Top 10 Best Explanatory Essays on Traditional Craft Villages

Oh, girl with the blue belt, will you return to the village with me? The village has its customs and traditions, with a refreshing pond and a thriving craft of making paintings. This is a verse about a traditional craft village that has been renowned for generations – Dong Ho Village, famous for its folk paintings. Dong Ho is a charming little village situated along the Duong River in Song Ho Commune, Thuận Thành District, Bắc Ninh province (formerly Hà Bắc), about 35 km from Hanoi. The village has become a symbol of Vietnamese culture, known for its colorful folk paintings that reflect the essence of the Vietnamese soul. It was once also called 'Mái Village' (sometimes referred to as Hồ Village by locals), renowned for its paintings. Dong Ho, located on the southern bank of the Duong River, near the Hồ ferry dock (now the Hồ bridge), is accessible via National Road 5, then a left turn after 15 km towards Phú Thụy Station. The village is around 18 km from Gia Lâm, a district in Hanoi. Dong Ho paintings date back to the Lê dynasty. This village, though poor, is rich in its craft. The famous saying 'Làng Mái has traditions and a pond to refresh, and a craft of making paintings' tells the story of how 17 families over centuries made their livelihoods through painting. In the past, during the months of January and December, boats from distant regions came to trade in paintings. At the same time, artists would work tirelessly in the fields or by the riverside to produce these works, painting under the sun and by candlelight. Dong Ho paintings, part of Vietnam's folk art, are produced using woodblock printing. The paintings are traditionally printed by hand, with each color requiring its own separate block. Despite their hand-made nature, this method allows for mass production, though the size of the paintings is limited – usually no larger than 50 cm per side. The paintings’ creation is a combination of craftsmanship and artistry. Artists must possess deep love for their craft and high technical skills, especially in designing and carving the wood blocks. The paper used in Dong Ho paintings is smooth, often made from a special type of rice paper. The unique feature of Dong Ho paintings is the use of ‘diep’ (a special material made from clam shells) to create a shiny background that gives the artwork a distinctive and vibrant feel. The colors used are often derived from natural materials like black from burnt bamboo, green from leaves, red from the bark of a local tree, and gold from natural minerals. Dong Ho paintings are known for their simplicity, yet they carry a deep cultural meaning. The colors are vibrant, and the themes vary from historical figures to celebrations of prosperity. One of the key aspects of Dong Ho art is its ability to communicate the essence of Vietnamese folk life through images such as roosters, pigs, or horses, which symbolize abundance and happiness. Interestingly, while villagers of Dong Ho made these beautiful paintings, they rarely kept them. Instead, the paintings were often sold during the annual festival in the third month of the lunar year, which includes various traditional ceremonies and folk songs. During these times, people would sing: 'Stop by and gaze at the view, buy a bright colored painting, and chickens and pigs that breed well'. Throughout history, Dong Ho art has experienced many ups and downs. During the French colonial period, Dong Ho paintings gained international recognition, with foreigners even coming to buy wooden blocks for printing. However, war, environmental challenges, and changes in demand led to the loss of many original pieces. In more recent years, Dong Ho art has experienced a revival. Many people, particularly during Tet (Lunar New Year), have rediscovered the charm of these folk paintings. Dong Ho’s appeal lies in its simplicity, its vibrant colors, and its connection to the Vietnamese people’s spirit and culture. Dong Ho paintings were once highly regarded at international art exhibitions, recognized for their bright, intricate designs that embody the Vietnamese soul. Today, they remain a treasured part of Vietnamese culture, with many overseas Vietnamese seeking them as mementos of home.

"Oh, the girl with the blue waistband, Will you come to Nam Dinh with me? Nam Dinh has the Chè Ferry dock, The Ngô Khách boat, and a silk-weaving craft."

Every time this verse rings in my ears, my heart stirs with a longing for the golden silk of Co Chat village. Over the years, the village has managed to preserve its age-old traditions, making it a renowned craft village in the heart of Nam Dinh. This is the Silk Village of Co Chat.

Co Chat village quietly lies in Phuong Dinh commune, Truc Ninh district, Nam Dinh province. Just 20 km southeast from the heart of Nam Dinh city along National Road 21 or following the calm flow of the Red River, you will find yourself stepping into an ancient space of the northern plains – the Silk Village of Co Chat. A traditional craft village nestled by the peaceful and scenic Ninh River.

For many years, this village has been famous for mulberry cultivation, silkworm farming, silk reeling, and weaving. No one knows exactly when the craft was introduced to the village, but elderly villagers often recall that at the turn of the 20th century, the French built a silk-reeling factory at the village’s entrance to exploit the labor force and the advantages of the Ninh River’s mulberry plantations. Elders still remember the bustling scenes of the past, with merchants from all over gathering in the village to buy silk, which was then sold at the Chè Ferry dock – the thriving port of Nam Dinh before 1945.

Today, around 500 households in the village still follow the art of silk reeling. The silk from Co Chat is of excellent quality, with fine, soft threads in brilliant colors. Locally, both golden and white silk threads are produced. Silkworm cocoons are sourced from distant regions like Thanh Hoa, Ha Nam, and Thai Binh. Upon entering this ancient village, the first thing you notice are the bundles of shining golden and white silk drying on bamboo poles. You may catch glimpses of women skillfully twisting the silk threads. The golden silk in the sunlight creates a vibrant and colorful scene. With the advancement of technology, the village now produces silk using both traditional hand methods and machines, resulting in a wider variety of high-quality products.

In the silk-reeling workshops, you’ll be amazed by the thick clouds of steam rising from the cocoon boiling pots. Behind these billowing clouds, you’ll find the dedicated women stirring the pots, carefully handling the silkworms. After a while, the threads are drawn through tiny holes, then spun into bobbins, creating bundles of golden and white silk. Visiting Co Chat Village, you’ll not only witness the process of silk production and weaving but also explore a traditional village in the northern countryside. As you wander, you will come across Vạn Cổ Hương and Phổ Quang Pagoda, historical sites recognized by the Ministry of Culture as cultural heritage. You’ll also hear stories about the historical events tied to these sites.

The village hosts a Pagoda dedicated to Buddha and a temple honoring four patron saints who founded Co Chat village. To honor the contributions of these saints and show gratitude to their ancestors, the village holds a worship ceremony on the 6th day of the 3rd lunar month every year. During this time, the villagers also organize traditional folk games, marking the start of a new silk season, a bountiful rice harvest, and wishing for prosperity and health. Co Chat village has long been known as a traditional silk village in Nam Dinh, producing beautiful silk that travels across the country, making elegant clothes for people. Co Chat silk is the lifeblood of this village, representing its history, culture, and economy. A visit to this village lets you connect with the warm, honest people who have dedicated their lives to silk weaving and witness breathtaking traditional scenes.

Through all the hardships of history, today Co Chat remains a famous traditional village, cherished throughout the country. No matter how much time passes, this traditional village will always live on in the hearts of generations to come.

Every region in Vietnam offers its unique flavors and specialties. For those who visit the Mekong Delta, it is impossible to forget the lush fruit orchards and the unique river fish dishes. Similarly, anyone who has been to Hanoi will undoubtedly recall the famous Bun Cha. However, if you travel to Thai Binh, a small rural province in the North, you cannot miss the iconic Nguyen Village fish cake, a delicacy that has become a beloved specialty nationwide.

When people think of Thai Binh, the first image that comes to mind is the ancient Keo Pagoda, one of the most beautiful and historic architectural sites in Vietnam. However, Thai Binh is also renowned for another treasure: the Ngoc Nguyen fish cake. This cake, which has been a local delicacy for over two hundred to three hundred years, dates back to the feudal period of Vietnam. Originally created for the royal court, the fish cake's widespread popularity has helped establish Nguyen Village (located in Dong Hung, Thai Binh) as a famous local craft village. It is only in this village that one can truly taste the authentic flavors of the traditional fish cake.

For many, the Nguyen fish cake may seem unfamiliar. The main ingredient is sticky rice, but it is the unique preparation that gives it a flavor unlike any other. To make a perfect fish cake, a variety of ingredients are needed, with sticky rice, pork fat, peanuts, gac fruit, sesame, and coconut being essential. The process begins by carefully selecting the finest fresh pork fat, which is salted for half a month to achieve the perfect texture and color. Only the freshest, most elastic, and white pork fat is used for this step.

Once the pork fat reaches the ideal state, the next step involves preparing the sticky rice. The rice must be of a special variety called “Nếp Cái Hoa Vàng,” which is carefully cleaned and soaked overnight to achieve the perfect softness and bloom. Some of the rice is then popped in a pan, while the rest is cooked into sticky rice, including both gac and turmeric sticky rice. The cooked rice is carefully pounded in a stone mortar until smooth and fine, then dried in a thin layer.

While waiting for the rice to dry, the baker prepares the additional ingredients that contribute to the cake’s distinctive aroma and flavor. These include orange peel, ginger, sugarcane juice, and the crunch of carrots. The ginger is crushed and mixed with sugar and orange peel, then cooked on the stove along with carrots, creating a unique fragrance.

Once the rice is dried, it is ground into fine powder, and the salted pork fat is sautéed with sugar until golden brown. Then, the rice flour is mixed in to blend with the rich, aromatic pork fat. The remaining ingredients are combined, and the baker must skillfully knead the mixture to achieve the right consistency and texture. The cake is then pressed into a mold, where it cools and firms up. After cooling, the cake is removed from the mold and ready to be enjoyed.

Historically, fish eggs from sea crabs were included in the cake’s ingredients, which is why it was named ‘Fish Cake.’ While this ingredient is no longer used today, the name remains. The Ngoc Nguyen fish cake, a specialty of Thai Binh, has become a symbol of the province, widely distributed across the country. To properly enjoy the cake, it must be cut into small pieces and savored with a cup of hot tea, allowing the full depth of its flavor to unfold. Traditionally, the fish cake was made during Tet, the Vietnamese Lunar New Year, and enjoyed in the company of loved ones.

However, with today’s convenience, the fish cake is now available year-round and is often bought as a souvenir by visitors to Thai Binh. It has become a cherished gift among those who call the province home, especially for those living away from the region. The Ngoc Nguyen fish cake is more than just a delicious treat; it represents the rich cultural heritage and culinary traditions of Thai Binh. Whenever someone asks about the local delicacies, the fish cake is always proudly mentioned.

Now, when visiting Thai Binh, you can not only explore its scenic beauty but also indulge in the unforgettable taste of the Ngoc Nguyen fish cake. Despite the passage of time, this traditional treat remains an iconic symbol of Thai Binh’s cultural and culinary legacy.

Hanoi, the thousand-year-old capital, is not only famous for its iconic landmarks but also for its rich tradition of craft villages. One such village is Bat Trang, known for its pottery.

Bat Trang village, consisting of Bat Trang and Giang Cao hamlets in Bat Trang Commune, Gia Lam District, is located about 30 kilometers southeast of Hanoi’s city center. The name “Bat Trang” can be understood in Chinese-Vietnamese terms: “bat” refers to pottery, especially bowls, and “trang” means a place dedicated to a specific craft.

Bat Trang’s pottery-making tradition has a long history, though the exact founding date remains unclear. According to the “Great Viet Chronicle,” Bat Trang pottery began during the Ly Dynasty (around 1010-1225). When King Ly Thai To moved the capital from Hoa Lu in Ninh Binh to Thang Long (Hanoi), five major families from the Bồ Bát region in Ninh Binh—Trần, Nguyễn, Lê, Phạm, and Vương—brought skilled potters with them to establish the village. These settlers chose Bat Trang, with its white clay, as their base for pottery making. Another version of the story credits three individuals—Đào Trí Tiến, Lưu Phương Tú, and Hứa Vinh Kiều—who traveled to China, learned pottery techniques, and brought them back to share with the people. Regardless of the origin, Bat Trang remains one of Vietnam’s most storied craft villages.

Bat Trang pottery is renowned for its traditional methods and high-quality products. The first and most crucial step in creating pottery here is selecting the right clay, mainly white clay sourced locally or from surrounding areas such as Hồ Lao and Trúc Thôn. After the clay is gathered, it undergoes a meticulous process to remove impurities and make it suitable for different types of pottery.

The village continues to use traditional methods for clay processing, including soaking it in four different water tanks to achieve the right consistency. After processing, the clay is shaped by hand on a spinning wheel—a technique passed down through generations. With their skilled hands and attention to detail, Bat Trang artisans craft various pottery pieces in different shapes, sizes, and designs. Once shaped, the items are dried and then fine-tuned according to the potter’s preferences.

Traditionally, pottery is dried naturally on racks in a cool, airy place. Today, however, some potters use kilns with controlled temperatures to accelerate the drying process. After drying, the pottery is decorated and glazed according to the customer’s desires. Finally, the pieces are fired in kilns, completing the long process of creating unique Bat Trang pottery.

Bat Trang is one of Vietnam’s most celebrated craft villages, known for producing pottery that is not only aesthetically pleasing but also durable. Today, Bat Trang pottery can be found all over Vietnam and is exported to international markets in Europe, the United States, and South Korea. The village has also become a popular tourist destination where visitors can try their hand at crafting pottery.

Bat Trang Pottery Village plays a key role in preserving Vietnam’s traditional cultural practices, making it an important heritage site for the country.

In Ha Tay, there is Chuong Village, located in Thanh Oai district, famous for its traditional conical hats:

To enjoy a hearty meal,

For the finest hat, head to Chuong Village.

The art of making conical hats in Chuong Village has a long history, one so ancient that no one recalls when it began. Initially, the hats were made for local use, but over time, their reputation grew, and they were even presented to the royal court for queens and princesses. The hats became cherished accessories for young women. They were not only worn at markets but also traveled overseas, becoming known as a symbol of Vietnam.

The materials for making these hats include bamboo, rattan, and leaves, with the leaves being sourced from Quang Binh and Thanh Hoa provinces, while bamboo and rattan come from the midlands. However, what truly defines the beauty of the Chuong hats is the skilled hands of the women of the village. With the bamboo and rattan prepared, it is time for the delicate, almost sculptural work of transforming them into the hats. The leaves, when prepared, appear almost plastic-like, smooth and pristine. The process starts by flattening the leaves, using a heated metal surface or an old plow to press them until they become smooth and flexible. The heat must be just right—too hot and the leaves become brittle, too cold, and they fail to flatten properly. This process is key, making the leaves soft and white while preventing mold growth during both the crafting process and the use of the hat.

The second essential material is the hat frame. When you flip a Chuong hat over, you'll notice the 16 perfectly aligned layers of the frame. This number of layers is ideal for creating the distinct shape of the Chuong hat, while other types, such as those from Thanh Hoa, may use as many as 20 layers. The frames are made of rattan, woven tightly with no irregularities, and they are meticulously placed on the mold. The mold is crucial in determining the final shape of the hat, ensuring the layers are perfectly aligned and the overall design is symmetrical. To craft a beautiful hat, the leaves must be carefully chosen: large, white leaves are placed on the outside, while smaller, thinner leaves are used in between. In areas like Thanh Hoa and Quang Binh, the hats are made with up to three layers of leaves. Chuong hats, worn for work, use one layer of reinforced material to add durability, making them more affordable. After the leaves are arranged on the frame, fine rattan strands are woven through, followed by the ‘knotting’ process. This stage requires exceptional precision as the knotting is what gives the hat its beautiful finish.

There is a saying that reflects the delicate nature of this craft:

The spring wind shapes the leaves with skill,

The golden thread shapes the “gong” of the hat.

This hat shields us from the sun and rain,

This hat is a sign of our bond.

This hat was sewn with aged threads,

I’ve worn this hat for three years now.

To make me yours,

Take this hat and wear it too.

(Folk verse)

The craft of making Chuong hats has evolved from a simple trade into an exquisite art. Just as the wide-brimmed hat symbolizes Latin America, the conical hat is a symbol of Vietnam, particularly the Vietnamese woman.

"I will return to Van Phuc with you,
In your silk dress, your beauty will shine even brighter."

When talking about Hanoi's traditional craft villages, Van Phuc Silk Village is a name that cannot be missed. It is one of the most well-known handicraft industries in Hanoi and Vietnam as a whole. This village not only preserves the soul of our cultural heritage but also serves as an alluring tourist destination. Let’s explore the timeless beauty of this ancient craft village.

Van Phuc Silk Village, located in the Van Phuc Ward of Ha Dong District, about 10 kilometers from the center of Hanoi, is a famous traditional silk weaving village. Along the Nhue River, the village retains its old-world charm, with a village well, lotus flowers blooming beside an ancient banyan tree, and markets held in front of the communal house. Ha Dong silk has earned fame across Vietnam, inspiring countless folk songs and even television shows like "Ao Lua Ha Dong." Today, traditional looms are still found in many households alongside modern mechanical looms, reminding us of the village’s rich heritage.

Van Phuc’s origins date back over 1,200 years, founded by A La Thi Nuong, a beautiful and skilled silk weaver from Cao Bang. She married a man from Van Phuc and passed on the craft to the villagers. After her death, she was honored as the village’s patron deity. Today, the village has about 800 households, which make up 60% of the population, involved in silk weaving. Each year, the village produces about 2.5 to 3 million square meters of silk, contributing 63% of the village's total revenue.

Van Phuc silk is not only loved by domestic customers but is also exported worldwide. It plays a key role in preserving the cultural values of Vietnam, while providing jobs and contributing significantly to the nation’s economy. The silk is created through a meticulous process involving steps such as threading, weaving, and dyeing. Each stage must follow strict standards to ensure quality. Today, visitors can ask artisans to hand-embroider any design they wish, showcasing the creative spirit of this traditional craft.

Over generations, Van Phuc’s silk has evolved into a refined art, creating beautiful and unique pieces that demonstrate exceptional quality. The patterns are not only intricate and distinctive but also symmetrical, soft, and harmonious.

Van Phuc Village still embodies its timeless traditions. It serves as a reminder of our cultural heritage while also helping to spread Vietnamese culture around the world.

Anyone who has visited Binh Thuan cannot forget the rich, savory, and aromatic taste of Phan Thiet fish sauce. The tradition of making fish sauce in Binh Thuan dates back centuries, becoming a cherished craft. Phan Thiet fish sauce is renowned both locally and internationally for its unique, robust flavor that accompanies every meal. The thriving craft of fish sauce production has improved the livelihoods of local fishermen. This traditional craft requires no machinery but demands considerable expertise to produce a perfect batch. The primary ingredients are small, fresh anchovies or mackerel, which are fermented in large jars and sun-dried. The region’s intense sun and wind help create the distinctive, deep flavor of Phan Thiet fish sauce, a recipe that has been perfected for hundreds of years. Phan Thiet fish sauce is primarily made from anchovies. There are various types of anchovies such as striped anchovies, black anchovies, red anchovies, and others, but the black anchovies and striped varieties are considered the finest. These small fish, harvested from April to August, are about the size of a pinky or chopstick. They decompose quickly, so the fermentation time is short. However, experienced producers claim that the quality also depends on the fishing season, especially in August, when the anchovies are plump and full of flavor. The process uses simple wooden barrels: small ones that hold around 4 tons of fish, and larger ones holding 5 to 6 tons. The fish sauce is extracted from these barrels through a specially designed drainage hole. Before the fish are salted, the barrels must be thoroughly cleaned and dried. A layer of shells or small stones is placed inside the hole, followed by a layer of dried palm leaves, then a layer of salt. This process is called ‘lù.’ The fish sauce can be categorized into ‘new,’ ‘cloudy,’ and ‘mature’ grades. The ‘new’ sauce is a mixture of fresh saltwater and fish, while the ‘cloudy’ sauce is a result of fermentation. The ‘mature’ sauce is the richest, extracted after several days of fermentation. The fish are salted differently depending on the type, with a typical ratio of 3 parts fish to 1 part salt. After salting, the fish need to ferment for at least three days before the sauce is extracted. The first extracted liquid, known as ‘new sauce,’ is poured over the fish to aid in the fermentation process. The barrels are re-filled with liquid daily until the fish is thoroughly seasoned. When the fish are fully fermented, a small hole is opened to let the clear, flavorful fish sauce drip out. This high-quality sauce is called ‘first-grade fish sauce.’ A single 4-ton batch of fish can produce between 800 and 1,000 liters of this premium sauce. After the first-grade fish sauce is extracted, additional, less flavorful liquid is pulled out in stages until it becomes ‘second-grade.’ If the second-grade liquid isn’t enough, more salt is added, and the mixture is further processed into a lower-grade fish sauce. Each 4-ton batch of fermented fish can yield about 2,500 liters of sauce. However, higher-quality sauces result in a smaller quantity. To ensure consistent quality, different batches of fish sauce with varying levels of protein are mixed. The finished sauce is stored in large containers and then bottled in various sizes, with traditional containers like tĩn being used. These tĩn pots, which initially held 2.7 to 4 liters, are now standardized to liters. Older generations claim that fish sauce stored in tĩn pots remains pure, retaining its flavor and color regardless of the weather. As the sauce ages, its taste improves. These tĩn pots are transported by boat, carried by merchants traveling throughout the country, contributing to the fame of Phan Thiet fish sauce. The quality of the sauce is judged by its aroma, taste, and appearance, with the main distinguishing feature being its golden-yellow or light-brown color, depending on the type of fish used. What sets Phan Thiet fish sauce apart from other regions, such as Phu Quoc, is its distinctive aroma and a rich, sweet flavor. This is due to the unique fermentation process under the hot, dry weather of the central coast, which accelerates fermentation in a way that other regions cannot replicate. Making fish sauce is a traditional skill that is unique to Binh Thuan, and the region is renowned for producing some of the highest-quality fish sauce in Vietnam. Phan Thiet is home to famous fish sauce producers like Thanh Hai, Ham Tien, and Mui Ne. Aside from fish sauce, the region is also known for other types of fermented products like shrimp paste and fermented mackerel, all of which are known for their bold, savory flavors. The fishing community in Phan Thiet has been closely tied to the craft of fish sauce production for centuries, and visitors can often see rows of drying fish and large barrels along the streets. After a visit to Phan Thiet, bringing home bottles of rich, fragrant fish sauce is a must. However, not every tourist knows that the real experience lies in visiting local fish sauce production facilities, where you can watch the entire process and even taste the sauce at its source. Local people are known for their warm hospitality, so feel free to visit both large, professional factories and smaller, family-run operations in the area.

The conical hat – a familiar and graceful symbol of Vietnamese women – has quietly woven its way into poetry and become beloved by many readers. For a long time, the conical hat was not just a practical item to shield from the rain or sun, but also a traditional emblem carrying the rich cultural identity of the nation. Crafting these hats requires great skill and effort from artisans. The villages specializing in making these hats have flourished, with Hue being one of the most renowned.

"The wind blows, and the young maiden's dress sways
The loose straps tilt the brim of her conical hat."
(Dong Ho)

The craft of making conical hats in Hue has existed and developed for centuries, with several famous artisan villages such as Da Le, Phu Cam, Doc So, and Trieu Tay. Each year, millions of hats are produced to meet demand. Skilled hands weave each hat through several stages, including selecting the frame, bending the brim, attaching the leaves, cutting patterns, stitching, and polishing before it reaches the market. Due to the many stages involved, the craft is divided into specialized tasks: frame makers, brim benders, hat stitchers, and more.

The first stage is crafting the frame, where the artisan must carefully bend the rim to ensure it’s even and perfectly sized, neither too large nor too small, preserving the beauty of the hat. The frame is made from light, flexible wood, and the rim is constructed with multiple pieces to give the hat its characteristic curve and shape. A typical hat consists of 15-16 rims, about 50 cm in diameter, made from bamboo, which is abundant in Thua Thien – Hue. The frame can last for decades, depending on how it is cared for. Locals affectionately call the 16 rims "Sixteen Moon Rims," a name that evokes imagery of the moon's delicate arc.

Next comes the leaf application process – an equally crucial step. The leaves used are specially selected, undergoing steaming, drying, and ironing to ensure they maintain a pale greenish-white color. The leaves are arranged neatly over the rim without overlapping, giving the hat its slender, feminine appearance. Artisans use a special thread to secure the leaves, ensuring the hat is not only aesthetically pleasing but also durable. Typically, each rim holds 24-25 leaves, and by this point, the hat is taking shape with most of its key components in place.

Following that is the addition of intricate patterns, often symbolic images such as the Trieu Tien Bridge, Mount Ngu Binh, and the Covered Bridge. These designs, visible under the sunlight, add to the hat’s charm. Additionally, famous poems about Hue are printed beside the images, typically on colorful paper, standing out against the blue and white backdrop of the hat leaves. The elegant patterns on these hats have captured the hearts of many, drawing people’s affection toward the poetic and nostalgic land of Hue.

The next stage is the most delicate – the stitching process. It requires great precision and skill, which is why most hat stitchers are women. The stitching, done with a fine thread, weaves gracefully around the rim, adding to the hat’s beauty and enhancing its durability. After completing the stitching, the hat is coated with a mixture of pine resin and alcohol to give it a glossy finish and make it water-resistant. Finally, these handcrafted hats make their way to markets and souvenir shops.

In Hue, conical hats are ubiquitous, found at markets like Dong Ba, Ben Ngu, and even in places like the Sia and Pho Trach markets. With their attractive appearance, these hats have become a popular item loved by both locals and tourists. Anyone visiting Hue will surely buy a "poetry hat" – a unique souvenir that embodies the essence of this enchanting region. The conical hat, now widely promoted, is favored by many for its simplicity and deep cultural significance. Holding the conical hat in hand, one not only admires the craftsmanship and intricate designs but also falls in love with Hue’s poetic soul and its timeless culture:

"The river hesitates, never flowing straight
The river flows into the heart, making Hue so deep..."
(Thu Bon)

The poetry hat is more than just a traditional item – it has become a distinctive trademark of the Vietnamese people. This handcrafted item was the first to be granted geographical indication protection by the Intellectual Property Office (Ministry of Science and Technology) in August 2010.

The conical hat, especially the poetry hat, has etched its place in the hearts of people through simple yet heartfelt poems. It has become an iconic symbol of the Vietnamese people, particularly the people of Hue. Even though these hats are no longer seen in the streets as frequently as before, their image will forever remain etched in the hearts of the people. Loving the conical hat means loving Hue’s people, loving the cultural identity of Vietnam. And one thing is certain – no matter how much time passes, the image of the conical hat, along with the traditional Ao Dai, will forever be a profound symbol of love and depth for the Vietnamese people.

The Cham people, native to the coastal regions of Central Vietnam, have a long history dating back centuries, having built a flourishing culture heavily influenced by Indian traditions. As early as the 17th century, the Cham established the Champa Kingdom. The Cham people in Binh Thuan Province have a rich agricultural heritage, excelling in rice cultivation, irrigation, and fruit farming. Alongside rice fields, dry fields on mountain slopes also exist. They are skilled in hand-weaving and small-scale trade. The Cham pottery village in Binh Thuan remains one of the oldest craft villages still thriving today.

The development of the Cham pottery craft in Binh Thuan has not been thoroughly documented. Even the elderly potters and community leaders are unaware of the origins of their pottery craft. Ancient Cham manuscripts do not mention it, and there are no inscriptions or folk tales related to it that have been passed down through generations.

Today, there are 26 Cham villages in Binh Thuan, but pottery is still practiced in the Bình Đức village of Phan Hiệp commune, Bắc Bình district, where the traditional techniques have been maintained. According to local artisans, pottery in Bình Đức has been passed down through generations. The pottery-making process involves various steps, with each step connected to the next.

The first step is choosing and extracting the clay. According to the experience of elderly artisans, the clay used for pottery should be light yellow, moderately sticky, and finely textured, free from large pebbles or stones. Clay is usually harvested during the off-season, between January and February of the lunar calendar. Tools used for digging and transporting the clay include hoes, shovels, picks, and baskets. In the past, ox-drawn carts were used, but today, motor vehicles transport the clay. After extraction, the clay must be crushed, mixed, and kneaded. This preparation step is crucial for ensuring the quality of the final product.

The potters in Bình Đức are mainly Cham women. They form the pottery by hand, without using a potter's wheel, instead relying on simple, traditional tools. The tools include a flat board (kathun) and a small piece of coarse cloth. For larger, bulkier pieces, the work is done on flat ground and requires skilled, experienced artisans. To prevent the clay from sticking, a layer of white sand is spread on the board. The artisan forms the pottery by bending over, moving around the board, and using their hands to shape the body of the piece.

Depending on the size and shape of the item, the potter may add more clay to extend the body, smoothing it with both hands. The potter moves counterclockwise around the board, then clockwise, shaping the basic form. For a finer finish, the artisan uses a thin bamboo ring to smooth the surface, followed by a wet cloth to refine the edges. The inside and outside of the piece are then smoothed with a yellow clay paste. Once the piece is dry, the potter smooths the body and bottom, ensuring even thickness and roundness.

The wet pottery is left to air dry in the shade, except for items like kilns, which may be placed in the sun and wind. The dryness of the clay is important for the next stage of shaping. Special tools are used to scrape and smooth the inside and bottom of the piece. Afterward, a bamboo ring is used to smooth the surface, and the inside is gently tapped with a wooden mallet to shape it. The piece is then polished using a metal ring.

To ensure uniformity, the artisan checks the piece by scraping the inside again and rubbing the surface with a shell. The piece is then coated with a red clay paste, which gives it a rich color after firing. The pottery is left in the shade, covered with plastic to prevent it from drying too quickly. Before firing, the artisan uses a stone to smooth the surface of the piece.

The Cham pottery is traditionally fired outdoors. A single firing can contain anywhere from several hundred to 1,500–2,000 pieces. Firing takes place year-round, with multiple households participating in a single firing. The time it takes to fire the pottery depends on the quantity. The pottery is stacked from smallest to largest, with thicker pieces placed at the bottom. The fuel for firing has traditionally been wood and straw, with the straw covering the pottery to retain heat and ensure even firing.

The Cham pottery of Binh Thuan is diverse, with two main categories: cooking utensils (such as pots, kettles, and stoves) and storage vessels (including rice jars, water containers, and small ceremonial pieces). The pottery is affordable, varied in size and shape, and used widely by the Cham, Vietnamese, Hoa, Raglai, and Co Ho communities. It is also sold in neighboring provinces like Ninh Thuan, Khánh Hòa, Đồng Nai, and Lâm Đồng, as well as in Ho Chi Minh City.

Cham pottery is primarily made for daily use. However, artistic and religious pieces are also created to decorate homes and enhance the beauty of life. Over time, these items have become commercialized and are sold widely. While many ancient pottery traditions around the world have disappeared, the Cham pottery of Vietnam has endured, retaining its ancient charm and historical significance. This unique heritage of Cham pottery is worthy of recognition as an Intangible Cultural Heritage by UNESCO.

“The river flows slowly, the river does not rush
The river flows into the heart, making Hue so deep...”

(Thu Bồn)

Anyone who has visited Hue will surely never forget this dreamy land. On the languid Perfume River, the paper flowers silently float along its current. These flowers remind us of a traditional craft village of Hue - Thanh Tien Paper Flower Village.

Paper flowers are an indispensable part of the Lunar New Year celebrations, especially in Hue - the former capital of the last feudal dynasty in Vietnam. Thanh Tien Paper Flower Village, located in Phu Mau Commune, Phu Vang District, Thua Thien Hue, was established nearly 400 years ago during the reign of the Nguyen Lords. However, it wasn't until 1802 that it gained widespread recognition.

The villagers recount that in that year, after King Gia Long unified the country, during the first month of the new year, he issued a royal decree requesting each region to send a special flower as a tribute to the king. At that time, a local official from Thanh Tien, working at the Department of Rites, presented to the king a five-colored flower with a unique symbolism, representing the principles of Tam Cương - Ngũ Thường. The official explained that: “Each branch always has eight main flowers. Three central flowers represent Loyalty, Filial Piety, and Righteousness. Among these, one flower is the largest and in yellow or red, symbolizing the Sun, the bright ruler, while the five surrounding flowers represent Benevolence, Rites, Righteousness, Wisdom, and Trust.” Upon hearing this, the king understood the significance of Thanh Tien paper flowers and was delighted. He then issued a decree encouraging the villagers to continue making these paper flowers for sale in the capital and to spread the craft throughout the country. Since then, Thanh Tien Paper Flower Craft has gained fame nationwide.

Though simple, making Thanh Tien paper flowers is no easy task. Aside from dexterity, the artisan must have a keen aesthetic sense to create beautiful, delicate products. Especially, they must possess patience and diligence. The flowers are not only colorful but also display a wide range of types on a single stem, with a graceful appearance. The flowers last for a long time and symbolize reverence, being replaced only once a year during the Lunar New Year. This is why they are embraced and have survived for generations. The Thanh Tien paper flowers, despite being made from paper, are so lifelike that they can even seem more vibrant than real flowers.

Paper flowers have become an integral part of Hue, adding to the ethereal beauty of this land. They also enhance the natural landscape. Every year, in early December, the villagers of Thanh Tien are busy carefully preparing each flower branch in time for the arrival of spring and the Lunar New Year, contributing to the spiritual beliefs of Hue's people. On the altars of Hue residents, you will always find a paper flower tree in various colors. The people of Hue admire the artisans' skill, creativity, and artistry in making the Thanh Tien paper lotus flowers. These flowers are also a favorite gift among international visitors who bring them back to their countries, including Europe, America, and Australia. The Thanh Tien paper lotus is even modernized as a symbol in major events like the Hue Festival, Ao Dai Festival, cultural exchange programs, and is exhibited at the Imperial City of Hue and the Nguyen Chi Diêu Memorial House (Thanh Tien, Phu Mau, Phu Vang, Hue).

Through many changes over time, despite the emergence of plastic flowers, Thanh Tien Paper Flower Village has retained its position. It is not only an ancient craft village but also a source of pride for the people of Hue, preserving the cultural and spiritual beauty deeply rooted in Hue’s heritage.