(Luận văn thạc sĩ) doi son cultural space, duy tien district, ha nam province luận văn ths khu vực học 60 31 60

VIETNAM NATIONAL UNIVERSITY, HANOI
INSTITUTE OF VIETNAMESE STUDIES AND DEVELOPMENT SCIENCES
-----------------------------------------------------

TRAN KIM CUC

DOI SON CULTURAL SPACE,
DUY TIEN DISTRICT, HA NAM PROVINCE

MASTER’S THESIS
Major: Vietnamese studies

Hanoi-2012


VIETNAM NATIONAL UNIVERSITY, HANOI
INSTITUTE OF VIETNAMESE STUDIES AND DEVELOPMENT SCIENCES

-----------------------------------------------------

TRAN KIM CUC

DOI SON CULTURAL SPACE,
DUY TIEN DISTRICT, HA NAM PROVINCE

MASTER’S THESIS
Major: Vietnamese studies
Code: 60 31 60

Supervisor: Assoc.Prof.Dr.Lam Thi My Dung

Hanoi-2012


ACKNOWLEDGEMENT
First of all, I would like to express my gratitude and deepest respect to
Assoc.Prof.Dr.Lam Thi My Dung, my supervisor, who enthusiastic instruct and
conveysbasic knowledge to me, as well as contributes valuable ideas to help me
complete this thesis.
I would like to sincerely thank the Management Board, the teachers, and staff
of the Institute of Vietnamese Studies and Development Sciences, Vietnam National
University. They have created the best conditions for me to participate in the learning
process and complete successfully my MA course.
I am also thankful to the People’s Committee of Doi Son commune for creating
the best conditions for me to complete my research trip. I would like to especially
thank Mr. Le The Quan (one leader of People’s Committee of Doi Son commune), Mr.
Dinh Van Nuong (one leader of Doi Tam village, Doi Son commune), Mr. Thich
Thanh Vu (monk of Long Doi Son pagoda), Mr. Pham Chi Khang (one of two experts
of Doi Tam drum village) that enthusiastically provide me information and statistic
data during my fact-finding time.
I would like to express my sincere thanks to the people of Doi Son commune for
their enthusiasm in supplying me information during my field work in these areas.
Finally, I would like to thank my family and friends who always care, share,
motivate and encourage me.

Hanoi, Date: 09/05/2012
Sign

Full name
Tran Kim Cuc

COMMITMENT
I hereby declare that the researched results in this thesis are absolutely honest.
Information and results published in this thesis are my researching work. If there is any
shortcoming, I will bear all responsibilities before the training unit and the law.

Hanoi, Date: 09/05/2012
Sign

Full name
Tran Kim Cuc


TABLE OF CONTENTS
LIST OF OF TABLES ..................................................................................................... 3
LIST OF FIGURES ......................................................................................................... 4
PREAMBLE .................................................................................................................... 5
1. Reason for selecting the topic ............................................................................... 5
2. Sciencetisic signification and graptical signification ............................................ 6
3. History of research ................................................................................................ 6
4. Object and Scope of Study .................................................................................. 13
5. Purpose and study methodology ......................................................................... 13
6. Structure of the thesis .......................................................................................... 14
Chapter 1: THE FORMING FACTORS OF DOI SON CULTURAL SPACE ............ 15
1.1 The theory of cultural space ................................................................................. 15
1.2 Approaching Doi Son cultural space .................................................................... 19
1.2.1 The natural elements ...................................................................................... 19
1.2.2 Conditions of history and residents ............................................................... 23
1.2.3 The socio-economics conditions ................................................................... 27
1.2.4 Political-Economic-Social Center ................................................................. 34

1.2.5 The combination of material and spiritual culture......................................... 38
1.3 Sub-summary........................................................................................................ 39
Chapter 2: THE SPECIFIC CHARACTERISTICS OF DOI SON CULTURAL SPACE
........................................................................................................................................ 40
2.1 The specific characteristic of material culture ..................................................... 40
2.1.1 Overview of material life ............................................................................... 40
2.1.2 Housing .......................................................................................................... 40
2.1.3 Cuisine ........................................................................................................... 43
2.1.4 Water source .................................................................................................. 44
2.1.5 Monuments .................................................................................................... 46
2.1.6 Cultural House ............................................................................................... 57
2.2 The specific characteristics of spiritual culture .................................................... 58
2.2.1 Overview of spiritual cullture ........................................................................ 58
2.2.2 Customarys .................................................................................................... 59
2.2.3 Community Festivals ..................................................................................... 64
2.2.4 Religions and beliefs...................................................................................... 69
2.3 Sub-summary........................................................................................................ 74
CHAPTER 3: DOI SON CULTURAL SPACE IN SON NAM CULTURAL SUBAREA ............................................................................................................................. 76
3.1 The name“Son Nam” and “Son Nam cultural sub-area” .................................. 76
3.1.1 Place name “Son Nam” ................................................................................. 76
3.1.2 The delmitation of Son Nam cultural sub-areas ............................................ 78
3.2 Son Nam culture in Doi Son culture .................................................................... 80
3.2.1 Natural and socio-economic conditions ........................................................ 80

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3.2.2 Culture ........................................................................................................... 84
3.3 Differences of Doi Son cultural space in Son Nam cultural sub-area.................. 91
3.4 The position and role of Doi Son cultural space in Son Nam cultural sub-area ..96

3.5 Sub-summary........................................................................................................ 98
CONCLUSION .............................................................................................................. 99
1. The general conclusions ......................................................................................... 99
2. Some problems ..................................................................................................... 100
3. Some recommendations ....................................................................................... 101
REFERENCES............................................................................................................. 103

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LIST OF TABLES
Table 1.1: Table of planting rice of Doi Son commune (Unit: ha). (Source:
Reports of Doi Son commune about planting rice over the years from 1996 to 2011)
Table 1.2: Table of raising of Doi Son commune (unit: con). (Source: Reports
of Doi Son commune about raising over the years from 1996 to 2011)
Table 3.1: Structure of the economic of Son Nam sub-area in 2010 (unit: %)
(Source: Reports of the provinces in 2010)

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LIST OF FIGURES
Figure 1.1: The Map of Doi Son commune ()
Figure 3.1: The Map of Son Nam sub-area in four defence areas of Thang Long
capital ()

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PREAMBLE

1. Reason for selecting the topic
Nowadays, when the life becomes more modern, much traditional values have
been eroded. However, the true culture values will still exist and develop forever.
There are many cultural studies are implemented and our thesis is one of them. We
would like to help people to understand more about a small part of Vietnamese culture.
In Doi Moi period, our Party very appreciated the field of Art- Culture and saw
it as an important tool in ideological work. Our Party concentrated on building an
advance culture but respecting the national character. The research of Doi Son Culture
will help people to understand more about this place, which contributes to promote the
national culture and reserve the national ancient foundation.
Cultural Space is not a new sector in cultural research. Scientists still study to
unite the concept of cultural space. At present, the studies of local cultural space are
not much; so that the Study of Doi Son cultural space could add more neccessary
knowledge about a new cultural space to the abundant diverse cuture of Vietnam.
Then, we can give an overview to complete the process of scientific research about
cultural space. The writer expects to bring the full knowledge about Doi Son cultural
space, forming factors, the region of absorbtion and diffusion, etc. to all readers.
Doi Son is the land brings many precious cultural values inside. However, even
local people who is living here does not know about the values of archaeology, history,
culture of Doi Son. There were no real studies about this region, just some basic
knowledge. Therefore, Doi Son culture needs to be researched carefully, objectively
and completely as a real cultural space.
The writer was born and grown up in Ha Nam province having some knowledge
about native culture. With the love of country and the passion of cultural learning, we
decided to implement and explore this subject. We look forward this thesis can provide
an overall and multi-dimensional view about “Doi Son cultural space”.

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2. Sciencetisic signification and graptical signification
Sciencetisic signification: Cutural space research in general and regional culture
research in particular is a meaningful work. Regional culture is a kind of cultural space.
And the diversity of regional cuture is the most typical in the diversity of cuture. Doi
Son cultural space research will help us to know cultural zoning exactly and orient the
process of cultural research.
Graptical signification: Cultural space research will contribute to increase
awareness, inherit and develop the local traditional culture in the modern society. This
is a great meaningful doing for the life of Doi Son people today.
Doi Son cultural space reflects many aspects of belief, custom, habit, thought,
emotion and soul’s depth of people. Research of Doi Son cultural space will affirm the
traditional values that Doi Son people have created and preserved for many
generations. Moreover, it also contributes to promote Doi Son cultural space to other
regions in the country.
3. History of research
*History of cultural space study
*In the world: Cultural space has been mentioned for a long time. However,
until late 19th century and early 20th century, the scientific theories of cultural space
appeared in the world.
In the second half of the nineteenth century and early twentieth century, L.
Moocgan and E. Taylor were leaders of evolutional school; the book “Xã hội cổ đại”
by L. Morgan was published in 1934, the book “Văn hóa nguyên thủy” by E. Taylor
was published in 1939. Two authors mentioned directly the cultural similarities and
differences. Through the materials on myths, kinship systems and some other cultural
phenomena, they had initially explained the cultural similarities starting from the
common origin as well as the exchange and interaction among nations.
In the late nineteenth century and early twentieth century, theory of cultural
diffusion in Western Europe appeared, including three major schools: culture- history

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in German- Austrian , “age and area” in North America, cultural diffusion in the UK.
The theories went into the aspects of interaction, cultural influences, especially from
the diffuse center to the places, creating the dynamics of cultural development. This
book represents the “Khuếch tán- Đại từ điển Bách khoa Xô Viết” by Perxik AI,
published in 1972. Theory of cultural diffusion in each school offering its own opinion,
but are intended as Perxik wrote, “to explain the development of culture and
civilization is not an independent evolution, but the original or even by borrowing or
by the cultural achievements of the migration of the ethnic make up” [36, pg. 28].
Early twentieth century, theory of American cultural area appeared, with two
representatives who were CL. Wisler, A.L. Kroeber. The typical book is “American
Indian” of CL. Wisler, published in 1922. According to this theory, the culture of each
ethnic group was formed in the course of history associated with a natural
environment, certain social. Studying a cultural region must research from a
combination of cultural factors, they combine into a unified whole can not be
separated. Theory “cultural center” is a region of power absorption, diffuse large
culture, affecting more peripheral areas. This is one of the most important points in CL.
Wisler’s theory of cultural area. He said the culture in center always bear the more
typical characteristics than culture outside the center. This theory was considered a
significant advance of scientific knowledge with issues of cultural similarities and
existing space of cultural factors.
The theory of cultural- historical region was born in the first half of the
twentieth century with the representation is MGLevin, NN Trebocxarop. This book
represents the “Dân tộc, chủng tộc và văn hóa” by N.N. Trebocxarop, published in
1971. They introduced the concept of cultural- historical region. Accordingly, the
similarities in geographical environment, the original and historical relationship
between ethnic groups are conditions for the formation of common characteristics.
Cultural characteristic of the cultural- historical region is a set of cultural elements
linked organically together. They are showed clearly in material culture and spiritual

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culture. They said that cultural-historical region is a historical category, which forms
and changes in different historical periods. They also divided the cultural-historical
levels, they are: domain, region, subregion, area, sub-area.
Born in the early twentieth century was the theory of socio-cultural (Russia),
with representatives SP.Tonstop, MG Levin, N.N. Trebocxarop…the theory of sociocultural of Soviet scholars in “Type of economy -culture and history-ethnography
region” of Levin MG and Trebocxarov, published in 1955. This theory explains the
phenomenon of cultural convergence. They introduced the concept of socio-cultural
“an overall economic and cultural characteristics formed in the history of different
people, at the same level of economic- social development and living in the same
natural geographic environment” [55, pg. 169].
Through the cultural theories above, we find these theories and schools reflect
the evolution of human awareness of cultural space, that means the cultural similarities
and differences. The theory of the cultural region has started from the conception of the
evolunists and propagators. After that, the theories of cultural forms and the cultural
area of American anthropological schools, especially the cultural-historical theory of
Soviet school had made shapes and completed the theory of cultural region. This
theory has recognized the cultural issues on the basis methodology of dialectical
materialism and historical materialism. It was initially viewed the cultural phenomena
in the relationship with economic- social foundation and in specific history of each
nation, each region. This was an important step in the process of awareness and
explanation the cultural similarities and differences among different communities and
regions.
*In Vietnam, the issue of cultural space research is the development through
other stages. It started from feelings and original ideas to the formation of scientific
concepts, which is really a long road.
Firstly, the distinction of the common and different points among regions started

from the popular consciousness. In the folk songs, there were sentences such as “Ăn

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Bắc, mặc Kinh” (eat like Northern people, wear like Vietnamese people), “Cầu Nam,
chùa Bắc, đình Đồi” (South bridge, North pagoda, Doai temple), etc to talk about
specific characteristic of certain sites. The first record related to region cultural
awareness is the geography books of Confucian scholars such as “An Nam chí lược”
written by Le Tac, “Dư địa chí” written by Nguyen Trai, etc. Geography books
recorded the topography, climate, population, politics, produce, transport, culture,
traditions, etc. of a commune, district, region, etc. In these books, authors focused more
on cultural characteristics of each region afterwards, athough they were still at
rudimentary level.
From 1970’s so far, the region cultural space (existing space of culture or
cultural elements) expressed through collections and researchs of cultural works. In
theory and method, we should localize to collect folklore first. By the late 70 th century
and 80th century, the folklore and culture researchers discussed broader about the
folklore regions, the folk arts, the cultural region and the cultural zoning.
Today, there are many works about cultural space in Vietnam. Professor Tran
Quoc Vuong and Professor Ngo Duc Thinh are known as people who understand and
have great contributions in this segment. The first people who researched cultural
space in basic is Ngo Duc Thinh. He is a passionate author in cultural space, in which
cultural region is the centre. The books “Văn hóa vùng và phân vùng văn hóa ở Việt
Nam” published in 1993 and republished with modify and supplement in 2003 is the
outstanding research on regional culture in both cultural space theory and specific
characteristics of each regions in Vietnam.
When “Cơ sở văn hóa Việt Nam” published, the author Tran Quoc Vuong
spent the final chapter to write about the cultural space. He divided the cultural regions
different from Ngo Duc Thinh. Although in this section, the author uses many

materials from the book “Văn hóa vùng và phân vùng văn hóa ở Việt Nam” but it
expressed the scientific thinking, research methodology of author. That is the thinking
of cultural studies in both diachronic and synchronic. In addition, he also released the

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book “Việt Nam, cái nhìn địa văn hóa” in 1998 with the approach culture from the
perspective of local culture. The author also presents his notion of cultural space in his
book “Văn hóa Huế trên dặm (đường) dài lịch sử ”, printed in the Central Culture
and Art, Cuture- Nation Publishing House, published in 1998.
*The history of Doi Son cultural space research
Doi Son is referred in “Đại Việt sử kí tồn thư” (author Ngo Si Lien). It was in
987, King Le Dai Hanh went to Doi Son to plough field and confiscate lands. During a
long period, Doi Son was not mentioned in any cultural works. In modern time, Doi
Son began to be mentioned in the studyings. However, this region’s culture has been
learnt at a poor condition, there isn’t a real work researching about Doi Son cuture
which just named in some studies.
The book “Nghệ thuật múa rối nước” written by To Sanh, published in 1976:
The author is a Vietnam’s leading expert on water puppet art. In this book, the author
presents the factors, the origin, etc of this kind of art. He mentioned the Sung Thien
Dien Linh stone stele, which was the earliest document of this kind of art.
The book “Văn hóa vùng và phân vùng văn hóa ở Việt Nam” (Ngo Duc
Thinh, published 1993 & republished 2003): This is the excellent scientific work about
the Vietnam cultural region, which was used as textbook in university and postgraduate
schedules. But, the authors only mentioned Doi Son pagoda and Sung Thien Dien Linh
tower as the relics of Ha Nam Ninh province.
The book “Việt Nam, cái nhìn địa văn hóa” (Tran Quoc Vuong, published
1998): This is a work studies from the perspective of geographic culture, including
articles on the culture of different places. In this book, the author had written about

Chau river- Doi mountain. The author mentioned the history of the mountains forming
in Ha Nam province in general and Doi mountain in particular, the marks of the
gravestone- boat and the bronze drum found in Duy Tien district. In which, Chau River
and Doi mountain are mentioned as a prominent cultural entity. This is also the feeling
of the leading historian, the cultural researchers of Vietnam about this homeland. He

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said Doi Son is the place where discovered the most undamaged skulls of ancient
people in Dong Son - Au Lac - Viet civilization, with boat-shaped wooden coffins
were dated by C14. It is the first book on cultural studies writing about Doi mountainChau river. However, the author has not studied in depth about various aspects of this
cultural space.
The book “Hà Nam, di tích và danh thắng” published by Department of
Culture and Information of Ha Nam province in 2003: This is the book recorded a lot
of Hanam’s monuments and landscapes in three parts: the archaeological ruins,
historical-cultural monuments, landscapes. This is the most complete record of Doi
Son ever, which had introduced about the burial area in Doi Son, Sung Thien Dien
Linh stele, the Kinari statue, the Diamond statue, Di Lac Buddha statue. However, the
book includes the list only, not analyses of of Doi Son’s cultural factor, nature, social,
history, cultural objects, etc. inadequately and deeply.
The book “Chùa cổ Việt Nam” written by Vu Ngoc Khanh in 2006: This is a
very thick book written about the pagodas in Vietnam. The pagodas are listed and
described by provinces, but Ha Nam province was not included there in. However, Doi
Son pagoda was classified in the category of Nam Dinh province. The book was
published in 2006 but the author did not corrected exactly Doi Son pagoda belonged to
Ha Nam province. Content of each pagoda is just brief introduction or outline about
location, history, some typical vestiges of pagoda, which is similar to the introduction
on some tourism websites.
The book “Văn hóa phong tục” (written by Hoang Quoc Hai, published in

2007): This book is a record and opinions of the author on cultural life, beliefs and
customs of Vietnam. Besides some articles on The Royal cult, ancestor worship ..., the
author has written an article on “Plough festival”. This is a beautiful tradition existed
from ancient times, the author presented the history of ceremony, the situation of
ceremony in other periods and dynasties. The article written on some sudden

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inspiration of author when thinking of a beautiful ancient tradition. However, the
article also provided information on Tich Dien ceremonies through other periods.
The book “Tuyến điểm du lịch Việt Nam” (written by Bui Thi Hai Yen, 2008):
The book introduced Vietnam’s tourist destinations. In which Doi Son is mentioned in
the line of Hanoi-Ha Nam-Ninh Binh-Thanh Hoa-Nghe An-Ha Tinh, in part of Ha
Nam’s tourist sight. The author introduces Doi Son as an attractive tourist site with
special geography and famous Long Doi Son pagoda.
The book “Nghệ thuật múa rối dân gian” (Nguyen Huy Hong, 2010): A
research in detail of puppetry with separated articles related to puppetry. There was an
article written about Long Doi Pagoda, because Long Doi Son Pagoda has associated
with water puppetry of Vietnam. This also described briefly about pagoda’s history,
Sung Thien Dien Linh stele, some relics left in the pagoda such as stone steles,
Diamond statue, Kinari statue.
The article “Long Đọi Sơn- mùa lễ hội” written by Chu Binh printed in Ha
Nam Newspaper No.2195 in 2011: written about the origin of Long Doi Son pagoda
festivals, history of construction, activities in festival, some relics in pagoda. This is
one of numerous articles in some small newspapers related to Long Doi Son Pagoda.
Some other books we do not list, but they have only a sketchy study of Doi Son
culture. Information about Long Doi Son Pagoda and the relics are also posted
unspecifically on several websites of travel, history, religion for the purpose of
promoting tourism mainly.

Reviewing the articles concerning Doi Son, Doi Son has not been studied
deeply and evaluated its adequate value. The authors only considered Doi Son as a
place with Long Doi Son pagoda, Sung Shan Dien Linh stele and some relics in the
temple. Recently, Doi Son is mentioned more from two events: Recovering Tich Dien
Ceremony in 2009 and Reproducing Sung Thien Dien Linh stupa from 2010. However,
the studies see Doi Son as a cultural space haven’t been created. The articles about Doi
Son is rather sketchy, less material.

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We are the followers who appreciate deeply the research achievements of the
predecessors. Inheriting the precious materials of previous works, the subject of “Doi
Son cultural space” would like to bring an overall document, most completed material
about Doi Son as a “cultural space”.
4. Object and Scope of Study
*Object of Study: Doi Son Cultural Space, including the formation factors of
cultural space, the combination of typical physical and immaterial cultures of Doi Son
culture space.
*Scope of Study
Space: Doi Son commune, Son Nam subregion.
Time: The whole process of formation and development of Doi Son cultural
space, then and now.
5. Purpose and study methodology
*Purpose of study: Subject aims to identify the forming factors of Doi Son
cultural space, outstanding and decisive factors and the main characteristics of Doi Son
cultural space.
In addition, the purpose of study is to identify the common and private features
of Doi Son cultural space, compared with Son Nam cultural space-a vast cultural space
encompassing the whole cultural space of Doi area.

*Study Methodology: In order to achieve the research objectives, we've
incorporated some different research methods.
Firstly, the method of materials collection: survey the written sources in
archived centers, libraries of the University of Social Sciences and Humanities,
National Library, the library Vietnamese Institute Nam and scientific development,
library of Ha Nam Province, the media communication including magazines,
newspapers, online newspapers, etc. In addition, we use local resources as “Lịch sử
Đảng bộ tỉnh Hà Nam” (Party History of Ha Nam Province) and “Lịch sử Đảng bộ
xã Đọi Sơn” (Party History of Doi Son commune), and reports from localities.

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Secondly, practical methods, includes approaching the cultural objects, joining
festivals and quick interview, questionnaires for local residents in Doi Son commune.
The third method is qualitative and quantitative analysis of practical data,
combine with comparison some cultural phenomena in Doi Son to other sub-regions
and cultural zones.
6. Structure of the thesis
Apart from the preamble, conclusion, references, the thesis consists of three
chapters:
Chapter 1: The forming factors of Doi Son cultural space
Chapter 2: The specific characteristics of Doi Son cultural space
Chapter 3: Doi Son cultural space in Son Nam cultural sub-area

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Chapter 1: THE FORMING FACTORS
OF DOI SON CULTURAL SPACE

1.1 The theory of cultural space
1.1.1 The concept of cultural space
In Vietnam, research of cultural space has appeared for a long time. However,
the theories of cultural space are not much. In which, Prof.Ngo Duc Thinh had
contributed much to this field, including theoretical aspects of cultural space and the
cultural characteristics of each region.
There are many different understandings about cultural space. Depending on
their own points of view, researchers determine the content of cultural space and
appropriate approaches respectively. In Vietnam, the clearest awareness about cultural
space is in the study written by Tran Quoc Vuong and Ngo Duc Thinh.
According to Prof.Tran Quoc Vuong, a cultural region is a whole - the system, a
cultural space with a structure - the system including the sub-system in the way of
system - analysis. For example, Hue is a cultural region, as a structure- system
including the sub-systems with “unique” characters such as “Hue language”, “Hue
chanty”, “Hue music”, “pháp lam Hue”, “Hue Citadel”, “Hue tombs”, “Hue city”,
“Hue pagoda and temple”, etc [48, pg. 59-60]. Thus, Tran Quoc Vuong considered
cultural region as a system including many sub-systems that have unique and specific
characteristics of this region.
In the book “Văn hóa vùng và phân vùng văn hóa ở Việt Nam” republished in
2003, Prof. Ngo Duc Thinh added a lot of theories about cultural space.
He asserts that two basic categories of culture are space and time. “Time reveals
how does a phenomenon or a combination of cultural phenomena arise, exist and
change under the impact of natural environment, history and society; it answers the
question When?. And Time reveals that a phenomenon or a combination of cultural
phenomena comes into being and exists in a certain geographical space, it answers the

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question Where?”[36, pg. 11]. Space factor is expressed as the unique and various

category of culture, Time factor is expressed as the traditional and changeable category
of culture. These two categories are also two paradoxes of culture. Cultural unity in the
space is expressed under the below the diversity. Cultural sustainability is expressed
through the changings.
Ngo Duc Thinh has released the concept of cultural space with concrete
meaning and abstract meaning.
In concrete meaning, “cultural space is defined as a specific geographical
space, where a phenomenon or a combination of cultural phenomena arise, exist,
change and link together as a system” [36, pg. 12]. Meanwhile, Ngo Duc Thinh also
stated that "in the concept of "cultural space" also means the geographic location of a
cultural phenomenon or a combination of cultural phenomena captured in the
relationship with other phenomena or combination of cultural phenomena” [36, pg.
13].
In abstract meaning, cultural space is defined as a “magnetic field” (borrowing
the concept of physics), referring to a phenomenon or a combination of phenomena (a
culture of ethnic, nation or area) has capable of receiving and spreading (the effects),
creating for this culture a wide or narrow cultural space (magnetic field). [36, pg. 14].
Thus, Ngo Duc Thinh’s concept of cultural space includes concrete and abstract
meaning. In general, cultural space is defined as the specific geographic space in which
a phenomenon or a combination of cultural phenomena arise, exist and change. It
includes all the elements of nature and society formed the cultural characteristics of
that space. Moreover, the cultural space also includes the similarities and differences,
the acceptance and diffusion of culture in a defined coordinates. The study of cultural
space, especially the territorial culture needed to be studied about geographic space
where cultural phenomena arise, exist and change, learned the cultural characteristics
of regions and the acceptance-diffusion of that culture.

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Although two perceptions of the cultural space of Tran Quoc Vuong and Ngo
Duc Thinh are different in the ways of definition but same approach seeing culture as a
system of many sub-systems linked closely in time and space.
1.1.2 The concept of cultural region, regional culture.
When introducing the concept of cultural space, Ngo Duc Thinh also offers the
concept of cultural space types. He said culture could be divided into four types:
personal culture, community culture, territorial culture, ecological culture.
According to study results of Ngo Duc Thinh, Regional culture is the common
cultural characteristics of a communities who living in the same geographic space,
natural environment, social environment with cultural exchanges.
Ngo Duc Thinh introduced the concept of territorial culture (regional culture):
“Territorial culture or regional culture is a cultural form, in which, in a defined
geographical space, the communities by living in a similar natural environment, social
development conditions, and especially the relationship of lively cultural exchange,
have established the special common cultural characteristics in the long history” [36,
pg. 18].
The concept of cultural region of Ngo Duc Thinh: “The cultural region is a
region where has similarities in natural environment, the residents have long original
and historical relationships with the same level of economic-social development, the
cultural exchange and affection between them has formed the common characteristics
in physical and spiritual cultural habits, which helps to distinguish the other cultural
regions” [36, pg. 84].
Regional culture is a type of cultural space, in other words, a combined-culture
in which common cultual identities between people groups have been formed due to
long-termed cultural exchanges. Territorial culture (or regional culture) is different
from ecology culture, community culture that require being distributed over a certain
geographical space.

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Cultural region is one of grades zoning cultural region. According to Ngo Duc
Thinh, levels are partpation as follows: District, region, sub-region, area, sub-area, etc.
In term of style, it reflects the levels from wide to narrow, from general to particular. In
term of content, it contains, reflects the richness and diversity of unity and cultural
differences of the regional culture.
In conclusion, the concepts of “regional culture”, “cultural region” also
complement to the concept of "cultural space". In the world and in Vietnam, regional
culture and cultural region has always been considered a important research direction
of cultural space.
1.1.3 The factors create cultural space
According to the concept of Tran Quoc Vuong: “One of factors which
motivated the development of culture is the natural-social condition. The natural,
historical, social condition of each region is different. These differences will create
other cultural characteristics” [45, pg. 208]
Based on the cultural region of Ngo Duc Thinh’s concept [36, pg. 84], the
factors which established cultural region including:
 The natural environment and production: indirect impact.
 Tradition and historical origin: long-term and sustainable impact.
 Population-ethnic components and language: making the original
consistency.
 Political- Economic- Social Centers: playing the roles of arising,
enhancing and diffusing.
 The development of Society and Economy: defining the characteristics of
the regional culture.
 Cultural exchange and interaction: is key factor in the system.
There are many factors which create the cultural space. Each certain cultural
space plays a major role, quite exceptional different.

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1.2 Approaching Doi Son cultural space
This thesis approaches Doi Son cultural space on these sides: the factors create
cultural space, cultural characteristic and the abilities to receive and diffuse. Doi Son
cultural space will be presented as a combination of culture composed of many
components with the note emphasizes some main parts and factors.
Firstly, in chapter 1, we approach the factors which created Doi Son cultural
space. When studying about this, we only approach the elements that have important
roles in creating Doi Son cultural space.
1.2.1 The natural elements
1.2.1.1 Geographical location
Doi Son commune located in the south-east of Duy Tien district, Ha Nam
province. The North is adjacent to Yen Nam commune (Duy Tien district). The East is
adjacent to Van Ly commune (Ly Nhan district). The West is adjacent to Tien Ngoai
and Tien Hiep communes (Duy Tien district). The South is adjacent to Chau Son and
Tien Phong communes (Duy Tien district).
At the present, Doi Son commune includes 7 villages: Doi Nhat, Doi Nhi, Doi
Tam, Doi Tin, Doi Linh, Doi Trung, Son Ha. The villages locate side by side and near
the mountain. Doi Son commune’s length is 2.5 kilometres. In 2005, the total of Doi
Son’s area is 611.48 ha. In which, agricultural land is 435.13 ha; residential area is
35.47 ha; cultivated area is 375.75 ha.

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Figure 1.1: The Map of Doi Son commune ()
Doi Son commune is located into the mountain, far from the highway. Doi Son
commune is separated from Chau Son commune (Duy Tien district) with a very broad
field about 2 kilometres. It’s separated from Yen Nam commune (Duy Tien district) by

in a small ditch and Van Ly commune (Ly Nhan district) by Chau Giang river. From
the highway, people can access Doi Son through two ways: going from Phu Ly city to
Cau Tu bridge about 9 kilometres, then continueing to go about 2 kilometres is Doi
Son commune area; or, the second way is going from Dong Van town go to Doi Son
commune about 8 kilometres.
So, Doi Son’s geographical space is a isolated area, like a private valley which
located deeply in the mountains. This land seems to be wild and mysterious, which

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makes Doi Son like a isolated area with ancient culture. These traditional
characteristics of culture have been remained until now.
1.2.1.2 Topography
Topography is one of the factors affecting the formation of regional culture.
Plain terrain, mountain, plateau, or coastal defined and left a deep impression in the
cultural life and cultural nuances of the region. For example, water environment
contribute to create the “ghe bầu” cultural of the central part of Vietnam; mountain
environments is also one of elements making the mysterious Central Highlands culture
with great epics.
There has the long Doi mountain, stretching on the length of the commune. Doi
mountain looks like a huge dragon which lying in the middle of the plain valley. From
a distance, Doi Son commune looks like touching in the mountain. People lived next to
the mountain. Doi Son commune has Chau river which flows through the east of
commune. Doi mountain and Chau river are considered as symbol of Ha Nam
province.
In the book “Lịch sử Đảng bộ tỉnh Hà Nam”, “The mountain of Ha Nam
province was formed in Mesoproterozoic, late Trias Age about 200 million years ago.
According to geological data, generated by the mountain-forming on Nhi River banks
which broke Red River and the subsidence in the central plains; so that the rest is

formed of mountains of shale or rock samix such as Doi mountain, Diep mountain, Ke
Non, etc” [2, pg. 10].
Thus, Doi mountain is formed by tectonic movement about over 200 million
years ago. Doi mountain located in the middle of Doi Son commune, about 400m
height. Doi Son has beautiful Chau river which consolidated silt to the fields. A creek
of Chau river flowed through Doi Son commune known as Thien Mac river. It is the
waterway connected between Nhi Ha River (Red river) and Ninh Nguyet River (or Day
river).

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