Lý architecture 1010-1225
In 1010 King Lý Thái Tổ transferred the Việt capital to
Thăng Long (Hà Nội), constructing a new citadel in the vicinity of the earlier fortification of Đại La. In accordance with the Chinese tradition this structure was built facing southwards, with four gates, and during the remainder of the Lý era (1010-1225) many palaces were constructed within its walls. According to contemporary descriptions, some of these were substantial structures of up to three or four storeys in height, supported by red pillars decorated in gold with images of dragons and phoenixes.
Regrettably, due to wars, weather and various other factors, these edifices have long disappeared. However, in 2003 the foundations of several royal palace buildings (including one structure 1,000 square metres in size), a drainage system, wells and traces of an ancient river and lake, plus tens of thousands of artefacts - were discovered by workmen laying the foundations of a new National Assembly building at a 21,400 square metre site to the west of the 18th century citadel perimeter. While some of the relics unearthed here date back to the earlier Đại La period, the majority date from the 11th century onwards and reflect the high material culture of the period, as well as the extensive international commerce which was already taking place with China and Japan.
Decorative carving from the Lý era featured simple, naturalistic images with gentle, subtle lines and patterns. Particularly characteristic of the period were the dragon sculptures which adorned palace staircases and roofs, crafted in harmonious curves with their bodies thinning progressively to express inner energy.
Ritual and religious buildings also proliferated. Perhaps the most significant ritual building of this period was the
Temple of Literature-Royal College (
Văn miếu-Quốc tử giám), established in Thăng Long (Hà Nội) in 1070 in honour of Confucius. Modelled on the Chinese pattern, this temple incorporated a royal study hall known as Thái Học, which by the 15th century had become an important centre for the training of royal mandarins. Thái Học was demolished during the 19th century to make way for a royal temple, but the latter in turn was destroyed in 1946 during fighting with the French. In 1999-2000 Thái Học was rebuilt according to original specifications and using traditional materials. It now houses a small museum on the development of the site and of the Confucian system of education which dominated Việt Nam from the 11th century to the final sinologist examinations in 1918.
Other types of ritual and religious building appeared all over the country. Outside the capital temples dedicated to Confucius were known as
văn chỉ; however, the commonest type of temple was that set up to honour a tutelary spirit or a legendary or historic figure, commonly known as a
đền. With the spread of Buddhism under the patronage of the Lý kings, pagodas (
chùa) dedicated to Buddha were also established widely. The original
One-Pillar Pagoda was constructed at Thăng Long (Hà Nội) during this period.
Archaeological evidence and descriptions of the time handed down in various documents indicate that most Buddhist pagodas of the Lý era such as
Láng (Chiêu Thiền) Pagoda in Hà Nội,
Phật Tích (Vạn Phúc) Pagoda in modern Bắc Ninh Province and
Thầy (Thiên Phúc) Pagoda in modern Hà Tây Province were square-shaped with three floor levels and four doors facing east, west, south and north. Fronted by a courtyard, surrounded by a perimeter wall and accessed via three entrance gates, they often featured multi-storey towers, one on each side of the main building, and a dedicated bell tower at the front or rear.
From the earliest times down to the present day, the architecture of many regional temples has been predominantly simple, often comprising a single building with an outer memorial room and an inner sanctum containing the altar dedicated to the spirit or personage. However, from the Lý era onwards, temples dedicated to major historic or legendary personages began to evolve in tandem with Buddhist pagodas, following similar architectural styles.
Pagodas and larger temples of this period were richly decorated with fine bas-reliefs featuring stylised clouds or waves, lions, dragons, phoenixes, flowers and occasionally (the result of Chăm influence) sacred garudas, kinnaras and female dancers. In addition, sanctuary walls were covered with devotional pictures.
The construction of pagodas and temples also created a demand for devotional sculptures in both wood and stone. Those of the Lý era had a graceful and lifelike quality, reflecting the architecture they complemented. Pagoda sculpture focused on images of the Buddha, Boddhisattvas, Arhats and other Buddhist deities, whilst temples were adorned with images of Taoist gods and guardian spirits dressed in military uniform.
