A Trip to Hue, the Dragon's Realm.

Discover the fascinating dragon imagery of the Nguyễn Dynasty, a cornerstone of Huế's imperial court art. We'll unravel the symbolic meaning behind these powerful creatures, delve into their distinctive thematic interpretations, and marvel at the unique materials from which they were crafted!
The Dragon Image in the Nguyen Dynasty – The Pinnacle of Imperial Art and the Aspiration for Royal Power in Hue
The dragon is a mythical creature revered in the East as a symbol of royal power, intrinsically linked to the image of the emperor. During the Nguyen Dynasty, thanks to the skillful hands of artisans, the dragon motif reached its peak in terms of thematic richness, materials, and forms of expression.
The dragon is a mythical creature, the foremost of the Four Sacred Animals (dragon – unicorn – tortoise – phoenix). It embodies the most beautiful characteristics of nine real animals: the body of a snake, scales of a carp, head of a camel, antlers of a deer, paws of a tiger, talons of an eagle, ears of a cow, nose and mane of a lion, and tail of a rooster.

The Dragon – A Symbol of Nguyen Dynasty Power.
The dragon image in Vietnam dates back to very early times, perhaps most notably in the legend of 'Children of the Dragon and Fairy' from the Hung Kings era. Throughout Vietnam's feudal periods, the dragon motif was widely used, especially in architectural decoration and imperial fine arts.
In Vietnam, during the early periods when regulations on imperial art decoration were strict, the dragon image was exclusively reserved for the imperial court. It primarily appeared in royal architectural works such as palaces, temples, and tombs, or on items used solely by the emperor, including the throne, seals, royal decrees, clothing, footwear, hats, and cups.

The dragon motif prominently features on the Ngu Phung Pavilion at Ngo Mon Gate, Hue.
Later, stemming from the belief that beyond symbolizing the emperor's authority, the dragon also represented sacredness, protection, prosperity, good fortune, favorable weather, and more, the dragon image gradually became popularized and appeared frequently in folk cultural institutions such as communal houses, pagodas, private homes, and even on people's tombs.
However, the popularization of the dragon image occurred within certain limits and according to specific conventions, ensuring it did not violate or trivialize the sacred creature's image, which was originally the exclusive privilege of the imperial family.

The majestic appearance of dragons on the palace roof of Emperor Tu Duc's tomb.
According to researchers, imperial dragons and folk dragons differ. Dragons symbolizing the emperor must have 81 yang scales, 36 yin scales, a body that twists in nine segments, and five claws on each foot. In contrast, folk dragons typically have only three or four claws; or they are transformed into other forms such as 'mang long' (python-dragon), 'giao long' (crocodile-dragon), 'long ma' (dragon-horse), 'con cu' (a mythical creature), or 'chrysanthemum-transformed-dragon,' 'bamboo-transformed-dragon,' and so on.
Returning to the dragon imagery of the Nguyen Dynasty, one observes that dragons from this period inherited the slender, slightly curved horns of Tran Dynasty dragons; their dorsal fins were thin, long, and uniform, unlike the long, alternating large and small ray-like fins of the Tran Dynasty. Nguyen Dynasty dragons also featured quite diverse undulating bodies, yet their soft, flexible, snake-like forms fundamentally resembled those of the Ly and Tran Dynasties. Their twisted tails were similar to those of the Le Trung Hung and Tay Son Dynasties. The cheeks of Nguyen dragons were shorter and slightly plumper compared to the slender, elongated cheeks of Ly and Tran Dynasty dragons. The gills of Nguyen dragons resembled sharp, long sparks, differing from the single swirl of Ly Dynasty gills and the multiple swirls of Tran Dynasty gills.

A rather elaborate depiction of dragons worshipping the sun, crafted from 'pháp lam' enamel on the palace roof of Emperor Dong Khanh's tomb.
In summary, Nguyen Dynasty dragons inherited characteristics from earlier periods, but their forms and spiritual essence appeared more powerful and majestic, and their artistic expressions were richer and more diverse. Depending on their placement and intended meaning, dragons from this era sometimes featured only a specific body part, such as the head, face, or torso, rather than always appearing as a complete creature, as was common in previous periods.
Nguyen Dynasty dragons were depicted in many distinct themes, including: 'luong long tranh chau' (two dragons vying for a pearl), 'luong long trieu nhat' (two dragons facing the sun), 'long hi thuy' (dragon playing in water), 'hoi long' (returning dragon), 'vien long' (round dragon), 'long truy' (chasing dragon), 'long phung' (dragon and phoenix), 'long lan' (dragon and unicorn), 'long tho' (dragon of longevity), 'long van khanh hoi' (dragon and cloud auspicious gathering), 'truc hoa long' (bamboo transforming into a dragon), 'cuc hoa long' (chrysanthemum transforming into a dragon), and more.
The materials used for depiction were also incredibly diverse; generally, whatever materials were available were utilized for dragons, such as gold, silver, bronze, stone, mortar, wood, fabric, bone, ivory, pottery, porcelain, and more. The methods of expression were equally varied, including: bronze casting, stone carving, mortar sculpting, wood carving, mother-of-pearl inlay, embroidery on fabric, painting on paper, pottery, and porcelain.

A magnificent bronze dragon statue cast in 1842 stands in front of the Duyet Thi Duong Royal Theater within the Imperial City, Hue.
Here are some typical and unique dragon decorations found in Nguyen Dynasty art. For instance, on the two octagonal houses flanking Kien Trung Pavilion within the Forbidden City, all the dragons on the roof ridges face outwards, rather than in the usual 'returning dragon' style, which is a rather interesting exception.
Or, at Ngung Hy Palace, part of Emperor Dong Khanh's tomb, on the two gable ends where the roof meets the wall, dragons are decorated in the 'ho phu' style, depicting a frontal dragon face with its mouth holding the character 'Tho' (longevity) or a circle.
A very special case can be found at Long An Palace, where the entire roof truss system supporting the building's roof is crafted from solid wood and intricately carved with dragon motifs using exceptionally refined techniques. These carvings are considered masterpieces of traditional Vietnamese wood carving art.

A dragon bas-relief carved in the 'ho phu' style, featuring exquisite and vibrant lines, adorns the screen wall of Emperor Dong Khanh's tomb.
It can be said that over the years, and even transcending the conventions of its time, the dragon in the Nguyen Dynasty reached a powerful and complete stage of development in terms of content, form, and expression. Thus, it can be affirmed that the dragon is a distinctive characteristic of Vietnamese culture during the Nguyen Dynasty.
And even today, having endured countless ups and downs of history, the image of the Nguyen Dynasty dragon remains vividly and comprehensively present across a vast heritage treasure trove, encompassing various forms of art from imperial to folk. This is enough to rightfully name Hue the 'Land of Dragons,' the 'Imperial Capital' renowned for eternity.

A rather unusual dragon head decoration found on the drainage spout of the palace roof at Emperor Dong Khanh's tomb.

Four large, somewhat plump and joyful-looking cement dragons adorn the pathway leading up to Emperor Khai Dinh's tomb.

Meanwhile, the dragon on the threshold of Thien Dinh Palace at Khai Dinh's tomb appears more majestic, with expressive eyes created by inlaid colored glass.

The 'ho phu' style dragon face, sculpted in cement at Emperor Khai Dinh's tomb, shows influences from Qing Dynasty (China) dragons.

The 'Cuu Long An Van' (Nine Dragons Hiding in Clouds) painting, depicting nine dragons appearing and disappearing amidst clouds, is a Vietnamese painting masterpiece at Emperor Khai Dinh's tomb.

The enormous, approximately 1-ton 'buu tan' (canopy) at Emperor Khai Dinh's tomb is resplendent with dragon figures inlaid with ceramic and porcelain.

The interior of Thien Dinh Palace at Emperor Khai Dinh's tomb is dazzling with dragon, phoenix, flower, and leaf motifs inlaid with ceramic and porcelain.

A dragon head resembling a carp serves as a drainage spout on the roof of Thien Mu Pagoda.

The decorative style of floral vines transforming into dragons and the cycle of reincarnation, bearing Buddhist imprints, can be seen on the curved roof corners of Thien Mu Pagoda.
Hue 6122 view
Update day : 14/02/2024
Source : Công luận .VN Affiliate links
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