Vietnamese Folk Art

The decorations in titular temples in Vietnam’s northern delta reveal a great deal about farmers’ lives in the 16th and 17th centuries. 

Bidding farewell to friends, Huong Canh Titular Temple, Vinh Phuc – 17th century

HUMAN FIGURES WERE FEATURED AND HONORED ON PAR WITH DEITIES AND SACRED ANIMALS

Titular Temples began to appear in Vietnam’s northern delta in the latter half of the 15th century when rulers shifted from Buddhist monarchies to Confucian systems. By the 16th century, society underwent substantial changes that led to a more stable social structure. Titular temples gained prominence in each community’s administrative, cultural and religious life. In the 16th century, titular temple architecture blossomed.

Jianzi, Lien Hiep Titular Temple, Hanoi – 17th centuty

During the 17th century, feudal rulers became increasingly powerful. Since commoners’ artistic lives were beyond the control of the court, village arts experienced a period of rapid growth. In this century, northern titular temples were extensively reconstructed or restored as a token of people’s strong belief in their community­based institutions. Architecture and decorations reached their peak. Each decorative bas-relief is a piece of art that portrays secular life in the village.

Human figures were featured and honored on par with deities and sacred animals. Rural artisans added human figures to convey good cheer or contemplation. We see carvings portraying cock fights, wrestling matches, chess games, boat races, drinking, singing, dancing and hunting. Depictions of spiritual activities, games at spring festivals and entertainment after a hard day’s work all reveal peasants’ optimistic outlook and agrarian lifestyle.

Under Chinh Hoa’s reign, when civil wars temporarily waned, leitmotifs of bloodshed, torture, turbulence, pain, and grueling labor disappeared from titular temples. Instead, images focused on hedonism and ordinary leisure activities that embodied people’s dreams, happiness and mortal life. Many carvings depicted vibrant folk festivals with processions of palanquins, parasols and folk orchestras.

Binding a tiger, Huang Canh Titular Temple, Vinh Phuc – 17th century

After the 16th century, folk arts in Vietnam’s northern delta reached a new level. Along with graphic arts, music flourished in the wake of community-centric democracy. Bas-reliefs from the 16th and 17th centuries depict tru singing, such as a lute-playing deer hunter in Lo Hanh Titular Temple (Bac Giang), a day lute-player in an orchestra in Hung Lo Titular Temple (Phu Tho), or people carrying day lutes in Phung Titular Temple (Hanoi) and Ngoc Canh Titular Temple (Vinh Phuc).

Bas-reliefs featuring day lutes show us that music played a prominent role in northern delta villages in the 17th century. Apart from singing in private homes or at festivals, people held singing ceremonies in titular temples for titular sacrifices and entertainment. This shows us that titular temples were initially used by commoners for singing and art performances.

Decorative bas-reliefs and carvings in titular temples provide information about people’s clothes and possessions. Noble and wealthy people are shown riding horses and wearing loose pants, long dresses, boots, round capped hats and holding paper fans. Less well-off people dressed more simply and walked barefoot. Many carvings depict barefoot men in skirts that reach above their knees. Processions feature shirtless men in loincloths carrying parasols. Noblemen and wealthy people are depicted sitting idly on beds and reveling in peasants’ servitude.

In the titular temples of Lien Hiep, Tho Ha, Phu Lao and Phong Coc, etc, some bas-reliefs even depicted Western merchants with short hair, fedoras and slim-fitting pants. Lien Hiep Titular Temple boasts a bas-relief of a Western man with a high, long nose and a fedora-like hat. Since the 17th century witnessed a surge in foreign trade, major harbors like Pho Hien were hugely vibrant. Dutch, English and Portuguese traders reached these harbors and carried out diplomatic and commercial exchange with the Trinh Lords and mandarins during the Le dynasty. Western merchants also penetrated deeper into the mainland to exchange goods, as did missionaries.

Van singing, Hoang Xa Titular Temple, Hanoi – 17th century

Northern titular temples also feature 17th century designs of couples cuddling and teasing each other, or even having intercourse. The titular temples of Phu Lao, Hung Loc and Tho Tang feature carvings of naked women. These depictions went against old-fashioned doctrines to represent human nature and express wishes for private happiness, births and bumper crops. These were the dreams of farmers dependant on nature. Decorations in northern titular temples reveal the social cohesion of Vietnamese villages in the 17th century.

Vietnamese Folk Art
First post at: Vietnam Culture

Scents of Eternity

When summer comes, the blossoms rise above the vast emerald green water. White and pink flowers cast their fragrance to the winds. In the morning, the flowers are carried through narrow streets and alleys to evoke a sense of ease. For generations, these flowers have been a symbol of nobility.

Thanks to their beauty and elegance, lotus flowers have long beenn associated with nobility

Lotus flowers perfume the air through the three dimensions of time: the past, the present and the future. Their beauty takes root in religious schools and in endless flows of artistic creations.

Lotuses vary in color: white, pink, green, red, purple and yellow. The original Buddhists in India preferred green and white lotuses. Indian mythology holds that the God Brahma created the world from a white lotus after the Deluge. Ancient Egyptians worshipped lotuses and used these flowers in their sacrificial ceremonies. Buddhism attributes the “Lotus Pedestal” to the rule of the Guanyin.

In Vietnam, two colors of lotus are popular: white and pink. Lotuses are an early theme in Vietnamese graphic arts, used to decorate places of worship and community halls. Decorative lotus patterns were quite popular in ancient Vietnamese pagodas. Lotuses embody Buddhist moral values, purity and innocence. Lotuses also represent the evolution of Buddhist doctrines and wisdom towards Nirvana. Buddhists compare lotuses to the virtues of a monk. Outstanding religious edifices decorated with lotuses were erected during prosperous eras and include the One Pillar Pagoda- Hanoi (11 th century); the Nine-storied Lotus Tower in But Thap Pagoda – Bac Ninh (l7th century), and Tay Phuong Pagoda ~ Ha Tay.

Lotuses were also adopted as symbols of romantic love in the countryside and mentioned in folk poems, such as:

“Yesterday I swept water by the temple

Forgetting my shirt on a lotus

May you return it to me?

Or willyou keep it as a love token?”

This evocative verse is still sung by new generations. As r­

well as celebrating the beauty of the lotus, folk poems also I humanized lotus flowers and gave them virtues attributed

to heroes, as in this verse:

“No other species in the lake can rival lotuses

Green leaves, white blossoms and yellow pistils

Yellow pistils, white blossoms and green leaves

Never tarnished by the neighboring dirty mud”

The link between this flower and virtue and beauty is deeply rooted in the minds of Vietnamese people. In the early years of the 20th century, the poet Bao Dinh Giang compared the noble traits of President Ho Chi Minh to a lotus in the vast marsh of Dong Thap Muoi:

“Thap Muoi prides itself with the finest lotus flowers.

Vietnam prides herself with Uncle Ho”

This rhythmic verse is engrained in the minds of  Vietnamese people, like the scent of these noble flowers under the blue sky.

In Vietnam, the noble emblem of the lotus has been passed down through the generations by scholars and the common people. Lotuses serve as a bridge between scholarly and popular thought. These flowers continue to inspire artists and poets to create works that evoke the rich soul of Vietnam.”

 

Scents of Eternity
First post at: Vietnam Culture

Scents of Eternity

When summer comes, the blossoms rise above the vast emerald green water. White and pink flowers cast their fragrance to the winds. In the morning, the flowers are carried through narrow streets and alleys to evoke a sense of ease. For generations, these flowers have been a symbol of nobility.

Thanks to their beauty and elegance, lotus flowers have long beenn associated with nobility

Lotus flowers perfume the air through the three dimensions of time: the past, the present and the future. Their beauty takes root in religious schools and in endless flows of artistic creations.

Lotuses vary in color: white, pink, green, red, purple and yellow. The original Buddhists in India preferred green and white lotuses. Indian mythology holds that the God Brahma created the world from a white lotus after the Deluge. Ancient Egyptians worshipped lotuses and used these flowers in their sacrificial ceremonies. Buddhism attributes the “Lotus Pedestal” to the rule of the Guanyin.

In Vietnam, two colors of lotus are popular: white and pink. Lotuses are an early theme in Vietnamese graphic arts, used to decorate places of worship and community halls. Decorative lotus patterns were quite popular in ancient Vietnamese pagodas. Lotuses embody Buddhist moral values, purity and innocence. Lotuses also represent the evolution of Buddhist doctrines and wisdom towards Nirvana. Buddhists compare lotuses to the virtues of a monk. Outstanding religious edifices decorated with lotuses were erected during prosperous eras and include the One Pillar Pagoda- Hanoi (11 th century); the Nine-storied Lotus Tower in But Thap Pagoda – Bac Ninh (l7th century), and Tay Phuong Pagoda ~ Ha Tay.

Lotuses were also adopted as symbols of romantic love in the countryside and mentioned in folk poems, such as:

“Yesterday I swept water by the temple

Forgetting my shirt on a lotus

May you return it to me?

Or willyou keep it as a love token?”

This evocative verse is still sung by new generations. As r­

well as celebrating the beauty of the lotus, folk poems also I humanized lotus flowers and gave them virtues attributed

to heroes, as in this verse:

“No other species in the lake can rival lotuses

Green leaves, white blossoms and yellow pistils

Yellow pistils, white blossoms and green leaves

Never tarnished by the neighboring dirty mud”

The link between this flower and virtue and beauty is deeply rooted in the minds of Vietnamese people. In the early years of the 20th century, the poet Bao Dinh Giang compared the noble traits of President Ho Chi Minh to a lotus in the vast marsh of Dong Thap Muoi:

“Thap Muoi prides itself with the finest lotus flowers.

Vietnam prides herself with Uncle Ho”

This rhythmic verse is engrained in the minds of  Vietnamese people, like the scent of these noble flowers under the blue sky.

In Vietnam, the noble emblem of the lotus has been passed down through the generations by scholars and the common people. Lotuses serve as a bridge between scholarly and popular thought. These flowers continue to inspire artists and poets to create works that evoke the rich soul of Vietnam.”

 

Scents of Eternity
First post at: Vietnam Culture

Flowers in the Sun

Flowers in the Sun

Tulip Mania

In April, tulip season is in full bloom all over the Netherlands, where vast tulip fields are already aglow with breathtakingly fine colors. While their beauty is undeniable, these flowers once sparked a financial crisis, Tulip mania (Tulpenmanie in Dutch) that is still marveled at today. At the height of the frenzy before the bubble burst in 1637, one tulip could be worth more than ten times the annual wages of a florist. English journalist Charles McKay reported that a Semper Augustus tulip bulb could be exchanged for five hectares ofland.

Tulip mania coincided with the development of flower cultivation by the Dutch. In the 1550s, Dutch gardeners started to cultivate species such as lilies, roses and grand camellias. Between 1550 and 1600, over 1,200 new species were marketed, including tulips. In the early 17th century, tulip bulbs were put on sale for the first time in the Netherlands. They quickly became luxury items, as the wealthy purchased the bulbs and planted them in their rear courtyards; there are still relics of these flowers in the Old Quarter of Amsterdam that runs along the canals of Keizersgacht and Herengacht.

The pursuit of tulips became even more sophisticated when hundreds of new species were created. These creations brought subtle attention to every single detail. Emanuel Sweerts, a nurseryman and painter in those days, published a variety of “encyclopedias” of famous flower species, also regarded as the world’s first flower catalogues.

Tulip mania lives on as a metaphor for any irrational speculation. It has been the subject of novels such as The Black Tulip by Alexandre Dumas, and in fine arts, tuli~s were featured in many famous 1 i century still-life paintings in the Netherlands. The painting “Char de fous de Flore” (“The Cart of Flower Maniacs”) in 1640 by Hendrick Pot is a noteworthy piece that illustrates the frenzy and insanity for tulips at the time.

Sakura Festivals

While tulip fields in the Netherlands proudly show off their giant color patchwork, thousands of kilometers away the Japanese are mesmerized by the cherry blossom festival in April. Deno Park in Tokyo is a huge magnet for flower lovers to revel in its cherry blossom clouds and celebrate under the shower of pink petals falling like snowflakes. About 1,100 cherry blossom trees are grown in rows in the park.

The traditional flower watching festival (called hanami) in Deno Park dates back to 1603. Every year, the Japanese government submits forecasts of the flowers’ bloom times in various regions and determines the timetable of hanami in localities nationwide.

Cherry blossoms are regarded as a symbol of transient and ill-fated beauty and closely associated with other Japanese cultural symbols. The Japanese concept of mono no aJ (translated as “the pathos of thi bears a strong influence from tl sakura philosophy: life is radial ephemeral. Cherry blossoms h, inspired literature (including ill and anime), fine arts, theatrical arts and music throughout muc Japanese history.

Lucky Lilies of the Valley

Another symbol of spring’s arri is the lily of the valley, native to many countries in the Northen Hemisphere. In France, it is considered a symbol of good luck.

In Greek mythology, lilies of th valley were created by the God Apollo. Ancient Romans paid homage to lilies of the valley in May and regarded the species as an embodiment of the flower god Flora.

According to legends in France, in 1560 when King Charles IX and his mother Catherine de Medici visited La Dome, the chevalier Louis de Girard gave him a lily of the valley bouquet for good luck. Inspired by the present, the King immediately declared this a custom and began giving the flower to all the women of his court every year. The tradition of giving lilies of the valley for good luck on May 1 gradually grew in popularity in France, especially in the areas around Paris.

At the moment, fashion houses in Paris are choosing lilies of the valley to give to their close clients in the early springtime. Christian Dior, the famous French designer, deemed lilies of the valley to be his lucky charm and adopted a variety of the flowers’ patterns into his fashion house’s luxury designs.

Flowers in the Sun
First post at: Vietnam Culture

Patriotic Art in Truong Sa Vietnam

To call attention to Vietnam’s sovereignty of the Truong Sa Islands, a group of artists has created a giant ceramic national flag on the island of Truong Sa Lon

In early 2012, ceramic artist Nguyen TIm Thuy had ‘T r the idea to create an art project titled “Truong Sa Island – Vietnamese Sea and Islands Of Love” to express ietnam’s longstanding sovereignty of the Truong Sa Is­lands. Together with artists Doan Son, Pham Viet Hong Lam, Bui Viet Dian and 30 other artists working at the Nghe Thuat Tan Hanoi Company, Ms. Thuy set out to create a giant ceramic na­tional flag on the roof of a house on Truong Sa Lon. The artists also created four large ceramic mosaic murals in the Truong Sa Lon is­lands of the Truong Sa district, Khanh Hoa province. The project began in late February, 2012 and was completed in June, 2012.

The Vietnam Book of Records awarded the certifi­cation ‘The largest ceramic Fatherland’s Flag’ for their creation, which has an area of 31 0 square meters. The flag is made of 310,000 small ceramic mosaic tiles, each measuring 3cm x 3cm and weighs 3.5 tons. The flag was de­signed using digital visual effects. Thus the Vietnamese national flag looks impressive and outstanding – the red color stands out among the immense green of the trees and the blue of the sea. “Here is Vietnam, My homeland!”

THIS PATRIOTIC PROJECT EARNED ARTIST NGUYEN THU THUY A CERTIFICATE OF MERIT FROM VIETNAM’S MINISTRY OF DEFENSE

The artists also completed four ceramic mosaic mural on two walls of2.8 m in height and 9 m in length facing the central run­way of Truong Sa Lon island. The ceramic paintings depict the long history of Vietnamese people living and working in Hoang Sa and the Truong Sa Islands. At the center of the picture is a map of Vietnam. The ceramic paintings feature sacred and sym­bolic images such as Ly Dynasty dragons, Khue Van Cac, the One Pillar Pagoda of Hanoi, Thien Mu Pagoda of Hue, the My Son Cham towers, Nha Rong Wharf, and a statue of Uncle Ho. The foreground of the ceramic paintings de­pict the long history of Vietnamese people in the East Sea, from the Dong Son boats of King Hung’s era to large warships used by Vietnamese to repel northern invaders dur­ing the Ly -Tran-Le-Nguyen Dynasties and the Ho Chi Minh Era.

The power of national unity is fullyex­pressed through representative groups of in­tellectuals, workers, peasants, and soldiers of

54 ethnic groups standing at the side of Viet ­nam’s navy fighters in an attempt to protect the sovereignty of the country’s islands. The art work shows beloved landscapes and sym­bols of Vietnam like the edge of a pond, rice plants, the roots of a jackfruit tree; lotus flowers, peach flowers, and apricot flowers. The ceramic paintings spotlight Vietnam’s sea sovereignty and remind the rest of the world that Vietnam has long-standing sovereignty over the Hoang Sa and Truong Sa Islands. Senior Lieutenant Colonel Dinh Van Hai, Deputy Director of the Truong Sa Islands, commented: “This is a brilliant idea! The con­tribution critically claims the country’s sov­ereignty thanks to art. The project also promotes the traditional ceramic craft of the ancient Vietnamese people, especially its long sustainability and longevity over time”.

Patriotic Art in Truong Sa Vietnam

THE WORKS ARE MADE OF SPECIAL CERAMIC TILES ENAMELED AT HIGH TEMPERATURES AND SALT­RESISTANT CEMENT GLUE THAT WILL ALLOW THEM TO WITHSTAND HARSH WEATHER

Artist Nguyen Thu Thuy is also the creator of “Ceramic road along the Red River” which was awarded the “Sui Xuan Phai – For the Love of
Hanoi” award in 2008. In 2010 the Guinness Book of World Records de­clared this work to be the world’s longest ceramic painting (approxi­mately 3.85 km in length).

The instigator of the “Truong Sa Island ­Vietnamese Sea and Islands Of Love”, artist Nguyen Thu Thuy, was awarded a Certificate of Merit by the Ministry of Defense in Feb­ruary, 2013. At the ceremony, Lt. Gen. Mai Quang Phan, a member of the Party Central Committee, and Deputy Director of the Gen­eral Department of Politics of Vietnam Peo­ple’s Army said: “The “Fatherland’s Flag and Ceramic Paintings” project reminds not only Vietnamese people but also the rest of the world of Vietnam’s sovereignty over the Truong Sa and Hoang Sa Islands. The project is greatly meaningful and dedicated to gen­erations now and forever. This is our land and we must preserve it and affirm our sover­eignty to our international friends

 

Patriotic Art in Truong Sa Vietnam
First post at: Vietnam Culture

Protecting Vietnamese"s Rural Spirit

We meet a photographer in Bac Giang with a passion for collecting old mortars and limestone pots

Welcoming us at the Vinh Hoa Studio on Quang Trung Street in Bac Giang’s.Tran Phu District, Mr. Manh is part tour guide and part storyteller. His stories begin in 1964 when his family evacuated to Trai Rung Hamlet, Lang Son Commune, Yen Dung District, formerly in Ha Bac Province (now Ngoc Lam Hamet, Lang Son Commune, Yen Dung District. He spent his childhood among farmers who fished, tended flocks and flew kites.

During a trip to his father’s homeland in Bac Ninh Mr. Manh visited the memo­rial house of former General Secretary Nguyen Van Cu. There, he saw rural items such as thatched walls, bamboo couches, a weaving loom and bamboo pallets. This humble collection gave him the idea to collect farmers’ daily implements.

To Mr. Manh, a woman who mills and pounds paddy and grinds flour for cakes to dedicate to the deities and ances­tors is the epitome of a fine Vietnamese woman. Each time he finds a mortar and pestle, Mr. Manh imagines the people who made and used these tools. These tools remind him of his mother who dili­gently pounded rice to feed her children. Speaking about this admirable woman, Mr. Manh is choked with emotion.

Mr. Manh finds simple happiness examining his old farm tools. At first, his family members opposed this hobby. Ig­noring their complaints, Mr. Manh con­tinued to amass old tools. He now has more than 100 stone mortars and lime­ stone pots dating back several centuries.

Mr. Manh always investigates the ori­gins of the items he finds. He will never forget the moment he spotted an old mor­tar near a bamboo bush. He asked the owners if they would sell it, since they did not use it. The astonished owners refused and Mr. Manh went home, disheartened. Later, he learned that the mortar’s owners had smashed it to pieces, believing that it must contain gold. After learning about Mr. Manh’s strange collection, they regret­ted their actions.

The stone mortars in Mr. Manh’s col­lection vary in shape, style and size. Some are tiny while others weigh hundreds of kilograms. Some are meant for grinding and others for pounding. Despite being cracked and rough, they are priceless spir­itual treasures in the eyes of Mr. Manh. Showing us a bamboo rice mortar he ob­tained in Tan Yen, Mr. Manh said: “Mak­ing this bamboo mortar took a lot of work. Bamboo used to knit the mortar is chopped down in November or December. Its teeth were made of oak wood or ground wood and reinforced by carefully pounding it with termite nest soil. People also applied buffalo feces into the mortar’s holes to prevent rice from leaking out”.

Mr. Manh sees rice mortars as mate­rial symbols of Vietnamese culture and wet rice cultivation. Pounding tools in­clude a mortar and a pestle that represent the harmony of yin and yang.

For more than 30 years he has roamed rural lanes and villages to preserve old items for later generations. His collection draws visitors from both Vietnam and overseas, many of whom share his passion for antiques. He has made new friends, who sometimes meet in his house to sip tea and admire these old implements. Mr. Manns greatest wish is to found a proper private museum devoted to the lives and values of Vietnam’s farmers.

Protecting Vietnamese"s Rural Spirit
First post at: Vietnam Culture

Lost in Gyeongbokgung

According to Asian beliefs, the main gate of every palace should face east. Dating bac to 1394, Gyeongbokgung Palace is no exception. The east was re­served for martial mandarins and the west for civil mandarins. The north gate was used by officials of low social status and for funeral processions. The gates were flanked by two stone Hechi beasts that served as guards, since they are sym­bols of protection.

Work on Gyeongbokgung place started in 1394. This symbolic building suffered two devastating fires, one in 1553 and the second in the early 1900S

The palace’s main gate has three arches. The highest central arch was re­served for kings, the left arch for princes and crown princes and the right arch for mandarins. The pathway to the palace was once covered. Today, the ancient stone path is uncovered.

Visitors entering Gyeongbokgung fed like they are traveling back in time. From 11 am to 3pm daily, the changing of the royal guard is reenacted. As well as watching the guards, tourists can pose for photos with them and admire their old costumes.

Korea’s key colors adorn the palace’s ceiling frescos: green, red, yellow, white and black. The interior of Gyeongbok­gung has many similarities to palaces in China, with planned spaces and symbolic gates facing the four directions. A small stream was built inside the palace to serve as a source of vitality. On its two banks stand animal statues that protect thl fountain from evil and keep it clear ane pure. The palace’s grounds are home te many stone animal statues, including fow animals guarding the four corners of the bridge across the fountain, which an among the 12 sacred animals of Korea, An interesting point is that all doorsteps leading into the palace are original.

Gunjeong Gate leads to Gunjeong­jeon, the main hall where the king chaired meetings and received foreign ambassa­dors. The pathway is divided into three main lanes: the central lane for the kin~ the left lane for civil mandarins, and the right lane for martial mandarins. Many stone steles line the two sides, denoting the ranks of mandarins. Mandarins would stand beside the stele that indicated their political status. The stone steles are rough, since it was thought that smooth stone steles would reflect sunlight and dazzle the mandarins’ eyes. These steles are completely original.

Surrounding corridors were used by officials oflower status to attend meetings with the king. One stone pathway leads straight to Gunjeongjeon Palace. Unlike many other glamorous palaces in the world, this palace is simple and consists of just one storey. The king’s throne was placed on a higher pedestal so that attend­ing mandarins were aware of his power and majesty. The palace’s interior ceiling features two seven-clawed dragons, since Koreans believe that seven-clawed drag­ons bestow power upon the king. The palace was built entirely of wood because Koreas winters are unbearably cold and wood helps to keep the interior warm. Visitors may view the palace’s floor-heat­ing system with its giant stove.

The south is guarded by two red phoenixes, the east by two green dragons, the north by a black tortoise and the west by a white tiger. These four sacred animals bring power to the palace. To express the king’s power on the outside, two three­legged urns were placed on the eastern and western sides.

The king treated foreign ambassadors and mandarins to banquets and enter­tainment in Gyeonghoeru Pavilion. Pre­viously, when the pavilion was used, the facing lake was full oflotus flowers. Un­fortunately, today only the lake and the pavilion survive. Gyeonghoeru is the best-known symbol of the Gyeongbok­gung Palace compound. At night, deco­rative lights are turned on and the pavilion is reflected in the lake.

Next comes Gangnyeongjeon Hall, the king’s bed chamber. Gangnyeong means “bringing health”. The king’s main residential quarters were designed to keep him healthy so that he could perform his administrative tasks. Two pavilions flanking Gangnyeongjeon Hall were used by the king’s servants.

The queens residential quarters were called Jagyeongjeon Hall. According to Korea’s Confucian beliefs, men and women were banned from living close to­gether. Hence, the queen’s palaces were lo­cated apart, but the king could visit at will. The residential quarters of the queens ser­vants lay beside Jagyeongjeon Hall. Un­fortunately, the quarters of the servants and concubines have not been rebuilt.

The most beautiful area in the com­pound lies behind the palace and is eas­ily missed. Gyeongbokgung is an artificial lake with a central pavilion, redolent with the scent of lotus flowers. The pavilion is called Hyangwonjeong. Here, the king would recite poetry, listen to music and relax.

Visitors should also seek out the storeroom used to keep kimchi and soy­bean stew (twenjang). Countless pots and jars are on display. The exterior gate is decorated with eye-catching chili and rice plants.

After two hours exploring Gyeong­bokgung we all shared a deep admira­tion for the ancient people of Korea. If we have another chance to visit Korea we will return to Gyeongbokgung to enjoy the solemn, epic ambiance of the guard change and to take some photos with the friendly guards.

 

Lost in Gyeongbokgung
First post at: Vietnam Culture

Rome - The City Of Legends

TWANDERING DOWN ROME’S ANCIENT STREETS THROUGH GROVES OF LUSH OLIVE TREES YOU WILL ENCOUNTER MANY EXTRAORDINARY SIGHTS

Italy’s historic capital charms visitors with its crowded piazzas, stunning artworks and magnificent architectures.

The city of Rome, or “Roma” in Ital­ian, is one of the world’s most pop­ular tourist destinations. Once the capital of the glorious Roman Empire, Rome is like a giant museum, with many great his­torical artworks located in the city center. In particular, St. Peter’s Square impresses travel­ers with its 300 round marble pillars and nearly 100 square-shaped pillars arranged in a giant semicircle. At the middle of St. Peter’s square stands a sharp stele of 41 meters in height. Seen from above, St. Peter’s Square looks like a giant wheel, while the two lines of enormous circular pillars to the south and north resemble the hands of a saint.

Rome is also famous for its legendary Roman arenas. The Colosseum is one of the world’s seven new wonders. The largest arena built during the Roman Empire, the Colosseum was the brainchild of Emperor Vespasian, started during the Titus Empire in 80 AD and completed under Domitian’s Reign. The Colos­seum features giant cages that once housed dangerous wild animals and seating for 50,000 spectators. It was once used for gladiatorial contests and public spectacles, such as mock sea battles, animal hunts, executions, re-enact­ments of famous battles, and dramas.

In addition to its majestic arenas, the ongo­ing vitality and deep history of the Roman Em­pire is felt in the city’s charming houses, museums and churches. There are loads ofleg­endary sites that feature typical Medieval and Renaissance architecture. Rome is a world unto itself and visitors may feel as though they have gone back in time. The city is arranged with many straight lines that lead to large central squares or museums. This design fulfils the fa­mous saying: “All roads lead to Italy, all the streets ofItaly lead to Rome, all roads of Rome leads to the Vatican, and all roads of the Vat­ican lead to the Sistine Chapel:’

Visitors to St. Peter’s Basilica feel as though they have entered a magnificent mu­seum of fine arts. This is one of the world’s most unique historical monuments. The top of the building features a giant dome deco­rated with beautiful paintings and stained­glass windows. St. Peter’s Basilica exhibits many Renaissance-inspired masterpieces such as “A Mother’s Love” by Michelangelo and “Holy Water” by Bernini.

The Vatican City draws millions of Catholics from all over the world. The com­plex of the Vatican consists of St. Peter’s Square, St. Peter’s Basilica, the Vatican Palace, museums, parks and streets. The world’s smallest state, the Vatican is known for its well-organized administration and its separate military, monetary, telecommunica­tion and banking systems. Forming the hub of the Catholic faith, the Vatican City houses some of the world’s most amazing artistic treasures.

Let’s go to Rome! Wandering down Rome’s ancient streets through groves of lush olive trees you will encounter many extraor­dinary sights. The charm of this legendary city makes it a dream travel destination. Legend has it that everyone who throws a coin into Trevi Fountain will one day return to room. This legend continues.

Rome - The City Of Legends
First post at: Vietnam Culture