nghiên cứu văn tự hán nôm trên đồ gốm sứ việt nam từ tk xv đến tk xix bản tóm tắt tiếng anh
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Table of Contents
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INTRODUCTION
1. Reason
selected topics from the fifteenth century to the nineteenth century, the feudal dynasties in
Vietnam turns to power. Each new dynasty appeared accompanied by the appearance of pottery items
idiosyncratic of that dynasty. So, in general antiques and antique ceramic particularly naturally become
mirrors for each historical period. The evidence for each historical period through Ceramic requires us to
grasp that dating of artifacts, antiques that are proven to be consistent with the historical period under
consideration. There are many ways to find out our actual antiques dating, one of the ways of determining
the age is considered to be fast and accurate through deed records dating artifacts on it. However, most
researchers antiques (especially ancient ceramics research) typically learn the material, pattern area, a few
through self-Nom documents to explain more specific examples built on artifacts that have taken Nom
script can do all the research in comparison, also as in-depth research, specifically through the ceramic.
Over time, together with the volatility of historical, natural, social, antiques and pottery in Vietnam
has been eroded, but also day affirms the value of this historical document. However, researchers are rare
historical artifacts, Nom go into the systematic collection of texts Nom appear on ceramics from TK
Vietnam XV - XIX. Thereby, building systems that are universal most issues Nom on ancient pottery in
each stage.
Document on Nom on ancient pottery is one of the important materials to demonstrate a culture or a
civilization there. Through Nom scripts, we also know about the history of the village, the history of trade,
diplomacy Especially the typical work Nom many variants as there are threads Gulf of value in the
learn about authors, works. In addition, the study texts on ceramics Nom will open for us the way to build
and develop the systems perspective in research on learning autographs Vietnam ceramics from the
fifteenth century to the nineteenth century.
Van itself on Vietnam pottery appeared quite soon, however in the development process, they have
influenced the way Chinese ceramics processing. So, when the ceramics division, modality texts,
researchers at no confusion between Vietnam and China porcelain, pottery least mid-nineteenth to the
early eighteenth century. Thus, the delimitation of porcelain and fine china Vietnam through texts will
help clear delineation than two lines of this ceramic.
In addition, the identification of ancient ceramics and characteristics of texts on each line of
ceramic existing or conflicting opinions; many insights not enough scientific evidence in recognition of
the cultural characteristics Nom self on ceramics from the XV century through the nineteenth century, this
was a period space needs to be complemented in the future. Thus, our work will contribute to the initial
depth and strings give the most general characteristics of Nom scripts on the ceramics, as well as distinct
characteristics of each style threads bay, recording Nom script on her ceramics.
Due to the subjective reasons and objective, many texts on the subject bay pottery valuable ancient
texts are studied in Vietnam neglect, or enhanced by material values by bringing antiques. Therefore,
antiques bleeding is pretty much synonymous Nom texts on valuable antiques history, literature, writings
also learn a follow tomorrow. However, in recent years, general antiques, antique pottery in particular
Vietnam gradually reserved and preserved. Besides, at home and abroad have also emerged researchers
focused intensive research Nom script. But many artifacts Han - Nom has not been studied, interpreted in
a systematic way.
From the above practices, and to implement effective conservation objectives of cultural heritage
in the action program of the Party and the State implement the Resolution of the Central Executive
Committee 5 (key VIII) "Build and develop Vietnam culture advanced, people deeply imbued nation "and
Conclusion Conference of the Central Executive Committee 10 (IXth) to continue the" Build and develop
Vietnam culture advanced, imbued with national identity. "Also, perform User Population: 73/HD-
BGDDT-BVHTTDL of the Ministry of Education and Training and the Ministry of Culture, Sports and
Tourism. As well as specifying Guide Number: 5977/BGDDT-GDTrH the Ministry of Education and
Training "V / v: Guiding the implementation of educational content at the local junior high and high
school levels in 2008-2009 school ". Therefore, we studied subjects' self-Nom documents on ceramic
Vietnam XV century - XIX ".
To highlight the value of Nom scripts on ancient ceramics Vietnam, we should be demanding
orientation and compliance solutions, and concrete science for the conservation and promotion of the
residual value potential through texts Han - Nom on ceramic. From there, build up Chinese writing system
- the core Nom on pottery, porcelain neck.
2. History issue
work study and collecting ceramic Vietnam have already Nom scripts researchers started very
early, at the beginning of the twentieth century. So far, the research and publication of ceramics, porcelain
texts Vietnam has achieved many accomplishments. As can be seen, the research process has gone
through periods:
- First Period: From 1945 to the early twentieth century.
- Second Period: From 1945 to 1975.
- Third Period: From 1975 to the present.
In the first period, the experts of the Far East Institute has organized several waves of research,
collectibles, antiques Khao Vietnam, but does not have the collective works of the Nom script, Nom deed
recorded only sporadically in a number of compiler research, said introducing artifacts general.
Typical results can include collection, research activities within the scope of the French Institute of
the Far Northeast, through two research areas and published collection, collect artifacts of Louis Finot
Museum Hanoi . These include the works: "Tho Ha pottery at the top and those at Bat Trang flavor" of
Clement.Huet, "An Outline of Southern art" of L.Bezacier.
The overseas projects may include "La question de la Ceramique et les Bleus de en Annam Hue"
Chochod Louis, "Le Bulletin des Amis du Vieux Hue" of L. Cadiere
summary, early ceramics of Vietnam script was in Far East Institute is collecting and resources for
you today. However, many recorded content, description, transcribed texts significantly different than the
content texts on ceramic products, ceramic and authors often make subjective interpretations
In the period No. 2, 1945, marks the beginning of a new stage in Nom script research on ceramics,
Vietnam's ambassador to the country the Democratic Republic of Vietnam was born. Meanwhile,
scientists at the Far East Institute in Vietnam have been cooperating with the new government of national
as well as local scientists to pursue projects in Southeast Asia: Buddhist studies religion, language,
literature, ethnography . In this period, the domestic scholars have published several works related to
Nom texts on ceramics, typically can mention the work of Vuong Hong Sen as:
- La Chique de Betel et ANCIENS les pots à Chaux du Viet-Nam (1950)
-breathtaking ancient hobby (1971)
- Survey of ancient Chinese porcelain (1972)
- Jingdezhen training record (1972)
- player's handbook breathtaking ancient (1972)
In this period, many ceramic texts are national property registration and exhibiting organizations.
Thereby a large portion artifacts texts have been published over the article published in the journal Culture
magazine and published a number of works such as "History of Vietnam art" of Nguyen Phi diaphragm,
one has there is a separate chapter devoted to Bat Trang pottery.
This time, the influence of the resistance war against French colonialists made the collection and
publication of texts exhibit very difficult Nom. Since then, led to the study of texts Nom on ceramic not
deserve developed as inherent material.
The third period: In addition to Hanoi History Museum is the local museum as Hai Phong, Nam
Dinh, Hue royal art has gradually improved profile artifacts. The findings and results of new research
on ceramic Vietnam had texts published in many journals such as Archaeology, Fine Arts, Nom, Then and
Now, History The collective record weak in specialized workshop also printed, especially "The new
discovery of archaeological" Announcement science education announcement Nom The individual
works published notable "Chu Dau Pottery" on the third floor of Hengshan, "Handbook of Vietnam
pottery inscriptions XV century - XIX" by Nguyen Dinh War, "Nguyen Dynasty style porcelain signed"
by Tran Duc Anh Son and a number of ceramic works of the author Hue Tran Dinh Son Tung and Pham
Hy
In the first period, the work is often investigated, the research is still very limited. After this, the
research literature on self-Nom ceramic Vietnam and systems developed to bring more scientific.
3. Subjects studied range
3.1. Study subjects
- Nom documents themselves on ceramic Vietnam XV century - XIX and related subjects.
3.2. Research Scope
First, we focused on the general problem of Nom scripts on ceramic Vietnam XV century - XIX
origin, characterized the content is reflected in the source Museum materials in a number of domestic and
foreign, a number of prestigious private collections, some pages dedicated web page on antiques. Thereby,
the study characterizes texts, especially some in depth study of ceramics through these valuable records
Nom.
Through research Nom texts on ceramics from the fifteenth century Vietnam - XIX to help identify
cultural values, history, literature. Classification, referral, translation and proceed to grasp the content and
basic characteristics of the writing system on ceramic Nom Vietnam XV century - XIX. Thereby, the
study contributes to the village, tourism development, local cultural education. As well as a better
understanding of the religious life history stages, each region, added to the system as written historical
records of the nation. Initially proposed a number of measures to preserve and promote the value of texts
on ancient ceramics Vietnam.
Through Nom scripts to identify antique porcelain and pottery characteristic of texts on each line
of ceramic, porcelain, here is a gap needs to be complemented. Therefore, we will work to nail the writing
system Nom on ceramic, porcelain and initially launched the most common characteristic of Nom scripts
on the ceramics, as well as its typical of each type of Nom scripts on the line ceramic that.
4. Rationale and methodological
4.1. Rationale
Applying the perspective of Marxist - Leninist legacy capital of traditional culture, the way of
applying the Party and State in the preservation and promotion of cultural heritage of the nation.
Inherit the achievements of the research scientists at home and abroad have been published and
related topics.
4.2. Research methods used
topics fieldwork methodology, analysis, synthesis.
Survey methodology, describe, compare, compare.
Learning method Nom documents.
Interdisciplinary method: Museology, History, Culture learning
5. Donate new topics
Results of the study will help identify the potential value of self-Nom documents on Vietnam
ceramics from the fifteenth century - XIX, clarify issues of history, culture , literature
Helps recognize true, author of ceramic, porcelain neck through writing system.
Give the name for each type of texts, each type of localized texts on ceramic products, ceramic XV-XIX
century.
Formalized Nom scripts on Vietnam's ceramics XV century - XIX, thereby building resources
authentic value.
Contributing to local educational and cultural tourism development, contributing to the
conservation and promotion of cultural values Nom self in the new era.
Contributing to enrich resources in the same field and to study the related subjects.
The theme could be the player handbook for antiques, especially pottery and porcelain in the comparison
of content, form and characteristics of the scripts on the production of the same type.
6. In addition to the internal layout
preamble above mentioned topics will be developed into four chapters, conclusions, list of
references and appendices.
CHAPTER 1: OVERVIEW OF RESEARCH OFFICE self- Nom CERAMICS FROM VIETNAM
TO TK TK XV XIX
1.1. The study was published officially
From the early twentieth century, many research texts Han - Nom ceramic appeared, each one
stage, the author studies the aspects, the level of different, but their contribution to the system
documentation Han - Nom ceramic very admirable Vietnam important, even initially works only
introductory and simple translation but also brings a new outlook to system documentation Han - Nom
ceramic Vietnam that period.
1.1.1. Works published in the early twentieth century before 1945
Louis Chochod Typically there with "La question de la Ceramique et les Bleus de en Annam Hue";
L.Cadiere with "Le Bulletin des Amis du Vieux Hue". The friends of Hue, Cl. Huet had monograph on
Tho Ha and Bat Trang pottery
Mostly, the published material from the early twentieth century before 1945 often stop in the
survey, introducing each exhibit sporadic texts, not the works adequately addressed, or generalized
characteristics texts Han - Nom. Through reference material, we initially noticed, recorded contents,
descriptions, texts transcribed significantly different than the content texts on ceramic products, ceramic
and authors often make is Prize is subjective.
1.1.2. Works published in 1945 - 1975
Vuong Hong Sen Typically there with La Chique de Betel et les pots ANCIENS à Chaux du Viet-
Nam (1950); breathtaking ancient hobby (1971); player's handbook neck Breathtaking (1972). Nguyen Phi
Hoanh with "Vietnam Fine Arts History". Truong Vinh Cam "Play antiques and antique play"
Around the year from 1945 to 1975, the study of texts Han - Nom ceramic Vietnam to develop
than before but still stop at the introduction and translation estimates nature of texts Han - Nom rather than
a scientific system school. Part of the reason may be due to the resistance war against French colonialists
made collecting difficult material, so the collection, study of texts Han - Nom ceramic has not been a
worthy development .
1.1.3. Works published in 1975
First may be mentioned "carving through the pedal Vietnam" published by the Institute of Fine
Arts; then, Dean F. Frasche wrote "Southeast Asian Ceramics. Ninth through seventeenth centuries ";
Vuong Hong Sen announced: The porcelain ceramics by bringing about, Handbook of breathtaking
ancient players, Survey of porcelain from the preliminary post-Le Nguyen, The use of porcelain other
agencies, pragmatics, Study in porcelain enamel blue Hue Nguyen Dinh Chien is: "Handbook of Vietnam
pottery inscriptions century XV - XIX "; Phan Huy Le and Nguyen Quang Ngoc, Nguyen Dinh Chien
announced" Bat Trang ceramics XIV-XIX century "; Pham Quoc Quan" 2000 years of ceramic Vietnam
"
source materials published since 1975 So far the system has a history of water through ceramic,
porcelain, historical introduction villages, patterns, styles Typical of ceramic over each period. Besides,
the authors also made major contributions to the literature exploring self Han - Nom on ceramic. A
number of researchers have published the monographs, texts and treatises on Han - Nom on ceramic.
There is much work to contribute significantly in research texts Han - Nom ceramic Vietnam XV century
- XIX. However, the work, the article will only mention a few works of Han - Nom typical that no
research monograph does research on Chinese characteristics texts - Nom on ceramic.
1.2. Material from museums, private collectors and the internet
1.2.1. Documentation from the local museum
Also printed materials, the study of the sources Han - Nom ceramic Vietnam XV century - XIX in
the domestic and foreign museums also remarkable. This is hard work, requiring effort and money, so the
display through the introduction of artifacts and records artifacts at the museum to study together. We can
through resources at the museum: Vietnam History Museum, Vietnam Museum of Fine Arts, Museum of
Royal Fine Arts in Hue, Vietnam History Museum - Ho Chi Minh City, Bao Hanoi Museum
1.2.2. Material from museums abroad Nom
source material in foreign museums plentiful, thanks to the power of the artifacts in foreign
museums but not at researchers, foreign scholars have completed the study of ceramic Vietnam without
having to Vietnam research. These include: the Royal Museum of Art and History in Brussels, Belgium;
Guimet Museum in Paris, Dresden Museum of Art, Museum of Ethnology (DTH) Munich (Germany),
Museum of Fine Arts Boston in Boston, Massachusetts, Fukuoka Art Museum and the Museum of
Ceramics, porcelain Kyushu, MAK Museum (Vienna, Austria)
1.2.3. Material from museums and private collections private
In addition to the national museum and the national museum outside of the country, the private
museums and private collections also contributed a very important part in saving keep the artifacts
ceramic Vietnam have scripts Han - Nom. This is a very rich source material, although they were scattered
sporadically. Notably, the collection of: collection of ceramic Vietnam's overseas Jochen May, the private
museum of the Nguyen Dynasty style porcelain sign at 114 Mai Thuc Loan Street, Hue City by the
researchers, antiques collector Tran Dinh Son are set up, the private museum of Mr. Van Van Tran Ngoc
Lam is next Bat Trang village, Hoang Long Artifacts Museum (Thanh Hoa) by Hoang Van Thong,
collection of Doan Tuan Anh (Hanoi), Collection of Bat Trang pottery collector Vu Tan (Hanoi), Chu Dau
pottery collection on the shipwreck of the study, collecting antiques Dao Phan Long. Some researchers
have large collection of porcelain placed on the type of king, lord Vietnam may include porcelain
collection of Barbie Tung Pham, Nguyen Van Quynh, Nguyen Thanh Tuyen
1.2.4. Materials through the Internet
In the era of information technology as now, those who have common interests usually established
ward meeting on the Internet, individuals with expertise in a number of areas blogging, communication
through intrenet they not only share their experiences, provide information and data but also found a
sympathetic shared passion. Currently, appeared on several internet sites that we believe that to be able to
easily search the documents and artifacts of ceramic, porcelain texts Han - Nom in a period where we need
to study.
In general, sources Han - Nom ceramic Vietnam is plentiful, but they are scattered, not
concentrated. Thus, each data source has its strengths and limitations. But through it, we have provided
the best value for the core do research.
State the general, Han Nom resources on ceramic Vietnam plentiful, but they are scattered, not
concentrated. Thus, each data source has its strengths and limitations. But through it, we have provided
the best value for the core do research.
Recently, Han Nom texts on new ceramics and became more interested in studying specific
subjects in a number of works.
Therefore, we will continue to work in Nom script research on ceramics through to learn about
specific forms of cultural self-Nom, Nom script content with these issues the author , through the ceramic
works of poetry and spirit on ceramics from the fifteenth century to the nineteenth century.
Chapter 2: THE CHARACTERISTICS OF FORMS OF OFFICE IN ORDER Nom CERAMICS
FROM VIETNAM TO XV century XIX century pottery
History Vietnam has a relatively developed in parallel with the development of Chinese ceramics
States, in terms of shape and can dance, especially from the Han Dynasty onwards. However, that's not
ceramic Vietnam not carry identity of the Vietnamese that the elements are shown on ceramic Vietnam
has characterized the culture of Vietnam. Although influenced by Chinese culture, but when introduced
into Vietnam, our ancestors had to turn the scripts to create the Han Nom, a distinctive way of deed of
Vietnam.
2.1. On some of the terms used on ceramic, porcelain
In China, the term texts on ceramic is called with a name familiar: "U.S. pressure" 花 押, "Painter
pressure" 画押, "Clause" 款, "Lost Clause" 落款 and "expenses" 款 识 ". In Vietnam, the term of Han -
Nom write on ceramic, porcelain and how many views identifier. Researchers antiques Vuong Hong Sen
called "Test Subject" ( 诗 题) [Verse], Ha Van Tan, Nguyen Dinh Chien called "Ming writer" ( 铭 文)
[Inscription], Tung Pham Hy-called "performance problem "(号 题) [Marks], Tran Duc Anh Son referred
to as" self "(文字) [Script], including a performance problem (号 题) [marks] and poetry (诗文) [Prose
and verse]; Tran Hung called "Calligraphy, calligraphy" (书法, 书画) [Calligraphy, graphics Letter]. In
terms of identity terms, we have the author agreed with Tran Duc Anh Son.
2.2. Characteristics of the method express written texts
The Han - Nom ceramic Vietnam fifteenth to the nineteenth century, judging from the writing area
(Physical, 体, writing froms), we can see two ways is used to write key: Simplified spelling ( 简 体) in
Chinese modern style and traditional way of writing (繁 体) in accordance with ancient Chinese writing.
Also in terms of writing, we still can see some single letters (单体), also known as sub-description
(小写), how to write complex (复 体), also known as Colonel, written quotation (大写) and how to write a
short (短 体), also known as a short description (短 写).
However, when considering characteristics texts Han - Nom ceramic Vietnam XV century - XIX,
in block letters forming characteristics, we found, the pottery village artisans using methods primarily as:
The first type, a form of eczema using quill pen writing on bone ceramic, enamelled before or after
Government yeast can also sign up dots stamping products. This form, we tentatively called "Binh self"
( 平 字 ) [Flat Writing], represents the "flat text" on products.
The second type, the form of a pen tip, or a material hard enough to engrave bone ceramic sink lower, this
kind may be bare or enamelled then before firing. This form, we tentatively called "Ao self" ( 凹 字) [Sink
writing], represents the "bird" on the product.
The third type, form fill, Letter on body casting ceramic products, this category can be used
manually, or molds. This form, we tentatively called "sudden death" ( 凸 字 ) [Embossed writing],
represents the "Braille" on products.
The Fourth Kind, the written form of self-carving holes, build and own separate section forming a
pattern on product shape and highlight text on the product itself. This form, we tentatively called
"Bamboo self" (筑 字) [building word], represents the "word up" on products.
For each type will show us a few lines characteristic of ceramic products, ceramic from the
fifteenth century to the nineteenth century.
2.3. Characteristics can text
Considering the type of texts, writing style (Letters, 书 , writing styles), we can identify the
characteristics of the scripts in this phase can be expressed in five major writing:
- Body Seal (篆书), Terms (隶书), Yuan (楷书), sports (草书), Physical Activities (行书).
Each word will be brought to a common vision for deed Han - Nom phase ceramics from TK XV -
XIX.
2.4. Characteristics of types of texts (Han and Nom)
Most documents that appear on ceramic XV-XIX century the Chinese characters, so the richness
of Chinese texts shown on the product diversity Ceramic, porcelain this stage is very ordinary. From Kanji
form a word, two words, three words do not mean a full verse, documents that are largely's mark, or the
name used for the purpose for landscape, it can form Chinese characters fulfill an essay, poetry, also
appears extensive. On ceramic products, kanji are used to record the name of the land, the creator name or
product merit, besides, we also carry a full range of other content. We have a common characteristic
circular punctuation is not recommended as on paper. On some ceramic products have economic self-style
line breaks appear high station letters written to show respect.
So far, we have not seen the script typeface appear odd independent nature's mark. In this stage, a
few interlocking ceramic products in question Kanji script name when the land, the name of merit, or
product manufactured, typical of Bat Trang, Phu Lang TK XVI, XVII .
Nom XV century - XIX, in addition to traditional style (traditional style of kanji) are also used simplified
writing, or using abbreviated prompt to record the words mentioned above.
2.4 .1. Characteristics of Nom layout on ceramic products, ceramic products
On, consult the Nom appear as often as the worshiping objects (incense burners, incense ) and
appliances (Pore vases, bowls, plates, tea sets ).
On the censer, incense, Nom texts appear sporadic, interwoven with Chinese script used to write
the name or place of merit. The texts are usually arranged Nom bottom or sides of the base product.
On the home appliances, XVIII century - XIX Nom presented mostly independent and poetry,
most are located in the heart of the disc, a few are listed below the disk.
Nom on the vase, bowls, tea cups, teapots, bowls cigarettes (the map is known as the vertical
maps) are often present behind the product.
2. 4.2. Characteristics of texts Nom Nom
Document on the appearance of independence on ceramics, we are able to present a complete
meaningful poem, or a poem, verses, poems about landscape bay used to be product drawing above. Nom
on stage porcelain from the nineteenth century to the fifteenth century focused primarily on two main
product lines: Furniture-style set of imperial and feudal Bat Trang pottery. So far, we have not seen the
script typeface appear independent brand retail nature.
2.4.2.1. Characteristics of Nom layout on ceramics
On ceramic products Nom texts appear as often as the artifacts themselves Butcher (incense
burners, incense ) and appliances (vase , bowls, plates, tea sets ).
On the censer, incense, Nom texts appear sporadic, interwoven with Chinese script used to write
the name or place of merit. The texts are usually arranged Nom bottom or sides of the base product.
On the home appliances, TK XVIII - XIX Nom presented mostly independent and poetry, most are
located in the heart of the disc, a few are listed below the disk. Nom on the vase, bowls, tea cups, teapots,
bowls cigarettes (the map is known as the vertical maps) are often present behind the product.
2.4.2. 2. Classification and Nom Nom
featured on ceramic has many features not coincide with the script on paper, wood However,
when considering the structure of the script, each author based on specific criteria , plans divided into 4
categories, plans to split into 24 categories, each option has advantages and personal limitations. Nom on
ceramic has many features not coincide with the script on paper, wood However, when considering the
structure of the script, each author based on its own criteria, a plan divided into four categories, plans to
split into 24 categories, each option has its own advantages and limitations. In our classification above we
see Nom classification in the form of 10 categories in accordance with the script on a ceramic, porcelain
over.
A regular feature in the script is a lot of negative words can read, a word has many different
spellings. This one is easy to find on the ceramic products, ceramic, especially on porcelain, which are
considered civil known as the "street furniture". Unstable phenomenon appears not much on advanced
ceramic products, ceramic aka placed feudal imperial style, but on the civil porcelain interior, the three
stars, the relatively more.
- Signature Nom on ceramics while preserving ancient code word. Through the phenomenon: The
phenomenon started recording Nom Vietnamese ancient record Nom Nom Vietnamese alphabet neck and
neck TERM
On the record here are some characteristics of the script on pottery and porcelain that we just
presented , may be the problem we propose not cover the characteristics of the script on pottery, porcelain,
part of because our resources are not fully collected, also due to many interpretations, so the need for any
additional update later is essential. However, one thing that we believe that the problem Nom on ceramics
is relatively new and is also a relatively empty land. Therefore, to have a more comprehensive view, we
can hardly do in an early, one-way. Recognizing this should be the first step we would stop at these
issues.
2.5. Value of Nom scripts on ceramics from the fifteenth century - XIX.
The study of the possible words Nom Vietnam on ceramics from the fifteenth century - XIX not
only help classify, identify and generalize the most distinctive elements of the letters that passed to the
characteristics of each deed form will help us dating more specific as to the origin of ancient that the study
material, collection should be considered.
Values may be mentioned first is aesthetic and create value for antiques ceramic, porcelain, old
people are considered important because the kanji script and consider it as a hobby, so have the oral
tradition: "First words, binary thatch, clay, porcelain quartet" (pun Firstly, the second war games, crockery
play Tuesday, Wednesday play porcelain). Therefore, since the appearance of artifacts, texts have been
shown Nom mendacity, aesthetic rather than clarify meaning. On a lot of antiques Bat Trang, texts Nom
role decorations for products, namely on an antiques only texts in the frame with many different styles, in
addition no details other accessories included.
An artifact known as flawlessly meet the aesthetic value and material value, they must be "Japan,
Turkey, tam exam, magnetize" (First to the neck, the second must be logged strange, Tuesday shall have a
poetry fourth, have paintings). This is one of the values that the majority of collectors, especially the
antiques dealer recognized the Nom script on pottery and porcelain. As with the study of texts on ceramics
Nom, the value of self-Nom documents also reflected in many other ways.
Through Nom characteristics texts dating of artifacts: About datable through cultural
characteristics of self-Nom can see we have very high reliability, because the characteristics of texts on
ceramics , not fabricated porcelain, rarely duplicated displacement (engraving), a few are engraved after
product oven used to mark or record number. However, the characteristics of this typeface are easy to
recognize because the inscriptions do not eat into the inherent composition of the product, even with
cultural differences at the root of the product itself. For example, the word comes to features ratio can
appreciate antiques dating back to the second half of the eighteenth and nineteenth century, or the
structural characteristics of the path itself can get artifacts that belong to the Le Trung Hung
Many analysts have Research is of the opinion that, given the characteristics of the text can be
perceived characteristics of Chinese calligraphy Nom on ceramic. So, whilst speaking in the style, but
besides that there are many other subtypes. Like rabbits, Phuc letters on ceramic processing stage, the
natural and cultural. However, potters in Vietnam in general show much rather be writing many types of
writing. Each time the style in vogue a few style written through dating can write pretty accurate. For
example, the type of seal embossed letter a lowercase more prevalent in the latter half of the nineteenth
century, especially in the Bat Trang pottery
About localized products: The products reviewed on localized texts are very important
characteristics important, to avoid confusion for the line of ceramic, porcelain, thereby avoid being
confused between imitation antiques and antiquities. For example, sudden death style and architecture
itself, when it comes to these two characteristics will give us even thinking of localized product pottery
and porcelain products as mentioned Doai market. Pottery is Striking map of Bat Trang, Phu Lang
sixteenth century and seventeenth-century porcelain set type XVIII
Signature stamps appear on ceramic single word also appears valid only on porcelain. Can
porcelain two letters on this verse form letters should also be considered to help differentiate products for
the rapid and accurate. Or mention the word single stamps ceramic products are not any products typical
of Phu Lang, Tho Ha. Referring to the letter, the rate is still more typical of the style porcelain set of
Nguyen dynasty
comments feature will give us self-localized products enamelled tech. Loi said it was self-ceramic
products, more specifically, the Bat Trang and Phu Lang.
The above are a few values through cultural characteristics of self-Nom, the value may also
contain multiple and hidden deep inside each artifact, but immediate visible values through cultural
characteristics of Nom initial order we would be closing as just described above.
The researchers sum up the characteristics of self-Nom documents from the fifteenth century -
XIX, not only helps us to have more awareness of Vietnam Ceramic line of type, style, theme decor but
also helps we have more basis in truth assessment, fake antiques in terms of analyzing characteristics each
type of deed.
It can be seen from the XV century - XIX, Nom texts appear on ceramic rich from a few dozen
letters to words (common) or hundreds of letters (rare) . Most texts are expressed more in Han, Nom
appear less quantity. However, through the characteristics of self-Nom documents on ceramic Vietnam
this stage, in terms of presentation and knowledge we can see, the script was written mainly pay attention
to the balance of letters arranged more meaning is clearly written.
Look at the characteristics of self-Nom documents on ceramic phase from the fifteenth century -
XIX not only aims to systematize the Nom script which rich and complex, but also to explain in more
detail once again featured in many different aspects of self-Nom documents in specific stages can. In the
immediate future, what do we have tried our best resources in the framework of interpretations and
possibilities. This is just the first step we introduce an overview of typical Nom texts on ceramic Vietnam
XV century - XIX. Hopefully, in the future, we will continue to complement and further improvement in
the later works.
Chapter 3: THE CHARACTERISTICS OF THE CONTENTS OF OFFICE IN ORDER Nom
ceramic FROM XV-TK XIX
From very early Han texts were used for recording on ceramic. From the Tang and Song on
ceramic products, ceramic decoration appeared in texts, pottery artisans who often use the word meaning
auspicious Phuc, Loc, Tho to show the product Later on, when to turn Chinese texts, his father created
Nom Nom and gradually is used on ceramic products, ceramic, porcelain products is set type. By the time
Le, Trinh Nguyen, the artists have used texts Han - Nom ceramic as a definition becomes familiar and
close to the user. On Nom script content on pottery, porcelain has some simple division sum nature, the
complex nature detail, can be seen, until now, had split ways. But here, we are pleased to offer a separate
division
3.1. Texts dating back only to understand the chronology of kings or product produced.
Texts only on pottery dating from the XV century Vietnam to the nineteenth century is abundant,
we only include texts dating to offset the king, according to the deed can only dating, spending and texts
only dating combination between the two forms.
3.1.1. Texts dating only offset king
Document on dating just under the reign called dating (年号, reign title) is: King's name in place to
calculate the year [123/760]. However, when ceramics appeared on this deed only in production for
products or product reproducing antiques dating earlier similar effect.
Document on record dating follow generally takes the form of king's two, four and six letters. Type
two, four words appear on both ceramic and porcelain; six form letters appear on porcelain and more
popular. Chronology under cover of king king of China (usually dating to the Ming Dynasty, Qing) and
Vietnam (the most abundant is dating the Le - Mac and Nguyen).
3.1.2. Van itself can only follow detailed chronological record.
Chronology recorded in detail can also be called annuity ( 年 款, year mark) are: texts produced
only five of artifacts. When appearing on ceramics, texts often used can spend record production year. The
detailed chronology can usually recorded in the year to coincide with the dynasty porcelain, they have the
form: two and four letters.
3.1.3. Van itself can only follow detailed chronology dating combined with
king can follow detailed chronology dating combined with King on Vietnam ceramics from the
fifteenth century to the nineteenth century, though it's not rich but we also see a characteristics, a self-only
dating writing in this period.
It can be seen, texts dating only relatively abundant. However, according to dating dating king
combination ceramic date appearing on the main, according to the chronology can also spend more on
porcelain appear. This is one of the recognizable characteristics of ceramics from Vietnam XV century to
the nineteenth century.
3.2. Texts only museum where clause, paragraph and brand communications
3.2.1. Texts only visceral account
account Museum (藏 款, hall mark) is in use as preservatives, made to order products. Museum
only texts written accounts mostly bottom of the product.
3.2.2. Texts only just lost touch paragraph
Document on account of ceramics from the fifteenth century to the nineteenth century is abundant,
we used to only name givers, who wrote or called to order and the item title or only explaining internal
What kind paintings.
3.2.3. Texts only self-only brand brand
Van ( 商 号 , trade mark), is only about workplace texts, production facilities such products.
Document on the bottom are usually recorded items, rare items written on the body. Texts only on
porcelain brand is somewhat clearer pottery
3.3. Document on threads from
Proposal from (提 词, text), was used to write poetry texts, documents praised the scenery, human
emotions
3.3.1. Poetry, writing scripts
According to our statistics, currently there are 11 poems in porcelain Nom placed on the type and 7
TP Nom Bat Trang pottery, Phu Lang. And the works are introduced in this section.
3.3.2. Poetry, writing kanji
Poetry, writing kanji and richer diversity of poetry, script writing, from the type of content and
presentation. If the script is usually poems, verses, short sentences, characterized by the Vietnamese, the
Chinese characters appear more verses, poems, essays originating from China or from China areas. TP
Group
1: Poetry, written bay scenery and people.
In all the possible resources poet, writer Bay landscape, accounting for the number of people more
able to finance all the rest.
The first theme: landscapes Bay, winning achievement (胜景, 胜迹 咏)
Monday Topic: Gulf of painted marine scenes (山水 咏)
third theme: the quartet Bay (四 时 咏)
secondary thread four: Gulf quarter quarter (四季 咏) tomorrow, (spread, inter), (chrysanthemum,
line capacity), (architecture, spare).
fifth Topics: Bay Four people (四民 咏) to the bay from passive (四 趣 咏). TP Group
2: Poetry, writing philosophical, educational
This is the didactic poem about who's doing good, filial son, the king of light, the integrity or
philosophical about human TP Group
3: Poetry, writing about the Bay Area, the classic anecdote
Bay area, try the Chinese dictionary and Vietnam Typical
3.4. The value of the content Nom texts on ceramic XV century - XIX
Document on Han - Nom Vietnam ceramics from the fifteenth century - XIX reflects the basic
contents such as texts dating only, only annuity deed, deed only museum where clause, subject texts from,
texts only brand, but the value they bring is the most specific subject through texts bay. Van egotistical
Bay has highlighted the value of cultural content Nom self through topics such as: natural beauty praised
the country, praising the beauty of the people and the beauty of the human virtues, as Highlights
meditative and historical themes.
Value first and most universal through content Nom scripts are the views of the natural love of the
country, in most poems, Nom documents. On the pottery, porcelain, if only at the contents poet, writer
Han - Nom from verse forms or more, more than half of the verse, ode to natural beauty, the country. Not
just the writers to set your heart on topics praised "Jiang valid sequence number" that the king, he had a
more proud, Jiangshan love her more. Only the sleep to work on ceramic products through the
implementation of the National Lord Nguyen Phuc Chu King Thieu Tri and also reveals the pride and love
of his country, who can be seen as representative Meanwhile the country.
Through Nom script content on XV century ceramics - XIX, we see the details reflect dietary
taboo issues as well as the basis for the assessment of artifacts dating. On the porcelain of the coating
process provides direction are known as: South, North, East, Central. Private provision in the west to the
lord called porcelain Doai supply and on record, "the Interior Minister Doai", this is how cavalry
commander record Trinh Tac Tay King (1657 - 1682), the West has been the word princess Zheng
replaced by the word Doai. Because, according to the translation of cinnamon Doai west of Doai supply
should also be understood as the West provides the Trinh Lords.
Or as Bat Trang pottery on the word "United" in "United Radio field is still pretty sight," the word
"flower" diet taboo is written in a "Best Glasses with pen" This demonstrates pottery making about dating
Gia Long, Thieu Gia Long's reign began the diet taboo daughter named Ho Thi Hoa at 15. Meanwhile,
also on questions of Bat Trang ceramics "white flower yellow green II" is kept, indicating the products are
made in other periods.
Besides, Nom scripts also portrayed life in the contents through texts only museum content clause,
the Government of South, North, East, and Central Doai then had separate utensils, appliances the
government's own landscape drawings and poems express different threads bay. That is a testament to the
wealth and luxury within government. Through drawing blueprints and scripts on dragon phoenix
porcelain cabinet government researchers identified in Organic toys for the non-provision, the provision is
left in her place under the class concubines. Particularly Doai provide to us may be provided exclusively
for non Dang Thi Hue Declaration, because the scripts provided only museum Doai different accounts
with other offers and has a very personal subject, this person would have been more favored, the images
depicted on the graph is Doai scenery, real characters s government.
Through text content itself, we see the pervasiveness of Buddhism in people's lives and the
philosophy, the concept of Buddhism is reflected through the content on pottery, porcelain. The deed Han
- Nom self-health on the map just where much treasure account owned by temples and places of worship
as three security; those renaissance, the merits of various components of society, but most are still
nobility, royalty. Nom content on the world map sixteenth century, the seventeenth proved highly specific
for this problem.
To the eighteenth century, nineteenth, porcelain began nobility, the royal favorite, especially the
princess and the king of Cochin dynasty. The "small stuff, fan favorite" is promoted in the South. The
works "Tu Dung landscapes", verse four threads on the disk bay scenery as Bach Self drawing, painting
verses scene repartee between France and Thuan Ly Giac, the verses of the Holy Coast scenery painter of
King Thieu Tri , Phi Lai the scenery is the most obvious evidence.
It can be seen, spirituality and belief of people very rich and Vietnam Buddhist grave. Throughout
the history of the feudal state of Vietnam, Buddhism occupies a high position in the hearts of people and
can be seen here is one religion occupies unique position in this time.
The concept of longevity, happiness, and fortune quite bold on the ceramic works, if the
application to list the scripts to over eighty percent of these texts is the word life, and being part of the
word loc. Questions wishes, aspirations expressed this, please cite a case in the sixteenth century ceramics
have blessed speech as: "Long live the Emperor, peaceful heaven, they lack birth, aging, male being
female co-receptor "(old Emperor wanted, peaceful galaxy, beings men and women, young and old enjoy
the same report). Publications ceramic eighteenth century, the nineteenth cultural self-expression for
happiness, longevity is even better. The word life, happiness, fortune, longevity is quite common, the
desire to seek proven longevity is pursuing the issue from many generations of human beings as "Five-
being of First Life" is.
However, life is not long uphold opinion is the only living virtue, benevolent desire is also
reflected quite clearly through the content on the ceramic products, typically would include all
"Cockroaches Taizong cross numerator" and several other works on Bat Trang.
It can be seen, these values through deed Nom content on ceramic XV-XIX century many and they are
always fascinating to researchers in Nom script on ceramic dissection, introduced to the value of the
contents of this deed. However, in the framework of the thesis, we would be stopping at a few outstanding
value as above.
The above sum is a basic content of Nom scripts from the XV century - XIX that we have
synthesized and divide his way out with its own criteria. This is a divide in the overall system and criteria
that the authors have presented before. Surely, there are many ways to different interpretations of texts
contents are given later, but I think no matter how we divide the content matter how the ultimate goal of
the research is to clarification and more specific system of giving themselves. This proves Nom script
content on ceramic Vietnam XV-XIX century rich. But, despite this abundance, we have not seen (or not
seen) on a certain artifacts remain full all the characteristics of self-content documents mentioned above.
Often there is a combination of two or three types, but the most popular is a combination of two types of
styles: from dating to the topic, the topic of annuity or trademarks of threads from the This is a
characteristic own ceramic Vietnam XV-XIX century.
Chapter 4: SOME ISSUES ABOUT THE AUTHORS, AND CAN WORK IN CAN THO Spirit
Pottery FROM VIETNAM TO TK From XV century XIX
4.1. Author artifact issues ceramic
One of the problems in the process of self-study documents the Han Nom ceramics are the names
of artisans creating products and the origin of the product like? The author decodes the ceramic artifacts
will decode for many research questions that people want to know.
At this point, we have to learn and do better initially on the life of a career author ceramic artifacts
texts as threads Bay: 13 Bui Thi Hy through texts on Chinese vase ceramics in the Topkapi Saray
Museum, Istanbul 大 和 八年 南 策 州 匠人 裴氏 戏 笔 "bowl-aged Thai Hoa, South Asia Books, Bui
Thi human subjects Coliseum pen "(In Thai Hoa 8 (1450), in South Asia Books, Bui Thi Hy artists write /
draw / create).
One of the famous artist Bui in pottery and titles can not Bui Tuan mentioned. On the sole of the foot
lights at the Museum: 13780 LSB is written: 顺 安 府 嘉林 县 钵 场 社 社长 裴 浚 造作 (Tuan Bui
commune chief Bat Trang Commune, Gia Lam District, Phu Thuan An artifact) on the base plate lights at
the Museum: LSB LSB 13 773 & 13770 registered: 顺 安 府 嘉林 县 钵 场 社 生 徒 裴 浚 造作 (Born
Tuan Bui map Bat Trang Commune, Gia Lam District, Phu Thuan An artifact) on a lampstand at the
Museum: LSB 13519, write: 顺 安 府 嘉林 县 钵 场 社 裴 浚 黎 氏 瑾 造作 瓶 花 一座 (Bui Tuan and
Le Thi Near Bat Trang Commune, Gia Lam district, government buildings Thuan An artifact a vase ).
Also Bui Tuan Bui other artists they also signed his name on products made, typically on foot as
Bat Trang pottery lamp at the Museum: LSB LSB 12 842 & 13 779 artisans have been signed script name
as follows: 裴惠 裴氏 杜 造作 (Hue Bui, Bui Thi artifacts). At the foot of the lamp in BTMTVN: 2159-
G2-479, recorded: 嘉林 县 钵 场 社 裴 富 多 造 (Bat Trang Bui Phu Da commune, Gia Lam district
created). In a pair of candlesticks in Nam Dinh BT: NH88/SS72 and NH89/SS73 stating: 顺 安 府 嘉林
县 钵 场 社 裴 富 造作 (Bui Phu Bat Trang Commune, Gia Lam District, Phu Thuan An artifact).
The second is attention Dang Huyen Thong Dang Mau Industrial real name, self-Thong. Mr. Ward
was born in village, Hung Thang Commune, Thanh Lam, Nam Sach government, town of Hai Duong
(now part of Minh Tan commune, Nam Sach district, Hai Duong province); born in a village of Dao Xa -
An Thi district - province Hung Yen. He is one of not many ceramic artists sign their work, not only that,
in a number of artifacts, he also recorded the date and place of production, place the order and use. Some
of his work by his wife, Nguyen Thi Dinh and sign production. He was named artist of the most prolific of
ceramic works of the Mac remains to this day.
Van himself on the ceramic work by Dang Huyen Thong artifacts often parallels between himself
and suddenly the pond itself. Part of sudden death is often the language of sand as: 皇帝 万岁 天下太平
众生 长 少 男女 同 受 福 (old Emperor wanted, peaceful galaxy, beings and old, boys and girls are
blessed); family name, temples there are artifacts, such as 洪 福 寺 (Temple Hong Phuc), 福 隘 寺
(Temple Phuc Pass) The pond itself is often used to record the name of merit, the majority dating
history entrance of the pond itself, a few unexpected ways to use self
Particularly username, Dang Huyen Thong writing using both, he would continue to use the name
and the name itself comes with your username hometown for a few files He recorded the names of his
wife of the same name, the username of Dang Huyen Thong can find some form as: 青林 县 雄 胜 社 生
徒 邓 戊 业 字 玄 通 陶 作 (Partial map templates self Huyen Thong Hung Thang, Thanh Lam
fabrication); 南 策 府 青林 县 雄 胜 社 邓 玄 通 造 (Dang Huyen Thong Hung Thang, Thanh Lam,
government Nam Sach created); 邓 戊 业 字 玄 通 造 (Dang Mau sole Thong create), 青林 县 雄 胜 社
邓 玄 通 造 (Dang Huyen Thong Hung Thang, Thanh Lam create)
A Some artists create works of Bat Trang username on their products, more typical of Bat Trang
ceramic products may include Nguyen Phong Lai, Huang Niu, Du Fu, Do Huu Vi The products created
by artisans of this work is the product usually some people have power in the king, the lord
commissioned. Thus, texts are the artist uses to confirm enrollment in addition to products they create, the
longer texts to which artists are responsible for their products, these texts are often engraved ceramic
bone. Position username artisan artifacts often credited along side with inscription dating, for instance
texts on foot lights at the Museum: LSB 17250; LSB 13 781 & LSB 13771 reads: 锦江 县 义 闾 社 阮 丰
来 黄牛 造 ( Nguyen Hoang Phong Lai and Lu Niu people Nghia, Cam Giang district created) and this
product was named by 大 士 岸 郡公 法号 德 广 福 成 太长 公主 廓 (郭) 舍 社 各 士 买 瓶 花 (Duke
University Dr. Ngan, performance measures and Phuc Thanh Quang Duc growth along the false princess
Guo Xa commune buy vases ), or artifacts in Hanoi BT: BTHN 7340 stating: 黄牛 号 福宁 造 (Hoang
Phuc Ninh Taurus brand manufacturing)
Also, in Bat Trang artisans also handing them the lines, family. This imprint is quite evident in the
artifacts stored in museums, monuments family artisan Du Fu Bat Trang Commune artifacts, as artifacts: a
candlestick at the Museum: LSB LSB 13518 & 17250: 嘉林 县钵 场 社 杜甫 造作 (Coverage Bat Trang
Commune, Gia Lam District artifacts). Many artifacts are named Du Fu's wife, his son on products such as
lamp stands the Museum: LSB LSB 12 862 & 13530: 嘉林 县 钵 场 社 信 官 杜甫 造 屏 妻 阮 氏 本 男
杜春 闱 女 杜 氏 珣(Credit Du Fu the Bat Trang Commune, Gia Lam District create wife Nguyen Thi
Ban average, Vi Xuan son, daughter weekly chart). On foot lights at the Museum: 13775 LSB have essay
writing: 太保 陀 国 公 莫 玉 辇 福 成 公主 ( ) 本主 杜甫 造 并 娓 阮 氏 本 ( ) 杜春 闱 并 妻 黎 氏
玉 (Da Thai national security the Mac Ngoc Lien, Princess Phuc Thanh Du Fu master and create the same
average shoulder Do Xuan Nguyen Thi Vi The wife Le Thi Ngoc [do]). After this, Do Xuan Vi
successor heirloom artifacts and pottery products independently username my name as a candlestick at the
Museum: LSB 15 405, the Museum: LSB 13 778; BTMTVN: 513-G2-360 record: 钵 场 社杜春 闱 造
(Vi Xuan Bat Trang Commune created). BT Nam Dinh: NH 1495/ss502 钵 场 社 杜春 闱 造 从事 侍郎
讲 喻 武 邦 祯 (Do Xuan commune, Bat Trang Vi do [on the order of] the market Tong lecture hall
example Trinh Vu Bang)
Some artisans of ancient pottery village of Bat Trang username and ceramic products due to their
artifacts, on foot lights at the Museum: LSB 17 249, BTMTVN: 2175-G2-4985, stating: 霸 水 社 匠人 阮
俨 卖 (Potter Nghiem Nguyen Ba Thuy commune sale) or as artifacts in Nam Dinh BT: NH 92/SS. 76
wrote: 陈克廉 (Liem Tran Khac) in Hanoi BT: 10170 BTHN stating: 时 中 社 黄 福 造 (Hoang Phuc
commune Middle fabrication). On the censer at the Museum: 12819 LSB is written: 钵 场 社 僧 阮 克 遵
妻 陈氏 贶 造 (Increase Nguyen Khac Tuan Tran Thi Huong and his wife made in Bat Trang Commune),
the censer in Hai Phong BT: BTHP 1333/S68 , has written: 顺 安 府 嘉林 县 钵 场 社 黎 氏 开道 号 玄
珍 (Bat Trang Commune, Gia Lam District, Phu Thuan An, Le Thi Huyen Tran Khai direct effect
[manufacturing]) on censer at the Museum: 11238 LSB is written: 顺 安 府 嘉林 县 钵 场 社 黄 宋 造
(Hoang Tong Bat Trang Commune, Gia Lam District, Phu Thuan An fabrication)
On the username porcelain artisans also appear on the disc of the Nguyen Dynasty-style tea set
marked communication line paragraph: 昌 溪 杜 灯 甫 奉 制 (Do Dang Phu Khe Xuong commune par
fabricated liturgy)
The username artisans in many ceramic products, ceramic products proved this time has achieved
the fabrication process and high art, ceramic products when it is circulated widely at home and abroad.
Vietnam Pottery from XV century - XIX, especially Chu Dau ceramics, Bat Trang the Mac has many
products appear in texts clearly fabricated, and the name of the production order. Through texts showed
more people ordering high officials and nobles Mac as Princess Fucheng, deputy county public short code,
Ngoc Lien Da Mac Nations, the wife of U.S. national The order spread out over a large space includes
district government and the northern plains of North Central.
4.2 issue the author works through poetry, literature
One of the problems with Chinese texts - Nom on ceramics is the author clarifies and works on
every kind are considered. This question has attracted many researchers on ceramic, study of texts Han -
Nom and the study of literature, history
One of the author's works and their works are, First we must mention the verse Nom "Mai -
Cranes".
哓 嗷 �� 趣 烟 霞,
梅 罗 伴 旧 鹤 罗 �� 涓
According to scholar Vuong Hong Sen Mai Hac Nom verse by poet Nguyen Du ambassador to
China and brought home in the Rooster (1813). While, in an article in the Journal of Urban ancient
hospitality (BAVH) in 1929 by a French author, quoted Dac Ho Khai, a senior official of the Nguyen
Dynasty at that time said two sentences authors Nom poems on the king Nguyen Phuc Dinh Vien Binh
district, son of Emperor Gia Long. Also, in Hue also a popular alternative theory that the deputy
ambassador to the embassy Dinh Thanh release in 1819 was the author of two poetry Nom.
We used to think that this is exactly the verse by Nguyen Du, but the broader survey, we found,
not only verses appear on ceramic stoneware that on the whole, Bronze. So this verse is probably exactly
the product of folk? Moreover, as we learn poetry Bat Trang Nom, Nom verses on the large format
ceramic vases are Alexandrine verse and is the product of folk.
An author and also have much more work is self-administered question landscapes ( 思 容 胜景),
taken from the excerpt from the stop valve (思 容 晚) Legend composed by Dao Duy Tu. Essentially all
users still have to Tu Dao Duy Tu or not there is no final answer. In our opinion, the correct word is still
possible by Dao Duy Tu writing, because external reasons Dao Duy Tu good about music should be
compatible complaints about the language in Justice user still has more in common with the works Dao
Duy Tu is shown. Moreover, tea plate Nom poems are set in the style of the Nguyen that wrong Wang
(Nguyen Phuc Nguyen 阮福源 , 1613-1735) very dear and trusted resource Duy Tu; later, the Nguyen
lords are considered Dao Duy Tu every sense of the Founding Fathers. Moreover, with the praise of Lord
Nguyen Dang Trong, Southern Scenic overlook the galaxy and in the northern Trinh it would fit well with
the view of Dao Duy Tu
In addition to poetry, the poet Han Nom was also existing username author, one of the authors
highlight the Act's (道人). About brand name of "Director's" three authors notably Vo King Nguyen Phuc
Khoat 阮 福 阔 (1714-1765) meant that from the health director's 慈济 道人, second author is China
Princess intelligent king Nguyen Phuc Chu 阮 福 淍 (1675 - 1725) was God who directed human
performance 天 纵 道人, Hsuan Hsu Nickname 玄虚 道人 director and author who finally Nguyen Phuc
Hong 阮福洪 泳 Bay's leading brands such as 如 如 道人.
The three of you are great writers of literature and have grave Inner Buddha. However, the author's
Like As directed, we confirmed he was not the author of the poetry on the porcelain has username
"Director's letter." Because he lived in the latter half of the nineteenth century, while the ceramic artifacts
belong pseudonym on the eighteenth century. Thus, two other authors notably Khoat and Nguyen Phuc
Nguyen Phuc Chu. Username Hsuan Hsu's guidance, we believe that the work of Nguyen Phuc Chu.
The username works "Director's letter" is most of the previous studies is confirmed by Nguyen Phuc Chu,
but we found insufficient basis. However, we share the view, the username widgets have this in place by
the Nguyen lords hand made. These poems are usually poems any aphasia, a poem written in ten lines, the
first line is the title, eight lines of text and a communication line in the last paragraph poem username:
Director's letter (道人书). The poetry of his aphasia any kind placed on porcelain also found: Thien Mu
common understanding 天姥 晓 钟 (Bell soon Thien Mu); Ai Linh spring forth 隘 岭 春云 (May spring
on Ai Linh); Pros Pattern 顺 化 晚 市 market (Cho Thuan Hoa-way); Tam Thai court hearing 三台 听 潮
(Play Tam Thai waves) Ha Trung Yen 河 中 烟雨 dancers (Ha Trung Cloud of smoke).
In the composition of the Nguyen had a problem that many people argue that the word "越南", as
"越南冲要此山巅" and "越南亦有潇湘景".
We said that the two words " 越南 " here not only national brand that brings the country's only
"over south". Because according to the use the word Vietnam was chosen as the official name of the
country in 1804, under King Gia Long. Book Nam record is written: "February (year Giap Ti - 1804), on
Thin Trade, (Emperor Gia Long) away prices to scribes. Date posted in the first quarter of Thai King
Temple named the Province of Vietnam. Report lunar day brought the Thai Temple. The Mass is ended
kings in adoration of electricity celebrate holidays. Down in the external projection announcement ".
Moreover, in some ode to beauty, mountains, rivers, National Lord Nguyen Phuc Chu also said the name
was the only Vietnam and praised the beautiful scenery in southern Vietnam which, like all: God is her
royal self 御 见 天 姥 寺 have questions:
越 国 之 南 兮 佳 水 佳 山 male Vietnam national expenditure not, period stage hydraulic leveling 宝刹
之 壮 兮 日 照 禅 关 Page not murdered, Rizhao
meditation Southern Vietnam pitch water, beautiful mountain river beautiful
magnificent Temples pitch, the sun shining in all of God
Or: Cases Haimen first tour 思 容 海 门 旅 次 of Le Thanh Tong (黎圣宗), have questions:
混一车书 共 幅员,
海云 横 界 越南 天.
mixture handmade paintings most remote park,
Vietnam Hai Van raging natural world.
Sardines EMG a common plane boundary Hai Van Nam About John
Regarding poetry dwells on ceramics processing not only interested Nguyen Phuc Chu. Later, King Thieu
Tri 绍 治 it also tastes. However, Thieu Tri does not typically name after each poem. Currently, a number
of King Thieu Tri poems still stored on the disk as all tea: Hydrology paint (翠云山) and an untitled post.
Both poems are taken from the winning essays paint area ( 云山 胜迹) is one of the 20 poems composed
by King Thieu Tri to praise 20 scenic land neurologic examination Neurology II Watchtower Bay ( 神 京
二十 景诗 咏) consisting of 7 and 13 natural scenic landscapes artificial or artificially combined with
nature's Sleep to contest scenic map file ( 御 题 名 胜 图 会 诗 集 ).
The poetic works of Han - Nom ceramics often chronicles the familiar works. However, a recognizable
trait in the work of Han - Nom ceramic which is the difference (variants) compared to the work. This
feature is visible on the product deed over deed Han Nom. Characteristics of this variant is one of the
unique features of texts Nom, Nom ceramic Vietnam. The works of folk genres, often appears on pottery,
which we can not find work in accordance folk on porcelain. The files are copied from the poem the
author's name appears on both ceramic and porcelain.
4.3. Spirit of poetry through ceramic, porcelain
spirit may appear from Song Dynasty, the first Legend of creating this type of poetry is Su Dongpo
(1037-1101). Spirit can be understood as a kind of philosophical self individual, each branch of the letters
after the full back, bring a poem that content writers wanted to convey. It is also regarded as a kind of
puzzle should also be called "Picture the contest" 形 意 诗; "ME contest" 谜 象 诗 or "Monster-yourself"
怪 字 诗. Taiwanese people are familiar with these two terms are "soy bean implementation" 图象 诗 and
"Visual examination" 视觉 诗. This kind of poetic mystery concept "Certainly nurse, of spiritual self-
realization" 以 意 写 图, 令人 自悟 (taking the draw, leaving others to understand). That is, draw a graph
composed by letters according to their idea of the letters that help the reader understand the author's
private thoughts that give rise to new viewers. Since then, the human spirit helps open new so-called spirit
can. A key feature of it is the method used "primary narcissism Figure, pen petrified least, the location
counter, polio secret archives" 字形 大小, 笔画 多少, 位置 正反, 排列 疏 蜜 (large baby-shaped, less
strokes, positioned words, reverse letters, quick little layout) to display text Currently, techniques for
writing poetry to all types of spirit main use: easy words, opposite words, big words, small words, short
words, long words, scrambled words, italic, dim, bold, word breaks, word broke However, we have
transformed certain implications purpose is poetry. Spirit can be classified into 5 categories: Self 字句 类
sentence type (type of attention the letter); polio type 摆列 类 (note type arrangement); necropsy 嵌字 类
type (type of attention with words) , Tu from 修辞 类 type (type of rhetorical attention); Journal 杂 言 类
language category (type of complex language).
Spirit can place special: first, a word can express all the attention, usually a word can take two or
three letters, sometimes directly into a verse. Second, as each one will be independent in a form, but when
combined with other words, through the arrangement of letters that will achieve the required written
statement. Third, be taken to imply, the nature of the puzzle, so the viewer can not access the actual text to
present the solution. Fourth, the article will be showing the four superb limericks, or aphasia relatively
fixed four superb traditional classical poetry
The first, direct image description text as: General, sub 大小: big, little, rough, 粗细 world: raw,
small, Nung, protein 浓淡: dark, light, scene, sketch 长短: long, short, obese, alligator: 肥瘦 fat, thin;
drilling, responsible 宽窄: wide, narrow, segments, continue 断续: off, immediately; methods, natural,
park 方 扁圆: square, flat, round Depending on the nature of the text to read exaggeration.
The second, directly describe the orientation and position as: Upper, Lower 上下: up, down, high,
dike 高低: high, low, left, right 左右: left, right, monitoring, deviant 侧斜: immediately short, inclined
outwards; main, contrast 正反: prose text, text upside down, crazy, island, horizontal 颠倒 横: tilt, roll,
horizontal
The third type, is more or less sharp, set.
Only write half of the parts, you can read the letter three letters, such as letters of the English
language 语 no 吾, read: 无 言语 numerous languages, words can not save the aquatic 流, read: 水 空
waterway traffic 流, no word from the center 田 思, read: 无 心思 from heartless
The fourth type is the color used to write letters, this kind of color reading that word, as: Hydraulic
绿 水 , pink 红 日 update, royal dragon
黄龙 However, not all poems are spirit to full convergence of reading as we've presented, but it can be
stated with each poem spirit may then at least have some chance at least three expressions. To illustrate in
more detail, we have introduced two poems according to the spirit of tea placed on two discs of the
Nguyen dynasty style.
RESEARCH CONCLUSIONS AND DIRECTIONS
NEXT is our thesis through research than 1017 artifacts ceramic - porcelain Vietnam lies in a
number of national museums, local, private collections and some pictures artifacts through a few
published works. Among these, we found some other information with original artifacts dating as
characteristics described some kind or mistranslated words we tried in the ability to interpret texts
completed for 1012 objects, 04 objects have not done with reason too blurry texts, artifacts 01 notes
solution, add text but still not satisfactory because of artifacts found broken or lost pieces. Therefore, we
will add the following specific.
However, initially we have generalized the features most basic texts Han - Nom ceramic Vietnam
XV-XIX century. As can be seen, texts on ceramic Vietnam and soon appeared less affected, how many
words to express manipulated texts on ceramic China. Thus, self-study documents Han - Nom ceramic
Vietnam XV-XIX century has seen the development alongside research texts on pottery, antique China
porcelain. However, texts on ceramic Vietnam has very particular characteristics which do not appear on
any line of ceramic of a country other than Vietnam, which is writing the script and Chinese characters in
a way of the Vietnamese, like other errors (variants) compared with the work, written from left to right,
pair dating This is a key to identify ceramic Vietnam with ceramic other countries. That means, when
the self-study documents Han - Nom, the researchers also by the forms such as category, semantics, how
to write, how to present The self-study documents Han - Nom bring information very reliable, because
they are not being counterfeited, engraving, or three stars, as losses on the books, Bell, Independence and
stone monuments.
There have been many studies deed Han - Nom ceramic appeared, each one stage, the study
authors at different levels, but their contribution to the system of Chinese literature - Nom on ceramic
Vietnam is very much appreciated, even initially works only for introduction and simple translation but
brought a new perspective on the material system Han - Nom ceramic Vietnam that period.
Han-Nom Studies texts on ceramic Vietnam XV century - XIX has achieved rapid development
and formed an important system documentation sufficient to demonstrate cultural issues, civilization,
literature and historical village issues, history of trade, diplomacy Contributing shed additional light on
the issue of authors, works as phenomena Cases for landscape work of Dao Duy Tu, the poems of King
Thieu Tri the author's username Act
Although the term identifier characters Han - Nom notes on ceramic have multiple views, such as:
"Test Subject" (诗 题), "I still" (铭文), "performance problem" (号 题), "the letter" (文字), "calligraphy,
calligraphy" ( 书 法 , 书 画 ), but we have come to the view "the letter Han - Nom" and that the
appropriateness of the term. As the term implies the characteristics of the scripts Han - Nom, such as
writing, block letters, letters
Features can create shapes of letters writing "Binh self", "self-Pond", " Suddenly self "and" self
Architecture ", each form has showed us a few lines characteristic of ceramic products, ceramic XV
century - XIX when considering at the level of shapes to create text effects. But in fact, this type appear on
a product, they not only appear detached, but also interwoven to create form "self noise", such as the pond
itself - sudden death, disease and death - sudden Also, average self - self-pond, the pond itself - self-
construction on a product
The five main body text: can grow, be quick, be Khai, Sports, Action. Regular mail stamps can be
used as sleeping on the dignity and meaning not a full verse, writing. In addition, the letter can be used as
practice for sleeping on the dignity and prerecorded poetry and culture scene. Messages can be revealed
using abundant and diverse on both ceramic and porcelain, it has demonstrated superior properties of
ceramic products. Sports letter, is widely used in ceramic, porcelain XVIII century and is marked private.
Variety of letters can be displayed on all ceramic. Feature
Han and Nom scripts: there is no punctuation, such as periods, commas, suggest no type
uppercase italics. On some ceramic products have appeared worship style line breaks by high radio text,
expressing reverence. In addition to the traditional way of writing simplified, abbreviated, written
quotation, prompt the user to write letters are also used. The study documents the characteristics of self
Han - Nom XV century - XIX, not only helps us to have more awareness of Vietnam Ceramic line from
the type, style, theme decor but also helps us a step further assessment artifacts in terms of analyzing the
characteristics of each type of texts.
With Nom brought a very specific definition ceramic Vietnam, it represents a new ethnic pride of
officialdom in feudal dynasty Vietnam then. Although, the majority expressed Nom focuses on ceramics
in the products of the seventeenth century, XVIII and XIX, but showing that the basic characteristics of
the script on pottery and porcelain, as well as special signs of our times.
Looking broadly, from the fifteenth century - XIX, texts Han - Nom appear on ceramic rich from a
few dozen letters to words (common) or hundreds of letters (rare). Most of the scripts are shown in Han,
Nom appear with fewer numbers. However, through the characteristics of the scripts Han - Nom ceramic
Vietnam this stage, in terms of presentation and modality, we see, the deed is written mainly pay attention
to the balance sorted written word is more ambiguous.
Poetry, writing scripts on ceramic, porcelain, though it's not huge in number but they are shown to
be more content and features the very own ceramic Vietnam and create a pure Vietnamese style which is
difficult and in ceramic other countries. Poetry, writing kanji diverse and abundant than poetry, script
writing, from the type of content and presentation. If the script is usually poems, verses, short sentences of
the author Vietnamese, Vietnamese folklore, the Chinese characters appear more verses, poems, essays
originating from China or from the typical China area However, only those able to work according to
folk songs appear on pottery, very rare (or not seen) appeared on porcelain. In contrast, the works of other
resources can appear on both ceramic and porcelain materials.
The contents of self Han - Nom is expressed through various types: texts dating only, texts only
annuity, deed only museum where clause, subject texts from, texts only cover brand and spending
information content of the documents themselves Han - Nom from the fifteenth century to the nineteenth
century that we have synthesized, divided according to their interpretation with its own criteria. This is a
way of dividing the overall system and criteria that the authors have presented before. Surely, there are
many ways to interpret the contents of another order came after this, but we do think, though dividing the
content matter how the ultimate goal of the researchers to clarify and more specifically their writing
system launched. This proves script content Han - Nom ceramic Vietnam was a piece of land needed to
explore more.
The authors studied ceramic artifacts, over 13 texts on Chinese ceramic vases in Topkapi Sarayi
Museum, Istanbul, Turkey, we see, there are two different viewpoints: Ba Tang Heng authors assert Bui
Thi artists such as Greece, a number of researchers as they Bui wrote the play. In this regard, we can not
conclude the thesis research and will continue to be concluded in the appropriate time. However, the
authors of ceramic artifacts most typical username Dang Huyen Thong is the most characteristic, the work
product he has created identities, such as not using and writing complex Simplified, gray and blue glazes
are usually self Butcher, deed recording his username is very full Besides, a number of authors to create
works of ceramic, porcelain and pottery of the village are also shown, especially in the Bat Trang artisans.
In Bat Trang artisans while handing the lines of their family, especially the family artisan Du Fu.
The authors explore the ceramic artifacts have provided information about people, products, issues
related to villages, professional organizations, trade history, diplomacy. Besides, also showed particular
characteristics of each line of ceramic, enamel and water features ceramic texts on each line, each artisan
pottery artifacts
About the author related to poetry on pottery, we believe, verse Nom "Mai - Cranes" of the product
can belong folk. This verse Nom accounted for the variant record, write wrong and bad, wrong order form
and layout arrangement verse. As compared with the variant version is also one of the featured works on
ceramics Nom Vietnam and expressed through work on the product. Typically, most can see right word
landscape works of Dao Duy Tu, we initially confirmed Dao Duy Tu is exactly the author of this poem
because of the factors as discussed above.
The username works "Director's letter" was most researchers is confirmed by Nguyen Phuc Chu,
but we found insufficient basis. However, we share the view, the username widgets have this in place by
the Nguyen lords hand made. These poems are usually poems any aphasia, a poem written in ten lines, the
first line is the title, eight lines of text and a communication line in the last paragraph poem username:
Director's letter. However, in the composition of the Nguyen had a problem that many people argue that
the word "Vietnam - 越 南 "; many authors suggest that, since the only two international brands in
Vietnam. However, we believe, two from "越南" here carries the only "pass to the south".
In verse dwells on ceramics processing in addition to the king of the Nguyen Thieu Tri hobby that
also. However, Thieu Tri does not typically name after each poem.
The subject of poetry on pottery is shown as an interesting play on words, but the most
characteristic of poetic wordplay can not be any more poetic spirit 神智 体. Spirit may appear from the
Song Dynasty, the legend who first invented this type of poetry is Su Dongpo. Spirit can be understood as
a kind of philosophical self individual, each branch of the letters, then the opportunity to bring full content
to write a poem that people want to convey. In this section, we introduce the spirit of poetry through two
works featured on dynasty style porcelain set.
The study documents the characteristics of self Han - Nom ceramic period from the fifteenth
century - XIX not only aims to systematize the deed Han - Nom capital rich and complex, but also to
explain once more be characterized in many different aspects of texts Han - Nom in each stage specific. In
the immediate future, what do we have tried our best resources in the framework of interpretations and
possibilities. This is just the first step we introduce an overview of specific texts Han - Nom ceramic
Vietnam XV century - XIX. Hopefully, in the future, we will continue to complement and further
improvement in the later works. Through the thesis, we propose some ideas after:
