HANOI NATIONAL UNIVERSITY
UNIVERSITY OF SOCIAL SCIENCES AND HUMANITIES
NGUYEN THI BICH HUONG
SA HUYNH CULTURE JEWELRY
Major: Archaeology
Code:62 22 03 17
SUMMARY OF DOCTORAL THESIS IN ARCHEOLOGY
Hanoi, 2020
Project completed at:Faculty of History - University of Social Sciences and Humanities - VNU Hanoi
Scientific instructor:Prof. Dr. Lam Thi My Dung
Objection 1: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Objection 3: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The thesis will be defended before the National University Council for Doctoral Thesis Evaluation meeting at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …….
at hour day month year
Thesis can be found at:
- National Library of Vietnam
- Information Center - Library, Vietnam National University, Hanoi
INTRODUCTION
1. Urgency of the topic
Sa Huynh culture belongs to the early iron age, mainly distributed in Central Vietnam. After more than a century of research, more than 100 relics have been discovered, many of which have been excavated and studied on a large scale. Along with new discoveries and studies, the extremely rich collection of jewelry provides many new materials for the study of Sa Huynh culture.
Jewelry is a popular and typical type of relic of Sa Huynh culture. There have been many studies on Sa Huynh culture jewelry, in addition to general studies, there are also specific studies on certain aspects of jewelry such as studies on two-headed animal earrings and three-pronged earrings in Sa Huynh culture. In general, published documents show that research on Sa Huynh culture jewelry has achieved certain results, focusing on many different contents/aspects such as types, materials, manufacturing techniques, crafts or the role of jewelry. However, most of the studies are still general, the sources of documents are still scattered, there has not been a comprehensive study on Sa Huynh culture jewelry, many issues have not been clarified, there are issues that have been little researched or even not researched at all. On the other hand, material documents or jewelry collections are kept in many places, some collections have not been processed or studied in detail, so information about Sa Huynh culture jewelry is still incomplete and awareness of Sa Huynh culture jewelry is still limited. It is necessary to have a systematic and comprehensive study on all aspects such as geometry, materials and raw materials, production techniques. Study the origin and relationship of Sa Huynh culture based on comparison with previous and subsequent cultures, the relationship with contemporary cultures in Vietnam, Southeast Asia and other regions, clarify the role of jewelry in the life of Sa Huynh culture residents. Access to material sources or new discoveries to supplement and provide the most complete understanding of Sa Huynh culture jewelry.
Over the past years, I have had the opportunity to participate in surveys, fieldwork, excavations and research at many Sa Huynh cultural sites in Central Vietnam, and have had many opportunities to directly contact with material documents and many jewelry collections obtained from Sa Huynh cultural relics preserved in museums and local relics. The author has also had the opportunity to participate in a number of research projects on the source of raw materials for making jewelry in Sa Huynh culture and prehistoric Vietnam in recent years. I realize that these are attractive and extremely important research topics, and that there are still many gaps in the research on Sa Huynh cultural jewelry.
Therefore, the author chose to study “Sa Huynh culture jewelry"As a doctoral thesis topic in history, specializing in archaeology, with the desire to address gaps in research and contribute to new understanding of Sa Huynh cultural jewelry in particular and prehistoric Vietnam in general.
2. Purpose and research tasks of the thesis
2.1. Collecting research sources on Sa Huynh cultural jewelry from the past to the present to systematize the sources of documents and research results on Sa Huynh cultural jewelry to provide a comprehensive source of documents, ensuring the accuracy of the research situation on Sa Huynh cultural jewelry.
2.2. Classify and list jewelry according to geometric criteria, geometric criteria combined with function, study the characteristics and changes of Sa Huynh culture jewelry. Study the types of materials and raw materials used to make Sa Huynh culture jewelry to identify the characteristics of the materials, and study the origin of Sa Huynh culture jewelry.
2.3. Based on the remaining traces of jewelry making, place the jewelry in the context of intact stratigraphy and relics, and combine with comparative studies to interpret the jewelry making techniques of Sa Huynh culture. Study and research the jewelry making craft, production process, impacts and influences from outside through the relationships of contact, exchange and trade of Sa Huynh culture residents and other areas, etc.
2.4. Place the study of Sa Huynh culture jewelry in a broader context, comparing it chronologically and synchronously with synchronous cultures in Vietnam, Southeast Asia and some other regions to clarify the origin, position and role of jewelry, thereby studying some issues related to the cultural, social and economic life of Sa Huynh culture residents.
3. Subject and scope of the thesis research
3.1. Research subjects: is a set of jewelry discovered and excavated in all sites of Sa Huynh culture.
3.2. Scope of research
Chronology: Sa Huynh culture of the early iron age, dating from the 5th-6th century BC to the 1st-2nd century AD (including late-dated sites lasting until about the 3rd century AD such as Hoa Diem, Suoi Chinh, etc.).
Distribution range: The author limits the spatial distribution of Sa Huynh culture from Ha Tinh to Binh Thuan, mainly in Central Vietnam.
3.3. Sources of materials used in the thesis
Material sources and materials from field research, investigation, survey, exploration, excavation and from archaeological excavation reports (preliminary reports and scientific reports), articles in the journal Archaeology and Proceedings of New Discoveries in Archaeology published annually, monographs, reference books, articles in conferences on jewelry, published scientific research topics and some articles published in domestic and foreign scientific journals related to the thesis topic.
3.4. Issues to be resolved in depth
- Issues related to research materials on Sa Huynh culture jewelry.
- Identify the characteristics of Sa Huynh culture jewelry in terms of distribution, materials, types, and manufacturing techniques. From there, learn about the characteristics, changes, and developments of jewelry types, materials, manufacturing techniques/technology, and the origin of jewelry in Sa Huynh culture, etc.
- Analyze the values and roles of jewelry in the life and relationships of Sa Huynh culture residents. Analyze in depth the role of jewelry in spiritual and cultural life as well as in economic and social life. Study the relationship of Sa Huynh culture with previous and subsequent cultures, contemporary cultures in Vietnam, Southeast Asia and other regions, thereby learning about the crafting techniques and origins of Sa Huynh culture jewelry.
- Based on the synthesis of research results on Sa Huynh cultural jewelry, conclusions and future research directions are drawn. The research directions can be the research questions and hypotheses raised in the thesis.
4. Thesis theory and research methods
4.1. Approach and theoretical basis
Thesis approaches to theories of social archaeology,trade and exchange archaeology, technological archaeology, burial and death archaeology in explaining aspects of jewelry typology and techniques, sources and origins of jewelry, the development of jewelry crafts, the role of jewelry in life and relationships, etc.
The thesis strictly adheres to dialectical and historical materialist viewpoints to perceive the general laws of the evolution of human society, thereby applying them in interpreting events, cultural, social and historical phenomena.
4.2. Research methods
The main research methods used in the thesis aretraditional archaeological methods(,Statistical methods in archaeology.
5.Thesis contributions
5.1. The thesis has built a relatively complete and comprehensive system of documents serving the research on Sa Huynh cultural jewelry. Updating new documents to supplement the research on Sa Huynh cultural jewelry in particular, and prehistoric Vietnam in general.
5.2. Establish and standardize classification criteria for types and materials of Sa Huynh culture jewelry to serve research on Sa Huynh culture jewelry in particular and prehistoric jewelry in general.
5.3. Clarify the role and impact of jewelry on the transformation and development of the economic, social and cultural life of Sa Huynh residents. Contribute to a comprehensive study of the life of Sa Huynh cultural residents.
5.4. From the study of the relationship of Sa Huynh culture with previous and subsequent cultures, with contemporary cultures in Vietnam, Southeast Asia and other regions to clarify many issues related to the origin and techniques of jewelry making. Study the crafts and the level of specialization of jewelry making crafts. At the same time, clarify the routes of communication, exchange, trade and maritime trade, the system of primitive ports in the Early Historic period. On that basis, the thesis evaluates the role of jewelry in the relationships and lives of Sa Huynh culture residents.
5.5. The research results of the thesis contribute significantly to the research, display and conservation work of local museums. Provide documents for studying and researching archaeology, history and other social sciences and humanities.
6. Thesis layout. In addition to the introduction and conclusion. The thesis consists of 3 chapters:
Chapter 1. Overview of research materials on Sa Huynh culture jewelry
Chapter 2. Characteristics of Sa Huynh culture jewelry
Chapter 3. The role of jewelry in the relationships and lives of Sa Huynh culture residents
CHAPTER 1. OVERVIEW OF SA HUYNH CULTURE JEWELRY
1.1 Discovery process and research documents before 1975
Mainly the discoveries and research of French scholars in the areas of Sa Huynh, Thanh Duc, Phu Khuong (Quang Ngai), Cuong Ha, Co Giang (Quang Binh), Tan Long (Dong Cuom, Binh Dinh). Most of the publications of French scholars are outside of Vietnam. During this period, jewelry was recorded in reports and research of French scholars such as Parmentier, M.Colani, O.Janse and research outside of Vietnam by Otley Beyer (1948), Kano Tadao (1946), Fox (1970... on types of earrings with nodes, three-node earrings, two animal heads discovered in Sa Huynh culture and Southeast Asia. Most notably is the research of Ha Van Tan inContribute to the history of an earring style(1974). The author mentioned the type of stud earrings and two-headed animal earrings that were discovered and published in Southeast Asia. The evidence to prove the origin of stud earrings is very important. This is an important document on Sa Huynh culture jewelry before 1975, the opinions/viewpoints that the author gave were then clarified by new discoveries and research since 1975, especially the discoveries of two-headed animal earrings and three-headed earrings in the space of Sa Huynh culture and some other areas in Vietnam.
1.2. Discovery process and research materials after 1975
1.2.1. New discoveries of Sa Huynh cultural relics and jewelry:Since 1975 until now, a series of new relics of Sa Huynh culture have been discovered, explored, and excavated in different areas and jewelry has also been found in most of the Sa Huynh cultural sites/relics from Ha Tinh to Binh Thuan.
1.2.2. Research materials on Sa Huynh culture jewelry after 1975:nIn addition to excavation reports, announcements of new discoveries, and general research on Sa Huynh culture, there are also studies on jewelry of Sa Huynh culture. Jewelry research is always closely linked to general research on Sa Huynh culture. The main research contents/issues are geometry, jewelry making materials, crafting techniques, jewelry making crafts, research on the role of jewelry in life and exchange relationships of Sa Huynh culture, etc.
Studygeometryis the main content when researching Sa Huynh culture jewelry. This content includes research on types of two-headed animal earrings, three-pronged earrings, four-pronged earrings, scarf-shaped earrings and related research on materials used to make earrings. Beads are also very diverse, but there are very few studies on this type of jewelry. In contrast to the research situation on beads in Vietnam, the research on jewelry or beads in Southeast Asia and the world is very interested, there are many published studies on beads made of glass, jade/semi-precious stones such as agate, agate, garnet, crystal, etc. The studies of foreign scholars on beads are valuable documents for the research on Sa Huynh culture jewelry.
Studymaterials and raw materialsThe production of Sa Huynh culture jewelry has received much attention and there are many published research documents, especially studies on jade, glass, and gold materials by domestic and foreign researchers such as Nguyen Thi Kim Dung, Nguyen Truong Ky, Hirano Yuko, Iizuka Yoshiyuki and colleagues, Andreas Reinecke and colleagues, Hung Hsiao-chun, etc. The published results of material composition analysis partly explain the characteristics of materials and raw materials of Sa Huynh culture jewelry.
Research thejewelry craftis an important content of the study of Sa Huynh culture jewelry. There are not many research documents on jewelry making crafts in Sa Huynh culture, mainly mentioned in general studies on Sa Huynh culture and general studies on jewelry and crafts in prehistoric Vietnam. However, these studies have not specifically analyzed and clarified the development of Sa Huynh culture jewelry making crafts. Some crafts such as goldsmithing are rarely mentioned and there are also very few research documents.
StudyThe role of jewelry in life as well as in exchange and trade relationshipsis also an important content in the study of Sa Huynh cultural jewelry. Related to this content, there have been many studies published in many research articles on contact with India, on trade of Sa Huynh cultural residents or East-West trade exchange through Sa Huynh cultural jewelry by Nguyen Kim Dung, Lam Thi My Dung and many others. These studies show that jewelry plays an important role in the exchange relationships of Sa Huynh cultural residents with contemporary cultures of Vietnam, Southeast Asia and the world. Jewelry is a valuable product in the exchange, trade and commercial activities of Sa Huynh cultural residents in particular, prehistoric Vietnam in general and plays an important role in the lives of Sa Huynh cultural residents.
Chapter 1 Summary.
This has systematized the research documents on Sa Huynh cultural jewelry from the past to the present and approached many new sources of documents to clarify the research contents on jewelry such as types, materials, manufacturing techniques, the role of jewelry in life and exchange relationships, etc. Thereby, it shows that besides the results achieved in the research on jewelry, there are still many issues that need to be clarified, gaps in research need to be resolved and clarified in this thesis.
CHAPTER 2: CHARACTERISTICS OF JEWELRY OF SA HUYNH CULTURE
2.1. Location of discovery and distribution of Sa Huynh culture jewelry
Up to now, more than 100 early iron-age Sa Huynh cultural relics have been discovered and studied. The types of relics discovered in Sa Huynh culture are burials, residential sites, or burial sites, etc. The characteristics of Sa Huynh cultural relics are burials and typically ceramic coffin tombs with large quantity and proportion. Residential sites are few in number, in addition, there are also some residential sites mixed with burials discovered but only a small proportion of the total number of relics. Many ceramic clusters, stone clusters or ceramic and stone clusters found in Sa Huynh cultural relics, these may be traces of destroyed tombs.
2.1.1. Burial:dominate and have an almost absolute number in the types of Sa Huynh cultural relics. Types of burials such as ceramic coffins, earthen tombs, bronze drum coffins, and ceramic jar tombs are typical types of Sa Huynh culture and among the types of ceramic coffin tombs, jar tombs account for the largest number, jar tombs are distributed in clusters and have many different types of jars such as cylinders, eggs, spheres, ovals and peaches, etc. There is a correlation between the types of burial objects and the types of Sa Huynh cultural relics, however, in each type of relic or in each type of burial, there are differences in the number and proportion of artifacts, especially jewelry. Jewelry is found in most burial relics, most often discovered in jar tombs.
2.1.1.1. Ceramic coffin tomb: including jar tombs (cylindrical/tube, egg-shaped, spherical, oval/peach-shaped), pot/jar tombs and ceramic vases. Jewelry found in all types of jar tombs are uniform in both type and material, however, each type of tomb from different early and late periods has types of jewelry and materials typical of that period..
2.1.1.2. Earth grave; nearly 20 Sa Huynh cultural relics have earthen tombs. Funerary objects include pottery, bronze, iron, jewelry made of nephrite, agate, glass, but the quantity and proportion are smaller than the jewelry in jar tombs.
2.1.1.3. The coffin is a Dong Son bronze drum.: Bronze drum coffins in Sa Huynh culture are not many, but they have recorded another form of burial of Sa Huynh people besides the main ceramic coffins and buried relics such as three-point earrings and glass beads clearly showing the characteristics of Sa Huynh culture.
2.1.2. Residential sites: Very few have been discovered and traces are very faint, only a few locations have been researched and excavated such as Thon Tu (Quang Nam). In some residential sites, earrings, jade beads, etc. have been found.
2.1.3. Residential and burial sites: This is a mixed type, both a residential site and a burial site. In this location, the burials are usually buried in a cultural layer, some are buried in an early stage, but some are buried in a later stage of the cultural layer, etc. The burial objects are mainly pottery, jewelry was found but the quantity is very small compared to the collection of jewelry in the jar tombs of the Sa Huynh culture.
2.1.4. Stone-ceramic clusters, ceramic clusters: found in many Sa Huynh culture sites. These clusters often appear on the same level as jar tombs, pot tombs and earthen tombs and many of them may be traces of jar tombs or earthen tombs that have been destroyed. In ceramic clusters, stone ceramic clusters in some other sites, jewelry made of glass, stone, agate... was also discovered, but the quantity was very small.
2.2. Material
2.2.1. Stone:There are many different types of stones used for making jewelry, the common stones used in prehistoric times were jade, semi-precious stones and other common stones like basalt, spilite etc.
Chalcedony(Fibrous Microcrysalline): is a form of microcrystalline quartz, very small fibers, the fibers grow parallel or have rays. Hardness from 6-7 on the Mohs scale, vitreous luster and has many different colors forming color bands. Variations of chalcedony are very diverse including agate, agate, jasper, flint and chert, onyx, chrystopas, plasma, heliotrop, etc. Agate and agate are materials commonly used in the manufacture of Sa Huynh culture jewelry.
Quartz (crystalline or crystal) is called jade quartz, has many different colors from colorless transparent like glass to milky white, smoky, brown, blue, yellow, pink, purple, black..., hardness is 7 on the Mohs scale. Common types of quartz are crystal quartz, milky quartz, yellow quartz, rose quartz, amethyst, brown quartz and smoky quartz. Different types of quartz have different compositions and colors and different element ratios. Quartz jewelry is found in many sites of the Sa Huynh culture, of which the most popular are amethyst and crystal quartz.
Jade:is a term for two separate mineralsnephriteandjadeite. Jade is actually calledjadeite, very hard, hardness 6½, metallic and oily, but sparkling like glass when polished, bright green is the most valuable. Grain structure and small pits when observed with a lens on polished pieces. Jewelry in Sa Huynh culture is mainly made of Nephrite jade, very rare jadeite is used to make jewelry, only one specimen of beads at the Thon Tu settlement site is made of this material.
Serpentine: This material is used to make jewelry such as the dark blue polyhedral beads found in Hoa Diem. Serpentine is usually blue, opaque, hardness about 2½-5 but tends to be lower, looks like wax or greasy, hard, fibrous/fiber, can replace jade. According to geological research, this material is distributed in some places such as the Ma River, Hiep Duc (Quang Nam), where there are sources of nephrite and jadeite.
Beryl: Some specimens of jewelry made of this stone have been found in the jewelry collection of Con Rang and Con Dai in Thua Thien Hue. Beryl is a gemstone with green (emerald) or light green (aquamerine) color, in addition, some are opaque white, hardness is 8. The hexagonal crystal structure is common and is drilled into beads, these beads have been found in some places in the world.
Some other types of stones: There are several other types of stone used to make jewelry in the Sa Huynh culture such as talc, basalt and spilite (schist).
2.2.2Glass: Glass jewelry is the most abundant and is found in many sites of the Sa Huynh culture. There are more than 40 sites where glass jewelry has been found in various forms such as bracelets, earrings, and beads. Sa Huynh culture glass is more common than other contemporary cultures in Vietnam, such as in the Dong Son culture with 15 sites and the Dong Nai culture with 7 sites.
2.2.3. Metal
2.2.3.3. Copper: Bronze jewelry found is mainly bronze rings, bronze bracelets, bronze hooks, buttons and is very limited in quantity. Bronze jewelry is often discovered together with other types of bronze relics.
2.2.3.4. Iron: Iron jewelry is very rare, mainly in the form of rings and bracelets.
2.2.3.3 Gold: Gold jewelry was found in some places, not found in large quantities but only in rich jar tombs along with jewelry made of precious stones, glass and other burial objects such as pottery, bronze, iron, etc. The type of gold jewelry found in Sa Huynh culture is mainly beads in the shape of two short cones facing each other, in short and long beads like loquats, flower-shaped beads, smooth round earrings and round earrings with twisted threads.
2.2.3.2. Silver: Silver jewelry is found very little, there are some silver beads in Dai Lanh and some other silver items discovered by chance in Quang Ngai, Binh Dinh. However, only the specimen found in Dai Lanh (currently kept at Da Nang Museum) is the most certain source of information.
2.2.4. Pottery/Terracotta: Ceramic and terracotta ornaments have been found in several Sa Huynh culture sites of varying dates, especially terracotta three-pronged earrings and leech-shaped earrings, some terracotta beads, etc.
2.2.5. Mollusk bones and shells: found in many locations in coastal and island areas. Main types are beads, bracelets, bracelet cores and also bracelet outlines, etc.
2.3. Type
2.3.1. Beads: In the collection of beads, there are also different types and styles. Including the following types and styles:
Group A, group of spherical/round beads,This group is the most numerous, consisting of beads with circular cross-sections and with different variations based on the cross-section of the beads.
Group B, diamond-shaped beads group:This group of beads has different variations based on their shape and cross-section. The materials used to make diamond beads are agate, agate, crystal, gold and glass.
Group C, barrel beads):Made of glass, mainly agate. Round or polygonal cross section.
Group D, cylindrical/tubular beads group: beads made of nephrite, glass, agate, crystal. Cut into round or polygonal shapes. Different lengths.
Group E, special beads/objects group: are X-shaped beads, beads with two ends tied together (collar beadgoodcollared bead), acid etched/stained beads made of agate and agate, round tubular beads with black and white stripes, button beads, vertical beads, sail or D shaped, animal shaped, gold plated glass beads (gold plate glass or Segmented Gold-Glass Beads), comma, etc.
2.2.2. Earrings
2.2.2.1. Two-headed animal earrings: is the most typical and characteristic type of Sa Huynh culture, with 03 types and some different variations/styles, mainly made of nephrite jade. Some specimens in the process of being crafted were found in Dai Lanh and a complete collection of two-headed animal earrings were found here. Two-headed animal earrings are not found much, mainly distributed in the mountainous areas of Quang Nam, Dai Lanh area and neighboring areas, not found in relics in the coastal plains.
2.2.2.2. Three-point earrings: found in many sites of Sa Huynh culture with materials such as terracotta/ceramic, nephrite jade, glass. There are 06 main types of three-prong earrings and each type also has a number of different variations or types. Three-prong earrings are distributed from coastal plains to mountainous and island areas, in almost all areas of Sa Huynh culture, in which the center of Quang Nam has the largest number compared to other regions.
2.2.2.3. Four-point earrings: found in some sites of Sa Huynh culture in very small quantities. There are two main types with differences in the round or square body of the ring, made of nephrite jade.
2.2.2.4. Square earrings: found in a few locations and in small quantities. Earrings here have slits for wearing but also have no slits, round or square holes. Made mainly of nephrite jade, small in size.
2.2.2.5. Scarf-shaped earrings: found in many sites of Sa Huynh culture, has the largest quantity compared to other types of earrings. Basically, scarf-shaped earrings are divided into 4 types and each type has different variations, mainly made of nephrite jade and glass.
2.2.2.6. Leech earrings; found in some sites of Sa Huynh culture. Leech-shaped earrings are usually made of terracotta, dark brown, reddish brown in color, with a smooth outer layer, and a round or slightly round cross-section. Researching this type of earring combined with the context of the discovery of the earrings, the age of the relic can suggest a transformation and development of earrings, learn about the origin of the three-pronged earrings, etc.
2.2.2.7. Round earrings: not much in number. Made of copper, iron or copper alloy, lead, tin. The earrings are round and have a circular cross-section, round copper earrings are made of a copper wire bent and not solid. These earrings have the same shape as copper rings.
2.2.2.8. Round earrings with spiral thread: There are 04 intact gold specimens found in tombs at Lai Nghi site (Quang Nam).
2.2.2.9. Morning glory flower earrings: There are 08 specimens found at Con Rang site (Hue) and this type of earring has not been found at any other site of Sa Huynh culture, made of beryl stone. According to geological research, beryl stone originates more in the North than in the Central region, there are beryl mines in the North Central region such as in Nghe An, Ha Tinh, etc.
2.2.3. Round:found in many Sa Huynh cultural relics, made of various materials such as stone, glass, ceramic/terracotta, mollusk shells and bones, etc. Bracelets are usually based on the cross-section of the bracelet, bracelets often have rectangular, square, trapezoidal, semicircular, triangular, flat oval, D-shaped, tubular, raised bracelets, bronze tubular bracelets, etc.
2.2.4. Ring: Bronze or iron rings have been found in several sites of the Sa Huynh culture, often in a circular shape, solid without gaps or a bent copper wire.
2.2.5. Other types of jewelry: bells, bronze rings (hooks), bronze buttons, ring cores and ring core repair tools, etc. Found in Sa Huynh culture sites in small quantities.
2.3. Manufacturing techniques
The rich diversity of both materials and types of jewelry in Sa Huynh culture shows the complexity of jewelry making techniques and the existence of many different handicrafts in Sa Huynh culture. There are many methods or techniques for making jewelry in Sa Huynh culture, each type of artifact or each type of material requires specific techniques, but jewelry making follows a general process.
2.3.1. Stone jewelry making techniques
Stone bracelet making techniques: has technical forms such ascore drilling techniqueandcircular saw blade technique.
Stone earring making techniques:For the crafting of hoop earrings, researchers believe that it is similar to the technique of crafting bracelets. Research and experiments have shown that the technique of crafting earrings is divided into two types:(a) Rough carving → indirect carving → disc-shaped carving → grinding 2 or 1 flat surface → core drilling → grinding, repairing the cross-section → groove sawing → polishing;and(b) Sawing to create rough outline → chiseling to create disc-shaped outline → drilling to separate core → grinding, repairing cross-section → sawing groove → polishing.
The Sa Huynh people may have used only the sawing method and may have had a manufacturing method such as:With the 4 available corners on the square sketch that is close in size to the three-point earring, the craftsman begins the process of cutting notches at the 4 corners of the original as follows: 1 corner is prioritized for drilling out the core of the hook, the other 3 corners are for the 3 corners. By careful and meticulous cutting and trimming techniques, 3 inverted V-shaped corners with concave parallel edges will be created. The corner part made according to the hook will be positioned to drill out the core from both sides. After the drilling is successful, the gap of the hook will be easily cut further using the sawing technique.. Thus, the entire technique of making three-prong earrings is mainly sawing, cutting and filing techniques. Drilling is only used for the hook making stage and is the final stage in making three-prong earrings.
Sawing, cutting, filing, and chiseling methods were also used to create the two-headed animal earrings in the Sa Huynh culture. There are also different stages in creating the two-headed animal earrings, including:Create a flat square stone ingot, then chisel it into the shape of an earring, using sawing and chiseling techniques to create a flat surface; carve the back and belly of the animal using the direct adjustment method combined with regular filing (grinding) at points; Cut or groove the mouth surfaces; Carve the two faces of the animal, create ears, eyes, and complete the mouth; Final grinding on the finished product.
For the 4-point earring type, author Doan Duc Thanh experimented and came up with a 5-step manufacturing process as follows:separate the flakes, from this flakes grind smooth on both sides and edges, drill a hole in the center of the square of the sketch, use a saw blade to cut the 4 diagonal corners of the square edges and each time through two sawing passes create four sharp corners, and process the last time[323, p.274].
Stone bead making techniques
Nephrite jade bead making technique
Experiments and research have outlined the production process of jade beads including:(1) Prepare the initial sketch created by chiseling to create a long, small shape. Saw and cut into desired blocks. Take advantage of small diameter round cores or thin pieces of stone. Once the sketch is satisfactory, the craftsman begins to drill holes; (2) Drilling is done by using a disc drill method. The sketch is reinforced on a fixed object, which can be made of stone or wood, by clamping it between two bamboo sticks and tying it with wooden or bamboo dowels. The sketches at Bai Tu and Trang Kenh workshops show a tendency to drill on both sides mainly; (3) Grind and complete the product: after drilling the holes, it is the stage of coloring or sawing, cutting the shape of the beads as desired.n. Drill marks on beads are shown differently. Experiments on drilling beads using the disc drilling method show thatSince the beginning of the Bronze Age, the disc drill to drill holes in stone beads has been popular in our country.These traces are common in Bai Tu and Trang Kenh.
Agate and agate bead making techniques: There has been no research and experiment on the production of agate and agate beads in Vietnam, but comparative research results show that they may have been produced using Indian techniques. In the Arikamedu and Khambhat workshops, the process of producing agate and agate beads has different stages from selecting raw materials to finishing the product, and in each stage, different techniques are used. The technology of producing agate and agate beads in some workshops such as Khambhat, West India includes the following stages:Select raw materials and raw material sources -> dry -> first heating/heating (fired in ceramic pots or in simple kilns) ->Chipping(done with a technique unique to South Asia called theindirect chipping/breaking technique, indirect chipping/breaking in reverse(inverse indirect percussionand the tool used is an anvil made of deer antlers, made of red copper) ->second heating(raw stones, rough beads are heated many times and at different stages during the manufacturing process, during drilling, final polishing they are still heated, in addition they can be heated many other times. Techniques used are sawing, grinding, drilling (diamond drill bits, jasper), polishing (can be polished in batches) -> gfinal firing stage(After drilling and polishing, the beads are heated several times to create a deep orange, red color. After the final heating, the beads are rubbed with sawdust mixed with oil to remove any grinding marks or small cracks, then stored and distributed).
2.3.2. Techniques for making glass jewelry
The process of making glassware or glass jewelry has basic steps and techniques used such as:cooking, molding, cutting, sawing, grinding, polishing. Types of bracelets, earrings, beads usedinjection moldingTo create shape, after removing the mold, the jewelry is processed through grinding and polishing stages that require skillful skills of the craftsman. From the traces on the glassware, many researchers believe that the first stage - the period of the 1000s BC,Glassware is made not by blowing, but by melting, molding, and post-molding techniques that bear many similarities to the bronze making process.. In the later period - the 2nd and 3rd centuries onwards, glassware production expanded to include everyday items such as vases, bowls, pots, etc. The blowing technique was used to produce glassware, mainly through and outside the mold, because these objects had a hollow shape and gradually decreased thickness. This technique was more advanced than in the previous period, however, when making thick-walled glassware, craftsmen continued to use the mold pressing technique without a blowpipe.
Lada method/techniquein the manufacture of monochrome glass beads.Lada Engineeringis to place the thin pointed Lada tube on the long tube and roll the glass in the furnace, this furnace has a window to insert the metal rod and pull from 02 sides to create a glass cylinder.
Some techniques for making some types of glass jewelry such as bracelets, earrings, and beads. Glass beads are made bydrawing and molding technique. For glass braceletsrotation technique. For glass earrings, the two-headed animal earrings are made by the technique of casting and pressing the sides. The mold marks are still left on the surface, the flat, flat parts with hooks, the backs, the sides of the animal's belly and the holes caused by compressed air bubbles; The earring shaped like a scarf with gaps is made by the technique of stretching, bending and molding, the traces left are air bubbles in the direction of the earring, at the same time the marks of pressing to create a triangular cross-section are also clearly seen on the upper and lower sides of the earring.
2.3.3. Techniques for making gold and silver jewelry
Along with analyzing the material composition, researchers also mentioned the technique of making gold earrings and beads.Sealing techniqueseveral small plates together or with a V-shaped tool, but to be certain it is necessary to study under a microscope and analyze the metal patterns between the small plates. The remaining specimens are made of “filing method"with a kind"file"especially"bead file/bead wire file”.
Chapter 2 Summary
This chapter focuses on analyzing and interpreting published documents combined with material sources such as jewelry collections, results of a number of surveys, field studies, and analysis of material composition and raw materials for jewelry making in the Sa Huynh culture. From there, it clarifies the characteristics of distribution, materials, types and techniques for making jewelry in the Sa Huynh culture. The research results show that the Sa Huynh culture jewelry collection is rich and diverse in both materials and types, in which two-headed or three-pronged animal earrings and agate beads are typical jewelry types of the Sa Huynh culture. The research results of the types combined with the research of the crafting techniques and materials show the changes and development of some types of jewelry in the Sa Huynh culture, especially the relationship and changes of the types of earrings, proving the indigenous origin of the two-headed animal earrings and earrings with prongs of the Sa Huynh culture.
CHAPTER 3. THE ROLE OF JEWELRY IN THE
RELATIONSHIPS AND LIFE OF SA HUYNH CULTURE RESIDENTS
3.1. Relationships of Sa Huynh culture through jewelry documents
3.1.1.Vwith pre-Sa Huynh cultures – the origin relationship
With late Neolithic and early Metal Age cultures in the North Central region: through some types of jewelry such as terracotta leech earrings. Based on the transformation and relationship of some types of earrings, it is possible to imagine a transformation as follows:terracotta leech earrings -> terracotta three prong earrings+ stone leech earrings-> three-point jade earringsand the latest is the glass triple stud earringsand from the inference it can be seen that the unique three-pronged earrings in Sa Huynh culture originated from previous types of terracotta/ceramic earrings, along with the development of techniques and new materials, they were made of many different materials typical of that period.
Vwith pre-Sa Huynh cultures
Comparative research on the Pre-Sa Huynh and Sa Huynh jewelry collections shows similarities and differences in the types and materials used to make jewelry in these periods. In the Pre-Sa Huynh period, jewelry was made of bone, mollusk shells, ceramic/terracotta, and stone, mainly basalt and spilite, while there was only a small amount of nephrite jade. By the time of the Sa Huynh culture, jewelry made of bone and mollusk shells, ceramic/terracotta was still used, but there was a clear decline in jewelry made of basalt, spilite, and some other common stones, instead there was an increase in jewelry made of nephrite jade along with other types of jade/semi-precious stones, copper, gold, silver, iron, and glass jewelry. In general, the jewelry collection of the Pre-Sa Huynh culture period is not as diverse and rich in materials and types as the early iron-age Sa Huynh culture period.
With Champa culture
The relationship between Sa Huynh culture and Champa culture is studied based on historical sources, stratigraphic relationships and artifacts (especially pottery) found in late Sa Huynh culture and early Champa culture sites. Jewelry recorded from excavations and research at sites of the early Champa culture period is not much, mainly glass and gold jewelry. The similarities are clearly shown through the types and materials, which are beads made of agate, glass and gold. The results of material composition analysis of glass jewelry samples at some early Sa Huynh and Champa culture sites also show similarities in the composition of jewelry materials. The big difference in jewelry in these periods can be seen in the Sa Huynh culture jewelry collection, which is extremely rich and diverse in both types and materials, while the early Champa culture jewelry collection has decreased sharply in quantity, the types are less diverse, mainly glass, agate, gold and monochrome glass beads, some crow's-pillow earrings. Many popular jewelry types in the Sa Huynh culture were completely absent in the early Champa culture, instead, the appearance of some types of multi-colored glass beads, eye-shaped glass beads and decorative gold pieces became more popular. Agate jewelry found in Champa archaeological sites is not much, even very rare, but in terms of types, it is no different from the Sa Huynh culture, flat diamond-shaped, round diamond-shaped and spherical beads were used by both Sa Huynh and early Champa culture residents.
3.1.2. Relationship with contemporary Vietnamese cultures
VDong Son culture: The influence of Dong Son culture on Sa Huynh culture is stronger than the influence of Sa Huynh culture on Dong Son culture. On the contrary, the influence of Sa Huynh culture on Dong Son culture is quite faint, the discoveries up to now show mainly through some types of jewelry, which are three-pronged earrings, two-headed animal earrings found in relics of Dong Son culture such as Xuan An, Dong Mom, Lang Vac (Nghe An). These relics are distributed in the North Central region - the border area between Dong Son culture and Sa Huynh culture, very rare in the northern region of Dong Son culture. The exchange between these two cultures is clearly shown through relics and artifacts, here the elements of Sa Huynh culture and Dong Son culture exist intertwined, shown at the Bai Coi site.
Dong Nai Culture: The influence of Sa Huynh culture on Dong Nai culture is shown through the type of jar burial, ceramic burial objects, especially jewelry in many locations of this area. Sa Huynh culture has spread and strongly influenced the Southern region, shown through the two-headed animal earrings and three-pronged earrings discovered in locations of Dong Nai and Southeast cultures in the early Iron Age. Similar to the Sa Huynh culture residents, the Dong Nai culture residents were very fond of using various types of jewelry made of different materials such as glass, stone and jade/semi-precious/precious stones, gold metal, terracotta/ceramic, etc. The jewelry collection of the early Iron Age cultures in the Southern region and the Sa Huynh culture shows the similarities and differences, the strong relationship between these contemporary cultures and the evidence of the making of two-headed animal earrings, evidence of the Can Gio glassmaking craft are important documents for the study of jewelry making techniques and the craft of making jewelry from stone, glassmaking in this area as well as the Sa Huynh culture.
Central Highlands region: The origin of the Sa Huynh culture jar burial method is traced from the late Neolithic cultural relics in the Central Highlands such as Tra Dom, An My (Gia Lai, Kon Tum). Studies in this area show the factors that contributed to the formation of the early Sa Huynh culture and identify the connection between the cultures in the Central Highlands and the early iron-age Sa Huynh culture. Jewelry in the Central Highlands also has similarities and differences compared to the Sa Huynh culture. Studies on jewelry in some sites such as Lung Leng have partly shown the characteristics of jewelry in this area.
3.1.3. With Southeast Asia region
The relationship between Sa Huynh culture and Southeast Asia is strong, especially with the Southeast Asian island region. This relationship is shown through the similarity in jar burial customs and the tradition of ceramic jar burial, in pottery and the distribution of jewelry. Many researchers have mentioned the jar burial customs of Sa Huynh culture and Southeast Asia, as well as the relationship between Sa Huynh culture and Southeast Asian island region through pottery. Sa Huynh culture jewelry such as two-headed animal earrings, three-pronged earrings were found in Thailand (Uthong, Ban Don Ta Phet, Khao Sam Kaeo or in Soan Keo), Cambodia (Samrongsen and newly discovered early Iron Age relics), Philippines (two-headed animal earrings, three-pronged earrings were found on the islands of the Philippines such as Duzon, Batanes, etc.).
3.1.4. With other areas
For India:The relationship between Sa Huynh culture and India through jewelry is very clear. A type of jewelry products from India were imported into Sa Huynh culture and Southeast Asia such as acid-etched beads, drum-shaped beads tied at both ends, beads with black and white bands, gold or gold-coated glass jewelry, monochrome glass beads (Indo Pacific Bead). Besides the products of exchange, the mark of jewelry making and the adoption of crafting techniques is seen in some types of jewelry made from different materials such as agate, glass, etc.
With Han culture (China): Contact with Han culture is mainly shown through bronze objects such as Western Han and Eastern Han bronze mirrors, Ngu Thu coins found in jar tombs in Binh Yen, Go Dua, Lai Nghi, Hau Xa II, etc. There are few signs of jewelry indicating the relationship between Sa Huynh and Han cultures in the early Iron Age.
With Taiwan: that relationship originated from the use of jade raw materials to craft two-headed animal earrings and three-pronged earrings. Jewelry made of Taiwanese nephrite in the Sa Huynh culture is very rare, only 01 three-pronged earring sample has been recorded in Go Ma Voi. The two-headed animal earrings and three-pronged earrings are popular and have been proven to have Sa Huynh cultural origins, and have so far been distributed in a large area stretching from the Philippines, eastern Malaysia, central and southern Vietnam, as well as the southwestern and eastern regions of Cambodia and the Thai peninsula. The tradition of jade production in Taiwan dates back to about 3500-2500 BC and the late period is about 1000 years ago. The presence of Taiwanese jade in Southeast Asia is believed to have gone through two main stages:The first phase, around 2500 – 500 BC, saw finished products such as bracelets, beads, and adzes brought to the Philippines; the second phase, around 500 BC – 100 AD, saw Taiwanese jade exported to manufacturing plants in Southeast Asia..
3.2. The role of jewelry in lifeof residentsSa Huynh culture
3.2.1. In exchange, trade and commercial activities:play an important role in these exchange, trade and commercial activities. The development of economic exchange, trade and commercial activities has a great impact on the transformation of handicraft economic activities as well as the general economic life and changes in the social life of Sa Huynh culture residents.
3.2.2.Developmentsea of craftsjewelry makingand handicraft specialization:The richness and diversity of jewelry shows that in Sa Huynh culture, the craft of making jewelry from stone, glass or goldsmithing was very developed. Perhaps there was a certain specialization in some craft of making jewelry in Sa Huynh culture.
3.2.3The role of jewelry in life society
Jewelry played an important role in the exchange, trade and development of handicrafts and the specialization of handicraft production. This led to many changes in the economic life of the Sa Huynh culture residents, affecting the agricultural, forestry and fishery sectors as well as promoting the overall development of the economy. The strong development of the economy also entails social changes, changes in social structure, social differentiation, etc. In recent studies based on the mass of documents on groups of burial objects such as jewelry and daily living utensils found in tombs to study social differentiation in some locations such as Con Rang, Lai Nghi, Go Ma Voi, etc. The correlation between types of burials, the number of jewelry and burial objects buried in tombs is mentioned in studies on social differentiation and social organization issues of Sa Huynh culture residents.
3.2.4. Roleof jewelryin rituals, religion and spiritual life: Jewelry not only meets the need for beauty but also has meaning as objects representing good luck and sacredness or related to ritual and religious activities, expressing the power and strength of that person, or expressing social role through status and position in society.
Chapter 3 Summary
This chapter mainly analyzes the relationships of Sa Huynh culture residents with previous and subsequent cultures, relationships with contemporary cultures in Vietnam, Southeast Asia and some other regions, and also focuses on analyzing the values and roles of jewelry in the lives of Sa Huynh culture residents. Based on the analysis of similarities and differences between jewelry collections in different periods, along with comparative studies with different cultures, the author of the thesis studies the origins of jewelry types, the vertical and horizontal relationships of Sa Huynh culture, and the economic, cultural, social life or material and spiritual life of Sa Huynh culture residents through jewelry collections found in all sites of Sa Huynh culture.
KCONCLUSION
1. The thesis has systematized many sources of research materials on Sa Huynh culture jewelry over the past century of research. From the systematization of materials, it also shows that the research on Sa Huynh culture jewelry has achieved certain results in the study of different aspects of jewelry such as materials, types, manufacturing techniques, research on jewelry craft or the role of jewelry in Sa Huynh culture. The thesis has also updated and supplemented missing sources of materials and sources of materials related to the content that has not been clarified and researched in Sa Huynh culture. It can be seen that most of the research up to now has focused on the type of two-headed animal earrings and three-pronged earrings, the aspects related to these types such as materials, manufacturing techniques, their role in life and the exchange and trade relations with other regions. However, the collection of Sa Huynh culture jewelry is very diverse in types, in which beads are very popular, but there has been no research on beads and no published documents related to beads in Sa Huynh culture. From this gap, the author has gathered related documents to supplement the sources of documents and awareness about beads and different types of jewelry in Sa Huynh culture.
2. The results of the synthesis and specific analysis of the materials and types of jewelry discovered in Sa Huynh cultural relics have shown the basic characteristics of the materials and types of Sa Huynh cultural jewelry.
Jewelry found in most sites, there is uniformity in materials in different types of Sa Huynh cultural relics such as residential sites, burial sites, residential-burial sites, etc. However, there are differences in the quantity/ratio of jewelry in different types of relics, the ceramic jar tomb type has the largest quantity, the earthen tomb has a smaller quantity, other types of burials or residential sites are very few. The results of the study on the distribution of jewelry show a high concentration in the type of burial relics, especially ceramic jar tombs and there is a correlation in the quantity, type and material of jewelry with other burial objects/relics (ceramic, bronze, iron). The density of jewelry distribution also shows the difference between different locations and regions of Sa Huynh culture. The study of the density of jewelry distribution has shown the concentration and popularity of jewelry in different relics and areas of Sa Huynh culture. In general, the distribution of jewelry in relics as well as the density of distribution and the correlation of jewelry with other relics/burial objects in each type of relic have great significance for studying the life of Sa Huynh culture residents.
About material: Sa Huynh culture jewelry is made of many different materials such as bones and mollusk shells, ceramics/terracotta, stones (common stones such as basalt, schist, nephrite, jadeite, agate, agate, garnet, crystal, amethyst, smoke quartz, beryl), metals (copper, iron, gold, silver), glass, etc. The richness of materials has shown the difference compared to jewelry collections in previous and later cultures, compared to contemporary cultures in Vietnam. The results of material analysis of jewelry made of glass, stone, gold and some other materials from Sa Huynh culture sites also show the characteristics of materials, suggesting the sources of raw materials and origins of many types of jewelry in Sa Huynh culture.
About the type: The collection of Sa Huynh culture jewelry is diverse in types such as earrings, beads, bracelets and other types of jewelry, each with different styles. The classification results not only show the characteristics of the types but also see the relationship between different types of jewelry, as well as the changes and developments in many types of jewelry, in the manufacturing techniques as well as the changes in the use of materials. From there, it is possible to determine the origin of many types of jewelry in Sa Huynh culture. Especially the relationship and changes of earrings in Sa Huynh culture. The analysis of the morphology of earrings such as leech-shaped earrings made of terracotta, three-prong earrings made of terracotta, stone, glass or square earrings, four-prong earrings made of stone and some other types of earrings shows that they are related to each other as well as changes in morphology, materials, manufacturing techniques... and indicate the origin of these types.
The detailed classification results of the types of beads in the thesis have proven and confirmed that beads are a typical type of jewelry of the Sa Huynh culture. Agate beads, along with two-headed animal earrings and three-pronged earrings, are typical types of jewelry of the Sa Huynh culture. At the same time, the existence of other types of bracelets and jewelry not only shows diversity but also shows the long-term preservation of many types of jewelry from prehistoric to early historical times, from Pre-Sa Huynh to Sa Huynh. Some types of bronze jewelry found in the Sa Huynh culture such as tubular bracelets with bells or types of jewelry accessories such as bronze buttons/buttons, bronze hooks show that the residents of the Sa Huynh culture exchanged and favored all types of jewelry made of different materials from bones and mollusk shells, terracotta/ceramics, common stones to jade/semi-precious/precious stones, copper, iron, gold, silver and glass. The existence of all types of jewelry and made of different materials is a prominent feature of Sa Huynh culture jewelry in the early iron period.
The diversity and richness of materials and types of jewelry in Sa Huynh culture leads to complexity inmanufacturing techniques. Each type of jewelry is made from different materials, requiring specific manufacturing methods or techniques. In manufacturing stone jewelry, the general stone manufacturing techniques are still followed, such as:grind, carve, grind, saw, drill, polish, but each type of stone has a different structure and composition and each different type of jewelry also has its own shaping steps as well as different technical forms and processing methods, such as in the making of beads and jewelry made of nephrite jade and jewelry made of agate, agate, etc.
The study also shows that the methods and techniques of glass making are similar to the current folk glass making methods and the results of the analysis of prehistoric glass making techniques also indicate that the Sa Huynh culture residents developed internal glass making with different techniques such asBlowing technology, which uses melting, molding, and post-molding techniques that bear many similarities to the bronze making process.,rotary technology, etc.Lada Engineeringwas practiced by the Sa Huynh culture residents to create their glass jewelry products.
Research analyzing the material composition of gold jewelry samples in Sa Huynh cultural sites has shown some methods and techniques for manufacturing jewelry made from this material such as:Sealing techniqueand some artifacts are made of “filing method" with type "bead file/bead wire file” like in the West came to Southeast Asia about 2000 years ago. Evidence for jewelry making in Sa Huynh culture is very faint, only shown on some jewelry here.
3. The Sa Huynh culture jewelry collection plays an important role in the material and spiritual life, in the exchange relationships of Sa Huynh culture residents with previous and subsequent communities, with contemporary communities in Vietnam, Southeast Asia and the world.
The results of comparative research on jewelry in cultures of the pre- and post-Sa Huynh culture have shown the relationship of origin and tradition of jewelry use throughout prehistory to early history in Central Vietnam. From the discoveries of jewelry in archaeological relics in each period from Late Neolithic - Early Metal Age, Pre-Sa Huynh period, Sa Huynh culture period, Sa Huynh - Champa transition period and early Champa, it is shown that jewelry has characteristics of each period. The relationship with the early Neolithic - Early Metal Age cultures is clearly shown through terracotta leech-shaped earrings. This type of earring is mainly distributed in the coastal areas of Central Vietnam during the Pre-Sa Huynh to Sa Huynh periods. The study also shows the inheritance and morphological transformation of this type of earring to create a typical type of earring of Sa Huynh culture, the three-pronged earring, showing the origin relationship and proving the indigenous origin of the three-pronged earring of Sa Huynh culture.
Studies and classifications of different types of earrings in the Sa Huynh culture also show the relationship with the Pre-Sa Huynh cultures such as the four-pronged earrings in Long Thanh with the four-pronged earrings found in the Sa Huynh culture in Go Que and other locations. In terms of morphology, the Pre-Sa Huynh and Sa Huynh four-pronged earrings are quite similar in shape, differing only in size and some points on the studs. In addition, these four-pronged earrings have many similarities with the three-pronged earrings in the Sa Huynh culture, so there are opinions that the stone four-pronged earrings are the predecessor of the three-pronged earrings in the Sa Huynh culture. Based on the similarities in material and shape of earrings, the author of the thesis also agrees with the opinions given about the origin of the three-pronged earrings from the four-pronged earrings. At the same time, it is believed that there is a relationship between the types of earrings from the terracotta leech-shaped earrings, three-pronged earrings, four-pronged earrings, squares, and scarf-shaped earrings in the Sa Huynh culture. The similarity of earring types as well as the changes and development of earring types through cultural stages from early to late have proven the indigenous origin of three-pronged or two-headed animal earrings in Sa Huynh culture. Research on the collection of Champa culture jewelry shows that early Champa culture residents continued to use some types of jewelry made of agate, glass, and gold as in Sa Huynh culture. The disappearance of some types of jewelry made of other materials in Champa culture still raises questions, but it may be because the demand for jewelry of Champa culture residents was different from that of Sa Huynh culture residents.
Through jewelry documents, it is shown that Sa Huynh culture has relationships with other contemporary cultures in Vietnam, Southeast Asia and other regions. Through jewelry collections, it shows the influence and spread of many types of jewelry such as three-pronged earrings and two animal heads, a typical type of Sa Huynh culture to many different regions in Southeast Asia. In addition, Sa Huynh culture residents also received and exchanged many products and techniques, jewelry making technology from Southeast Asia, India, China, Taiwan, etc. The multi-dimensional exchange relationship contributed significantly to the expansion of the maritime trade network and promoted the development of handicrafts, contributing to the overall development of the economy, affecting social changes and cultural and spiritual life.
Jewelry plays an important role in the life of Sa Huynh culture residents. Sa Huynh culture residents have an extremely rich spiritual life, jewelry is not only for beauty but also commonly used in daily life as well as in ritual and religious activities. The jewelry crafting industry of Sa Huynh culture residents developed strongly, besides the craft of making stone jewelry that reached its peak and there was certainly a specialization in production, jewelry products not only served Sa Huynh culture residents but also exchanged with contemporary residents in Vietnam and Southeast Asia. The domestic and inter-regional exchange, trade and commerce activities of Sa Huynh culture residents were extremely strong, and jewelry was one of the valuable products in this trade network. Sa Huynh residents not only exchanged but also absorbed techniques from outside, they also created indigenous products. The development of handicrafts and commercial exchange activities promoted economic development and created changes in social life and laid the foundation for the birth of the primitive state in the early history of Vietnam.
Author:ussh
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