Admire 18 National Treasures Unveiled for the First Time

On January 10th, the National Museum of History held its first exhibition of 18 Vietnamese national treasures, allowing visitors to explore the historical and cultural stories of the nation.

Let's take a look at 18 of the 118 national treasures on display this time. The exhibition runs from January 10th to May 2017.

Hoang Ha Drum

Hoang Ha Drum:Bronze material (Dong Son culture), dating back approximately 2000-2500 years. Recognized as a National Treasure of Vietnam in 2012. Discovered in Noi Thon hamlet, Hoang Ha village, Phu Xuyen district, Ha Son Binh province (now Hanoi). The Hoang Ha bronze drum is a typical H1 type drum, with a unique design and decorative patterns that are still relatively intact. The large size of the Hoang Ha bronze drum makes it a special specimen, classified in the same group as the Ngoc Lu bronze drums, the most representative group of drums.

Dao Thinh Pagoda

Dao Thinh Bronze Jar.The Dong Son culture dates back approximately 2000-2500 years. It was recognized as a National Treasure of Vietnam in 2012.In the Dong Son culture, bronze jars are representative artifacts after bronze drums and are mainly found only within the distribution area of ​​this culture. Among the hundreds of jars discovered, the Dao Thinh jar is the largest, with the richest, most intricate, refined, and unique decorative patterns.

Lamp shaped like a kneeling person.

Lamp in the shape of a kneeling human figure (Bronze).The Dong Son culture dates back approximately 2000-2500 years ago.The decision to recognize it as a Vietnamese National Treasure in 2012. The lamp depicts a bare-chested man wearing a loincloth, kneeling, with both hands holding a lamp plate.

The kneeling human-shaped lamp is a unique artifact, representing typical and distinctive ancient art from the late Dong Son culture period, showing interaction with Han culture. The lamp demonstrates skillful casting techniques and reflects the aesthetic and cosmological perceptions of the ancient inhabitants of this period. Therefore, the kneeling human-shaped lamp deserves to be considered for inclusion in the list of National Treasures.

Statue of two men carrying each other while playing a flute.

Statue of two men carrying each other while playing a flute.(Copper)The Dong Son culture dates back approximately 2000-2500 years. It was recognized as a Vietnamese National Treasure in 2012.

This is the most vivid statue in the Dong Son system of round sculptures. The statue depicts two men wearing loincloths, headscarves, and large earrings that touch their shoulders. The man carrying the woman is bent over, his arms wrapped around her back, supporting her as if dancing to the music. The woman being carried is engrossed in playing a flute. The statue is rendered in a hollow block, with many angles and curves, requiring complex casting techniques. Therefore, the statue is not only evidence of a traditional folk music form originating from the Dong Son culture, but also reflects the rich spiritual life, optimism, and love of life, as well as the high level of bronze casting skill of the ancient Vietnamese people.

Ngoc Lu Drum (Bronze).The Dong Son culture dates back approximately 2,000–2,500 years ago.

Decision to recognize a Vietnamese National Treasure in 2012.

Discovered in Nhu Trac commune, Ly Nhan district, the drum was later moved to be worshipped at Ngoc Lu village communal house, Ha Nam province. In 1902, the drum was collected by the Far East Institute of Archaeology. From 1958 to the present day, the Ngoc Lu bronze drum has been preserved and displayed in the main exhibition system of the National Museum of History.

The Ngoc Lu drum belongs to group A, type I Heger. It is the most beautiful, intact, and harmoniously shaped of the Dong Son drums discovered. Its decorative patterns are incredibly rich, perfect, and exquisite. Besides geometric motifs, there are also bands and bands depicting realistic scenes of processions, masked parades, call-and-response singing, drumming, rice pounding, images of harvest houses, stilt houses, warships with warriors performing sacrificial rituals, and images of animals such as deer and birds. Through these, we can see glimpses of the material and spiritual life, scientific thinking, and natural world of the time.

The Ngoc Lu bronze drum, with its distinctive features mentioned above, is not only the highest expression of bronze casting technology but also a product of labor and a typical work of art showcasing the intellectual prowess and creative talent of the Dong Son people. It is a clear and concentrated manifestation of the Red River civilization and has become a symbol of the survival of the Lac Viet community.

The "Imperial Decree Seal" (Gold).During the Nguyen Dynasty, in the 8th year of Minh Menh's reign, 1827.

Decision to recognize Vietnamese National Treasures in 2015

The seal has a knob shaped like a coiled dragon. The back of the seal is engraved with two lines of Chinese characters: "10-year-old gold, weighing 223 taels and 6 coins" (approximately 8.3 kg) and "Made on an auspicious day in the tenth month of the 8th year of Minh Mệnh's reign." The face of the seal is embossed with four characters in seal script: "Sắc mệnh chi bảo" (Imperial Seal of Mandate).

The seal was used to issue imperial decrees to civil and military officials, as well as to bestow titles upon deities and individuals. As a unique artifact, symbolizing the power of the Nguyen dynasty, it holds special value in the collection of Nguyen dynasty gold treasures currently preserved at the National Museum of History.

Admire 18 National Treasures Unveiled for the First Time

Canh Thinh Drum (Bronze)During the Tay Son dynasty, in the reign of Canh Thinh, 1800

Decision to recognize a Vietnamese National Treasure in 2012.

The Cảnh Thịnh bronze drum is a unique artifact within the complex of Vietnamese bronze drums. Its design is distinctive, mimicking the traditional drum made of animal hide. The main decorative motifs are embossed with the Four Sacred Animals, symbolizing a peaceful and prosperous nation, a harmonious society, and the Dragon-Horse carrying the River Diagram and the Divine Turtle carrying the Luo Shu, two symbols representing the origins of the I Ching – the East Asian philosophical thought on the laws of change.

Another special value of the Cảnh Thịnh bronze drum lies in its historical documentation. The inscriptions on its body indicate that the drum was cast in the leap month of April of the 8th year of Cảnh Thịnh during the Tây Sơn dynasty (1800) at Chùa Cả (Linh Ứng Temple), also known as Chùa Nành, in Ninh Hiệp commune, Gia Lâm district, Hanoi today. Notably, a long inscription of 222 characters explains the reason and purpose of casting the drum, mentioning that Mrs. Nguyễn Thị Lộc, wife of the Grand Eunuch Giao Quận Công, in the 2nd year of Vĩnh Hựu during the reign of King Lê Ý Tông (1736), contributed to the construction of Linh Ứng Temple. In remembrance of her contributions, the people of the commune collectively contributed their labor and money to cast the drum and other religious artifacts to offer to the Buddha, preserving them and reminding future generations to always remember the merits of their ancestors.

Vase with swan design (Blue and white ceramic).During the early Le Dynasty, 15th century

Decision to recognize Vietnamese National Treasures in 2012

This is the largest and most intact vase in the collection of unique artifacts excavated from the shipwreck of Cu Lao Cham, Hoi An city. The vase is tall, with a bulging shoulder and a slender, graceful body. The decorative patterns are divided into seven bands covering the body from mouth to base. The main band, occupying the largest space in the middle of the vase, depicts a landscape with four swans representing the legend of "Flying, Bright, Happy, and Eating": one with outstretched wings, one with its neck raised calling, one with its head tucked under its wing sleeping, and the other foraging for food. This is a play on words and symbolic imagery used by the ancients to convey wishes for advancement, a bright future, wealth, and abundance.

The early Le Dynasty was a glorious period of development for ancient Vietnamese ceramic art. Ceramics from this period were not only rich in glazes and diverse in types and styles, but also featured vibrant decorative patterns. Contemporary ceramic products established a strong reputation and actively participated in international trade.

The golden seal "Great Viet Kingdom Nguyen Lord's Eternal Treasure"During the Le Trung Hung period, in the 5th year of the Vinh Thinh era (1709), the seal measures 10.84cm x 10.84cm; is 1.1cm thick and 6.3cm high. The seal is shaped like a king, with a knob shaped like a lion playing with a ball. The left edge of the seal's back is engraved with the Chinese characters "Ke bat thap kim, luc hot tu lang, tu tien tam phan" (translated as: Total gold of eight years, weighing 6 ingots, 4 taels, 4 tien, 3 phan).

The seal "Seal of the Disciples' Hall" (Bronze).During the Tran Dynasty, in the 5th year of the Long Khanh era (1377)

Decision to recognize Vietnamese National Treasures in 2012

Discovered in 1962 in Huong Giang commune, Huong Khe district, Ha Tinh province. The seal is square-shaped, with a three-tiered base and a knob shaped like a stone stele. The right side of the seal's back is engraved with the Chinese characters: "Mon Ha Sanh An" - seal of the Mon Ha Sanh. The left side of the seal's back is engraved with the characters "Long Khanh Ngu Nien Ngu Nguyet Nhi Thap Tam Nhat" - made on May 23rd, the 5th year of the Long Khanh reign, during the reign of Emperor Tran Due Tong (1372-1377). The seal's face is square, cast with four characters in seal script with the same content as the characters on the right side of the back: "Mon Ha Sanh An".

The Mon Ha Hall was one of the highest central administrative agencies during the Tran Dynasty, established by King Tran Minh Tong (reigned: 1314 - 1329) in the second year of Khai Thai (1325) to replace the Hành khiển ty in the Quan Triều Palace under the Nội Mật Viện (Inner Secretariat). This was a close agency of the king, responsible for keeping the royal seal, transmitting the king's orders to officials, receiving petitions to the king, and handling ceremonial matters in the palace. The officials in this hall were all high-ranking ministers. The "Mon Ha Hall seal" was used to stamp important administrative documents of the court starting from the reign of King Tran Phe De (reigned: 1377 - 1388) onwards.

To date, there have been few discoveries of bronze seals from the feudal dynasties of Vietnam. The "Mon Ha Sanh An" is the bronze seal with the clearest content and the most specific date related to the central administration history of the Tran dynasty.

The bell of Van Ban Pagoda (Bronze).During the Trần Dynasty, 13th-14th centuries

Decision to recognize Vietnamese National Treasures in 2013

This is the oldest, largest, and most majestic bell of the Dai Viet civilization. The bell's handle is adorned with a two-headed dragon-shaped ornament. The bell's body is divided into eight sections separated by raised ridges. The bell's mouth is cast with a double lotus petal motif. The bell has six striking knobs shaped like fully bloomed lotus flowers.

The bell's body is inscribed with Chinese characters that speak of those who contributed to clearing the forest and expanding the land to establish Van Ban Pagoda: the ascetic monk and the lay Buddhist Dai O; and those who donated land to the pagoda: the brave and valiant Imperial Guard Nguyen Van Kip and his wife Chu Thi Trai, along with his brother-in-law Chu Lam. Notably, the inscription reveals the bell's origin, having been donated to the pagoda by a high-ranking official. The inscription also admonishes future generations to cultivate merit by preserving the pagoda, preventing its destruction, and ensuring that the incense offerings are not neglected. The proceeds from the donated land should be used for religious ceremonies and ancestral commemorations.

Bells are a valuable source of information for studying the history and culture of Vietnamese Buddhism in general, and the Tran Dynasty in particular.

Brown-glazed ceramic pots:During the Tran Dynasty (13th-14th centuries), the jar has a mouth diameter of 35cm, a base diameter of 34cm, and a height of 57cm. This brown-glazed ceramic jar was discovered while digging a well at the Tran Temple area (Tuc Mac village, Loc Vuong ward, Nam Dinh city in 1972). The jar has a plump, round shape, a sturdy form characteristic of Tran Dynasty ceramics, a wide mouth, a cast iron rim, and a raised relief of lotus petals in two layers.

Vo Canh Stele (Sandstone).Champa culture. 3rd – 4th centuries.

Decision to recognize Vietnamese National Treasures in 2013

This is the oldest surviving stele in Southeast Asia. The stele is a cylindrical stone block with Sanskrit inscriptions on three sides. It is the oldest surviving stele of the ancient Champa Kingdom. The inscriptions, written in ancient Sanskrit, provide valuable information about the history of the Southern Champa Kingdom. The inscriptions also indicate the early introduction and strong influence of Buddhism in Champa.

Viet Khe Boat Tomb

The Dong Son culture dates back approximately 2000-2500 years ago.

Decision to recognize Vietnamese National Treasures in 2013

This is the largest hollowed-out tree trunk coffin among the hollowed-out tree trunk coffins, also known as boat-shaped coffins, discovered in Vietnam. Inside the tomb were 109 burial artifacts, mostly bronze, including weapons, musical instruments, tools, and household items.

This is the largest and most well-preserved boat tomb, containing many rare burial artifacts of the Dong Son culture, serving as a valuable resource for studying traditional crafts and the history of class formation in Dong Son society.

Nam Giao Electric Stele (Stone).During the Le Trung Hung period, the 4th year of Vinh Tri (1679)

Decision to recognize Vietnamese National Treasures in 2015

The rectangular stele, with its curved, semicircular top, rests on a three-tiered rectangular base. The top border is carved with a double dragon motif flanking the moon, surrounded by carvings of dragons, phoenixes, clouds, peonies, chrysanthemums, double Bodhi leaves, and auspicious cloud patterns. The base is surrounded by relief carvings of a dragon-horse and floral motifs. The stele's face is inscribed with an account of the renovation and repair of the Nam Giao Chieu Su Palace.

The Nam Giao stele is one of the most valuable relics remaining from the Nam Giao Altar in Thang Long. It clearly reflects the historical significance of the Nam Giao Temple and the Nam Giao ceremony in Thang Long, the largest ritual of the Ly, Tran, and Le dynasties to worship Heaven and Earth, praying for favorable weather, peace, and prosperity for the nation.

Prison Diary

"Prison Diary" is a literary work consisting of 133 poems in Chinese characters, composed by Ho Chi Minh during his imprisonment by Chiang Kai-shek's government in Guangxi (China) from 1942 to 1943.

Throughout "Prison Diary," we see the image of Ho Chi Minh, a communist prisoner, as embodying "great wisdom, great humanity, and great courage," always brimming with patriotism, unwavering will, and a high degree of determination to fight for the freedom and independence of the nation.

Draft of the "National Call to Arms for Resistance"

Decision to recognize Vietnamese National Treasures in 2012

This artifact is of exceptional value, related to a momentous event in the nation's history, and closely connected to the life and work of President Ho Chi Minh. "The Call to Arms for National Resistance" not only holds immense historical significance but also possesses profound humanistic value and linguistic merit in Vietnamese. With two simple, easy-to-understand, yet subtly heroic and spirited pages, the call to arms expresses the thoughts, will, and feelings of the entire Vietnamese nation as it embarked on the nine-year protracted resistance war against French colonialism.

The Revolutionary Path

Decision to recognize Vietnamese National Treasures in 2012

"The Revolutionary Path" is a collection of lectures by Comrade Nguyen Ai Quoc during his revolutionary activities in Guangzhou (China) from 1925 to 1927, secretly published and distributed to Vietnam by the Propaganda Department of the League of Oppressed Peoples of East Asia.

"The Revolutionary Path" is a creative application of Marxist-Leninist theory on the struggle for national liberation linked to the proletarian revolution. It forms the foundation for finding a new direction for the national liberation cause of the Vietnamese revolution and is considered the first political and theoretical document of the Party, laying the ideological basis for the line of the Vietnamese revolution.

According to VNN