Each statue on display evokes many stories about the creative spirit and rich spiritual life of the people of the past. Dr. Hoang Anh Tuan, Director of the Ho Chi Minh City History Museum, said: "During the journey of exploring the South, along with the communal houses, temples, and meeting halls built to meet the cultural and spiritual needs of the communities, Saigon pottery gradually formed and flourished in the 18th and 19th centuries. Pottery was not only used to make everyday items but was also crafted into exquisite statues for worship, reflecting Vietnamese culture in the spirit of Taoism, Buddhism, and folk beliefs. These statues contain not only art, but also beliefs, spirituality, and community memories - values that create the identity of the people of Saigon - Gia Dinh."
A set of Guan Yu statues (multicolored glazed ceramic, late 19th, early 20th century). PHOTO: TUAN HOANG
Visitors will have the opportunity to admire Buddhist statues – a famous product line from the old Saigon pottery kilns, featuring a variety of images: Buddha, Bodhisattvas, Arhats, Bodhidharma, Guardian Deities, Fierce-faced Deities, etc. The statues are mostly glazed using two main styles: employing a rich glaze color palette to enhance artistic value, or applying a single-color gold glaze as a base, after which the temples will color them according to their own preferences. The postures and clothing on the statues strictly adhere to the rules of Buddhist iconography.
These statues embody not only art, but also beliefs, spirituality, and community memory—values that shape the identity of the people of Saigon-Gia Dinh.
Dr. Hoang Anh Tuan, Director of the Ho Chi Minh City History Museum
Among the Taoist statues, the Three Great Deities (Tam Quan Đại Đế) set is particularly noteworthy, comprising nine statues. The three main deities—Heavenly Deity, Earthly Deity, and Water Deity—are depicted seated on thrones, accompanied by six attendant statues on either side. The overall style of the set is very similar to the Jade Emperor, Southern Star, and Northern Star sets, yet retains its own unique character through differences in robe patterns, headwear styles, hand postures, and facial expressions. Through the use of ceramic and skillful hands, ancient artisans vividly portrayed these Taoist deities using folk language.
Statue of Gia Quan Tan Tuoc (multicolored glazed ceramic, early 20th century). PHOTO: TUAN HOANG
The folk religious statues from old Saigon pottery vividly reflect the rich spiritual life of the people of Southern Vietnam in the late 19th and early 20th centuries. Prominent among them are statues of Thien Hau Thanh Mau, Chua Tien Nuong Nuong, Ngu Hanh Nuong Nuong, Phuc Duc Chinh Than, Quan Thanh De Quan… These products, whether painted terracotta or glazed ceramic, are all sculpted with dignified forms, layered clothing, and exude an air of solemnity.
Decorative architectural sculptures, common in temples, pagodas, shrines, and assembly halls of both Vietnamese and Chinese communities in Southern Vietnam, are also a fascinating highlight. These sculptures depict figures from Taoism and folklore such as the Eight Immortals, Ông Nhật and Bà Nguyệt (the Sun and Moon deities), Ngọc Nữ offering a vase, Lưu Hải catching a toad, etc., along with elaborately crafted miniature sculptures (tile sculptures) recreating Chinese legends with layered figures of people, chariots, towers, and platforms, creating a strong visual depth. Glaze colors such as bronze green, cobalt blue, reddish brown, ivory white, and yellow are extensively used. With their high durability and ability to withstand hot and humid climates, decorative ceramics have played a significant role in creating the distinctive aesthetics of religious buildings in Saigon-Chợ Lớn and throughout Southern Vietnam.
Statue of the Jade Maiden offering a vase (late 19th, early 20th century). PHOTO: TUAN HOANG
Statue of the Jade Emperor (terracotta with painted finish, late 19th century). PHOTO: TUAN HOANG
Some of the statues are inscribed with Chinese characters – recording the date, the kiln (Hung Loi, Buu Nguyen, Dong Hoa, Dong An…), and the name of the craftsman – like "earthen documents". This is also a valuable source of information, helping to identify and conduct more in-depth research on the old Saigon pottery tradition.
In the deep brown or multicolored glazes, from rustic to exquisite designs, viewers rediscover the image of old Saigon – where folk art blended with spiritual beliefs, where beauty was born from the most ordinary working life.
Source: https://thanhnien.vn/tuong-gom-sai-gon-xua-di-san-nghe-thuat-doc-dao-185251015203225541.htm
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