Research on 17th-century Patterns on Doctoral Stele at Hanoi's Quoc Tu Giam Temple of Literature
On September 17, 2022, I had my first encounter with Traditional Vietnamese Art—a significant opportunity facilitated by my connection with Mr. Tran Quoc Duc, whom I had worked with two years prior. This chance allowed me to delve into Vietnam's rich history, particularly focusing on the ornate patterns found in the Temple of Literature, a monument steeped in cultural significance. Through studying these ancient designs, I learned the importance of meticulous work and patience in uncovering historical truths, ensuring that such heritage remains unforgettable.
As a research assistant, and one of the few under-18 students selected for the project at the Vietnam University of Fine Arts, I contributed to a study guided by Dr. Tran Hau Yen The from the Department of Historical Theory and Art Criticism. The research, titled "Research on 17th-century Patterns on Doctoral Stele at Hanoi's Quoc Tu Giam Temple of Literature," was formally accepted and archived by the Temple of Literature Monuments Conservation Center. I employed the Dien Da method, which involved experimentation, measurement, pattern examination, stele stamping, and document analysis to differentiate the pattern regulations from the Early Le period (1428-1527) and the later Le Trung Hung era during the reign of King Le and Lord Trinh (1545-1787). Common patterns in these two dynasties often include Phoenix - Dragon motifs, Lion - Mythical Creatures, Cloud - Wave patterns, and Sacred Animals - Natural Elements. Each pattern reflects the artistic style, values of the historical era, emphasizing power, harmony, reverence for nature and cultural heritage.
This research provided me with a deeper understanding of historical accuracy, which I applied when analyzing the error made by late director Nguyen Hai Ninh in the 1989 film "Long Tri Festival Night." The film mistakenly depicted 18th-century Nguyen Dynasty patterns in a 17th-century setting during the Le-Trinh period, highlighting the importance of accuracy in cultural representation.
This research not only sharpened my skills but also led to recognition from Dr. Tran Hau Yen The. He praised my analysis and verified the issue, sharing his thoughts in a post on the group "Hà Nội Tri Thức - Connaissance De Hanoi - Knowledge of Hanoi." My findings were not meant to criticize the film crew's oversight, but rather to empathize with the challenges of the 1990s, a time when food shortages were common and yet cinema retained its significance.
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I hope that the respect for historical truth, demonstrated through my work and that of my mentors, will ensure that the efforts of our ancestors remain a source of inspiration. It is my belief that directors and authors can learn from these historical nuances, refine their attention to detail, and pay homage to history, ultimately leading to better reception of their creations.
Nowadays, the intricate patterns from the Lê Sơ dynasty breathe new life into modern fashion, delicately woven into products like shoes and clothing. These timeless cultural motifs embody both elegance and the enduring spirit of history, adding a unique, captivating touch. They allow the wearer to connect with a rich cultural heritage, immersing themselves in a continuous stream of memories flowing through time.
