Cai luong bong hong sa mac

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The drums were elaborately decorated with geometric patterns, and frequently depicted scenes of everyday life such as farming, warriors donning feather headdresses, construction of ships, and musicians. The function of these drums, often found in burials, remains unclear: They may have been used in warfare, religious ceremonies, or as part of funerary or other ceremonial rites.

Models of the drums, produced in bronze or clay, were made to be included in burials. Most of the bronze drums were made in Vietnam and South China, but they were traded to the south and west, and were valued by people with very different cultures. A starburst pattern in the center of the tympanum, surrounded by a row of linked concentric circles and crosshatching, was a standard motif on Dong Son drums.

These designs were repeated around the side of the top section and just above the base. The earliest bronze drums of Dong Son are closely related in basic structural features and in decorative design to the pottery of the Phung Nguyen culture, indicating that bronze casting may have developed there and spread to northern China. The Dong Son bronze drums exhibit advanced techniques and great skill in the lost-wax casting of large objects. A drum excavated from the citadel at Co Loa, Vietnam, would have required the smelting of between 1 and 7 tons of copper ore and the use of up to 10 large casting crucibles at one time.

Many of the people depicted on the drums are shown as wearing elaborate clothing. Excavations of Chinese tombs in the area indicate that during the ten centuries of rule by the Chinese, Vietnamese began to apply newly learned Chinese techniques to art and specifically ceramics , in conjunction with the continued production of art based on local traditions. The tombs contain objects brought by Han from China, objects produced by the Vietnamese, and objects made by Vietnamese artisans according the specifications of their Chinese patrons.

Ceramics found in Chinese tombs from the areas stretching from Quang Ninh, Hai Duong to Bac Ninh include vessel-shaped bowls, tall cups with large mouths, tall vases called dam xoe with slender necks, large mid-sections and bell-shaped bases and terracotta house models tu dai dong duong, "dwelling of four generations living together". The geometric decoration and relief motifs of the ceramic products closely resemble those of bronze objects of the same period.

Ceramics were thick-walled 0. Many ceramic artifacts of the eighth, ninth, and tenth centuries were made in the style of Tam Thai three colors ceramics, which flourished under the Tang Dynasty. Vietnamese art and ceramics flourished during the period of independence from the Ngo to Tran Dynasty approximately tenth to fifteenth centuries.

Vietnamese art

The ceramics from this period were thought to have been largely influenced by both ancient native styles and the Tang and later Song dynasty art. Vietnamese art received a lasting influence from adopted Chinese philosophies of Confucianism , Mahayana Buddhism and Taoism. Some art historians also claim there are small traces of Cham influence.

The Ly dynasty to , is considered the golden age of Vietnamese art, and its ceramics became famous across East and Southeast Asia and as far away as the Middle East. Many of the ceramic products of this period were slender in shape and covered with an emerald glaze of different shades such as pale grayish green, yellow green, light green, and violet green.

‘Kỳ tích lẫy lừng’ cờ gian bạc lận của mẹ vợ Khánh ‘trắng’

Distinct decorative motifs can be clearly seen under the glaze. White and black and iron-brown glazed ceramics were also produced.

BONG HONG SA MAC Cai Luong Truoc 75

Many of Vietnam's landmark structures were also built during the Ly dynasty, including the Temple of Literature, One-pillar pagoda, and Quynh Lam pagoda. The Tran Dynasty that immediately followed in the thirteenth century saw a more subdued approach to art. During the Tran period, two kinds of iron-brown pottery were produced: Tran period ceramics were large and simple in shape: At the end of the Tran period there also appeared gom hoa lam white-blue glazed ceramics and others which used glazes of various colors in between the established jade green or brown and the blue-white glazes.

According to historical documents, mandarins such as Hua Vinh Kieu, Dao Tien Tri and Luu Phong Tu, who served as ambassadors to China, studied Chinese techniques of pottery making and taught them to villagers in their home provinces in Vietnam. The red pottery of Tho Ha consisted mainly of large terracotta jars and glazed coffins used for the traditional re-burying of bones of a dead body three years after the initial burial.

Terracotta was used to manufacture bricks for paving house foundations and constructing walls and miniature towers, roof tiles, phoenix or dragon-shaped architectural ornaments, and incense burners. The fourth Chinese domination — of Vietnam was short-lived but harsh. Many classical Vietnamese books were burned, thousands of artifacts were taken to China, and sinicization was enforced.

The art of this period and the subsequent Le Dynasty was heavily influenced by the Chinese Ming dynasty artistic tradition. White-blue glazed ceramics reached their full development Posterior Le dynasty The art of the seventeenth and eighteenth centuries was characterized by the turmoil of a war that lasted two centuries and increasing urbanization. Dang Huyen Thong, a pottery collector and craftsman of the Mac period in northern Vietnam , developed a new style of ceramics decorated with geometric designs and motifs in relief.

The Nguyen dynasty, the last ruling dynasty of Vietnam, saw a renewed interest in ceramics and porcelain art. The ruling family patronized the production of ceramic objects for use by the court and in everyday life. New centers of porcelain and ceramic production such as Mong Cai and Dong Nai began to emerge alongside long-established centers and kilns.

Imperial courts across Asia imported Vietnamese ceramics. Beginning in the nineteenth century, French artistic influences spread into Vietnam. Modern Vietnamese artists began to utilize French techniques with many traditional mediums such as silk and lacquer, creating a unique blend of eastern and western elements.

Modern Vietnamese ceramics are still produced with the traditional techniques used for hundreds of years. Beside the ancient centers, which are still operating and continue using traditional methods, many communities have begun using imported techniques, such as casting, chemical glazes, and firing in gas or electric kilns. The shapes and decorations of many products are now designed to please an international market. It is believed that in prehistoric times, Vietnamese people lived in stilt-houses, as depicted on the bronze Dong Son drums.

Similar kinds of houses can still be found in Vietnam today. When Chinese influence permeated Vietnam, Chinese architecture had a large influence on the basic structure of many types of Vietnamese buildings, mostly pagodas and temples , communal houses, houses of scholar-bureaucrats, aristocracy, and imperial palaces and quarters. Nevertheless, these structures combined both Chinese influences and native style; Vietnamese architecture is generally much more somber and muted than Chinese architecture, using different colors and materials.

With French colonization of Vietnam in the nineteenth century, many French-style buildings were constructed, including villas, government buildings, and opera houses. Many of these buildings still stand in Vietnam and are the most visible remnants of the French colonial legacy. Calligraphy has had a long history in Vietnam. Most modern Vietnamese calligraphy uses Quoc Ngu, a script based on the Latin alphabet. Though literacy in the old character-based writing systems of Vietnam was restricted to scholars and the elite class, calligraphy played an important role in Vietnamese life.

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On special occasions such as the Lunar New Year, people would commission the village teacher or scholar to make a calligraphy wall hanging, often poetry, folk sayings or even single words, for their homes. People who could not read or write also commissioned scholars to write prayers which they would burn at temple shrines. The technique of painting with ink on silk followed Chinese styles for centuries. After a long period of development, Vietnamese silk painting emphasizing softness, elegance and flexibility of style reached its height between and Silk painting uses the unpainted silk background to suggest sky, water, mist, clouds, empty spaces, and, in paintings of people, the skin.

In , Vietnamese silk painting was introduced to the world when Vietnamese silk paintings won two prizes at the official Salon in France. Modern Vietnamese silk painting has a unique character and transparency of color that is different from the ancient paintings of China and Japan. During the nineteenth and twentieth centuries, French influence was absorbed into Vietnamese art and the liberal and modern use of color especially began to differentiate Vietnamese silk paintings from their Chinese or Japanese counterparts.

The subjects of Vietnamese silk paintings are typically the countryside, landscapes, pagodas, historical events or scenes of daily life. Vietnamese woodblock prints or Dong Ho painting Vietnamese: The background paper is originally white, made of bark of a tree called "Dzo. The paint is applied to carved wood blocks and pressed on paper, and the process is repeated for each color. A layer of sticky rice paste called "ho nep" , applied to protect the painting, makes the colors very durable.

Dong Ho painting is considered one of Vietnam's cultural symbols. The items also include bronze artifacts that have never been seen at Champa tower relics. Excavation for the artifacts, dating from the 12th to the 13th centuries, was carried out at the province's Binh Nghi commune from August till early this month. In , local residents' illegal excavations uncovered two complete artifacts of the MahishasuraMardini goddess relief and a stone altar foundation.

The two, now preserved at Binh Dinh Museum, are said to be of high artistic and sculptural value. The goddess relief features the MahishasuraMardini in a dance with her 10 hands, holding holy weapons used to kill monsters. Meanwhile, the round-shaped altar foundation resembles an ancient Vietnamese bronze drum decorated with carvings of lotus flowers on its sides. Hoa said the province has a total of 52 Champa relics that required more research on their value. Binh Dinh is also the locality with the largest number of Champa heritage sites, including the Champa capital, Vijaya, which thrived from the 11th to the 15th centuries and lies in what is now An Nhon district, 27km northwest of Quy Nhon city; and a total of 14 Champa towers, all in various sizes, shapes and decorations, scattered throughout the province.

Directed by Xuan Cuong, the part TV series portrays the lives of a group of five single women in their mid-thirties, who with high positions in society, and their struggle against the challenges of life. They have to look for answers to puzzling questions about why they are still single from family and friends, who believe women of that age should be married. One of the city's most promising actors, Khanh began her professional career in with her production, Mui Ngo Gai The Flavour of Coriander , a film featuring the life of a poor girl who faces challenges to become a businesswoman later.

The TV series was a hit, managing to attract audiences despite the domination of Chinese and Korean films. Khanh said that Doc Than Tuoi 30 tells women to remain strong and she eagerly awaits the response of audiences. Cai luong playwright Tran Ha, real name Nguyen Van Thiet, has released his autobiography narrating events that happened in his life and tracing the development of the art from until , when he became a cultural official.

The year-old, who is in indifferent health, spent almost 10 years between and to put down his memories on paper. But the thought of writing a book did not cross his mind. The book has lots of material for those who want to research about the traditional art and popular artists in the world of cai luong in the last few decades, she said. Thiet, whose more than 50 cai luong plays include popular ones like Bong Hong Sa Mac Rose in the Desert , Nua Manh Tim Half of the heart , was born in Soc Trang in a family of seven children of whom he was the only artist.

Last update Youth Halloween night to bring scares, traffic safety tips. Youth Halloween night to bring scares, traffic safety tips The largest ever Halloween festival in Ha Noi will bring scary, traffic safety-themed thrills on October 31 to West Lake Water Park.

Thái Nguyên Province - Wikipedia

Handicrafts of Tohoku, Japan to display in Vietnam Exhibitions of the undeniably beautiful and highly developed handicraft techniques of Tohoku craftsman are set to take place in Ho Chi Minh City from October 31 to November 10 and Hanoi from December Much was lost and the manufacturing and handicraft industries were hard hit. The exhibitions are free for visitors. Calligraphy show celebrates Vietnamese Women's Day Two Japanese calligraphers, along with a Vietnamese calligrapher who has been their tutor for nearly a year, are holding a joint exhibition titled Duyen Predestined Affinity , displaying 60 of their works in Ho Chi Minh City.

Her works are represented in three groups: Misako, 56, has taught calligraphy in Japan for 18 years. Experts unearth Champa artifacts Numerous rare Champa artifacts have been found at the excavation site of Champa tower relics in the Rung Cam forest of this central province.

Show depicts changing cultural norms When the film Doc Than Tuoi 30 Year-Old Single Women was shown on the Today TV channel last week, many young women learned a valuable lesson about love and family values. Working hard to fulfill their ambitions leaves love on the back track. They finally discover that they can be single because they choose to be. These films tell stories about love and happiness with comedic scenes.

Hai believes that his studio's new films are what audiences aged between 20 and 35 want to see. Cai luong writer pens memoir on life's ups and downs Cai luong playwright Tran Ha, real name Nguyen Van Thiet, has released his autobiography narrating events that happened in his life and tracing the development of the art from until , when he became a cultural official.

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Cải Lương: Bóng Hồng Sa Mạc

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