Huu Vy

More than 2,000 years ago, a sophisticated and artistic civilization flourished in what is now Vietnam’s Mekong Delta

 The Oc Eo Culture is an ancient civilization that arose and flourished during the first ten centuries after Christ in Vietnam’s southern delta. The Oc Eo Culture got its name thanks to the French archeologist Louis Malleret, who excavated the first site linked to this civilization in 1944 at Oc Eo in Vong The Commune, Thoai Son District, An Giang province. After 70 years of further discoveries and research, a clearer picture of this peculiar and impressive culture has emerged.

Archeological discoveries in Vietnam’s South from the Early Iron Age (2,000 to 2,500 years ago) reveal the native roots of the Oc Eo culture. While this culture had its own homegrown identity, its development was characterized by contact with other cultures, including those of Rome, Persia, China and especially India.

People of the Oc Eo Culture presided over the Mekong Delta. The civilization had an advanced economy, especially in terms of craftsmanship and commerce, resulting in major urban centers. Remnants of ceramic, glass blowing, jewelry-making and metal-working workshops have been found. Ceramics were present in most Oc Eo sites. Ceramic ovens (cà ràng) were familiar and useful for people living near the sea or rivers. Ceramic ovens have been found in residential sites and even dolmens from the eras preceding the Oc Eo civilization. They are key relics from this era. Popular Oc Eo jewelry was crafted from gold, tin alloy, gemstones, agate, quartz and glass in a wide range of colors and shapes.

Remnants of jewelry-making workshops have been found in many sites, including those of Oc Eo, Da Noi (An Giang), Nen Chua, Canh Den (Kien Giang), Vinh Hung (Bac Lieu), Luu Cu (Tra Vinh), Nhon Thanh (Can Tho), Go Thap (Dong Thap), Go Thanh (Tien Giang), Go Hang, Go Xoai and Go Dung (Long An), etc. All of these sites bore signs of jewelry-making, such as gold filaments, gold dust, gemstone fragments, quartz fragments, metal molds, metal melting pots and various tools for crafting jewelry.

The culture arose close to maritime commercial routes and dense river networks and interlacing canals. Oc Eo people were well-positioned to trade. They engaged vigorously in foreign trade at the peak of the civilization’s development.

The site of Oc Eo in An Giang was a well-known and important harbor town on the ancient Maritime Silk Road. Evidence of this includes a variety of relics bearing strong Indian, Persian, Roman and Chinese influences, with the two most convincing discoveries being two Roman Empire gold medals bearing the names and images of Emperor Antoninus Pius (138 – 161AD) and Emperor Marcus Aurelius (161 – 180AD). Other signs of international links include a Persian copper lamp, a bronze mirror from the Eastern Han Dynasty, a bronze Buddhist statue of the Northern Wei Dynasty and golden, glass and agate antiques inscribed with Malay, Latin, Brahmi/Sanskrit script or images or Roman or Hindu deities or sacred animals. Oc Eo inhabitants used a number of currencies for trade and exchange. The most popular currency was the Rising Sun – Srivatsa Temple money used throughout Southern Vietnam, Thailand and Myanmar, the most widely used currency in this region. On one side, these coins were embossed with an image of the sun rising from the sea. Each currency unit was assigned a number of sun rays. The other side was cast with an image of Srivatsa Temple in the center as a symbol of wealth, prosperity and good fortune. Many Srivatsa coins were cut into four or eight. This suggests that the ancient harbor of Oc Eo was an important commercial hub because merchants needed small units of currency for trading.

The people of Oc Eo adopted Buddhism and Hinduism. Both religions made strong marks on the culture’s graphic arts. Buddhist and Hindu religious statues were made of stone, wood, and sometimes copper. These statues have been found in sites all over South Vietnam. Hindu and Buddhist graphic arts reached their peak between the 4^thand 7^th centuries. The diversity of their forms and presentations reveal complex and overlapping sources of influence, with the major influence coming from India’s arts, mixed with local and realist trends. Beyond statues and tokens of Buddha and deities, there were also statues of sacred and legendary animals found in Hindu and Buddhist temples. The Oc Eo Culture produced many unique and large-scale wooden Buddha statues, including a set of wooden statues from the site at Go Thap. The tradition of making statues in South Vietnam was passed on to subsequent eras from the 8^th century onwards, termed “post-Oc Eo eras”. Buddhist and Hindu arts sprung up in the Mekong Delta through the exchange of items along maritime routes, which in turn helped to enrich the native culture and bolstered the establishment of major religious, cultural, economic and political hubs in this region during the early centuries after Christ.

In the first centuries after Christ, people of the Oc Eo Civilization achieved economic, technical, religious and artistic success, which laid the foundation for the civilization of the Phnom Kingdom, one of the oldest civilizations in Southeast Asia. Despite regular interactions with Roman, Persian, Indian and Chinese cultures, the Oc Eo Civilization remained firmly rooted in its native culture and reached its own apex.[hoasen]

Story: Thu Ha
Photos: Nguyen Phu Duc, Phan Hai Tung Lam

The northern province of Bac Giang is home to one of Vietnam's most intriguing pagodas

Known as the "Northern capital", Bac Giang province is famous for its mellow and heartfelt quan họ folk chants. Most visitors don't realize that, as well as having a beautiful natural landscape, this province boasts some of Vietnam's finest pagodas. One of these is Bo Da Pagoda, one of three ancient pagodas with rich cultural and historical values.

  Nestled on Phoenix Mountain to the north of the Cau River in Tien Son Commune, Viet Yen District, Bac Giang, Bo Da Pagoda is the largest hubs of Lam Te Zen Buddhism in Vietnam. The pagoda's proper name is Guanyin Pagoda of Bo Da Mountain, or Bo Da Mountain Guanyin Pagoda. It is commonly referred to as Bo Pagoda, Guanyin Pagoda or Tu An Pagoda.

Based on physical evidence and old accounts, the pagoda dates back to the Ly Dynasty. As legend has it, a kind hearted carpenter prayed for a son and was blessed by Guanyin Buddha. In return he built a shrine, painted a Songtzu Guanyin statue and paid sincere homage to it day and night. Eventually, passerby who paused to pray and make wishes found their lives going more smoothly, thus bringing fame to the pagoda.

Under the reign of Emperor Le Du Tong, the pagoda was reconstructed. At first, Bo Da Pagoda was meant exclusively for royal worship. Through various restorations, it was extended and drew many devout followers. Today, it draws Buddhist pilgrims, along with visitors who follow Confucianism or Taoism. Upon reaching this pagoda, everyone is Buddhist. However, as disciples are supposed to worship their masters, it is one of a few places to worship the Tri Religion. 

Having survived cruel and turbulent times, Bo Da Pagoda is one of very few places to have retained its ancient Vietnamese architecture. It was designed to be “open on the inside and protected on the outside”, resulting in a solemn, melancholy and sacred atmosphere. Upon entering this pagoda, one can feel the welcoming vibe of the Northern countryside. The entry gate is reminiscent of the quintessential steeples that date back to the Nguyen Dynasty, the floor tiled with pebbles of different sizes. The surrounding walls were built of highly unique rammed earth and carved with sophisticated mosaic and ceramic bas-reliefs. The entire complex is vast and spans around 51,784sqm divided into three areas: the garden, the Main Hall and the stupa yard.

The garden is dotted with fruit trees and crops to feed the monks. The Main Hall comprises Tu An Pagoda, built in the Le Dynasty and designed to form the “Labor Character on the inside and Nation Character on the outside” - a quintessential feature of Vietnamese pagodas, and eight gates that represent the Eight Symbols, with Six Character aisles. The entire pagoda consists of 16 wings of different sizes and 100 compartments. Adjacent to the Main Hall is a thousand-year-old stupa yard encircled by embanked walls. Here, hundreds of stupas stand in layers, transporting visitors to another world. This dreamy, bleak, otherworldly and sacred place also holds sarira beads formed from the cremated remains of  1,214 monks and nuns. The stupa yard of Bo Da Pagoda is considered the largest and finest of its kind in Vietnam.

  Its architectural and aesthetic values aside, Bo Da Pagoda also stores many accounts and artifacts of great cultural and historical value. The pagoda preserves statues dating back to the Le Dynasty and a colossal treasure trove of Chinese – Nom literature in all genres. The pagoda's Buddhist scripture woodblock collection is one of the oldest of its kind in Vietnam and includes over 2,000 woodcuts inscribed on Diospyros decandra wood over 28 years from 1706 to 1734. Over three centuries, these woodcuts have remained well-preserved. They are noted in the 2006 Vietnam Book of Records.

Heaven and earth seem to meet over the distant rivers and mountains around Bo Da Pagoda, a sacred place that feels as friendly as the Bac Giang locals. In 2016, Bo Da Pagoda was registered as a Special National Site. Pilgrims come here to admire this ancient pagoda's landscape and to gain insight into its cultural and historical treasures.   [hoasen]

Hang Vu

If you still think that the dragon is a mythical beast found only in legends, go to Komodo National Park, located on Komodo Island, Indonesia, to see these fearless creatures, which have close ties to ancient dinosaurs.

The land of the Komodo dragon Komodo Island is no ordinary island. Here lies an otherworldly landscape beautified by white sand beaches, sapphire water, and mysterious tropical forests. There is even a special feature on the east side of Komodo Island: a light-pink sand beach, like it's been painted. However, these aren't the first things to pop into people's minds when they think of this island. Komodo Island is inhabited by Komodo dragons, an enormous reptile considered the descendants of ancient dinosaurs. Komodo National Park was established in 1980, consisting of Komodo Island and nearby isles in order to preserve and protect Komodo dragons and their natural habitat. According to the World Society for the Protection of Animals, some 6,000 individual Komodo dragons are currently found in Komodo National Park, Indonesia.

Komodo dragons have many characteristics that help them not merely survive but thrive in such a harsh environment as a volcanic island, where their food supply is plenty and includes spiky trees, and terrestrial and aquatic animals. These reptiles can only survive in this area. They are capable of climbing trees like lizards, diving up to 5m underwater to catch fish, and running at a speed of over 20km/h to chase and kill animals like deer, stag, wild cattle, and wild boars - their favorite food. They can even attack and kill their own kind for survival. This makes them extremely dangerous, wild and undisputed kings of Komodo Island. There is an important edge assisting them in maintaining their crown in the struggle for survival against other creatures: their poison. Their main means of hunting is by biting and infusing poison into their prey’s body, paralyzing it. This effective weapon is great compensation for their heavy body, a minus in races and fights versus larger prey, and helps them use less energy to obtain a nice meal. Hunting for the Komodo The purpose of this “hunt” is not to kill or capture these animals but to catch a glimpse of them in their natural habitat. A successful “hunt” means getting a close look at these mighty wild creatures.

The first thing visitors must do is to register when setting foot on Komodo Island. It is best to hire an experienced guide who can provide useful insights and directions. If you are lucky, you may encounter some of these creatures slowly crawling right beside your trekking route. If not, many hills and trails await your conquering footsteps on this once-in-a-lifetime journey. After such a long and eventful trip, you fill feel a wonderful mix of thrill, fear, and triumph upon seeing one of the world’s most wonderful wild creatures with your own eyes. Don’t worry too much as Komodo dragons generally move quite slowly and won't trouble you if you keep your distance.

Komodo dragons are considered national treasures in Indonesia. This status gives them and their habitat strict governmental protection in Komodo National Park. Help to protect Komodo dragons by preserving the biodiversity of their natural habitat and food source. Come here to witness these magnificent creature and “capture” nothing but wonderful pictures.[hoasen]

Story: Chi Hoa Photos: Ryan Deboodt, courtesy of Oxalis

Located in Central Vietnam, Quang Binh province offers unspoiled beaches, vast sand dunes and the world-famous cave network of Phong Nha Ke Bang National Park It's no exaggeration to say that Quang Binh is the dominion of caves and grottos. The province boasts a staggering number of impressive caves, in particular the Phong Nha – Ke Bang Cave System, which was registered as a UNESCO World Natural Heritage for its outstanding geological, geomorphic and ecological values and biodiversity. Recently, the British Cave Research Association (BCRA) discovered a new cave system that offers a golden opportunity for adventurers, namely the Tu Lan Cave System. Located deep beneath perennial tropical foliage in the National Park lies a tangled web of caves. From the small village of Tan Hoa in Minh Hoa District, just 70km northwest of  Phong Nha, a river winds into limestone mountains. Here the river sinks underground and runs through a series of caves before finally resurfacing over 10km away, near Cao Quang village in Tuyen Hoa District. To date over 30 caves have been discovered in this region, comprising over 20km of underground tunnels. Ten of these caves are open to visitors from around the world who love to venture deep into the unspoiled wilderness. This cave system has existed for at least two million years. To approach this cave system, adventurers must sneak between gigantic stalagmites and stalactites along a narrow lane in the high and dry caves. In other passages they must wade through cold underground rivers and pass over waterfalls to discover a long string of caves and grottos. The journey tests their bravery and perseverance, as well as the skills they learned before embarking on their adventure. The reward of this grueling toil is a scene beyond their wildest imagination: an immeasurably high dome with cliffs marked by rising tides or cut into undulating steps that stretch below their feet. Stalactites rise in sparkling columns of numerous shapes or form round globes like pearls. In this mysterious realm, experts have discovered extremely rare creatures. Over one km inside Tu Lan Cave a large river drops over a series of waterfalls. Here, or in the dry caves, fortunate travelers may catch sight of white cave-dwelling animals that are only found in this environment. Tours of one to four days are being offered in Tu Lan Cave, drawing both domestic and foreign visitors. Tourists trek over steep passes, swim and trek through the caves and camp in scenic enclosed valleys. There are tours of differing levels of difficulty, from relatively easy to extremely challenging. Sustainable tourism is a key feature. Visitors are required to remove their own litter and cannot trespass on the surrounding natural creations. Highly trained guides ensure that the tours are run safely and that the caves and jungle are protected. These guides also take photos to allow visitors to capture spectacular moments of their journey. In 2016, a caving team from the BCRA discovered a huge cave in this region, namely Hang Tien (the Fairy Cave). With areas over 80m tall and 50m wide, this cave was a fantastic new discovery. Superb formations line its entire length. In the future, visitors can look forward to exploring the Fairy Cave. As the cave systems of Quang Binh are fully explored, these natural wonders will put the province on the map, making it a must-visit destination for adventurers and nature-lovers.[hoasen]

Doctor Le Thi Tuyet

For quite some time, lotuses have become a special symbol in Vietnamese’s lives, bearing a beautiful meaning, representing everything that is elegant and classy

In Buddhism, lotuses represent moral value, purity and holiness; it is also the symbol of knowledge, incorruptibility, free of mediocrity, filth and worries. In the folks’ perception, lotuses equates to those who possess elegant beauty, sophistication and bravery and who live among the mediocre but are not tempted by fame or materials…

It might be because of the aforementioned reason that lotuses are brought into art from the very early days, appearing with great frequency in traditional shaping and decoration. They are depicted and stylized in various ways that carry the signatures of time. Overtime, we can recognize the typical images of lotuses under different historical period through Buddhism architectural decoration with various artifacts including Buddha statues, worshipping artifacts and household tools. One typical example of unique architecture inspired by the image of lotuses is Dien Huu Pagoda (also known as One-Pillar Pagoda), built from Ly Dynasty. Legend has it that one spring night in the Ky Suu Year (1049), King Ly Thai Tong dreamt of Bodhisattva on a giant lotus, leading him onto it. After waking up, the King told his courtiers about his dream and Thien Tue monk advised that he should build a pagoda on a stone pillar in the middle of a lake with the shape of a lotus to worship bodhisattva, just like what he saw in his dream. The Pagoda bears the square shape with 3 meter length per side and is built from wood, tiled-roof, put on a stone pillar with a 1,2 meter diameter. From a distance, the pagoda looks like a giant lotus sprouting from the water, with the pillar representing the peduncle. In the 17^th century, a structure called Tich Thien Am (meaning “holding good things”) was built inside But Thap Pagoda, Bac Ninh. The structure is also called 9-storey lotus due to the fact that it is built into 9 stories of wood, representing 9 lives of convention of Buddha. This is also the 9-class lotus that one will attain while conventing, free from samsara, free from life and death, to go up to nirvana. Another pagoda bearing the same lotus architecture is Kim Lien Pagoda (Golden Lotus Pagoda), which was built in 1972 in Hanoi. Surrounded by a lake, the pagoda looks just like a lotus sprouting from the sparkling water…

The image of lotuses in Buddhism decoration is usually involved the image of Buddha lecturing or Buddha meditating on a lotus. The lotus, on which Buddha either sits or stands, represents the quiet, no life, no death and pure spot. The tendons on the lotus leaves are considered the 84 realms uniting at one point, which is the peduncle, which is also the release way, the only way to enlighten the common people. The philanthropist philosophy of Buddhism is illustrated sophisticatedly by the simple and friendly image of the lotuses, which cover the country lakes with the pink color. Representing purity, lotuses appear on most worshipping products. We can find them on candelabras, incensories, đỉnh đốt hương, trays, altars, vases, …with the lotus images depicted to illustrate both aesthetic and sacred values.

Lotus decoration is also popular on various everyday tools, from luxuries in the palace to common tools outside. Under the Ly Dynasty, artists usually carved lotus petal on both the inside and the outside of the pottery (bowls, dishes) before enameling and being loaded into the kilns. Other carrying tools like pots, candelabras, jars, bottles, … is decorated with concave details of lotus petal on the lids, the necks and lower-parts to create a elegant, luxurious touch to the tools. Under the Tran Dynasty, the lotus images are depicted in a more lively and free way with a more realistic touch to it. Under Le and Nguyen Dynasties, the lotuses are strictly positioned but still flexible with sharp shapes creating an elegant and concise beauty on each art works…

The huge collection is being kept and exhibited at National History Museum is a proof that lotuses is a popular choice in architectural decoration and Buddhism art, from routine tools of the common people to the luxurious gadgets in the palaces… This is the clear illustration different classes among the people to escape from the earthly life: the kings, the monks, the common people in Vietnam’s society, for which King Tran Nhan Tong is a symbol.[hoasen]

Thai A

More than just pyramids, a trip to Egypt  also offers desert camping and all-terrain vehicle racing in the Sahara.

Many people imagine the Sahara as an arid, deserted wasteland, but it is quite the opposite. The Sahara turns out to be a diverse landscape with oases, lakes, shade of date palms and hundreds of animal and plant species. Although Sahara means “Great Desert” in Arabic, it was once an ancient sea as fossils of prehistoric creatures were found in its layers of rock and sand.

The Government of Egypt has long viewed the desert as a tourism bonanza. A trans-desert route is open to the public, reenacting how ancient merchants would team up and travel from North Africa to Central Asia through the desert. Desert camping, all-terrain vehicle racing and bathing in freshwater lakes are combined with tours to pyramids and cultural sites of ancient Egypt along the Nile River.

Leaving Cairo, the capital of Egypt, one enters a wilderness where the horizon seems broader, the sky seems higher, and the sand carpet stretches to infinity. There are also weathered soils, scattered date palms, and random camels spotted in the distance. In the book “The Alchemist,” author Paolo Coelho advises: “You must love the desert, but never trust it completely. Because the desert tests all men.” It is now much easier to navigate through the desert, but in the past, ancient merchants relied on their collective experience, listening to the wind and observing the terrain itself to make safe passage.

The destinations on trans-desert journeys are oases such as Siwa and Dakhla, where the once nomadic campsites have been converted into fully serviced houses, hotels, and restaurants. Water is a resource that is treasured and preserved as the lifeblood here. Since the desert was replete with seawater millions of years ago, what remains are open-cast salt mines and turquoise blue lakes, a nice contrast to the surrounding aridity.

But it is not until one sits on a Land Cruiser that the real test of courage starts. Warning passengers to hold tight, local drivers race through the desert, climbing up and diving down sand dunes at breakneck speed as shouts of fear and exhilaration became one with the music blasted at full volume on the vehicle. At the end of the day, when the vehicle stops at the campsite in the middle of the desert, a nomadic meal consisting of naan bread, lamb, and tomatoes mixed with cheese awaits. At these campsites, the most special dish is a whole lamb stuffed with roasted grapes, placed inside a jar buried under the sand and covered in hot charcoal. The heat of charcoal gradually cooks the lamb without burning it. The dish has a unique flavor that goes perfectly with a glass of date wine.

A night out in the desert is an unforgettable experience. The wide-open starry sky, cold breezes and flickering flames make a performance of singing and drumming even more mesmerizing. While tourists at Egypt’s Valley of the Kings may embark on a hot-air balloon ride at sunrise, a new day in the desert starts with a clear sky, smoke emanating from a wood stove and a cup of mill tea among nomads. Worries from back home seem an infinite span of desert away.[hoasen]

Story: Hoang Phong
Photos: Wakatobi Dive Resort

Scuba diving at Indonesia’s Wakatobi Islands reveals one of the world’s richest and most well-preserved coral reefs, teeming with colorful life.

Imagine you are an astronaut, just arriving on an alien planet. Every square centimeter of its surface is covered in technicolor living creatures you have never encountered before. All around you are countless other organisms, wholly unafraid of the stranger descending into their midst. With hardly a movement, you glide over structures thousands of meters long, which have been alive for tens of thousands of years. Gravity here is almost nonexistent, allowing you to move in all three dimensions with a mere thought.

It might be a while yet before mankind can explore the stars and planets, but right here on Earth there are indeed such wondrous alien landscapes: our oceans. And unlike the moon or planets barren and devoid of life, this otherworldly realm is filled with living things in the last wilderness relatively uncolonized by human presence.

In the ocean, coral reefs are where life concentrates. Only 0.1% of our oceans’ surface are coral reefs, but this tiny area houses a staggering 25% of all marine species.

If you happen to be in a shallow area near a coral reef, it is not hard to visit Neptune’s domain: just don a mask and snorkel, then swim face down in the water. But remember that you are much slower and clumsier than the fish. Try to stay still, do not flail around attempting to chase them. Relax and allow them to come to you. The best way to enjoy the underwater show is to let the graceful denizens of the sea go about their business normally.

Southeast Asia is blessed with the highest density of coral and reef biodiversity in the world. The “coral triangle” between the Philippines, Indonesia and Papua New Guinea has more coral species than the rest of the world combined, even leaving the Caribbean and the Red Sea far behind.

On a return visit to this coral triangle, I decided to visit the Wakatobi Islands in Indonesia. I had heard tales of this place floating around diving forums: that before a private airstrip was built, adventurous divers used to spend nearly a week on buses and ferries, island-hopping across Indonesia to get here; and that the quality of the reefs here is among the best in the world, rivaling the legendary Sipadan of Malaysia and Raja Ampat of Indonesia.

Snorkeling can give you a taste of the underwater spectacle, but you are confined to the surface and might still be some meters away from the richest parts of the reef, as if visiting a beautiful garden from a helicopter. To truly immerse yourself in the wonders of the deep, you need a Self-Contained Underwater Breathing Apparatus - a SCUBA. A recreational scuba diver can go down to 40 meters (130 feet) and stay underwater for about an hour. More importantly, your scuba equipment enables you to control your buoyancy, thus allowing you to move in all three dimensions underwater.

That Wakatobi still retains its pristine coral reefs is in no small part thanks to Wakatobi Resort on Tomea Island, which partnered with locals in protecting the marine environment. The resort’s founder is a Swiss diver who roamed the region in search of a perfect location on both land and sea. The resort sponsored electricity, waste management, and many other community projects for the local villages. In return, local people agreed to honor a 3-kilometer reef sanctuary on their traditional fishing grounds, and patrol against harmful practices such as dynamite fishing, cyanide fishing and bottom trawling. About 100 locals also work for resort full-time, taking care of travelers who have come from around the world to this far-flung outpost.

Wakatobi truly boasts the best density and diversity of corals and marine life that I have ever witnessed. Schooling pyramid butterflyfish and redtooth triggerfish blot out the sunlight. Every nook and cranny teems with preying moray eels, or dozens of lobsters waiting for the night, or napping turtles. Giant barrel sponges house fat boxfish as big as your head. Tiny juvenile angelfish and surgeonfish buzz about deerhorn corals. For underwater macrophotography enthusiasts, it is a paradise filled with all kinds of nudibranchs, porcelain and orangutan crabs and squat lobsters, and the local specialty: minuscule pygmy seahorses hiding on massive gorgonian fans.

I left Wakatobi not just with beautiful photos, but also with renewed hope. As coral reefs around the world are being threatened by human activities, Wakatobi is a model for us all, shining proof that we can coexist peacefully with nature.[hoasen]

Thanh Tung

Cu Chi, a suburban district northwest of Ho Chi Minh City, is known for its rich wartime history, tourist sites, and numerous craft villages. Some decades back, a village in Cu Chi began to produce bamboo curtains. These colorful curtains are now exported around the world.

Bright colors

Entering a bamboo curtain workshop in Tan Thong Hoi Commune in Cu Chi District, Ho Chi Minh City, you may be overwhelmed by the bright colors and patterns. Color palettes and brushes are strewn around, as in a fine arts studio. The images painted on bamboo curtains are diverse, from Vietnamese and international landscapes to portraits of prominent figures ordered by clients.

Skillful Fingers

Producing a bamboo curtain involves dozens of complicated steps performed by various talented artisans. Cu Chi abounds in bamboo, the key ingredient of these curtains. First and foremost, straight, round bamboo branches are chosen and cut into short pieces of roughly 6cm long, then mixed and put into a furnace with sand to strip off the shiny outer cover. The bamboo pieces are soaked in water mixed with glue to kill termites, then dried in the sun or in a dryer. The dried bamboo pieces are strung onto zinc wires and sewn into curtains. This step is very important. Artisans must ensure the needlework is even and tight.

In the next step, the artisan puts the curtain into a wooden batten and tightens the zinc wires to ensure that the bamboo beads are evenly spaced. This takes experience. If the zinc wires are too tight the strands become rigid. If they are too loose, the final curtains are untidy.

Once the bamboo curtain is complete, artisans must breathe life into it. Some workers mix the palettes for each painting. The most skillful artisans paint the designs. The workers mix colors without any fixed ratio to produce suitable shades. Their skill results in images that are free of distortions. They don't sketch the images by brush but paint directly onto the bamboo. While the process appears simple, great skill and experience are needed to produce lively and refined paintings.

Bamboo paintings go global

It’s surprising to learn that bamboo paintings from Cu Chi are exported all over the world. Talented Cu Chi artisans produce large quantities of bamboo curtains that satisfy customers in premium and notoriously demanding markets such as Japan and Europe.

Nowadays, in the two communes of Tan Thong Hoi and Phuoc Vinh An in Cu Chi District, only seven families specialize in producing bamboo curtains. They work day and night to meet all of their orders. We hope these artists will remain committed to this craft so that their original handicrafts will stay relevant.[hoasen]

Story: Professor Trinh Sinh
Photos: Le Bich

Bien Hoa ceramics developed from the Cay Mai style of ceramics, when ceramic artisans from Saigon moved out of the rapidly urbanizing city and were influenced by ceramic makers in Bien Hoa, who'd been operating there since at least the late 17th century.

The Bien Hoa Vocational School was founded in 1903, and later renamed the Bien Hoa School of Indigenous Arts. It was the predecessor of today’s Dong Nai Fine and Decorative Arts College. This school specialized in a variety of crafts, including pottery.

In 1923, a French couple were appointed to manage the school: Mr. Robert Balick as principal and Mrs. Mariette Balick as the dean of the ceramics faculty. This was a turning point for Bien Hoa ceramics, as the Balicks contributed to modifying the styles and enamel used for Bien Hoa ceramics. After trying and failing to apply European enamel to the rough surface of Bien Hoa products, they oversaw the creation of a unique and spectacular locally-made enamel that became iconic of this school. This multicolored enamel was made from straw ash, wood ash, rice husk ash, glass shards, copper rust, Danang sands and Bien Hoa laterite, which notably included a signature green copper enamel (vert de Bien Hoa). Kaolin soil from Bien Hoa was widely available in Tan Trieu, Vinh Cuu, Tan Van, Tan Ba, etc. The key material was brittle pottery. Thanks to the contributions of the Balicks, Bien Hoa ceramics became works of graphic arts rather than just craft items.

Between 1923 through the 1960s, Bien Hoa ceramics hit artistic heights due to the combined influence of French Limoges ceramics, thanks to the artistry and zeal of Mrs. Balick; Chaozhou, Guangdong and Fujian ceramics, introduced by ethnic Chinese artisans in Vietnam; and local Champa ceramics. During these years, Bien Hoa ceramics were carried around the world and won many prestigious international awards, including gold medals in 1925 and 1933 at the Paris International Exhibition. They were displayed in exhibitions in Nagoya (Japan) in 1937; Hanoi in 1942; Bangkok (Thailand) in 1953; and Phnom Penh (Cambodia) in 1957.

Bien Hoa ceramics are noteworthy due to their diverse graphic decorations and special enamel. As well as household items such as jars, jugs, vases, pots, etc. which were mass produced for consumers in Vietnam’s Southeastern and Southwestern provinces, there were also highly artistic works such as ceramic figurines, reliefs, pots, vases, lanterns and decorative plates.

The decorations used on Bien Hoa ceramics were quite unusual. Craftsmen created reliefs and poked holes in the surface. Sometimes they sketched some lines with sticks to prevent the enamel from blurring the decorative patterns. These techniques helped highlight the patterns, add lively three-dimensional effects and bring the ceramics closer in style to the ceramic jars of the Tran Dynasty, particularly the brown enamel wares that were popular 700 years ago.

Large numbers of flowers were key motifs in Bien Hoa ceramics. The design “A hundred flowers” included ochna, orchid, chrysanthemum, lotus, sunflower and hibiscus blooms. Decorative motifs of dragons, phoenixes and qilin were also prevalent. A signature motif of Bien Hoa ceramics were leaf-shaped dragons, usually applied on lantern pots. Leaf-shaped dragons coiled around the pot with various dragons intertwined. The background curves of these dragons were embossed. These products were painted in two beautiful enamel colors of copper and ivory white. Elephant motifs were also popular on low enamelled stools. Other images on pots and reliefs included shrimps, three-tailed fish, gourami, storks, spruce trees, people going about their daily routines, weddings, dancers, children at play in the mid-autumn festival and scenes from folk tales.

Another theme common to Bien Hoa ceramics were patriotic portrayals of national heroes including the Trung sisters riding elephants to the frontline to fight Southern Han invaders and Tran Hung Dao repelling Mongolian troops.

Ceramic experts assume that Bien Hoa ceramics were to some extent influenced by ceramic crafting techniques used by Champa people in the ancient pottery workshop of Go Sanh (Binh Dinh). Champa decorative patterns may be seen on Bien Hoa ceramics, such as gods like Vishnu and Shiva depicted on ceramic pots.

Ceramic workshops in Bien Hoa also produced items for ethnic minority communities in the Central Highlands, including jugs for pipe liquor in eel grey and brown. For years, antique collectors have traveled around the Central Highlands in search of bronze gongs and cymbals and liquor jugs. Most don't realize that these quaint jugs were produced in Bien Hoa around a century ago.

Some of the most recognizable images in Ho Chi Minh City's iconic Ben Thanh Market were made by artisans in Bien Hoa. In 1952, the contractor building Ben Thanh Market ordered four bas reliefs from the Bien Hoa School of Indigenous Arts to decorate the market's four entrances.These reliefs remain intact and portray specialties of the market, such as oxen, pigs, ducks and bunches of bananas. The reliefs are lively and realistic.

Over hundreds of years, the popularity of Bien Hoa's ceramics have waxed and waned. Many of these products are now prized by antique collectors. The ceramic school continues to evolve. Furnaces still blaze in the communes of Hoa An, Vu Hoa, Tan Van and Tan Hanh to the south of Bien Hoa City. Hundreds of ceramic businesses produce wares that are sold nationwide and exported around the world.[hoasen]

Story: Minh Hong

Photos: Jet Huynh, Nguyen Bao Quan

Deeply engrained in memories of Saigon, “the harbor up there and vessels downstream” is a saying that alludes to the once bustling trade in Saigon Harbor. Through ups and downs, the Saigon River has been a witness to historical milestones. Having ridden on the coat tails of the emerging tourism industry, this river is a living cultural heritage of this megacity.

Origins and historical significance  The Saigon River boasts some unique and striking historical badges of honor. A notable turning point took place in 1698, when, at the behest of Lord Nguyen Phuc Chu, General Nguyen Huu Canh marched southward to expand the territory. After establishing his headquarters in the Eastern District – the most robust harbor in the South in his day, he continued to explore the geography and economic potential of this region, founding Gia Dinh Province, which ushered in the foundation of Saigon.

The branch of the river that flows through Ho Chi Minh City is just 80km long, branching out across the city with interlacing canals and tributaries. However, the total length of the Saigon River is 256km, crisscrossing various provinces and cities. This river was the international maritime hub of Indochina over 100 years ago, and also home to the Ba Son shipbuilding factory, the cornerstone of the city’s illustrious shipbuilding and ship repair industry. Nowadays, beyond its economic and commercial roles, the Saigon River is also a must-visit for 5-star cruises. It also presents domestic and foreign visitors with a wide range of premium tourist services. Another side of Saigon on the waves There's a viral joke in Vietnam's travel industry that “even traffic jams are part of the Saigonese identity”. Once you are tired of piercing bike horns and dusty pollution on land, jump in a water-bus and spend the day discovering Saigon's waterways. This brand new service began operating in early 2018. Water-buses make different stops. The overall route carries you to key landmarks, such as the Nguyen Hue Pedestrian Quarter – Bach Dang Harbor, Thao Dien Ward in District 2 and Thanh Da Peninsula – two rare green oases in downtown Saigon. If possible, catch the earliest boat to admire the breaking dawn or pick the last route of the day to savor the breathtaking sunset.

Serene oases on the outskirts As the skyscrapers around Bach Dang Harbor dissolve into clouds, take a deep breath and enjoy the beloved natural gem of Thao Dien, a green oasis. Here, a busy compound of 5-star restaurants and resorts has been exclusively designed to include boat harbors. The resorts and restaurants feature a nostalgic mix of old and new architecture, particularly in the form of French colonial villas. Boats plow through the waves past riverbanks draped in green coconut trees, evoking the most romantic scenes in the famous film “L’amant”, based on the book by Marguerite Duras. Couples and newlyweds longing for rewarding, private moments can book exclusive, tailor-made boat tours. A dining table draped in white, sparkling glasses of champagne, and golden candlelight seem even more wonderful when gazing upon the kaleidoscope of Saigon at night.

New sports for outdoor enthusiasts Over the last two years, river sports have grown increasingly popular among Saigonese youngsters. One of the more enticing sports is SUP - standup paddle boarding (this involves propelling a long float through the water with a paddle, while standing). Colorful SUP boards boast unique designs, making them even more irresistible. Enthusiasts usually opt for smaller canals with less boat traffic, which are safer, such as Tau Hu canal (also known as Thi Nghe canal) or down the embankment of Thao Dien Ward. For maiden visitors who wish to experience scenes of daily life, this is a great sport and a fun way to make friends with young, easygoing and genuine Saigonese youngsters. Poised for greater transformations and integration Once home to a robust international harbor that faded into obscurity due to the vagaries of history, the Saigon River has been making a comeback thanks to heavy investment in infrastructure along its banks, as well as its emerging waterway travel niche. The quiet times are long gone, giving rise to a more modern Saigon, as befits its prime location, poised for further and stronger development in the future.[hoasen]

This folk tale is adapted from the “Treasury of Vietnamese Folk Tales”
Illustrator: Nguyen Cam Anh

In the Tran Dynasty, a talented young mandarin named Tu Thuc hailed from Ai Province. He was given a post in the Tien Du District, now in Bac Ninh Province.

Near the district Tu Thuc governed lay a huge pagoda. Its courtyard was full of peonies. Every January, Buddhists came from far and wide to pay homage to the Buddha and admire the flowers. Tu Thuc joined the pilgrims and sightseers, traveling alone and wearing the simple disguise of a disciple. To protect the flowers, the pagoda set a rule that anyone who broke a flower must pay a fine. If they couldn’t pay, they were forced into slavery to pay off the debt.

That day, a young woman visited the pagoda. Unaware of the rule, she picked a flower. The pagoda’s guards immediately rushed to fine her. The maiden confessed that she had brought no money with her. The guards tied her to a pillar to humiliate her and try to squeeze some money out of her.

Seeing the poor young woman surrounded by thugs, Tu Thuc flew into a rage. He ordered them to untie the girl but the guards refused. Tu Thuc  offered his robe to the thugs in return for her freedom. She thanked him profusely.

Admiring her beauty, Tu Thuc wished to befriend her. “Where are you from?” he asked. “Your accent does not sound local."

“My home is in Tong Son District in Ai Province” said the girl, which made Tu Thuc even more excited. They were from the same region! Before parting ways, the young lady invited him to visit her the next time he went home.

Not wishing to be too harsh, Tu Thuc allowed some locals more time to pay their taxes. He was summoned before the senior mandarins and reprimanded. Tu Thuc decided to resign. He traveled home to visit his parents. After spending a few days in his village, he remembered the invitation of the young woman he’d met in the pagoda. He traveled through the wilderness but could not find her village. Tu Thuc kept searching.

One morning at dawn, Tu Thuc climbed the highest mountain to the Holy Patron’s Gate. Suddenly, before his eyes lay an island resembling a lotus on the sea. Amazed, he set sail and reached the island. He found a vast cave and ventured inside, but as soon as he had entered, the cave’s mouth closed behind him. Tu Thuc felt his way onwards in the darkness. Seeing light up ahead, he spied high mountains with steep cliffs. After climbing to the top, he saw a magical palace.

As soon as he reached the palace, he was met by a refined lady who said: “This is the sixth out of 36 caves of the fairy realm. I have long ruled this world. It is a pleasure to meet  a chivalrous and kind man.” The lady then told Tu Thuc to wait. “Your old friend is coming,” she said.

Tu Thuc was overjoyed to see the young woman he’d rescued in the pagoda. “Oh! I have searched for you for so long,” he cried.

The woman was introduced as Giang Huong. It wasn’t long before the couple were betrothed to be married. They held a huge banquet. Fairies came from all over to toast the bride and groom. Everyone was happy to hear their love story.

Three years flew by. Tu Thuc had everything he needed. Life was easy in the fairy realm. He remained enthralled with his beautiful wife. But as time advanced, Tu Thuc found himself missing things. One day he confided to Giang Huong: “I have been away from my parents for too long. May I pay them a visit?” Seeing her hesitate, he added: “I will just drop in for a short while, then return and stay with you forever.”

Giang Huong gently convinced her husband not to go. However, Tu Thuc’s homesickness grew. He grew increasingly depressed until Giang Huong felt sorry for him. She organized a cloud cart to carry Tu Thuc back to the human world.

Tu Thuc waved goodbye to his wife and fairy friends. In the blink of an eye, he was back in his own homeland. He recognized the mountains, the river and the stands of bamboo. The cart landed on a wharf where he’d come to bathe as a child. However, looking more closely, he realized things had changed. In just over three years, the houses and fields were different. No one he recognized was in sight. He asked a villager about the whereabouts of his parents and younger sister, but the man had no idea. At last, an elderly man, who was asked if he’d heard about Tu Thuc, said: “As a child, I heard that my great great grand uncle had that name. He was once a local mandarin who gave up his post and returned home. One day he ventured into a cave and vanished. That was three hundred years ago.”

All of a sudden, Tu Thuc understood his wife’s reluctance. He looked at the huge banyan tree growing at the end of his alley. The last time he’d seen it, it was a tiny sapling.

When he returned to find the cloud cart, he was dismayed to find it had vanished. In despair, he climbed to the Holy Patron Gate but found only forests and rocks. He traveled onwards and disappeared. Since then, the cave in the mountain has been known as Tu Thuc Cave.[hoasen]