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Clubs · Dec 26, 2024 · 56 min read
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Explore the vibrant world of Vietnam souvenirs with our comprehensive guide to 08 must-have items. From elegant Ao Dai and traditional conical hats to intricate brocades and exquisite silk products, discover Vietnam’s rich cultural heritage through its unique crafts and cuisine. Learn where to buy authentic souvenirs, expert shopping tips and the meaning behind each item to enrich your travel experience.
Exploring Vietnam is not only about the country’s stunning landscapes and rich history, but also about taking a piece of this vibrant culture back home. Whether you’re a fan of traditional handicrafts or delicious cuisine, Vietnam offers a wealth of unique souvenirs that capture the essence of the country.
In this guide, we will explore 08 must-have Vietnamese souvenirs that will not only enrich your collection but also provide insights on how to successfully shop for souvenirs with expert advice.
The Ao Dai is a quintessential symbol of Vietnamese culture. This elegant garment, worn primarily by women, reflects Vietnam’s rich heritage. Crafted from luxurious silk or lightweight fabric, the Ao Dai creates a graceful silhouette.
Ao dai, the traditional costume of Vietnam, was modified from "ngu than lap linh" in the Westernization period, also known as modern dress. Ao dai is the national costume of Vietnam, expressing the culture as well as the femininity and grace of women.
The traditional Ao Dai costume will include sleeves, collar, flaps and pants. The collar is usually about 3cm high, the sleeves are long to the wrist, the body of the dress hugs the body and is buttoned on one side. The flap has two flaps, split from the waist to near the ankle. The chest and back are often pleated. The long clothes usually reach the ankles or can be longer to the heels, with wide pants.
The men's ao dai is similar to the women's ao dai, but the waist is not designed to be tight. This creates a straight silhouette that exudes masculinity and maturity.
The Ao Dai also carries the philosophy of life of the Vietnamese people. The Vietnamese Ao Dai carries within itself extremely profound traditional meanings. It has developed and transformed from the ancient five-panel dress. Today, the Ao Dai is still associated with the spiritual and cultural values of the nation.
In the ancient men's five-panel shirt, the flaps of the shirt represented the four relatives and parents. In particular, the five-panel shirt also represented the philosophy of the five constants: humanity, courtesy, righteousness, wisdom, and trustworthiness. The white undershirt inside the five-panel shirt symbolized a spirit and body that was always clean and pure.
The four-panel dress of women represents the four virtues of women: diligence, beauty, speech, and conduct. The two front panels of the dress are tied together to represent the meaning of husband and wife, expressing love and respect in the family. The four panels also symbolize the four parents (parents-in-law and parents-in-law) that women must care for and respect.
The five buttons on the five-panel and four-panel shirts represent the five relationships: father and son have intimacy, ruler and subject have loyalty, husband and wife have distinction, elders and youngers have kindness, and friends have trust. These are the basic building blocks of human interaction with family and society.
The traditional Vietnamese costume has appeared in many variations, of which the giao linh (襖交領) and vien linh (圓領) are considered the most popular costumes. Depending on the circumstances and social position, people choose between these two types of costumes.
The Nhat Binh Ao Dai is the royal costume, the everyday dress of the Queen, Concubines and Princesses. The Nhat Binh Ao Dai is modeled after the Doi Kham Phi Phong Ao Dai of the Ming Dynasty. This is a four-panel dress worn over a large rectangular collar, running from the neck to the chest. The collar is elaborately embroidered and comes with a button made of jade or gold. Below the collar, there are 2 additional strips sewn in and hanging down called the Thuy Luu strip, but not all shirts have Thuy Luu strips. During the Gia Long period, the Queen had to wear a Kim Uoc (the shape of which is still unclear). During the Thieu Tri period, the Kim Uoc was replaced by the Kim Phuong. The last change was during the Nguyen Mat period, when the Nhat Binh was accompanied by a scarf - the most common combination we see today.
The name “Nhat Binh” comes from the decorative patterns on the shirt forming a large rectangle in front of the chest. On the body of the shirt, the main closed circular patterns occupying a large area are often embroidered as phoenix nests and loan nests. In addition, secondary patterns with auspicious and good meanings such as longevity, happiness, eight treasures, flower strings, pomegranate flowers, etc. are embroidered at the bottom of the shirt with water wave patterns (thuy ba). These patterns are arranged and changed depending on the status and title of the person wearing the shirt. Similar to the pattern layout, some people's sleeves will have a strip of color symbolizing the five elements: green, yellow, blue, white, red symbolizing the status of that person. However, this rule does not apply to the Queen.
Photo source: Y Van Hien/ Lotus Flower Tu Kieu Phuc
Unlike the Nhat Binh shirt, the Tac shirt is a formal dress of the Nguyen Dynasty, often used in important occasions such as weddings, New Year's Eve, funerals, etc. This is a popular dress from common people to mandarins and kings during the Nguyen Dynasty. With a variety of materials that can be flexibly changed according to the weather, brocade, satin (also known as satin, a type of fabric characterized by a smooth, shiny surface, using the technique of weaving to create a tight interweaving between the horizontal and vertical threads) in the winter, or the (a thin, light, airy fabric, with a texture similar to chiffon but not as soft, often worn as an outer layer) in the summer.
Ao Tac, also known as a five-panel, loose-sleeved shirt, is worn with long pants, covering the body from the neck to or below the knee. The flap of the shirt is made from five pieces of fabric combined with long, loose sleeves. This was considered a formal dress during the Nguyen Dynasty, likened to today's "vest". The name "Ao Tac" comes from the fact that the hem of the shirt is exactly 1 inch wide, or 4cm.
During that time, people were not allowed to wear clothes that were the same color as the mandarins. Images of this period depict that people often wore four-panel or five-panel shirts or cross-collar or vien-collar styles combined with skirts.
Photo source: Y Van Hien/ Lotus Flower Tu Kieu Phuc
This is an ancient costume with two parallel flaps, slits on both sides and usually reaching the wearer's skirt. It is worn loosely or used as an outer coat, so we can see the layers of the shirt from the inside.
After its birth, the first version of today's ao dai was called the ao ngu than lap linh, which appeared in 1744 during the reign of Lord Nguyen Phuc Khoat in Dang Ngoai. He intended to unify the two Dang and ordered that high-ranking officials must wear the same type of clothing to distinguish them from common people. The ao ngu than lap linh was then basically formed through these costumes.
Photo source: Y Van Hien/ Lotus Flower Tu Kieu Phuc
The Giao Linh shirt is a type of shirt with the left flap in front of the collar tied diagonally to the right armpit. The Giao Linh shirt appeared very early in Vietnam, probably around the first period of Chinese domination during the Eastern Han Dynasty, after Ma Vien defeated the uprising of the Trung Sisters.
Through many centuries of change, until the Nguyen Dynasty, the Giao Linh shirt still existed in a unique position as a form of noble ceremonial dress, although the Ngu Than standing collar shirt was dominant. It can be said that this type of shirt is the true "traditional dress" in the true sense for the Vietnamese people.
Photo source: Hoa Nien - Beautiful Years, Vietnam Centre/ Lotus Flower Tu Kieu Phuc
In 1930, when artist Nguyen Cat Tuong created a new style of Ao Dai - Ao Dai Le Mur, based on the characteristics of European Ao Dai. Ao Dai Le Mur had a lotus collar, only two panels and puffed sleeves, hugged the body and came in many bright colors. However, this Ao Dai was discontinued in 1943 due to negative reviews from the public.
Later, artist Le Pho overcame the limitations of the Le Mur Ao Dai to suit Vietnamese culture and identity. The Le Pho Ao Dai combines the Le Mur Ao Dai, the five-panel Ao Dai and the four-panel Ao Dai, creating a style of Ao Dai that is both modern and combines ancient seams, receiving a warm welcome and acceptance from many women.
In 1958, the ao dai of Mrs. Tran Le Xuan appeared, but was criticized for its boat-shaped collar and the exposed neckline. Since 1960, the raglan-sleeved ao dai was born, solving the problem of wrinkles on both sides of the armpits. And gradually, over time, the ao dai has undergone many improvements in style, from the flap, sleeves to the collar. Pants have also changed from wide-leg, long to short pants.
Since 1975, the prejudice about changing the style of the Ao Dai has gradually been expanded and accepted more. The Ao Dai has become a popular costume on the streets, at schools, pagodas and festivals. It is not only loved domestically but also spread further, becoming a symbol of the costume representing Vietnam in the world.
Among the fabrics used to make Ao Dai, silk is always considered the top choice. Silk is made from natural silk, does not cause skin irritation and has a natural softness and shine. Currently, there are many types of silk used, including Vietnamese silk, Korean silk, Japanese silk...
The advantages of silk fabric are the naturalness and natural light it brings, along with a certain softness and drape. Because it is made from natural silk, silk fabric has the ability to absorb sweat extremely well, helping the skin to always be airy.
In addition to silk, chiffon is also a popular choice for making ao dai. This material is also soft, has a light drape, creating a feminine, graceful look for ao dai. For those who do not often wear ao dai, chiffon is also a suitable choice.
The advantage of chiffon fabric is that it is light weight, soft, always brings a comfortable feeling to the wearer. Chiffon fabric can be layered to create a light, airy feeling, suitable for graceful, dreamy designs.
However, chiffon fabric is very thin, so when wearing it, you need a lining inside to avoid exposing sensitive parts. Be careful because there are many types of chiffon fabric, avoid choosing cheap, poor quality ones.
Photo source: OLV boutique
Velvet is a luxurious and high-class fabric, used mainly for aristocratic looks and special occasions. With one side made of smooth material and the other side made of soft and smooth velvet, velvet brings a sense of sophistication and class.
The advantage of velvet fabric is its ability to keep warm well, suitable for sewing winter ao dai. The fabric has a high drape, each movement of the ao dai will create a translucent and very luxurious look when the light shines on it.
The disadvantage of velvet is its high cost, especially high-end velvet which is extremely expensive, so people often use velvet mixed with synthetic fibers to reduce the cost.
An iconic Vietnamese fashion item, the conical hat is both practical and fashionable. Made from natural materials such as palm leaves, it provides excellent sun protection.
The conical hat is woven from many different types of leaves, typically palm leaves, straw, du quy diep leaves, ho leaves, buong leaves, bamboo leaves... and is mainly made from conical leaves. To fix and keep the hat from falling off, the hat has an additional strap. The strap is mainly made of velvet or silk to create a comfortable feeling for the user.
Hats come in many different shapes, but nowadays people still prefer conical hats. The leaves used to make hats must be not too young, and not too old. The leaves grow abundantly in the hills of the provinces in Viet Bac, or the Truong Son range. People can also exploit many of these special materials in the hills of Phu Tho and Vinh Phuc provinces.
After being cut, the leaves need to be processed according to the process, they need to be dried with charcoal, then exposed to the dew to make the leaves softer. Straighten the leaves by wrapping them in a cloth bag, avoiding excessive heat. Choose leaves of similar size, cut off the top and bottom so that the length is about 50cm. In addition to the conical leaves, the necessary materials for making conical hats are bamboo, rattan, fishing line or sewing thread.
Next, you need a cone frame, which is made from dry and flexible bamboo. The bamboo must be shaved to be round and smooth. To do this, the craftsman must have many years of experience, be skillful and meticulous. The bamboo is bent into circles of different diameters. From top to bottom, there will be 16 circles, the largest bamboo circle will be 50cm, the circle on the top of the cone is only about the size of a coin. The brim of the hat must be even, not distorted or skewed.
These handmade fabrics, made by ethnic minorities, are famous for their unique patterns and cultural significance.
Brocade is a cultural feature of ethnic minorities. Each ethnic group or region will have its own unique patterns. Brocade is also one of the traditional fabrics that has great significance for the people of the Central Highlands. They are used to sew costumes, accessories,...
Nowadays, brocade is more popular. There are also brocades woven by machine but the unique features of traditional ethnic brocade cannot be lost.
The characteristic of brocade fabrics is the variety of colors and unique patterns. What is more special is that the colors of brocade are not chemical dyes but natural ingredients. To have the above color tones, it is necessary to find the corresponding plants or flowers. For example:
Of course, it is one of the materials used to sew traditional costumes of ethnic people. Of course, its biggest application is in the garment and fashion industry.
Clothes made from brocade or with brocade patterns are loved by many people because of their uniqueness and appeal. In addition, brocade is also very comfortable to wear, absorbent because it is woven mainly from plants and natural fibers. Along with that, the ability to be friendly to the skin makes it more and more chosen by people to make clothes.
In addition to costumes such as dresses, brocade is also widely used in interior design and decoration. A brocade tablecloth, sofa covers or other chairs, ... Many people also use bedding made from brocade fabric. However, because the colors of brocade fabric are often many and colorful, they only use a small part as a highlight for decoration. But few people use the whole brocade bed sheet. It looks quite flashy and confusing.
Vietnam is famous for its high quality silk, used in clothing, accessories and interior decoration.
In the history of the world silk industry, although Vietnam is not an “empire” on the great silk road of mankind, it is always recognized by the world as a country with a long history of silk industry spanning thousands of years. Today, our country still has many famous mulberry growing and silk weaving regions such as Co Do, Van Phuc (Hanoi), Nha Xa (Ha Nam), Co Chat (Nam Dinh), Duy Duyen, Ma Chau (Quang Nam), Tan Chau (An Giang)...
According to the legend of Co Do village, Ba Vi district (Hanoi) as well as many other ancient documents, the Vietnamese people knew about the profession of growing mulberry and raising silkworms since the Hung King period, more than 4,000 years ago. From silk, the ancient Vietnamese people knew how to weave many different types of good silk such as: Truu is raw and large-fiber silk; luong is thin and smooth silk; sa is thin and smooth silk; the is light, bright-colored silk; xuyen is thicker, bright-colored plain silk; chieu is plain, thick and durable silk; la is silk woven from young silk with small, even stripes and dyed black; lanh is plain, thick, and dyed black silk; doan is also a type of lanh but of better quality; pham is smooth, shiny silk with woven flowers; van is a type of silk with large, thick, higher-quality woven flowers and gamm is the highest quality silk.
Vietnamese silk has long been famous for its smoothness, softness and durability, not inferior to silk from China, Japan and other countries. For example, in the North, Co Do silk was known as “tribute silk”, which is the highest quality silk used as tribute to the royal court. Van Phuc silk was once considered by the French to be the most sophisticated product in Indochina, so in 1931 and 1932 it was selected to participate in major exhibitions (fairs) in Marseille and Paris (France).
Vietnamese hand embroidery is a testament to the country's high level of artistry, with intricate designs on a wide variety of fabrics.
In Vietnam, it is said that embroidery appeared since the Hung King period. Our ancestors used thread, silk, and dyed yarn to embroider and decorate on fabric. Like other countries, ancient Vietnamese people often embroidered motifs of plants, shapes, flowers, leaves, birds, animals, daily life scenes, etc. on scarves, bags, clothes, flags, etc. In the book "History of Vietnam", volume 1, the costumes of the Lac Viet people were described as follows: "The Lac Viet people wore pullovers, buttoned on the left side, the boys had beautiful scarves, the girls had embroidered dresses..." As early as the 1st century, besides the hand-embroidered flag "Repaying the debt to the country, avenging the family" of the Hai Ba Trung uprising, Vietnamese women also knew how to use embroidery to decorate their houses, moreover to express their feelings, emotions and to beautify themselves.
However, the person who initiated and taught embroidery to the people of Quat Dong was Dr. Le Cong Hanh, whose real name was Bui Cong Hanh, a native of Quat Dong village, who lived at the end of the Tran dynasty and the beginning of the Le dynasty (around the 14th century). Mr. Le Cong Hanh went on a diplomatic mission, learned embroidery, and then returned to teach embroidery to the villagers. After his death, Mr. Le Cong Hanh was worshiped by the people of the area, and honored as the founder of the embroidery profession. Every year on the 12th day of the 6th lunar month, the anniversary of Mr. Le Cong Hanh's death, the villagers, delegations from local provinces who work in embroidery and from Hanoi city all come here to offer incense to commemorate the founder of the embroidery profession. Since the 17th century, the embroidery profession has spread throughout the country, so the founder of the embroidery profession in Quat Dong village has also become the founder of the embroidery profession in the whole country.
These vibrant folk art pieces are made using traditional woodblock printing techniques.
With the development of printing and wood carving, the production of paintings became popular in many localities, gradually forming famous folk wood carving production centers such as Dong Ho painting village (Bac Ninh), Hang Trong (Hanoi), Kim Hoang (old Ha Tay), Sinh village (Hue)... A series of art forms that have lasted through the history of the nation. Not elaborate or sophisticated, but folk paintings, especially Dong Ho paintings, are always brilliant and promote human morality, educate good qualities, and pray for good things. Dong Ho paintings are a genre of paintings with a very long history of development. According to historical sources and research works, the folk painting profession appeared in Dong Ho village since the 16th century. The genealogy of the Nguyen Dang family shows that they have practiced this profession for 20 generations, that is, about 500 years.
Dong Ho folk paintings over the centuries have contributed to enriching the spiritual life of the people, entering literature, poetry, music, painting, creating a unique identity of Vietnamese culture, vividly reflecting the simple life of farmers in the countryside, clearly expressing customs, traditions, festivals, festivals, culture, and Vietnamese people. Each painting carries its own message and meaning. Dong Ho folk paintings fulfill many different social functions, from beliefs, spirituality, history to education, reflecting customs, traditions, daily life, etc. For example,
Lanterns are an indispensable part of Vietnamese culture, especially during festivals.
Mid-Autumn Festival is the season of moon cakes.lantern pulling army,star lantern,monk lamp,beer can light, butterfly The primitive lanterns are carved from bamboo and then covered with cellophane paper, the moonlight nights of the countryside shimmering in the lanterns are the image of the traditional Mid-Autumn Festival in Vietnam. Mid-Autumn Festival is about enjoying the moon, eating moon cakes, carrying lanterns, so it has other names such as Moon-watching Festival, Lantern Festival, Children's Festival. Children look forward to this festival because they are often given toys by adults, usuallystar lantern, lantern,
Vietnamese ceramics are famous for their exquisite designs and traditional craftsmanship.
Ceramics are one of the familiar materials of Vietnamese people. Ceramics are increasingly popular because of their luxurious and sophisticated beauty and high safety for health.
Historically, the pottery industry in Vietnam has developed since the 1st century with ancient kilns in Tam Tho (Thanh Hoa), Dai Lai, Luy Lau, Duong Xa (Bac Ninh), Thanh Lang, Lung Ngoai, Dong Dau (Vinh Phuc). Pottery craftsmen of this period combined the Dong Son pottery tradition with the advanced ceramic production techniques of China to produce ceramics with indigenous characteristics.
Since the late 14th century,celadon("Ly Dynasty Pottery"11th-13th century)
From the zither to the monochord, these instruments reflect Vietnam's rich musical heritage.
Music is one of the indispensable spiritual foods in the life of Vietnamese people. Throughout the journey of life and history, today Vietnam still preserves many types of musical instruments from the simplest forms to those with quite high development with sophisticated performance techniques. From North to South, there are distinct musical melodies that create unmistakable characteristics of the identity of each region, leading to musical instruments created with indigenous characteristics. In addition, there are musical instruments that have been imported but have been nationalized and localized to suit Vietnamese musical aesthetics. Let's learn about some traditional musical instruments of Vietnam!
The Dan Co or Dan Nhi is composed of five parts: the neck, the body, the head, the bridge and the strings. The Dan Co has a range of more than 2 octaves, with a clear, bright, and soft sound close to the high voice (metal voice). The Dan Co plays a leading role in Hat Xam, and is a member of the Bat Am music guild, Nha Nhac orchestra, Chau Van band, Tai Tu orchestra and general orchestra.
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However, the disadvantage of silk fabric is that the production is still done manually, so its cost is quite high. Preserving silk fabric also requires care to avoid negative impacts from the environment and insects.
Photo source: 21Six
Lace attracts attention with its charm and diverse patterns. However, because of the holes in the fabric, if you want to use lace in a discreet way, use an additional lining.
The advantage of lace fabric is that it has many diverse patterns and designs, with a variety of colors to help users choose and sew according to their preferences.
However, without a lining, a lot of skin can be exposed. The material is fragile and can easily tear or fray, so care must be taken when using it.
Photo source: Onon Made
Brocade is a fabric with a special and eye-catching pattern. Each pattern on brocade shows the uniqueness of this material, creating charm for the wearer.
Brocade fabric is cheaper than silk fabric. It has beautiful patterns for you to choose according to your preferences. Brocade material also has a thin to thick type depending on preferences and weather.
However, brocade has one major disadvantage: it should not be used in hot summer because it has little ability to absorb sweat and is not breathable. The patterns of brocade are often quite complex, so when worn, it will make you look much more mature.
Photo source: Thai Tuan
Thanks to its eye-catching shiny appearance, chiffon fabric is chosen by many people to make ao dai. This type of material has a high artistic value, so it is extremely outstanding when looking at or taking pictures. Besides, chiffon fabric is also difficult to wrinkle and does not crease when washed.
However, this fabric has poor sweat absorption because it is made from polyester fiber. Therefore, on hot summer days or when having to do a lot of activities, the wearer may feel uncomfortable.
Organza, also known as raw silk, is a fabric made from silk fibers and added with glue during the weaving process. The sparse weave structure of Organza fabric creates a delicate surface, bringing a delicate and unique beauty to Ao Dai and other costumes.
One of the outstanding advantages of Organza fabric is its breathability. Its loose structure allows water vapor and sweat to escape easily, helping the wearer feel comfortable in all situations.
The diversity of colors is also the attraction of Organza fabric. With a variety of different colors, it satisfies the creativity and individual style of each wearer, making the Ao Dai unique and impressive.
With its light, thin fabric structure, Organza brings a gentle, elegant and delicate beauty. In particular, this fabric is suitable for beautiful and impressive photos, highlighting the natural beauty of the wearer.
However, some limitations of Organza fabric cannot be ignored. Due to its thinness and lightness, it tends to be easily scratched when exposed to sharp objects, so careful use and storage are necessary to maintain the fabric's newness and beauty.
Another factor to note is the need to use an inner lining when making Ao Dai or other costumes from Organza fabric. This lining not only helps to avoid the see-through situation of the thin shirt, making the person opposite feel uncomfortable, but also ensures the aesthetics and politeness of the outfit.
Like creating a complete roof, after the conical hat frame has been formed, the next thing the craftsman needs to do is to cover the hat with leaves. Distribute the leaves evenly so that they are balanced, not overlapping too thickly. Normally, each hat will include 2 layers of leaves, in the middle will be the mo lang layer. After the leaves have been completely covered, we will proceed to sew the hat.
Sewing conical hats requires needles and thin thread, and when sewing, the craftsman must also be skillful so that the tip of the hat is not exposed. The stitches must be short and the holes small so that the hat is round, tight, and smooth from the edge of the leaf to the stitch. When the conical leaves are firmly sewn to the frame, the craftsman will apply a layer of varnish to increase the durability and aesthetics of the product.
Sewing conical hats requires needles and thin thread, and when sewing, the craftsman must also be skillful so that the tip of the hat is not exposed. The stitches must be short and the holes small so that the hat is round, tight, and smooth from the edge of the leaf to the stitch. When the conical leaves are firmly sewn to the frame, the craftsman will apply a layer of varnish to increase the durability and aesthetics of the product.
The hat strap is sewn symmetrically on both sides, the hat strap can be made fromvelvet, or from colorful threads to help highlight the hat. In addition, the conical hat is also embroidered with beautiful images by skillful hands, imbued with national cultural identity.
The conical hat was born from 2500 - 3000 years BC, the image was carved on the Ngoc Lu bronze drum, Dao Thinh bronze jar. In the past, to find an item to help protect against rain and sun, to help withstand the harsh weather, our people knew how to use the most primitive materials, to create a wide-brimmed hat, which had many useful effects for farmers.
Over time, because the conical hat gradually became familiar to people's daily life, it became popular and became an indispensable item in daily life.
Vietnamese conical hats have gone through many different historical periods. Initially, the conical hats were round, similar to the old Northern hats. Next came the conical hat with a quai thao shape, and later the conical hat (Hue conical hat). The conical hat creates a solid block, has depth, is convenient for protecting from the sun and rain, and has high aesthetics, so it creates charm for the user. It is also for this reason that the structure of the conical hat has the current conical shape.
The conical hat has great material value. Although it is not an expensive item, it has a simple and modest beauty, like the soul of the Vietnamese people. For farmers, the hat is an indispensable item, and is used daily to help people protect themselves from the rain and sun.
Not only that, the conical hat is also used by mothers and sisters to go to the market, as a substitute for a hand fan, helping to create cool breezes when taking breaks in the fields. For Vietnamese women, the conical hat enhances the discreet, gentle look when combined with the flowing ao dai. This is also the characteristic of the conical hat when mentioned by everyone.
The conical hat is also a souvenir, which anyone can buy as a special gift for relatives and international friends. Not only in Vietnam, we will see the conical hat appearing in many places around the world. Almost everyone who has used the conical hat once, wants to keep it with them as a precious souvenir.
Besides its material value, the conical hat also has great spiritual value. For generations, the Vietnamese conical hat has been depicted and lived forever throughout the history of the country. The conical hat has been included in poetry, music and paintings, and has been painted by poets and artists, helping the symbol to increasingly leave a deep impression on the Vietnamese people. Not only in poetry, the conical hat has also been included in paintings by artists. The conical hat is gracefully combined with the ao dai, with lotus branches, with the countryside of the country. All are very familiar, and when admiring these special paintings from afar, we will remember the Vietnamese people, remember the cultural identity of the Orient.
NHONG Market, Artist: Nguyen Tien Chung (1914 - 1976) (Indochina College of Fine Arts, class XI), Size: 43 x 55cm.
Some ethnic groups with a culture of using brocade in our country are: Khmer, H'Mong, Dao, H're, Bana, Muong and Thai....
Depending on the ethnicity or region, there will be different ways of weaving brocade, but in general, it will be the following steps:
In the Central region, the silk industry also developed strongly in the past, especially in Quang Nam, because this is where Hoi An port was located, an important stopover on the maritime Silk Road. During its heyday, from the 16th to the 19th century, Hoi An was home to many merchant ships from China, Japan, India, Siam (Thailand), Portugal, the Netherlands, England, France... coming to trade, mainly ceramics and silk. In "Phu Bien Tap Luc", scholar Le Quy Don wrote: "People from Thang and Dien districts (ie Thang Hoa and Dien Ban districts of Quang Nam - PV) could weave all kinds of silk, silk with sophisticated patterns, no less than those from Guangdong". In 1631, the Italian mathematician, astronomer and missionary Cristoforo Borri wrote in his research book “Relation de la Nouvelle mission dis Pères de la Compagnie de Jésus au Royaume de la Cochinchine (tentatively translated: Relation of the new mission of the Jesuits in the Kingdom of Dang Trong) that: “The Dang Trong people not only supplied silk for their own needs but also supplied it to Japan and sent it to the Kingdom of Laos, from where it was shipped to Tibet, because this type of silk, although not as fine and fine as the Chinese silk, was durable”. Or in 1653, in his book Divers voyages et missions (Journeys and missions), the French priest Alexandre de Rhodes also wrote: “In Dang Trong... silk was so abundant that it was used to weave nets and braid boat ropes”...
Through many ups and downs, the Vietnamese silk weaving profession has also experienced many ups and downs. However, the good news is that this once-famous profession is still preserved and developed in some villages in Vietnam.
Nowadays, if you have the opportunity to visit the famous traditional silk villages of Vietnam, you will have the opportunity to explore the history of the Vietnamese silkworm farming, silk reeling and silk weaving that has existed for thousands of years. And there, in the beautiful scenery of the countryside, you will see images bearing the imprint of the golden silkworm farming with rice fields, mulberry banks, along with the sound of shuttles and the image of hard-working women picking mulberries, raising silkworms, reeling silk, weaving silk...
Bao Loc - the new capital of Vietnam's silk industry
Visiting Hamlet 2, DamB'ri Commune, a famous land for growing mulberry and raising silkworms in Bao Loc City, Lam Dong Province, you will easily experience the vast green mulberry fields on the fertile red basalt land, watching the farmers trying to quickly pick a few more bags of young mulberry leaves to bring home to feed the hungry silkworms waiting to eat. Looking at the small women working hard with the pile of mulberry leaves in the middle of the house, you will see that nowadays, there are plenty of machines, science and technology, but the profession of growing mulberry and raising silkworms requires the same amount of hard work.
Compared to traditional craft villages, the silkworm farming profession in Bao Loc was born much later, around the 70s of the last century, but has developed very strongly, considered the new silk "capital" of Vietnam, accounting for about 70% of the country's silk output value. Here, the silk industry develops on a large scale and is almost closed with all stages from growing mulberry, raising silkworms, spinning silk, weaving silk, dyeing to making finished products.
Thanks to favorable natural climate and soil conditions, Lam Dong is the locality with the largest mulberry growing area and number of silkworm raising households as well as silk spinning and weaving factories in the country. Currently, the whole province has 5,000 hectares of mulberry, of which Bao Loc City alone has about 500 hectares with an average mulberry leaf output of about 5,000 tons/year. In addition, Bao Loc also has 23 large enterprises specializing in trading, producing silk and weaving silk for export. Bao Loc silk products are very diverse with more than 20 different types. In addition to raw silk and raw silk, there are high-class and premium silk fabric products such as satin silk used to sew traditional Japanese kimono costumes; yozu silk used to sew head scarves in Arab countries, India; habuta silk fabric, crepe de chine (CDC) used to sew high-class suits... Thanks to that, Bao Loc silk is trusted by many leading fashion brands in the world and is exported to silk powerhouses.
Over hundreds of years, the diligence, meticulousness and hard work of the Vietnamese people have made the embroidery profession not only develop strongly in its birthplace but also spread throughout the S-shaped strip of land, but most concentrated in the North, especially Hanoi. The villages where embroidery flourished include: Quat Dong, Thang Loi, Le Loi, Nguyen Trai, Phu Xuyen, Co Dong, Dong Cuu, Binh Lang (Hanoi); Van Lam (Ninh Binh), Minh Lang (Thai Binh), Thanh Ha (Ha Nam), Kim Long, Thuan Loc (Hue), Bao Loc (Lam Dong)...
With increasingly diverse materials (threads, fabrics), with a sense of artistic creativity, artisans have gradually turned embroidery into the pinnacle of art. To create a perfect hand-embroidered painting, the artisan must use the right type of traditional thread dyed from the colors of natural plants. Especially silk thread with its characteristic smoothness to create the most natural colors for the paintings, especially landscape paintings. The embroiderer must have both passion and talent for painting. Only then can the graceful lines and soul of the painting be conveyed in many shades.
Although the embroidery profession at that time was very developed in Quat Dong, to be able to talk about professionalism and sophistication, we must mention Hue - this is considered the place that marked a new development step of the embroidery profession. When the Nguyen Dynasty built the royal palace here, Mrs. Hoang Thi Cuc - mother of King Bao Dai and Queen Nam Phuong combined the quintessence of Vietnamese hand embroidery art with European embroidery techniques to elevate the embroidery art of the royal court to a higher peak, associated with the gentle, delicate and meticulous features of Hue girls. Thereby, the costumes at this time were more perfect, from the majesty and power of the dragon, the grace and shyness of the flowers are all clearly expressed on the costumes. A French scholar wrote: "An Nam embroiderers are more skillful than Chinese embroiderers in terms of needlework and color mixing..."
From simple, small-sized embroidery paintings of landscapes and daily life, artisans and skilled workers have diligently created and learned to develop. Each village has its own unique features such as specializing in landscape embroidery, portrait embroidery or focusing on embroidery on costumes, especially ancient royal costumes. From the North, Central, and South, everywhere there are talented, creative and passionate artisans. It is the love for the profession and the diligence of the artisans that has made hand-embroidered paintings increasingly unique, sophisticated and innovative.
Photo: Hand-embroidered painting: "Early Autumn Forest" - XQ Vietnam
Not only having unique features in lines and layout, the folk features of Dong Ho paintings also lie in the colors and printing paper materials. Dong Ho paintings are hand-printed from woodblocks, combined with the strokes, colors and stories in each painting to create the unique features of Dong Ho paintings. The paintings are printed from woodblocks in a manual way, in the style of facing up the boards, not facing up like some folk paintings of other countries.
The materials that make up the soul of the painting are all natural. The number of woodblocks in a painting corresponds to the number of color palettes. The paper used to print Dong Ho paintings is diep paper. It is a type of do paper (paper made from the bark of the do tree) covered with a layer of diep, a sparkling white color with the shine of small pieces of diep under the light (diep is a powder crushed from scallop shells in the sea) mixed with glue (glue is cooked from rice flour or cassava rice, sometimes cooked with cassava flour). Diep powder gives the paper a bright, clear, sparkling white color, enhances the color when printed, has the advantage of being light, thin, tough, easy to absorb color, resistant to bacteria, termites and very durable. The colors in the paintings are all made from natural materials such as bamboo leaf charcoal, indigo leaves, sophora flowers, gardenia seeds, vang wood, red pebbles..., giving Dong Ho paintings a unique, different style, imbued with folk character.
Nowadays, when walking on the streets in Vietnam, most people only see pretty lanterns with flashing red and green lights. However, many Vietnamese people still look for traditional lanterns, most notably star-shaped lanterns and animal-shaped lanterns.
Star lanterns are the most popular lanterns for Vietnamese people during the full moon of August. It is not difficult to see colorful lanterns in the shape of five-pointed stars on display in most stores. The image of a five-pointed star surrounded by a circle symbolizes the five elements of yin and yang in feng shui. Therefore, this lantern symbolizes the balance and harmony of relationships in life, between people and between people and nature. In addition, star lanterns also represent the five-pointed star on the national flag, expressing the Vietnamese people's desire for peace.
To create a star lantern, it must go through many meticulous stages. Because it is completely handmade, the artisan must be really careful and extremely skillful. Unlike imported toys, the materials to make traditional Mid-Autumn toys are mainly bamboo and colored paper. The criteria for choosing materials must also put safety and environmental friendliness first, because most of the people who come into contact with the toys are children. Even the paper glue is made from tapioca starch, which is harmless. Each detail on the small star lantern, on average, takes Ms. Tuyen only about half an hour to master, and for an average person it will take from two to three hours.
Appearing more than half a century ago, crab/fish lanterns are often seen during the Mid-Autumn Festival in big cities like Saigon or Hanoi. However, since imported lanterns flooded into Vietnam, the fate of these lantern models seems to have been forgotten, even at one point lost.
But thanks to the dedication of researcher Trinh Bach, along with the skillful hands of artisan Trong Binh, these crab/fish-turned-dragon lanterns have been successfully restored. These lanterns are not only a sophisticated handicraft, but also preserve the soul of the ancient Mid-Autumn Festival atmosphere, like an essential part of Vietnamese culture.
From shape to color, each lamp has an ancient beauty. And to ensure durability for years, these lamps are made from crepe paper - a type of paper mixed with silk or fabric fibers to make it water-resistant. After completion, they are coated with a layer of waterproof tung oil. Then, a layer of white pine oil helps the paper become transparent and durable over time.
For those who love and appreciate traditional values, crab/carp lanterns are an indispensable quintessential piece when looking back to ancient culture.
Photo source: Facebook Trong Binh Co Dang
Along with the ups and downs of the country, Vietnamese ceramics still exist and develop, bringing many conveniences to life. Let's join Quan Tra to learn about the most famous ceramic lines in Vietnam today.
Bat Trang ceramics is one of the famous ceramic lines in Vietnam, both in reputation and tradition until now.
Bat Trang pottery village appeared around the 15th century, right next to the alluvial Red River. At that time, Bat Trang was a high mound near the river. Very convenient for pottery making and transportation.
Through many events, the ancient pottery village still stands firmly and develops more and more. Today, Bat Trang pottery village is located in Bat Trang commune, Gia Lam district, Hanoi.
Bat Trang Pottery
Determined not to let the ancestral home be buried by the flow of time, the people of Bat Trang pottery village have constantly learned and created product lines that are increasingly suitable and diverse to the needs of the market. Over time, Bat Trang pottery still retains its ancient glaze lines. The shaping process is all done by hand, so the ceramic body is quite thick, sturdy, and feels good in the hand. The characteristic glaze layer is often ivory-colored and opaque. Besides, there are also some unique glaze lines only available in Bat Trang such as green glaze, crackle glaze.
On the one hand, we focus on the restoration of ancient feudal items, on the other hand, we promote the development of both quality and design, constantly reaching out and exporting to European and Asian countries. Bat Trang ceramics is currently the most sustainable brand and traditional craft village today.
This is one of theVietnamese ceramic villageappeared earliest. Belonging to Thai Tan commune, Nam Sach district, Hai Duong. Chu Dau pottery was born in the 13th century and developed strongly from the 14th century, considered the highest-class ancient pottery line in Vietnam. But unfortunately, in the 17th century, due to war and chaos, this pottery village declined and was lost.
Until 2001, Chu Dau pottery was actively researched and restored in terms of technique, glaze, and style. Since then, it has gradually become stronger and continued to rewrite the golden age of Chu Dau pottery village.
Deeply influenced by Buddhist and Confucian values, it is not difficult to see Buddhist imprints and Lao Tzu's handwriting in Chu Dau pottery art. It can be said that this is the difference between the potters here and artisans in other pottery villages.
Chu Dau Ceramics – the highest quality ancient ceramics in Vietnam
The pottery here is made from white clay from Truc Thon area in Chi Linh town, Hai Duong province. To achieve the purity of the pottery, the craftsman must take the clay, mix it with water and filter it. Then comes the pottery making process.
Therefore, Chu Dau village pottery has a very clear white glaze. The blue patterns are thanks to the use of indigo white glaze. The red-brown, green-yellow patterns are thanks to the use of tam thai glaze. The style and motifs of the patterns are expressed through many forms such as drawing, carving, painting, and embossing, all of which are liberal and sincere.
Phu Lang pottery village is located in Que Vo district, Bac Ninh province. The process of formation and development is the same as Bat Trang village. However, Phu Lang pottery products are mainly household items made from red clay and hand-shaped on a turntable.
Phu Lang Pottery
Phu Lang pottery is brown, dark brown, light yellow, dark yellow... Folklore often calls it eel skin glaze. This feature helps Phu Lang differ from other pottery.Vietnamese ceramic villageother.
In addition, the way the potters make pots is also very unique. They use the embossing method in the form of carving. The glaze color is natural, durable, and unique. The style is rustic, strong, and very rich in indigenous culture.
A familiar name to the Vietnamese people, “Thanh Ha Ceramics” is not only famous for its beautiful glaze color but also for the lightness of its products.
Born later than Phu Lang, with an age of about 500 years, Thanh Ha pottery village located in Hoi An is still famous for its beautiful and durable terracotta products.
Using local rustic materials, the craftsman used brown clay from the Thu Bon River as the main material. This type of brown clay has high plasticity and adhesion.
sick Thanh Ha
Compared to similar products from other localities and brands, Thanh Ha ceramics feel very different when picked up. The special thing about this product line is that it is made from brown clay along the Thu Bon River, which is extremely flexible and cohesive. This craft village often produces familiar items in daily life such as bowls, flower pots, etc., so it quickly became a familiar choice for Vietnamese consumers. The special thing about this product line is that it is made from brown clay along the Thu Bon River, which is extremely flexible and cohesive.
Most of Thanh Ha pottery village products produce deep orange, light reddish brown and porous ceramic body. The products are made with molds and decorated with carved carvings.
Bau Truc pottery village is a Cham pottery village and is one of the oldest in Southeast Asia. Cham pottery once reached the peak of pottery culture. Many excavated relics have proven that.
As a brand with the exclusive style of Champa, Bau Truc pottery village has not been eroded by the trends of the times. Still choosing to retain traditional colors such as red gold, pink red, brown streaks, .. combined with patterns imbued with the nuances of the countryside such as stork wings, heron wings, rivers, Bau Truc ceramics are the choice for those who love nostalgia and meticulous craftsmanship. Bau Truc ceramics are highly appreciated for their simplicity, gentleness and rusticity in designs.
Bau Truc ceramics
Bau Truc pottery is unglazed and imbued with indigenous culture. The carvings are simple and familiar river lines, shell dots, and fingernail patterns. The pottery products have an uneven earthy color. Because the fire burns a lot during the firing process. In addition, Bau Truc pottery is not fired in a kiln but fired outdoors with firewood and straw at 700 - 900 degrees Celsius.
Lai Thieu Pottery Village – Tan Phuoc Khanh – Thu Dau Mot (Binh Duong) appeared inheriting the quintessence of Cay Mai pottery in the late 19th century. Thanks to the abundant kaolin clay and firewood resources available, a pottery village was formed.
However, today, Lai Thieu Pottery no longer exists. Instead, there is industrial development and market trends. Therefore, the old traces of Lai Thieu pottery village are almost gone. When Lai Thieu pottery was prosperous, all products were handmade and fired in traditional wood kilns. The remaining traces only show that Lai Thieu pottery mainly served daily life in the Southeast region.
Binh Duong Pottery
Considered as a cluster of pottery villages, many big brands from neighboring countries are also competing to build and set up factories in Binh Duong, the pottery villages of Lai Thieu - Tan Phuoc Khanh - Thu Dau Mot are also gradually affirming their names. With the goal of serving domestic consumers, constantly improving skills to move towards the dream of exporting to foreign countries, Binh Duong pottery village is gradually transforming strongly, both helping the country to develop more and more, and not letting the traditional cultural values of our ancestors fade away.
Some say that the pottery industry in Bien Hoa dates back to the time when Vietnamese people from Thuan Quang came to reclaim land and settle in the South and brought with them the traditional craft of their homeland to produce for their living. Traces of pottery kilns established by the Central people are still clearly visible in Lo Gom canal in Pho island, also known as Mieng Sanh wharf. Others say that the pottery industry in Bien Hoa dates back to the 17th century, when the Guangdong people led by Tran Thuong Xuyen settled in Pho island in 1679.
It was not until the early 20th century – when Bien Hoa Vocational School (now Dong Nai College of Decorative Arts) appeared – that Dong Nai pottery really came into being. In 1923, when Mr. Robert Balick (graduated from the Paris School of Decorative Arts) became the Principal and his wife, Mrs. Mariette Balick (graduated from Limoges Ceramics School) became an assistant, that the school switched to mainly training and teaching pottery.
The school's ceramic products became increasingly famous both domestically and internationally. They were awarded a medal by the French Government when they attended the Paris International Fair in 1925 and shaped the Bien Hoa ceramic line, different from other long-standing ceramic lines such as Cay Mai ceramic, Lai Thieu ceramic, etc.
Bien Hoa pottery is made from kaolin and colored clay. The main products are pots, elephants, animals or statues. Unlike other villages in the Red River Delta, Bien Hoa pottery village is famous for its art of engraving, enamel painting combined with enamel colors to create a unique and sophisticated product.
Bien Hoa pottery impresses with its vibrant colors and engraved patterns and motifs with many meanings.
Furthermore, Bien Hoa pottery is porous, with an ivory-colored clay body. Potters do not fire it at high temperatures like other pottery makers.Vietnamese ceramic villagedifferently. They only lightly fired the pottery over fire so that the color of the pottery remained pristine as it was originally. At the end of the 18th century, when Pho Islet was destroyed, some potters moved to Cho Lon to produce Cay Mai pottery, some went to Tan Van to establish Tan Van pottery village.
Cay Mai pottery emerged in the Saigon - Cho Lon area in the early 19th century. This is a line of fine art pottery created by Chinese artisans in Cho Lon and developed through the ups and downs of history until today.
Based on its origin, researchers also call Cay Mai pottery Saigon pottery to distinguish it from other Vietnamese pottery villages. The pottery village has diverse products and its own unique characteristics.
Mai Tree Pottery
They have a combination of outstanding colors such as: cobalt, moss green, eel brown. Bringing sophistication to each product. Until now, Cay Mai pottery no longer exists. However, you can still see them on the walls of some pagodas in District 5 and District 6.
Mang Thit Pottery Village - Vinh Long is located along the banks of the Co Chien River. With thousands of brick and pottery kilns crowded together like mushrooms after the rain, stretching for dozens of kilometers. The alluvial flows in Vinh Long contribute to the formation of valuable clay mines here.
Not following the path of ceramics with luxurious shiny glazes. Vinh Long red ceramic craft village still maintains its traditional features for generations. Focusing on antique ceramic products, decorative glazed ceramics, red-fired ceramics, Vinh Long ceramics are chosen by craftsmen and those who love traditional colors.
Vinh Long red pottery
Taking advantage of the locality, Vinh Long pottery uses red clay as its main material. Due to its alum-contaminated properties, Vinh Long pottery often has white veins after firing. In addition, Vinh Long soil only solidifies at 900 degrees Celsius. These characteristics have created a very unique feature for the craft village here.
The main products of the pottery village are household items such as pots, jars, cloths, and urns. They are used for daily life and some types have export value.
Also a pottery village in the ancient Champa style, Binh Dinh pottery village has a relatively large scale, many diverse products, sophisticated designs and quality. At the same time, Go Sanh pottery products are highly appreciated on par with Champa pottery products crafted in famous pottery workshops in China and Thailand. It can be said that the excavation and research of Cham pottery is considered a remarkable achievement of Vietnamese archaeology. From these research achievements, Go Sanh pottery or more broadly, Binh Dinh ancient pottery has enriched the awareness of pottery in the world.
Go Sanh Pottery
From ancient times to the present, bamboo flutes have always been closely associated with the cultural and spiritual life of the Vietnamese people. Bamboo flutes can be played solo to perform many complex pieces, or can be played in concert with traditional orchestras, symphonies, light music, and chamber music. The material used to make this musical instrument is bamboo with a diameter of about 1.5cm and a length of 30cm. The body of the tube is carved with a reed hole, and has 6 or 10 finger holes. Bamboo flutes can express many nuances of emotions with a wide range of over two octaves.
The monochord or Monochord is commonly found in Vietnamese traditional orchestras. It is divided into two types: the bamboo-bodied monochord and the wooden-box monochord. The monochord has only one string, running the length of the body. The strings are made of silk, later replaced by iron strings, the neck was originally made of bamboo, now often replaced by buffalo horn. The body of the monochord is made of dried gourd shell or wood turned into a gourd shape. The tuning shaft is made of bamboo or wood, placed close to the player. The pick is made of giang or song, has a pointed tip and is fluffed. It is this fluff that makes the sound of the monochord warmer.
Gongs are present in most of the ethnic groups in Vietnam, appearing since the Dong Son bronze culture. Gongs are associated with the Central Highlands as an indispensable part of every person's life cycle, the music of the Central Highlands gongs is an artistic value that has been affirmed in the cultural and social life. Gongs are cast from an alloy of copper mixed with tin and lead. The type with a knob is called Cong, the type without a knob is called Chieng. The bigger the gong, the lower the sound, the smaller the gong, the higher the sound.
In the photo: Village Elder A Bliu, Kon Trang Kep Village, Dak La Commune, Dak Ha, Kon Tum, and his children practice gongs to prepare for the Nuoc Giot festival of their village.
Both a musical instrument and a prop, it is also a means of connecting the community, sharing thoughts and feelings, helping cultural subjects to sublimate with an optimistic spirit. Khen belongs to the wind instrument with a rather complex structure, consisting of many bamboo tubes arranged next to each other. One end is inserted through the banana-shaped body to form a resonance box. Khen has a thin and crisp tone, each tube emits a certain tone. Inside the tube is a reed made of thin copper or silver. Khen is a multi-tone instrument, with a wide range of about 1.5 octaves, and a long sound.
T'rung is a popular percussion instrument in the Central Highlands of Vietnam, made from a number of bamboo tubes of different sizes. In folklore, the instrument has only 5 - 7 bamboo tubes, cut in different lengths. A professional T'rung instrument has about 12 - 16 tubes arranged in rows on the instrument stand. When using a mallet to hit the tubes, it will create different high and low sounds depending on the size, length, and shortness of the tube. Large and long tubes produce low sounds, while small and short tubes produce high sounds. The timbre of the T'rung is a bit dull, the sound does not resonate loudly or far, but is quite special.
The Dan Day is a traditional Vietnamese musical instrument, not only unique in shape and sound, but also combined with musical instruments such as clappers and drums, creating the famous Ca Tru genre. The Dan Day has 3 strings, a very long handle and a large hole on the back of the sound box, with 4 main parts: the body, the neck, the head, and the strings. The Dan Day has a range of more than 2 octaves, a warm and sweet tone and can express deep emotions.
Lithophone is the oldest percussion instrument in Vietnam and one of the most primitive musical instruments of mankind. It is made of stone bars of different lengths, thicknesses, and thinness. Long, large, and thick stone bars have a low pitch while short, small, and thin stone bars have a clear pitch. Inanimate, lifeless stone slabs are crafted into truly miraculous musical instruments. From these stone bars, the sound of the Central Highlands still resonates to this day.
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