Shu-Te University College of Design Graduate

Transcription

Shu-Te University
College of Design
Graduate School of Applied Arts and Design
Master
Application of Fine Arts of Champa to a Fashion Collection
Designed in Woodblock Print Technique - "A Nostalgic Dream"
Student: Thai, Chau A
Advisor: Chiu, Feng-Tzu
June 2011
中華民國一○○年六月
Student: Thai, Chau A
Advisor: Chiu, Feng-Tzu
A Thesis
Submitted to the
College of Design
Shu-Te University
In Partial Fulfillment of the Requirements
For the Degree of
Master of Fine Arts
June 2011
Yan Chao, Kaohsiung, Taiwan, Republic of China
樹德科技大學應用設計研究所
研究生：泰州亞
指導教授：邱鳳梓
研究並應用 Champa 藝術於一系列名為”懷古之夢”的手板印花服裝
設計
摘要
Champa 王國成立於西元 192 年,人民言語為梵語(Sanskrit)。文
化深受印度文化影響。國民信奉的宗教有﹕Champa 教, 印度教, 佛教
和回教。
經歷多次的戰爭,最後朝代於 1832 年, 漸漸衰弱,Champa 國土被
併入大越國土北部,成為今天的越南國。
Champa 藝術非常傑出,如以燒磚砌成的塔建築和其他帶著宗教性
質的雕刻品，但經過多次戰爭和嚴厲的氣候,這些遺跡正逐漸毀壞中。
還有很多古 Champa 遺跡(約 50 個遺跡區)。1999 年美山遺跡區
獲得聯合國教育科學暨文化組織(UNESCO)公認為世界文化遺產。
我們保持古代的遺產,研究探索其精華和貢獻給今天與將來之藝
術發展，如同考古學家們研究與保存各個歷史遺跡。
i
我是一名時裝設計老師，我認為研究有關 Champa 藝術和應用於
現代時裝設計上是非常重要的。因此我想藉此研究設計一系列新的時
裝能於現代社會生活中穿著。
這一項新的研究是依據 Champa 古塔和 Champa 古雕刻來應用設
計一系列的現代服裝。
此研究有一些主要的目標如﹕從 Champa 古建築物和雕刻品尋找
出一些精美的設計元素，依此來設計新的印花圖樣，製造圖樣木刻板
且用於印在布料衣服上。
以前人家製造圖樣木雕刻版是以手工雕刻;但此項研究中我用雷
射雕刻方法來製造雕刻板。
我設計時裝給年輕人，是因為希望他們能在現代的生活上看到
古 Champa 藝術文化。
此研究亦參考世界的流行趨勢並應用於越南的時裝設計上,使我
的設計系列包括傳統和現代性質。越南紡織布料工業值得加以應用
Champa 古藝術或其他傳統藝術來設計布料。藉此我想將我的布花圖樣
設計介紹給工業生產的布料公司。
此項研究設計能探索出很多美麗的花樣及可能採用於越南其他
行業設計上如﹕建築設計,室內設計,產品設計等。
此研究探討幫助我對 Champa 文化有更深刻的認識,並且對我的
教學有很大的幫助。我想要藉此將 Champa 藝術傳授且廣為宣傳給我
的學生們。
關鍵字﹕Champa 建築, Champa 雕刻,木雕刻板,美山遺跡。
ii
Department of Fashion Design, Shu-Te University
Student
: Thai, Chau A
Advisor
: Chiu, Feng-Tzu
Abstract
Champa Kingdom established in 192 AD. In this nation, Sanskrit was spoken.
Champa culture has been
influenced by India. The people workshipped various
religions: Champa religion, Hinduism, Buddhism and Islam.
After a lot of wars, the last dynasty was been weakened and they lost their
independence in1832. Champa was been merged together with Đại Việt (in the North )
into Vietnam now.
The great art work in Champa's Fine Arts are ancient brick towers and
sculptures at Champa's relics. After severy weather conditions and many wars, these art
work are deteriorating.
There are many Champa relic areas ( about 50
areas ). As in 1999, Mỹ Sơn has been recognized by
UNESCO as a world heritage site. At its 23rd meeting,
UNESCO accorded Mỹ Sơn this recognition pursuant
to its criterion C (II), as an example of evolution and
change in culture, and pursuant to its criterion C (III),
as evidence of an Asian civilization which is now
extinct.
iii
We take care of ancient artistic heritage, research to find out the essence to
learn and contribute to the development of art in present
and in the future.
Archaeologists have been researching and preserving historic monuments.
I, a lecturer, is teaching in Fashion design field, realize that doing research of
Champa Fine Arts and applying to modern fashion art is very important .
Thenceforward, I would like to create a new suitable fashion for a modern living life
This study is the first attempt to create modern fashion collection based on
Champa ancient towers and Champa sculptures. The study has primary objectives: Find
out a specific decorative style from architectures and sculptures of Champa, design new
patterns; making woodblocks; printing patterns on fabrics and creative fashion styles.
In former times, people made woodblock by hand; however, in my study, I
make woodblocks by laser cut machine.
I design a new fashion collection for young people because I hope them can
see Champa patterns in modern styles.
This study is applied in Fashion design in the context of Vietnamese's design
fields and is integrating the fashion trend of the world. So today, my fashion is included
traditional and modern on new products. The textile companies in Vietnam need pattern
fabrics designs relies on the Champa culture or another culture. It is very important, so,
I want to introduce my pattern designs to textile companies for their printing products.
I discovered many beautiful patterns from this study. My study should be
explored more details and can be implemented with greater scale and linked to another
design field: architecture, interior or product design of Vietnam
In academic aspects, the study helps me to understand clearly about Champa
culture for the purpose of my teaching. This is my way that I have chosen to spread
Champa culture to young students, young people. From this point, students will create a
lot of traditional products in modern life.
Keywords: Champa Architecture, Champa Sculpture, Woodblock print, Mỹ
Sơn.
iv
Acknowledgement
First and foremost, I am grateful to Shu-Te University and to the President, Prof.
Yuan-Hsiang Chu for supporting my study with the scholarship and a chance to study in
Taiwan.
Next, I would like to express my deepest gratitude to my mother for her
unconditional love, encouragement, and understanding during my study time in Taiwan.
She is the greatest woman who always make me feel that I am not alone in this world.
my mother gave me money for my living life in Taiwan and for my fashion collection.
Third, I want to send all of my love to my sisters. Elder sister helped me to sew the
costumes. Younger sister give me some suggestions
Forth, I would like to give my sincere thanks to my advisor: 邱鳳梓 for her generous
time, expert guidance, unbelievable support and encouragement. Without her counsel, I
would have found it extremely difficult to complete this thesis.
I would like to thank our professors who taught wide knowledge of Fine Arts to us.
And I woud like to thank all the staffs at College of Design for their help through two
years study with a sense of responsibility and enthusiasm, especially, I'd like to thank
you so much to students who help us to held a Fashion show
Specially, from the bottom of my heart, I am truly grateful to director of NPO Dr.
Tseng Ying Min ( Miss AMY ) who helped me to understand about the culture and How
to conserve and develop the culture.
Finally, I would like to show my thankfulness to those who participated in this study.
Thai Chau A
v
Table of Contents
摘要 ................................................................................................................................... i
Abstract .......................................................................................................................... iii
Acknowledgement........................................................................................................... v
Table of Contents ............................................................................................................ vi
List of Table ................................................................................................................. viii
List of Figure .................................................................................................................. ix
Chapter 1 Introduction .................................................................................................. 1
1.1 Background ............................................................................................................ 1
1.2 Research Focus ...................................................................................................... 4
1.3 Overall Research Aim and Individual Research Objectives .................................. 4
1.4 Value of this Research ........................................................................................... 5
Chapter 2: Literature Reviews ...................................................................................... 6
2.1
History of Champa Nation .............................................................................. 6
2.2
Champa’s Fine Arts ....................................................................................... 31
2.2.1 Architecture .................................................................................................. 31
2.2.2 Sculpture ...................................................................................................... 48
2.2.3 Costumes ...................................................................................................... 63
2.3 Classify the patterns ........................................................................................... 95
2.4 Wood Block Printing ......................................................................................... 95
2.4.1 Types of Block print ..................................................................................... 95
2.4.2 Technique of making block prints ............................................................... 96
2.4.3 Tools ............................................................................................................. 96
2.4.4 Printing Process .......................................................................................... 98
Chapter 3 Design Methodology ................................................................................. 101
Chapter 4: Design result : A Fashion collection ...................................................... 104
4.1 Design image board of the target consumers ................................................ 104
4.2 Design fashion season theme ........................................................................... 105
4.3 Color pattern design ........................................................................................ 106
vi
4.4 Style Design ...................................................................................................... 109
4.5 Make up and Hair style design ....................................................................... 120
4.6 Fahion Style of "A Nostalgic Dream" ........................................................... 121
4.7 Fahion show in the Museum of History, Sai gon .......................................... 132
4.8 Fashion show and Exhibition in Shu-Te University ..................................... 133
Chapter 5: Conclusion and Recommendations ....................................................... 135
5.1 Research Objectives: Summary of Findings and Conclusions .......................... 135
5.2 Recommendations .............................................................................................. 140
5.3 Limitations ......................................................................................................... 140
5.4 Self -Reflection .................................................................................................. 141
References ................................................................................................................... 142
vii
List of Table
Table 1
Information about Champa nation ........................................................ 8
Table 2
Name list of Champa nation in history ............................................... 12
Table 3
List of Champa towers ........................................................................ 36
Table 4
Compare two method to make woodblock ....................................... 139
viii
List of Figure
Figure 1
Figure 2
Figure 3
Figure 4
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Figure 8
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Figure 32
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Figure 35
Figure 36
Figure 37
Figure 38
Figure 39
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Figure 41
Figure 42
Research model .......................................................................................................... 5
Campadesa - ChamPa - Chiêm Thành Map .............................................................. 6
Champa map .............................................................................................................. 7
Shiva - Sandstone Danang Museum ......................................................................... 10
The towers of Po Sa Nu (Pho Hai) ........................................................................... 13
Asia in 800AD, showing the Champa city-states and their neighbors ..................... 15
The Mỹ Sơn E1 Pedestal - Danang museum ............................................................ 16
The Buddhist dynasty at Indrapura .......................................................................... 17
Bas relief at the late 12th century Angkorian temple ............................................... 21
Shiva (Danang Museum) .......................................................................................... 25
Shiva head (Danang Museum ) ................................................................................ 25
Lingram ( Mỹ Sơn ) .................................................................................................. 27
Mỹ Sơn relic ............................................................................................................. 27
Champa and Phù Nam map before 7th century ....................................................... 29
Champa 8th century - champa after 10 th century.................................................. 30
Panduranga-Chăm Pa after 1471 - Thuận Thành town (1697-1832) ..................... 30
The temple Po Klaung Garai 13th century .............................................................. 32
The temple of Po Nagar ........................................................................................... 32
Champa ancient towers local map ........................................................................... 37
Phú Hài - PoSha Nư (VIII Century ) Phan Thiết Town ........................................... 38
Hòa Lai tower........................................................................................................... 38
Đồng Dương tower ( Collapse ) (Henri Parmentier)............................................... 39
Mỹ Sơn A 1 tower( Collapse) (Henri Parmentier) ................................................... 40
Mỹ Sơn A 1 tower( Collapse) (color sketch by Henri Parmentier) .......................... 40
Dương Long tower (Second half XII Century) ......................................................... 41
Bình Định twin tower ( XI century). ......................................................................... 41
Po Klong Garai tower(Henri Parmentier) ............................................................... 42
The temple Po Klaung Garai -VIII century ............................................................. 42
Bằng An tower 12th century ..................................................................................... 43
History Data Image of about architecture details 1 ................................................ 44
Shiva - Danang Museum .......................................................................................... 48
Shiva head - Danang museum .................................................................................. 50
Champa's Stone jewelry ........................................................................................... 51
Champa's gold jewelry ............................................................................................ 52
The makara disgorges a naga .................................................................................. 53
Carving of an elephant ............................................................................................. 53
ix
Figure 43
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Figure 86
A pedestal in Mỹ Sơn ................................................................................................ 56
A detail from the Mỹ Sơn E1 pedestal ...................................................................... 56
A detail from the Mỹ Sơn E1 pedestal ...................................................................... 56
The riser of a step leading onto the Mỹ Sơn E1 pedestal ......................................... 56
A small warrior ........................................................................................................ 57
Tara .......................................................................................................................... 57
Dharmapala ............................................................................................................. 57
A kneeling fat man wearing a mukuta ...................................................................... 57
The dancing Shiva .................................................................................................... 59
A massive lingam and ablutionary cistern ............................................................... 59
A row of apsaras ...................................................................................................... 59
The Dancers' Pedestal of Tra Kieu .......................................................................... 59
Garuda devouring a serpent .................................................................................... 60
Leonine atlas ............................................................................................................ 60
The leonine atlas is flanked by rows of female breasts ............................................ 61
Garuda the man-bird ................................................................................................ 61
Goddess Laskmi........................................................................................................ 61
Sculpture history data image.................................................................................... 62
Textiles represented in old Champa sculpture ......................................................... 63
Stone carving Da Nang Museum, photo credit V. Combré ...................................... 65
63a, 63b, 63c,63d Three ways of draping different kinds of cloth ................... 65 - 66
64a, 64b, 64c. Ascetics in different poses ................................................................ 67
Detail from the Tra Kieu stone pedestal, Da Nang Museum ................................... 67
Stone carving Mỹ Sơn museum ................................................................................ 67
Detail of stone carving Mỹ Sơn museum .................................................................. 68
Three kinds of Cloth ................................................................................................. 68
69a, 69b, 69c. Drawing showing dancing figures.................................................... 68
Drawing showing various types of sarong found in Champa sculptures ................. 69
Drawing showing various styles of Sampot ............................................................ 69
72a Parvati,VII;72b A IX deva; 72c Shiva, XV; 72d Reclining Vishnu, VIII.......... 70
16-armed dancing Shiva........................................................................................... 71
Stone statue of Dvarapala in garden of Da Nang Museum .................................... 71
Stone relief of Dvarapala from Marble Mountain ................................................ 72
Stone Bodhisattva .................................................................................................... 72
Avalokitesvara ........................................................................................................... 72
The Seven Style of Champa ...................................................................................... 72
Stone Dvarapala in situ Marble Mountain ............................................................... 73
Stone dancing figure ................................................................................................. 73
Stone fragment of musician in the garden of Da Nang Museum .............................. 73
Stone pedestal from Tra Kieu....................................................................................... 74
Dancing figure ........................................................................................................... 74
Dancing Shiva Danang Museum ................................................................................ 74
Dancing Shiva, Hanoi Museum................................................................................. 75
Shiva Danang Museum ............................................................................................. 75
x
Figure 87
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Prajnaparamita from Dai Hui ..................................................................................... 76
Drawing showing symbolic flower design ............................................................... 76
Drawing of flower motif in Chanh Lo style................................................................... 76
Brahma, Da Nang Museum ........................................................................................ 76
Stone carving showing flower motif, Da Nang Museum ............................................... 77
Stone carving showing textile covered saddle.......................................................... 77
Dancer, Da Nang Museum......................................................................................... 77
Bronze laksmi, Da Nang Museum .............................................................................. 77
Stone Carving, the Bayon, Angkor Wat....................................................................... 78
Celestial gandharvas from the stone pedestal of Tra Kieu .................................... 78
Goddess, Da Nang Museum ..................................................................................... 79
Another view of the goddess from the Da Nang Museum ........................................ 79
Po Adhya ................................................................................................................... 82
Acamari in a cemetary ............................................................................................... 82
Champa women in everyday clothing ...................................................................... 84
Weaver using a back-strap loom .................................................................................... 84
Weaver using a back-strap loom .................................................................................... 85
Khan mâtham ........................................................................................................... 86
Weaver using the horizontal loom .......................................................................... 87
Weaver using the horizontal loom .......................................................................... 87
Diamond and bean motif .......................................................................................... 88
The tuak lieng design.................................................................................................. 88
Design of Shiva dancing on a peacock ............................................................. 90
Vine Pattern ........................................................................................................... 90
Dragon design .......................................................................................................... 90
Bar jih braid sewn at the bottom of a skirt ................................................................... 90
Bean design................................................................................................................ 92
Champa royal costumes ........................................................................................... 93
Champa civilian clothes ........................................................................................... 94
Woman doing Block Printing at Halasur village, Karnataka, India. ...................... 95
Fabric colors and tools ............................................................................................ 96
My woodblocks ......................................................................................................... 97
Printing process ..................................................................................................... 100
In Po Nagar tower .................................................................................................. 101
In PoSha Nư tower ................................................................................................. 101
Champa traditional music show in Po Nagar tower .............................................. 101
Research Model and Hypotheses ........................................................................... 103
Image board of the target consumers ..................................................................... 104
The theme story board ............................................................................................ 105
Color pattern design 1............................................................................................ 106
Color pattern design total look .............................................................................. 108
xi
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Style 1 ..................................................................................................................... 110
Style 2 ..................................................................................................................... 111
Style 3 ..................................................................................................................... 112
Style 4 ..................................................................................................................... 113
Style 5 ..................................................................................................................... 114
Style 6 ..................................................................................................................... 115
Style 7 ..................................................................................................................... 116
Style 8 ..................................................................................................................... 117
Style 9 ..................................................................................................................... 118
Style 10 ................................................................................................................... 119
Make up and Hair style design ............................................................................... 120
Fashion style 1 ....................................................................................................... 121
Fashion style 2 ....................................................................................................... 122
Fashion style 3 ....................................................................................................... 123
Fashion style 4 ....................................................................................................... 124
Fashion style 5 ....................................................................................................... 125
Fashion style 6 ....................................................................................................... 126
Fashion style 7 ....................................................................................................... 127
Fashion style 8 ....................................................................................................... 128
Fashion style 9 ....................................................................................................... 129
Fashion style 10 ..................................................................................................... 130
Fashion style board ................................................................................................ 131
Fashion Show photo ............................................................................................... 133
Fashion show in Shu-te .......................................................................................... 134
My collection in an exhibition ................................................................................ 134
The Champa History in mind map ......................................................................... 135
Sculpture and Architecture style in Mind map ....................................................... 136
The same colors in Champa costumes and Andy Warhol's Pop arts ..................... 138
Recommendation figure.......................................................................................... 140
xii
Chapter 1 Introduction
The Champa people, together with the Viet and Khmer people, can be found at
the source of today’s Vietnamese people. Furthermore, the Champa people built up a
unique culture that loses nothing in comparison to other ancient and medieval
Southeast Asian cultures. This culture is a closely bound component of actual
Vietnamese culture. The Champa people have in the past shared in the struggle to create
a new life in Vietnam, and are still today elbow to elbow with their fellow countrymen,
engaged in creative labor. A further reason for us to broaden our knowledge of the
Champa people is that the Champa, being an Austronesian speaking people, constitute,
together with a few other ethnic groups, a link between our country and insular
Southeast Asia, at a time when the multifarious relations between the two sides are
beaming clearer.
Cham cultural heritages in various forms including temple, tower, sculpture,
ancient citadel, stele, material and spiritual life, etc...
These things have reflected a multifarious social and cultural life of the Cham
over 1,000 years of existence and development.
My aspiration is to develop a project "Conservation Patterns of Cham culture,
apply them to modern design and introduce it to the public broadly "
1.1 Background
Champa is an once-vigorous kingdom of the Champa people. It was located in
present day Central Vietnam, from Quang Binh to Binh Thuan provinces and existed
from the 2nd to the 15th century.
This kingdom had skillful farmers, excellent sailors, and ingenious artisans. At
the same time, they had no great rivers and large fertile deltas and had many calamities,
including wars and natural disasters.
1
Therefore, though Champa art was also based on the worship of deified kings
or Buddhist icons, Champa brick sanctuaries (known as "Cham temples" or "Cham
towers") were not so magnificent. They were more scattered and much more vulnerable
compared to their Khmer, Java, Thai counterparts. Even so, Champa art has still its
masterpieces expressing its own styles and great unique beauty.
Champa was an Indic civilization that flourished along the coasts of what is
now central and southern Vietnam for roughly a one thousand year period between 500
AD and 1500 AD. The original Champa were probably colonists from the Indonesian
islands, who adopted as their principal vocations those of trade, shipping, and piracy.
Their cities were ports of call on important trade routes linking India, China and the
Indonesian islands. The history of Champa was one of intermittent conflicts and
cooperation with the people of Java, the Khmer of Angkor in Cambodia and the Dai
Viet of what is now northern Vietnam. It was the Dai Viet that Champa finally lost its
independence.
The artistic legacy of Champa consists primarily of sandstone sculptures - both
sculpture in the round and relief sculpture - and brick buildings. Some metal statues and
decorative items have also survived. Much of the remaining art expresses religious
themes, and though some pieces would have been purely decorative, others would have
served important functions in the religious life of the Champa, which synthesized
elements of Hinduism (especially Saivism), Buddhism and indigenous cults.
Sadly, this artistic legacy has been decimated by neglect, war, and vandalism.
Much of the damage has been done in the twentieth century. Some French scholars such
as Henri Parmentier and Jean Boisselier were able to take photographs, create drawings,
and pen descriptions of works which have been destroyed in the meantime. Neglect
continues to endanger the legacy of Champa to this day, especially the neglect of the
inscribed stone steles, the source of much valuable information on the history of
Champa. The participants in the Vietnam War wrought their share of devastation,
wiping out for example the vestiges of the Buddhist monastery at Dong Duong (Quang
Nam). Willful vandalism and pilfering are an ongoing concern.
2
Since the end of the 19th century, scholars from the Cahiers de I'Ecole
Francaise d' Extreme-Orient (EFEO)" paid increased attention to studying Champa
relics and collecting Champa artifacts on a large scale. During 1889-1900, Louis Finot
did a survey of 229 Champa relics and artifacts from Saigon to Hanoi. In 1901, he
published in the first issue of Bulletin of EFEO the first inventory of Champa relics.
After several relatively broad scope excavations at Mỹ Sơn (1901-1903), Dong
Duong (1902 and 1934), Tra Kieu (1927), H. Parmentier and Y. Clayes stored almost
findings and related materials at the Louis Finot Museum in Hanoi, the Cham Museum in
Danang and the Royal Museum of Fine Arts Museum of Hue. As a result, the Louis Finot
Museum owned a Champa collection with 81 sandstone and terracotta artifacts marked
D21 (1-81); 103 metal, including gold and silver ones marked D22 (1103); 39 pillars and
steles with inscription marked B2 (1-39); photos and drawings of relics marked B23 (115).
The largest collection of Cham art is on exhibit at the Museum of Cham
Sculpture in Da Nang. Substantial collections are housed in the Guimet Museum in
Paris, the Museum of Vietnamese History in Saigon, and the Museum of History in
Hanoi. Smaller collections may be found in the Museum of Fine Arts in Saigon and the
Museum of Fine Arts in Hanoi.
Archaeologists do research and preserve historic monument of Champa to
write books. In design school, students rarely choose Champa's culture topic to do
research
Researchers do research by took photographs of the antiques to keep them as
archives. Additional, there's almost no researcher doing research about Champa to apply
design them to modern product .
Further, there have no any Textile company using Champa's pattern in the
printing fabrics.
So I want to design a new fashion collection including tradition of the eastern
style and modern of the western style.
3
My aspiration is to develop a project "Conservation Pattern of Cham culture,
apply them to modern design and broadly introduce it to the public"
1.2 Research Focus
Specifically, within the context of arts of Champa , the objectives of this research
are:
1.
Identify heritage of Champa in the history of Champa nation
2.
Evaluate the style of Champa's architecture and style of Champa's Sculpture
3.
Explore the beauty and the useful of Champa's patterns
4.
Recommend these patterns on design issues
1.3 Overall Research Aim and Individual Research Objectives
Research Aim
The overall aim of this research is to define the beauty and the useful of
Champa's patterns in Architechture, in Sculpture and in Champa Costume
The recommendations are about new patterns design and a fashion collection
design.
I recommend design new patterns, and design a fashion collection
The overall aim of this research is to explore:
1. Pattern design
2. A collection of Fashion design
3. The technique to apply pattern on fabrics
4. Possibility of applying patterns to another design field
Individual Research Objectives
The first objective of this study is to broaden my understanding about :
architecture , sculpture, champa costume:
4
1.
Architecture ( shape, detail) applied to design new patterns
2.
Sculpture ( figure ) applied to design new patterns
3.
The representation of textiles in Champa Sculptures and the clothes of the gods
4.
Royal family costumes and civilian clothes
5.
Woodblock print technique.
6.
Modern fashion and customers.
1.4 Value of this Research
1.
Apply new knowledge about heritage of Champa in my teaching.
2.
Broaden my understanding about woodblock print.
3.
Creative a new Fashion collection.
4.
Apply Champa's Pattern to manufacture fabrics.
5.
Expand doing research about Champa's patterns and apply them to other design
fields:
Interior design, Product design, handicrafts, blanket design, furniture
design, ect....
Fig. 1 Research model
5
Chapter 2: Literature Reviews
After learning Champa's history, I've understood about the deep reason why
Champa was declined and lost their independent. Further I broaden my understanding
about influences of exotic art on Champa culture. Thenceforward, doing research on
Champa art and preserve Champa culture is a very imortance job.
2.1
History of Champa Nation
Fig 2 Campadesa - ChamPa - Chiêm Thành Map
Early 1st millennium AD–1832
http://4.bp.blogspot.com/zQ_K6nE01bg/TcPeTGqtyxI/AAAAAAAAAFs/V88atXFhO2E/s1600/champaMap.jpg
6
The territory of Champa, depicted in green, lay along the coast of present-day southern
Vietnam. To the north (in yellow) lay Đại Việt; to the west (in blue), Angkor.
Fig. 3 Champa map
Source: http://en.wikipedia.org/wiki/Champa
7
Champa
The kingdom of Champa (Campadesa or nagara Campa in Cham and
Cambodian inscriptions written in Devanagari as
Chăm Pa in Vietnamese, 占城
Chiêm Thành in Hán Việt and Chen Ching in Chinese records) was an Indianized
kingdom of Malayo-Polynesian origins and controlled what is now southern and central
Vietnam from approximately the 7th century through to 1832. Champa was preceded in
the region by a kingdom called Lin-yi (林邑, Middle Chinese *Lim Ip) or Lâm Ấp
(Vietnamese) that was in existence from 192 AD, but the historical relationship between
Lin-yi and Champa is not clear. Champa reached its apogee in the 9th and 10th
centuries AD. Thereafter began a gradual decline under pressure from Đại Việt, the
Vietnamese polity centered in the region of modern Hanoi. In 1471, Viet troops sacked
the northern Cham capital of Vijaya, and in 1697 the southern principality of
Panduranga became a vassal of the Vietnamese emperor. In 1832, the Vietnamese
emperor Minh Mang annexed the remaining Cham territories.
Indrapura
(875-978)
Vijaya (978-1485)
Capital
Panduranga (1485-1832)
Language(s)
Cham, Sanskrit
Religion
Cham religion, Hinduism
and Buddhism, later Islam
Government
Monarchy
History - Established Early Early 1st millennium AD
1st millennium AD Panduranga was annexed by
1832
Nguyen Vietnam.
Table1 : Information about Champa
8
Contents ( History of Champa nation )
A) Geography of historical Champa
B) History of Champa
1 Prehistory
-
The Sa Huỳnh Culture
-
Lâm Ấp
2 Champa at its peak
-
Religious foundations at Mỹ Sơn
-
Temporary preeminence of Kauthara
-
The Buddhist dynasty at Indrapura
3 Attrition through conflict with the Việt and the Khmer
-
Khmer invasions of Kauthara
-
War with Đại Việt and the abandonment of Indrapura
-
Sack of Vijaya by the Việt
-
Khmer invasions of northern Champa
-
Sack of Angkor by the Cham
-
Conquest of Vijaya by the Khmer
-
Invasion of the Mongols
-
Chế Mân
-
Chế Bồng Nga - the Red King
-
Defeat and destruction of Vijaya by the Đại Việt
4 Later History of Champa
C) Religion
-
Hinduism and Buddhism
-
Islam
Remains
9
A) Geography of historical Champa
Between the 7th and the 15th century A.D., Champa at times included the modern
Vietnamese provinces of Quảng Nam, Quảng Ngãi, Bình Định, Phú Yên, Khánh Hòa,
Ninh Thuận, and Bình Thuận. Though Cham territory included the mountainous zones
west of the coastal plain and (at times) extended into present-day Laos, for the most part
the Cham remained a seafaring people dedicated to trade, and maintained few
settlements of any size away from the coast.
Historical Champa consisted of up to five principalities:
Fig. 4 Shiva - Sandstone Danang Museum
This statue from the late 9th Century once belonged to the Buddhist monastery in the
Cham capital of Indrapura. - Source: http://en.wikipedia.org/wiki/Champa
 Indrapura ("City of Indra") was the capital of Champa from about 875 to about
1000 AD. It was located at the site of the modern village of Dong Duong, not far
from the modern city of Da Nang. Also in the region of Da Nang are the ancient
Cham city of Singhapura ("City of the Lion"), the location of which has been
identified with an archeological site in the modern village of Tra Kieu, and the
valley of Mỹ Sơn, where a number of ruined temples and towers can still be
viewed. The associated port was at modern Hoi An. The territory once
controlled by this principality included present-day Quảng Bình, Quảng Trị, and
Thừa Thiên–Huế provinces.
10

Amaravati was located in present-day Quảng Nam province.

Vijaya was located in present-day Bình Định Province. The capital has been
identified with the archeological site at Cha Ban. The associated port was at
present-day Qui Nhon. Important excavations have also been conducted at
nearby Thap Mam, which may have been a religious and cultural center. Vijaya
became the political and cultural center of Champa around 1000 AD, when the
northern capital of Indrapura was abandoned due to pressure from the Viet. It
remained the center of Champa until 1471, when it as sacked by the Viet and the
center of Champa was again displaced toward the South. In its time, the
principality of Vijaya controlled much of present-day Quang-Nam, Quang-Ngai,
Binh Dinh, and Phu Yen Provinces.

Kauthara was located in the area of modern Nha Trang in Khánh Hòa Province.
Its religious and cultural center was the temple of Po Nagar, several towers of
which still stand at Nha Trang.

Panduranga was located in the area of present-day Phan Rang in Ninh Thuận
Province. Panduranga was the last of the Cham territories to be annexed by the
Vietnamese.
Within the four principalities there were two main clans: the "Dua" and the
"Cau." The Dua lived in Amarvati and Vijaya while the Cau lived in Kauthara and
Pandaranga. The two clans differed in their customs and habits and conflicting interests
led to many clashes and even war. But they usually managed to settle disagreements
through intermarriage.
11
B) History of Champa
No.
Nation's Name
Date
1
Sa Huỳnh culture
(1000 BC - 200)
2
Hồ Tôn Tinh ( in the legend)
200 - 100 BC
3
Tượng Lâm Distric
100BC - 192AC
4
Lâm Ấp ( kingdom)
(192 - 749)
5
Hoàn Vương
(757 - 859).
6
Chiêm Thành
(875 - 1471)
7
Panduranga-Chăm Pa
(1471 - 1693)
8
Thuận Thành town
(1697 - 1832)
9
Merge the two nations: Đại Việt and
After 1832
Champa into Vietnam
Table 2 Name list of Champa in history
1) Prehistory
The people of Champa were descended from Malayo-Polynesian settlers who
appear to have reached the Southeast Asian mainland from Borneo about the time of the
Sa Huynh culture in the 1st and 2nd centuries B.C. There are pronounced ceramic,
industrial and funerary continuities with sites such as the Niah Caves in Sarawak, East
Malaysia. Sa Huynh sites are rich in iron artifacts, by contrast with the Dong Son
culture sites found in northern Vietnam and elsewhere in mainland Southeast Asia,
where bronze artifacts are dominant. The Champa language is part of the Austronesian
family. According to one study, Cham is related most closely to modern Acehnese.
- The Sa Huỳnh Culture
The Sa Huynh culture is a late prehistoric metal age society on the central coast of
Viet Nam. In 1909, about 200 jar burials were uncovered at Sa Huynh, a coastal village
located south of Da Nang. Since then, many more burials have been found, at some 50
12
sites. The Sa Huynh shows a distinct regional Bronze Age culture, with its own styles of
axes, daggers, and ornaments. Carbon dating has placed the Sa Huynh culture roughly
the same time line with the Dong Son culture, that is about the first millennium BC.
From about 200 AD, the central coast of Viet Nam was inhabited by the Chams, who
had adopted elements of Indian political and religious culture. Recent researches by
Vietnamese archaeologists has shown that the Chams are linguistic and cultural
descendants of the Sa Huynh people. The uncovered artifacts show the Sa Huynh people
were highly skilled craftsmen in the production of jewelry and ornaments made with
hard stones and glass. Sa Huynh styled ornaments were also found in Thailand, Taiwan
and Philippines suggesting they were traded with South East Asian neighbors, over land
and maritime routes. Archaeologists also observe that iron seems to have been used by
the Sa Huynh peoples when their Dong Son neighbors were still mostly using bronze.
- Lâm Ấp
Fig. 5 The towers of Po Sa Nu (Pho Hai) near Phan Thiết may be the oldest extant
Cham buildings. In style, they exhibit the influence of pre-Angkorian Cambodia.
To the Chinese, the country of Champa was known as Linyi (林邑) and to the
Vietnamese, Lâm Ấp (which is the Sino-Vietnamese pronunciation of 林邑). It had
been founded in 192 A.D. in the region of modern Huế by Khu Lien, a local leader
rebelling against the Han Dynasty. Over the next several centuries, Han forces made
repeated unsuccessful attempts to retake the region.
13
From its neighbor Fu nan to the west, Lâm Ấp soon received the gift of Indian
civilization. Scholars locate the historical beginnings of Champa in the 4th century A.D.,
when the process of Indianization was well underway. It was in this period that the
Cham people began to create stone inscriptions in both Sanskrit and in their own
language, for which they created a unique script.
The Book of Jin has some records about Lam Ap during the 3rd to 5th centuries.
Fan Wen ( 范文 ) became the king in 336 CE. He attacked and annexed Daqijie,
Xiaoqijie, Ship, Xulang, Qudu, Ganlu, and Fudan. Fan Wen sent a message and paid
tribute to the Chinese Emperor, and the message was "written in barbarian characters".
Lam Ap sometimes maintained the tributary status and sometimes was hostile to the Jin
dynasty, and the Commandery of Rinan (日南, Chinese:Rinan, Vietnamese:Nhật Nam)
was frequently under attack from Lam Ap.
The first king acknowledged in the inscriptions is Bhadravarman, who reigned
from 380 to 413 A.D. At Mỹ Sơn, King Bhadravarman established a god named
Bhadresvara, whose name was a combination of the king's own name and that of the
Hindu god of gods Shiva. The worship of the original god-king under the name
Bhadresvara and other names continued through the centuries that followed.
The capital of Lâm Ấp at the time of Bhadravarman was the citadel of Simhapura
("Lion City", not to be confused with Singapore which shares similar pronunciation and
etymology), which was located along two rivers and had a wall eight miles in
circumference. A Chinese writer described the people of Lâm Ấp as both warlike and
musical, with "deep eyes, a high straight nose, and curly black hair."
According to Chinese records, Sambhuvarman (Fan Fan Tche) was crowned king
of Lâm Ấp in 529 A.D. Inscriptions credit him with rehabilitating the temple to
Bhadresvara after a fire. Sambhuvarman also sent delegations and tribute to China, and
unsuccessfully invaded what is now northern Vietnam. In 605 A.D., a general Liu Fang
(劉方) of the Sui dynasty invaded Lâm Ấp, won a battle by luring the enemy warelephants into an area booby-trapped with camouflaged pits, massacred the defeated
troops, and captured the capital. In the 620s, the kings of Lâm Ấp sent delegations to the
14
court of the recently established Tang Dynasty and asked to become vassals of the
Chinese court.
Chinese records report the death of the last king of Lâm Ấp as falling in 756 A.D.
Thereafter for a time, the Chinese referred to Champa as "Hoan Vuong" or
"Huanwang".The earliest Chinese records using a name related to "Champa" are dated
877 A.D.; however, such names had been in use by the Cham themselves since at least
629 A.D., and by the Khmer since at least 657 A.D.
2) Champa at its peak
Fig. 6 Asia in 800AD, showing the Champa city-states and their neighbors
From the 7th to the 10th century A.D., the Cham controlled the trade in spices and
silk between China, India, the Indonesian islands, and the Abbassid empire in Baghdad.
They supplemented their income from the trade routes not only by exporting ivory and
aloe, but also by engaging in piracy and raiding.
- Religious foundations at Mỹ Sơn
15
Fig. 7 the Mỹ Sơn E1 Pedestal - Danang museum
One of the risers on the short stairway leading up the Mỹ Sơn E1 Pedestal contains this
image of a dancer. - Source: http://en.wikipedia.org/wiki/Champa
By the second half of the 7th century A.D., royal temples were beginning to make
their appearance at Mỹ Sơn. The dominant religious cult was that of the Hindu god
Shiva, but temples were also dedicated to Vishnu. Scholars have called the architectural
style of this period Mỹ Sơn E1, in reference to a particular edifice at Mỹ Sơn that is
regarded as emblematic of the style. Important surviving works of art in this style
include a pedestal for a ling a that has come to be known as the Mỹ Sơn E1 Pedestal and
a pediment depicting the birth of Brahma from a lotus issuing from the navel of the
sleeping Vishnu.
In an important stone inscription dated 657 A.D. and found at Mỹ Sơn, King
Prakasadharma, who took on the name Vikrantavarman I at his coronation, claimed to
be descended through his mother from the Brahman Kaundinya and the serpent princess
Soma, the legendary ancestors of the Khmer of Cambodia. This inscription thus
underlines the ethnic and cultural connection of Champa with the Khmer Empire, its
perennial rival to the west. It also commemorates the king's dedication of a monument,
probably a linga, to Shiva. Another inscription documents the king's almost mystical
devotion to Shiva, "who is the source of the supreme end of life, difficult to attain;
whose true nature is beyond the domain of thought and speech, yet whose image,
identical with the universe, is manifested by his forms."
- Temporary preeminence of Kauthara
In the 8th century, during the time when the Chinese knew the country as
"Huanwang," the political center of Champa shifted cemporarily from Mỹ Sơn
16
southward to the regions of Panduranga and Kauthara, centered around the temple
complex of Po Nagar near modern Nha Trang that was dedicated to the indigenous
Earth goddess Yan Po Nagar. In 774 A.D. raiders from Java disembarked in Kauthara,
burned the temple of Po Nagar, and carried off the image of Shiva. The Cham king
Satyavarman pursued the raiders and defeated them in a naval battle. In 781 A.D.,
Satyavarman erected a stele at Po Nagar, declaring that he had regained control of the
area and had restored the temple. In 787 A.D., Javanese raiders destroyed a temple
dedicated to Shiva near Panduranga.
- Fig 8 The Buddhist dynasty at Indrapura
Fig 8:The Buddhist dynasty at Indrapura
This statue of a dvarapala (temple guardian) was stationed in an entry hallway or
gopura of the Buddhist monastery at Indrapura. The guardian treads on a bull, who in
turn disgorges a small warrior, who in turn raises his sword against the guardian.
In 875 A.D., King Indravarman II founded a new northern dynasty at Indrapura
(Dong Duong near Da Nang in modern Vietnam). Eager to claim an ancient lineage,
Indravarman declared himself the descendant of Bhrigu, the venerable sage whose
exploits are detailed in the Mahabharata, and asserted that Indrapura had been founded
17
by the same Bhrigu in ancient times. From 877 onward, the Chinese knew Champa as
"Cheng-cheng," discontinuing their use of the term "Huan-wang."
Indravarman was the first Cham monarch to adopt Mahayana Buddhism as an
official religion. At the center of Indrapura, he constructed a Buddhist monastery
(vihara) dedicated to the bodhisattva Lokesvara. The foundation, regrettably, was
devastated during the Vietnam War. Thankfully, some photographs and sketches
survive from the prewar period. In addition, some stone sculptures from the monastery
are preserved in Vietnamese museums. Scholars have called the artistic style typical of
the Indrapura the Dong Duong Style. The style is characterized by its dynamism and
ethnic realism in the depiction of the Cham people. Surviving masterpieces of the style
include several tall sculptures of fierce dvarapalas or temple guardians that were once
positioned around the monastery. The period in which Buddhism reigned as the
principal religion of Champa came to an end in approximately 925, at which time the
Dong Duong Style also began to give way to subsequent artistic styles linked with the
restoration of Shaivism as the national religion.
Kings belonging to the dynasty of Indrapura built a number of temples at Mỹ Sơn
in the 9th and 10th centuries A.D. Their temples at Mỹ Sơn came to define a new
architectural and artistic style, called by scholars the Mỹ Sơn A1 Style, again in
reference to a particular foundation at Mỹ Sơn regarded emblematic for the style. With
the religious shift from Buddhism back to Shaivism around the beginning of the 10th
century, the center of Cham religion also shifted from Dong Duong back to Mỹ Sơn.
3) Attrition through conflict with the Việt and the Khmer
Champa reached its peak in the civilization of Indrapura centered in the region of
Dong Duong and Mỹ Sơn. Factors contributing to the decline of Champa over the next
several centuries include its enviable position along the trade routes, its relatively small
population base, and its frequently antagonistic relations with its closest neighbors: the
Viet to the north and the Khmer to the west.
Interesting parallels may be observed between the history of northern Champa
(Indrapura and Vijaya) and that of its neighbor and rival to the west, the Khmer
18
civilization of Angkor, located just to the north of the great lake Tonle Sap in what is
now Cambodia. The foundation of the Cham dynasty at Indrapura in 875 A.D. was
followed just two years later by the foundation at Roluos in 877 of the Khmer empire by
King Indravarman I, who united two previously independent regions of Cambodia. The
parallels continued as the two peoples flourished from the 10th through the 12th
centuries, then went into gradual decline, suffering their ultimate defeat in the 15th
century. In 1238 A.D., the Khmer lost control of their western possessions around
Sukhothai as the result of a Thai revolt. The successful revolt not only ushered in the era
of Thai independence, but also foreshadowed the eventual abandonment of Angkor in
1431 A.D. following its sack by Thai invaders from the kingdom of Ayutthaya, which
had absorbed Sukhothai in 1376. The decline of Champa was roughly contemporaneous
with that of Angkor, and was precipitated by pressure from the Dai Viet of what is now
northern Vietnam, culminating in the conquest and obliteration of Vijaya in 1471 A.D.
- Khmer invasions of Kauthara
In 944 and 945 A.D., Khmer troops from Cambodia invaded the region of
Kauthara. Around 950, the Khmer pillaged the temple of Po Nagar and carried off the
statue of the goddess. In 960, the Cham King Jaya Indravaman I sent a delegation with
tribute to the first king of the Chinese Song Dynasty, which had been established in
Kaifeng around 960. In 965, the king restored the temple at Po Nagar and reconstructed
the statue of the goddess to replace the one stolen by the Khmer.
- War with Đại Việt and the abandonment of Indrapura
In the latter half 10th century, the kings of Indrapura waged war against the Dai
Viet of what is now northern Vietnam. The Viet had spent the better part of the century
securing their independence from Chinese rule. Following the defeat of the Chinese
fleet by Ngo Quyen in the Battle of Bach Dang in 938 A.D., the country had gone
through a period of internal turmoil until its final reunification by the Dinh Dynasty in
968 under the name Dai Co Viet, and the establishment of a capital at Hoa Lu near
modern Hanoi.
19
In 979 A.D., the Cham King Parameshvaravarman I (Phê Mi Thuê to the Viet)
sent a fleet to attack Hoa Lu. The ill-fated expedition was however scuttled by a tempest.
In 982, King Le Hoan of the Dai Viet sent three ambassadors to Indrapura. When the
ambassadors were detained, Le Hoan decided to go on the offensive. Viet troops sacked
Indrapura and killed King Phê Mi Thuê. They carried off Cham dancers and musicians
who subsequently came to influence the development of the arts in Dai Viet. As a result
of these setbacks, the Cham abandoned Indrapura around 1000 A.D. The center of
Champa was relocated south to Vijaya in modern Binh Dinh.
- Sack of Vijaya by the Việt
Conflict between Champa and Dai Viet did not end, however, with the
abandonment of Indrapura. Champa suffered further Viet attacks in 1021 and 1026 A.D.
In 1044 A.D., a catastrophic battle resulted in the death of the Cham King Sa Dau and
the sack of Vijaya by the Dai Viet under Lý Thái Tông. The invaders captured elephants
and musicians and even the Cham queen Mi E, who preserved her honor by throwing
herself into the waves as her captors attempted to transport her to their country. Champa
began to pay tribute to the Viet kings, including a white rhino sent in 1065. In 1068
A.D., however, the King of Vijaya Rudravarman (Che Cu) attacked Dai Viet in order to
reverse the setbacks of 1044. Again the Cham were defeated, and again the Dai Viet
captured and burned Vijaya. These events were repeated in 1069, when the Viet general
Ly Thuong Kiet took a fleet to Champa and occupied Vijaya. Rudravarman was taken
into captivity, eventually purchasing his freedom in exchange for three northern districts
of his realm. Taking advantage of the debacle, a leader in southern Champa rebelled and
established an independent kingdom. The northern kings were not able to reunite the
country until 1084.
- Khmer invasions of northern Champa
In 1074 A.D., King Harivarman IV took the throne, restoring the temples at Mỹ
Sơn and ushering in a period of relative prosperity. Harivarman made peace with the
Dai Viet, but provoked war with the Khmer of Angkor. In 1080, a Khmer army attacked
Vijaya and other centers in northern Champa. Temples and monasteries were sacked;
20
cultural treasures were carried off. After much misery, Cham troops under King
Harivarman were able to defeat the invaders and restored the capital and temples.
Around 1080 A.D., a new dynasty from the Korat Plateau in modern Thailand
occupied the throne of Angkor in Cambodia. Soon enough, the kings of the new dynasty
embarked on a program of empire-building. Rebuffed in their attempts to conquer Dai
Viet in the 1130s, they turned their attention to Champa. In 1145 A.D., a Khmer army
under King Suryavarman II, the founder of Angkor Wat, occupied Vijaya and destroyed
the temples at Mỹ Sơn. The Khmer king then proceeded to attempt the conquest of all of
northern Champa. In 1149 A.D., however, the ruler of the southern principality of
Panduranga, King Jaya Harivarman, defeated the invaders and had himself consecrated
king of kings in Vijaya. He spent the rest of his reign putting down rebellions in
Amaravati and Panduranga.
- Sack of Angkor by the Champa
Fig. 9 Bas relief at the late 12th century Angkorian temple called the Bayon depicts
Cham mariners in action against the Khmer.
In 1167 A.D., King Jaya Indravarman IV ascended to the throne in Champa. An
inscription characterized him as brave, well-versed in weapons, and knowledgeable of
philosophy, Mahayana theories and the Dharmasutra. After securing peace with the Dai
Viet in 1170, Jaya Indravarman invaded Cambodia with inconclusive results. In 1177,
however, his troops launched a surprise attack against the Khmer capital of
Yasodharapura from warships piloted up the Mekong River to the great lake Tonle Sap
in Cambodia. The invaders sacked the capital, killed the Khmer king, and made off with
much booty.
21
- Conquest of Vijaya by the Khmer
The Khmer were rallied by a new king, Jayavarman VII, who drove the Cham
from Cambodia in 1181 A.D. When Jaya Indravarman IV launched another attack
against Cambodia in 1190, Jayavarman VII appointed a Cham prince named
Vidyanandana to lead the Khmer army. Vidyanandana defeated the invaders and
proceeded to occupy Vijaya and to capture Jaya Indravarman, whom he sent back to
Angkor as a prisoner.
Following the conquest of Vijaya, the Khmer king installed his own brother-inlaw, Prince In, as a puppet king in Champa. Civil war broke out, however, between
several factions. In the end, Prince In prevailed, but declared his independence from
Cambodia. Khmer troops attempted unsuccessfully to regain control over Champa
throughout the 1190s. In 1203 A.D., finally, Jayavarman VII's generals took Vijaya, and
Champa effectively became a province of Angkor, not to regain its independence until
1220. Thereafter, Vijaya went into a period of gradual decline that lasted for more than
two centuries. This period ended in a total defeat at the hands of the Dai Viet, and was
briefly interrupted by a period of astounding military success under the warrior king
Che Bong Nga.
- Invasion of the Mongols
Main article: Mongol invasions of Vietnam
In 1283 A.D., Mongol troops of the Yuan Dynasty under General Sogetu (Sodu)
invaded Champa and occupied Vijaya. In the 1270s, Kublai Khan had established his
capital and dynasty at Beijing and had toppled the southern Chinese Song Dynasty. By
1280, he would turn his attention to the Cham and Viet kingdoms located in the territory
of modern Vietnam. A series of Mongol assaults on Dai Viet were, however,
unsuccessful, resulting in severe setbacks such as the Battle of Bach Dang. Similarly,
the invasion of Champa had little lasting effect. Rather than engage the invaders directly,
the Cham king and his troops retreated from the coast to the mountains and fought as
guerrillas. Two years later, the Mongols left of their own accord. Sogetu was soon killed
22
in another botched invasion of Dai Viet. However, the Champa accepted the Mongol
suzerainty 3 years later.
- Chế Mân
In 1307 A.D., the Cham King Jaya Simhavarman III (Che Man), the founder of
the still extant temple of Po Klaung Garai in Panduranga, ceded two northern districts to
the Dai Viet in exchange for the hand in marriage of a Viet princess. Not long after the
nuptials, the king died, and the princess returned to her northern home in order to avoid
a Cham custom that would have required her to join her husband in death. However, the
lands that Che Man had rashly ceded were not returned. In order to regain these lands,
and encouraged by the decline of Dai Viet in the course of the 14th century, the troops
of Champa began to make regular incursions into the territory of their neighbor to the
north.
- Chế Bồng Nga - the Red King
The last strong king of the Cham was Che Bong Nga or Che Bunga, who ruled
from 1360 until 1390. In Vietnamese stories he is called The Red King. Che Bong Nga
apparently managed to unite the Cham lands under his rule and by 1372 he was strong
enough to attack and almost conquer Dai Viet from the sea.
Cham forces sacked Thang Long, the capital city of Dai Viet located at the site of
modern Hanoi, in 1372 and then again in 1377. A last attack in 1388 was checked by
the Vietnamese General Ho Quy Ly, future founder of the Ho Dynasty. Che Bong Nga
died two years later in 1390. This was the last serious offensive by the Cham against
Dai Viet, but it helped spell the end of the Tran Dynasty, which had forged its
reputation in the wars against the Mongols a century earlier, but which now revealed
itself as weak and ineffective in the face of the Cham invasions.
- Defeat and destruction of Vijaya by the Đại Việt
In 1446, the Dai Viet under the leadership of Trinh Kha launched an invasion of
Champa. The attack was successful and Vijaya fell to the invaders. A year later,
however, a counter-attack drove the Viet from the city.
23
In 1470, the Dai Viet, led by the great emperor Le Thanh Tong, again invaded
Champa. Le Thanh Tong was an extraordinary administrator and leader. The Dai Viet
army was very powerful and well organized. By contrast the Cham were disorganized
and weak. Vijaya was captured after four days of fighting on 21 March 1471. The Cham
king Tra-Toan (Pau Kubah) was captured and died not long thereafter, though he sent
his son Syah Pau Ling to Aceh and began a new dynasty there, and another son Syah
Indera Berman to Melaka. At least 60,000 Cham people were killed and 30,000 were
taken as slaves by the Vietnamese army. The capital of Vijaya was obliterated. As a
result of the victory, Le Thanh Tong annexed the principalities of Amaravati and Vijaya.
This defeat caused the first major Cham emigration, particularly to Cambodia and
Malacca.
4) Later History of Champa
What remained of historical Champa was the southern principality of Panduranga.
Moreover, under the protection of Dai-Viet, it preserved some of its independence. This
was the starting point of the modern Cham Lords in the principality of Panduranga
(Phan Rang, Phan Ri and Phan Thiet).
In 1594 the Cham Lord Po At sent forces to assist the Sultanate of Johor's attack
on Portuguese Malacca.
In 1692, the Cham Lord Po Sot rebelled against Nguyễn Phúc Trăn who ruled
southern Vietnam. The revolt was at first unsuccessful and the aftermath was
exacerbated by an outbreak of plague in Panduranga. However, a Cham aristocrat
Oknha Dat obtained the help of the general A Ban, a Lauw (Orang Laut - Overseas
Chinese) leader. They was defeated by the Nguyễn forces of Lord Nguyễn Phúc Chu,
under General Nguyễn Hữu Cảnh in 1695. After the defeated, new king Po Saktiray Da
Patih (younger brother of Po Sot) signed a peace treaty with Nguyễn Phuc Chu. As a
result of the treaty, the Cham lords were called as Trấn Vương (local lord) of Thuận
Thành(Panduranga) by the Nguyễn Lords, and they were closely supervised by Nguyễn
officials.
24
Although the Cham lords had authority to the Cham people, "Archives du
Panduranga" supplied some evidences about their limited authority over Vietnamese
settlers. The Cham lords often played the role of the judge for Kinh-Cham conflict cases.
17 years later, in 1712, the Nguyễn Lord Nguyễn Phúc Chu made new treaty
called "the treaty with 5 articles"(Ngũ điều Nghị định) with the Cham Lord Po Saktiray
Da Patih and clarified the right (included the trial right of the Cham lords and Cham
people) and the obligation of the Cham Lords and the Nguyen Lords. This new treaty
was kept until 1832 by the Cham Lords, Nguyễn Lords, Tây Sơn Lords and Nguyễn
Emperors.
As a result of the war between the Tây Sơn, under Nguyễn Nhạc, and Nguyễn
Ánh, in 1786, the Cham Lord Chei Krei Brei and his court fled to Cambodia. The
assumption behind this flight is that they supported the Nguyễn Lords and the Tây Sơn
Lords seemed to have won the war. From then on, the Cham Lords' title was
downgraded to prefect.
In 1796, during the last years of the Tây Sơn, Tuen Phaow, a noble from Makah
(Kelantan), headed a major revolt against the new Cham leaders (Po Ladhwan Paghuh,
Po Chơng Chơn and Po Klan Thu) and claimed Kelantan's support but the revolt was
defeated. The Cham leaders regained their special rights once Nguyễn Ánh (the
Emperor Gia Long) regained control over Vietnam in 1802. But even the limited Cham
rule in Panduranga officially came to an end in 1832, when the Emperor Minh Mạng
annexed the area.
C) Religion
1) Hinduism and Buddhism
25
Fig. 10 Shiva (Danang Museum) This haut relief sculpture belonging to the Dong
Duong Style of Cham art is of a Dvarapala or temple guardian. (left)
Fig. 11 Shiva head (Danang Museum )This Cham head of Shiva was made of electrum
around 800 A.D. It decorated a kosa, or metal sleeve fitted to a lingam. One can
recognize Shiva by the tall chignon hairstyle and by the third eye in the middle of his
forehead. (right ) - Source: http://en.wikipedia.org/wiki/Champa
Before the conquest of Champa by the Vietnamese king Lê Thánh Tông in 1471,
the dominant religion of the Cham people was Hinduism, and the culture was heavily
influenced by that of India. The Hinduism of Champa was overwhelmingly Shaivist,
that is, focussed on the worship of Shiva, and it was liberally combined with elements
of local religious cults such as the worship of the Earth goddess Yan Po Nagar. The
main symbols of Cham Shaivism were the linga, the mukhalinga, the jatalinga, the
segmented linga, and the kosa.
-
A linga (or lingam) is a phallic post that serves as a analysis of Shiva.
Cham kings frequently erected and dedicated stone lingas as the central religious images
in royal temples. The name a Cham king would give to such a linga would be a
composite of the king's own name and suffix "-esvara," which stands for Shiva.
-
A mukhalinga is a linga upon which has been painted or carved an
image of Shiva as a human being or a human face.
-
A jatalinga is a linga upon which has been engraved a stylized
representation of Shiva's chignon hairstyle.
-
A segmented linga is a linga post divided into three sections in order to
represents the three aspects of the Hindu godhead or trimurti: the lowest section, square
26
in shape, represents Brahma; the middle section, octogonal in shape, represents Vishnu,
and the top section, circular in shape, represents Shiva.
-
A kosa is a cylindrical basket of precious metal used to cover a linga.
The donation of a kosa to the decoration of a linga was a distinguishing characteristic of
Cham Shaivism. Cham kings gave names to special kosas in much the way that they
gave names to the lingas themselves.
Fig.12 Lingram ( Mỹ Sơn ) This 10th century Cham segmented jatalinga stands at the
temple complex of Mỹ Sơn. Source: http://en.wikipedia.org/wiki/Champa
Fig 13 Mỹ Sơn relic is the site of the largest collection of Cham ruins. (right )
The predominance of Hinduism in Cham religion was interrupted for a time in the
9th and 10th centuries, when a dynasty at Indrapura (Dong Duong in Quang Nam
Province of modern Vietnam) adopted Mahayana Buddhism as its faith. The Buddhist
art of Dong Duong has received special acclaim for its originality.
In the 10th centuries and following, Hinduism again became the predominant
religion of Champa. Some of the sites which have yielded important works of religious
art and architecture from this period are, aside from Mỹ Sơn, Khuong My, Tra Kieu,
Chanh Lo, and Thap Mam.
2) Islam
Islam started making headway among the Cham after the 10th century, but it was
only after the 1471 invasion that this influence picked up speed. By the 17th century the
Royal families of Cham Lords also began to turn to Islam and this eventually triggerred
27
the major shift in religious orientation of the Cham so that by the time of their final
annexation by the Vietnamese, the majority of the Cham people had converted to Islam.
Most Cham are now Muslims, though significant minorities of Hindus and Mahayana
Buddhists exist. Indonesian records indicate the influence of Princess Darawati, a Cham,
in influencing her husband Kertawijaya, Majapahit's seventh ruler, similarly to
Parameshwara of Malacca, to convert the Majapahit royal family to Islam. The Islamic
tomb of Putri Champa (Princess of Champa) can be found in Trowulan, the site of
Majapahit imperial capital.
Remains
The most significant site for Cham temple architecture is at Mỹ Sơn (Viet: Mỹ
Sơn) near the town of Hoi An (Viet: Hội An). The large complex at Mỹ Sơn was
heavily damaged by US bombing during the Vietnam War. The site is currently being
restored with donations from a number of countries and NGO's.
Many historic Cham towers still remain standing at other sites in Central Vietnam ,
including the following:
-
Po Nagar
-
Po Klaung Garai
The largest collection of Cham sculpture may be found in the Danang Museum of
Cham Sculpture (formerly known as "Musée Henri Parmentier") in the coastal city of
Da Nang (Vietnamese: Đà Nẵng). The museum was established in 1915 by French
scholars, and is regarded as one of the most beautiful in Southeast Asia. Other museums
with collections of Cham art include the following:
-
Museum of Fine Arts, Hanoi
-
Museum of History, Hanoi
-
Museum of Fine Arts, Saigon
-
Museum of History, Saigon
-
Musée Guimet, Paris
28
Fig. 14 Champa and Phù Nam map before 7th century
29
Fig. 15 Champa 8th century - champa after 10 th century
Fig. 16 Panduranga-Chăm Pa after 1471 - Thuận Thành town (1697-1832)
30
2.2 Champa’s Fine Arts
Champa Kingdom have gone down to posterity a great value of cultural heritage. One of them are Champa ancient towers.
2.2.1 Architecture
Temples of brick
Unlike the Khmer of Angkor, who for the most part employed a grey stone to
construct their religious buildings, the Cham built their temples from reddish bricks.
Some of these brick structures can be still be visited in the Vietnamese countryside. The
most important remaining sites include Mỹ Sơn near Da Nang, Po Nagar near Nha
Trang, and Po Klaung Garai near Phan Rang.
Buildings constituting a temple
Typically, a Cham temple complex consisted of several different kinds of buildings.
-
The kalan was the brick sanctuary, typically in the form of a tower, used to
house the deity.
-
The mandapa was an entry hallway contiguous with a sanctuary.
-
The kosagrha or "fire-house" was the construction, typically with a saddle-
shaped roof, used to house the valuables belonging to the deity or to cook for the deity.
-
The gopura was a gate-tower leading into a walled temple complex.
These building types are typical for Hindu temples in general; the classification
is valid not only for the architecture of Champa, but also for other architectural
traditions of Greater India.
31
Fig. 17 The profile of the 13th century temple Po Klaung Garai near Phan Rang
includes all the buildings typical of a Cham temple. From left to right one can see the
kalan, the attached mandapa, the saddle-shaped kosgrha, and the gopura (left )
Fig. 18 The temple of Po Nagar is near Nha Trang.(right )
http://fr.wikipedia.org/wiki/Fichier:Po_Klong_Garai.jpg
Most significant temples
The culturally most important temples of historical Champa were the temple of
Bhadresvara located at Mỹ Sơn near modern Da Nang, and the temple of the goddess
known as Bhagavati (her Hindu name) or Yan Po Nagar (her Cham name) located just
outside modern Nha Trang.
The temple of Bhadresvara was the principle religious foundations of northern
Champa (known as Campadesa, Campapura or nagara Campa in the inscriptions).
Scholars have identified the temple of Bhadresvara, a local incarnation of the universal
deity Siva, with the edifice "A1" at Mỹ Sơn. Though today A1 is in the process of
devolving into a pile of rubble, it still existed as a magnificent tower when French
scholars described it at the beginning of the 20th century.
The temple of Yan Po Nagar was the principle religious foundation of southern
Champa (or Panduranga, a word that is the basis for the modern name "Phan Rang.") Its
buildings date from between the 8th and 13th centuries AD. The temple remains
standing to this day across the Cai River from Nha Trang, and is in relatively good
condition
32
The style of Champa ancient towers
The style of champa ancient towers is the system of building styles of champa
ancient towers. They was built in consecutive periods from 7th century to 17th century
in the midle of Vietnam now. Philippe Stern - a French famous artist - classify in order
chronology and styles
1/ Ancient style or Mỹ Sơn E1 style
2/ Hòa Lai style
3/ Đồng Dương Style
4/ Mỹ Sơn A1 style
5/ The transition style in the middle of Mỹ Sơn A1 style and Bình Định style
6/ Bình Định Style
7/ Later style
1/ Ancient style or Mỹ Sơn E1 style
Date: 7th century - 8th century
Exotic Influence : culture pre-Angkor and Dvaravati Art and South India Art
Typical character: a large sandstone pedestal inside tower. Originally, the
pedestal had a religious function, and was used to support a huge lingam as a symbol for
Siva, the primary deity in Cham religion. The pedestal itself is decorated with relief
carvings featuring scenes from the lives of ascetics: ascetics playing various musical
instrument, an ascetic preaching to animals, an ascetic receiving a massage. To the
Cham, the pedestal symbolized Mount Kailasa, the mythological abode of Siva which
also accommodated numerous forest- and cave-dwelling ascetics, just as the lingam it
supported represented the god himself.
Another typical is sandstone relief on the main entrance is carved a picture to
describe the sunrise age in Indian mythology.
33
The towers in this style: Mỹ Sơn E1 ( collapse); Mắm tower ( collapse ); Phú
Hài tower; Damrei tower ( Champa vestige in Cambodia )
2/ Hòa Lai style
Date: first half of 9th century
Typical character: Arch of door and sandstone octagonal pillars was decorated
with curved leaves patterns
The towers in this style: Hòa Lai tower; Po Dam tower, Mỹ Sơn F3 tower; Mỹ
Sơn A2 tower; Mỹ Sơn C7 tower.
3/ Đồng Dương style
Date: last half of 9th century
Typical character: Decorations is flowers and leaves. Arch of door and pillars
is very strong shape angle and shape edge. This is a different style point from Mỹ Sơn
style and Đồng Dương style. Pinnacle of Đồng Dương style is an architecture of a
monastery in last 9th century. This wall of monastery is 1000m long and there are so
much statue of Buddha
The towers in this style: Đồng Dương tower; Mỹ Sơn B2 tower, Mỹ Sơn B4
tower; Mỹ Sơn A10 tower; Mỹ Sơn A11 tower; Mỹ Sơn A12; Mỹ Sơn A13
4/ Mỹ Sơn A1 style
Date: 10th century- 11th century
Typical character: Double pillar and statue in the middle, in Mỹ Sơn C1 tower.
Arch of door have complicated shape but have no carving. The body of tower is
immeasurably high with many copy storeys in miniature . This is the golden age of
Champa. Mỹ Sơn A1 is looking dancing beauty with their graceful. Body shape of
dancers are liked in Champa sculpture at that time. Beside, The topic of art are included
in life and mythology: elephant, tiger, garuda
Exotic Influence: Java
34
The towers in this style: Khương Mỹ tower; Mỹ Sơn A1 tower, Group B, C, D
in Mỹ Sơn
5/ The trasition style in the middle Mỹ Sơn A1 style and Bình Định style
Date: First of 11th century - in the middle of 12th century
The towers in this style: Bình Lâm tower; Mỹ Sơn E1 tower,Chiên Đàn tower,
Ponagar tower, Bánh Ít tower.
6/ Bình Định style
Date: In the middle of 12th century - the first of 14th century
The towers in this style: Hưng Thạnh tower, Dương Long tower, Thủ Thiện
tower, Cánh Tiên tower, Phước Lộc tower, Nhạn tower.
7/ Later Style
Date: The first of 14th century - the last of 17th century
The towers in this style: Po Klaung Garai tower, Po Rome tower, Yang Prong
tower, Yang Mun tower (collapse ).
List of Champa towers
This is the list of Champa ancient towers ( not include the ruins of Champa )
No
Name of vestiges
Place
Date
1
Group Liễu Cốc towers
xã Hương Xuân, huyện Hương
tỉnh Thừa Thiên - Huế
2
Group Mỹ Khánh towers
xã Phú Diên, Huyện Phú Vang, tỉnh
Cent. XIII - IX
Thừa Thiên - Huế
3
Group Mẫm towers
xã Nhơn Hậu, Huyện An Nhơn, tỉnh
Cent. XIII
Bình Định
4
Group Bằng An towers
làng Bằng An, xã Điện An, huyện Điện
Cent. IX - X
Bàn, tỉnh Quảng Nam
5
Group Mỹ Sơn towers
xã Duy Phú, huyện Duy Xuyên, tỉnh
Quảng Nam
6
Group Chiên Đàn towers
làng Chiên Đàn, xã Tam An, thành phố Cent. XI - XII
35
Trà,
Century XIII
Tam Kỳ, tỉnh Quảng Nam
7
Group Khương Mỹ towers
làng Khương Mỹ, xã Tam Xuân, huyện
Cent.X
Núi Thành, tỉnh Quảng Nam
8
Group Cánh Tiên towers
xã Nhơn Hậu, huyện An Nhơn, tỉnh
Cent. XII - XIII
Bình Định
9
Group Phú Lốc towers
xã Nhơn Thành, huyện An Nhơn, tỉnh
Cent.XIII
Bình Định
10
Group Bánh Ít towers
thôn Đại Lộc, xã Phước Hiệp, huyện
Cent. XI - XII
Tuy Phước, tỉnh Bình Định
11
Group towers Thủ Thiện
xã Bình nghi, huyện Tây Sơn, tỉnh Bình
Cent.XII - XIII
Định
12
Group Dương Long towers
xã Tây Bình, huyện Tây Sơn, tỉnh Bình
Cent.XII - XIII
Định
13
Group Bình Lâm towers
xã Phước Hoà, huyện Tuy Phước, tỉnh
Cent. XII
Bình Định
14
Group Đôi towers
thành phố Quy Nhơn, tỉnh Bình Định
Cent. XII
15
Group Nhạn towers
thành phố Tuy Hòa, tỉnh Phú Yên
Cent. XII
16
Group Po Nagar towers
thành phố Nha Trang, tỉnh Khánh Hoà
Cent. X - XIII
17
Group Hòa Lai towers
làng Tam Towers, xã Tân Hải, huyện
Cent. IX
Ninh Hải, tỉnh Ninh Thuận
18
Group Po
towers
19
Group Po Rome towers
làng Hậu Sanh, xã Phước Hữu, huyện
Cent. XVII
Ninh Phước, tỉnh Ninh Thuận
20
Group Po Dam towers
làng Tuy Tịnh, xã Phong Phú, huyện
Cent. IX
Tuy Phong, tỉnh Bình Thuận
21
Group Po Sah Inư towers
phường Phú Hài, thành phố Phan Thiết,
Cent. VIII
tỉnh Bình Thuận
Klong
Garai phường Đô Vinh, thành phố Phan RangCent. XIII - XIV
Towers Chàm, tỉnh Ninh Thuận
22 Group Yang Praong towers Bản Đôn, huyện Ea Sup, tỉnh Đắk Lắk
Table 3: The list of Champa ancient towers
http://vi.wikipedia.org/wiki/Danh_sách_các_đền_tháp_chăm_pa
36
Cent. XIII
Fig. 19 Champa ancient towers local map
http://vi.wikipedia.org/wiki/Phong_Cách_Nghệ_Thuật_các_tháp_Chăm
37
Fig. 20 Phú Hài - PoSha Nư (VIII Century ) Phan Thiết Town, Bình Thuận Province.
Square cubic structure, much storey, Strong line shape, Decorate a few detail
Fig. 21 Hòa Lai tower
38
Fig. 23 Đồng Dương tower ( Collapse ) (Henri Parmentier)
H. PARMENTIER - Inventaire descriptif des monuments Cams de l'Annam, Paris - E.leroux
1909-1918
39
Fig. 23 Mỹ Sơn A 1 tower( Collapse) (Henri Parmentier)
1909-1918
Fig. 24 Mỹ Sơn A 1 tower( Collapse) (color sketch by Henri Parmentier)
http://vi.wikipedia.org/wiki/Tập_tin:Tháp_Mỹ_sơnA1_(hình_vẽ_lại).JPG
40
Fig.25 Dương Long tower (Second half XII Century)In the middle tower 36m hight. A
special roof with a Lotus flower shape
Fig. 26 Bình Định twin tower ( XI century). The big tower is 20 m hight and a small one
is 18m hight. It is a special tower with traditional Champa body (Square cubic
structure.) But the roof was influenced from Angkor architecture style
41
Fig. 27 Po Klong Garai tower(Henri Parmentier)
1909-1918
Fig. 28 In Trầu hill, Phan Rang, Ninh Thuận province (XIII century). This group are
exotic, imposing and fine towers. This group include three towers: Gate tower 9.31 m
hight, Fire Tower 20.5m hight and main Tower 21.59 m hight.
In here, Champa people hold Champa festival (1st July, Champa calendar ) every year
to commemorate Kings, Gods and Heros of Champa Nation.
42
Fig. 29 Bằng An tower, Quảng Nam province ( VII century ). Hexagonal Buidling, the
side 4m, 21.5 m hight. This is a original tower with Linga symbol shape
43
History Data Image
The decoration details on Champa towers that would I base on to design new
patterns These picture are sketched by Henri Parmentier (Paris, 1871 - Phnom Penh,
22/2/1949)
He worked for " École française d'Extrême-Orient " - EFEO . this is a
research centre of France
.
Fig. 30 History Data Image of about architecture details 1
1909-1918
44
1909-1918
1909-1918
45
1909-1918
1909-1918
46
1909-1918
1909-1918
47
2.2.2 Sculpture
The largest collection of Cham art is on exhibit at the Museum of Cham
Sculpture in Da Nang. Substantial collections are housed in the Guimet Museum in
Paris, the Museum of Vietnamese History in Saigon, and the Museum of History in
Hanoi. Smaller collections may be found in the Museum of Fine Arts in Saigon and the
Museum of Fine Arts in Hanoi.
Fig 37 Shiva - Danang museum
http://vi.wikipedia.org/wiki/Các_phong_cách_nghệ_thuật_Chăm_pa
This late 11th or 12th century sculpture illustrates both the preferred medium of the
Cham artists (stone sculpture in high relief), and the most popular subject-matter, the
god Shiva and themes associated with the god. Shiva can be recognized by the third eye
in the middle of his forehead and by the attribute of the trident. The hands above his
head are making the gesture called uttarabodhi mudra, which is regarded as a symbol
of perfection.
A) Forms of visual art
Metal statues and jewelry
Sandstone sculptures
B) Periods and styles of Cham art
- 1 Mỹ Sơn E1 Style
- 2 Dong Duong Style
- 3 Mỹ Sơn A1 Style
3.1 Khuong My Style
3.2 Tra Kieu Style
48
- 4 Thap Mam Style
A) Forms of visual art
The remnants of classical Cham art extant today consist mainly in temples of
brick, sandstone sculptures in the round, and sandstone sculptures in high and low relief.
A few bronze sculptures and decorative items made of metal remain as well. There are
no works of marble or other higher quality stone. Likewise there are no paintings or
sketches. The people of Champa wrote, and perhaps also sketched, on leaves, which
have not withstood the hot and humid climate of coastal Vietnam. Items made of
perishable materials, such as wood, for the most part have not survived.
Metal statues and jewelry
The remaining works of art made of metal include bronze statues of the
Mahayanist deities Lokesvara and Tara dated approximately 900 AD and associated
with the Buddhist art of Dong Duong. An even older bronze statue of the Buddha bears
a strong resemblance to Indian Buddhist statues of the Amaravati style; scholars doubt
that it was originally from Champa, surmising instead that it must have come into the
country as part of the maritime trade that linked India with Southeast Asia and China.
We have abundant textual evidence of much classical Cham art that once
existed that has been lost to the ravages of time and the depredations of human vandals,
looters, and conquerors. For example, the early 14th century Chinese historian Ma
Duanlin reported the existence of a large statue of the Buddha made of gold and silver;
the current whereabouts of this statue are unknown. The Cham kings themselves have
left us stone inscriptions describing the gifts of now lost precious objects they made to
the shrines and sanctuaries of the realm. Especially noteworthy was the practice of
donating decorated metallic sleeves (kosa) and diadems (mukuta) to important lingas
and the divinities with which they were affiliated. For example, an inscription on a stone
stele dated approximately 1080 AD and found at Mỹ Sơn reports that King Harivarman
donated a "large, resplendent golden kosa adorned with the most beautiful jewels, more
brilliant than the sun, illuminated day and night by the rays of shining gems, decorated
by four faces" to the deity Srisanabhadresvara, a local embodiment of Siva. A few years
later, around 1088, Harivarman may have been outdone by his successor Indravarman,
49
who donated a golden kosa with six faces (facing in the four cardinal directions, toward
the Northeast and the Southeast) topped off by a nagaraja (serpent-king) ornament, and
decorated with precious gemstones including a ruby, a saphire, a topaz, and a pearl.
Neither of these treasures has survived.
The written sources, including the Chinese books of history and the Cham
inscriptions, also report on some of the catastrophic events, primarily acts of war, that
led to the loss of Cham art. In the second quarter of the 5th century AD, according to the
historian Ma Duanlin, a Chinese general named Yuen Kan sacked the capital of Champa,
making off with many "rare and precious objects," including "tens of thousands of
pounds of gold in ingots coming from statues which he had smelted." Similarly, at the
beginning of the 7th century a marauding Chinese general named Liu Fang made off
with "eighteen massive tablets of gold" commemorating the 18 previous kings of
Champa. It is to be assumed that in the centuries that followed, frequent raids and
conquests by Khmer and Vietnamese armies, which led to the eventual destruction of
Champa as an independent political entity, likewise resulted in the removal of any
portable works of art, including of course any works made of precious metals.
Fig. 38 Shiva head - Danang museum
This Cham kosa, or metal sleeve to be fitted over a linga, is the face of Siva, as can be
recognized from the third eye in the center of the forehead and the chignon hairstyle
known as jatamukuta.
50
Fig. 39: Champa's Stone jewelry
Lê Xuân Diệm, Vũ Kim Lộc - Cổ Vật Champa, Artefacts of Champa - NXB Văn Hóa
Dân Tộc - NXB Văn Hóa Dân tộc, Saigon - 1996.
51
Fig. 40: Champa's gold jewelry
Lê Xuân Diệm, Vũ Kim Lộc - Cổ Vật Champa, Artefacts of Champa - NXB Văn Hóa
Dân Tộc - NXB Văn Hóa Dân tộc, Saigon - 1996.
52
Sandstone sculptures
Fig. 41 The makara disgorges a naga (left) Danang museum
A decorative theme that originated in Java, and from there emanated to other parts of
Greater India, is that of the makara sea monster disgorging some other being. In this,
10th or 11th century Cham sculpture, the makara disgorges a naga.(left)
Fig. 42 This carving of an elephant is found on a pedestal belonging to the Mỹ Sơn A1
style. (right ) Danang museum
The Cham created freestanding sandstone sculptures in the round, as well as
haut-relief and bas-relief carvings of sandstone. In general, they appear to have
preferred sculpting in relief, and they excelled especially at sculpture in high relief.
Cham sculpture went through a marked succession of historical styles, the foremost of
which produced some of the best works of Southeast Asian art
The subject-matter of Cham sculpture is drawn mostly from the legends and
religion of Indian civilization. Many of the sculptures are representations of particular
Hindu and Buddhist deities, most prominently Siva, but also Lokesvara, Visnu, Brahma,
Devi, and Shakti. Such sculptures may have served a religious purpose rather than being
purely decorative. Any sculpture in the round of an important deity that is completely
forward-oriented, not engaged in any particular action, and equipped with symbolic
paraphernalia, would have been a candidate for ritual or devotional use. Cham sculptors
also created numerous lingas, phallic posts linked symbolically with Siva (if the crosssection is a circle) or with the trimurti (if the post is segmented, consisting of a lower
square section symbolic of Brahma, a middle octogonal section symbolic of Visnu, and
a top circular section symbolic of Siva). The ritual uses of the linga are familiar from
modern Hinduism.
53
A few of the sculptures in the art of Champa depart from the Indian subjectmatter to reveal something of the life of the historical Cham people. An example are the
especially well-executed representations of elephants that serve as decorative details in
some pieces: from written sources we know that the Cham relied on elephants for
military and other purposes, since they lacked a steady supply of horses. Other
sculptures reflect the cultural legacy of Greater India and express legendary themes
more typical of Javanese or Cambodian art than the art of India. An example of such a
theme is the motif of the makara sea-monster, which came to Champa from Java, where
it is prominent in the art of the Borobudur and other temples of the same period.
B) Periods and styles of Cham art
Scholars agree that it is possible to analyze the art of Champa in terms of
distinct "styles" typical for various historical periods and different locations. Several
have attempted through their study to set down a classification of historical styles.
Perhaps the most influential of these attempts are those of the French scholars Philippe
Stern (The Art of Champa (formerly Annam) and its Evolution, 1942) and Jean
Boisselier (Statuary of Champa, 1963). Summarizing the conclusions of these scholars,
art historian Jean-François Hubert has concluded that it is possible to distinguish at least
the following styles and sub-styles.
-
Mỹ Sơn E1 (7th to 8th century AD)
-
Dong Duong (9th to 10th century AD)
-
Mỹ Sơn A1 (10th century AD)
-

Khuong My (first half of 10th century AD)

Tra Kieu (second half of 10th century AD)

Chanh Lo (end of 10th century to mid-11th century AD)
Thap Mam (11th to 14th century AD)
Each style is named after a place in Vietnam at which works exempletive of
that style have been found.
54
1) Mỹ Sơn E1 Style
The ruins at Mỹ Sơn are not all of the same style and do not all belong to the
same period of Cham history. Scholars have coded the ruins to reflect the diversity of
periods and styles. The earliest identifiable style has been dubbed the Mỹ Sơn E1 Style.
It is named after a particular structure, which scholars refer to as Mỹ Sơn E1. Works of
this style reflect foreign influence from a variety of sources, primarily from the Khmer
of pre-Angkorian Cambodia, but also from the art of Dvaravati, of Indonesia, and of
southern India.
Perhaps the most famous work of the Mỹ Sơn E1 style is a large sandstone
pedestal dated from the second half of the 7th century AD. Originally, the pedestal had
a religious function, and was used to support a huge lingam as a symbol for Siva, the
primary deity in Cham religion. The pedestal itself is decorated with relief carvings
featuring scenes from the lives of ascetics: ascetics playing various musical instrument,
an ascetic preaching to animals, an ascetic receiving a massage. To the Cham, the
pedestal symbolized Mount Kailasa, the mythological abode of Siva which also
accommodated numerous forest- and cave-dwelling ascetics, just as the lingam it
supported represented the god himself.
Another important work of the Mỹ Sơn E1 style is the unfinished sandstone
pediment that was once affixed over the main entrance to the temple at Mỹ Sơn E1. The
pediment shows the dawn of the present era according to Hindu mythology. Vishnu is
reclining at the bottom of the ocean. His bed is Sesha the serpent. A lotus grows
upwards from Vishnu's navel, and Brahma emerges from the lotus in order to recreate
the universe.
55
Fig. 43 A pedestal in Mỹ Sơn - Danang museum -An unfinished pediment shows the
birth of Brahma from a lotus growing from the navel of Vishnu. Danang museum
Fig. 44 A detail from the Mỹ Sơn E1 pedestal shows a flutist playing his instrument.
(right ) - Danang museum
Fig 45 A detail from the Mỹ Sơn E1 pedestal shows a flutist playing his instrument.
Fig 46 This image of a male dancer is on the riser of a step leading onto the Mỹ Sơn E1
pedestal. (right )- Danang museum
2) Dong Duong Style
In 875 AD, the Cham king Indravarman II founded a new dynasty at Indrapura,
in what is now the Quang Nam region of central Vietnam. Departing from the religious
traditions of his predecessors, who were predominantly Shaivists, he founded the
Mahayana Buddhist monastery of Dong Duong, and dedicated the central temple to
Lokesvara. The temple complex at Dong Duong having been devastated by bombing
during the Vietnam War, our knowledge of its appearance is limited to the photographs
and descriptions created by French scholars earlier in the twentieth century. A fair
number of sculptures of the period have survived, however, in the museums of Vietnam,
56
and collectively they are known as the works of the Dong Duong Style. The style lasted
until well into the 10th century.
The Dong Duong style of sculpture has been described as a highly original
style of "artistic extremism," "with exaggerated, almost excessively stylized features."
The figures are characterized by their thick noses and lips and by the fact that they do
not smile. Prominent motifs include scenes from the life of the Buddha, Buddhist monks,
dharmapalas (guardians of the Budhist law), dvarapalas (armed temple guardians), the
bodhisattva Avalokiteshvara, and the goddess of compassion Tara, who was also
regarded as the shakti or spouse of Avalokiteshvara.
Fig. 47 A sandstone guardian dvarapala is shown stomping on a bull, who in turn
disgorges a small warrior. (left) - Danang museum
Fig. 48 A 9th century sandstone statue shows Tara with a small figure of Amitabha
seated in her hair above the forehead. (right ) - Danang museum
Fig.49 Dharmapala - Danang museum
Fig. 50 This statue of a kneeling fat man wearing a mukuta and a mustache is from the
9th century A.D. (right )- Danang museum
57
3) Mỹ Sơn A1 Style
The art of the Mỹ Sơn A1 style belongs to the 10th and 11th centuries AD, a
period of Hindu revival following the Buddhist period of Dong Duong, and also a
period of renewed influence from Java. This period has been called the "golden age" of
Cham Art. The style is named after a temple at Mỹ Sơn, "the most perfect expression of
Cham architecture" according to art historian Emmanuel Guillon, that fell victim to the
Vietnam War in the 1960s. Most of the remaining monuments at Mỹ Sơn also belong to
the Mỹ Sơn A1 style, including most of the constructions of groups B, C, and D.
As to the sculpture of the Mỹ Sơn A1 style, it is known as being light and
graceful, in contrast with the more severe style of Dong Duong. According to Guillon,
"It is an art of dance and movement, of grace, and of faces which sometimes wear a
slight, almost ironic style, as though surprised by their own beauty." Indeed, dancers
were a favorite motif of the Mỹ Sơn A1 sculptors. The style is also known for its fine
relief images of real and mythical animals such as elephants, lions and garudas.
The Mỹ Sơn A1 style encompasses not only works of art found at Mỹ Sơn, but
also works found at Khuong My and Tra Kieu, though the latter are sometimes treated
as representing distinct styles. The works of Khuong My in particular are frequently
treated as transitional between the styles of Dong Duong and Mỹ Sơn A1. Likewise,
works found at Chanh Lo are sometimes treated as belonging to the Mỹ Sơn A1 style
and sometimes treated as transitional between the Mỹ Sơn A1 and Thap Mam styles.
3.1 Khuong My Style
In the village of Khuong My in the Vietnamese province of Quang Nam stands
a group of three Cham towers dating from the 10th century. The style of the towers and
the artwork associated with them is transitional between the powerful style of Dong
Duong and the more charming and delicate Mỹ Sơn A1 style. The style of Khuong My
also exhibits Khmer and Javanese influence.
3.2 Tra Kieu Style
Although the Cham monuments at Tra Kieu in Quang Nam Province have been
destroyed, a number of magnificent pieces of sculpture associated with the site remain
58
and are preserved in museums. Especially noteworthy are a large pedestal serving as a
base for a lingam that is known simply as the "Tra Kieu Pedestal" and another pedestal
known as the "Dancers' Pedestal."
The Tra Kieu Pedestal, consisting of a base decorated with friezes in bas relief,
an ablutionary cistern, and a massive lingam, is regarded as one of the masterpieces of
Cham art. The figures on the friezes are especially beautiful, and represent episodes
from the life of Krishna as related in the Bhagavata Purana. At each corner of the
pedestal, a leonine atlas appears to support the weight of the structure above him.
The Dancers' Pedestal, likewise, is regarded as a masterpiece. The purpose and
function of the pedestal, which has the shape of a corner piece, remain obscure. Each
side of the corner is graced by a dancing apsara and a music-playing gandharva. The
base underneath these figures is adorned with leonine heads and makaras.
Fig. 51 This 10th century tympanum of the dancing Shiva is transitional between the
Dong Duong and Khuong My styles. (left) - Danang museum
Fig. 52 The Tra Kieu pedestal of the 10th c. supports a massive lingam and ablutionary
cistern. (right ) - Danang museum
Fig. 53 A row of apsaras, or celestial nymphs, is depicted on the base of the Tra Kieu
Pedestal. (left )- Danang museum
Fig. 54 The Dancers' Pedestal of Tra Kieu features this apsara or dancer and
gandharva or musician. (right ) - Danang museum
59
4) Thap Mam Style
After the 10th century, Cham art went into gradual decline. Both architecture,
as exemplified by the temples of Po Nagar and Po Klaung Garai, and sculpture became
more stereotyped and less original. Only the sculptures of mythical animals, such as the
makara or the garuda, could rival their counterparts of the earlier styles.
The Thap Mam Style of the 11th through the 14th century is named for an
archaeological site in Binh Dinh Province, formerly Vijaya. The sculpture of this style
is characterized by "a return to hieratic formalism and the simplification of shape,
leading to a certain loss of vitality." The sculptors seem to have been concerned more
with the detail of ornamentation than with the grace and motion of the figures
themselves. Indeed, the style has been characterized as "baroque," in reference to the
proliferation of ornamental details that distinguishes it from its more "classical"
predecessors.
One of the most original motifs of the Thap Mam period was the sculpting in
stone of a row of female breasts around the base of a pedestal. The motif first emerged
in the 10th century (the Tra Kieu Pedestal at one point had such a row of breasts) and
became characteristic of the Thap Mam Style. It appears to have no counterpart in the
art of other Southeast Asian countries. Some scholars have identified this theme with
figure of Uroja ("breasts"), the mythical ancestor of an 11th century dynasty at Mỹ Sơn,
and claim a connection between this Uroja and the goddess venerated at Po Nagar.
Fig. 55 A 13th century sculpture from Binh Dinh shows Garuda devouring a serpent. Danang museum - http://vi.wikipedia.org/wiki/Các_phong_cách_nghệ_thuật_Chăm_pa
Fig. 56 This 12th c. Leonine atlas is of the Thap Mam style. (right )- Danang museum
60
Fig. 57 The leonine atlas is flanked by rows of
female breasts. (left) - Danang museum
Fig 58 A 12th century sculpture in the Thap Mam
style depicts Garuda the man-bird, serving as an
atlas. (right )
http://vi.wikipedia.org/wiki/Các_phong_cách_nghệ_
thuật_Chăm_pa
Fig. 59 Goddess Laskmi - Danang museum
I used the style of dress on this statue to sew the
dress in Style design 10
Pierre & Zephir, Thierry Baptiste - Tresors d'art du
Vietnam la sculpture du Champa - Établissement
public du musée des arts asiatipues Guimet. 2006
61
Sculpture History Data Images
Fig. 60 Sculpture history data images
62
2.2.3 Costumes
The Perpresentation of Textiles in Champa Sculptures
On the sculptures I see attire and not textiles. There are no single fabrics in
Champa sculptures, but rather various kinds of clothing and costumes. And because
almost all that remains of the ancient Cham civilization is of a religious nature, I would
like to subtitle this study " The Clothes of the Gods and their Attendants in Old Cham
Sculpture". In a sense, traditional textiles are always concerned with the supernatural, or
with sacred values.
As almost no research has been done on this topic, I begin with an overview of the
clothing portrayed in the sculptures, before delving deeper in to the topic proper. The
structure of this study appears in the summary in figure 61.
After a short introduction stressing the importance of the textiles in the analysis of
movement in these sculptures, I shall, in part one, look at the clothes of ascetics and of
servants and attendants. Then part two, I will show that the clothes were closely related
to their function and correspond to four types. Afterwards, in part three, I shall show
how changes in fashion can be used to help date sculptures. In part four, I speculate as
to the color and motifs of these old textiles, what they indicate concerning their
manufacture, and their various thicknesses. Part five will briefly discuss the clothing of
the Cham warriors and of their Khmer neighbors. Finally, I will finish with a few more
general reflection on the textiles in these classical sculptures.
The Representation of textiles in Champa Sculptures or the clothes of the gods
An ancient tradition of the textiles in the art of movement
1
The simplest garment: ascetics, servants, children
2
Dancing, standing, sitting, lying
3
The fashion and its dating
4
Motifs and thickness of the fabrics
5
The clothing of war
6
Sculptures of the supernatural and the role of textiles
Fig.61 Textiles represented in old Champa Sculpture
63
The role of fabric in the development of art styles
The old Kingdoms of Champa were very famous for their wonderful fabrics, their
woven silk, flax and cotton, for their embroideries. This information comes from the
fifth century. Therefore apart from the sculpture that I can see, I know of textiles in old
Champa.
For instance, in 5th century, The Cham people cultivated mulberry trees for silk
and cotton bushes for cotton. The women spun and wove the threads. They are known
to have added golden threads in the weft. They knew how to weave fabrics with
different motifs on each side. They perfumed their clothing with musk. Ordinary people
usually wore a large piece of cotton from the waist to the feet, which was wrapped
around their body from right to left.
Later, in the year 1076 AD the Cham King Harivarman IV was described as
follows: " The King is 36 years old. He eats much. He wears a robe or a long tunic of
damask with follower motifs on black or green backdrops. This tunic was fastened up
with seven golden ties, not with buttons. The undergarments were of very thin white
cotton, trimmed with embroidered braids or golden fringes".
At the end of the 13th century, Cambodia wore only cotton and canvas and
imported textiles from Siam and from Champa.
The sculpture of Champa mainly represent religious subjects, and the clothing
plays a very important part in the meaning and in the composition of the scene. Figure
62 represents one of the masterpieces of this art and one of the oldest. It is a detail of
one of the risers of a Shivaite pedestal dating to the middle of the seventh century. It
was found in a temple at Mỹ Sơn in central Vietnam, 20 kilometers southwest of
present-day Da Nang. This temple was called Mỹ Sơn E1 by the first European
archaeologists and belongs to the style of the same name E1.
The scarves indicate the vertical lines, and when the face of the dancers look
upwards, the meaning is that they are looking towards the gods. The cloth is a sampot of
which the upper part is tucked back up in the belt, while the other tail forms an oblique
64
pleat. This drape is typically Cham, (derived originally from India ) and the stages in its
evolution can help to date the sculpture.
The three drawings, taken from Cham sculptures, shown in figure 63 show clearly
how the cloth is adjusted (not the belt ). These designs, based on the work of the late
Professor Boisselier, also illustrate the horizontal folds of the sampot. This detail is
important, because it also existed at the same time, in the analysis of sampot in preAngkorian Khmer art. However in Khmer examples this style soon disappeared, to
remain only in the art of Champa. Most important are the long, narrow strips, which
may help us to learn which kind of textile was used.
Figure 62 Stone carving Da Nang Museum, photo credit V. Combré
63a
63b
Fig. 63a, 63b Three ways of draping different kinds of cloth
Phạm Thúy Hợp - SƯU TẬP ĐIÊU KHẮC CHAMPA TẠI BẢO TÀNG LỊCH SỬ VIỆT NAM ( THE
COLLECTION OF CHAMPA SCULPTURE IN THE NATIONAL MUSEUM OF VIETNAMESE
HISTORY ) - Bảo tàng lịch sử Việt Nam, Hà Nội - 2003.
65
63c
63d
Fig. 63c, 63d. Three ways of draping different kinds of cloth
Simple Clothing: Ascetics and Servants
In drawings based on the seventh century pedestal I have already seen (fig.64), I
can find some analyses of ascetics shown in their caves, on the mythical mountain,
spraying, playing the vina or flute, reading manuscripts and so on. Other examples of
ascetics show similar garb. Their clothing is as simple as possible: it is made of a short
strip which hangs down and is held in position by a thin string used as a belt. We do not
even know if this very rudimentary clothing with the appearance of a loincloth is a
textile or made of leather.
I also find this elementary costume on the curious rider squatting down on the
horse and dancing or making a sort of acrobatic movement (fig.64c), a analysis unique
in Cham sculpture. The original piece from which these drawings were made is now in
the museum in Da Nang and dates back to the beginning of the 10th century.
Such elementary item of clothing (fig.65) were used by servants and by attendants
of the gods or demigods. I can see here side A of the pedestal of Tra Kieu, dating back
to the middle of the 10th century. Two male attendants, possibly children, join their
hands to pay respect to the other people in the scene of the breaking of the bow. They
are both wearing what appear to be small briefs. However, their belt is a double woven
cord or braid, more decorative than functional.
66
Fig. 64a, 64b, 64c. Ascetics in different poses
Fig. 65 Detail from the Tra Kieu stone pedestal, Da Nang Museum
Fig. 66 Stone carving Mỹ Sơn museum. (Photograph: I. Pignon)
Sitting, dancing, lying down and standing
Figure 66 shown a tympanum from temple C1 at Mỹ Sơn, which is now store
in a small museum at the site. It is dated to the end of the 7th century. The piece shows
Shiva dancing with Skanda and Parvati. These are also two musicians and a skeletonlike figure.
Shiva is dancing in a pedestal behind his mount, Nandi. He wears a kind of
short sarong with a long tail with several pleats hanging from a belt made of fabric. We
can also see this kind of belt on the non-identified attendants on the right.
67
Fig. 67 Detail of stone carving Mỹ Sơn museum. (Photograph: I. Pignon)
In a detail from the tympanum (fig.67) we see Parvati sitting with the child
Skanda under a tree. Her apparel is one of the oldest analyses of feminine dress in Cham
art. Clearly visible are vertical bands of her skirt and the hanging ribbon or scarf, the
evolution of which has help to determine the successive periods of Indianized art.
Three Kinds of Cloth
A. Dancing: Pair of tights
B. Standing 1: Sarong
Standing 2: Sampot turned up between the legs
C. Sitting and lying
Fig. 68 Three kinds of Cloth
Usually the three types of clothing (fig.68) represented in these sculptures are
functional and very realistic. Each corresponds to a position of the body. So we have
three kinds of clothes for the three main positions: dancing, standing and sitting.
69a
9b
9c
Fig. 69a, 69b, 69c. Drawing showing dancing figures
68
Dancers (fig.69) wear a kind of undergarment, which is very tight. The three
drawings shown here are not in chronological order, but rather show the development
from simpler to more sophisticated designs. One should stress the design of the middle
figure: it belongs to the aspara of the pedestal of Tra Kieu dated to the middle of the
10th century. The richly decorated cloth, is skin-tight and fits closely to the legs. This
type of clothing is unknown in Southeast Asian art outside of Champa. It was borrowed
from the south of India, where it appeared frequently in the sculpture representing
dancers and even female deities if exactly the same date, the 10th century. This style is
famous and is known under its Sanskrit name as Candataka.
Fig. 70 Drawing showing various types of sarong found in Champa sculptures
I use the term sarong (fig.70) because of its common use, even if I find the
word imprecise and possibly misleading. These sarong were used when representing
female persons like Trivakra or Mahishamardini or other goddesses. Avalokitesvara
also wears a sarong, usually decorated.
69
Fig. 71 Drawing showing various styles of Sampot
Other standing figure wear a sampot (fig. 71) turned up between the legs. They
represent Dvarapala. or door guardians, in ceremonial dress, with ornate belts similar to
those made by a goldsmith.
Fig. 72a Parvati, 7th century Fig.72b A 9th century deva
Fig. 72c Shiva, 15th century Fig. 72d Reclining Vishnu, 8th century
70
I can identify the period of a sculpture (fig. 72) by the clothing of the seated
person in three different stages of development: Parvati of the 15th century; a deva of
the 9th century; and Shiva of the 15th century.
Fig. 73: 16-armed dancing Shiva, Da Nang Museum (left)
Fig. 74: Stone statue of Dvarapala in garden of Da Nang Museum, (Photograph: V.
Combré) (right )
The reclining Vishnu, celebrating the birth of Brahma, represents an
intermediate step of the 8th century.
I shall complete my survey by showing three instances which indicate the
complexity of this classification. Figure 73 illustrates a tympanum from Da Nang Museum
showing a 16-armed dancing Shiva. The image dates to the beginning of the 10th century.
The sampot is unusual, in that it is not decorated, so we see here more clearly the
triple belt and the thick textile used.
This dvarapala shown in figure 74 dates to the end of the 9th century, only a few
decades earlier than the previous image. The clothing is quite simple, with a band hanging
between the legs. Nevertheless, this is also a kind of ceremonial dress.
From the same period is a strange dvarapala (fig. 75) from the so-called
"Marble Mountains" near Da Nang. This appears to be a woman, and her large multifolded band is also unique. This figure has never been studied properly.
71
Fig. 75 Stone relief of Dvarapala from Marble Mountain (left)
Fig. 76 Stone Bodhisattva, Da Nang Museum (middle)
Fig. 77 Avalokitesvara, Saigon Historical Museum(right)
Clothing styles can also be studied on Buddhist subjects. The seated
Bodhisattva (fig. 76) from the Dong Duong site in central Vietnam shows a geometrical
and floral design on the horizontal bands of his tights.
Fashion and Styles
Most experts in the art of Champa have concentrated more in the styles of
clothing seen in the sculptures than in the textiles themselves. Professor Boisselier the
prime exponent of Cham art, has theorized that as at the Indianized courts, Cham
clothing would develop over time. Comparison with the IndAian and Indo-Javanese
evolution of clothing tends to support this theory.
The Seven Style of Champa
1. Mid-VII Cent.
Mỹ Sơn E1 style
2. VIII Century
Hoa Lai style
3. Second half of IX Cent.
Dong Duong style
4.X Cent.
Mỹ Sơn A1 Style
4.a
Khuong My style
4.b
Tra Kieu style
5. End X Cent. / 1st half of XI Cent.
Chanh Lo
6. End XI Cent. / beginning XIV Cent.
Thap Mam Style
7. End XIV Cent. / early XVI Cent.
Late style
7.a
Yang Mum style
7.b
Po Rome Style
Fig. 78 The Seven Style of Champa
72
I can see in figure 78, the classification of the different styles begins in the middle
of the 7th century and finishes at the end of the 16th century, thus covering almost one
thousand years. All of the style bear names of archeological sites. The third style is
essentially Buddhist, and the golden age dates to the 10th century. The patterns of the Chánh
Lộ style, at the beginning of the 11th century, were later borrowed by the Khmer. The latter
styles show that Indian inspiration and beliefs had gradually been forgotten. The Chams had
moved from the world of palaces and rich temples to village life.
A small bronze (fig. 77) showing Avalokitesvara with four arms indicates the IndoJavanese influence of a Mahayanist analysis. This figure dates to the middle of the 9th century. He
wears a draped dhoti of Indian origin, with a large, twisted double belt-scarf.
On the pedestal of the vihara of Dong Duong, at the northern stairs there is a
Dvarapala (fig. 79) in a Buddhist context, with an unusual sampot folded up between the
legs. This image shows how Buddhism has borrowed from the Brahmanic fashions.
Fig. 79 Stone Dvarapala in situ Marble Mountain (left )
Fig. 80 Stone dancing figure, Saigon Historical Museum, photo I. Pignon (middle )
Fig. 81 Stone fragment of musician in the garden of Da Nang Museum( right )
A different type of figure is this dancer (fig.80), of which I can find similar
examples in the Historical Museum of Saigon, in the Paris Guimet Museum, and in
Toulouse in France. The dancer, standing on one foot, brandishes a long scarf, with one
end held above her head, the other at knee height. I can compare this with the modern
"dance of the scarf".
73
Fig.82 Stone pedestal from Tra Kieu - Danang museum
A recently unearthed fragment (fig. 81), shows a musician playing a vina. His sampot is quite
unusual for the period, with its narrow belt. It can be dated to the end of the 10th century.
Returning to the pedestal of Tra Kieu (fig. 82), I can see at the right of the upper part a
standing Trivikra, wearing a single decorated sarong to show her rank. Here, as elsewhere,
I can see that cloth and textiles are used as an indication of social level.
The dancing figure belonging to the Chánh Lộ style, (fig. 83) is very sensuous.
During this period the movement of the hips is contrapuntal to the position of the dancer's legs.
The central band of the cloth emphasizes the unusual stance.
Fig. 83 Dancing figure Da Nang Museum ( Photograph: V Combré)
Fig. 84 Dancing Shiva, Da Nang Museum ( right )
A comparison of three dancing Shiva figures is instructive. The dancing Shiva
(fig. 84) with four arms now in the Da Nang Museum, belongs to the Thap Mam style, and
74
dates to the end of the 11th century. The embroideries and jewels have become more important
than the cloth itself, a characteristic that marks the beginning of a more decadent style.
Fig. 85 Dancing Shiva, Hanoi Museum. ( Photograph: I. Pignon) (left)
Fig. 86 Shiva Da Nang Museum, Phoograph: V. Combré ) ( right )
Another dancing Shiva in the Hanoi museum (fig. 85) shares similar
characteristics.
The culmination of this more decadent style may be seen in figure 86, a Shiva
belonging to the Yang Mum style. The legs are no longer shown. We cannot study the
cloth, because it completely disappears behind the three large embroidered bands.
Motifs and Thicknesses of Fabrics
The main types of material found in Cham sculpture are bands of fabric which
are draped vertically, laterally and horizontally. Unfortunately, the colour can only be
conjectured at because I have not found any painted sculptures. However, the earliest
evidence of red, Indian Carnelian beads were reported in excavations of the Sa Huynh
culture, which immediately preceded the Champa. I have already seen that there were
green, red and yellow textiles, local indigo blue, and tumeric used as the sacred colour and dye
for Vishnu. But this is a terra incognito. In addition, for various reasons most notably political
ones, there have not been serious archeological excavations for almost 70 years. As a result, I can
only assume that the old Indianized courts of Champa depended upon maritime activities
and thus received trade textiles from abroad.
75
Figures wearing textiles with stripes running vertically indicate weft decoration, and
the passage from warp decoration to weft décor. As for the patterns or motifs, three are clearly
distinguishable: geometric, four-petal flowers and star shapes of various kinds.
Fig. 87 Prajnaparamita from Dai Hui
Fig. 88 Drawing showing symbolic flower design
This sarong of the Prajnaparamita from Dai Hui (fig. 87) dating to the end of the
9th century is decorated with carved geometric motifs, diamond tips, circles with a dot in the
middle, symbolic flowers and so on. It is the most common design found in the sculpture of
Champa.
Another symbolic flower design (fig. 88) can be found in this drawing of a deva
from a Buddhist temple dating to the end of the 9th century seen earlier. The floral design is
clearly against the plain background.
Fig. 89 Drawing of flower motif in Chanh Lo style
Fig. 90 Brahma, Da Nang Museum. ( Photograph: V. Combré)
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A more obviously floral motif (fig. 89) appears in the Chanh Lo style, and these
simple flowers with four petals, were probably a sign of social rank. They were often found
later in the sculptures of Angkor up to the Bayon period.
Unusually, flower motifs are also found on this Brahma (fig. 90) in Thap Mam
style. Additionally we can find this motif (fig. 91) on a carving also in the Da Nang Museum
suggesting that these flowers were sometimes sewn on the textiles.
Fig. 91 Stone carving showing flower motif, Da Nang Museum (left )
Fig. 92 Stone carving showing textile covered saddle ( right )
The poor quality of figure 92 makes it difficult to discern but nevertheless the textile
covered saddle on an animal which looks like Nandi is just visible. Nowadays, symbolic clothes
or sumptuous embroideries are still used to adorn certain mythological animals, such as the
extravagant gajasimha, half-lion, half-elephant.
Fig. 93 Dancer, Da Nang Museum. ( Photograph: V. Combré) (left )
Fig. 94 Bronze laksmi, Da Nang Museum ( right )
77
The thickness of the textiles shown in the sculptures vary with the thinnest resulting in
skin-tight clothing as seen in the famous dancer (fig. 93) from the 10th century Tra Kieu
pedestal, called the "pedestal of dancers". The dancer is not naked, but is portrayed wearing a
very thin, almost invisible cloth, whose diaphanous appearance is reminiscent of fine muslin.
The large bronze statue of Tara (fig. 94) was found in 1978 in Dong Duong. In
contrast to the dancer, her sarong is very thick, even stiff, more suitable for formal regalia.
No motif is discenible on the fabric
The dress of war
In the art of Champa there are few analyses of aggressive human beings, instead I saw
this in standing lions, especially of the 10th century. Curiously enough, with the exception of one
or two sculptures, war is not represented, nor the warriors, even in mythical scenes. To know a
little more about the attire of warriors, I must refer to the neighboring Khmer art.
Fig. 95 Stone Carving, the Bayon, Angkor Wat. ( Photograph: Dolias )
Fig. 96 Celestial gandharvas from the stone pedestal of Tra Kieu ( right )
At the Bayon in the heart of Angkor Thom (fig. 95) reliefs portray the battles
between the Khmer and the Cham. In the outer gallery, north aisle, east side, I can see a figure
with a kind of jacket, which I might call a "jacket of war", which had the power of
magical protection.
Classical sculpture and textiles
As I have seen, the sculptures of Champa are mainly concerned with the world of the
gods, as these two Gandharvas from the pedestal of Tra Kieu remind us (fig. 96). These
demigods are celestial, represented flying and delighted at the miracle of the hunchback of
78
Trivikra. This is shown mainly by the scarf, which at the same time indicates that the Gandarvas
are in the air, and is used to fill the space of the sculpture. Here, the analysis of the textiles plays
a crucial role in creating the art. In this example the art of textile, the art of dance and art of
carving are united in a magnificent piece.
Fig. 97 Goddess, Da Nang Museum. ( Photograph: V. Combré)
Fig. 98 Another view of the goddess from the Da Nang Museum ( right )
This picture is a masterpiece of Cham art, which shows wonderful embroidery. Now
at the Da Nang Museum, this goddess (fig. 97 and fig. 98) dates to the end of the 10th
century. Her double skirt carved in light relief marvellously epitomises ancient Cham textiles
evoked in stone.
Cham Weaving In Vietnam
Today the Cham people have been reduced to a small ethnic minority found almost
exclusively in the area around Phanrang/ Phanri in southern Vietnam. However, they remain
attached to the memories of the Hindu culture and religion of their ancestors, and continue to
observe numerous traditions that recall their glorious past.
The Cham are particularly devoted to the worship of all the divinities in their
pantheon. Of special importance are the deified kings and legendary heroes of Cham history
and literature.
Each year, at the Cham New Year, religious ceremonies are held in honor of the
gods at the three chief cultural sites in the region: Po Nagar, Po Klaung Garai and Po Rome.
In addition to ceremonies performed in the temples, the Cham also ensure harmonious relations
79
with their gods through rituals marking major events in human life (birth, death, cremation)
and through seasonal celebrations (repairing dams and canals, irrigating rice fields, planting
crops). A significant religious clergy is responsible for these ritual observations.
In the 16th or 17th century, the Muslim religion spread through much of Champa,
and approximately one-third of the Cham community was converted to Islam. Since that time,
the descendants of these Muslim converts (called banis) have lost contact with the Islamic world.
As a result, they have forgotten certain fundamental rules of Islam, such as circumcision,
fasting at Ramadan and the pilgrimage to Mecca. However, they have retained the memory of
other Muslim rituals and continue to worship in mosques (sang magik), where there is a
permanent clergy specializing in the bani sect.
The clergy of both religions co-exist peaceably, sometimes within the same village.
Each avoids holding ceremonies at times that are seen as inconvenient to followers of the other
sect. There are also special persons who can perform various functions in both the traditional
Cham religion and the bani faith.
Clergy of the traditional Cham religion
The clergy of the traditional Cham religion, which centers around ancestor
worship and the worship of ancient Cham kings, consists of: the high priest, Po Adhia;
his assistant, Ong Bac, and the officiating priest, Ong Baseh, all three of whom are
identified by their long hair. They are sometimes assisted in the performance of their
duties by the following: Ong Chamnei, the temple keeper; Ong Ka-ing, the fire-walker,
whose annual firewalk (rija nagar) commemorates the victories of ancient Champa
heroes; Ong Kadhar Gru, who recites the great deeds of legendary Cham kings and heroes,
and Ong Kadhar Pahuan Anik, who assists the Kadhar Gru.
The Cham priests also preside over the rituals associated with the cremation of the dead.
In this, they are assisted by a number of other religious dignitaries, notably Ong Daoh,
who performs the traditional funeral chants; Ong Hang, who adorns the coffin; Ong Gru
Kaleng, the exorcist (in the event of a violent death); Po Damân, who represents the matrilineal
clan at the ceremony, and Hala Car, who carries the body of the deceased on the day of
the cremation.
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Clergy of the Bani religion
Depending on its importance, a bani village may have between 10 and 25
religious dignitaries, with each of the matrilineal clans represented by one or two
members. Recognized by their cleanly shaven heads, these dignitaries may perform one of
the following five functions: Po Gru, head of the bani community; Ong Mâm, the
imam, who presides over prayers at the village mosque, commonly held twice a
month; Ong Katip (khatib) and Ong Mâdin (muezzin), who assist the imam, and Ong
Acar Famaah, novices receiving religious instruction
Clergy members common to both religions
In addition to the clergy, whose roles are clearly defined within the religion to which
they belong, there are other religious dignitaries who perform activities common to both the
traditional Cham and the bani religions. These include the Ong Mâduen, a rebab player and
one of the principal celebrants of the traditional "rija" ceremonies. In a language derived
from ancient Malay, the Ong Mâduen recites the adventures of a Malay hero who came to
wed a Cham princess. His recitation is accompanied by a ritual dance performed by an older
woman called the Muk Rija. Other dignitaries common to both religions are: Ong Ganuer
Ripaong, who is responsible for irrigation canals; Ong Banâk, who presides over
purification rituals meant to ensure the soundness of dams; Ong Danaok, who represents the
matrilineal line at seasonal ceremonies; Ong Pal, who watches over food offerings made to
the gods; Muk Pajaw, a female seer and magician, sworn to celibacy, who assists other
clergy members; and Muk Buh, a woman appointed to prepare the offerings of food, betel nut
and flowers used during traditional rites.
Attire of the religious dignitaries
All religious dignitaries wear specific clothing, which indicates their status and
function, and distinguishes them from other members of the community. Individual dignitaries
can be identified by the width and design of the border adorning their turban or sarong. The
form, color, pattern and size of their clothing is dictated by Cham custom and tradition. This is
equally true for both everyday clothing and ceremonial attire.
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Clothing of the traditional Cham clergy
The everyday costume worn by the two principal priests of the traditional Cham
religion, Po Adhya and Ong Bac, consists of 11 items: a white turban, a turban trimmed with a
red border or a fringe made of red threads, a sash, short trousers, a sarong with a red or gold hem,
a woven cloth belt with a diamond-shaped design, a white tunic, a red scarf, a headscarf, a
sash referred to as "an eel bone" and a betel nut pouch (see fig. 99).
Fig. 99 Po Adhya - Fig. 100 Acamari in a cemetary
Jane Puranananda - Through the Thread of Time, Southest Asian Textiles - The James
H.W. Thompson Foundation - Riverbook, Bangkok - 2004
The Basaih, who assist the chief priests, wear the same costume, except that their
sarong has no decorative border. Instead, it is trimmed with a lateral strip of lace
The temple caretaker, Ong Camnei, wears an outfit consisting of eight items: a turban
with a red and gold border or a fringe made of red threads (khan mâtham taibi), a
headscarf (kadung gibak), a red scarf (siaip phong), short trousers (tarapha panak), a
sarong trimmed with lace (khan marang), a plain woven cloth belt (talei ka-ing mrai), a
short, white tunic (aw sah lakei) and a betel nut pouch. The Ong Ka-ing, or firewalker,
wears eight articles of clothing, namely: a turban with a red and gold border or a fringe made
of red threads (khan mâtham taibi), a red scarf (siaip phong), short trousers (tarapha
panak), a lace-trimmed sarong (khan marang), a plain woven cloth belt (talei ka-ing mrai),
a short, white tunic (aw sah patih), a short, red tunic (aw sah phong), and a betel nut pouch.
The costume worn by the Ong Kadhar, who recites the royal genealogies, consists
of eight items: a turban with a red and gold border or a fringe made of red threads (khan
mâtham taibi), a headscarf (kadung gibak). a long red scarf (siaip phong), short trousers
(tarapha panak), a sarong with a red and gold hem (khan mbar jih), a woven belt with
a diamond-shaped design (talei ka-ing bingu tamul), a short, white tunic (aw sah), and a
82
betel nut pouch. Two other costumes are used strictly to dress statues of Cham divinities on the
country's national holiday. The first of these, called as po yang lakei, is composed of a
ceremonial sarong, a red tunic with gold flowers, a multicolored belt and a tiara, and is used
to dress statues of male gods. The other (aw po yang kamei) is used for female gods and
consists of a dark-colored sarong with a lateral border, a floral tunic, and a braided red crown.
Clothing of the bani religious dignitaries
The principal bani dignitaries: Po Gru, Ong Mâm, Ong Mâdin, and Ong Katip
wear a uniform comprised of seven articles of clothing: a white turban (khan mbram), a
turban with a red and gold decorative border or with a fringe made of red threads (khan
mâtham twak), a headscarf (kadung gibak), short trousers (tarapha panak), a sarong with
a red and gold hem (khan mbar jih), and a woven belt with a diamond-shaped design (talei
ka-ing bingu tamul). Bani novices (Acar Famaah) wear a similar costume, but their sarong
has no border, and their woven belt lacks the diamond-shaped motif. ( fig. 100)
Clothing of the officiants of both religions
The costume worn by Ong Maduen, who presides over the traditional "rija"
ceremonies, consists of seven items: a silk head cover (siaip kabuak), a turban with a red
andgold border or with a fringe made of red threads (khan mâtham taibi), a sarong with a
lace border (khan marang), a plain, woven belt (talei ka-ing mrai), a white tunic (aw
maduen), a betel nut pouch (tanyrak hala) and a fan (tadik).
During the performance of the ceremonial "rija", the sacred dancer, Muk Rija,
wears a succession of four different costumes to represent the different characters she portrays.
The first of these costumes (aw muk rija) consists of a plain, white veil (kahn luh
putih), red thread earrings (bruei tangi), a dark-colored sarong trimmed with a red
decorative border (khan mbar jih), a white tunic (aw tuak patih), and a betel nut pouch.
The costume of the princess (aw patri) consists of a red veil trimmed with a red and
gold border (khan matham tuak bhong), a dark-colored sarong with a red hem (khan mbar
jih), a red tunic with a red border (khan mbar jih), and a red tunic trimmed with a gold border
and gold flowers (aw tuak bhong bingu).
In the costume of the prince (aw patra), the Muk Rija wears a white veil trimmed
with a narrow border (khan matham bingu pathap), a white sarong with a red and gold
83
hem (khan mbar jih), a belt with a diamond-shaped design (talei ka-ing bingu tamul) and
a white tunic (aw lah).
The costume of the ancestors (aw ataw) includes a red veil with a red border
around the edges (khan matham tuak bhong), a red band to tie back the hair (ginreng), red
earrings (bruei tangi), a red sarong (khan bhong) and a red tunic (aw tuak bhong).
The other women who play secondary roles in the performance of religious or
magical rites Muk Pajaw and Muk Buh also wear distinctive costumes, consisting principally of
a veil, red earrings, a white sarong, a white tunic and a betel nut pouch.
Those persons responsible for agricultural rituals wear almost identical clothing,
namely a white turban with red and gold trim, a white sarong trimmed with lace, a short white
tunic, a white belt and a betel nut pouch.
Clothing for ordinary people
At public ceremonies and celebrations, ordinary people, regardless of their religion,
also wear distinctive clothing: ( fig. 101).
Fig. 101 Champa women in everyday clothing - Fig. 102 Weaver using a back-strap loom
a) Traditionally, the women wear a two-colored outfit, called an aw kuak
kuang, over a one-piece sarong trimmed with a decorative hem (khan mbar jih) and
secured by a woven sash (talei ka-ing) tied around the waist. They also wear a simple,
borderless turban (khan luh bar), red thread earrings (bruei tangi), and a necklace (talei
tamrak).
b) The men wear a silk or cotton turban with a fringe (siaik kabuak), a white,
lace-trimmed sarong (khan mârang), a cloth belt (talei ka-ing mrai), a short tunic (aw lah
mbar), and a pouch for betel nut (kadung hala).
84
Looms for weaving
The clothing worn by the Cham is made from homespun cloth that the villagers
weave themselves. Two types of looms are used to weave this cloth. One, the back-strap loom, is
used to produce the large pieces of fabric needed to make sarongs, turbans and scarves.
The second type, the horizontal loom, is used to make the narrow pieces of cloth for belts,
sashes, decorative hems and ribbon.
Fig. 103 Weaver using a back-strap loom
The back-strap loom (danang manyim ban khan)
The body of the weaver serves as the frame for this loom. Two cords connect the
heddle to a bamboo pole, which functions as the tensioning rod. The breast beam,
which rests on the weaver's knees as she sits, is connected by a strap to a piece of
wood that hugs the small of the weaver's back.
The shuttle is passed through the shed, first, from left to right and then from right to
left. The weaver uses a wooden beater to press the newly-inserted weft into the weave, and
then to separate the alternating threads of the warp. As the shuttle is worked back and forth, the
textile gradually comes into being. Shed sticks are used to create decorative patterns (figs.
102 and 103).
The back-strap loom is used to make the following:
turbans (khan, khan matham)
khan caro
one-piece turban with a fringe
khan mâtham
turban with a red and gold decorative border and a red
fringe
85
khan mâtham taybi
type of turban with red and gold border and a red
fringe (fig. 104)
khan pwah
white turban worn by Basaih priests
khan njram
turban worn by women and by Acar
khan balo kabuak
one-piece turban made of silk
men's sarongs (khan)
khan mârang
sarong with a lateral lace border
khan mbar jih
sarong worn by religious dignitaries
women's skirts (aban, ban)
aban gauh
plain sarong
aban tuk
patterned sarong
aban tuk hop
seed motif
aban tuk hop saw
variation of seed motif
aban tuk hop wil
variation of seed motif
aban tuk tamul
diamond-shaped design
aban tuk parik
checkerboard pattern
aban tuk kacak
gecko motif
and various other patterns, such as: tuk tapit, tuk the, tuk bamak, tuk tam-un, tuk wang tamun, tuk mbem, etc.
Fig. 104 Khan mâtham
The horizontal (long) loom (danâng mânyim jih dalah)
86
In this loom, the warp is tensed between the two beams of the frame. The heddle is
attached to one of these beams, while the breast beam is joined to the other by means of a
support. The top of the frame, which connects the two vertical beams, is made from a thick
piece of bamboo, and supports the pulley to which the main heddle shafts (cakauw hala) and
the shed sticks (cakauw bingu) are joined. (figs. 105 and 106)
Fig. 105 Weaver using the horizontal loom
Fig. 106 Weaver using the horizontal loom
The main heddle shafts are raised and lowered by two-foot treadles. The shed sticks
are controlled by counter-weights, according to the pattern being made. The weaver sits on a
stool, facing the warp. From this position, she inserts the shuttle, first, from front to back and
then from back to front, before using a wooden beater, which she keeps close at hand, to press
the weft into the weave.
The number of shed sticks depends on the complexity of the design, which tends to
be formed by the warp (bingu tak) rather than the weft (bingu cuk). Two or three weavers
may be required to complete a particularly intricate design.The horizontal loom is unique to the
Cham. It is used by no other ethnic group native to Indochina. The loom is joined to the
human body, and its constituent parts bear the names of body parts:
rup danâng, the body of the loom: the entire frame
akauk danâng, the head of the loom: support for the breast beam
takuai danâng, the neck of the loom: tenon for the breast beam support
takai danâng, the foot of the loom: the base odanâng, the beam
This loom is used to make the following:
87
a) Wide bands of cloth (dalah) with patterns on either a light (yor) or dark (klam)
background
The best known patterns are:
dalah 7 cakauw
7 heddle design
dalah 9 cakauw
9 heddle design
dalah 12 cakauw
12 heddle design
dalah 13 cakauw
13 heddle design
dalah kacak
gecko motif
dalah bauh m,bai
bean motif
dalah kacak-bauh m,bai
gecko and bean motif
dalah tamul takai asau
diamond and dog-leg motif
dalah tamul kacak sa
diamond and gecko motif
dalah tamul kacak dua
diamond and double gecko motif
Fig. 107 Diamond and bean motif - Fig. 108 The tuak lieng design
b) Sashes (talei ka-ing)
talei ka-ing manikam
sash with various patterns
talei ka-ing pok
overlapping diamond pattern
talei ka-ing kacak
gecko motif
talei ka-ing tamul
diamond-shaped pattern
talei tamul-takai asau
diamond and dog-leg motif
talei tamul luak
variation on diamond-shaped pattern
talei bamâk
zigzag design
talei seng
banyan leaf design
88
talei haraik
vine motif
talei baoh m,bai
bean motif
talei tulang lanung
eel bone design
C) decorative borders for turbans (khan mâtham)
These borders have gold patterns on a red background and are decorated with a fringe made of
red threads. One can notice a blue thread called "the navel" running in the direction of the warp. The
designs differ according to the function and nature of the person for whom they are intended.
taibi
for the turbans worn by Po Dhia and Ong Camnei
taibi pabon
worn by Ong Bac, on the day of his appointment
binguw tathap
worn by the Kadhar and his assistant
tuak
worn by the Po Gru (Cham barn)
tuak lieng
patrun
lieng
haling mâtham liêng
d) braid on skirts (biyon)
These decorative borders, worn exclusively by women, are sewn on to the sides of
skirts. A narrow hem, of the same color as the main border, is sewn on to the bottom of the skirt.
The best known of these decorative borders are:
biyon rup
Shiva dancing on a peacock, alternating with a dragon design (fig.
109)
biyon mrak
peacock-like design
biyon hiep
dragon-like design
biyon hang
dragon-like design
biyon saharaik
vine pattern (fig. 110)
biyon 3 haraik
three vine pattern
biyon padaong
zigzag pattern of triangles and lines
biyon 13 cakauw
13-heddle shaft design
89
Fig. 109 Design of Shiva dancing on a peacock
Fig. 110 Vine Pattern (botton)
Jane Puranananda - Through the Thread of Time,
Southest Asian Textiles - The James H.W. Thompson
Foundation - Riverbook, Bangkok - 2004
e) Narrow hems (jih)
These are sewn on to the bottom of women's skirts and the sides of men's sarongs
jih bamâk/wang/tamul
zigzag/circular/ diamond-shaped design
jih tamul/kakei asau/kacak
diamonds, dog leg, gecko
jih wang
small, rounded diamond-shaped design
jih baoh mabai
bean pattern
jih 9 cakauw
9-heddle shaft design
bar jih
border sewn on to the bottom of men's sarongs
Fig. 111 Dragon design
Jane Puranananda - Through the
Thread of Time, Southest Asian Textiles
- The James H.W. Thompson
Foundation - Riverbook, Bangkok 2004
Fig. 112 Bar jih braid sewn at the bottom
of a skirt
Jane Puranananda - Through the
Thread of Time, Southest Asian Textiles
- The James H.W. Thompson
Foundation - Riverbook, Bangkok - 2004
Reflections on the future of Cham textiles
In the past people were largely unfamiliar with Champa textiles, probably because
the Champa people themselves felt no need to make their textiles known outside theirown
90
community. After all, their textile were made almost exclusively for the priests and other
religious dignitaries. It was not until 1968 that the Champa Cultural Center of Phan rang, with
the opening of an important textile exhibition in Saigon, brought attention to the community
and their traditional weaving. The exhibit proved to be a great success with foreign visitors
and quickly convinced the Champa that their textiles could be exported and become a major
source of income. Initially, a number of the Champa elders disapproved of putting their
textiles to non-religious uses, but these objections were easily overcome by the weavers
themselves, who command considerable influence in the matrilineal Champa culture. The
weavers began to produce new patterns and designs adapted to the tastes and demands of the
marketplace. This new trade in Champa textiles flourished and continued to expand up
until the Communist takeover of Vietnam in 1975
When the new rulers came to power, they pursued a policy of national unity, which
actively suppressed the country's ethnic minorities and discouraged the practice of all customs
and traditions seen as not complying with Communist Party ideals. Yet despite the restrictions, the
Chain managed to preserve what remained of their glorious past: for example, their
language, which they were allowed to teach in primary school; the status of their religious
dignitaries and their traditional festivals, which survived in spite of strict government control.
Gradually, however, the political leadership realized the importance of tradition for
the Cham people, and rather than hinder the expression of traditional beliefs and practices, the
authorities began to portray themselves as the saviors of the ancient Champa culture. They even
went so far as to participate in organizing religious festivals.
Eventually, such expressions of cultural identity were given legal status, and this
opened the door for the Cham people to revive their traditional craft of weaving.
The Cham have also taken advantage of Vietnam's opening up in the 1990's, to
produce textiles for the tourist trade. They began creating a range of new items, such as
tablecloths, napkins, backpacks, and handbags, all adapted to the demands of customers.
Around 1995, a group of weavers formed a small cooperative in the village of My-Nghiep,
near Phanrang. The cooperative gathers together woven goods from individual producers,
which it displays and sells. Today, there are even two or three shops in Saigon selling Cham
textiles.
91
I hope that this traditional craft survives all the country's recent upheavals since
Champa textiles are undoubtedly among the most beautiful and the most original found in
Southeast Asia
Fig. 113 Bean design
92
Champa Royal costumes
These costumes are belong to a private collection of Champa family in Bình Thuận
province. These are original artefacts. These clothes was woven from flax fiber and silk fiber
and using gold thread to embroidered.
Champa people using gold thread to embroidered. this pattern is a special Champa flower(left)
Champa King Hat ( Original Artefact)
Fig. 114 ChampaRoyal Costumes
Exhibition Champa Culture Centre - xã Phan Hiệp, huyện Bắc Bình - Bình Thuận
93
Man costume
Woman costume
Fig. 115 Champa civilian clothes
Sỹ Hoàng Designer - private collection
94
2.3 Classify the patterns
The patterns are classified according to subjects:
-
Animals
-
Characters
-
Costumes
-
Geometries
-
Hairs
-
People
-
Plants, leaves and flowers
2.4 Wood Block Printing
2.4.1 Types of Block print
Woodblock printing is a technique for printing text, images or patterns used
widely throughout East Asia and originating in China in antiquity as a method of
printing on textiles and later paper.
As a method of printing on cloth, the earliest surviving examples from China
date to before 220, and from Egypt to the 4th century.
Today, this technique have still used to printing on fabrics in India
Fig. 116 Woman doing Block Printing at Halasur village, Karnataka, India.
http://ookaboo.com/o/pictures/picture/25146422/Woman_doing_Block_Printing_at_Ha
lasur_vi
95
2.4.2 Technique of making block prints
Woodcut occasionally known as xylography is a relief printing artistic
technique in printmaking in which an image is carved into the surface of a block of
wood, with the printing parts remaining level with the surface while the non-printing
parts are removed, typically with gouges. The areas to show 'white' are cut away with a
knife or chisel, leaving the characters or image to show in 'black' at the original surface
level. The block is cut along the grain of the wood (unlike wood engraving where the
block is cut in the end-grain). In Europe beechwood was most commonly used in Japan,
a special type of cherry wood was used
The surface is covered with ink by rolling over the surface with an ink-covered
roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.
Multiple colors can be printed by keying the paper to a frame around the
woodblocks (where a different block is used for each color). The art of carving the
woodcut can be called "xylography", but this is rarely used in English for images alone,
although that and "xylographic" are used in connection with blockbooks, which are
small books containing text and images in the same block. Single-leaf woodcut is a term
for a woodcut presented as a single image or print, as opposed to a book illustration.
I chose Jack-fruit tree and using laser cut to making woodblock
2.4.3 Tools
-
Fabric colors
-
Brushes
-
Roller
-
Dyeing and sodium silicat
-
Iron
-
Haird dryer
-
Wood Frame
Fig. 117 Fabric colors and tools
96
Colors and tools
Woodblock (Left ) - Rubber Block (right )
Fig. 118 My woodblocks
97
2.4.4 Printing Process
The printer commences by drawing a length of cloth, from the roll, over the
table, and marks it with a piece of coloured chalk arid a ruler to indicate where the first
impression of the block is to be applied.
I then applies block in two different directions to the colour on the sieve and
finally presses it firmly and steadily on the cloth, ensuring a good impression by striking
it smartly on the back with a wooden mallet. The second impression is made in the same
way, I taking care to see that it fits exactly to the first, a point which I can make sure of
by means of the pins with which the blocks are provided at each corner and which are
arranged in such a way that when those at the right side or at the top of the block fall
upon those at the left side or the bottom of the previous impression the two printings
join up exactly and continue the pattern without a break. Each succeeding impression is
made in precisely the same manner until the length of cloth on the table is fully printed.
When this is done it is wound over the drying rollers, thus bringing forward a fresh
length to be treated similarly.
If the pattern contains several colours the cloth is usually first printed
throughout with one, then dried, re-wound and printed with the second, the same
operations being repeated until all the colours are printed.
Many modifications of block printing have been tried from time to time, but of
these only two tobying and rainbowing are of any practical value. The object of tobey
printing is to print the several colours of a multicolour pattern at one operation and for
this purpose a block with the whole of the pattern cut upon it, and a specially
constructed colour sieve are employed. The sieve consists of a thick block of wood, on
one side of which a series of compartments are hollowed out, corresponding roughly in
shape, size and position to the various objects cut on the block. The tops of the dividing
walls of these compartments are then coated with melted pitch, and a piece of fine
woolen cloth is stretched over the whole and pressed well down on the pitch so as to
adhere firmly to the top of each wall; finally a piece of string soaked in pitch is
cemented over the woolen cloth along the lines of the dividing walls, and after boring a
hole through the bottom of each compartment the sieve is ready for use. In operation
98
each compartment is filled with its special colour through a pipe connecting it with a
colour box situated at the side of the sieve and a little above it, so as to exert just
sufficient pressure on the colour to force it gently through the woolen cloth, but not
enough to cause it to overflow its proper limits, formed by the pitch-soaked string
boundary lines.
The block is then carefully pressed on the sieve, and, as the different parts of
its pattern fall on different parts of the sieve, each takes up a certain colour that it
transfers to the cloth in the usual way. By this method of tobying from two to six
colours may be printed at one operation, but it is obvious that it is only applicable to
patterns where the different coloured objects are placed at some small distance apart,
and that, therefore, it is of but limited application.
99
Fig. 119 Printing process
100
Chapter 3 Design Methodology
1. Reviewed literature.
2. Field work.
I went to Po Nagar tower in Nha Trang Province and Posha Nư tower in Ninh
Thuan province. I can see the tower and the details heard Champa music, and enjoy
Champa dancing. I saw the beauty of sculptures.
Fig. 120 In Po Nagar tower - Fig. 121 In PoSha Nư tower
Fig. 122 at Champa traditional music show in Po Nagar tower
101
3. Research Design.
4. Appied design.
a) I collected history data images in Champa fine arts: Architectures and
Sculptures and costumes.
b) Looking for the characteristics patterns in these subjects to design.
c) In patterns design method, I based on the fundamentals of arts: choose 8
basic elements which was used as the specific methods in design :
i.
The Silhouette
ii.
The Line
iii.
The color
iv.
The Focus of interest
v.
The Rhythm
vi.
The ratio
The gold ratio: 3:5:8
“The most harmonious relationship between unequal part of the whole is
achieved if the proportion to the larger as the larger is to the whole”
vii.
The balance
- Symmetric horizontal axis
- Symmetric vertical axis
- Symmetric vertical and horizontal axis
- Non-symmetric
viii.
The delusion
d) In Fashion design method, I found powerful colors in Champa fine arts and
these colors are suitable to combine with Pop art colors style
102
Fig. 123 Research Model and Hypotheses
(copyright - director of NPO Dr. Tseng Ying Min- Shu-Te University )
The time frame of study
- November 2009 Choosing idea and discuss. Kaohsiung, Taiwan.
- Collect documents and research. Kaohsiung, Taiwan.
- June 2010 reported proposal, Kaohsiung, Taiwan.
- July- August 2010 : Field work, Nha Trang, Phan thiet, Da Nang, Vietnam
- Sep.2010 – Jan. 2011 : Design pattern & Collection, Make Block Printing,
print fabrics, writing.
- Feb. 2011– April 2011 : Writing, Sewing, Fashion
show in Vietnamese
Historical Museum, Sai Gon, Vietnam
- April 2011- July 2011: in Taiwan: Finish thesis. Fashion show and Exhibition
and final presentation, in Shu-Te University.
103
Chapter 4: Design result : A Fashion collection
-
4.1 Design image board of the target consumers
Set up the target consumers
Profile of target consumers
The life style of the target consumers
Pick up key colors from color image and put these color chips on the PCCS
color chart.
Choose 10 fashion words to describe the target consumers.
Set the fashion territory on image chart for the target consumers.
Fig 124 Image board of the target consumers
104
-
4.2 Design fashion season theme
Researching the fashion trend
Arrange the theme story board
Key color of the theme
Fig 125 The theme story board
( Andy Warhol's pictures and De Van Notten fashion style )
105
4.3 Color pattern design
-
New product design with color pattern
Color combinations for each style
Fig. 126 Color pattern design 1
106
107
Fig. 130 Color pattern design (total look)
108
4.4 Style Design
I choosen silk and flax for my collection because in Champa history they
always used these fabrics in making clothes. And these fabrics are suitable for dyeing
and printing by woodblock
Style 1: Fabrics - Dress: Đũi Mỹ A (Champa Fabric) and red silk organza;
White flax trouser.
Style 2: Fabrics - Dress: Lãnh Mỹ A (Champa Fabric) and brown silk organza;
White flax trouser.
Style 3: Fabrics - Dress: Đũi Mặc Nưa (Champa Fabric) and silk;
White flax trouser.
Style 4: Fabrics - Red flax blouse and White flax trouser.
Style 5: Fabrics - Red flax blouse and White flax trouser.
Style 6: Fabrics - Dress: Orange flax and red silk organza;
Trouser: Đũi Mặc Nưa (Champa Fabric)
Style 7: Fabrics - Dress: Flax.
Style 8: Fabrics - Dress: Red silk organza.
Style 9: Fabrics - Dress: Brown and black silk organza.
Style 10: Fabrics - Dress: white silk satin and red sikl organza.
109
Front - back
Fig. 131 Style 1
110
Front - back
Fig. 132 Style 2
111
Front - back
Fig. 133 Style 3
112
Front - back
Fig. 134 Style 4
113
Front - back
Fig. 135 Style 5
114
Fig. 136 Style 6: Front - back
115
Fig. 137 Style 7
116
Fig. 138 Style 8
117
Fig. 139 Style 9
118
Fig. 140 Style 10
119
4.5 Make up and Hair style design
Fig. 141 Make up and Hair style design
Fashion model: Thai Tuyen
I base on characteristics of the Champa race and designing make up and hair style
The head has some characteristics: square face, thick lips, flaring nostrils,
moustache turnine upward at the ends, diamond - shaped eye in the middle of the
forehead, thin hightly eyebrows are intersected, a chignon of three storey, long
sideburns
120
4.6 Fahion Style of "A Nostalgic Dream"
Fig. 142 Fashion style 1
121
122
123
124
125
126
127
128
129
130
Fig. 152 Fashion style board
131
4.7 Fahion show in the Museum of History, Sai gon
I showed my collection on 24th April 2011, in the Museum of Vietnamese
History in Sai gon, Vietnam
I took a video and attatching a DVD to my thesis
132
4.8 Fashion show and Exhibition in Shu-Te University
I showed my collection in a fashion show on 10th June in the third Floor,
Design Buiding, Shu-Te University, Yan Chao, Kaohsiung, Taiwan.
Fig. 153 Fashion Show photo
Fashion model: Ha Phuong Thu
133
Fig. 154 I presented my collection in a fashion show on 10th June in the third Floor,
Design Buiding, Shu-Te University, Yan Chao, Kaohsiung, Taiwan.
Fig. 155 I presented my collection in an exhibition from 11th June to 18th June in the
third Floor, Design Buiding, Shu-Te University, Yan Chao, Kaohsiung, Taiwan.
134
Chapter 5: Conclusion and Recommendation
In this chapter, I synthesized my study into five summaries for each research
objective and finding conclusion. I introduce my recommendations represented in a
diagram. Of course, I have already look into my study and understood about my limits
and self-reflections.
5.1 Research Objectives: Summary of Objective and Conclusions
5.1.1 Research Objective 1: To identify heritage of Champa in the history of Champa
nation.
-
The diagram is shown the summary of Champa history.
Fig. 156 The Champa History in mind map
-
Conclusion:
The Champa cultural heritage is represented in this diagram. This mind map
conveys the essence of the conclusions. Each flow line provides a sensible of influence,
trade, cross-culture, war and devastating.
The green flow line provides a sensible of wars in Champa nation. The war has
brought the nation weaker and weaker, and the art was declined.
135
5.1.2 Research Objective 2: To evaluate the styles of Champa's architectures and styles
of Champa's Sculptures.
-
Summary
Fig. 157 Sculpture and Architecture styles in Mind map
136
-
Conclusion:
To identify, for each period, there are many influences from contiguous nations.
Because there are many exotic details came from Angkor, Java and India, and there are
many specific characteristics in sculpture and architecture style.
The multiform details describe the graphic lines of shapes, animals, bodies,
flowers, leaves ect ... They are so lively in ancient towers.
5.1.3 Research Objective 3: Explore the beautiful and the useful Champa's patterns.
-
Summary:
To classify the patterns in groups: Animals, characters, geomatric, hairs, peolpe,
plants leaves and flowers.
-
Conclusion:
In towers: plentiful details, sophisticated decoration, skillful sculptors, esthetic
sence.
Describing mythic animals is cute, strange and quaint.
Decorating with dense details, spirals, and small circles.
The statues of dancers emphasise the impression of brimful body with vitality
The art fundamentals: the lines of shape, symmetry, the repeat details and the
lissome curves were applied to carve cleverly and skilfully by sculptors.
5.1.4 Research Objective 4: The Representation of textiles in Champa Sculptures or the
clothes of the gods
-
Summary:
Introduction is stressed the importance of the textiles in the movements of the sculptures.
1.
The simplest garment: ascetics, servants, attendants: in this part, I looked at the
clothes of ascetics, servants and attendants.
2.
Dancing, standing, sitting, lying : I showed the clothes which were closely
related to their functions and correspond to four types.
3.
The fashion and its date: the date of sculptures can be told by the changes of
clothing.
137
4.
Motifs and thickness of the fabrics: I speculated on the colors motifs and their
various thicknesses of old textiles. What did they indicate concerning Champa people's
manufacture ?
5.
The clothing of war: I briefly discussed the clothing of the Cham warriors and
their Khmer neighbors.
6.
Sculptures of the supernatural and the role of textiles: I have finished with a
few more general reflection on the textiles in these classical sculpture
7.
Fabrics: Flax, cotton, and silk were used to weave fabrics. Specially, "LÃNH
MỸ A " - A UNIQUE FABRIC - was woven by Champa people. This fabric dyed by
Diospyros mollis fruit - " MẶC NƯA" in Vietnamese.
8.
This part, I show some Champa Royal 's costumes and civilian clothes:
Fig 158 the same colors in Champa costumes and Andy Warhol's Pop art
-
Conclusion: Traditional colors has been combined with Pop art style: India red,
India orange, India yellow, Natural green, Indigofera blue, Black and white
138
5.1.5 Research Objective 5: Woodblock print and printing process
-
Summary: This is a traditional printing process to print patterns on fabrics;
What kind of wood must I chose?
-
Conclusion :
About woodblock:
i.
Jack-fruit wood is suitable for laser-cut machine
ii.
Sindora cochinchinensis wood is so expensive
iii.
Making block by wood is better than rubber
iv.
Laser-cut method is faster than carving block by hand
v.
About Color:
vi.
Mixed fabric liquid colors: ingredient : solid liquid + water + color pigment
+ binder816USA + fixer.
vii.
cold paste body of
liquid is conditional upon the details ( simple or
complicated) and the depth of detail
Made by Hand
Laser-cut
Slow
Fast
Simple detail
Complicated detail
unclearly
Clearly
Bad
Good
Big-detail
Small detail
5. Complicated
detail
Simple detail
Complicated detail
6. Money
Not save money
Save money
1. Time
2. Clever detail
3. Smooth line
4. detail
Compare the method to make woodblock: by hand and by laser-cut
139
5.2 Recommendation
The recommendations are represented in this diagram (Fig. 160). This diagram
conveys the essence of the conclusions and recommendations, each of the
recommendation flow line to provide a sensible: The black color is my study and the red
color is my recommendations
Fig. 159 Recommendation figure
5.3 Limitations
Although I tried my best to study hard, I have got much more difficult problems.
This study still have some limits:
- About the Woodblock print technique: This is a traditional method to print on
fabrics. So, it took much time to print on fabric by this way
140
- Now we can print on fabrics by machine, so the fabric will be cheaper.
- In my condition, it is difficul to know how to make the mixture of color and
additives.
- I can't read Champa language, so there are many patterns which I can't
understand their sence.
- In the future, I will try my best to develope Champa fine arts in modern designs.
5.4 Self -Reflection
In this study, I have broaden my knowledge about:
- Woodblock print technique: choossing wood, making woodblock, printing
process.
- Learning about Fashion design: Color planing, target consumers.
- I understood about Champa traditional fine arts: Ancient towers, Sculptures,
Champa costume.
- Understanding how to discover a culture and apply to modern design.
141
References
The largest collection of Cham sculptures may be found in the Da Nang
Museum of Cham Sculpture (formerly known as "Musée Henri Parmentier") in the
coastal city of Da Nang. The museum was established in 1915 by French scholars, and
is regarded as one of the most beautiful in Southeast Asia. Other museums with
collections of Champa art include the following:
-
Museum of Fine Arts, Hanoi
-
Museum of History, Hanoi
-
Museum of Fine Arts, Saigon
-
Museum of History, Saigon
-
Champa Museum in Da Nang
-
Musée Guimet, Paris
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Website:
http://www.chammuseum.danang.vn/
http://vi.wikipedia.org/wiki/Lịch_sử_chăm_pa
http://vi.wikipedia.org/wiki/Các_phong_cách_nghệ_thuật_chăm_pa
http://vi.wikipedia.org/wiki/Điêu_khắc_đá_Chăm_pa
http://vi.wikipedia.org/wiki/Chăm_pa
146

Shu-Te University College of Design Graduate

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