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Altar pieces consisting of a large candle holder in the form of a mythical beast sitting on a plinth with a tall squared pedestal resting on its back. The top of the pedestal is surmounted by a rectangular platform with elaborately carved protrusions surrounding a round candle receptacle. Covered in a straw colored glaze with dark green highlights. Repair to beasts tail and mane, and also to the extremities at the top.<br/><br/> The attendant censer is in the style of bronze pieces of the era and sits on a reticulated pedestal base and shares many of the decorative elements of the candle-holder.
Bát Tràng porcelain and pottery is a type of ceramics made in the village of Bát Tràng, in the suburban outskirts of the northern Vietnamese city of Hanoi. The village is located in an area rich in clay suitable for making fine ceramics.<br/><br/> Bát Tràng ceramics are considered some of the best known porcelain products in Vietnam besides those of Chu Đậu, Đồng Nai, Phu Lang, and Ninh Thuận.<br/><br/> The history of china making in this village can be traced back as far as the 14th century AD. During the past centuries, Bát Tràng china products have travelled in European trading ships to all parts of the world.
Bát Tràng porcelain and pottery is a type of ceramics made in the village of Bát Tràng, in the suburban outskirts of the northern Vietnamese city of Hanoi. The village is located in an area rich in clay suitable for making fine ceramics.<br/><br/> Bát Tràng ceramics are considered some of the best known porcelain products in Vietnam besides those of Chu Đậu, Đồng Nai, Phu Lang, and Ninh Thuận.<br/><br/> The history of china making in this village can be traced back as far as the 14th century AD. During the past centuries, Bát Tràng china products have travelled in European trading ships to all parts of the world.
Bát Tràng porcelain and pottery is a type of ceramics made in the village of Bát Tràng, in the suburban outskirts of the northern Vietnamese city of Hanoi. The village is located in an area rich in clay suitable for making fine ceramics.<br/><br/> Bát Tràng ceramics are considered some of the best known porcelain products in Vietnam besides those of Chu Đậu, Đồng Nai, Phu Lang, and Ninh Thuận.<br/><br/> The history of china making in this village can be traced back as far as the 14th century AD. During the past centuries, Bát Tràng china products have travelled in European trading ships to all parts of the world.
Bát Tràng porcelain and pottery is a type of ceramics made in the village of Bát Tràng, in the suburban outskirts of the northern Vietnamese city of Hanoi. The village is located in an area rich in clay suitable for making fine ceramics.<br/><br/> Bát Tràng ceramics are considered some of the best known porcelain products in Vietnam besides those of Chu Đậu, Đồng Nai, Phu Lang, and Ninh Thuận.<br/><br/> The history of china making in this village can be traced back as far as the 14th century AD. During the past centuries, Bát Tràng china products have travelled in European trading ships to all parts of the world.
Large Blue and White Barbed Rim Plate with underglaze cobalt blue depiction of four islands in the sea, surrounded by a band of petal designs and the cavetto of the bowl covered in large lotus petal depictions with beautifully painted ruyi patterns within. The mouth rim is decorated with another band of cloud decoration. Diameter: 32.5cm.
Hồ Xuân Hương (1772–1822) was a Vietnamese poet born at the end of the Lê Dynasty. She grew up in an era of political and social turmoil - the time of the Tây Sơn Rebellion and a three-decade civil war that led to Nguyễn Ánh seizing power as Emperor Gia Long and founding the Nguyen Dynasty.<br/><br/> Rather than using Chữ Hán or Chinese characters, Ho Xuan Hong wrote poetry using Chữ Nôm (Southern Script), which adapts Chinese characters for writing demotic Vietnamese. She is considered one of Vietnam's great classical poets and has been called 'The Queen of Nôm poetry'.<br/><br/> She became famous and obtained a reputation for creating poems that were subtle and witty. She is believed to have married twice as her poems refer to two different husbands: Vinh Tuong (a local official) and Tong Coc (a slightly higher level official). She was the second-rank wife of Tong Coc, in Western terms, a concubine, a role that she was clearly not happy with ('like the maid/but without the pay'). However, her second marriage did not last long as Tong Coc died just six months after the wedding.<br/><br/> She lived the remainder of her life in a small house near the West Lake in Hanoi. She had visitors, often fellow poets, including two specifically named men: Scholar Ton Phong Thi and a man only identified as 'The Imperial Tutor of the Nguyễn Family.' She was able to make a living as a teacher and evidently was able to travel since she composed poems about several places in Northern Vietnam.<br/><br/> A single woman in a Confucian society, her works show her to be independent-minded and resistant to societal norms, especially through her socio-political commentaries and her use of frank sexual humor and expressions. Her poems are usually irreverent, full of double entendres, and erudite.<br/><br/>
The Vinh Lang stele from Lê Lợi's mausoleum, erected in the 6th year of Thuận Thiên reign (1433).<br/><br/> Lê Lợi (1384 or 1385 – 1433), posthumously known with the temple name Lê Thái Tổ, was Emperor of Vietnam and founder of the Later Lê Dynasty. Lê Lợi is among the most famous figures from the medieval period of Vietnamese history and one of its greatest heroes.<br/><br/> Between 1418 and 1427 Le Loi fought the Ming Chinese occupation of Vietnam, ultimately defeating the Ming and re-establishing Vietnamese independence. He was also a diplomat, and having driven out the Chinese he formally established the Lê Dynasty as the Ming Xuande Emperor officially recognized Lê Lợi as the new ruler of Vietnam. In return, Lê Lợi sent diplomatic messages to the Ming Court, promising Vietnam's loyalty as a vassal state of China and cooperation. The Ming accepted this arrangement, much as they accepted the vassal status of Korea under the Joseon Dynasty. The Chinese largely left Vietnam alone for the next 500 years, intervening only about once every hundred years.
Lampstand, vase and ewers in phoenix shape. Blue and white ceramic, Early Lê dynasty, 15th century. Chu Đậu kiln, Hải Dương province. National Museum of Vietnamese History, Hanoi.
The Later Lê Dynasty (Vietnamese: Nhà Hậu Lê), sometimes referred to as the Lê Dynasty (the earlier Lê Dynasty ruled only for a brief period) was the longest-ruling dynasty of Vietnam, ruling the country from 1428 to 1788, with a brief interruption.<br/><br/> The dynasty officially began in 1428 with the coronation of Lê Lợi after he drove the Ming army from Vietnam. In 1527, the Mạc Dynasty usurped the throne; when the Lê Dynasty was restored in 1533, they still had to compete for power with the Mạc Dynasty during the period known as Southern and Northern Dynasties.<br/><br/> The restored Lê emperors held no real power, and by the time the Mạc Dynasty was confined to only a small area in 1592 and finally eradicated in 1677, actual power was in the hands of the Nguyen Lords in the South and the Trịnh Lords in the North, both ruling in the name of the Lê emperor while fighting each other. Their rule officially ended in 1788, when the peasant uprising of the Tây Sơn brothers defeated both the Trịnh and the Nguyen, ironically in order to restore power to the Lê Dynasty.