Sculpture of communal house in Vietnam

The communal house, especially the communal house in the North, is a very rich treasure of Vietnamese sculpture in history. Sculpture also exists in pagodas, temples and other religious structures, but nowhere is it fully expressed as in Dinh. Sculpture in the communal house is not only a source of material to study the history of Vietnamese art, but also a source of material to study the life of both Vietnamese and ordinary people.

An Hai family

Talking about the village communal house is also a reference to the art of village communal decoration. Sculpture here is decorative sculpture. Workers make family not only proficient in building a family but also know to adorn the house more beautifully. The sculpture here is therefore associated with architecture. Almost on the components of the village communal architecture are the old artisans use their skilled hands carved into patterns with high artistic value, attracting the attention of people when visiting the family.

Even the communal houses from the sixteenth century until the eighteenth century, sculpting the communal house decoration with bold folk art. Anonymous sculptors from farmers brought in pictures of close-to-life images, or even their dreams, with a very unique style and a very soulful spirit. floating.

Unlike other religious architectures, even in the sanctuary of village communal houses, we can also see the images of boys and girls joking around with each other or being in love . From the nineteenth century, carving the communal house There are almost no scenes of folk activities. From here, there are only the floral and ornamental figures that are popular in the form of the four spirits (long, ly, quy, phoenix). In the nineteenth-century communal houses, there were often hammock doors in front of the temple which were quite elaborately carved.

Hai Chau Communal House

In the central communal houses, the sculpture is not as rich as the ones in the North. Some people have summarized the decoration on wood in the temples of Thua Thien - Hue: "In the wooden structure of the interior depending on the aesthetic concept, the villagers can carve the details of the dragon's head and the dragon's tail at the tail end. trusses, flower touches and radial lines in the beams and arms, much sculpting, adapting to moderate, delicate structures, little carving, adapting to families with large wooden structures , massive . " . This is also the general decoration characteristic of the Central family house. But if sculpture is reduced on wood, on the contrary, in the central houses, there is a form of decoration by floating lime and cementing pieces on the outer part of the architecture. Often on the roof and roof edges, people decorated the four sacred figures. At the two gables are often decorated with bat wings with porcelain wings to bless. This is a popular decoration of Nguyen's life.

Southern communal house also has the decoration to float on the outside near the central region, but sculpture decorated on wood also has differences. Most of this wood carvings have existed since the middle of the nineteenth century. Four pillars are usually decorated with dragons, so called "long pillars". In many places, the pillars are left to the outside, but there are also places where the pillars are carved in a whole . In addition to the long pillars of Nam Bo temple, there are often lamas in front of the temple, like the hammock in the communal houses North, carved very sophisticated, the theme is often the four spirits, fish long, dragon, tiger .

Thus, decorative sculpture, along with architecture, made the family have its own features on the length of the country.