Gom tran do thoi ly tran(sep 5, 2011) EN

TRẦN ĐỘ POTTERY LÝ DYNASTY Tân Tạo University Abbreviation: TTU Conservation of Vietnamese Culture

Reference: - Artisan Trần Độ’s comments - Website “wikipedia” - Website “ gomsubattrang.org”

Enlivening the earth of Lý Dynasty Outstanding with Brown Glazed Pottery and White Glazed Pottery LÝ DYNASTY (11th – 13th century): 1010 – 1225

Comprising 215 years of reign and 9 kings.

Official country name: Đại Việt Capital: Thăng Long

Language: Vietnamese Religion: Buddhism Regime: Monarchy Remarkable historical events:

Artisan Trần Độ inherited the arts of Bat Trang pottery accumulated from 18 generations of Tran Dynasty.

He has used “blood and tears” glaze family, “the eyes of conscience” and Buddhist spirit to lead viewers to the world of glaze.

1 – In politics -

In 1010, King Lý Thái Tổ commanded to move capital from Hoa Lư to La Thành and renamed it as Thăng Long.

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In 1054, Lý Dynasty chose a new official country name: Đại Việt.

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In 1164, Song Dynasty reluctantly recognized Đại Việt as an independent country, which was called An Nam Quốc by Chinese

2 – In military In 1069, attacked Champa, destroyed the Song Dynasty’s conspiracy of using Champa to invade Đại Việt.

At the end of 1075, and the beginning of 1076: carried out a preemptive attack to Chinese territory, crushed the troop mobilization of Song Dynasty at Yongzhou, Quinzhou and Lianzhou (in Guangdong and Guangxi, China) In March 1077, gained victory in Như Nguyệt river campaign, entirely ruined the invasion plan of Song Dynasty.

3 – In culture In 1070, established the Temple of Literature (a place to worship Confucius and Confucian scholars) to facilitate the development of Confucianism in Đại Việt.

In 1075, opened the first Confucian examination which was then considered as a standard in selecting court officials.

Common features of pot Traditional meanings: Rural life was depicted authentically and plainly in ceramic objects by artisans.

Vietnamese artisans were not influenced by Chinese arts. What they have achieved are the simplicity, authenticity and plainness expressed in antiques.

“Chinese ceramics is a fair lady in luxurious dress while Vietnamese ceramics is a naive girl with charming beauty.”

Special features: Lý Dynasty pot displays the beauty of soul, the simplicity of life, and the plainness of Vietnamese rural people; and those do not belong to Chinese or someone else.

- Pattern: natural elements, which are like river, trees, and animal, reflect Vietnamese life and contradict Chinese patterns, which are dragon, unicorn, turtle, and phoenix.

- Glaze: white, brown, celadon, ivory, and green.

-Especially, pottery was glazed in many ways to create bald spots, thick and thin spots, bold and dim spots, therefore producing unique patterns.

- Types: various and plentiful

Cultural meanings: There are souls in these pots because they are embedded with an underflow of culture, spirit and beauty of the country.

This is the period when Vietnamese were heavily influenced by Buddhism and Confucianism, hence pots were light brown glazed to convey religious meanings.

Therefore, antique pots confirm the origin of Đại Việt.

Conclusions: There are 2 findings concluded from this research: 1) Vietnamese ceramics and porcelain are not influenced by Chinese culture.

2) Vietnamese people does not originate from South China people.

Comparison of Vietnamese and Chinese ceramics and porcelain Chinese -Strictly complying with standards

Vietnamese -Liberal

2.Glaze

-Most are white and blue.

-Most are ivory white, golden brown with a few pooling blue glaze drops.

3.Pattern

-Most are dragon, unicorn, turtle, phoenix.

-Most are natural elements like coutryside, familiar animal (chicken, toad, dog, etc.)

4. Shape

-Most are round and symmetric.

-Various: melon, gourd, rainbow, etc.

5. Handle:

-Always have handle.

-Only used for decoration.

Usually shaped as dragon, turtle, apricot.

1.Form

BROWN GLAZED POT Code: 168 Mostly used in rich families Adapted from Lý – Trần pot in 13th - 14th century Provided by antique collector Phạm Dũng - Shape: oval shape, round body, small neck, with a spout - Pattern: drawing of chicken catching worms around the body.

- Usage: containing wine for daily use.

- Size: medium.

- Handle: yes.

- Technique: made of natural white glaze.

- Special feature: 1. Chinese glaze: Smooth and polish surface.

2. Vietnamese glaze: Natural, pooling bald spots, bold and light spots, thick and thin spots.

CERAMIC POT Code: 431 Used in rural families

Age: 11th – 13th Century - Shape: round, small neck, with a spout.

- Pattern: no drawing.

- Usage: containing lid Eugenia tea to drink after hours of hard working on the fields.

- Size: medium.

- Handle: no - Technique: made of brown glaze, white at upper part and ivory white at bottom, with thick and thin spots.

LIDDED POT Code: 512 Used in rural Families

AGE: 11th – 13th Century PEARL WHITE GLAZE Height: 10,5cm

- Shape: round, medium neck, with a spout and a lid.

- Pattern: around the neck is simple lotus petals and the lid also has lotus base shape.

- Usage: containing lid Eugenia tea to drink after hours of hard working on the fields.

- Size: medium.

- Handle: no.

- Technique: made of brown glaze, uneven colors expressing plainness.

POT Code: 499 Used in Royal Palace and rich families

Technique: Crackle ivory glaze

Size: Height: 20,4cm MD: 4,5 cm

- Shape: heavily influenced by Buddhism, so the pot neck and foot were carved a lotus – a Buddhist symbol.

Beside religious values, artisans want to pass this kind of pot down to their generations in order to enhance the ancestors’ dignity and virtue, which are immaculateness, purification, gentleness, purity and patience.

- Usage: containing liquid (wine) for banquets in Royal Palace in order to engrave the image of our race in everyone’s mind.

- Handle: no.

It is very interesting that wine and lotus were included in folk-songs to show humanity of the ancestors: Rượu say vì bởi men nồng Vợ mà biết ở chắc chồng phải theo Rượu sen càng nhắp càng say Càng yêu vì nết, càng say vì tình Đầy vơi chúc một chén quỳnh Vì duyên nên uống, vì tình nên say Còn trời, còn nước còn non Còn cô bán rượu, anh còn say sưa Rượu ngon bất luận be sành Áo rách khéo vá hơn lành vụng may

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POT Code: Used in middle class families Brown Pattern Ceramic Pot, Ly Dynasty, 11th–13th Century Materials are provided by antique collector Phạm Dũng of Thăng Long Antique Club.

The pot is now duplicated by artisan Trần Độ and is among the collection of marking 1000 years of Thăng Long.

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Size Diameter : 18 Height: 22

Features and Special Meaning of Brown Pattern Ceramic Pot: Pattern: lotus petals around the pot.

Usage: containing tea in normal life.

Handle: yes.

Technique: Light brown and dark brown glazed to highlight lotus petals.

This was the golden age of Buddhism, people live peacefully and get along with nature. Many researchers suggest that this is the Renaissance of Đại Việt culture after a long period of domination by northern invaders. Foreign scholars have praised Vietnam as a “Power of Ceramics” in the history, of which brown pattern ceramics expressed the uniqueness in material, technique, pattern, and architectural arts.

“In a pond, nothing is as beautiful as a lotus, Leaves of green, flower white with yellow stamens Yellow stamens , white flower with leaves of green, Living in the mud, yet never sharing its bad odour.”

A folk-song claims noble virtues of farmers working hard all year round on “mud and puddles” fields.

CERAMIC POT Code: 324 Used in Royal Palace or rich families

AGE: 11th – 12th Century

Size: Height: 17,5cm Ø Lip: 7,5cm Ø Bottom: 9,3cm

- Shape: round and bulging body, small neck.

- Usage: containing liquid (wine).

- Meaning: to honor our country's Cultural Heritage and confirm no relation to Chinese.

- Technical uniqueness of Vietnamese ceramics: 1. Chinese Ceramics usually have blue glaze while Vietnamese Ceramics have ivory white or golden brown glaze with a few pooling blue glaze drops.

2. Chinese pot always has a handle while Vietnamese pot has only one decorative spot on its handle to achieve the symmetry with the opposite spout.

Highlights in pattern: Around the body are “carp fins” to pass the legend of “ the Carp transforming into a Dragon” down to future generations.

It is said that the image of “Carp” brings luck and prosperity.

Therefore, Vietnamese have a custom of releasing carp at the end of the year with a hope of good luck for the whole following year.

The Legend of the Carp Transforming into A Dragon At the dawn of time, it was God who made wind and rain for human to earn a living. After that, because of much hard work, God did not do that anymore. Instead, he commanded his dragons to make rain.

But due to small amounts, dragons could not make rain everywhere.

Therefore, God decided to open s a competition to select a creature to transform it into a dragon. When the God decree was issued to the Palace of Water God, the Water God then announced to all kinds of aquatic creatures to go to the competition. The contest had 3 rounds. Candidates had to pass through the waves for each round, and who could pass all 3 rounds would be transformed into a dragon. In a month, all candidates were disqualified because none of them managed to overcome all the waves. An anabas passed one round, but lost after that. A crayfish passed 2 rounds, all parts of its body were nearly transformed, but it was exhausted at the last round and suffered a bending back. Then it was the carp’s turn. Although the wind was blustering and black clouds were darkening the blue sky, it passed all the waves for 3 rounds, and went through the dragon’s gate.

The carp won the contest and transformed into a mighty and graceful dragon. It then made plenty of rain and magnificient landscape.

Therefore, people often use the image of carp to bring lucks and prosperity.

Reference: “http://www.phongthuydongphuong.com/vat-pham-phap-khi/144-ca-chep-hoa-rong.html”

LOTUS BASE SHAPED CERAMICS Code: 183 Used in Royal Palace and Festivals Features and meanings: Duplicated from the antique lotus base sample of 13th – 14th Century Reference: Thang Long Antique Club

According to legend, Gautama Buddha was born from the lotus.

Lotus also has deeper meanings for artisans to create their works and pass down to next generations.

Artisans wanted to use the image of lotus on ceramics to help the future generations understand their history and origins.

In Buddhism, lotus is used as an altar because of its 5 following symbolic meanings: 1. Immaculateness: Despite growing from dirty mud, lotus is perfectly clean and spotless.

2. Purification: Upon growing up, lotus will purify the water around it.

3. Gentleness: Lotus scent is pure and mild, not too intense and fragrant.

4. Purity: From blooming to wilting, lotus does not attract any bees or butterflies.

5. Patience: The process of a lotus growing from a bud deep down in dirty mud to a blooming flower upon water is the symbol of a patient development.

Meanings of lotus

Picture of lotus in front of Tan Tao University

Lotus Symbol of humanity and philosophy

Sanctity and nobility are dignities of lotus. Among thousands of colorful and charming flowers, there are few which can overthrow lotus with respect to fragrance and beauty. However, lotus is the only flower which implies noble humanity, meanings of Yin-Yang and Five Basic Elements of the Universe, and strong wills to live of Vietnamese.

In the botany world, there are no flower experiencing the harsh life as lotus.

With regard to this aspect, lotus also implies that because it grows in dark mud, it is immune to the scramble rivalry of other plants.

Besides, lotus seeds are very valuable. They can sprout even after a hundred years of storing.

From Buddhist point of view, lotus symbolizes 3 aspects which are desire, form, and formlessness.

Five Basic Elements of the Universe are expressed by lotus: 1. Lotus is Wood.

2. Lotus rises upon the deep mud. Mud is Water.

3. Lotus flower is pink. Pink is Fire.

4. Lotus stamens are yellow. Yellow is Earth.

5. Lotus stem is white. White is Metal.

Furthermore, the sixth element of lotus is Holiness. It is invisible but sacred.

Reference: “http://tuanvietnam.vietnamnet.vn/2010-07-01-hoa-sen-bieu-tuongsuc-song-manh-liet-dan-toc-viet�

Bowl Code: 519 Used in Royal Palace and rich families

Celadon glaze

Age: 11th – 13th Century Shape: round with base.

Pattern: The bowl of Lý Dynasty was designed in elegant, thin shape with waving brim like flowers. The body was carefully decorated with drawing of daisy petals.

Size: medium, fit well in hand.

Meaning: Under Lý - Trần Dynasty, Đại Việt people led a care-free life in Buddhist Spirit. Patterns of bird footprints were made so finely that it looked like a real bird leaving its footprints on the bowl.

Thanks to the bowl, we can imagine people at that time were strong, upright, and filled with tolerance of Buddhism.

Features and Usage: Used for drinking alcohol and eating rice. Although bowls and sticks are daily items, they can show clearly the cultural development. Looking at ceramics under Lý - Trần Dynasty, it is obvious that the period was peaceful, prosperous, and steadily developed under Buddhist spirit. King Trần Thái Tông had written as follow in the book Khóa Hư Lục (Instruction on Emptiness).

“Don’t waste your life submissive to food.”

Celadon glaze

Bowl Used in Royal Palace and rich families

Code: 534

Age: 11th – 13th Century - Shape: Round with base.

- Pattern: The drawing of blossoming daisy with petals covering the whole body.

- Size: medium, fit well in hand.

Code: 536

Code: 537

- Features and Usage: Used for drinking alcohol and eating rice.

Although bowls and sticks are daily items, they can show clearly the cultural development.

Meanings of Daisy Legend of Daisy: Once upon a time, there were a mother and her daughter living peacefully in a shabby cottage. The mother worked very hard to raise her daughter. In spite of young age, she was obedient and grateful to her mother. One day, an serious illness fell on the mother. The daughter was so upset, she tried to fetch the best physicians here and there to cure her mother regardless of their poverty. But her mother’s health kept getting worse. The daughter was very anxious and determined to search a physician who could treat her.

She kept going on and on, passing many villages, mountains and rivers without any despondency. One day, she walked by a pagoda, and asked permission of the monks to pray for her mother. Her prayer from deep gratitude toward her mother echoed to The Creator. He heard and then shed tears. Buddha felt compassion for the daughter’s gratitude, so he transformed into a monk passing by the pagoda to give her one bright yellow flower. Buddha said, “I give you this flower which is the symbol of life, full of human hopes and wishes. It is magical medicine to cure your mother’s illness. But you must remember that petals of this flower gradually fall year by year. The number of petals represents how many years your mother will live." The daughter then expressed her thanks to Buddha and began to count the petals. She was in deep sorrow when she knew that the flower has five petals, that means there were only 5 years for her mother to live.

Meanings of Daisy Her love for the mother was so strong that she riskily tore every petals into smaller petals until she couldn’t manage to count any more. Thanks to the magical flower, the mother had a long life with her devoted daughter. The bright yellow flower with countless petals symbolizes the life, the dream of immortality, the desire to cure all human diseases. It is called “daisy” afterwards.

Daisy in spiritual life of Vietnamese is expressed clearly in four-season paintings: “Tùng Trúc Cúc Mai“ (Pine-tree, Bamboo, Daisy, Apricot respectively.)

Daisy represents the nobility of life, prosperity, sentiment, and gratitude.

With such meanings of daisy as living, immortality dream, desire, nobility, sentiment, and gratitude, artisans of Lý Dynasty had employed daisy pattern to depict human virtues at that period.

Bowl Used in Royal Palace and rich families

Code: 437

Code: 538

Code: 540 Celadon glaze

Age: 11th – 13th Century

-Shape: round with base.

-Pattern: Elegant and graceful patterns with waving brim like flowers.

-Size: medium, fit well in hand.

-Meaning: Under Lý - Trần Dynasty, Đại Việt people led a carefree life in Buddhist Spirit. Patterns of bird footprints were made so finely that it looked like a real bird leaving its footprints on the bowl.

Thanks to the bowl, we can imagine the people at that time were strong, upright, and filled with tolerance of Buddhism.

-Features and Usage: Used for drinking alcohol and eating rice. Although bowls and sticks are daily items, they can show clearly the culture development. Looking at ceramics under Lý - Trần Dynasty, it is obvious that the period was peaceful, prosperous, and steadily developed under Buddhist spirit. King Trần Thái Tông had written as follow in the book Khóa Hư Lục (Instruction on Emptiness).

“Don’t waste your life submissive to food.”

Lotus base Code: 506 Used in Royal Palace

Grey white glaze

Age: 11th – 14th Century Lotus base is handmade, refined, elegant and solemn.

- Shape: round with base.

- Pattern: comprising 3 layers of lotus petals. Its base is smoke-bell wood, which is difficult to sculpture, and is decorated with sophisticated patterns.

- Meaning: Under Lý - Trần Dynasty, Đại Việt people led a care-free life in Buddhist Spirit.

- Features: In Vietnam, lotus appeared quite early in visual art. It was almost employed in decoration of worship places or community cultural works by artisans in any periods of time. Lotus was reflected in many different aspects of space composition, in daily life throughout Vietnamese history by architectures.

- Usage: Lotus shaped lamp support was often used to prop holy items.

Lotus was used as platform for feets of phoenix in designs of dancing phoenix on walls and steps (at Bà Tấm Pagoda, Hanoi). Lotus was used as dock for holy items in bodhi-leaf layouts or in designs of orchestra, angel, dragon (at Phật Tích Pagoda) in which lotus base often supported bodhi leaves.

Bricks Bricks that “speak” Used for building Royal Palace, Temple, Pagoda

Age: 11th – 13th Century Features and Meanings: Made of terracotta.

Solid slabs of brick represent the strength of Đại Việt.

Thăng Long Citadel is made of thousands of that solid bricks. It tells that the Citadel is inviolable.

- Pattern: multi-floor tower.

Whenever talking of terracotta products, people always think of Bát Tràng. That is expressed in the following Vietnamese folk-song:

Code: 649 Size and shape: - Rectangle - Length: 30cm - Width: 16cm

“I wish I could marry you Then buy Bát Tràng bricks to build In length and in width A half moon-faced pool.

There you may wash your hands and feet.”

Brick Used for building Tower

Age: 11th – 13th Century

Features and Meanings: Made of terracotta.

Solid slabs of brick represent the strength of Đại Việt.

Thăng Long Citadel is made of thousands of that solid bricks. It tells that the Citadel is inviolable.

-Usage: This brick were carved with following letters: “Lý gia đệ tam Long Thụy Thái Bình tứ niên đạo” - Vĩnh Phúc terracotta, Thăng Long Citadel, Hanoi – This shows that it was the brick used for building Royal Palace of Lý Dynasty in 1057.

Code: 650 Size and shape: - Rectangle - Length: 30cm - Width: 16cm

From this, we can see that our ancestors used sculpture to pass national history down to future generations.

Tureen Code: 526 Used in Royal Palace and court official families

Age: 11th - 13th Century

Celadon glaze

- Shape: round, big neck, small bottom.

- Pattern: simple celadon glaze, with light and soft lines around the body.

- Usage: salting tomatoes, soaking grain.

- Size: medium - Handle: no - Technique: made of terracotta glaze then covered with celadon glaze.

Jar Code: 527 Used in Royal Palace and court official families Age: 11th – 14th Century

Celadon glaze

- Shape: round, big neck.

- Pattern: Simple celadon glaze, elegant and smooth patterns around the body like floating clouds in the blue sky.

- Usage: salting tomatoes, soaking grain.

- Size: medium - Handle: no - Technique: made of terracotta glaze then covered with celadon glaze.

VASE Code: 509 Used in Royal Palace and Royal Officials’ houses Age: 11th – 13th century

GREY WHITE GLAZE

- Shape: round, with narrow neck.

- Pattern: coated with a layer of grey-white glaze expressing gentleness and elegance, which blends well with the peaceful scenery of Ly Dynasty - Usage: for arranging flowers - Size: medium - Technique: made of grey-white glaze

An introduction to Vietnamese Brown Pattern Ceramics “Brown Patterned Ceramics – a trend of patterned ceramics with brown as the main color, is a type of ceramic considered highly artistic in Vietnamese folk culture. They used to play an important role in the ceramic complex for four whole centuries, making a great contribution to Dai Viet Arts. However, Brown Pattern Ceramics have only been introduced in a few journals or presented briefly in some publications about Vietnamese Art History so far without appearing in any monograph.

National Museum of Vietnamese History stores and displays the richest collection of Brown Pattern Ceramics. That’s why we have planned a program to study this subject as a priority for many years. The book “Vietnamese Brown Pattern Ceramics” compiled by Dr Pham Quoc Quan and Dr Nguyen Dinh Chien is based on documents and photos of many samples of Brown Pattern Ceramics in private and public museums, both domestic and foreign. This work is the first attempt to sketch a panorama picture of Vietnamese Brown Pattern Ceramics from 11th to 15th century.

The study of Brown Pattern Ceramics is encouraged and cooperated by many domestic and foreign Museums and collectors. Especially, this work received much help and encouragement from Unicom Management, Inc (USA) and Arts of Asia Publications Ltd. (Hong Kong).

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Vietnamese Brown Pattern Ceramics As for the pottery, despite the fact that it is strongly affected by Chinese Pottery (Xiong, Yuan, Ming, Qing), Vietnamese Pottery has become a distinct flow with many styles and artistic patterns.

Brown Pattern Ceramics has a long standing history, from 11th century to 15th century.

It’s popularity only deceased gradually when Flowering Blue Ceramics became popular all over the world. Motifs such as flowers, especially lotus, human and animals, etc. are popular, unique and creative. Sometimes they look like a reflection of Đông Sơn Arts with a style which art researchers called “X-ray style” - the style which also appears in Australian Aboriginal arts; sometimes they look like having many motifs influenced by Champa arts (with shapes represent Apsara, a celestial dancer or Tribhanga, a tri-bent dancing pose), but the most popular ones are lotus images of all kinds, which are recognized as a Buddhist symbol. Many historians (such as Trần Quốc Vượng) assert that the era when Vietnamese Brown Pattern Ceramics existed and developed is mainly Ly-Tran Dynasty (11th – 14th century), and expands to the early Le Dynasty (15th century) which is a Buddhist Monarchy era, or a era when Buddhism – Taoism – Confucianism co-exist in Vietnam. Rhino horn pattern, for example, is a typical symbol of Buddhism.

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Small Crock (Tureen)

BROWN PATTERN GLAZE

11th – 13th century -This is Ly Dynasty Brown Pattern Ceramic tureen product.

- It is currently stored and displayed at San Francisco Museum of Arts.

- It was used in rich families.

- Shape: round shape, even, with raised feet and lid.

- Size: 23cm in height.

- Pattern: lotus petals embossed around the lip and foot, the petals are made of thin ivory glaze, together with brown patterns - Usage: for soaking cereals.

- Meaning: showing children’s life in the Ultimate Bliss World.

Source: John Stevenson and John Guy, 1997.

National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Pottery Wine Cup

BROWN PATTERN GLAZE

11th – 13th Century - This is a Ly Dynasty Brown Pattern Ceramic bird-shaped pottery wine cup.

- It has been stored and displayed at Machida Municipal Museum since 1994.

- It was used in Royal Palaces.

- Shape and pattern: it is shaped like a bird looking back at its tail, with lotus petal band embossed at the foot. Brown glaze is applied to the bird’s beak, eyes, wings and legs. Other parts are coated with ivory glaze.

- Size: 12.5 cm in height, 17cm in length.

- Usage: for containing drinking water in Royal Palace.

- Meaning: the parrot represents intelligence and activeness.

Source: Machida Municipal Museum, 1994 National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Ceramic Pot 11th – 13th Century - This is a Brown Patterned Ceramic Pot of Ly Dynasty - It is currently kept in Viện Đồ Việt Collection, Hanoi.

- These products were used in Royal Palace and rich officials’ houses.

- Shape and pattern: it is made in a reversed image of Kinnari, Kinnara.

- Dimension: 13.5 cm in height - Usage: it is used as a water pot in Royal Palace.

BROWN PATTERN GLAZE

- Meaning: expressing eternal happiness.

Source: Viện Đồ Việt collection, Hanoi National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Meaning of the word Kinnari In Buddhist mythology and Hindu mythology, a Kinnara is a paradigmatic lover, a celestial musician, half-human and halfhorse (India) or half-bird (south-east Asia). Their character is clarified in the Adi parva of the Mahabharata, where they say: ď‚—

They are everlasting lover and beloved. They never separate. They are eternally husband and wife; They are lover and beloved ever-embracing. Their life is a life of perpetual pleasure.

ď‚—

They are also featured in a number of Buddhist texts, including the Lotus Sutra. There is an ancient Indian string instrument is known as the Kinnari Veena.

ď‚—

In Southeast Asian mythology, Kinnaris, the female counterpart of Kinnaras, are depicted as half-bird, halfwoman creatures. One of the many creatures that inhabit the mythical Himavanta. Kinnaris have the head, torso, and arms of a woman and the wings, tail and feet of a swan.

She is renowned for her dance, song and poetry, and is a traditional symbol of feminine beauty, grace and accomplishment.

Subodh Ghosh, Love stories from the Mahabharata, trans.

Pradip Bhattacharya, 2005, Indialog Publications, New Delhi.

Ceramic Ewer (11-13th Century)

- Pattern: Flared mouth, slender neck with many ridges, high bowl-shaped body, lobed on body, shoulder and handle.

Dark brown glaze on neck ridges, with bands of round pattern and lotus petals - Ivory white glaze background.

- Size: 22 cm in height, 6cm in width.

Source: National Museum of Vietnamese History, Hanoi.

- Pattern: Flared mouth, slender neck with many ridges, high bowl-shaped body, lobed on body, shoulder and handle.

Dark brown glaze on neck ridges, with bands of round pattern and lotus petals - Ivory white glaze background.

- Size: 25 cm in height - Source: Pham Dung’s collection, Hanoi.

- Pattern: Flared mouth, slender neck with many ridges, high bowl-shaped body, lobed on body, shoulder and handle.

Dark brown glaze on neck ridges, with bands of round pattern and lotus petals - Brown glaze background.

- Size: 28 cm in height.

- Source: Nguyen Van Dong’s collection, Ho Chi Minh.

-Common Shape: Spiral-handle and high sprout.

-Use: for containing drinking water.

-Meaning of lotus: immaculateness, purification, gentleness, purity, and patience.

- Pattern: Flared mouth, slender neck with many ridges, high bowl-shaped body, lobed on body, shoulder and handle.

Dark brown glaze on neck ridges, with bands of round pattern and lotus petals - Ivory grey glaze background.

- Size: 23.6cm in height, 6.5cm in width.

- Source: National Museum of Vietnamese History.

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Lidded Jar (11-13th Century)

- Brown-patterned ceramic lidded jar under the Ly Dynasty.

-Was used in the Royal Palace and officials’ family.

-Pattern: Surrounded the lid and body are three vegetal scrolls creeper branches with six dark brown flowers. Sphere frustumshaped lid with lotus-bud knob on top.

- Brown white glaze background.

-Size: 49 in height, 21.8 in width.

-Usage: used in daily life or religious ceremonies or funerals.

- A pair brown-patterned ceramic lidded jar

under the Ly Dynasty.

- Used in the Royal Palace and officials’ family.

- Pattern: body and lid were engraved with six vegetal scrolls . Sphere frustumshaped lid with lotus-bud knob on top. The lower of the jar was engraved with ancient coins and lemon flowers.

- Brown glaze background, bold and light spot.

-Size: 45.7cm in height.

-Usage: used in daily life or religious ceremonies or funerals.

-Brown-patterned ceramic lidded jar under the Ly Dynasty.

-Used in the Royal Palace and officials’ family.

-Pattern: Sphere frustum-shaped lid with lotus-bud on top. The body was carved with four dark brown lotus, the lower of the jar was engraved with wave-design.

- Ivory glaze background.

-Size: 34.4 cm in height, 22.5 cm in width.

- Usage: used in daily life or religious ceremonies or funerals.

Souce: Phan Dinh Nhan’s collection, Hanoi; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Source: John Stevenson and John Guy, 1997; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Lidded Ewer (11 – 13th Century)

- This is a brown-patterned ceramic ewer under the Ly Dynasty.

- Excavated and found in Dai La (Hanoi). Exhibited in Royaux d’Art et d’Histoire Museum, Brussels.

- Used in the Royal Palace and rich officials’ family.

Shape and Pattern: dragon-shaped spout on shoulder, body engraved with six lotus sprays on ivory glaze.

Size: 22.2cm in height.

Usage: used for containing water in the Royal Palace.

Meaning: eternal happiness.

WHITE BROWNPATTERNED GLAZE

Source: John Stevenson and John Guy, 1997.

National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Brown-Patterned Ceramic Jar (13 – 14th Century) - This is a brown-patterned ceramic big jar under the Tran Dynasty.

- Exhibited in National Museum of Vietnamese history, Hanoi.

- Used in the Royal Palace and rich Officials’ family.

Shape and Pattern: flattened rim, narrow neck, narrow shoulder. Large upper body and gradually smaller toward the base, flat unglazed bottom. Body decorated with lotus and fourpetal flowers with 2 vegetal scrolls.

Size: 35.6cm in height, 23.2cm in diameter.

Usage: used in daily life or religious ceremonies or funerals.

Meaning: imply the simplicity of the Vietnamese ancestors and five characteristics of Vietnamese people: immaculateness, purification, gentleness, purity, and patience.

WHITE BROWNPATTERNED GLAZE

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Brown-Patterned Ceramic Jar (13 – 14th Century)

-- This

is a brown-patterned ceramic jar under Tran Dynasty.

-- Used in rich families.

Shape and Pattern: flatened rim, slender neck, narrow shoulder. This is a brown jar with ivory patterns. Body ingraved with lotus sprays, two people fighting agaist each other, two people holding shield and sword, seperated bands of small rings and waves.

Size: 37.5cm in height, 20cm in diameter.

Usage: in daily life, religious ceremonies or funerals.

Meaning: imply the heroic tradition of our people in that day. ,

BROWN GLAZE Source: Duong Phu Hien’s collecton, Hanoi; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Brown-Patterned Ceramic Big Jar (13 – 14th Century) - This is a brown-patterned ceramic big jar under Tran Dynasty.

- Used in the Royal Palace and rich Officer families.

Shape and Pattern: flattened rim, high neck, shoulder carved with bands of lotuses, big and small petals mingling togther, four horizontal knobs and embossed flowers in even intervals. Cylindrical body, flat bottom.

Body engraved with brown-painted lotus in realism and bands of waves.

Size: 70cm in height, 35.5 in diameter.

Usage: to contain morning dew which used in Queen consort and consorts’ bathing.

Meaning: imply five characteristics of our people in that day: immaculateness, purification, gentleness, purity, and patience.

WHTE BROWNPATTERNED GLAZE

Source: Do Quoc Thang’s collection, Hanoi.

National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Brown-Patterned Ceramic Jar (1113th Century) - Shape: Cylinder.

- Size: 34 cm in height.

- Pattern: body decorated with vegetal scrolls, neck and shoulder decorated with lotus-buds.

- Usage: used in daily life or religious ceremonies or funerals.

Source: John Stevenson and John Guy, 1997; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

- Shape: Cylinder.

- Size: 38 cm in height.

- Pattern: body engraved lotus scroll, lotus in circle, and wave design on the base.

- Usage: used in daily life or religious ceremonies or funerals.

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

- Shape: Cylinder - Size: 35.2 cm in height, 17.8 cm in diameter.

- Pattern: Body engraved six-round-petal ochna, lotus scrolls, and a bands of chicken bending knees and looking back.

- Usage: used in daily life or religious ceremonies or funerals.

Source: National Museum of Vietnamese History, Hanoi. National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Ly Dynasty Brown Pattern Ceramic Jars (11th-13th C.) - Shape: Cylinder - Pattern: Elephant with branches and leaves between 2 bands of 4-petal flowers.

- Size: 30.4 cm in height, 23 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals.

Source: Jochen May, 2000; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics).

- Shape: Cylinder - Pattern: divided into 3 sections: cloud pattern, peacock and vines.

- Size: 34.9 cm in height, 26.1 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals.

Source: Jochen May, 2000; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics).

- Shape: Cylinder - Pattern: Include 5 bands of 6-petal flowers, cloud-shaped gongs, vines with flowers, 4-petal flowers, 2 small bands of waves twisted together.

- Size: 44.1 cm in height, 29.2 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals.

Source: Jochen May, 2000; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics).

- Shape: Cylinder - Pattern: Lotuses with vines, dancing human figures, 4-petal flowers, 2 alternate cone-shaped bands.

- Size: 34 cm in height.

- Usage: In everyday activities, in religious ceremonies or in funerals.

Source: From John Stevenson and John Guy’s collection, 1997; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics).

Brown Ceramic Big Jars (13th-14th C.) - Shape and Pattern: Flat lip, narrow neck, large shoulder with relief depiction of bands of lotus petals, body curves inward toward foot. The body is divided into trapeziums, the inside is decorated with engraved 4-petal flowers lying in the middle of 2 bands of leaves next to the foot.

- Size: 56 cm in height, 32 cm in diameter.

- Usage: to harvest morning dew for Queen Consorts and other Consorts in the Palace to bathe in.

Source: Đoàn Anh Tuấn’s Collection, Hanoi; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics) - Shape and Pattern: Flat lip, narrow neck, large shoulder with relief depiction of bands of lotus petals, body curves inward toward foot. The body is divided into trapeziums, the inside is decorated with engraved 4-petal flowers lying in the middle of 2 bands of leaves next to the foot.

- Size: 56 cm in height, 29 cm in diameter.

- Usage: to harvest morning dew for Queen Consorts and other Consorts in the Palace to bathe in.

Source: Đoàn Thị Cẩm Trà’s Collection, Hanoi; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

-Shape and Pattern: Flat lip, narrow neck, large shoulder with relief depiction of bands of lotus petals, body curves inward toward foot. The body is divided into trapeziums decorated with engraved lotuses.

- Size: 56.5 cm in height, 37 cm in diameter.

- Usage: to harvest morning dew for Queen Consorts and other Consorts in the Palace to bathe in.

Source: Nam Dinh Museum, National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Tran – Early Le Dynasty Brown Pattern Ceramic Jars (13th-14th C.) - Shape and Pattern: has 4 knobs and a series of alternate lotus petal relief, large and small, on shoulder, the body is divided into 4 sections with flowers by dotted lines, the sections contain brown relief of: 4petal flower between 2 horizontal leaves, lotus with flower and leaves, branches with leaves, and waves.

- Size: 47.6 cm in height, 26.8 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals.

Source: National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

- Shape and Pattern: has 4 knobs on shoulder and decorated with cloud-shaped gongs, lotus in divided sections, waves, lotus flowers and leaves, 4-petal flower with 2 horizontal leaves and waves.

- Size: 56 cm in height; 40 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals.

Source: Vũ Văn Anh’s Collection, Hanoi; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Tran Dynasty Brown Pattern Ceramic Jars (13th-14th C.)

- Shape and Pattern: Has flat lip, narrow neck, the engraved lotuses on the shoulder have large leaves with round tips. The band of knobs lays under the lotus pattern. The body is engraved and painted with 3 sections of vines and leaves pattern depicting a huting scene.

- Size: 31.8 cm in height, 21 cm in diameter.

- Use: In everyday activities, in religious ceremonies or in funerals of bureaucrats’ family members.

Source: Nguyễn Văn Đồng’s collection, Ho Chi Minh City; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Tran Dynasty Brown Pattern Jar (13th-14th C.) - Shape and Pattern: Cylinder, flat foot, strong and thick clay body. There are 4 lotus vines on the jar’s body, lotus leaves on the neck and 3 galopping horse among the clouds.

- Size: 43 cm in height, 26.5 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals of bureaucrats’ family members.

- Meaning: Horses represent loyalty, patience and endurance. Moreover, horses also bring wealth and good luck.

IVORY GLAZE BROWN PATTERN

Source: Nguyễn Văn Đồng’s Collection, Ho Chi Minh City; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Tran Dynasty Brown Pattern Jar (13th-14th C.) - Shape and Pattern: Cylinder, flat foot, strong and thick clay body. The body is divided into 2 sections, one with engraved long-leg bird with branches and flower and the other with waves.

- Size: 31.5 cm in height, 22 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals of bureaucrats’ family members - Meaning: describe a familiar image in ancient times.

IVORY GLAZE BROWN PATTERN

Source: Ha Tay Museum; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Tran Dynasty Brown Pattern Jar (13th-14th C.) - Shape and Pattern: Cylinder, flat foot with strong and thick clay body. The body is engraved and painted with 3 brown sections describing elephants and vines.

-It’s currently in display in Museum of Fine Arts, Boston, Marshall.

- Size: 31 cm in height.

- Usage: In everyday activities, in religious ceremonies or in funerals of bureaucrats’ family members.

IVORY GLAZE BROWN PATTERN

Source: John Stevenson and John Guy, 1997; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)

Tran Dynasty Brown Pattern Jar (13th-14th C.) - Shape and Pattern: Cylinder, flat foot, with strong and thick clay body. The body is engraved and painted with 3 brown sections describing elephants and vines.

- It’s currently in display in Museum of Fine Arts, Boston, Marshall.

- Size: 51.5 cm in height, 21 cm in diameter.

- Usage: In everyday activities, in religious ceremonies or in funerals of bureaucrats’ family members.

IVORY GLAZE

Source: Nguyễn cvantrich’s Collection; National Museum of Vietnamese History, 2005, Gom Hoa Nau Viet Nam (Vietnamese Brown Pattern Ceramics)