"Mascots" in village communal houses

(Baonghean) - During fieldwork in the villages of Nghe An, it was not difficult to encounter images of Vietnamese mascots. Although not as diverse as in the Red River Delta provinces, these mascots still contain great artistic and sculptural values ​​and reflect the rich cultural and spiritual life of the people of Nghe An...

The Temple of the God (Quynh Doi, Quynh Luu) still preserves a system of purely Vietnamese symbolic animals with high aesthetic value, including tigers, elephants, horses, mandarins, and especially a pair of mythical creatures (Nghê) dating back to the 17th-18th centuries. The Temple of the God worships the divine spirit of Moc Loi and founding deities such as Ho Hong, Ho Kha, and Nguyen Thac. The system of purely Vietnamese symbolic animals at the Temple of the God, especially the pair of Nghê, is considered rare and precious today. According to folk beliefs, Nghê is a majestic, expressive, and approachable creature, sculpted by folk artisans to suit the space and context in which it stands.

The mythical creature Nghê at the temple is small and well-proportioned. The Nghê is depicted with a short face, a slender body, a straight, upturned neck adorned with a string of bells and tassels, large eyes, a large nose, and large ears. Its mouth is slightly open, revealing sharp fangs, adding to its majestic appearance. Its legs are slender yet straight and strong; the hind legs are in a seated position with muscular thighs, while the front legs are raised high, with curled fur at the knees. The fur on its back is smooth and close to its body, with carved lines and curves running from the back down to the belly, from the top of its head to its tail, like a banner.

Image of a stone mythical creature (Nghê) at the Thần Temple relic site (Quỳnh Đôi, Quỳnh Lưu). Photo: Trần Tử Quang

In contrast to the precious pair of mythical creatures at the temple, at some other relics in Nghe An province, the mythical creatures are sculpted with a pensive, sorrowful appearance: their eyes lowered in mourning for the owner of the temple area. Thus, it can be seen that the image of the mythical creature in Vietnamese spiritual spaces has two specific functions: joyfully welcoming at the entrance, or conversely, creating a sense of compassion and contemplation, adding to the somber and sacred atmosphere of temples and shrines.

The Quan Lon Bung Temple (Dien Ngoc, Dien Chau) is dedicated to three famous Bui generals in Vietnamese history, the most prominent of whom is Duke Doan Bui The Dat. Duke Doan was a military general who rendered meritorious service to the Le-Trinh dynasty, so after his death, the court bestowed upon him the title of "Blessed Deity" and issued a decree to build a temple to worship him. His temple was then considered "nationally built and worshipped" (built and performed by the state). Unfortunately, due to historical upheavals and changes over time, the temple has been almost completely destroyed, losing its original architecture and ancient artifacts. However, the most fortunate aspect is that the entire system of statues of military officers standing in attendance, along with two elephants, two horses, and especially the two stone dogs standing at the temple entrance, have been preserved. In Vietnamese folklore, ordinary dogs only guard the "yang" (masculine) realm; to guard the "yin" (female) realm, stone dogs are necessary. Stone dogs not only carry cultural and religious significance but also possess aesthetic value because they are simple, familiar animals, deeply imbued with the spirit of the homeland. Therefore, when creating stone dogs, folk artisans have created a simple animal, without ornate patterns or the intricate details of mythical creatures like the Nghê.

For generations, stone dogs have been a very familiar symbolic mascot in Vietnamese folklore and the consciousness of the people in general, and Nghe An in particular. In the traditional village landscape, at locations such as village gates, communal house courtyards, temple gates, and even at the ends of bridges, a pair of stone dogs were placed, with the meaning of warding off evil and bringing good fortune. The book "Outline of Vietnamese Cultural History" writes: "In the past, the entrance gate was often not built exactly in the middle of the house and courtyard so that outsiders would not look directly into the center of the house. People also usually avoided having a road leading directly to the house, or a temple or pagoda in front of the house. If it was unavoidable to avoid these taboos, people would bury a stone dog in front of the house."

For a long time, the presence of foreign mascots in communal houses, temples, and even public offices and private homes has sounded an alarm for cultural managers regarding the preservation and promotion of heritage. With the desire to raise public awareness and understanding of pure Vietnamese culture to prevent the increasing "invasion" of foreign cultures, and to preserve and promote traditional cultural values, it is necessary to strengthen the dissemination and promotion of the image of national culture. One of the first steps is to bring the image of Vietnamese mascots to all levels of society. Therefore, it is necessary to organize many exhibitions of mascots (photos and replicas) to bring the image of these mascots to all people, especially the younger generation.

The purpose of the exhibition is to allow the public and artisans who create Vietnamese mascots to see and learn firsthand about the shaping techniques and cultural significance of Vietnamese mascots in the spiritual life of the Vietnamese people. Furthermore, through these exhibitions and the source of photographic materials, it is necessary to quickly publish a book introducing the traditional Vietnamese sculpture and decoration art in general, and Nghe An in particular, in the form of an illustrated guide. The book and materials should be published in large quantities and widely distributed to raise awareness and encourage artisans in traditional craft villages to research and refer to ancient documents, thereby fostering creativity and producing products with Vietnamese identity that resonate with the times. Only then will Vietnamese mascots truly live in the spiritual lives of people in the modern era.

Tran Tu Quang

Nghe An Library