which serves as the fundamental basis of their Van Lang civilization.
Yin-Yang ( Âm Dương ) is the representation of the two poles of all things, a duality that is at the same time contradictory and complementary. Of the nature Yin is whatever is fluid, cold, humid, passive, somber, interior, female in essence like the sky, the moon, night, water, winter. Of the nature Yang is whatever is solid, hot, luminous, active, exterior, male in essence like the earth, the sun, fire, summer. Human is the hyphen between these two poles or rather between the Earth (Dương) and the Sky ( Âm ). Harmony may only be found in the equilibrium that human brings to its environment, universe and body. Vietnamese food therefore finds all its meticulous preparation and particularity in the dialectic relationship of the theory of Yin and Yang. It also shows the respect of the millennial cultural tradition of a farming country and of a civilization known for its rice farming on flooded rice fields (trồng lúa nước).

Yin-Yang in Vietnamese culinary art

© Đặng Anh Tuấn

That is why rice should not be missed in a Vietnamese meal. It is at the basis of several Vietnamese dishes (bánh cuốn, bánh xèo, phở, bún, bánh tráng, bánh chưng vân vân ) (ravioli, crepe, pho, vermicelli, rice paper, sweet rice cake etc..) Rice can be whole, round, long, crushed, scented, glutinous etc… More than a food, rice is for the Vietnamese people a tangible proof of their Bai Yue culture, a trace of civilization that is not lost under the weight of long Chinese domination.

The manner in Vietnamese eating is not foreign to the search for the middle-of-the-road attitude encouraged in the concept of Yin and Yang.  » Eating together  » requires in their view a certain respect, a certain level of culture in the art of eating because there exists an undeniable interdependence among the guests in the share of food and space. It is usually said: Ăn trông nồi , ngồi trông hướng.

When eating look for where the rice cooker is and when sitting look for where the direction is. That is the maxim that Vietnamese parents used to tell their children about their table manners. One has to behave oneself when invited to a meal. One should not eat too fast for not to be called impolite but should neither eat too slowly as one should not make other guests wait. Emptying one’s plate or the cook pot is not allowed because it gives the feeling of being greedy. On the contrary, eating too little implies a lack of mannerliness, which may vex the host. This cautious behavior could be summed up by the following statement: Ăn hết bị đòn, ăn còn mất vợ. (Emptying the cook pot deserves spanking, leaving some leftover leads to losing the spouse ). It is in the constant search for equilibrium evoked in the Yin and Yang theory that a Vietnamese must exercise in due course at a meal. It should not be ignored the « varied » nature brought in by Vietnamese food that is characterized by the diversity and visible exuberance in colors of the ingredients in the preparation.

Around a bowl of rice is the creation of a multitude of colors, flavors and dishes. The expression of the 5 senses (ngũ giác) is also found in a Vietnamese meal:  

smell: by the release of aromas and flavors of foods served,
sight: by various coloration of the ingredients that go in the preparation of the dishes,
taste: by the flavors of the dishes,
hearing: by the sound made by the sucking of tea or stock with the mouth,
touch: by the nonstop handling of chopsticks.

For some Vietnamese specialties (gà nướng (roasted chicken), gà luộc ( boiled chicken ), gỏi cuốn (spring rolls) ), the use of hand is highly appreciated. Most Westerners used to attribute to the Chinese the holder of chopstick civilization. However it is the product of the cradle of the rice growing civilization of South East Asia. It is what the Chinese historian Ðàm Gia Kiện has written in his book entitled « Cultural History of China » ( Lịch sử văn hóa Trung Quốc ) ( 1993, page 769 ):
At the time prior to the unification of China by Qin Shi Huang Di, the Chinese continued to use their hands to grasp food. It was a tradition found in people growing millet (kê), barley (mạch) and eating bread, hum bao ( bánh bao ) and meat. They only began to use chopsticks during their expansion toward Southern China.
That assertion has been justified by recent scientific discoveries. Chopsticks can only be made in a region where abundance of bamboo is not in doubt. That is the case of Southern China and South East Asia. They are the rudimentary tool shaped to the image of the bird’s bill to efficiently pick up grains of rice and fish without having to soil the hands with the plates containing water (soup, broth, fish cauce etc…). It is found in the Vietnamese use of chopsticks a simple as well as humoristic philosophy. A pair of chopsticks is always compared with a married couple.

That is why one used to say:

Vợ chồng như đôi đũa có đôi
Bây giờ chồng thấp vợ cao như đôi đũa lệch so sao cho bằng.

Husband and wife are like a pair of chopsticks
Now that husband is short and wife is tall
Like mismatched chopsticks can’t be paired at all.

During the Lê dynasty, breaking a pair of chopsticks is like a dissolution of marriage. One prefers having a stupid spouse to having a disastrous pair of crooked chopsticks. This preference is evoked many time in the following statement:

Vợ dại không hại bằng đũa vênh.

Besides the « vivacious » and « lively » characteristics found in the handling of chopsticks, the « collective » characteristics should not be ignored as an attribute to this rudimentary utensil. It is often referred to a bundle of chopsticks to evoke solidarity. The saying: Vơ đũa cả nắm( gather chopsticks in a bunch) reflects that idea when we want to criticize someone and his family in a dispute or debate.

The Vietnamese fierce will to give a big attention to the balance of Yin and Yang is found again in their way of eating. A good meal must meet a certain number of criteria where interdependence cannot be ignored:

  • 1) It must be in agreement with the weather. It cannot be defined as good even when it is served with tasty dishes.
  • 2) It must occur at a pleasant place and time otherwise it is not deemed good either.
  • 3) It must be shared with close friends otherwise the word good cannot be attributed to it.

That is why coming from the criteria mentioned above, a good Vietnamese meal is not necessarily well stuffed. Sometimes meagerness is found in a good meal. It is that of Vietnamese poor peasants where a clever mixture of aromatic herb flavors plays a preponderant role.
The judicious search for balance of Yin and Yang is undeniably shown in the dishes, the human body and between man and the environment. In the Vietnamese culinary art three following important points are turned up: 

1) Yin-Yang equilibrium in the makeup of the dishes.
 
Vietnamese people tend to distinguish dishes according to classification they established in relation to the five elements of Yin-Yang: hàn ( cold ) ( Water ), nhiệt ( hot ) (Fire), ôn ( warm ) ( Wood ), lương ( fresh ) ( Meta l) and bình ( temperate ) (Earth). They take into account the compensation, interaction and combination of ingredients and condiments in the elaboration of a dish. One notices a series of vegetables and condiments in in the makeup of Vietnamese recipes. Known for curing illnesses caused by the « cold » ( coughs, colds etc…), ginger (gung), the condiment of the Yang characteristics, is visible in all the dishes having tendency to bear the cold: Bí đao ( marrow quash ), cải bắp ( cabbage ) rau cải ( lettuce ) and cá ( fish ). Hot pepper is of Yang nature ( hot ) and frequently used in dishes having cold, temperate or foul-smelling characteristics ( seafood, steamed fish for example ). One used to eat fermented chicken’s or duck’s eggs ( trứng gà lộn, trứng vịt lộn ) having the Yin characteristics ( Âm ) along with a very flavorful leaf ( rau răm ) of the Yang ( Dương ) tendency. The Yin (Âm) bearing water melon is always eaten with the Yang ( Dương ) natured salt. The most typical Vietnamese sauce remains the fish sauce. In the preparation of this national sauce, it is noticed there are 5 flavors classified according to the 5 element of Yin and Yang: mặn ( salty ) with the fish juice ( nước mắm ), đắng ( bitter ) with the zest of lemon ( vỏ chanh ), chua ( sour ) with the juice of lemmon ( or vinegar ), cay ( hot ) with powdered or crushed hot pepper and ngọt ( sweet ) with powdered sugar. Those five flavors ( mặn, đắng, chua, cay, ngọt ) combined and found in the national sauce of Vietnamese people correspond respectively to five elements defined in the theory of Yin and Yang( Thủy, Hỏa, Mộc, Kim, Thổ) ( Water, Fire, Wood, Metal, Earth).
 
2) Yin-Yang equilibrium in the human body.

Vietnamese food is sometimes used as an effective medicine to cure dysfunctions caused by the loss of balance in Yin and Yang in the human body. For the Vietnamese, the scenario seen in nature is also found inside their bodies. When an organ becomes too Yin, it leads to a slowdown in physical metabolism (feeling cold, slow heartbeats, indigestion etc…). On the other side, if it becomes too Yang, it triggers an acceleration of physical metabolism ( feeling hot, fast heartbeats, physical and mental hyperactivity etc…). A well-balanced Yin-Yang maintains life and assure good health. To regain this balance a person whose illness is of Yin nature ( Âm ) must eat dishes bearing Yang (Dương) characteristics. On the contrary a Yang-natured illness must be treated with Yin-natured dishes. To the Vietnamese, eating is taking care of oneself. Constipation (a Yang illness) can only be cured among the Yin dishes (chè đậu đen, chè đậu xanh etc..( meung bean, black bean compote, a Vietnamese dessert). On the other hand, Yin-natured diarrhea or stomach ache can be treated effectively with Yang-natured seasoned dishes (ginger (gừng, galangal (riềng)). The cold (a Yin-natured illness must find its solution in a bowl of rice porridge full of ginger slices

3) Yin-Yang equilibrium with the environment.

One used to say in Vietnamese : Ăn theo mùa ( Eating according to season ). This saying reflects the state of mind of the Vietnamese to be always in phase with nature and the environment in food.

In Summer, the supply of heat favors an abundance of vegetables, seafoods and fish. Therefore the Vietnamese people tend to eat vegetables and fish. They used to boil vegetables, pickle them (dưa) or make salads (gõi). Dishes that contain water are appreciated. It is the case of pho, the national stock of the Vietnamese people. Bitter and sour flavors cannot be absent either in the Vietnamese cuisine. It is the case of a mildly sour soup prepared with fish (or shrimps), tamarind (or pine apple) and tomatoes ( canh chua cá, canh chua tôm ).

On the other hand in Winter, to resist the cold, the Vietnamese prefer to eat meat and fatter dishes (of Yang characteristics). We notice a massive use of oily liquids (vegetable or animal) and condiments (ginger, chilly, garlic, pepper etc…). Slow cooking meat on low heat in fish sauce (rim thit), sauteing (xào) or frying meat (rán) are the cooking methods frequently used and conformed to climatic variations. Known as a tropical country (Yang)(Dương), Vietnam possesses a great number of dishes of cold characteristics ( Âm ). That is what the father of Vietnamese traditional medecine Hải Thượng Lãn Ông ( Lê Hữu Trác ) had an opportunity to emphasize in his work entitled « Nữ Công Thắng Lãm ». Out of 120 foodstuffs, he succeeded in picking about a hundred of Yin characteristics. This remark puts in evidence the unquestionable preference of Vietnamese for Yin dishes in their traditional food structure and the importance they keep granting to the search for a balance with nature and the environment. Vietnamese cuisine finds more and more followers in the West. Unlike other cuisines that play with sauces, it prefers using a lot of aromatic herbs and condiments. It is a cuisine that stands out for its lightness and digestibility. Much less fatty than Chinese cuisine, it does not miss showing its subtlety and originality. No less than 500 dishes are counted among them remains the imperial roll ( chả gìo). In this cuisine one finds not only a harmony of flavors and a multitude of subtle variations around a bowl of rice but also a profound and intimate agreement with nature and the environment.

There, Yin-Yang does not lose its vitality, the Vietnamese people, their soul and their temperament.

Sampan (Con Đò)

Vietnamese version
French version

As Vietnam is a water country, it is not surprising to see the proliferation and large variety of boats used by the Vietnamese in their transport by water: from the lightest and smallest to the largest ones found until then only in the neighbouring countries like China or Indonesia. One finds in the construction of these vietnamese boats a notable foreign influence, chinese in the North and indonesian or even western indian in the South of Vietnam. This influence is more perceptible in the Center of Vietnam that has been occupied until the XIIIth century by the Vikings of Asia, the Chàms whose civilization has disappeared in the wirlwind of history by the secular march of the>Vietnamese towards the South.

In spite of that, the Vietnamese showing an acute sense of observation and of living experience due to the incessant coming and going of typhoons on the vietnamese coast, know to harmoniously combine the data of these different foreign techniques to construct boats often more handy than the chinese, malayan or indian models, as has noticed P. Paris in his work entitled « Search of relationship to four Indochise boats, BIIEH, 1946 ».

Because of the harshness of nature and of the quasi permanent fight against their chinese neighbors, the Vietnamese centered their efforts in the conquest of the rice plains. Locked up in the isolationism adopted by the Far East and comforted by the quasi permanent presence of the foreign boats in their ports ( Faifo, Tourane, Saigon etc), the Vietnamese do not see any interest to privilege the maritime transport although they are regarded as the most skilful sailors of the Far East. The Chinese recognized their superiority on water. A high chinese mandarin, Bao Chi, noted this in his confidential report submitted to the emperor of Song. The majority of the Vietnamese victories against the chinese neighbors took place on water. The Vietnamese are accustomed to using boats as means of transport for food or troops, as the abbot Prévost revealed in his  » History of the Voyages  » from 1751 while relying upon the description of Samuel Baron published in 1732.

The Vietnamese navy knew its apogee only in the first half of the XIXth century. It is the period when the emperor Gia Long assisted by his French lieutenants Jean-Baptiste Chaigneau ( Nguyễn Văn Thắng ), Philippe Vannier ( Nguyễn Văn Chấn ) etc. succeeds in defeating the army of Tây Sơn at Qui Nhơn with his royal navy made up of a hundred or so large galleys of 50 to 70 oars with guns and stone drains and of three european style vessels ( the Phoenix ( tàu Phụng ), the Eagle and the Flying Dragon ( tàu Long ). These last ones were built with such skill and remained no more than three months on the building site, as has noted father Lelabousse in his report dated at Nha Trang, the 24th of April 1800.

To request his investiture with the chinese emperor, in 1802, Gia Long sent the great poet Trinh Hoài Ðức (1), the first vietnamese delegate to travel by sea to Peking. Unfortunately, this apogee was only of short duration because his successors, surrounded by confuciasnist mandarins and entangled in the obscurantism, continued to adopt a policy of exacerbated isolationism in spite of the memorandum of the modernistic scholar Nguyễn Trường Tộ, which made it possible for the french navy to succeed in dropping anchor a few decades later in the vietnamese waters after having sunk in the port of Tourane ( Danang ) the first five armored junks of the vietnamese fleet on April 15, 1847.

Although the Vietnamese neglect the maritime transport, paradoxically they do not haggle the means of manufacturing a large variety of boats to facilitate their daily displacement because Vietnam has, in addition to the second mangrove of the world (the forest U – Minh 1000km2) after that of Brazil in the peninsula of Cà Mau, thousands of small rivers, affluents and distributaries, streams and rivers (Red River, Mekong River ).

Moreover, the vietnamese road network is quasi non-existent. The vietnamese boats are divided into two categories: those manufactured with bamboo plates coated in lacquer (thuyền nan) and those carved from tree trunks or made with wooden plates ( thuyền gỗ). With regard to the first category, if the boat is of a small size, it is often called in Vietnamese (thuyền câu). It is a small boat where only one person can be placed. If the light boat is of a round shape, it is called  » thuyền thúng  » and is frequently used by the fishermen of the Center of Vietnam.

This tight round basket existed in the Xth century. Dương Vân Nga, a girl from Hoa Lư, was known at that time to excel in the art of rowing with this floating basket. But on the day of competition, Ðinh Bộ Lĩnh, the leader of a rival band of boys, succeeded in immobilizing her floating basket by perforating it with the means of a pole.

This victory enabled him to win not only the admiration but also the love of Duong Vân Nga. This floating basket allowed the fast transport of the troops through the marshes and the rivers and ensured the couple Dương Vân Nga and Đinh Bô. Lĩnh the victory over the Chinese a few years later. As for the second category, the basic constitution is made with wood. There is a multitude of different boats but the most known and the most used by the Vietnamese is the sampan or the boat with three boards (Thuyền tam bản). It is that which is employed to cross the streams or the rivers. The majority of the people who advance the sampans are young girls.

This is why there are many stories of love born of these boats. One continues to tell them, in particular the story of emperor Thành Thái with the oarswoman. If a Vietnamese man was used to crossing the river in his youth, this could probably incite in him intense regrets, memories and emotions when he has the occasion to return to the river bank to take the vat. He feels more or less distressed when he learns that the oarswoman, the girl whom he continues to pity the fate and whom he is not far from falling in love with is no longer there. Probably, she is now the mother of a family or she has joined another world but she is no longer there to welcome him with her charming and ingenuous smile. He is not long to recall that he no longer has the occasion to hear her refrain, or to see the sides of her worn tunic flying in the wind of the river during the crossing. It is in this unusual context that he feels an indescribable affliction. He regrets missing so many occasions to find his dock, his river, his native land and to leave for too long in the lapse of memory the eternal charm of the sampan, that of a Viet-Nam bygone .

The film director Ðặng Nhật Minh, most known currently in Vietnam, does not hesitate to show the opposite case, the discrete love of the young boatwoman living on the River of the Perfumes, to the foreign and vietnamese public through his film.

The girl from the river ( Cô gái trên sông ) 1987

It is the story of its heroine Nguyệt who, to the peril of her life, does not hesitate to save a wounded young man known for his subversive activities by the south vietnamese police during the war. She tries to hide him in her sampan. Once peace is returned, this young man becomes an important communist cadre. The girl tries to find him because she continues to harbor deep feelings for this man. Unfortunately, she feels afflicted and betrayed because this man pretends not to know her and does not like to recollect the troubling periods of his life… She tries to remake her life with her former lover Sơn whom she rejected a few years earlier and who had the occasion to spend a few years in the reeducation camp for having the offence of being enlisted in the south vietnamese army.

In spite of the few things in their constitution, the boats, in particular, the sampans (đò ngang ) continue to charm the Vietnamese. They do not hésitate to integrate them not only in their everyday life but also in the songs and the poems. The songs  » Con Thuyền Không Bến  » ( The sampan without dock ) from the composer Ðặng Thế Phong and Ðò Chiều ( the sampan of the Evening ) from Trúc Phương going back to several decades and several generations continue to be appreciated and show at such point the profound attachment of all the Vietnamese to their rudimentary boats.

As for the poems describing them, there is only the Vietnamese having the occasion to take the vat who manages to appreciate the finesse and the beauty found in the verses because one perhaps rediscovers through these poems a fragment of one’s life so animated and so closely hidden in one’s memory with more emotions and sadness than joy and happiness. By reading the following verses,

Trăm năm đã lỗi hẹn hò
Cây đa bến cũ con đò khác đưa

Our rendezvous did not take place a long time ago
The banian and the dock are always the same but the sampan has changed owner.

The reader could realize that he is also caught up as so many other Vietnamese by memories that he thinks of erasing from his memory with the passing of the years. He cannot continue to sadden himself as that could be made when one was young and in love through the two following verses:

Tương tư thuyền nhớ’ sông dài
Tương tư là có hai người nhớ’ nhau

It is no longer worth seeing each other again
It is best to leave definitively when one loves intensely

But one should have the courage to forget when the sampan is no longer there as that was said in the following four verses:

Vô duyên đã lỗi hẹn hò
Mong làm chi nữa con đò sang sông
Thôi đành chẳng gặp là xong
Nhớ thương bền chặt bền lòng ra đi

One misses the chance to be at the rendezvous
One no longer hopes when the sampan has already left
It is no longer worth seeing each other again
It is best to leave definitively when one loves intensely

What becomes of her at this moment? Is she dead or happy? Does she deserve the life she leads? Is she like the young boatwoman, sister Tham who saved many people from drowning and who died drowning without anybody rescuing her in the story « Chảy đi sông ơi ( Run, my river, 1988 )  » of the talented writer Nguyễn Huy Thiệp? Is she like the young boatwoman Duyên who continues to hum a lullaby for her child:

Nước chảy đôi giòng …
…Con sông Thương …nước chảy đôi giòng …

One can go up or descend the current… of the river Love…
one can go up or descend the current..

and never asking questions about the life that was layed out for her just like the river that follows its course to the sea in the short story  » Nước Chảy Ðôi giòng ( At counter-current, 1932 ) from Nhất Linh?. These are the questions that the reader overcomed by memories continues to ask intimately. It is also the deep sadness, the poignant pain of the one who no longer has the occasion to find the freshness of his youth through the sampan and its dock which he was accustomed to take at a distant time. He had thought that with time this could erase all the memories as the water of the river evoked in the song with a strange sadness which sister Thắm likes to sing on the bank in the story  » Chảy đi sông ơi ( Run, my river, 1988 )  » from Nguyễn Huy Thiệp:

Chảy đi sông ơi
Băn khoăn làm gì ?
Rồi sông đãi hết
Anh hùng còn chi ? …

Run my river
Why be tormented?
The river erases all
Even memories of the heroes…

Chuyện Tình Buồn ( The story of sad love ) of Phạm Duy


(1) Author of two works Bắc sứ Thi Tập ( Collection of poems written during a mission in China ) and Cấn Trai Thi Tập ( Collection of poems from Cấn Trai ).