by Jim
Goodman
carving wooden panels in Xuyên Thái |
From the time the Vietnamese
first cleared lands to make farms in the Red River Delta, the basic aim of any
village was agricultural self-sufficiency. Along with animal husbandry and trapping and fishing in one
of the ubiquitous streams and ponds, such a lifestyle provided everyone with
enough food. But after the
Lý Dynasty moved its capital to what is now Hanoi in 1010, over the next few
centuries some villages began supplementing their farming income, or even
replacing it, by specializing in craft production. Some produced select items for the royal Court and the
temples, but many more of them supplied a whole range of products for domestic
use everywhere.
In some cases a particular
villager went to China, learned a craft and returned to teach it to his fellow
villagers. Often this person has
been deified as the village tutelary deity, or guardian spirit, with a festival
staged in his honor every year.
But in many places no one knows how the craft originated, just that it
began with an anonymous innovator, imitated by more and more of his neighbors
until eventually the entire village became employed in it.
making furniture in Đồng Kỵ |
Over time some villages
abandoned their craft specialties while others took up new ones. The heartland of Vietnamese culture and
history—the Red River Delta—is home to over 800 of these craft villages. A quarter of them date their tradition
back several hundred years. Then
in the Lê Dynasty, when Vietnamese began migrating southward, they took the
craft village tradition with them. Another 650 craft villages exist in the rest of the
country.
The concept of craft villages
originated with the Lý Court’s requirements for building and furnishing its
palaces, shrines and royal compound.
Certain villages produced the building components, furnishings, bedding,
clothing and ornaments, etc., and were exempt from ordinary taxes. Specialized villages also produced the
state’s arms and the paper for its official documents.
Inevitably, the craft village
idea spread beyond those that had made some arrangement with the Court. For items of bronze and wood, silk and
ceramics, there were other customers besides the Royal Court. Temples and village communal houses
needed bells, candlesticks, sculptures, incense burners, carved altars and
furniture. Eventually these
villages found customers among the wealthy upper class, especially for
furniture, silk or something to embellish the family shrine.
building a boat in Kim Bồng |
This still holds true today,
as increasing prosperity has enabled many Vietnamese to improve their material
life by indulging in things like elegant furniture. Craft villages devoted to wood products, from statues to
carved cabinets with lavish mother-of-pearl inlaid decorations, are flourishing
The streets of the ancient
village of Đồng Kỵ in Bắc Ninh province are
lined with sawmills and furniture workshops, supplying the steady demands of
households throughout metropolitan Hanoi. Kim Bồng, in Quảng Nam, whose ancestors built and furnished
the elegant homes that make Hội An a tourist attraction and who furnished the
palaces of the Nguyễn Citadel in Huế, is still an active woodcrafts producer
both for the region and an international market. The village has also expanded its work to household implements,
sculptures and building boats.
young lacquer worker in Xuyên Thái |
The religious revival of
recent decades has boosted the business of craft villages catering to temples. Sơn Đồng village, in Hoài Đức district,
west of Hanoi, has for centuries been the major supplier of wooden statues,
ceremonial weapons and the sedan chairs and palanquins used in
processions. Đoi Tam, near Phủ Lý
south of Hanoi, makes drums for temples all over Vietnam. Xuyên Thái, in Thương Tín district
south of Hanoi, specializes in altars, decorative panels and other
furnishings. All the items are
meticulously lacquered, the original specialty of the village and even today it
still gets orders to do the lacquered coating for products made by other
villages.
Xuyên Thái artisans apply at
least ten coats of lacquer to protect the wood and give it a deep glossy
sheen. They also add gold or
silver leaf to highlights of low-relief sculptures, Chinese characters on
plaques and signboards, the heads and hands of large statues and even the
entire surface of smaller ones. The
production of this gold and silver foil, however, was the work of another craft
village, Kiêu Kỵ, across the river from Hanoi, which has been doing it since
the Lý Dynasty. The technique hasn’t
changed. The women prepare small
black squares of rough paper or cellophane, then insert thin square wafers of
gold, somewhat smaller, in between the black squares. A man in the adjacent workshop slowly, methodically pounds
these out until the ultra-thin gold wafer has been flattened to the same size
as the black squares, about 3 cm per side.
preparing gold foil in Kiêy Kỵ |
The expense of gold or silver
embellishments on furnishings restricts its customer base to basically temples
and communal houses undergoing renovation. The average Vietnamese household will likely eschew such
embellishments. But
mother-of-pearl inlay, made from the iridescent insides of mussel shells, is
quite affordable. It’s almost
always part of wooden furnishings, as well as tea sets, jewelry boxes, vases,
musical instruments and even chopsticks.
Designs range from flowers and vines at the corners of cabinets to large
vignettes of rural life splashed across doors and bed panels. Furniture-making villages know this
craft, but the village with the most venerable reputation, dating to the 11th
century in the Lý Dynasty, is Chuông Ngô in Chuyên Mỹ district west of
Hanoi. It’s not an easy craft, as
it involves sitting bent over for long hours while polishing the shells and
then carefully laying the pieces into the desired design.
bronze worker in Hanoi |
Marble ware is the specialty
at Non Nước, just south of Đà Nẵng.
The village lies at the base of one of the Five Marble Mountains, the
original source of its raw material though nowadays Non Nước imports its marble. The skills are still intact, though,
and the village produces a huge variety of statues of all kinds and themes for
the international market. Further
south, Hội An, a preserved old town that had its heyday in the 16th—18th
centuries, seems to have partially adopted the role of a craft village. Catering to the unceasing flow of
tourists, a significant number of local residents started getting into the
clothing business, mainly ready-to-wear garments, often of inexpensive
silk. The town and its approaching
streets are full of these clothing shops.
marble work in Non Nước |
After its demise as a port,
though, Hội An did develop a local craft—silk lanterns. Several resident families still
practice this trade in old town shop houses in full view of passers-by. A good portion of Hội An houses feature
mounted or suspended lanterns.
They are distributed throughout the region. And in recent years the local government has publicized this
aspect of Hội An culture by requiring that on the 14th night of
every lunar month, the night before full moon, only lanterns may be used to
illuminate old town streets and building interiors. Visitors and residents also float little lamps in the river.
Originally the silk for Hội
An’s lanterns came from Thi Lai village, up the Thu Bồn River in Duy Xuyên
district. The village has been
working in a partnership with Đông Yên village since the establishment of the
craft by immigrant weavers from the North in the 15th century. Đông Yên raises the silkworms and
produces the cocoons. Thi Lai does
the spinning and weaving.
making lanterns in Hội An |
Hội An silk lanterns |
Silk has a much longer history
in the North. According to legend,
a Hùng princess introduced the whole complex process—mulberry tree cultivation,
care of the worms, extraction of thread and weaving of cloth—to a Red River
Delta village 3000 years ago. From
there it spread and several villages adopted the trade. The most famous is Vạn Phúc, near Hà
Đông, just southwest of Hanoi. The
wife of a Tang Dynasty official set up the village here because of its lovely
riverside setting.
It's still an active
production center, supplying shops in Hanoi and throughout the North. You can hear the sound of looms as you
walk down any of its lanes. Hanoi residents
like to come to Vạn Phúc to shop if they want something special, rather than
check the shops in the city. The
prices will be lower, the atmosphere pleasant and the selections greater. As silk is still the preferred material
for special clothing among Vietnamese, Vạn Phúc’s future as a viable craft
village looks pretty secure.
transporting craft products in the countryside |
So does that of Chuông, south
of Hanoi, which makes the conical cap that is the favorite headgear of rural
Vietnamese, a preference not likely to change for some time. Villages specializing in a particular
food item, like the green sticky rice (cốm)
of Vọng, or supplying flowers, fresh or embroidered, are likely to retain their
customer bases. The fate of other
craft villages is less certain.
Even those relatively successful now, like those producing furniture,
are facing a raw material shortage.
The wood now comes from Laos, rather than Vietnam. For some Vietnamese wooden furniture
has become too expensive and so villages that specialize in bamboo and rattan
work, making furniture, strong baskets and cases, household implements and so
on, have attracted more interest and customers, reviving their trades.
Bát Tràng ceramics village |
Industrialization also
threatens the future of some craft villages. Plastic sieves, for example, are easier to produce, and
cheaper to buy, than sieves made from split bamboo. Another problem might be simply a change in taste. People might prefer plastic sieves
because they come in several colors and are easier to clean. Or take the case of the sleeping
mats, of sedge, jute or rush plant, that every traditional household had. Nga Sơn in Thanh Hóa and Cẩm Nê near Đà
Nẵng have been famous for their sedge mats, thick and soft, cool in the summer
and warm in the winter. Kim Sơn in
Ninh Bình produces mats from the rush plant peculiar to the area. If future generations decide to sleep
on raised beds, they won’t need these mats and these villages may have to
revert to farming.
18th c. Bát Tràng vase, Hanoi History Museum |
That probably won’t happen to
the most famous craft village in the country—Bát Tràng, the ceramics village on
the east bank of the Red River, 15 km downstream from Hanoi. It lies in an area rich in deposits of
high quality clay, kaolin and natural oxides. In the past boats took the village products—bricks, tiles,
earthenware and glazed ceramics—up to the capital for local consumption and to
Phố Hiến for export. Its artisans
achieved a high standard many centuries ago, mastering the application of different
colored glazes and developing a new technique of crackled glaze. Bát Tràng skills peaked in the 18th century and
exquisite ceramics found their way to ports all over East Asia and eventually
to museums in the region and in Europe.
Virtually every
family in Bát Tràng is involved in the ceramics business and practically all
the houses have at least one kiln.
Products of all kinds, shapes and sizes stand outside many homes. Tourists can pass by an active workshop
on any lane they wander down and later marvel at the incredible variety of
items on display at the central market.
They can learn how to make small pieces themselves. And their purchases and a major factor
in Bát Tràng’s continuing success.
Bát Tràng workshop |
Elsewhere in the Delta
production in ceramics villages, like Hương Canh and Phú Lãng, north of Hanoi,
has declined. The number of
families employed in the trade has dropped from all of then to just several in
each. They make household pottery
for the most part, which suffers from competition with more durable modern
alternatives. Thanh Hà, however, a
Lê Dynasty ceramics village near Hội An, has, like Bát Tràng, benefitted by
marketing new products to the tourist crowds.
Thus, many craft villages have
survived because of their success in attracting non-Vietnamese customers. But domestic demand for everything,
including traditional craft products, has also increased thanks to
ever-increasing incomes among the population. Workers in these crafts are earning enough to keep them from
looking for a different line of work. The innate conservatism of crafts workers
is also a factor. So long as what
they already know garners a sufficient return they prefer to remain in that
line and train their children to keep it up. That attitude, combined with the importance of craft village
production to the economy, as well as the beauty of the craft items themselves,
augurs a good future for this Vietnamese tradition.
Thanh Hà's children learn basic pottery skills at an early age. |
* * *
Craft villages are on the itinerary of my cultural/historical tour of Vietnam.
See the website http://deltatoursvietnam.com
Craft villages are on the itinerary of my cultural/historical tour of Vietnam.
See the website http://deltatoursvietnam.com
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