Word communal house

2014

THE ARCHITECTURE OF THE VILLAGE’S COMMUNAL HOUSE Subject: VIET NAM ARCHITECTURE HISTORY. Lecture: MA. LE CHIEN THANG Group : 2 Class: 10KTT Student : Ly Thi Hong Nhung Nguyen Khanh Duy Pham Huy Duong Dang Thanh Tung Bui Ngoc Diep Truong Trung Hieu

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CONTENTS CHAPTER 1: OVERVIEW 1.1 1.2 1.2.1 a. b.

1.2.2 a. b. c.

1.3 1.3.1 1.3.2 1.4

Introduction.

Origin, historical, function research about “Dinh lang” The origin and development of “Dinh lang”.

Original concept of “Dinh”.

Transformationabout concept from “Dinh” to “Dinh lang”.

Funtion of “Dinh lang”.

Belief function.

Administrative function.

Community and culture function.

Architecture.

Landscape.

Characteristic of interior space and construction.

Conclusions of chapter 1.

CHAPTER 2: THE VALUE OF ART AND IDEOLOGY 2.1 Artistic value.

2.1.1 Sculpture in “Dinh lang”.

2.1.2 The harmony between sculpture and architecture.

2.2 Ideological value.

2.2.1 Realism.

2.2.2 Ethnography.

2.2.3 Humanity.

2.3 Conclusion of chapter 2.

CHAPTER 3: CONSERVATION ISSUES AND PROMOTING THE VALUE OF RELICS. 3.1 Reality of “Dinh lang” and conservation, promoting the value of relics.

3.1.1 Reality of “Dinh lang”.

3.1.2 Conservation, promoting the value of relics.

3.2 Conclusion chapter 3.

CHAPTER 1: OVERVIEW 1.1Introduction.

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Over view of the Village’s communal house is a cultural institution born form Le So dynasty. It marked a development of the traditional village structure. The Village’s communal house is a symbol of the community, democratic autonomous village.

This place is cultural center of village which is expressed most succinct in festival.

Village’s communal house is not only a area of worship tutelary, the god of village but also the cultural activity center attached to a community resident. On the other hands, the village’s communal house is the place that old man and dignitaries discuss problems in village by village- law and where to organize days, holiday…

1.2 .Origin, historical, function research about “Dinh lang” 1.2.1. The origin and development of “Dinh lang”. a. Original concept of “Dinh”.

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In 1156, Ly dynasty built Ngu Thien palace that consist of “ Dinh Thuong Hoa “, or a first time event of Tran dinasty in 1231 has reported : “ Because of typical climate, too many “ Dinh “ did built as stopping place - plastered with lime white. This area is so – called “ Dinh Tram “ ( halt ). The King always relax at here”. Le So dynasty, “ Dinh Quang Van “ was built to set up ordinances. At Tran Thai Tong dynasty, they reported that “ all of hall have to own Buddha statue”.

Thus, most of information beyond also show that “Dinh” was born from the end of Ly dynasty with function like a halt, king’s accommodation, or to hang ordinances of the state. After that, when Buddhism become national religion . Dinh has chance of Buddhist belief. In the other word, Dinh don’t perform as cultural institutions of village clearly. All meaning of “Dinh Lang“ we know today are not exist at this time. b. Transformation about concept from “Dinh” to “Dinh lang”.

Through many events and many different circumstances, this architectural style resulted in this transformation from hall to village’s communal house. As we show beyond, Dinh was born in the end of Ly period. But until the XVI century, historical record mentioned the term “ Dinh Lang “. For example, in 1522, Le Chieu Tong was evicted to “Nhân Mục Cựu” village’s communal house by Mac Dang Dung. So that, this building have to appear before that time. It has predicted exist at the end of XV century. It also match with name of headstond at Yen Mo village’s communal house ( Ninh Binh ). Although, the content of epitaph only records of local geography and remember embankment. After 1496, Dinh ‘s epitaph of elsewhere dating from 1552 to 1680 had content to remembering the common good, built Dinh by villagers.

Therefore, the transformation of Halt to village’s Communal house – place where worships “Thành hoàng” của làng starting at the end of XV century. In a calendar marked 1496 : “ …From now, looking after the worship of Dinh Lang belong to the communal… It is not changed”. Then, there was increasingly thriving with new construction or renovation, repair XVI century such as Tay Dang, Lo Hanh, or Tho Hoa at XVII century, Dinh Bang at XVII-XIX. From all of information, it performs that at the end of XV century is the functional modify of phase from halt to The village’s Communal house to adore Village god, Halt become to the place that responsible function of village’s communal house about religious, cultural, administration.

So multifunctional characteristics of the Dinh as the administrative headquarters of village government, and this is a place where organize Dinh festival. The Vietnam village’s communal house as a local culture architectural but it's not tied to primitive times immemorial that undergo gradual changes in flow from the history function secular stations to gradually more worship Buddha on the Tran dynasty and then assume the function as a place of worship to tutelary.

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However there are many references that the building has functions like as “Dinh” was created before, but maybe they used a word what is borrowed from China to call it that. And “dinh" is the most common use from the XV century onwards.

From the 15th century onwards, the role of community of Vietnamese villages was improved. It had the right to build their common meeting places. Then, the country’s economy developed so “Dinh” were build in main traffic routes where is near rives, near main road.

1.2.2.

Funtion of “Dinh lang”.

a. Belief function.

Among The village’s communal houses of Vietnam, the God is adored by villagers in the communal house that’s called “Thanh Hoang Lang” – Tutelary deity. He is king of spirit and the white-lighter. When the belief about “Thành Hoàng” comes from China to Vietnam in the Chinese combination of Vietnam, the function of Vietnamese “Thành Hoàng” is like the function of Chinese “Thanh Hoang…the kings of Nguyen dynasty also builds the pagoda to adore “Thành Hoàng” at the town. But, the belief of “Thành Hoàng” is popular to the village, the belief of “Thành Hoàng” is changed to the new one and that is different to Chinese “Thành Hoàng”. Therefore, the belief of “Thành Hoàng” is different when it is popular to the village. But there are a lot of common points to the local belief, so it is easy to popular in villagers.

The origin of “Thành Hoàng Làng” is really complex. At first, the natural God is adored at a lot of village. These God is called demigod with the real story about them.

“Sơn Tinh” and “Thủy Tinh” is generally adored. Among that, “Tản Viên Sơn” God is the supreme god. In addition, “Cao Các” and “ Quý Minh” is also adored at many other place. The local mountain-God such as “Tam Điệp Sơn”, “Điệp Sơn” is also called “Thành Hoàng Làng”.

The second “Thành Hoàng” is human-god. They are the historicla people such as Lí Bôn, Ngô Quyền, Đinh Tiên Hoàng, Trần Hưng Đạo…The third “Thành Hoàng” is the local belief such as adoring the tree, rock…

Beside, “Thành Hoàng Làng” is the people who find out a new land or creating the village such as Đông Chinh Vương and Dực Thánh Vương, Nguyễn Hữu Cảnh, Thoại Ngọc Hầu, Nguyễn Cưu Trinh…At the North of Vietnam, the villagers of the fishing village always adore the people who expansion the land to the ocean. They call the first man who expansion the land is “Tiên Hiền” and the later man is “Hậu HIền”. “Thành Hoàng” is maybe the poor man or the man who died at sacred time. In the village festival, the villager always show the desert of these “Thành Hoàng” by ritual named “Hèm”. “Thành Hoàng” of the people who have, with country, established village, village or founders built a profession (father of the profession). Under the re“Thành Hoàng” ign of King usually ordained to the“Thành Hoàng”, because most are“Thành Hoàng” of country.

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Villagers, settlers guilds or other build where the communal house or the “Thành Hoàng” 's temple,its original home in the new place.

People has the big desert to the village that will be called “Hậu Thần” when they are dead. People who has the big contribution to the village that is written on the document or graved on the stele will be adored by village when they are dead.

Beside, in the crafting village, the villagers adore the big man of crafting called “Tiên Sư”. In the Southside of Vietnam, “Tiên Sư” is adored at the secondary house of communal house. There are a few of “Tiên Sư” who Is adored in the main house.

In summary, the village God of Vietnam is a sign of dualistic. It is a system that is combination of a lot of origin Vietnamese belief (the cult of fecundity, “đạo mẫu” belief, natural god…) and ancestors adoring, heroes adoring. It is affected by Buddhism and Confucianism.

b. Administrative function.

The Village’s communal house is a administrative headquarters of village where villager can do every work that related to administration.

The moderator of adminostrative work is “Chánh Tổng”, “Lý Trưởng”, “Phó Lý”, “Trưởng Tuần” and the courting of “Hội Đồng Hương Kì”, “Kì Mục”. The moderator use “Village-law” to resolve the problem. “Village-law” is the custom of each village that is beyond the court of law.

Each village has the different law with the specific content. However, the main points of all “village-law” is: + Field convention: the division of working level, the convention of contribution (money and paddy) + The convention of agriculture development, production protect, dike maintain, debar cattle killing with a large number, debar filed abandoning… + The conventions about social organazation and responsibility, jurisfication of each positions. Identify the jurisdiction of each positions to prevent them abuse their position. + The regulation of idea culture, belief. These convention is created to ensure the relation of each other in village, parentage, family. The regulation about using the profit of public field to repair, build village communal house, pagora, temple. The regulation about organizing village festival.

“Hương Ước – Village law” also has the regulation about the penalty to the criminal. The fines is affected by level transgress or they must treat all the villagers to apology “Thành Hoàng Làng”. The highset penalty is foreclosing out the village.

In an other words, “Hương Ước” is a law of village. Basically, “Hương Ước” has a lot of value of Vietnamese culture. We can promote the value of these “Huong Uoc” to the present village.

The management of moderators in village is very helpful with the characteristic of autonomy and community. Communal house is a signs of autonomy and connecting people as time go by.

c. Community and culture function.

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The Village’s communal house is the center of the cultural life of the village. “Cây đa, bến nước, sân đình” did come to Vietnamese’s soul. The banyan trees create shade for most people, sipping one cups of green tea, enjoying the wind blowing in from the fields, the wells including open wells and deep wells , open well is serviced to wash and deep wells is serviced to drink water for the villagers. And large courtyard is carried out religious functions, administration and organization of cultural activities.

The peak of the cultural activities in village communal house is festival.

Festival day also called on the crowd. It is considered the operation scale and the most impressive year for the villagers. In the village there are Vietnam Pagoda Festival, Temple Festival. But most of village’s festival still organize at village’s communal house.

There are two part of festival : the ceremony and fest. + The ceremony is the ritual activities related to beliefs +The fest is entertaining activities associated with the secular, art, physical education and sport. In a number of games also has spiritual meaning, for the purposes of raining pray, seasonal pray. The festival takes place on the leisure after harvest. Most of festival are organized in January, or in February, the third of lunar month. That’s two big festivals, and in year they pray village’s tutelary.

It is difficult to determine which functions have previous function has been added. Moreover, three interwoven functions, Make typical communal house to us not to be confused with pagoda or temple.

So far, ceremony and festival are still living community forms typical of the impressive village. In religious life, the people still believe in the gods bless about the crops and lives. Festival at North Delta had disrupted in a time but it ‘s recovering. It also proves vitality of religious worshiping village’s tutelary.

In summary, the North Delta is the birthplace of Viet Nam culture.

These natural factors and social elements formed village, a village community, village lifestyle. Village communal house is a cultural institution born form Le So dynasty. It masked a development of the traditional village structure. Dinh Lang is a symbol of community, democratic autonomous of village. The village communal house is the cultural center of the village which is expressed most succinct in festival.  CONCLUSION: “Dinh lang” – communal house: where culture activities of Vietnamese people take place, they meet another to discuss village’s affairs, places for worship. It became familiar image to Vietnamese people it have witnessed the HA NOI ARCHITECHTURAL UNIVERSITY

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change of Vietnamese village for centuries. And from there. the village’s communal house became a symbol of cultural, spiritual and religious importance in the Vietnamese village life in the world from XV century till nowadays.

1.3.

Architecture.

1.3.1. Landscape.

 "Dinh lang" of the North: “Dinh lang" of the North Dalta region faces the hamlets and hides itself in the shade of a luxuriant green banyan tree. The architecture of dinh is based on the principles of traditional feng shui, in front of the dinh stands a pond (well) with the meaning of prosperity for villagers. Passing the pond we reach Tien Te house and Dai Dinh.

The front of “Dinh” is “communal yard”, two sides have two blocks spelling “ta vu” and “huu vu” (righ and left). The madarinate prepared a shirt before entering ceremony or basic preparation from two rows righ and left.

Outermost is called Ngo Mon gate, identify campus “Dinh”. Conventional all of gates have not roof. Some time, Middle gate has not roof and two primary gates has roof and column lower with middle column. Both sides laminated wall covering port dragons, tigers or draw double-martial held runny or painted elephants, horses ... The front of gate is a lake, pond or well. Between the gate and the house in some “Dinh” with a front or Penjing (usually added to the Nguyen Dynasty), with concept not allow the air flow or visitors go straight into the “Dinh”.

“Binh phong” in the middle of the front yard strike. On the surface of geomantic usually applique or painting the golden tiger that stood next to jagged rock, a old trees twig. In order to denote harmony of yin and yang.

 “Dinh lang” of the central region: Cổng ngõ: “Dinh lang” is placed in order from outside to inside, outermost is the gates to the “bình phong” the main aisle on the main axis. The presence of “bình phong” plate in this position represents the absolute respect of people to the divine world. Because, in this step we are forced to turn to the two sides that can not be the next step if you want to go to the “chính điện”. On the other hand, standing outside, no one can gain insight throughout into the “chính điện” of the “Dinh” because of the obscured by geomantic.

Based on the form of distribution paths, can be classified gate of Dinh into two categories as: gate single, which has only one entrance and the gate, which has three entrance and Dinh types vary each local village.

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The biggest is the gate type build in arches form. Gates of Dinh was built in brick, lime mortar with ground surface area is quite large. Body gate is a mass rectangular box divided into three exit door arches, two of the sides are equal in width and height, and smaller than the main door.

On each door will create “cổ lâu”, creating roof and decorated very picky. Around four sides of the “lâu” is divided into drawer cells and incorporation of the mountain rivers, animals in the porcelain pieces. On the roof of the “cổ lâu” decorated porcelain mosaic dragon.

The gate of Dinh rest were taken pillars as the basic architectural elements. On top of this column are given a box lantern or two floors, or the iconic lion. Some “Dinh”, pillars linked together by casting the concrete slab and create graceful curved roof, and on which the incorporation of the image of noble.

“Bình phong”: “Bình phong” made of brick stucco, cement. Most “bình phong” at the village temple was built here in recent times, should follow the same pattern motif scrolls. Looking broadly, “bình phong” often have cutting edge style, pleating style scrolls and pressure associated with sides two pillars as two shins. Common types of “bình phong” as a horizontal rectangle, but also style upright.

The geomantic are usually decorated on both sides with porcelain mosaic techniques covered or painted subjects of the “carp into a dragon”, the tiger, “tàng vân long”, phoenix and dragon wings bat at which (or trigrams) surf on three aquatic motifs, in the middle of the two front (outer side) and after (in the face).

 “Dinh lang” of the Southern: For the “Dinh lang” of the South, the original ancestors chose architecture "straw thatched walls" made of valuable shells, to "preserve" the value of which does not wavered symbolic of the “Dinh lang”. Since the late nineteenth century to the twentieth century, the architectural solution of ancestors choice to preserve family values of “Dinh lang” which combined two aspects, just permanent restoration using of environmental conditions, advanced techniques of age (tiled walls), just highlight the architectural lines of the traditional communal house. Of course, the tangible manifestation of “Dinh lang” of the Southern versus the South and Central region may be quite simple, crude or lacking traditional lines sharp, but it was manifest characteristics of Southern culture.

Not as “Dinh lang” in the North is a massive wooden structure, including 5-7 bays; Southern house is generally a wooden architectural ensemble, consisting of many house closely adjacent styled dishes and is usually be built in a high place, convenient travel, less affected by feng shui.

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Today, the Village’s communal house of the South has architecture is quite diverse, because after being damaged by time and war; traditional style not much left. Although it has changed, but a communal house in the South, in turn from the outside to the following agents:  Village’s gate has pillar with tiled roofs on top, or pair of porcelain enamel unicorn is set up on this one.  Screen - “ Bình Phong “ is put at the center of communal house yard. There surface normally is reliefed or painted the tiger ( tiger prince ) stood rocky, with old trees or scene of heaven horse carry item. It denotes harmony of yin yang.  Communal house yard had Shennong's altar. Somewhere creates altar together with Shen land. Tiger’s shrine normally lay on two side of altar, council shrines or temples goddess ( may be one of them : five goddess of Wu Xing, Nguyen Nhung Lord, Linh Son Thanh Mau, Chua tien , Chua Ngoc… ).

1.3.2.

Characteristic of interior space and construction.

 Village’s communal house at Northern of Vietnam

The basic part of ancient communal house at the XVI, XVII is a great house and communal yard, pond, hole or well are in front of the great house. The ancient communal house such as Thụy Phiêu, Tây Đằng, Chu quyến, Quang Húc…still keep the form of ancient communal house organization. But the construction factors such as “Cổng”, “Cột Biểu”, “Tiền Tế”, Hậu Cung”, Tả Hữu Vu”, Bình Phong” or surrouding wall are consolidated in the later period.

Main house: an other name is “Đại Bái”. The place to ceremony, meeting, social activity and administrative activity.

Architecture of great house has large size square and large space. It is look sizeable, solemn. At one side, the great house is related to harem to create the sacred atmosphere. At the other side, the main house is built with the open space, connecting to the large space of the opposite yard.

The main house has 3 parts.

The middle part is “Trung Đình”, this place is used to adoring, there is worship place or connected to the harem. At the connected place, there are “Hương Án” and worship item. People can not sit in front of “Hương Án”.

The left part and right part can be the place adoring “Phôi Hưởng” people. The height of floor in the left part and right part are higher than the middle part. The gables of the communal house and the porch are higher than the inner floor. People with the highest estate in the village sit in the lower floor than people with the lowest estate.

Harem: the place used to adore “Thanh Hoang Lang”. Harem is appeared in the end of XVII and specifically in XVIII – XIX. The ancestral tablet of “Thanh Hoang Lang” is placed at the deepest place of HA NOI ARCHITECHTURAL UNIVERSITY

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the harem ( some village adore the “Thành Hoàng Làng” statue such as “Hàng Kênh” (Hai Phong city) adore “Ngô Quyền” statue, “Phương Lạn” (Lục Nam, Bắc Giang) adore “Cao Sơn Quý Minh” statue…)

The “God of wealth” is placed in front of the ancestral tablet. The worship item such as “Tam Sự”, “Ngũ Sự” or “Thất Sự” made by copper, “Đài Rượu”, “Hòm đựng sắc phong thần tích”.

The harem do not need to be large space but it is always placed at the center area. Harem is a close space to make the mistery and sacred atmosphere. The village’s communal house without the harem adores the “Thành Hoàng Làng” in the mezzanine of the middle bay, the distance between the mezzanine and the floor is about 1,8 meter. The mezzanine is the magnificentest place in the bay with the special pattern.

In the harem space, the “God of wealth” at 2 sides is called “Tả Hữu Nội Gian”, There are 2 lines of weapon such as “Cờ quạt, “Tàn lọng”, “Đồ bát bửu” ,”Đồ lỗ bộ”, pink horse and white horse.

“Nhà tiền kế”: to the XVIII and specivically in XIX, some “Đình” build up the “Nhà tiền kế” with the small size in front of the great house. The plan of “Nhà tiền kế” is square or rectangular and opening space at 4 sides.

These architectural objects is placed straightly with the line passing the center of all the object.

This line is called “Đường Thần Đạo”. The main house is placed at the center of the master plan toe make the monumental looking. The other architectural objects is related to the great house to make the complete architectural combination. As time goes by, the village’s communal house is promoted with the diversified construction to become the symbolism of Northside culture.

The frame and the pillar of the village’s communal house.

The system of “Khung cột – xà – kẻ” in the village’s communal house and the architectural elements of these objects is the most important factor of the village’s communal house. Showing the talent of Vietnamese farmmer.

“Khung cột – xà – kẻ” is the 3 dimensions structure of the elevation elements (Big pillar, subordinate pillar , veranda’s pillar), horizontal elements (Top beam, bottom beam, “xà nách”, “câu đầu”, “con rường”…) The components are linked strongly by “Mộng – supporting element”, it is very flexible when disassembled, or replace the breaked element. “Mộng” is a technical achievement of human civilization, developing from the simple to the complex.

“Mộng hở” is upgraded to “Mộng hở quàng gáy” (at the chapiter) and “Mộng có lỗ” (at the scape). The combination of “Mộng có lỗ trơn” and “Mộng quàng gáy” create the “Mộng lỗ có mang thắt”, that is the most complete supporting element.

The pillars of village’s communal house propping up the weight of entire house. When choosing the wood, the villagers use the best timber to make the “Big pillar”.

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Linking the pillars by the crossbar system, including top beam connecting two subordinate columns, the bottom beams connecting two veranda columns. The horizontal linking by “Hoành” such as “Hoành Nóc” at the top and “Tàu Mái” is “Hoành” at the lowest level. In ancient village’s communal house, the system of two parallel beams called “Xà tử thượng” and “ Xà tử hạ”.

System link under the framework of the village temples beam systems, including vertical beam columns connected, horizontal beams connecting the other column. Make the floor by using panel on the beam, except the middle part. System columns linked by vertical trusses, including components such as “Câu đầu”, “Con rường”, “Xà nách”, “Bẩy”. “Câu đầu” is the large beams connecting two “Big pillar”.

There is a beam under “Câu đầu” from two “Big pillar” to prop up the excess part. Above the two “cầu đầu” is two columns, make the “vì nóc kiểu giá chiêng”, or the beam is stacked over the embankment.

The children of this beam forming triangles called “Vì nóc”. “Big pillar” is connected to “subordinate pillar” by “Xà nách”. Over “Xà nách” is “Con rường” connecting to the “Big pillar” to make triangles that called “Cổn”. This “Rường” is also called “Rường cánh”. The lower “Hoành” is supported by “Bẩy”. “Bẩy” is slightly curved to carry reinforcements, joints “Mộng” into a military column hits the crossbar under “Xà nách”, a raging somewhere eventually. Campaigning is located on seven planks forming the vertical plane to the horizontal fixed set of columns and troops to “Tàu mái”.

From XVII, the great house is extended with the line of 6 columns. “subordinate pillar” is connected to porch pillar by”kẻ”, there is a panel over “Kẻ” that related to “Tàu mái”.

The communal house’s roof The great house is the architectural project that develop to the horizontally. The great house is always 3-5 parts. The communal house’s roof is very big, spreading out wide two main roofs, large spread downward, covering the two comfortable double rooms and two wings. Height of roof for 2/3 of the height of communal house. From the late seventeenth century onwards pavilion tend gradually lighter, the roof become shorter and taller.

By the XIX, appeared a number of communal house with the wall at 2 sides and without 2 “Chái”, or it is rebuilt without 2 “Chái” such as “Động Lãm” (Thanh Oai – Hà Nội), “Xâm Động” (Thường Tín – Hà Nội ).

The roof structure consists is Hoành, rui, mè, Hoành is the long beam on the “vì kèo”, passing through the building. “Hoành” is the small timber with the square section. At the connecting point, There is a small wooden cube that is called “Guốc hoành” Rui is the thin and long wooden bar (2 x 10 cm), It is located perpendicular to “Hoành”. “Rui” is used to make the plane of roof. The distance between 2 “Rui” is less than the width of “Rui”.

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Mè is only on the new communal house. “Mè” is the small wooden bar (3x4 cm) that is placed perpendicular to “Rui”. “Mè” is used to make the plane that the place to hold tiles.”Hoành”, “Rui”, “Mè” is connected by nails.

The roof of the ancient communal house does not have “Mè” Tàu mái, lá mái The important wooden object create the curved surface roof is “Tàu mái”, That is the thick panel that arrange together. “Tàu mái” is like the last “Hoành”.

Tàu mái has 2 parts: “Tàu mái” passing through all the bay is called “Tàu gian”, “Tàu mái” at the gable is called “Tàu hồi”. At this part, “Tàu hồi” is created to the curved shape that is called “góc đao”.

Lá mái is the long wooden panel and it is thinner and smaller than “Tàu mái”. “Lá mái” is placed closely to “Tàu mái”. “Tàu mái” is holded strongly by “Then tàu”. The function of this object is hold “Ngói giọt gianh”.

Ngói Ngói is the main material to cover the building. “Ngói” is separated 2 types is “Ngói lợp” and “Ngói lót”.

Roofing tiles ( also known as cover tile ) is a kind of tile with a variety of “ ngói mũi hài, ngói vẩy rồng, ngói di, ngói liệt”. “ Ngói mũi hài” is a kind of tile that has high strocked nose as nose of shoes. The nose of the tile often has water-drains, both has decorative effect. Sometimes in this area has been etched motifs.

Especially at THuy Phieu village’s communal house (Thụy An, Ba Vì, Hà Nội ) has clealy specified epoch “Thịnh Đức tam niên” (1656 ). Similar tiles like kind of tile of Thuy Phieu village’s communal house exists to XVII century. After this period, the monument used lower kind, smaller size, commonly known as ngói vẩy rồng, ngói vẩy hến”… “ Ngói lót “ is a kind of rectangular tile, size is usually 12 × 18 × 10 cm. It creates the surface of roof before coverd. It also increases the length of roof ( some where use two times of this one ). * The other decorative components Between two intersecting of roof tiles, bricks block are built on the junction. The highest roof is top edge. In XVI- XVII century, the village’s communal house Bờ giải : is a area constructed pendicular to the top edge, running down the roof. It walks up to the roof began to spread wide, folded road construction. This part is so-called “ Guot” line. Hollow HA NOI ARCHITECHTURAL UNIVERSITY

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bricks asterisk are built to decorate “ Bờ Nguội “ . In the house later, “ Bờ Nóc “ and “ Bờ Guột “ are often simple more than that of before.

Decorative statues are put on the roof to make this one becomes much more vivid suc as “ Con Kìm, con Xô, Đầu Đao ” …

Con Kìm ( so-called Kìm Nóc , Đài Kìm ) is a tool of blocking both the ends of roof. It appears in term of the stylized head of dragon. Open his mouth and the tail is twisted forms so large.

Con Xô ( con náp ) stands at the middle of folded solver, facing on the roof. Con Xô looks like unicorn ( con Lân ). It has twisted head and bulging eyes.

Most impressive of the roof is “ Mai Dao Cong “, where consists of a combination of decorative motifs. All of this one are fussy , complicated such as Dragon motifs, Phoenix motifs, or spirals simulated the cloud. From XIX century, on the roof is still covered by double dragons .

Floor system of village’s communal house This system creates a striking feature, unique of architectural village’s communal house. It is one of characteristics of indigenous architectural traditions from Dong Son period. Floor system of village’s communal house is one of inherent architectural elements associated with organic house from the beginning. It appeared to avoid the humid climate, insects, floods… Only when they overcome the climate , they decide remove this system.

Floor system is set up including the family lumber eat dream home on a column of uncertainty, including longitudinal beams connecting the columns in one because, horizontal beams connecting the columns because of the different. At the top is paved with flat slabs of wood, planed, 2-3 cm thick.

Height floor of the family home can vary, but common household floor height from 50-80 cm. Below this floor is empty, and is open to dry background.

Except empty space between the floor is parquet families from both sides and divide space into progressively more senior of the two left. Each senior from 10-15 cm. When meeting, villagers sit under the sparse distribution house floor level of family.

The village’s communal house of XVII century as THuy Phieu, Thanh Lung, Lo Hanh, still exists traces of the beam mortise. Chu Quyen of XVII century, Dinh Bang of XVII century, Vuong of XVII century, still keeps the original design.

System “ván bưng” and the door of communal house.

The ancient communal house is the open architecture, ventilation around as the temple West Tây Đằng, XVI century, “Dinh” Quang Phuc, “Dinh” Chu Quyen (Ha Noi), the seventeenth century ... so far kept a floor model and to open around.

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But since the late seventeenth century, the communal house had several “ván bưng” around.

The plank is easily removable, very flexible. When communal house becoming religious institutions closed, the communal house wrapped in “ván đố lụa”, or with brick walls surrounding the harem, making the place of deep worship becomes more natural and flexible as in Tang family Khe Thuong (Ha Noi) large restored 19th in the Air (1698), Dinh Bang (Bac Ninh) was built in 1736 ...

Some communal house late (end of nineteenth century, to the early twentieth century) was built two gable walls instead of two “chái”. Only two walls is partly work bearing, burden of "vì", “hoành”, “rui”, roof tiles and borders adjacent to connect from time to time to head back. And the front wall and behind the communal house is responsible for covering works without load-bearing function. In some works of this type from two gable walls were extended forward and ends with two home office “Đình trụ biểu”. This communal house-style known as "equivalent in his hands", as the “hạ đình” (Hong Van, Thuong Tin, Ha Noi) ...

The front of the communal house has wide doors systems, including many door in style " upper, thượng song, hạ bản" just discreet, just getting light and air through the bars of balustrate . The door system can also removable flexible.

Most communal house are pretty high threshold. Doors threshold is the spar (also called soap threshold) links connecting the outer columns. Distance threshold is brought down to the communal house’s background of thick plywood. Later, due to termites or rot due to exposure to damp communal house’s background so it was brickwork. “Xà ngưỡng” is often higher of 30-50 cm, sometimes is testament associated with “Dinh”-style architecture floor.

People also said that it will also prevent door sophisticated things secular daily life in place of the sacred communal house. At the same time the psychological, one foot high over the threshold, people also left the little life to step into a religious space, so be prepared to present and worshiped the village's tutelary authority and sacred.

 Village communal house at Central region of Viet Nam .

The main architectural structure.

Apse This the place to worship Thanh Hoang god , where is the most inaccessible in Village communal house. Architecture of apse he the most common structure is made of brick lime plaster, cement with arches style, create "lau gia". From the outside it looks like two rectangular blocks and stacked vertically.

With this architecture, the wall is load-bearing parts, so it was built very thick. Apse building always sealed on three sides, only a connecting door to the nave , creating a narrow space, enclosed and creating inaccessible, secluded and quiet place.

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Structural architecture of the village communal house is the wooden frame with three rooms and two wings or one room and two wings. Wood frame structure made up of columns system and components link column are very complex. The way it linked is by tenon system and wedge that forming a strong chassis and it can resistant to tropical storms . Columns are mainly bearing parts bear the entire weight of the house and weight down on the "chan tang" system. The wall only shading function to prevent rain.

According to cross-section from front to back, there are usually have five columns (the two most column, column one, column two the second, and a third in the front roof column), but also has four columns line (two columns and two second column) or six columns. The columns are linked together horizontally to "bo vi" form.

Traditional roof of village communal house is overlapping trusses , and maybe double or three segment depending on each village communal house. With this type of roof, two pillars are connected by a wooden stick pierced shaft, positioned approximately 1/3 from the top . It called the main bar. The top of the bar facing the front , the rear of bar overlooking rearward. The main bar is shaped curves and soft.

In addition to the main bar, the parts remaining links in a column with the same call is truss. Truss are cupped shaped wood bar with different lengths to link the first column, runs down the roof from the top down, grabbed two roof front and rear.

The popular truss in village communal house is "Keo noc " (also known as "Keo nhat"), including two short wooden sticks tailed investigation into the first of two main columns, two top of trusses rising and crossed each other at the top of the roof and catch ridge-beam. The building often extended roof space forward, so, There are only three columns in front of building, no ones behind. The frontier roof, not only have two roof's truss and "keo nhi" truss , connect each other by "vi keo luong doan" truss form, but also have three additional truss overlap and link with the second .

"Xuyen" are the straight wooden slats. Rectangular cross section used to connect the vertical columns, two for each pair. A village communal house has two "Xuyen" bar in front and behind regular tree, the top of two "Xuyen" pierce the two main columns and is locked in the same wedge as the main link. If Village communal house have three space then it will have six "Xuyen" bar.

Village communal house have architectural elements is " Xa co tru doi", like the civil architecture of Quang. "Tru doi" is a short piece of wood, a circle to catch shipments. Head fled stand perpendicular at the midpoint of the menu bar, but do not feed back directly into the dream process that through a wooden base shaped like a curved shape so called foot shrimp shrimp. The upper part has a bat wing panels radiating sides, support the roof truss abdomen called two leaves qua.O residential architecture all parts are referred to as hatching results. The commune has a long wooden bar shaped beam bent beneath the east, two in two head-to eat dreams away. The commune has not performed functional parts that link is to fix the chronology construction and home repair.

On the roof

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Traditional family-style roof has four roof, the roof consists of two front and rear, two comfortable rooms and two wings on either side of the head hoi.Tren pavilion village has many decorative forms, the most common roofing material as roof tiles A positive plaster to keep from falling tiles and create a fast escape the torrential flow of water is very adapt to many climates of rain, meet all the seats between the high roofs are covered with plaster form top edge of the road, which connects the two main roof ridge running east and along the coast range attacks, as the ridges between two main roof with two roof parts.

In addition, the house has a lot more up a parallel ridges running along the top edge at the position of the door pillars. Through this department along with the decoration of the mascot on it, just type the formula "Thiem same message snail", is very popular in the architectural works in Hue during the Nguyen Dynasty.

 Village communal house at Southern of Viet Nam. Structural characteristic and inner structure.: The main house is usually three or more folds with 4 pillars ( it implies that the house with four pillar, 3 bays ), with the same size and style, set up in style “constructed by double building”.

Roof of village’s communal house is often used lunisolar tile, Chinese pipe tile, fish scales tile ( French, existing after 1920 ). Porcelain enamel color images are usually mounted such as “ Luong Long Tranh Chau “, transforming of fish to dragon, …

Each house has a bit different interior, but normally have 3 bays: -

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-

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“Vỏ ca” ( front bay), intended as a place to build adoration & opera festival in the “Kỳ yên”.

“Vỏ quy” called “vỏ cua” or “nhà chầu” (between bay), there are places like Phu Nhuan Dinh (Ho Chi Minh City), Council of Foreign altar where as Phuoc Dinh (Long Xuyen, An Giang) table 18 Hung kings church, altar President Ho Chi Minh; and also used as a place where dignitaries flanking the ceremony, Jinzhou (when sung by) or assembly.

The Court hall(chínhđiện) or “chính tẩm” (last bay), the bay is considered to be the most artistic in the communal house, including the screen (hoành phi), “couplets” (câu đối), “khám thờ”, and “bao lam” of reliefs... All are carved, painted red lacquer trimmed with gold, exquisite and beautiful. At this time, the main subject churchedis Hoang Thanh village, there is place is Phước MỹĐìnhwhere churches more“Hội đồng nội”.

In addition, extra porch (take along the main space), there are churchesmore the right altar (tả ban), the left altar (hữu ban), “Tiên sư”, “Tiền hiền”, “Hậu hiền” ... And depending on the area of the home, which can add: o Harem (nhà hậu), to village official (hương chức); villagers gathered to prepare ceremony. o Trù-house (kitchen) and house of Mr Từ who keep communal house.

Although each place has a little difference, but the worship’s decoration in the communal house must comply with these principles. According to the scholar Nguyen Van To: o Couplets in communal house carved dragonorsacred animals (dragon, unicorn, tortoise, phoenix).

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Eight weapons are 8 precious items include: pens, books, fans, swords, flowers, men and flutes, wine gourd, pocket poetry. There is place: tomes, like the pearl, scrolls, flowers, wine gourd, pipa, fan, whisk.

Door (of temples) painting in fresco (cửa võng), usually carved double dragon flanking the moon (two dragons flanking the moon), either: “lục long ngự thiên” (six dragons flying in the sky), “ngũ phụng hàm thư” (five phoenix hydrated form letter). o

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Tutelary deity ‘s altar has carved 2 dragons, with the ancestral tablet that stimulated sitting posture, recorded brand name of god…Opposite ancestral tablet is set up a small mirror. It represents the item covered the face of man who attending with King. Besides this, casket containing ordinance, incensory, vases, trays, kỷ tam moutain is three rectanges(between shape grown on) to set up “lư hương, trầu, wine, like three moutains picture.

At here, there are a few remnants of hammock, flag, old clothes, hats and worship clothes. Two sides of incense-table is pair of flamingos standing on the backs of turtles. If god is military mandarin, there is a shelve that displays hree long-handled sword so- called “ Guom Via, Guom Can “ and horse.

Chiang and drum are necessary tools to sacrifice. Bamboo tocsin is a long stick carved hollow - acient symbol. It uses to beat up alarm when there is a fire in the village, or robbers.

1.4.

Conclusions of chapter 1.

Sometimes, pagoda bear the architecture of some foreign countries like India, but “Dinh” do not and it was the creation of Vietnamese people about arrangement, structural, decoration.

Especially, we can see materials used to build are available in location.

The structural system may have similarities like the roof has four corners, It is an outstanding featured of traditional Vietnamese architecture. But the arrangement of the temple and entirely different “Dinh”. “Dinh” was arranged spaces what are suitable to traditional living space of Vietnamese people. They have main and secondary compartment and open spaces for communication with the people. Whenever villages have affairs four doors of “Dinh” are all opened which make “Dinh” become spacious.

“Dinh lang” – Communal house: not only contains stories about the history of the feudal Viet Nam dynasties but also is the symbol of Vietnamese architecture and the aspirations of old Vietnamese people through carvings and sculpture.

CHAPTER 2: THE VALUE OF ART AND IDEOLOGY 2.1 Artistic value.

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2.1.1 Sculpture in “Dinh lang”. a. Sculpture Chararacteristic of each region in Viet Nam Village communal house, most in the north, is very rich treasures of sculpture in the history of Vietnam. Sculpture also exist in pagodas, temples and other religious structures, but not where it is manifested as hard at Village communal house.

The triangle roof is not only consistent with the structural system (vì -kèo system), but also a symbol for the sky. When the village has festival or holidays as well as at offering incense and offertory to the gods. So in the “Vi – keo” system, column, door,…. are Usually decorated by by cloudy, fairy, flowers dragon, phoenix flying, – scared animals to show the power and majestic of king and lord. Skill carving: “trạm nổi,trạm thủng, trạm lộng.”

Sculpture of village communal house in the northern Delta region has reached its peak in XVIXVII centuries.

The XVI century was the beginning period of the decline of Vietnamese feudalism. From the sixteenth century to the eighteenth century, village communal house decorative sculpted with bold folk art quality about: nature, daily living, hoilyday…. The anonymous sculptor came from farmers So, Sculpture in “Dinh lang”have taken pictures close to real life, or even with their dreams, with a very unique style and a ebullient spirit Unlike other religious structures, even in the position of village temple sanctuary, you can also see the image of the couple's flirtatious love each other or themselves.

Until the eighteenth century , revolts of farmers continuously broke out and the most remarkable event was the triumph of the Tay Son movement. When famers had the right to decide their fates, they composed work of art. Dragons and phoenixs which were considered sacred animals and the symbol of the power and majesty of king and lords, were created differently by folk artists. The people wished for equality through the images of people wrestling with dragon. In addition, the images of girls holding the beards of dragon and dancing and dragon smilling show that these are not anti-feudal images. Through the above architectural feauture we can see that dragons are not only scared animal and the simple of the power but also symbolize the people’s aspirations. They are close to the people.

Since the nineteenth century, almost sculptural village communal living is no longer the folk scene. Folk scenes activity decrease and the subject instead of flowers, leaves and four nobles (dragon, unicorn, turtle, phoenix). . In the nineteenth century the family, usually the picture of the ring before the temple is elaborately carved.

In the central communal house, decorative sculpture not as rich as the northern communal houses. There's an overview of the decorative wood in the temples on the Thua Thien - Hue: "In the interior of the wood structure depending aesthetic notion that villagers can sculpt detailed dragon head,

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dragon tail in the tail Candy, flowers and road touch only at the radial beams and purlins. carvings the more, the communal house adapt to a moderate texture, delicate.

Engraving little, the communal house adapt to a large wooden structure, massive.. "This is also nature decorated general of the central house, But if decorative sculpture on wood, by contrast reduction , in the central temples development to form decorative applique by lime mortar fragments and porcelain mounted on the outside of the structure. Often in the roof and the roof moldings, decorative square-one flexibility. At two gables are often decorated with porcelain bat wings spread to pray. This is a popular decoration Nguyen dynasties.

Southern “Dinh lang” also decorated in relief facade resembles the central communal house, but decorative sculpture on wood there is also a difference. Much of this wood has been carved from the mid-nineteenth century. Four columns are usually decorated with a dragon, so-called "dragon head". In many places, touching dragon head facing left on the outside, but also where the pillar is carved a block of material. Besides “dragon column” of Southern communal house often has “bao lam” in front of altar, “cửa võng” in North’s communal house, is very delicate carvings, the subject is often noble, “carp into a dragon”, dragon, tiger. Thus, decorative sculpture, and architecture has made family are distinctions on the length of the country. b. Characteristic of sculptural village’s communal house

With the abundance of themes, The diversity of shape and a high level of technical, sculpture in village’s communal house have some basic characteristics: 1. Innocent, rustic, lively in reality reflects: Sculpture decorated Dinh is actually chronicles of the northern delta villages for hundreds of years. The life scene of reliefs in the northern village temple introduce us the life of the northern farmers. The theme reflects reality quite rich diversity. Activities of daily life of the farmers seem tumultuous, vibrant billowing in the village temples survive to this day.

The daily activities such as breastfeeding, bathing in lotus pond, drinking, chess, shuttlecock kicking, feeding, hunting, plow, wrestling, combing hair, scratching each other's feet landscape ... army civilians looting, penalties, cult of honor, village associations ... put into carving by spontaneous way, making people feel life running straight into sculptures, which do not comply with a provision of art, perspective, aesthetic.

There are many detailed ethnographic of traditional society in carving, provide information about the specific character of the different classes: soldier, the martial arts, the literature, the farmers , circus performers ... Then the details of clothing, jewelry of many different people, such as the loin-cloth, gun caps, hats, sports hats straps, a bib, cap hair, long hair ... main realism made rich history excellent value for families sculpture village. By the HA NOI ARCHITECHTURAL UNIVERSITY

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Germans boast shy, rough sketches, with abundance of creative inspiration, reality of life in the village seems to shimmer, vivid to this day.

2.The high level of generality in visual art: The unique sculptural decoration in the village’s communal house represents a high level of generality in method as emphasizes focus work, said selecting the most important issues to express, reflect, towards the viewer content, simplified form, to not affect the perceptual process. The communal house’s carving ignored the DOF, the principles of anatomy, composition, the rationality of reality, to create an logical art by folk artisant.

To achieve this purpose the folk artists have used many visual way as: Co-existing, to expand the space and time; exaggeration, impressed by the character personified; using many point of view; symbolization for outlook express, cosmology. The ancient artists conception that beauty, must be compatible.Suggestions, creating inter-Ideally, more importantly description.

3.Humanity value: Decorative plaques in village’s commual house at North Delta like songs about life and people. And expressive lyricism pervades the carving. Northern farmers living in harmony with nature and animals. The tree-flower-leaf motif very much and always wrapped around citrus character. The domestic scene is reflected in so simple: breast feeding, baby bear, pig, plowing, horse driving, drinking, cock fighting, wrestling, circus, Nguyen Do Cung village festival ... has stated: " rustic Scenes, life and the daily struggles associated with the expression of simple forms, direct objects and people in their ordinary lives is reflected in art, encroached ace of animals and mythological characters taking conventional high. " Vietnam is the country has experienced many devastating wars, but nature has made the feelings in the sculptures of artist-farmer ignore the war, mostly Thread emotional loving praise of man to man, man to nature, animals, such as boys and girls frolic scene, bath shower dress, wrestling ... Not only human emotion but also the animal's feelings are expression as an engraver of "Dragon Nest" (mother with child) in many village’s communal house , cuddling scenes of monkeys that playing together (Hung Loc, Nam Dinh) ... In the Dinh lang sculptures do not talk about malevolent characters. The dragon is the mascot sacred artifacts through the hands of the artisans who have become familiar. She was first in the decorative scheme mythology as: Fairy-cranes, fairy-dragons, fairy dance,... looks very simple as the village girl in the village.

In particular, the image of women is described abudantly. Confucian thought women as " phụ nhân nan hóa - women make life become worst ", "Cross wrote countless women"; blocking lust, men and women, " ... is in the village communal sculpture, artists-farmers openly HA NOI ARCHITECHTURAL UNIVERSITY

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expressed desire, of human pleasures, depicts a realistic scene boys and girls sentiment, copulating, female nude scenes, bathing in a lotus pond ... as encouragement family (Ba Vi, Ha Tay), General Phung family (Hoai Duc district, Ha Tay province), Phu Lao family (Lang Giang, Bac Giang) ... We can say that the subject of home decorative sculpted village people-oriented, able to live out the demands, aspirations, dreams of a satisfied life, pleasure, happiness and peaceful of farmers.

4.Dualistic in visual art: This feature also expressed dichotomous thinking of the Vietnamese people. Tran Quoc Vuong (1996) stated: "the notion of bipolar and dichotomy also affect to thinking of ancient Vietnamese for long time."

As dualistic in shaping sculpture combines elements of many contradictory concept such as decorating with realistic; reliefs combined with round objects; lines with shapes; Judicial combines stylized symbolic, the general nature scenes; gave conflicting themes into a layout as sacred elements into a scene of modern life.

Village’s communal Sculpture contain unique visual value,thedualistic, the trend in enter and exit. Two trends intertwined, sometimes dark but different. Century XVI - XVII, import trends show that dominant, while the tableau of life in the building overflow with abundance of inspiration. Itself made unique value of village sculpture. From the eighteenth century onwards, the trend incarnation descending trend gave way to much more escapist elements of spiritual beliefs. Escapist tendency is enhanced with the use of many decorative motifs symbolic, for worship and sacred cultural village tutelary gods, especially from the Nguyen Dynasty, Confucian brought about unique position. The sculpture in the building had been absent from living subjects. The carving with formulaic themes, decorations biased.

We can consider dualistic comparison table below: 1 - Combined Properties - How to create integrated graphics and animation Decorating 2 - Nature Type - How to create and shape combinations Relief Statue circle, lines and Cube 3 - The nature of calligraphy - How to create integrated graphics and realistic Stylized, Symbol and cultural generalizations 4 - Awareness - shape combines detailed and less detailed, there are no gaps and gaps 5 - Trends create an image combining Exit and Enter 6 - Themes - How to combine myth and reality.

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2.1.2 The harmony between sculpture and architecture.

Sculpture of village communal house is not only the resources to research the history of Fine Arts of Vietnam, but also the resources to research life on weekdays as well as farmers soul of Vietnam.

Talking village communal house sculpture also refers to the art of village communal house decoration.

There is decorative sculpture. The "Dinh" maker is not only proficient in building but also know that adorn "Dinh"and make it more beautiful. That is the reason of Sculpture is so tied to architecture Almost on the architectural components of village communal house are ancient artisans used his skilled hand carved into the model has high artistic value, attracting the attention of people at "Dinh" visit Even the communal house.

Decorative pattern, carved in the overall architecture of the communal house in a compact bundle, that kind of position changes depending on the architecture. It carries the voices of workers themselves by fresh tunes "like a flower rustic" is expressed through simplicity bas, charming ...

Sculpture of village temple is the voice of the decorative arts in the village, it was nice that arise from working more structural surplus (more architectural beauty without losing the basic architecture).

Most focus on the decoration truss and run under the belly board or picture change in form (hit the hole, touch football, filigree, touching farm ...) positions depending on the architecture. Sometimes there is a combination of touch to cause the form to receive more efficient lighting. Forms punctures usually applied on the surface of wood walls thin or small. For example on the temple door - Hung Lo Temple (Dinh Hamlet) - Vinh Phuc. It is a system of sophisticated image carved. Definition is simple carved rustic wriggle from rafts to rafts of other parts of the detailed architecture with soft pattern. The pattern is achieved through a combination of technical touch with the curve flattened array, piece, changing the landscape gradually shallow and deep daily activities of village life in the vivid present. Picture fighting, naked man ... touch layout style compact bundle with funny gesture with two more games played Treasury shirtless, growing bananas: one located two outriggers to heaven, the other two held hands up for balance in preparation upright on two feet of banana growers ...

Although, indecoration,artist was putting the sentiment artfully engraved with the young painter holding a hair brush comb exultant lover, next to the boating scene is fun: drinking alcohol has invited alcohol, the driver leaned rhythmically leaning on each paddle stroke ...

Apart from the wood-carving, also appears in the form that put out the questions touched on, horizontal, spread them on a flat surface like the paintings artistic decoration high. On the surface, we see the motif pattern similar to water waves or straight lines parallel folded repeats associated with dragon phoenix or dragon head tangerine wrap the square grapes beautiful handwriting.

If as in the sixteenth century, Cham nong form widely used in the seventeenth century, artisans used Cham long, Cham bong. We got rich style sculpture, decorative array extends from 3m den5m (combining iconic described with geometric patterns).

Although in terms of scale, simplicity brings home more temples, more temples strictly less intensive as much light and lighting effects do respect the inherent beauty of the delicate carvings at HA NOI ARCHITECHTURAL UNIVERSITY

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home. Under the same area churches (church time) have focused array rather touching and attractive, typically in a number of Vinh Phu province before: as family Tho Tang, Huong Canh, Ngoc Canh, Upper Castle, Hamlet , Friends Additional family ... family population architecture - Temple Hung Lo have motifs painted in churches examination lamps glowing. Yellow sheaves increase the influence of spatial harmony of light. After subjects northern Italy, with our drawings with paint (lacquer) drawn from formal leader you picky. Decorative valances of the ring of dense and subtle. Due to Lot waterfront art exchanges, a bearing surface in the shadow hand (Hue royal arts) on the other hand with a little gesture of Cham art in the use of motifs bearing winged fairies little influence of animist beliefs, fertility.

2.2 Ideological value.

2.2.1 Realism.

Village’s communal house – Dinh lang is familiar images, stick with the soul of all Vietnamese people, was responsible for the activities, habits and any changes in the social life of the village over the centuries Vietnam ....

A very long time ago, when it comes to cultural village, comes to rural Vietnam, people think right to the very specific images, made the symbol of the village: the banyan tree, water stations, family courts ...

This architecture can be seen as "red address" of every person, especially in village festival occasions, and each time the village. In the premises of the house is usually the tree, shade, courtyard beckons birds to nest.

At first, the suspension functions as the big community house, the meeting place and pay the tax collector road vanoi stay for visitors miss. Later, the new feudal dynasty ordained for you to do business with countries Tetular deity (as general living, operators make sense). So too is the home for church functions tutelary gods - who have the land for, established the village.

In addition teturlary, depending on the actual village, each village temples can worship the gods, the other by each village church worship, or the worship of the gods according to the ordinance of the king, all relay into a collective super family god, a mysterious force, building trust, hope Vietnam's villages.

The honor, adore people with tremendous success for the location of the village along with the village where family and the way the interior furnished house did good on this role is to protect important places, sheltered each village before the events of nature and social life ...

There are also times, the village is home administrative headquarters of the central government gains from routine every carnival processions, the longing hopes on, pick who passed the ...

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Dinh lang as representative, a symbol of communal power. Besides, is also home village where everyone gathered in the common people, which is essential for rural life needs a refuge, caring, helping each other. Therefore, the village’s communal house becomes a familiar place close, the shelter, the shelter, the life of the peasants of Vietnam.

On holidays, people in the village to the family incense sacrifice, pray village’s tetular consistent good weather helped crops to reap more convenient and blessing.

Spring, between natural landscape airy, warm and familiar; old, young, girl, boy slave tingle up at family festival. The family is the place where the ritual customs, folk games such as wrestling, cock fighting, swinging, tug, blow rice ... contribute more competition for the festival spirit and promote the value of local culture and contribute to the preservation of cultural values, awaken the traditional conception of life's meaning, virtuous and heroic.

An important contribution of the Dinh lang sculptures reflect the reality of life in rural Vietnam seventeenth century. Socio-economic circumstances at that time not only physical changes but also bring new ideas trends. Therefore, when the flames of civil war has turned off, the new village back peace, people had begun to build pagodas.

The folk artists showed their romantic vision of a resurgent world: scenes of the bustling village festival, reunited with family moments, a dating partner, a passionate of sex, the smile off of alcohol, leisure minutes of the hunt ... all fresh kindness, humanity. However, the nature of sculpture romantic village family non-vulgar, vile. There are plenty of sex scenes themselves are not arouse carnal feelings that express only love and beauty with the anti-human fiercely contemporary.

It can be seen through the Vietnamese communal house engraver of the seventeenth century many aspects of social life: in labor - go hunting scenes, daily life - spouses scratching one another's feet, stone bridges, fighting shields, singing rowing, men and women self-love, drinking ... also pretty much describes the engraver of mandarin class: the most fans to the scene, scenic horseback riding, the robbery scene, especially debt and exit penalties contained wild girl in family court (family village Lao government) ... As a reality show right in every detail: detonator gun, knife, sword, bow of the seventeenth century; The clothes of the people belonging to different strata of contemporary society: (gown, tiara, beads of women, tunic, boots, men's fedora ...); The ancient musical instruments (trumpet, flute, drums, cymbals ...) or the folk games (wrestling, cock fighting, stone bridges ...) and so on ... That's rich data, live for science such as Ethnography, Folklore, Military History ...

Through the realism of the subject, decoration sculpture seventeenth century Vietnamese village also demonstrates the profound struggle. Under Confucian patriarchy, woman scorned, cheapening “nhất nam viết hữu, thập nữ viết vô”, “phụ nhân nan hoá” .... So HA NOI ARCHITECHTURAL UNIVERSITY

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women are not coming home village. Yet the village temple sculpture thick woman pictures.

They freely express love to her husband, with children, with friends; free fun, singing ... It can be said, not in a traditional architectural aspirations loving public was strongly expressed as in the Vietnamese village’s communal house.

Besides theme celebrates the beauty of women, an art piece of content has become voices denounce contemporary feudalism. That's the name of the paunchy scene sitting on almost collapsed have concubines fan. Landscape with a penalty of village girl pregnant (Phu Lao).

Inside Village’s communal house, you will see the gratitude in measure, ie weight, the referee, "drinking water, remember its source" of Vietnam. But the family of the villagers, but not necessarily the spirit of the village. Moreover, Vietnam inherited many ancient beliefs, original, poetic and very much revered as gods: gods of the hills, the sea god, water god (god Tan Vien) ... in Phu Ninh (Phu Tho) church White Rock god, worship delta fish, snake god ... All of that belief, the Vietnam generation of people forming a succession of family background vǎn, a mixed cultural background vǎn and diversified presence many religious composition makes the family can become a super god, created a belief, a hope, an invisible power of village communities Vietnam.

Perhaps, the most ancient architecture in our country are still bringing the house rectangular architecture such as Tay Dang, Lo Hanh. Lo Hanh communal house, own family, old material is Nhat shape, but over the lifetime after renovations have added harem of intent to Dinh shape. According to the architectural concept, architectural home is a public, open to anyone waiting for the land of Vietnam. With such significance, Vietnam is the home village where irrespective of the poor to the rich, as is most evident where vǎn cultural reality of people's lives.

In summary, despite reflect reality or reflect life dreams, aspirations of farmers, these contemporary sculptures that still decorate with bold folk, folk. The wood engraver seventeenth century itself beyond the restrictive framework to create dynamic compositions, open. Only a few sharp chisel, hit the road a few sketches but the sculpture has become soulful, extremely lively. Further topics to show the extremely rich, shows the life and activity of people clearly have an impact on the decorative arts and architecture in contrast, architecture, sculpture is art mirror the lives of the ancients.

2.2.2 Ethnography.

Unique architecture of each people in the world are undergoing long history associated with specific characteristics of the development of our peoples in all aspects.

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This orthodox architecture, typical isvillage’s communal architecture, usually large scale, there is a concentration of talent, intellect artisans, foreman of a region, a country.

This orthodox architecture is typical of the traditional architecture of Vietnam. It has focused on the strength, the power, wisdom exploited and skillful hands of craftsmen Vietnam.

Saying so does not eliminate folk architecture, does not contain the traditional values of Vietnam's architectural, cultural and national identity. Or, more specifically, to strive for an advanced architecture imbued with national identity. When it comes to ethnicity and modernity in architecture can not study the characteristics of the national culture because of the unique culture of each people makes out with unique features distinguish the ethnic other.

The national identity is the core, the essence of particular ethnic groups. It shows in detail all areas of life, especially in culture and the arts. It is the result of a process of long-term accumulation of experience through intelligent behavior, creativity, overcoming the difficulties and drawbacks, are bound by the conditions of life of the geographical situation, history, so that the field reveal a maximum adaptive, efficient and circumstances, not overpower it but also to exploit scientific and wise.

Ethnography of Vietnam architecture in general, and particularly, in particular the communal house architecture has the following characteristics: The humble and simple shapes, often symmetrical architecture, but inward harmony with natural scenery as want to integrate organic standpoint "cosmic unity", "yin-yang balance" and "natural integration". The public works slightly biased monumental and sculptural quality, but grandiose properties found in their space craft on the legal principle of impartiality on the massive and overwhelming antithetical nature of geometry as axes Theology, the class of the field, the third level, the system open half space continuum, half closed ... Pay attention to symbolism, metaphor, connotation, sculptural quality of the solution architecture arts organizations , making the works from the contents as containing a form of philosophical, artistic expression very quietly, discreetly but profound wisdom. From space planning to material structure simple, concise, logical, balanced and in harmony with the ecological characteristics of the environment, a high level of typical construction principle "minimum maximum"…Space is flexible response, versatile, rich cultural variables, both easily integrate with the natural environment, has adapted to life activities combined with prime agricultural industry of the tropics monsoon moisture to form room closet space, open porch, patio, terrace ... is rich, lively and love to use. Popular decorated with carvings and architectural sculpture (influenced architecture South Asia) on the structural parts and architectural details to reduce weight slightly, creating abundance when people come close but when still majestic-looking, strong impression. Graphic, focuses on the beauty of harmonious proportion, ratio human chain to emphasize the expressive power of a unification of details to make the overall architecture has easily seen through the eyes, just close to the HA NOI ARCHITECHTURAL UNIVERSITY

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Vietnamese stature. So architectural identity is determined primarily by the characteristics of natural conditions such as geography, ecology, climate, relatively stable factors, for example: To suit the conditions, housing often stretching, sticking vacant ground or 1st floor (floor) to create ventilation, moisture-resistant. The home has large windows, roof anti-glare, rain hooked.

Mixed into the space in there yard, gardens, lakes and lawns, to take advantage of shade, improvement of the climate chamber room, creating a nice view. Often integrated architecture, nestled in the garden ... After the new elements on cultural factors, social, economic, technical change and adapt easily modernized.

The behavior, context, scale table value of human Vietnam also an important contribution to make up the distinctions of traditional architectural values, for example: The Neighbourhood create harmonious community lifestyle , openness, hospitality, care for each other. Family life is not just bundle the gate closed. Life is tied to community expression onsite family, the alleys, the village street, under the banyan tree, the consistency of water, on courtyard home, garden pagoda ...

2.2.3 Humanity.

Overall, in the representation of technology thuato house, the ancient artists were shown directly on the sketch does not work, not elaborate, free of emotional comfort that brings art to a "soul". It is the product of the spirit and nature and stylized, though highly expressive images can sometimes be distorted, stretched funny. Some typical examples: "frolic boys and girls" (Huong Loc - Henan). This is truly a work of high artistic value with the iconic characters in the various states in the center. Sometimes men and women (apparently fell in love with each other) have expressed quite interesting: he was ecstatic when neighboring lover while her half shy, half agree with that sentiment. The witnesses to their love as a couple in the Right and Left. My friend smiled triumphantly pointed to the couple as knowingly teasing pairing. And she coyly turn away your eyes glance but horizontal, laughing plump hand covered her mouth. They all glow with love couples, the folk smile echoes in the hearts of workers labor ...

You can easily recognize similarities between sculptural Vietnam village home with seventeenth-century Baroque art by the Vietnam folk artists and musicians in the world was reconciling the world to know "dispute torn, popular psychology and strange habits normal vision ". If Baroque art movement launched by religious reformers, specifying the Bible by drawing up the competition in style church with cheerful, optimistic in Vietnam, the "Authorized King" seems to have lost "rules village "... Art or rather carved sculpture home village gave people joy moments after tiring labor. Art class is required to serve workers, called to serve human happiness despite little simple.

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In the past, what is the stock's moral, what is the female part in training children: "Toạ dữ lập yếu đoan trang Cử dữ động yếu tĩnh trọng Dầu dữ mục vật kinh dao Phủ dữ túc vật kinh động Khai khẩu ngôn bất khả tiếu Ứng thiếu thời vi vi thiếu..."

(Seated stand decency, gentle movements, the first eye glanced along the horizontal, not dangling limbs, open mouth not to laugh, if laugh smile ...)

But folk art took on all the constraints of real life to live with human emotions. Assuming no breakthrough, no emotional things a bit in adultery, lest visual arts lost its inherent innocence; Meanwhile, it looks like a product of a machine accidentally, rigid. From the front, something often associated with regulation shelters feelings to one side or vice versa. Song to the seventeenth century, generally visual art, sculpture art home sweet Vietnam in particular has highlighted the rustic feel despite human "habit" of feudal dynasties. Angles Synthesis has created the eye works, absorbing influences Egyptian art sculpture with drawings on Dong Son bronze drum, motifs "girl riding a phoenix" (Tho Ha family, Hebei) is a phenomenon doubt about the complexity and evolution of human hyperbole. Those home village close touch with co-existing competitive (inter circumstances). character creates a rhythmic group have flexibility in space with the existing copper network is slow bubbles create multiple layers, can block well, have access to space - perspective focuses light attracts light, forcing it to wriggle through the wood block. Merely on a planar array, the indicative formation chamh decoration (beauty) but the artist has cleverly created by multiple layers of opaque blocks as the shape of the bubble, as if the viewer is "holding, holding, straightening," is causing a very real sense. For example, the dragon's head appeared around the beginning balance Additional Family Friends (Vinh Phu ago). Despite damaging time, termites but look closely, we still feel there is something underlying techniques, sophisticated art. Corresponding to this style and more reliefs "bathing dress lotus" (Far Eastern families, Ha Tay), "playful boys and girls" (home Huong Loc, Nam Ha ago) and some not at work others have created a space not much nhnwg depth and breadth expression. The ability to mount long chain reliefs many images in the same location architectures have caused the contrast of the shadows just realized just flat features mythical, mystical, but still. This is very close to the architectural style of the plaza with decorative domes of the Baroque period.

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The carving in Phu Lao (Bac Giang) XVII century also shows the nature of freedom. On the porch of the nave started seven families, there is an engraver a nude girl sitting on a dragon beard plaited hair, her face turned to see a young couple dancing fan, and a little farther the sight of a pair of women's is sexual intercourse. This action also features delivery caught on slow networks at many of the children of this family. As touched on the array so far between the armpit, for each pair of timber line, the first on the scene of her dancing, riding on the dragon's head is below 3 couples or men and women are the same. At Ngoc Canh (Vinh Phuc), the bustling festival scene, nestled in a far corner of the armpit is a couple's pleasure climaxed.

Perhaps this picture of carved described most vividly releasing phenomenon in the festivities. As the phenomenon of "lights out" in the village of La Ca festivals (Ha Tay), or games "began scouting in chum" (Vinh Phuc). Normally, in the limits of Confucian teachings on women to put more words on the top means in feudal society. Should pregnant girls often suffer penalties desert in the middle of the village families, accented by lime peel, even floating the river (the penalty situation so well not exist at the village temple carvings), then the next girl the same time releasing the pregnancy, it is fortunate omen of the village. The children follow the concept of people's children as divine gift. This suggests that the human values of the customary Vietnam. The reception is folk Confucianism in selective uptake values social behavior. It's a side of life keep people were allowed to follow the rules in order to have a stable society, but at the same time it is not reclaimed traditional values opens up the law so that people can be the outlet.

2.3 Conclusion of chapter 2.

Village’s communal house - a cultural and religious institutions appear at the end of the period of Le, have been scholars who have been studying French since pretty soon, but in the reference frame of the Greco-Roman aesthetic, they have ignored family carving village, without overlooking their true value. Today, with the light of modern art, sculpture village home (which is kind of striking reliefs) actually evaluate and honor as a cultural heritage, precious artistic heritage of the people nation: “Trúc xinh trúc mọc bên đình Em xinh em đứng một mình cũng xinh” Although, the size scale as the square or the national public works but family and village communal house art sculpture forever honor the natural beauty, the beauty of the soul to employees. Secular life in the village is alive in art carved by the true aesthetic ideology.

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Chapter 3. CONSERVATION ISSUES AND PROMOTING THE VALUE OF RELICS .

3.1. Reality of village communal house today and conservation, promoting the value of relics.

3.1.1. Reality of village communal house today.

During the nation's history since the appearance, the architectural monuments of wood went through the devastation of natural and human To this day the relics have dating ancient remains in most of our country has gone through many renovations, today the earliest remnants of wooden architecture of village communal house was found is visible in the sixteenth century.

Pictures of the banyan tree, water stations, courts of village communal house is unique of Southern village has created a lot of value fine traditional culture from ancient times But most of them are gradually disappearing or deformation with modern life. The demand of enjoying village cultural, oratorio also tend to move about within the family with the modern media, so the good cultural values of Village communal house are disappearing. Village communal house currently at risk of losing their role in the community, and when assembly has house of culture, the village business has agencies and unions. Even more objects in them were being undermined by the villagers, the oratorio works well no more longer be held . As result of the study, field survey by experts from the University of Fine Arts of Vietnam (from 2011 to present) showed ,the most part, only the local elderly remember the story about the legend, the god of Village communal house, the village tutelary gods of worship in that place.

Meanwhile, young people now rarely participate in common community activities in the village communal house. They usually only go there on festive occasions.

Consequently, also in part due to the rapid growth with the number of inhabitants and land area is increasingly being used to expand, thereby leading to the village communal house is no longer the center of community activity, but rather on the work that is required larger space as the house of culture with wide hall capable of serving a large number of people.

Besides the reduction of the role of Village communal house in mind of every residents, the village communal house are now becoming serious degradation of the structure due to the use of raw materials such as wood, brick, limestone wall ... Over the long term, these materials are degraded by impacts from disasters of nature and man.

For example, in the village communal house of Binh Dinh ,most of them have been damaged in two wars that against the U.S. and against France. At the Tuy Phuoc, An Nghia, Tay Son a few of village communal house is still exists today. All the Village communal house has been repaired so many times that the wood components also gradually depleted during remodeling, instead of new materials: cement, brick ... There are some village communal house still kept Wood frame: column - rafter - oblique - trees, some place only retains old doors or rebuilt a new one.

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3.1.2. Conservation, promoting the value of relics.

While village communal culture is fading, the preservation and promotion it in modern life has no specific plans. Until now, we have not seen all the functions of village communal house. we usually just referred to village communal house as a place of where the village tutelary gods, heroes, of a, of the ancestor to worship. Meanwhile, the village communal house has a very important function is to gather and engage community members in the village has not been discussed much. Preserving cultural of village communal house also must be associated with conservation activities festival, oratorio occupational activities in the village, not only in the worship of the tutelary village. It is important to preserve and promote the cultural village communal house to fully understand the function and value of it to be oriented to the protection and functionality that still taking place in modern life . The preservation and promotion of the value of Village communal house should be placed in the context of genera space, environment of the village. The foundation of the village communal house is the village where it existence. With urbanization rate now, the village is in danger of disguises and lost their identity.

With such conservation would create a unified, comprehensive visualize values as well as the losing and backward of village communal house in time . "From there, we will select the appropriate elements with contemporary life in order to better promote the heritage values of the communal house," In addition, the improvement of the quality of work is also a very important part in the preservation of village communal house heritage in VietNam . Currently, the importance of the historical and cultural aspects as well as large scale with beautiful architectural features should be preserved as family Dinh Bang village, Bac Ninh, Dong Ky village communal house, Bac Ninh or the Thuong village family, Ha Nam have been renovated, reinforced by the material close to the original as compared to the initial.

The conservation measures and promote the relics value of Village communal house : - Through a general policy aimed at promoting the role of Village communal house monuments in social, and annexed the safeguarding of the monuments in the planning program.

- Assign or establish one or more competent authorities to protect monuments present in its territory.

- Enhance scientific research, engineering and the arts as well as the methodology of the study in order to effectively protect the village communal house relics, especially the village house is in danger of fall into oblivion.

- Through the appropriate measures of legal, technical, administrative and financial to: Strengthen the establishment or consolidation of training institutions to manage village communal house relics and the work which is taught about those relics through the Forum and the space for performances or shows them .

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• Ensure access to the village communal house relics on the basis of respect for the tradition, the manager access to specific aspects of this type of relics.

• Establishment of institutions stored materials on the village communal house relics and enabling people to access them.

- Education, awareness and create capacity.

3.2. Conclusion Village communal house is the center of religious and cultural life of the village, the village communal house gather and engage all members of the community. Cultural Space northern village communal house by the village community created, derived from the needs, beliefs and aspirations of the Vietnamese people. Besides creating the role of cohesion in the community life of the village, Village communal house represents a vivid life, with a particular model of cultural institutions synthetic beliefs, a typical cultural space in there have the space for visual arts, performing arts, architecture, sculpture ...

Currently, Vietnam villages especially in the North has much change, urbanization trend in rural rapid, cultural values imbued with national identity fading, some nonnative culture penetrate gradually tends away from the system. If Village communal house was the place where people engage in the community activity, then now that needs moved to families or villages.

So, it is necessary that there should have research on art activities, social studies have aim towards village communal house to keep the traditional cultural values and keeping cultural space imbued identities nation, a village communal house bequeathed by our forefather.

Through our researching about “ Đình làng” Village’s communal house we can see it is the building that has tremendous value for the Architectural of Vietnam. So the research, conservation, preservation and restoration work of all Vietnamese people. At the same time have to preserve the way of life, the good traditions of our nation.

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