Culture

OVERVIEW OF VIETNAMESE CULTURE

Vietnam has a unique and long-standing culture closely linked to the history of the nation's formation and development.

Historians agree on one point: Vietnam had a fairly large cultural community that formed around the first half of the first millennium BC and flourished in the middle of that millennium. This was the Dong Son culture. This cultural community developed to a higher level than other contemporary cultures in the region, possessing unique characteristics but also sharing many features of Southeast Asian culture, due to a common South Asian (Southern Mongoloid) ancestry and a rice-farming civilization. Different paths of development of indigenous cultures in different areas (Red River basin, Ma River basin, Ca River basin, etc.) converged to form the Dong Son culture. This was also the period when the first "embryonic" state of Vietnam emerged in the form of inter-village and super-village communities (to fight invaders and build dikes for rice cultivation), from which primitive tribes developed into a nation.

Lion dance

The Van Lang - Au Lac cultural period (approximately 3000 to the end of the 1st millennium BC), during the early Bronze Age, spanned 18 Hung Kings and is considered the first peak of Vietnamese cultural history, with notable creations such as the Dong Son bronze drums and stable wet rice cultivation techniques.

Following the period of resistance against Chinese domination, characterized primarily by the parallel existence of Sinicization and resistance to Sinicization, the Dai Viet period (from the 10th to the 15th centuries) represents the second peak of Vietnamese culture. Through the independent feudal dynasties, especially the Ly-Tran and Le dynasties, Vietnamese culture was comprehensively rebuilt and rapidly flourished, absorbing the immense influence of Buddhism and Confucianism.

Following the chaotic periods of the Le-Mac and Trinh-Nguyen dynasties that divided the country, and building upon the Tay Son dynasty's unification of the nation and territory, the Nguyen dynasty sought to revive culture based on Confucianism. However, Confucianism had already declined, and Western culture was beginning to penetrate Vietnam. This continued until the end of French colonial rule, marked by a cultural intermingling between Westernization and anti-Westernization trends, a struggle between patriotic culture and colonial culture.

The modern stage of Vietnamese culture has been taking shape since the 1920s and 1930s, under the banner of patriotism and Marxism-Leninism. With increasingly deep integration into modern world civilization, while preserving and promoting national identity, Vietnamese culture promises to reach a new historical peak.

Throughout Vietnamese history, it can be said that three layers of culture have overlapped: the indigenous culture, the culture influenced by interaction with China and the region, and the culture influenced by interaction with the West. However, the main characteristic of Vietnam is that, thanks to its strong indigenous cultural roots, it has not been assimilated by foreign cultures; on the contrary, it has known how to utilize and Vietnamize those influences to enrich its national culture.

Vietnamese national culture originated from a specific living environment: a hot climate, abundant rivers, and a meeting point of many great civilizations. Natural conditions (temperature, humidity, monsoon winds, rivers, wet rice agriculture , etc.) have significantly impacted the material and spiritual cultural life of the nation, as well as the character and psychology of the Vietnamese people. However, social and historical conditions are the most influential factors in shaping national culture and psychology. Therefore, despite being inhabitants of a rice-growing region, there are still cultural differences between Vietnam and Thailand, Laos, Indonesia, India, etc. While sharing a common Southeast Asian cultural origin, the long-term rule of the Han dynasty and the imposition of Han culture have transformed Vietnamese culture, incorporating characteristics of East Asian culture.

The Vietnamese nation was formed early and has always had to wage wars to defend its country, thus creating a prominent cultural characteristic: patriotic ideology deeply ingrained and pervasive in all aspects. Primitive community elements were quickly consolidated, becoming the foundation for the development of patriotism and national consciousness. Continuous warfare is also the main reason for the erratic nature of Vietnam's social development; all socio -economic structures are often interrupted by war, making it difficult to reach the peak of mature development. Because of the destructive effects of war, Vietnam has few monumental cultural and artistic works, or if they exist, they are not preserved intact.

Vietnam comprises 54 ethnic groups living together, each with its own distinct characteristics, making Vietnamese culture a unity in diversity. Besides the typical Viet-Muong culture, there are other unique cultural groups such as Tay-Nung, Thai, Cham, Hoa-Ngai, Mon-Khmer, Hmong-Dao, and especially the cultures of the ethnic groups in the Central Highlands, which have preserved rich and comprehensive traditions of a purely agricultural society closely connected to the natural forests and mountains. Below is an overview of the main cultural areas:

1. Philosophy and thought

Initially, Vietnamese thought was a blend of primitive, materialistic, and dialectical elements of nature. However, stemming from an agricultural culture, and differing from nomadic cultures in its emphasis on stillness over movement, and being closely related to natural phenomena, Vietnamese philosophical thought paid particular attention to these relationships. A typical example of this is the theory of yin-yang and the five elements (not entirely identical to that of China), and its clearest manifestation is a balanced lifestyle striving for harmony.

Later, heavily influenced by Buddhist, Confucian, and Taoist philosophies, these were integrated and Vietnamized, contributing to the development of Vietnamese society and culture. In particular, Zen scholars during the Tran dynasty uniquely and distinctly considered and interpreted most of the philosophical issues raised by Buddhism (Buddha-Mind, Emptiness, Life and Death, etc.). Although Confucianism later flourished, many renowned Vietnamese scholars did not study Confucius and Mencius blindly or rigidly. Instead, they embraced the spirit of Buddhism and Taoism, resulting in a more refined, liberal, and people-friendly philosophy that harmonized with nature.

Under bureaucratic autocratic dynasties, heavy feudal ideology oppressed peasants and bound women, but village democracy and primitive communal values ​​persisted on the basis of a self-sufficient agricultural economy. Deeply rooted in Vietnamese agricultural society was the peasant ideology, which possessed many positive characteristics and was typical of the traditional Vietnamese people. They were the core of resistance against foreign invaders through wars of resistance and uprisings. They produced many talented generals and leaders of resistance armies, culminating in the national hero Quang Trung-Nguyen Hue in the late 18th century.

The policy of prioritizing agriculture over commerce, mainly under the Nguyen dynasty, hindered the development of urban consciousness. In ancient Vietnam, agriculture was valued first, followed by scholars, or vice versa; merchants were looked down upon, and other professions, including cultural activities, were often considered secondary.

 

Festival

In the 19th century, as feudalism declined and Chinese civilization deteriorated, Western culture began to infiltrate Vietnam through the barrel of colonial guns. The working class emerged in the early 20th century as part of the colonial exploitation program. Marxist-Leninist ideology, introduced into Vietnam in the 1920s and 1930s, combined with patriotism to become the driving force behind historical transformation, leading the country towards independence, democracy, and socialism. Ho Chi Minh, a national hero, thinker, and cultural figure recognized internationally, was a prime example of this era. The weak national bourgeoisie only managed to carry out a few partial reforms in the first half of the 20th century.

Thus, Vietnam lacks its own system of philosophical theory and thought, and is short of internationally renowned philosophers. However, this does not mean that it lacks philosophies of life and ideas that are suitable for its people.

The agricultural society, characterized by its communal village structure and many lingering primitive remnants, has shaped the unique character of the Vietnamese people. This includes a dualistic way of thinking, a concrete mindset, leaning more towards experiential and emotional thinking than rationalism, preferring imagery over concepts, yet flexible, adaptable, and easily harmonized. It is a way of life deeply rooted in loyalty and solidarity with relatives and the community (because when the country is lost, homes are destroyed, and floods inundate entire villages). It is a way of acting that tends towards compromise and balance, relying on relationships, while also being skillful and adaptable, having repeatedly demonstrated the ability to use gentleness to overcome strength and weakness to counter power throughout history.

In the hierarchy of spiritual values, Vietnam highly values ​​humanity, closely combining humanity with righteousness and virtue; inhumanity and unrighteousness are synonymous with immorality. Nguyen Trai once described the Vietnamese concept of humanity and righteousness – the opposite of tyranny – as the foundation of governance and national salvation. Vietnam understands loyalty as loyalty to the country, higher than loyalty to the king; filial piety is valued but not confined solely to the family. Happiness also ranks at the top of the list of life values; people praise a blessed family more than they praise wealth or prestige.

On the path of industrialization, modernization, and global integration, we must strive to overcome several shortcomings in traditional culture; weak logical and scientific-technical thinking; patriarchal, conservative, localistic, and narrow-minded attitudes; egalitarianism; a tendency to deny individuality and flatten personality; a tendency towards idolatry and deification; a preference for empty rhetoric and superficial achievements, and weakness in practical organization...

2. Customs and traditions

The Vietnamese are inherently practical, valuing food and clothing for their sustenance. First and foremost is food; without sustenance, one can do anything, even a lightning strike avoids interrupting a meal. The diet is heavily plant-based, with rice and vegetables as the main components, supplemented by seafood. Boiling is a distinctive Vietnamese cooking method. However, the way dishes are prepared is highly comprehensive, combining many ingredients and spices. Even today, with abundant meat and fish, the taste of pickled vegetables remains.

Ancient houses in Duong Lam village

Vietnamese people often use plant-based fabrics that are thin, light, and breathable, suitable for hot climates, in shades of brown, indigo, and black. Men's clothing evolved from loincloths and bare torsos to shirts and trousers (modified Chinese trousers). Women traditionally wore bodices, skirts, and four-panel blouses, later evolving into the modern ao dai. Generally, Vietnamese women adorned themselves subtly and discreetly in a society where "character trumps beauty." Traditional clothing also paid attention to scarves, hats, and belts.

Traditional Vietnamese houses were closely associated with the riverine environment (stilt houses, curved roofs). Later, they evolved into thatched houses with mud walls, primarily constructed from bamboo and wood. These houses were not excessively tall to withstand strong winds and storms, and most importantly, they typically faced south to protect against heat and cold. They were also not overly large, leaving ample space for courtyards, ponds, and gardens. Furthermore, the Vietnamese believe that "a spacious house is not as important as a generous heart." Grand, ancient architectural structures often blended seamlessly with nature.

Traditional transportation was primarily by water. Boats of all kinds are a familiar image in Vietnam's geographical and human landscape, along with rivers and docks.

Vietnamese customs related to marriage, funerals, festivals, and celebrations are all deeply rooted in the communal spirit of the village. In the past, marriage was not only a matter of personal desire but also served the interests of the clan, family, and village. Therefore, marriage was carefully considered, with auspicious dates chosen, and numerous ceremonies taking place from the engagement, betrothal, and wedding to the wedding ceremony, and the return visit to the bride's family. A dowry had to be paid to officially acknowledge the bride as a member of the village. Funeral customs were also meticulously observed, expressing sorrow and bidding farewell to loved ones, not only handled by the family but also with the dedicated assistance of neighbors.

Vietnam is a country of festivals throughout the year, especially in the spring, a time of agricultural inactivity. The main festivals include Lunar New Year, the Lantern Festival (the 15th day of the first lunar month), the Cold Food Festival (Tet Han Thuc), the Dragon Boat Festival (Tet Doan Ngo), the 15th day of the seventh lunar month (Tet Ram Thang Bay), the Mid-Autumn Festival (Tet Trung Thu), and the Kitchen God Festival (Tet Ong Tao). Each region usually has its own festivals, the most important being agricultural festivals (praying for rain, planting, new rice harvest...), and occupational festivals (bronze casting, blacksmithing, fireworks, boat racing...). In addition, there are festivals commemorating national heroes, religious and cultural festivals (temple festivals). Festivals have two parts: the ceremonial part, which signifies prayers and thanksgiving, and the celebratory part, which is a community cultural activity including many folk games and competitions.

3. Beliefs and Religions

Vietnamese folk beliefs from ancient times have encompassed:

Do Temple Festival

Fertility worship, nature worship, and human worship. Humans need procreation, and crops need to flourish to sustain and develop life, thus giving rise to fertility worship. In Vietnam, this belief has persisted for a long time, manifesting in two forms: the worship of male and female reproductive organs (unlike India, which only worships male reproductive organs) and the worship of the act of mating (between humans and animals; even in Southeast Asia, few ethnic groups worship this). Traces of this can be found in many artifacts, including statues and stone column bases, in the decorations of Central Highlands tombs, in some customs and dances, and most clearly in the shapes and patterns of ancient bronze drums.

Wet-rice agriculture, dependent on many natural factors, has led to a belief system that worships nature. In Vietnam, this is a polytheistic belief system that highly values ​​goddesses, and also worships both animals and plants. A research book (published in 1984) listed 75 goddesses, mainly mothers and goddesses (not only the God of Heaven, but also the Goddess of Heaven, also known as the Nine-Layered Goddess, and others such as the Goddess of the Mountains, the Goddess of the Rivers, etc.). The most revered plant is the rice plant, followed by the banyan tree, the betel nut tree, the mulberry tree, and the gourd. Regarding animals, there is a preference for worshipping gentle creatures like deer, stags, and toads, rather than ferocious animals as in nomadic cultures, especially common aquatic animals such as water birds, snakes, and crocodiles. The Vietnamese people identify themselves as belonging to the Hong Bang lineage, the Immortal Dragon race (Hong Bang being the name of a large water bird, Immortal being an abstraction of an egg-laying bird, and Dragon being an abstraction of snakes and crocodiles). The dragon, born from water and soaring to the sky, is a unique and meaningful symbol of the Vietnamese people.

In Vietnamese beliefs and traditions, the most common practice is ancestor worship, which has almost become a religion (in the South, it's called the Ancestor Worship Religion). Vietnam places more importance on death anniversaries than birth anniversaries. Every household worships the Earth God, the deity who oversees the home and protects the family from misfortune. Every village worships the Village Guardian God, the deity who governs and protects the entire village (often honoring those who contributed to the village's development and establishment, or national heroes who were born or died in the village). The entire country worships the founding king, with a common ancestral commemoration day (the Hung Temple Festival). Particularly noteworthy is the worship of the Four Immortals, representing the beautiful values ​​of the nation: Saint Tan Vien (flood control), Saint Giong (resistance against foreign invasion), Chu Dong Tu (a poor man and his wife who bravely built a wealthy empire), and Lady Lieu Hanh (a princess from Heaven who abandoned the Celestial Realm to descend to earth as a woman yearning for ordinary happiness).

Although folk beliefs sometimes lead to superstition, they are resilient and blend into mainstream religions.

Theravada Buddhism may have been directly introduced from India to Vietnam by sea around the 2nd century AD. Vietnamese Buddhism is not detached from the world but engaged with it, associated with incantations, prayers for wealth, blessings, and longevity rather than ascetic practice. When Mahayana Buddhism arrived in Vietnam from China, Vietnamese monks delved deeper into Buddhist studies, gradually forming distinct sects such as the Truc Lam Zen sect, which emphasized the Buddha within the heart. During the Ly and Tran dynasties, Buddhism flourished but also embraced Confucianism and Taoism, creating a cultural landscape characterized by the "Three Religions Coexisting." Through many ups and downs, Buddhism has become deeply ingrained in the Vietnamese people; statistics from 1993 indicate that there were still 3 million ordained monks and about 10 million people regularly visiting temples to worship Buddha.

During the period of Chinese rule, Confucianism had no firm foothold in Vietnamese society. It wasn't until 1070, when Ly Thai To established the Temple of Literature to worship Zhou Gong and Confucius, that it can be considered officially accepted. In the 15th century, due to the need to build a unified country, a centralized government, and an orderly society, Confucianism replaced Buddhism as the state religion under the Le dynasty. Confucianism, primarily Song Confucianism, firmly rooted itself in the socio-political system, the examination system, and the scholar class, gradually dominating the spiritual life of society. However, Confucianism was only adopted in Vietnam in individual elements – especially in politics and ethics – rather than as a whole system.

Taoism entered Vietnam around the end of the 2nd century. Because its doctrine of non-action (wu-wei) held a rebellious spirit against the ruling class, it was used by the people as a weapon against the feudal regime of the North. Its many mystical and supernatural elements resonated with the subconscious and primitive beliefs of the people. Many old Confucian scholars admired the tranquil and leisurely tendencies of Lao Tzu and Zhuangzi. However, Taoism has long ceased to exist as a religion, leaving only its legacy in folk beliefs.

Christianity arrived in Vietnam in the 17th century as an intermediary between Western culture and colonialism. It seized the opportune moment: the crisis of the feudal system, the decline of Buddhism, and the stagnation of Confucianism, becoming a source of spiritual solace for a segment of the population. However, for a long time, it failed to integrate with Vietnamese culture. On the contrary, it forced its followers to set up altars in their homes. Only when the Gospel was integrated into the nation's culture did it gain a foothold in Vietnam. In 1993, there were approximately 5 million Catholic believers and nearly half a million Protestant believers.

Foreign religions introduced into Vietnam did not erase indigenous folk beliefs but rather blended with them, leading to certain variations on both sides. For example, Confucianism did not diminish the role of women, and the worship of the Mother Goddess is very prevalent in Vietnam. Polytheism, democracy, and community are expressed in the collective worship of ancestors, the worship of multiple pairs of deities, and in a single temple, one finds not only Buddha but also many other deities, both divine and human. And perhaps only in Vietnam can we find stories like the toad suing the sky god, or the motif of a human marrying a fairy in folk tales. These are the unique characteristics of Vietnamese beliefs.

4. Language

Regarding the origin of the Vietnamese language, there are many theories. The most convincing theory is that Vietnamese belongs to the Mon-Khmer branch of the Southeast Asian language family, later transforming into Viet-Muong (or Old Vietnamese) before separating. In modern Vietnamese, many words have been proven to have Mon-Khmer origins and correspond phonetically and semantically to Muong words.

Throughout a thousand years of Chinese rule and under various feudal dynasties, the official language was Chinese characters. However, this was also a time when the Vietnamese language demonstrated its vitality in the struggle for self-preservation and development. Chinese characters were read in a way that suited the Vietnamese, known as Sino-Vietnamese pronunciation. They were also Vietnamized in various ways, creating many commonly used Vietnamese words. The rich development of the Vietnamese language led to the creation of a writing system, Nôm script, to record the Vietnamese language based on Chinese characters in the 13th century.

During the French colonial period, Chinese characters were gradually phased out and replaced by French for use in administration, education, and diplomacy. However, thanks to the Quốc ngữ script, with its advantages of simple form, structure, writing, and pronunciation, modern Vietnamese prose truly took shape, readily absorbing the positive influences of Western languages ​​and cultures. The Quốc ngữ script was the product of several Western missionaries, including Alexandre de Rhodes, who collaborated with some Vietnamese individuals, using the Latin alphabet to transcribe Vietnamese sounds for missionary work in the 17th century. The Quốc ngữ script was gradually perfected, popularized, and became an important cultural tool. By the end of the 19th century, books and newspapers were being published in Quốc ngữ.

After the August 1945 Revolution, the Vietnamese language and its script gained a dominant position, flourishing and becoming a versatile language used in all fields, at all levels of education, reflecting all aspects of life. Today, thanks to the revolution, some ethnic minorities in Vietnam also have their own writing systems.

Characteristics of the Vietnamese language: monosyllabic but with a specific and rich vocabulary, rich in imagery and tonal nuances, balanced, rhythmic, and lively expression, easily adaptable, inclined towards symbolism and expressiveness, very favorable for literary and artistic creation. The Vietnamese dictionary published in 1997 contains 38,410 entries.

5. Literature

Developing in parallel and profoundly interacting: Vietnamese literature emerged quite early and comprises two components: folk literature and written literature. Folk literature holds a significant position in Vietnam, playing a major role in preserving and developing the national language and nurturing the people's souls. Folk creations include myths, epics, legends, fairy tales, humorous stories, riddles, proverbs, folk songs, etc., reflecting the diverse cultures of Vietnam's ethnic groups.

Written literature emerged around the 10th century. Until the early 20th century, two parallel branches existed: literature written in Chinese characters (including poetry and prose, expressing the soul and reality of Vietnam, thus remaining Vietnamese literature) and literature written in Nom characters (almost exclusively poetry, with many great works preserved). From the 1920s onwards, written literature was primarily composed in Vietnamese using the national script, undergoing profound innovation in genres such as novels, modern poetry, short stories, and plays... and diversifying artistic trends. It also developed rapidly, especially after the August Revolution, following the leadership of the Communist Party of Vietnam, focusing on the lives, struggles, and labor of the people.

It can be said that in Vietnam, almost the entire nation is fond of poetry, loves poetry, and writes poetry - from kings and officials, generals, monks, scholars, to later many revolutionary cadres - and even a rice planter, a boatman, or a soldier knows a few lines of lục bát poetry or can try a folk poem.

In terms of content, the mainstream is the patriotic and indomitable resistance against foreign invasion throughout all periods, and the anti-feudal literature often expressed through the perspective of women. Criticism of social vices and shortcomings is also an important theme. The great national poets were all great humanists.

Modern Vietnamese literature has evolved from romanticism to realism, shifting from the heroic overtones of war to a broader, more comprehensive understanding of life, delving into everyday existence and seeking the true values ​​of humanity.

Classical literature has produced masterpieces such as *The Tale of Kieu* (Nguyen Du), *Lament of the Concubine* (Nguyen Gia Thieu), *Lament of the Warrior's Wife* (Dang Tran Con), and *Collection of National Language Poems* (Nguyen Trai)... For centuries, Vietnam has had unique female writers: Ho Xuan Huong, Doan Thi Diem, and Mrs. Huyen Thanh Quan.

Modern prose boasts authors who are undeniably on par with the world: Nguyen Cong Hoan, Vu Trong Phung, Ngo Tat To, Nguyen Hong, Nguyen Tuan, Nam Cao... Alongside them are outstanding poets such as Xuan Dieu, Huy Can, Han Mac Tu, Nguyen Binh, Che Lan Vien, To Huu... It is regrettable that there are currently no great works that fully, truthfully, and worthily reflect the country and the times.

6. Art

Vietnam has about 50 traditional musical instruments, among which percussion instruments are the most common, diverse, and have the oldest origins (bronze drums, gongs, stone xylophones, stringed instruments...). The most common wind instruments are the flute and mouth organ, while the most unique string instruments are the bầu lute and the đáy lute.

Traditional musical instruments

Vietnamese folk songs and melodies are very diverse throughout the North, Central, and South regions: from poetry recitation, lullabies, and chants to Quan Ho, Trong Quan, Xoan, Dum, Vi Giam, Hue songs, Bai Choi, and Ly. In addition, there are Xam, Chau Van, and Ca Tru.

Traditional theatrical arts include Chèo and Tuồng. Water puppetry is also a distinctive traditional theatrical form dating back to the Lý Dynasty. In the early 20th century, cải lương (reformed opera) emerged in Southern Vietnam with its vọng cổ (traditional Vietnamese folk singing style).

Vietnamese performing arts in general are symbolic and expressive, employing conventional techniques and rich in lyricism. Traditional theater engages closely with the audience and integrates various forms of singing, dancing, and music. Vietnamese dance features few powerful movements, instead employing soft, flowing lines, closed feet, and primarily hand movements.

In Vietnam, the art of stone carving, bronze carving, and earthenware pottery originated very early, dating back to 10,000 years BC. Later, glazed ceramics, wooden sculptures, mother-of-pearl inlay, lacquerware, silk paintings, and paper paintings developed to a high artistic level. Vietnamese visual arts focus on expressing inner feelings while simplifying form, using many stylized and emphatic techniques.

There are 2014 cultural and historical relics recognized by the State, and 2 relics, the ancient capital of Hue and Ha Long Bay, recognized internationally. The remaining ancient architecture mainly consists of some temples and pagodas from the Ly and Tran dynasties; palaces and steles from the Le dynasty, village communal houses from the 18th century, citadels and tombs from the Nguyen dynasty, and Cham towers.

In the 20th century, contact with Western culture, especially after the country gained independence, led to the emergence and strong development of new art forms such as theater, photography, film, music, dance, and modern fine arts, achieving great successes with content reflecting the realities of life and the revolution. Therefore, by mid-1997, 44 cultural and artistic figures had received the Ho Chi Minh Prize, 130 had been awarded the title of People's Artist, and 1011 had been awarded the title of Meritorious Artist. Notably, two individuals received international music awards: Dang Thai Son (Chopin Music Prize) and Ton Nu Nguyet Minh (Tchaikovsky Music Prize). By the beginning of 1997, the country had 191 professional art troupes and 26 film studios and production companies, both central and local. 28 feature films and 49 newsreels, documentaries, and scientific films had received international awards in various countries.

Traditional national culture is currently facing the challenges of industrialization and modernization, the intense demands of the market economy and globalization. Many cultural and artistic fields are experiencing stagnation, seeking new paths and self-renewal. More than ever, the issue of preserving and developing national culture, of selecting old values ​​and building new ones, is becoming increasingly important. Preservation must be accompanied by an open culture. Modernity must not alienate the nation. The cultural renewal process continues...

(Source: Ministry of Culture, Sports and Tourism)

Source: https://chinhphu.vn/van-hoa-68391