Vietnamese believe that the soul of a dead person, even if dead for many generations, still rests along with their descendants on earth. The dead and living persons still have spiritual communion; in everyday life, people must not forget that what they enjoy and how they feel is the same for their dead relatives.
On the last day of every lunar year, an announcing cult, cung tien thuong, is performed to invite the dead forefathers to return home to celebrate Tet holidays with their families. During the last days before Tet, all family members visit their ancestors’ graves; they clean and decorate the graves, in the same manner that the livings clean and decorate their houses to welcome the New Year.
On the anniversary of an ancestor’s death, descendants and relatives unite and prepare a feast to worship the dead people and to ask for health and happiness for themselves. From generation to generation, ancestor worshipping customs have been religiously preserved. There are some small variations between those customs among the many Vietnamese ethnic groups, but the common theme of fidelity and gratitude towards the ancestors remains.
These paintings which originated in the Red River Delta, are the most famous. The artists coat do paper (the Rhamnoneuron paper) with diep powder (a white powder made from the shells of diep.
On a cho noi (floating market) all trade activities take place on boats. The largest cho noi include Phung Hiep, Nga Bay, Phong Dien (in Hau Giang), Cai Rang (in Can Tho) and Cai Be (in Tien Giang)..
Formerly funeral ceremonies went as following: the body was washed and dressed; then a le ngam ham, or chopstick, was laid between the teeth and a pinch of rice and three coins were dropped in the mouth. Then the body was.
Hang Trong paintings are also printed with black lines to form the basis for the colour. But, unlike Dong Ho paintings, they are made by hand. Large sheets of imported paper and brightly coloured paints are used for Hang Trong paintings.
In the turn of the 15th century, under Le Dynasty, orthodox architecture had two dominant styles: the imperial palace and the royal tomb. From the 16th to 17th century, religious architecture gained a lot of popularity in architectural development.
At the end of the 19th century, architectural characteristics were influenced by new construction style brought by European urban planning and the interaction between French and Oriental cultures. Since the reunification in 1975.
The development of Bac Ha region at the beginning of the 19th century was slowed down, after the capital was moved to Hue by the Nguyen Dynasty. At the same time, development in Thang Long increased and citadels, cultural structures, temples, and new residential areas were built.
Under the Tran Dynasty, the dominant architecture models were the royal palace, pagoda, house, temple, and citadel. These styles were deeply and significantly illustrated in the Binh Son Tower in Vinh Phu Province, the Pho Minh Pagoda.
For a very long time, handicraft products have been a source of cultural pride and a source of income for the people. As the varieties of handicraft products are too numerous to be fully introduced, only a few typical items and their sources are mentioned here.
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Vietnamese believe that the soul of a dead person, even if dead for many generations, still rests along with their descendants on earth. The dead and living persons still have spiritual communion; in everyday life, people must not forget that what they enjoy and how they feel is the same for their dead relatives.
