The last person to make Pa Kôh pottery pipes.

Few people know that, in the traditional life of the Pa Kôh people, there once existed the craft of pottery making, with the characteristic product being tobacco pipes molded from black clay. Through many changes, this ancient craft is now only preserved in the memories of the last remaining artisan.

THE WORLD OF MOUNTAINS AND FORESTS ON A PIPE

Not many Pa Kôh people in the A Lưới highlands ( Hue City) know that, since ancient times, their community has practiced pottery making (Noq pottery). Even fewer know that, at one time, black clay – a type of clay only found along streams and forest edges – was cherished by the Pa Kôh people as a sacred material, used to mold tobacco pipes that were deeply connected to the spiritual life of the local people. Distinguished artisan Hồ Văn Hạnh (79 years old, residing in A Niêng Lê Triêng village, formerly Trung Sơn commune; now A Lưới 1 commune), holding a rather heavy clay pipe in one hand and lighting it with the other, leisurely remarked: "For decades, the craft has been lost, so none of my descendants know that pottery existed in the past, let alone the craft of making tobacco pipes. We Pa Kôh have about 10 models of ceramic pipes. All of them are for men…"

Village elder Ho Van Hanh with a traditional ceramic pipe that he restored himself after about 50 years of being lost to history. PHOTO: HOANG SON

Holding a well-kneaded lump of clay, her sinewy hands slowly and evenly shape it into circles. Old Hanh explains that ancient Pa Kôh pottery doesn't use molds or a potter's wheel. Therefore, each product bears the distinct mark of the artisan's skill, imagination, and creativity. Beyond serving the need for smoking, a custom in the daily life of the Pa Kôh people, each ceramic pipe is also a work of art, reflecting the rustic, untamed style of the mountain life itself.

"For example, with this pipe, I carved the image of a stilt house staircase on the top, and the bottom depicts the roof of a longhouse from the old Pa Kôh people," explained old man Hạnh. He continued, "The pipe is not just a simple household item, but also a place where our ancestors expressed their worldview . What they saw in daily life was naturally and subtly incorporated into the pottery. Earth, fire, people, and living space all coexist in one whole."

According to Elder Hanh, there are two main types of pipes. One type is shaped like an axe blade, with a protruding tail symbolizing the strength of men in the community. The second type has a round body, often decorated with patterns from everyday life and nature, such as a woman pounding rice (symbolizing the role of daughters in the family, the producers of rice), a chicken (a sacred animal of the Pa Kôh people), a squirrel, a bird, etc. (representing agility and freedom). "Whether axe-shaped or round, both are for men. Women usually use wooden pipes because pottery is easily damaged and broken when working in the fields. Men mainly smoke at home or when visiting the village," Elder Hanh said with a gentle smile.

Made from black clay and fired for a day, the pipe turns a beautiful woody color. PHOTO: HOANG SON

Elaborate Pottery Noq

According to artisan Ho Van Hanh, before the advent of copper and aluminum, people in both mountainous and lowland areas used pottery for cooking, storing wine, water, etc. Pottery pots and bowls, associated with the hearth and meals of each Pa Koh family in the past, were collectively known as Noq pottery. The pottery-making process began with finding a black clay mine. Before mining, the craftsman had to perform a ritual to ask permission from the spirits with a chicken. Because the clay belonged to Yang (heaven), taking it without permission was considered "disrespectful," and sooner or later, misfortune would strike.

The clay brought in must be filtered through many layers to remove pebbles and sand. Even a single small grain of sand can cause the product to explode during high-temperature firing. After filtering, the clay is dried in the sun, maintaining just the right amount of moisture for shaping. Too dry and it will crack; too wet and it will stick to your hands, preventing it from taking its proper shape. Mr. Hanh can only make one or two ceramic pipes a day. These small products require high skill. The craftsman must create a hollow space inside, join the two parts, pound them tightly, and then remove the core. They are then dried thoroughly before being fired. The Pa Kôh people don't fire in kilns but directly outdoors, continuously for a full sunny day. They don't fire on rainy or humid days because the fire won't be hot enough. Most interestingly, when the ceramic pipe comes out of the kiln, its smooth surface is easily mistaken for wood. The black color, after being subjected to high temperatures, naturally transforms into a wood-like hue.

The unique Noq pottery of the Pa Kôh people is brought back to life through the skillful hands of village elder Hồ Văn Hạnh. PHOTO: HOÀNG SƠN

These ceramic pipe designs were restored by the distinguished artisan Ho Van Hanh. PHOTO: HOANG SON

"In the past, a ceramic pipe was worth as much as a large rooster. Pipe-making wasn't widespread; only a few people in the village knew how to make them, so anyone who received a ceramic pipe as a gift considered it precious. Pipes were exchanged as a way of acknowledging prestige and strengthening community bonds in the mountainous region," said old Hanh. "Although I fondly remember and make beautiful pipes for myself to smoke, I don't regret the craft of making ceramic pipes because it's a tool associated with a smoking habit that society is now advising people to abandon. What worries me more is the decline of a pottery craft that was once closely intertwined with the lives of the Pa Kôh people," he confided.

According to Elder Hanh, if there is a chance for revival, Noq pottery doesn't necessarily have to return to the pipe but could revert to more practical items, such as jars, pots, cups, and teapots... Preserving the craft isn't about clinging to the past mechanically, but about finding a new perspective for Noq pottery in today's life. With this in mind, for the past two years Elder Hanh has diligently participated in passing on her skills to the younger generation in activities to preserve and restore the traditional pottery craft of the Pa Kôh people, under the project "Preserving, maintaining and promoting the cultural identity of ethnic minorities in A Lưới district, 2021-2025, with a vision to 2030".

Last year, the old man brought about 30 ceramic products, from pots, bowls, cups, mugs… to even pipes, to the A Lưới Ethnic Culture Village to fire and demonstrate the craft, display, introduce, and create opportunities for younger generations to directly observe and learn from the remaining traditional pottery techniques. (to be continued)

Source: https://thanhnien.vn/nguoi-cuoi-cung-nan-tau-gom-pa-koh-185260206204948837.htm