The Vintage Annam Vietnam Imperial Collections Exhibition

MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

The Vintage AnnamVietnam Imperial Collections Exhibition

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“Bảo Vật Hoàng cung”, “Trésors impériaux” “Imperial Treasures” @ Bảo tàng Lịch sử Việt Nam

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Hoàng cung vốn bí ẩn với với người đời, bảo vật trong hoàng cung lại càng bí ẩn, đến nỗi những người biết đến và được chiêm ngưỡng những bảo vật này hàng trăm năm qua cơ hồ chỉ có mấy người. Chính vì vậy những bảo vật từ hoàng cung các triều đại phong kiến Việt Nam luôn phủ một bức màn bí ẩn, thậm chí nhiều người cho rằng chúng đã sớm không còn tồn tại hoặc đang nằm ở các bảo tàng, bộ sưu tập trên thế giới, hoặc ngộ nhận một số đồ dùng thông thường trong cung đình là bảo vật hoàng cung. Bảo vật hoàng cung ngay từ khi được chế tác hay lưu truyền qua các triều đại đều là những vật tượng trưng cho quyền lực tối thượng của nhà vua, những đồ ngự dụng.

Thật may mắn, qua nhiều thăng trầm của lịch sử, những bảo vật của các triều đại Lê, Nguyễn: Ấn vàng, kiếm vàng, sách vàng, đồ ngự dụng bằng vàng, ngọc… có số lượng tới hàng trăm chiếc, vẫn còn được bảo quản, gìn giữ nguyên vẹn tại Bảo tàng Lịch sử Việt Nam; Đây là những bảo vật vô giá của nhân dân Việt Nam, không những chứa đựng những giá trị lịch sử phong phú mà còn phản ánh tài nghệ khéo léo của các nghệ nhân cung đình qua từng thời đại.

Sưu tập bảo vật này nhiều năm qua được lưu giữ cẩn mật tại kho của bảo tàng phục vụ công tác nghiên cứu mà chưa có dịp giới thiệu, trưng bày vì nhiều lý do. Nhân sự kiện lịch sử trọng đại – Đại lễ 1000 năm Thăng Long – Hà Nội, Bảo tàng Lịch sử Việt Nam lần đầu tiên tổ chức một trưng bày chuyên đề đặc biệt: “Bảo vật Hoàng cung” giới thiệu một phần nhỏ trong kho tàng bảo vật vô giá nói trên với nhân dân cả nước, bạn bè quốc tế. Mong rằng, trong một tương lai không xa, khi Bảo tàng Lịch sử Quốc gia hoàn thành, những bảo vật trân quý này sẽ có được một không gian xứng đáng để trưng bày phục vụ công chúng.

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Mũ vàng triều Nguyễn. Coiffes en or de la dynastie des Nguyễn

Vàng. Triều Nguyên, TK 19. 26,7x17cm. C:17,8cm. Trong luong: 720g. Coiffe en or (720 grammes), dynastie des Nguyễn, 19ème siècle.

 

Ảnh: Tiến Thành

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Vua Khải Định. L’empereur Khải Định.

Vàng. Triều Nguyên, TK 19. Trong luong: 660g. Coiffe en or (660 grammes) et diamants, dynastie des Nguyễn, 19ème siècle

Ảnh: Tiến Thành

Mũ vàng triều Nguyễn. Coiffes en or de la dynastie des Nguyễn

 

Vàng. Triều Nguyên, TK 19. 26,7x17cm. C:17,8cm. Trong luong: 720g. Coiffe en or (720 grammes), dynastie des Nguyễn, 19ème siècle.

Ảnh: Tiến Thành

Vua Khải Định. L’empereur Khải Định.

 

Vàng. Triều Nguyên, TK 19. Trong luong: 660g. Coiffe en or (660 grammes) et diamants, dynastie des Nguyễn, 19ème siècle

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Ảnh: Tiến Thành

Vua Duy Tân. L’empereur Duy Tân

Vua Duy Tân. L’empe

reur Duy Tân

Ấn, kiếm vàng triều Nguyễn – Sceaux et épées de la dynastie des Nguyễn

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Từ trái qua phải: Ấn vàng “Sắc mệnh chi bảo” bằng vàng ròng nặng 8,5 kg, đúc năm Minh Mạng 8 (1827);

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 ấn ngọc “Đai Nam Thu thiên vĩnh mệnh truyền quốc tỷ” của triều Nguyễn; ấn “Quốc gia tín bảo” đúc bằng vàng, nặng gần 5 kg vào niên hiệu Gia Long.

Ấn vàng “Sắc mệnh chi bảo”. Đúc tháng 10 năm Minh Mệnh 8 (1827). Trọng lượng: 8500 Gr. Sceau en or de l’empereur Minh Minh Mạng, 1827, poids: 8500 grammes.

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Ảnh: BTLS

Ấn “Sắc mệnh chi bảo” gồm 2 cấp, có hình vuông, trên có hình rồng đầu ngẩng, 2 sừng dài, đuôi xòe 9 dải hình ngọn lửa, lưng ấn khắc hai dòng chữ Hán: “Thập tuế hoàng kim nhị bách nhị thập tam lạng lục tiền – Minh Mạng bát niên thập nguyệt cát nhật tạo”. (Vàng 10 tuổi nặng 223 lạng 6 tiền – đúc vào ngày lành tháng 10 năm thứ 8 Minh Mạng, 1827).

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Ảnh: Tiến Thành

Photo d’époque du sceau en or de l’empereur Minh Mạng.

Ấn “Quốc gia tín bảo” đúc bằng vàng, nặng gần 5 kg vào niên hiệu Gia Long. – Ảnh: Tiến Thành. Sceau en or (environ 5kg) de l’empereur Gia Long.

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Ấn ngọc “Đai Nam Thu thiên vĩnh mệnh truyền quốc tỷ”. Triều Nguyễn. Sceau en jade. Dynastie desNguyễn, 19ème siècle.

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Ảnh: Tiến Thành

Kiếm vàng triều Nguyễn thế kỷ 19 (bên trên) và kiếm vàng “An dân bảo kiếm” năm Khải Định (1916-1925) ở bên dưới.

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Ảnh: Ngọc Thắng

Kiếm vàng. Triều Nguyễn. TK 19. Epée impériale d’apparat, or et jade, 0,58kg. Dynastie des Nguyễn. 19ème siècle.

Kiếm vàng “An dân bảo kiếm”. Triều Nguyễn, năm Khải Định (1916-1925). Epée de l’empereur Khải Định (1916-1925).

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Ảnh: Tiến Thành

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L’empereur Khai Dinh, portant cette épée, et son fils, le prince Vinh Thuy, à Paris en 1922.

Chén ngọc, chậu vàng, sách vàng. Service à thé en jade, bassin et livre en or

Chén ngọc bịt vàng nặng 1,1kg. Tasse en jade à monture or. Poids total: 1,1 kg.

Théière en jade cerclée d’or. Dynastie des Nguyễn.

Bộ chén ngọc khảm vàng triều Nguyễn. Service à thé en jade et or. Dynastie des Nguyễn.

Ảnh: Tiến Thành

Chậu vàng của triều Nguyễn, năm Duy Tân 5 (1911), trọng lượng 1,4 kg. Bassin en or, 1,4 kg. Dynastie des Nguyễn, cinquième année de Duy Tân (1911)

Ảnh: Ngọc Thắng

Đài vàng cẩn ngọc triều Nguyễn thế kỷ 19. Boîte à offrandes en or et pierres précieuses. Dynastie des Nguyễn, 19ème siècle.

Cuốn sách vàng chế tác năm Gia Long thứ 5 (1806) có trọng lượng 2,1 kg. Livre en or, 2,1 kg. Dynastie des Nguyễn, cinquième année de Gia Long (1806).

Ảnh: Tiến Thành

Ảnh: Tiến Thành

Ảnh: BTLS

english version

 Bao Hoang Cung”, “Imperial Treasures” “Imperial Treasures”

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That Man May, four percent more History Month, of how VAT million Djaya Nhung Le Nguyen: An echo echo kiem, know wine, red wine boom pragmatic, Ngoc … Have you hundreds over the children how the van luong, maintained Fri Tai Nguyen Bao Tang Lich su Viet Nam Nhung djay is part of how VAT Vo Nhan Dan Viet Nam Not sour Djunga values ​​Phong Phu Phan Anh Tai Lich su I heard that skillful artisans royal Djaya launched four shuttle.

Many Collectibles how men are saved by cdn keep cool in the Museum’s warehouse phuc tat Vu Cong chua research that dip Introduction, The Ly Many of the bay. Events in history Djaya – Djaya the Nam Thang Long 1000 – Hanoi, Vietnam History Museum Lan tien first organized word Je Gallery Chuyen special “VAT Bao Hoang Cung” Gioia word is missing the treasure bag in grape Vo Nhan Dan Noi in VAT on water ca voi, international friends. Mong rank, future remote word Khong, Chi History Museum Completed countries, but Tran Quy Bao VAT has to have the word around Djang Space Gallery Je phuc public.

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MU vang trieu Nguyen. Gold copings of the Nguyen Dynasty

MU Vang. Trieu Nguyen, TK 19. 26.7 x17cm. C: 17.8 cm. Trong Luong: 720g. Cap gold (720 grams), Nguyen Dynasty, 19th century.

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The Emperor Khai Định.

MU Vang. Trieu Nguyen, TK 19. Trong Luong: 660g. Cap gold (660 grams) and diamonds, Nguyen Dynasty, 19th century

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MU Vang. Trieu Nguyen, TK 19. 26.7 x17cm. C: 17.8 cm. Trong Luong: 720g. Cap gold (720 grams), Nguyen Dynasty, 19th century.

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Duy Tan Vua. The Emperor Duy Tan

Duy Tan Vua. The emperor

Duy Tan REUR

An, Nguyen trieu kiem vang – Seals and swords of the Nguyen Dynasty

You Trai four Phai: An vang “menhir Bag chi bao” boom vang nang rong 8.5 kg, 8 Đức Nam Minh Mang (1827);

 year Ngọc “Djaya Thu Thien Nam Vinh Quoc Truyen menhir ty” cua Nguyen trieu; year “Quoc gia tin bao” boom vang Đức, Nang gan 5 kg vao Nien hieu Gia Long.

Year vang “menhir Bag chi bao”. Đức thang nam Minh Menhir 10 8 (1827). Trong Luong: 8500 Gr Gold Seal of Emperor Minh Minh Mang, 1827, weight: 8500 grams.

Anh: BTLS

An “menhir Bag chi bao” gom 2 course, co Hinh Vuong, tren Có Hinh rong đầu Nganga, sung dai 2, Dai Hinh đuôi XOE 9 ngon lua, lung year dong chu Han Khac Hai “Thap Nhi Hoang Kim killed Bách nhi tam thap luc lang yours – Minh Mang Nien thap bat Nguyet Cát Nhat Tao. ” (Vang 10 Tuoi lang nang 223 6 yours – Đức Ngaye lanh thang vao Nam thu 10 8 Minh Mang, 1827).

Anh: Tien Thanh

Photo of antique gold seal of Emperor Minh Mang.

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An “Quoc gia tin bao” Đức bang vang, Nang gan 5 kg vao Nien hieu Gia Long. – Anh: Tien Thanh. Gold seal (about 5kg) of Emperor Gia Long.

Year Ngọc “Djaya Thu Thien Nam Vinh Quoc Truyen menhir ty.” Trieu Nguyen. Jade seal. DesNguyễn dynasty, 19th century.

 

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Anh: Tien Thanh

 

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Kiem Nguyen The Ky Vang trieu 19 (ben TREN) will kiem vang “An dan bao Kiem” Nam Khai Định (1916-1925) o Bên dưới.

Anh Ngoc Thang

Kiem vang. Trieu Nguyen. TK 19. Sword imperial ceremonial, gold and jade, 0.58 kg. Nguyen Dynasty. The 19th century.

Kiem vang “An dan bao Kiem”. Trieu Nguyen, Nam Khai Định (1916-1925). Sword of Emperor Khai Định (1916-1925).

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Ảnh: Ngọc Thắng

Kiếm vàng. Triều Nguyễn. TK 19. Epée impériale d’apparat, or et jade, 0,58kg. Dynastie des Nguyễn. 19ème siècle.

Kiếm vàng “An dân bảo kiếm”. Triều Nguyễn, năm Khải Định (1916-1925). Epée de l’empereur Khải Định (1916-1925).

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Ảnh: Tiến Thành

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Anh: Tien Thanh

The Emperor Khai Dinh, bearing the sword, and his son, Prince Vinh Thuy in Paris in 1922.

Chén Ngoc Chau vang, know vang. Tea jade, gold basin and book

Chén Ngọc bit nang vang 1.1 kg. Jade cup mount gold. Total weight: 1.1 kg.

Jade teapot rimmed with gold. Nguyen Dynasty.

BO Chén Ngọc trieu Kham Vang Nguyen. Tea jade and gold. Nguyen Dynasty.

Anh: Tien Thanh

Cua vang trieu Chau Nguyen, Nam Duy Tan 5 (1911), Trong Luong 1.4 kg. Basin of gold, 1.4 kg. Nguyen Dynasty, the fifth year of Duy Tan (1911)

Anh Ngoc Thang

Djaya vang Cdn Ngọc trieu Nguyen The Ky 19. Offering box in gold and precious stones. Nguyen Dynasty, 19th century.

Cuon sach nam vang market tat thu 5 Gia Long (1806) co Trong Luong 2.1 kg. Book of gold, 2.1 kg. Nguyen Dynasty, Gia Long of the fifth year (1806).

Anh: Tien Thanh

Anh: Tien Thanh

Anh: BTLS

 
 
 
 
 
 
 

Sélection de cartes postales anciennes sur Huê

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Annam, Huê. Les musiciens du Roi jouant sous le soleil du Portique Radieux

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Annam, Huê. Elephant caparaçonné contenant la foule pendant les fêtes

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Huê (Annam). Porte monumentale, dite Hien Dhon(?)

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Annam, Huê. Tombeau de l’empereur Dông Khanh

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Annam, Huê. Chef des Makouis et ses satellites. Scène diabolique jouée au Palais

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Annam, Huê. Les deux Reines par Dieulefils

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Annam, Huê. Thiên Tri (Temple de la Lumière)

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Annam, Huê. Porte d’entrée du Co Mât

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Annam, Huê. Tibunes Cavalier du Roi, vue des jardins

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Annam, Huê. Tombeau de Minh Mang (Temple de la Lumière)

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Annam, Huê. Tombeau de Tu Duc (Temple de la Stèle)

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Annam, Huê. Annam, Huê. Porte du Palais Co Mât par Dieulefils

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Annam, Huê. Temple des Edits

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Annam, Huê. Eléphants traversant une rivière.

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Annam, Huê. Rotissage d’un boeuf

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Annam, Huê. Allée des Portiques de droite conduisant au tombeau de Thiêu Tri par Dieulefils

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Annam, Huê. Les Corbeilles de Fleurs

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Annam, Huê. Groupe de femmes annamites par Dieulefils

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Annam, Huê. Le tombeau de Gia Long (la triple enceinte) par Dieulefils

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Annam, Huê. Ensemble des cours et pagodes du tombeau de Minh Mang par Dieulefils

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Annam, Huê. Cours et pagodes au tombeau de Minh Mang

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Annam, Huê. Pagode où se font les cérémonies rituelles au tombeau de Minh Mang

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Annam, Huê. Porte de l’enceinte extérieure au tombeau de Minh Mang

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Annam, Huê. Groupe d’ennuques par Dieulefils

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Annam, Huê. Palais du Prince Tuyên Hoà, frère du Roi par Dieulefils

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Annam, Huê. Cours et pagode au tombeau de Thiêu Tri par Dieulefils

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Annam, Huê. Une colonne commémorative au tombeau de Thiêu Tri par Dieulefils

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Annam, Huê. La Montagne du Roi et le Cercle de la Rive Droite par Dieulefils

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Annam, Huê. Le Cavalier du roi, vu de la Trbune

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Annam, Huê. Palais de l’Empereur. Le Trône

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Annam, Huê. Tombeau de Tu Duc

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Annam, Huê. La fête du Nam Giao en 1933

Portrait de l’Empereur Bao Dai par le Studio Harcourt

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Portrait de l’Empereur Bao Dai par le Studio Harcourt

Cette photo, en tirage argentiquen de format 18 x 24 cm, a été proposée à 100 € + 5 € d’envoi et n’a pas trouvé preneur ce jour.

  

 

‘Arts of Ancient Viet Nam: From River Plain to Open Sea’ @ Asia Society Museum, New York

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Vietnam, Charger with Dragon, Late 15th Century. Stoneware

The Museum of Fine Arts, Houston, and Asia Society, New York, offer an unprecedented exhibition of art from ancient Viet Nam—the first U.S. exhibition to address in depth the historical, geographic and cultural contexts of precolonial Vietnamese art. Throughout its long history, Viet Nam served as a central hub for trade routes connecting the regions of Asia and the West, with travelers and merchants traversing its long open plains, and trade vessels from as far west as India and Rome finding safe haven in its harbors. Arts of Ancient Viet Nam: From River Plain to Open Sea will introduce new scholarship on the history of Vietnamese art.

Approximately 110 objects dating from the first millennium B.C. through the 17th century, on rare loan from Viet Nam´s leading museums, will be on view. Highlights of the exhibition include ritual bronzes, terracotta burial wares, fine gold jewelry, Hindu and Buddhist sculptures, and ornaments made of jade, lapis lazuli, crystal and carnelian. The works have never before been exhibited.

Independent scholar Nancy Tingley is curator of the exhibition. Christine Starkman, MFAH Curator of Asian Art, serves as in-house curator for the show in Houston. In New York, Adriana Proser, Asia Society´s John H. Foster Curator for Traditional Asian Art, is in-house curator.

A full color, 356-page catalogue is available at AsiaStore.

February 2 – May 2, 2010 @ Asia Society Museum, New York

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Drum, Dong Son period, 5th–3rd century BCE, Hoang (Mieu Mon) Village, My Duc District, Ha Tay Province. Bronze. National Museum of Vietnamese History, Ha Noi, LSb 5724 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Halberd, Dong Son period, 1st century BCE–1st century CE, Hai Phong City, Kien An District, Hai Phong Province. Bronze. National Museum of Vietnamese History, Ha Noi, LSb 1408 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Chicken-headed Ewer (Han type), Dong Son period, 1st–3rd century CE. Glazed stoneware. National Museum of Vietnamese History, Ha Noi, LSb 15062 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Burial Urn with Cover, Sa Huynh culture, 4th–2nd century BCE. An Bang site, Hoi An District, Quang Nam Province. Earthenware. Hoi An Center for Monument Management and Preservation, Cl(AB)95 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Bicephalous Ear Ornament, Sa Huynh culture, 3rd–1st century BCE. Giong Ca Vo site, Ho Chi Minh City, Can Gio District, Ho Chi Minh Province. Nephrite. Museum of Vietnamese History, Ho Chi Minh City, BTLS 13619 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Pangolin. Long Gio, Long Khanh district, Dong Nai Province. 3rd century BCE–2nd century AD. Bronze. Dong Nai Museum, LG24. Photo by Kaz Tsuruta, Asian Art Museum of San Francisco, © Dong Nai Museum

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Vietnam, Female, c. 5th Century. Da Nang Museum of Cham Sculpture. Stone

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Ekamukhalinga, Fu Nan period, 6th century. Oc Eo site, My Lam Village, An Giang Province. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5532 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Three Intaglio, Fu Nan period, ca. 6th century. Oc Eo site, My Lam Village, An Giang Province. Carnelian and crystal. Museum of Vietnamese History, Ho Chi Minh City, BTLS 2248, BTLS 2258, BTLS 2253 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vietnam, “Simhamukha” Architectural Ornament, 6th Century. Terra Cotta

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Vietnam, Kneeling Figure Making Offering, 6th Century. Bronze

 

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Vietnam, Vishnu, 6th-7th Century. Stone

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Lintel, Fu Nan period, late 7th century. Thuy Lieu Village, An Giang Province. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5977 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vishnu, Fu Nan period, 7th century. Tan Phu site, Tan Hoi Village, An Giang Province. Bronze. Museum of Vietnamese History, Ho Chi Minh City, BTLS 1585 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Viet Nam, Male Divinity, 7th Century. Stone

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Lotus. Fu Nan period, 7th–8th century. Go Xoai site, Duc Hoa District, Long An Province. Gold foil. Long An Museum, BT87-M1-V-2. (Kaz Tsuruta, Asian Art Museum of San Francisco) © Kaz Tsuruta, Asian Art Museum of San Francisco

 

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Three Elephants Fu Nan period, 7th–8th century. Go Xoai site, Duc Hoa District, Long An Province. Gold sheet. Long An Museum, BT87-M1-I-3 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Surya. Fu Nan period, 7th–8th century. Ba The Village, An Giang Province. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5527 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Pedestal. Champa period, 8th–9th century. Van Trach Hoa Village, Phong Dien District, Thua Thien Hue Province. Stone. Thua Thien Hue Historical and Revolutionary Museum, TTH 2813/D99 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Viet Nam, Seated Bodhisattva, 9th Century.

 

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Vietnam, Dharmapala, 9th Century. Stone

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Viet Nam, Nataraja, 10th Century. Stone

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Relief of Figure Making Offering. Champa period, late 10th century. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5906 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vietnam, Female Figure, 11th Century. Stone

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Dancer, Champa period, 11th century. Tra Kieu site, Quang Nam Province. Sandstone. Hue Royal Antiquities Museum, DKC 44 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vietnam, Vishnu, 11th Century. Stone

 

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Vietnam, Garuda with Naga, Late 12th — 13th century. Stone

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Kinnara, Champa period, late 12th–13th century, Thap Mam site, Binh Dinh Province. Stone. Hue Royal Antiquities Museum, DKC 33 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Lion, Champa period, late 12th–13th century, Thap Mam site, Binh Dinh Province. Stone. National Museum of Vietnamese History, Ha Noi, LSb 21187 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Large Basin, Ly–Tran dynasty, 12th–14th century, Thanh Hoa Province. Glazed stoneware. Viet Nam National Fine Arts Museum, 4975-G2-1851 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Ewer, Late 15th century, Chu Dau kiln, Cu Lao Cham shipwreck. Stoneware painted with underglaze cobalt blue and remnants of overglaze enamel. Museum of Vietnamese History, Ho Chi Minh City, BTLS 16997 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Pair of Nghe. Late Le dynasty, 16th–17th century, Bat Trang kiln. Glazed stoneware. National Museum of Vietnamese History, Ha Noi, LSb 13572, LSb 13573 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Lime Pot, 15th century. Glazed stoneware. Viet Nam National Fine Arts Museum, CDA-5/04-4599 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Hoang Nguu and Nguyen Phong Lai, Lamp Stand. 24th day, 6th month, 3rd year of Dien Thanh’s reign (1580). Nghia Lu Commune, Cam Giang District, Hai Duong Province. Stoneware painted with underglaze cobalt blue. National Museum of Vietnamese History, Ha Noi, LSb 13771 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Incense Burner and Pair of Lamps. Early 17th century, North Viet Nam. Glazed stoneware. National Museum of Vietnamese History, Ha Noi, LSb 12834, LSb 17251, LSb 15407 © Kaz Tsuruta, Asian Art Museum of San Francisco

L’Ordre du Dragon d’Annam

The Order of the Dragon of Annam: founded by Emperor Dong Khanh on 14th March 1886. Awarded in five classes (1. Grand Cordon, 2. Grand Officer, 3. Commander, 4. Officer, and 5. Knight) with two ribbons (red with gold border stripes by the Emperor, and green with gold border stripes by the French President).

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The Order of the Dragon – Grand Cordon, breast star

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The Order of the Dragon – Officer, breast badge with “colonial ribbon”

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Croix de chevalier de l’Ordre du Dragon d’Annam (face et dos) (photo e-bay)

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Croix de chevalier de l’Ordre du Dragon d’Annam (photo e-bay)

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Diplôme de Chevalier de l’Ordre du Dragon d’Annam (1875)

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Croix de chevalier (au dos : ovale alu collé : La Gerbe d’Or, CHAPUS 86 rue de Rivoli Paris) (photo ebay)

Deux nouvelles photos de l”Empereur Khai Dinh

Visite de l’Empereur Khai Dinh au Palais

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Arrivée de l’Empereur Khai Dinh au Palais Kien Trung

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Rare Album artisanal d’un recueil de 20 photographies couvrant le couronnement de l’empereur Bao-Dai le 8 janvier 1928

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Rare Album artisanal d’un recueil de 20 photographies couvrant le couronnement de l’empereur Bao-Dai le 8 janvier 1928

the rare album of 20 photograpies emperor Bodai January,8th.1928

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This work was carried out by the school in Hue, Vinh Tang rue Paul Bert. Black and white prints in the format 11.8 x 17cm. The legends made ​​on a paper strip added below. The 20 photographs are:
1 Arrive in Hue S.A Prince Vinh Thuy-
2 Arriving at the palace of Prince
3 Reception of the Prince by the court
4 ceremony of prostration
5 s.m Bao Dai went to the palace
6 Arrival at the Palace
7 Arrival of the Governor Mr. Varenne
8 European Assistance
9 Position of the mandarins before making Thai Hoa Lays Deaver
10 Lays of the 2nd phase
11 The mandarins of lower rank to its knees
12 After the enthronement SM Bao Dai returned to the palace
13 Out of HM Bao Dai in a litter by the Golden Gate
14 Bao Dai wins walk Mieu Pagoda Tea
15 SM in position for Lays in the Pagoda Tea Mieu
SM 16 out of the pagoda, hailed the Regent vparr SE
17 Return of the pagoda

 

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Art du Champa : Site de My Son

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Site de My Son. Fouilles de Henri Parmentier et de Charles Carpeaux en 1903-1904, mise en place d’un palan (photothèque EFEO, PAR01584, cliché H. Parmen

Restauration de la plus vieille maison communale du Vietnam à Hà Tây

La province de Hà Tây (Nord) a récemment commencé la restauration de la plus ancienne maison communale du pays. Construite au 16e siècle, la maison communale de Thuy Phiêu, dans la commune de Thuy An, district de Ba Vi, sera rénovée pendant un an. Coût des travaux: 7 milliards de dôngs. Cette maison communale est dédiée au culte de Tan Viên, un des 4 génies les plus puissants de la mythologie vietnamienne. (CVN)La cathédrale de Phat Diêm ou qu’est-ce que l’acculturation ?

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La cathédrale de Phat Diêm, province de Ninh Binh (Nord), à 121 km au sud de Hanoi, a été à l’époque de la colonisation française un haut lieu du catholicisme dans le Nord. Mais, plus encore, c’est là l’un des premiers exemples architecturaux de l’acculturation qui a eu lieu au cours de cette période.
Il y a quelques semaines de cela maintenant, Alain J. Lemaître, docteur en ethnologie, en histoire et en lettres, maître de conférences en histoire moderne à l’Université de Haute Alsace, donnait à l’occasion de la Journée internationale de la Francophonie une conférence sur l’acculturation. Ce terme né dans le champ de l’ethnologie décrit “l’ensemble des phénomènes résultant d’un contact continu entre 2 groupes culturels différents provoquant des changements dans les 2 groupes”.

Dans la perspective coloniale, ces phénomènes étaient perçus comme unidirectionnels puisque l’idée dominante était celle d’une suprématie de la culture européenne. Ainsi, seule la culture indigène se modifierait au contact de la culture des colonisateurs, ne faisant que reproduire tels quels les us et coutumes de celle-ci. Cependant, suite à la décolonisation et à l’indépendance des peuples, l’ethnologie a réajusté cette notion en intégrant l’idée d’une bidimensionnalité aux échanges culturels, idée qui fait aujourd’hui consensus au sein de la communauté scientifique. Lors d’un contact continu entre 2 groupes, il n’y a pas seulement intégration d’une nouvelle culture mais aussi maintien de la culture d’origine qui produit un impact sur la manière dont se fait l’acculturation et sur son résultat.

La situation de l’Asie au moment de la colonisation était de plus particulière. En effet, l’Europe rencontre alors des civilisations millénaires qui connaissent l’écriture (depuis même plus longtemps qu’elle) et qui, par conséquent, ont une mémoire écrite. Ce fut là une différence capitale avec, par exemple, les civilisations de l’Amérique du Sud. De culture majoritairement orale, elles se montrèrent beaucoup moins résistantes au contact d’une autre culture, et ce d’autant plus que celle-ci fut imposée par la force. Ainsi, si certains pays d’Amérique du Sud, tels que le Pérou, une partie du Mexique et du Guatemala, conservent des traits très forts de leur culture originelle, la plupart des autres ne présentent que de très rares éléments autochtones comme c’est le cas par exemple au Chili. Une autre différence qui fait la particularité de l’Asie à cette époque réside dans la manière dont les contacts entre les cultures se sont effectués. Les colonies en Asie ne furent pas des colonies de peuplement. Les Européens procédèrent par l’établissement de comptoirs qui laissaient de côté des territoires immenses et très peuplés. Les contacts avec la culture occidentale étaient ainsi indirects et laissaient une plus grande marge de manœuvre aux indigènes, susceptibles d’assimiler plus librement les éléments de la culture dominante.

Durant la colonisation française au Vietnam, il y eut effectivement acculturation. Toutefois, cela n’a pas seulement conduit à l’intégration de la culture européenne mais aussi, fort heureusement, au maintien de la culture indigène. L’architecture de la cathédrale de Phat Diêm est l’une des premières manifestations de ce phénomène culturel.

Un exemple architectural d’acculturation
Haut lieu du catholicisme dans le Nord à l’époque de la colonisation française, la division du pays en 1954 entraîna le départ en masse vers le Sud de catholiques et la fermeture du sanctuaire. Ce qui est appelée “cathédrale de Phat Diêm” regroupe en fait de nombreux édifices dont la construction fut achevée en 1891. L’ensemble fut fondé par un prêtre vietnamien du nom de Six dont le tombeau se trouve sur le parvis de la cathédrale, bâtiment principal. Tout autour se dressent plusieurs sortes de chapelles, chacune dédiée à un saint. Cependant, si en visitant ce lieu de culte catholique, vous vous attendez à retrouver les grandes tours qui font la caractéristique de ces bâtiments, vous repartirez déçus. Tout en pierre, aux toits incurvés semblables à ceux d’une pagode, l’architecture de ce lieu s’inspire largement de celle des temples bouddhistes. Le mélange des 2 cultures est ici indéniable.

Le prêtre Six a veillé à représenter les éléments principaux du village vietnamien, à savoir la maison communale, l’étang et l’arbre nourricier tandis qu’un clocher, élément indispensable à tout lieu de culte catholique s’élève à l’arrière de la cathédrale. Toutefois, au premier étage de ce clocher, on retrouve un tambour de taille imposante, instrument utilisé pour sonner l’heure dans la religion bouddhiste. Au second étage, est suspendue une cloche, forgée toutefois selon le modèle oriental. Elle possède 4 points de contacts pour sonner l’heure, un par saison. Chacune d’elles est identifiée par un sinogramme tandis qu’un chant de prière est inscrit sur celle-ci en langue latine. Quatre petites tours se dressent à chaque coin du bâtiment, chacune surmontée d’une représentation d’un saint. Toutefois, alors que ceux-ci sont traditionnellement représentés debout, ici, ils sont assis à la manière du Bouddha.

Quittons la cathédrale pour entrer dans l’une des nombreuses chapelles entourant celle-ci. Les traces de l’influence de la culture européenne se mêlant à celle sino-vietnamienne demeurent. Au fond de la chapelle, se dresse un autel de pierre surmonté d’une statue de la Vierge Marie. Les bas-reliefs sur la face frontale de cet autel présentent les symboles occidentaux de la pureté : un jardin ainsi qu’un puits fermés. Les faces latérales quant à elles, sont gravées de fleurs de lotus, représentation de cette même idée de pureté dans l’imaginaire oriental.

L’importance d’une politique culturelle
L’architecture sino-vietnamienne d’inspiration européenne de ce bâtiment n’est qu’un des nombreux exemples de l’impact de la culture européenne sur la culture vietnamienne lors de la colonisation. Cela montre toutefois que, dans le cas du Vietnam, la culture indigène n’a pas été détruite mais maintenue. Ceci s’explique pour une grande part, par sa tradition de culture écrite qui a permis de forger une identité collective forte, c’est-à-dire un ensemble de caractères qui unissent les hommes et femmes d’un même groupe mais qui les distinguent également des autres groupes.

Ainsi, quelle que soit la force de l’acculturation sur un plan économique et même social, le fait qu’il existe une culture écrite permettant de forger une identité collective forte, autorise un échange entre les cultures (échange au demeurant toujours inégal) et non une destruction de celles-ci. Toutefois, aujourd’hui, peut-être plus qu’hier, la culture est intiment liée au domaine économique, facilitant d’autant la destruction de systèmes culturels.

D’où la nécessité pour chaque pays de défendre celle-ci par une politique culturelle capable de faire face aux enjeux de la mondialisation. Tel est l’objectif de la convention pour la promotion et la protection de la diversité culturelle, établie par l’UNESCO en octobre 2005. L’importance des enjeux soulevés par ce traité est largement reconnue au niveau international puisque depuis lors, il a été signé et ratifié par 56 pays et l’Union européenne (en tant qu’unité régionale). Le fait que les États-Unis, dont le secteur culturel occupe une place majeure dans l’économie américaine, s’oppose à son adoption lors du vote à l’UNESCO, ne fait que confirmer cette idée. (Anaïs Chavanne /CVN

 

Document à l’entête de la “MAISON DE L’EMPEREUR . CABINET DU GRAND-MAÎTRE DES CEREMONIES “

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Document à l’entête de la “MAISON DE L’EMPEREUR . CABINET DU GRAND-MAÎTRE DES CEREMONIES “- “A PARIS , le ? 186?”
“Reçu une lettre de son ? le Grand Maître de Cérémonie de l’Empereur” – “Le 1er ambassadeur de S.M. le roi d’Annam” – Signature calligraphique de Phan Thanh Giang.
(Etat: pli horizontal marqué et bords poussiéreux) – prti à 136 € + 1,20 €

-Vietnam, Saïgon, Le Trésor, 1952 & Le Marché de Tân Dinh, 1953

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Sud-Vietnam, Saïgon, Le Trésor, 1952

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 Sud-Vietnam, Saïgon, Le Marché de Tân Dinh, 1953

Annam, Huê. Vue sur la Pagode des Cantonais

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Annam, Huê. Vue sur la Pagode des Cantonais

 Annam, Huê. Eléphants royaux à l’entrée du Palais.

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Annam, Huê. Eléphants royaux à l’entrée du Palais.

 Annam. Montagnes de marbre près Tourane – Chef ou Pape des bonzes

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Annam. Montagnes de marbre près Tourane – Chef ou Pape des bonzes

Annam, Huê. Gardiennes et servantes chargées des Cérémonies rituelles au tombeau de Thiêu Tri.

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Annam, Huê. Gardiennes et servantes chargées des Cérémonies rituelles au tombeau de Thiêu Tri.

 ANNAM. Obséques de SM KHAI DINH. Acteurs, 1925

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Annam. Obséques de SM Khai Dinh. Acteurs, 1925

 “Intronisation de S.M. Bao Dai dernier Empereur d’ANNAM – Musique traditionnelle au Palais Thai Hoà” le 08 janvier 1926

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“Intronisation de S.M. Bao Dai  dernier Empereur d’ANNAM –  Musique traditionnelle au Palais Thai Hoà” le 08 janvier 1926 

Annam. Mandarin rendant la justice.

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Annam. Mandarin rendant la justice

PHOTO OF THE DELEGATION OF PHAN THANH GIAN IN PARIS IN 1863 BY Disdéri.
 

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Adolphe-Eugène Disdéri, Mandarins who participated in the peace treaty

Hue (Annam) April 16, 1863,

Albumen print, 24 x 28 cm.

A photograph of Disdéri (catalog No. 104, albumen print, 24 x 28 cm, Disderi stamp on the carton, estimate € 1000/1200) will be sold at the Galerie de Chartres May 7, 2011. It represents a group portrait, “Mandarins who participated in the peace treaty in Hue (Annam) April 16, 1863,” the delegation is sent to Saigon by Emperor Tu Duc to negotiate the peace treaty of 1862.

By the treaty signed June 5, 1862 and ratified on 16 April 1863 Hue, Vietnam cedes to France the three eastern provinces (Gia Dinh, Bien Hoa and My Tho) and the islands of Con Dao (Pulo Condor) opens three ports (including Da Nang) to trade between France and Spain, will pay a war indemnity of four million dollars and finally tolerate the freedom of Christian worship. The two principal ambassadors were then Phan Thanh Gian Lam Duy and Tiep. We know that during their stay in Saigon, Vice-Admiral Bonard had been photographed and the photographs had been the model for the engravings published in L’Illustration of November 29, 1862 bearing the words “from the photographs provided by M. Rigault, corresponding Vice-Admiral Bonard. “

Detail. Signatures of ambassadors

Disdéri of photography.

Three inscriptions in Chinese characters found on the carton assembly, between photography and Disderi stamp, bearing the names of three ambassadors:

Center: 正 使 潘清 简 Phan Thanh Gian chanh knew, “the first ambassador, HE Phan Thanh Gian (1796-1867)”

Right: 副使 笵 富庶 Pho Phu Pham Thu knew “Vice-Ambassador Pham Phu Thu”

Left: 陪 使 魏克 袒 boi knew Nguỵ Khac Djan, “Deputy Ambassador Nguy Khac Dan.”

Thus, it is not coming from the embassy in Saigon negotiate the Treaty of 1862 (ratified in Hue in April 1863), but the embassy that was from the Emperor Tu Duc in July 1863, under the pretext of thanking the gifts sent by Napoleon III, to negotiate the purchase of the three eastern provinces.

The delegation left Saigon on July 4, 1863 a French warship to reach Suez August 17th where she embarked on the Labrador to win Toulon on September 10. She arrived in Paris on September 13 and was received by the Minister of Foreign Affairs, M. Feuillet de Conches on the 18th September, on behalf of the emperor who was on holiday in Biarritz.

At the request of the Emperor Napoleon III, Jacques-Philippe Potteau (1807-1876), who was the successor of Louis Rousseau at the Natural History Museum and devoted himself to scientific and ethnographic photography, was designated to capture the photographic portrait the ambassador and his entourage. At the first meeting (September 20, 1863), he made two portraits of Ambassador Phan Thanh Gian, one sitting, the other foot (currently kept at the Laboratory of Anthropology of the Museum of Natural History in Paris, No. 10,608 and No. 10,610), one of Pham Phu Thu, one of Nguy Khac Dan and a group. These portraits were presented at the meeting of December 15, 1863.

Jacques-Philippe Potteau, Portrait of HE Phan Thanh Gian.

Laboratory of Anthropology Museum of Natural History, Paris.

In the Journal of the embassy, ​​Pham Phu Thu noted:

“At ngo (noon), the sky became a little calm. Dressed in the costume of the court, one by one we went to the floor of the hotel which is covered with glass, and we shoot we did. Here is the essence of photography: first we take a glass plate covered with a combination of liquids: it is placed behind a glass tube, before which stands the person who looks inside of the opposite tube, under the action of sunlight coming through the tube, the glass plate receives the impression of an image, there is not even a hair of difference. The Europeans used to do this operation with great desire. All those with whom we just want to know talk to you a portrait of the upper and lower are all the same, saying they see is the testimony of a memory reciprocal.

In the following, under the conduct of the staff, photographers often came with their camera to the hotel and invited us to shoot us, they gave us each a copy of these portraits. After the draw, each of the small amounts to a huge portraits, price of labor, those who are slightly larger cost 4 or 5 francs “(Pham Phu Thu, (trans. Tran Xuan Toan),” The Embassy of Phan Than Gian (1863-1864) “BAVH, 1921, p. 156.)

Thus, after Jacques-Philippe Potteau, Adolphe-Eugène Disdéri (1819-1889) was one of the photographers who were invited to capture the features of the Ambassador and the delegation. The photograph will be on sale May 7, 2011 Chartres was performed on this occasion.

In 1854, Disdéri invented a new camera which lets you play six shots on the same glass plate and patented the format of the card whose paternity of the invention is to be attributed either to Marseille Dodero Aguado. The fashion for portraits-cost cards spread rapidly in France.

In the Journal of the Embassy, ​​Pham Phu Thu noted that: “The 20th Day (1 November 1863) it rained. At vi (from 1 to 3 pm), Mr. Cam-ba-xa-the GIO, French Minister of Rites [Author’s note: This is the Grand Master of Ceremonies], we did bring in an official letter which stated that “At vi (from 1 to 3 pm) the 24th day, he would take us, and in the middle of the same vi hours, we came to the Royal Court of France. “Soon after, Mr. Ha-ba-ly [Author’s note: this is Mr. Aubaret, Commander, Officer of Foreign Affairs, who served as interpreter during the stay of the mission in France.] Brought us three cards and said that the Minister of Rites did convey his compliments to the three of us. At nightfall, he returned and took us three cards in response to the compliments of the Minister “(Pham Phu Thu (trans. Tran Xuan Toan),” The Embassy of Phan Thanh Gian, 1863-1864, “Bulletin Friends of Old Hue, 1921, No. 1-4, pp. 266-267).

Document signed by Phan Thanh Gian

Personal collection.

In October 2007, a document dated 01st November 1863, was sold on ebay. This is a certificate signed by the hand of Phan Thanh Gian confirming the receipt of a letter from the Grand Master of Ceremonies of the Emperor.

Phan Thanh Gian signatures

Left: on the document to the head of the Cabinet of the Emperor

Right: the photograph of Disdéri.

By comparing this signature with that appearing in the photograph of Disdéri, it is undeniable that this is the manual signature of Phan Thanh Gian. This photograph had to be carried out between November and December 1863.

The reception of the ambassadors of Annam was held November 7 at a public hearing at the Palais des Tuileries, after the return of the Empress Eugenie of Spain, where she was visiting her family. The emperor was not opposed to negotiations. He relied on the payment of 85 million promised by the king of Annam to offset the deficit of 972 million francs. After the reception, the negotiations began, and November 12, Le Moniteur Universal announced that the peace treaty of June 5, 1862 would be amended. Once his mission is completed, Phan Thanh Gian left France carrying with him his photographic portraits by Jacques-Philippe Potteau (01st November 1863) and Adolphe Eugene Disdéri (November-December 1863) and by other photographers.

Details: Adolphe-Eugène Disdéri, Mandarins who participated in the treated

Peace in Hue (Annam) April 16, 1863,

Albumen print

ORIGINAL INFO IN fRENCH

PHOTO DE LA DELEGATION DE PHAN THANH GIAN A PARIS EN 1863 PAR DISDERI.

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Annam, Huê. le Président du Conseil dela famille royale en costume de cour.

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Annam. University Bachelor Students, 1908

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