Abstract of the doctoral dissertation by Nguyen Thi Bich Huong

 

VIETNAM NATIONAL UNIVERSITY OF HANOI

UNIVERSITY OF SOCIAL SCIENCES AND HUMANITIES

 

 

 

NGUYEN THI BICH HUONG

 

 

 

SA HUYNH CULTURAL JEWELRY

 

 

 

 

Major: Archaeology

Code:62 22 03 17

 

 

ABSTRACT OF THE DOCTORAL THESIS IN ARCHAEOLOGY

 

 

 

                                               

 

 

 

 

Hanoi, 2020

 

The project was completed at:Department of History - Faculty of Social Sciences and Humanities - Vietnam National University, Hanoi

 

 

Scientific supervisor:Prof. Dr. Lam Thi My Dung

           

 

 

Counter-argument 1: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Counter-argument 2: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Counter-argument 3: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

 

The dissertation will be defended before the National University-level Doctoral Dissertation Examination Council meeting at . . . . . . . . . . . . . . . . . . . . . . . . . . . …….

at [time] on [date]

 

 

 

 

 

 

 

 

The thesis can be found at:

- National Library of Vietnam

- Information and Library Center, Vietnam National University, Hanoi

 

INTRODUCTION

1. The urgency of the topic

The Sa Huynh culture, belonging to the early Iron Age, was primarily distributed in central Vietnam. Over a century of research has resulted in the discovery of more than 100 archaeological sites, many of which have been excavated and studied on a large scale. Along with these new discoveries and research, the incredibly rich collection of jewelry provides much new material for the study of the Sa Huynh culture.

Jewelry is a common and distinctive type of artifact in the Sa Huynh culture. Numerous studies have been conducted on Sa Huynh jewelry, including general research and specific studies on particular aspects, such as research on double-headed animal earrings and three-pronged earrings. Generally, published materials show that research on Sa Huynh jewelry has achieved certain results, focusing on various aspects such as types, materials, manufacturing techniques, craftsmanship, and the role of jewelry. However, most studies are still general, the sources are scattered, and there is no comprehensive study on Sa Huynh jewelry. Many issues remain unclear, and some aspects have been little or not studied at all. On the other hand, while material documents and jewelry collections are preserved in many places, some collections have not been processed or studied in detail. Therefore, information about Sa Huynh culture jewelry is still incomplete, and understanding of Sa Huynh culture jewelry remains limited. A systematic and comprehensive study is needed, encompassing all aspects such as typology, materials and sources of raw materials, and production techniques. The study should investigate the origins and relationships of Sa Huynh culture by comparing it with preceding and subsequent cultures, its relationship with contemporary cultures in Vietnam, Southeast Asia, and other regions, and clarifying the role of jewelry in the lives of Sa Huynh culture inhabitants. Accessing new material sources and discoveries is necessary to supplement and provide the most complete understanding of Sa Huynh culture jewelry.

Over the past several years, I have had the opportunity to participate in surveys, fieldwork, excavations, and research at numerous Sa Huynh cultural sites in Central Vietnam. I have had direct access to material documents and many jewelry collections obtained from Sa Huynh cultural relics currently preserved in museums and local sites. I have also had the opportunity to participate in several research projects on the raw materials used in the creation of Sa Huynh jewelry and prehistoric Vietnam in recent years. I find these to be fascinating and extremely important research topics, and furthermore, there are many gaps in the study of Sa Huynh jewelry.

Therefore, the author chose to research "Sa Huynh culture jewelry"This is the topic of my doctoral dissertation in history, specializing in archaeology, with the hope of addressing research gaps and contributing to a new understanding of Sa Huynh culture jewelry in particular and prehistoric Vietnam in general."

2. Research objectives and tasks of the thesis

2.1. To gather research sources on Sa Huynh culture jewelry from the past to the present in order to systematize the source materials and research results on Sa Huynh culture jewelry, thereby providing a comprehensive source of information and ensuring accuracy regarding the research situation of Sa Huynh culture jewelry.

2.2. Classify and statistically analyze jewelry according to typological criteria, typological criteria combined with function, and study the characteristics and changes in jewelry types of the Sa Huynh culture. Research the types of materials and raw materials used in the creation of Sa Huynh culture jewelry to identify material characteristics and understand the origins of Sa Huynh culture jewelry.

2.3. Based on the remaining crafting traces on the jewelry, place the jewelry within the context of the intact stratigraphy and site, and combine this with comparative studies to interpret the jewelry-making techniques of the Sa Huynh culture. Investigate and research the jewelry-making craft, production process, and external impacts and influences through contact, exchange, and trade between the Sa Huynh culture inhabitants and other regions, etc.

2.4. Place the study of Sa Huynh culture jewelry within a broader context, comparing it both diachronically and contemporaneously with contemporary cultures in Vietnam, Southeast Asia, and other regions to clarify the origin, position, and role of jewelry, thereby exploring some issues related to the cultural, social, and economic life of the Sa Huynh culture inhabitants.

3. Subject and scope of the thesis

3.1. Research Subjects: This is a set of jewelry discovered and excavated in all sites of the Sa Huynh culture.

3.2. Scope of the study

Date: Early Iron Age Sa Huynh culture, dating from approximately the 5th-6th centuries BC to the 1st-2nd centuries AD (including later sites extending to around the 3rd century AD such as Hoa Diem, Suoi Chinh, etc.).

Distribution rangeThe author limits the spatial distribution of the Sa Huynh culture to the area from Ha Tinh to Binh Thuan, mainly in central Vietnam.

3.3. Sources used in the thesis

The sources of material and research data include field surveys, investigations, explorations, excavations, and archaeological excavation reports (preliminary and scientific reports), articles in the journal *Archaeology* and the *Proceedings of New Archaeological Discoveries* published annually, monographs, reference books, articles in conferences on jewelry, published scientific research papers, and some articles published in domestic and international scientific journals related to the dissertation topic.

3.4. Issues to be addressed in depth

- Issues related to research materials on jewelry of the Sa Huynh culture.

- To identify the characteristics of Sa Huynh culture jewelry in terms of distribution, materials, types, and crafting techniques. From there, to understand the characteristics, changes, and development of jewelry types, materials, crafting techniques/technology, and origins of jewelry in Sa Huynh culture, etc.

- Analyze the values ​​and roles of jewelry in the lives and relationships of the Sa Huynh culture inhabitants. In-depth analysis of the role of jewelry in cultural and spiritual life, as well as in economic and social life. Research the relationship of Sa Huynh culture with preceding and subsequent cultures, contemporary cultures in Vietnam, Southeast Asia, and other regions, thereby understanding the crafting techniques and origins of Sa Huynh jewelry.

- Based on a synthesis of research results on Sa Huynh culture jewelry, draw conclusions and propose directions for future research. These research directions may include research questions and hypotheses posed in the thesis.

4. Theories and research methods of the thesis

4.1. Approach and Theoretical Basis

The dissertation approaches the subject from theories of social archaeology.,Commercial and trade archaeology, technical archaeology, burial and death archaeology in explaining typological and technical aspects of jewelry making, the raw materials and origins of jewelry, the development of jewelry-making crafts, the role of jewelry in life and relationships, etc.

This dissertation strictly adheres to the principles of dialectics and historical materialism to understand the general laws of human societal evolution, and then applies them to interpret socio-cultural and historical events and phenomena.

4.2. Research Methodology

The research methods primarily used in this thesis are:traditional archaeological methods(,Statistical methods in archaeology.

1. interdisciplinary and multidisciplinary approachesApplying natural science methods to analyze material composition in order to understand the source of raw materials, jewelry making techniques, etc.

5.The thesis's contribution results

5.1. The thesis has built a relatively complete and comprehensive system of documents serving the research of Sa Huynh culture jewelry. It updates new documents to supplement research on Sa Huynh culture jewelry in particular, and prehistoric Vietnam in general.

5.2. Establish and standardize classification criteria for the 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 the Sa Huynh people. Contribute to a comprehensive study of the life of the Sa Huynh culture.

5.4. By studying the relationship of Sa Huynh culture with pre- and post-cultural cultures, as well as with contemporary cultures in Vietnam, Southeast Asia, and other regions, the aim is to clarify many issues related to the origin and techniques of jewelry making. The study examines the crafts and the degree of specialization in jewelry making. Simultaneously, it clarifies the routes of exchange, trade, and maritime commerce, and the system of early port cities during the Prehistoric period. Based on this, the thesis assesses the role of jewelry in the relationships and lives of the Sa Huynh culture inhabitants.

5.5. The research results of this thesis make a significant contribution to the research, exhibition, and preservation work of local museums. It provides materials for studying and researching archaeology, history, and other social sciences and humanities.

6. Thesis StructureBesides the introduction and conclusion, the thesis consists of 3 chapters:

Chapter 1. Overview of research materials on jewelry of the Sa Huynh culture

Chapter 2. Characteristics of Sa Huynh Culture Jewelry

Chapter 3. The Role of Jewelry in the Relationships and Lives of the Sa Huynh Culture Inhabitants

 

CHAPTER 1. OVERVIEW OF SA HUYNH CULTURAL JEWELRY

1.1 Discovery process and research documentation before 1975

The findings and research were primarily conducted by French scholars in the Sa Huynh, Thanh Duc, Phu Khuong (Quang Ngai), Cuong Ha, Co Giang (Quang Binh), and Tan Long (Dong Cuom, Binh Dinh) areas. Most publications by French scholars were outside Vietnam. During this period, jewelry was recorded in reports and studies by French scholars such as Parmentier, M. Colani, O. Janse, and research outside Vietnam by Otley Beyer (1948), Kano Tadao (1946), Fox (1970...) on types of earrings with protrusions, three-pronged earrings, and earrings with two animal heads discovered in Sa Huynh and Southeast Asian cultures. Most notably, there is the research by Ha Van Tan in...Contributing to history a type of earring(1974). The author mentioned the types of stud earrings and double-headed animal earrings that have been 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 presented by the author were later clarified by new discoveries and research after 1975, especially the discoveries of double-headed animal earrings and three-pronged earrings in the Sa Huynh culture and some other areas in Vietnam.

1.2. The discovery process and research documentation after 1975

1.2.1. New findings on relics and jewelry of the Sa Huynh culture:From 1975 to the present, a series of new relics belonging to the Sa Huynh culture have been discovered, explored, and excavated in various locations, and jewelry has also been found in most Sa Huynh cultural sites/relics from Ha Tinh to Binh Thuan.

1.2.2. Research materials on Sa Huynh culture jewelry after 1975:nBesides excavation reports, announcements of new discoveries, and general research on the Sa Huynh culture, there is also research on jewelry of the Sa Huynh culture. Jewelry research is always closely linked to general research on the Sa Huynh culture. The main research topics/issues include typology, materials used in jewelry making, manufacturing techniques, jewelry-making crafts, research on the role of jewelry in life and the relationships of exchange within the Sa Huynh culture, etc.

Studygeometric typeThe main focus of research on Sa Huynh culture jewelry is the study of its various types of earrings, including those with two animal heads, three prongs, four prongs, and hoop earrings, as well as research on the materials used in their creation. Beads are also diverse, but there is little research on this type of jewelry. In contrast to the research on beads in Vietnam, the study of jewelry and beads in Southeast Asia and the world is much more prominent, with numerous published studies on beads made of glass, gemstones/semi-precious stones such as agate, garnet, crystal, etc. The research of foreign scholars on beads is valuable material for the study of Sa Huynh culture jewelry.

Studymaterials and raw materialsThe crafting of jewelry in the Sa Huynh culture is of great interest, and there is a considerable amount of published research, especially studies on the materials such as jade, glass, and gold by researchers both domestically and internationally, including Nguyen Thi Kim Dung, Nguyen Truong Ky, Hirano Yuko, Iizuka Yoshiyuki and colleagues, Andreas Reinecke and colleagues, Hung Hsiao-chun, etc. The results of material composition analysis have been published, partly explaining the characteristics of the materials and the sources of raw materials for Sa Huynh culture jewelry.

Research thejewelry making craftThis is an important aspect of research on Sa Huynh culture jewelry. Research materials on jewelry making in the Sa Huynh culture are scarce, mainly found in general studies of Sa Huynh culture and general studies of jewelry and crafts in prehistoric Vietnam. However, these studies have not specifically analyzed or clarified the development of jewelry making crafts in the Sa Huynh culture; some crafts, such as goldsmithing, are rarely mentioned and there is very little research material available.

StudyThe role of jewelry in daily life as well as in social interactions, exchange, and trade.This is also an important aspect of research on Sa Huynh culture jewelry. Related to this topic, numerous studies have been published in papers on contact with India, the trade of Sa Huynh culture inhabitants, and East-West trade exchanges through Sa Huynh culture jewelry by Nguyen Kim Dung, Lam Thi My Dung, and many others. These studies show that jewelry played an important role in the exchange and interaction between Sa Huynh culture inhabitants and contemporary Vietnamese, Southeast Asian, and world cultures. Jewelry was a valuable product in the exchange, trade, and commerce of Sa Huynh culture inhabitants in particular, and prehistoric Vietnam in general, and played a significant role in the lives of Sa Huynh culture inhabitants.

Chapter 1 Summary.

This thesis systematizes research materials on Sa Huynh culture jewelry from the past to the present and accesses many new sources to clarify research content on jewelry such as types, materials, crafting techniques, the role of jewelry in life and the relationships of exchange, etc. Through this, it shows that besides the results achieved in jewelry research, there are still many issues that need clarification, gaps in research that need to be addressed and clarified further in this thesis.

 

CHAPTER 2: CHARACTERISTICS OF SA HUYNH CULTURAL JEWELRY

2.1. Location and distribution of Sa Huynh culture jewelry

To date, more than 100 early Iron Age Sa Huynh cultural sites have been discovered and studied. The types of sites discovered in the Sa Huynh culture include burial sites, settlement sites, or mixed burial sites, etc. A characteristic feature of Sa Huynh cultural sites is the large number and proportion of burial sites, particularly ceramic coffins. Settlement sites are less numerous; in addition, some settlement sites interspersed with burial sites have been discovered, but these represent only a small percentage of the total number of sites. Many pottery clusters, stone clusters, or pottery-stone clusters have been found in Sa Huynh cultural sites, possibly remnants of destroyed burial sites.

2.1.1. Burial sites:The Sa Huynh culture is dominant and almost overwhelmingly numerous among its various burial types. Burial types such as ceramic coffins, earthen tombs, bronze drum coffins, and ceramic jar tombs are characteristic of the Sa Huynh culture. Among the ceramic coffin tombs, jar tombs are the most numerous, clustered together and exhibiting various jar shapes such as cylindrical, egg-shaped, spherical, oval, and peach-shaped, etc. There is a correlation between the types of burial goods and the types of Sa Huynh cultural relics; however, within each type of relic or burial type, there are differences in the quantity and proportion of artifacts, especially jewelry. Jewelry is found in almost all burial sites, most frequently in jar tombs..

2.1.1.1. Ceramic coffin tombThese include burial jars (cylindrical/tube-shaped, egg-shaped, spherical, oval/peach-shaped), burial pots/vases, and ceramic vessels. The jewelry found in these burial jars is consistent in both form and material; however, each type belonging to different early or late periods has jewelry forms and materials characteristic of that period..

2.1.1.2. Earth gravesNearly 20 Sa Huynh cultural sites contain earthen burials. Burial goods include pottery, bronze, iron, and jewelry made of nephrite, agate, and glass, but in smaller quantities and proportions compared to the jewelry found in jar burials.

2.1.1.3. The burial coffin is a Dong Son bronze drum.Although not numerous, the bronze coffin burials in the Sa Huynh culture record another form of burial practiced by the Sa Huynh people, alongside the predominant ceramic coffin burials. The accompanying artifacts, such as three-pronged earrings and glass beads, clearly demonstrate the distinctive characteristics of the Sa Huynh culture.

2.1.2. Settlement sitesVery few discoveries have been made, and the traces are very faint. Only a few sites have been studied and excavated, such as Tu Village (Quang Nam). In some residential sites, earrings, jade beads, etc., have been found.

2.1.3. Residential and burial sitesThis is a mixed type of site, serving as both a residential site and a burial ground. The burials at this site are typically located within a cultural layer, with some dating back to an early period, while others date to a later period of the cultural layer, etc. The burial goods mainly consist of pottery and jewelry, though in very small quantities compared to the jewelry collections found in the jar burials of the Sa Huynh culture.

2.1.4. Ceramic-stone clusters, ceramic clustersThese artifacts have been found in numerous Sa Huynh cultural sites. These clusters often appear on the same level as jar burials, pot burials, and earth burials, and many of them may be remnants of destroyed jar or earth burials. In pottery clusters and stone pottery clusters at other sites, jewelry made of glass, stone, agate, etc., has also been discovered, but in very small quantities.

2.2. Materials

2.2.1. Stone:There are many different types of stones used in jewelry making; commonly used in prehistoric times were jade, semi-precious stones, and other common stones such as basalt, spilite, etc.

Chalcedony(Fibrous MicrocrystallineChalcedony is a microcrystalline quartz, a very fine fibrous material with parallel or radiating fibers. Its hardness ranges from 6-7 on the Mohs scale, it has a vitreous luster, and comes in many different colors forming color bands. Variations of chalcedony are very diverse, including agate, jasper, flint and chert, onyx, chrystopas, plasma, heliotrope, etc. Agate and agate were commonly used materials in the jewelry making of the Sa Huynh culture.

Quartz (crystalline or crystalQuartz, also known as crystal quartz, comes in many different colors, from colorless and transparent like glass to milky white, smoky, brown, blue, yellow, pink, purple, black, etc., with a hardness of 7 on the Mohs scale. Common types of quartz include crystal quartz, milky quartz, yellow quartz, rose quartz, amethyst, brown quartz, and smoky quartz. Different types of quartz have different compositions, colors, and elemental ratios. Quartz jewelry has been found in many sites of the Sa Huynh culture, with amethyst and crystal quartz being the most common.

Jade:is a term referring to two distinct types of minerals.nephriteandjadeiteThe gemstone is what is truly called.jadeiteIt is very hard, with a hardness of 6.5, metallic and oily, yet sparkling like glass when polished; bright blue is the most valuable. It has a granular structure and small pits when viewed under a microscope on polished pieces. Jewelry in the Sa Huynh culture was mainly made of nephrite jade; jadeite was very rarely used for jewelry making, with only one bead specimen at the Thon Tu settlement site being made of this material.

SerpentineThis material is used to make jewelry, such as the dark green polyhedral beads found in Hoa Diem. Serpentine is usually green, opaque, with a hardness of about 2.5-5, but tends to be lower. It has a waxy or oily sheen, is hard, fibrous/fiber-like, and can be used as a substitute for jade. Geological studies indicate that this material is found in several areas such as the Ma River region and Hiep Duc (Quang Nam), where nephrite and jadeite are abundant.

BerylSeveral specimens of jewelry made from this stone have been found in the jewelry collections of Con Rang and Con Dai in Thua Thien Hue. Beryl is a gemstone that is green (emerald) or pale blue (aquamerine), and some are opaque white, with a hardness of 8. Hexagonal crystal structures are common and are drilled to make beads; these beads have been found in several places around the world.

Other types of stoneThere are several other types of stone used to make jewelry in the Sa Huynh culture, such as talc, basalt, and spilite (slate).

2.2.2GlassGlass jewelry is the most abundant and has been found in many sites of the Sa Huynh culture. Over 40 sites have yielded glass jewelry in various forms such as bracelets, earrings, and beads. Glassware from the Sa Huynh culture is more prevalent than in other contemporary cultures in Vietnam, such as the Dong Son culture (15 sites) and the Dong Nai culture (7 sites).

2.2.3. Metals

2.2.3.3. CopperBronze jewelry found mainly consists of bronze rings, bracelets, hooks, and buttons, in very small quantities. Bronze jewelry is often discovered alongside other types of bronze artifacts.

2.2.3.4. IronIron jewelry is scarce, mainly consisting of rings and bracelets.

2.2.3.3 GoldGold jewelry has been found in some sites, but not in large quantities; it is only found in wealthy burial jars along with jewelry made of precious stones, glass, and other burial goods such as pottery, bronze, iron, etc. The types of gold jewelry found in the Sa Huynh culture mainly consist of beads in the shape of two truncated cones facing each other, in short and long bead shapes like loquats, flower-shaped beads, and smooth and twisted round earrings.

2.2.3.2. SilverSilver jewelry has been found in very small quantities, with some silver beads found in Dai Lanh and other silver artifacts discovered incidentally in Quang Ngai and Binh Dinh. However, only the specimen found in Dai Lanh (currently preserved at the Da Nang Museum) is the most reliable source of information.

2.2.4. Pottery/EarthwarePottery and terracotta jewelry has been found in several Sa Huynh culture sites dating from different early and late periods, especially three-pronged earrings and leech-shaped earrings made of terracotta, some terracotta beads, etc.

2.2.5. Mollusk bones and shellsFound in numerous locations in coastal and island areas. The main forms are beads, rings, ring cores, and also ring sketches, etc.

2.3. Types

2.3.1. BeadsWithin the collection of prayer beads, there are also different types and styles. These include the following types and styles:

Group A, the group of spherical/round beads,This group is the most numerous, including beads with a circular cross-section and various variations based on the bead's cross-section.

Group B, rhombus-shaped bead group:This group of beads has different variations based on their shape and cross-section. The materials used to craft rhombus-shaped beads include agate, crystal, gold, and glass.

Group C, barrel beads):Made primarily of glass and agate. The cross-section is circular or polygonal.

 Group D, cylindrical/tube-shaped bead groupThe beads are mainly made of nephrite jade, glass, agate, and crystal. They are cut into round or polygonal shapes and vary in length.

Group E, special beads/wearing itemsThese are X-shaped beads, beads with two ends tied together.beadgoodcollared bead), acid-etched/carved beads made of agate and agate, round tubular beads with black and white stripes, button-shaped beads, vertical beads, sail-shaped or near-D-shaped beads, animal-shaped beads, gold-plated glass beads (gold plate glass or Segmented Gold-Glass Beads), comma shape, etc.

2.2.2. Earrings

2.2.2.1. Earrings with animal headsThis is the most typical and characteristic type of Sa Huynh culture, with three main types and several variations/styles, primarily made of nephrite jade. Some specimens in the process of being crafted have been found in Dai Lan, along with a complete collection of double-headed animal earrings. Double-headed animal earrings are not found in large numbers, mainly distributed in the mountainous areas of Quang Nam, the Dai Lan area and surrounding regions, and not in archaeological sites in the coastal plains.

2.2.2.2. Three-pronged earringsThese earrings were found in numerous Sa Huynh culture sites, made from earthenware/ceramics, nephrite jade, and glass. There are six main types of three-pronged earrings, each with several variations or different styles. Three-pronged earrings are distributed from coastal plains to mountainous and island regions, throughout most areas of the Sa Huynh culture, with the Quang Nam region having the largest number compared to other areas.

2.2.2.3. Four-pronged earringsFound in very small quantities at some Sa Huynh culture sites. There are two main types, differing in the shape of the ring body (round or square), made of nephrite jade.

2.2.2.4. Square-shaped earringsThese earrings are found in a few locations and are not numerous. They come in various styles, some with a slit for wearing, others without, with round or square holes. They are primarily made of nephrite jade and are small in size.

2.2.2.5. Hoop-shaped earringsFound in numerous Sa Huynh culture sites, these earrings are the most numerous compared to other types of earrings. Basically, hoop earrings are divided into four types, each with different variations, mainly made of nephrite jade and glass.

2.2.2.6. Leech-shaped earringsThese leech-shaped earrings were found in several Sa Huynh culture sites. They are usually made of terracotta, dark brown or reddish-brown in color, with a smooth outer layer and a round or slightly rounded cross-section. Studying this type of earring, combined with the context of its discovery and the age of the artifacts, may reveal a transformation and development of earring styles, and shed light on the origins of three-pronged earrings, etc.

2.2.2.7. Circular EarringsThese earrings are not numerous. They are made of copper, iron, or a copper-lead-tin alloy. The earrings are circular in shape, with a circular cross-section. Circular copper earrings are made from a single piece of copper wire bent into a single piece. These earrings resemble copper rings.

2.2.2.8. Circular earrings with twisted laceFour intact gold artifacts were found in a burial site in Lai Nghi (Quang Nam).

2.2.2.9. Water spinach flower-shaped earringsEight specimens were found at the Con Rang site (Hue), and no other Sa Huynh culture sites have been found where these earrings were made of beryl. Geological studies suggest that beryl originates more from the North than the Central region, with beryl deposits in the North Central region, such as in Nghe An and Ha Tinh provinces, etc.

2.2.3. Loop:Found in many Sa Huynh cultural sites, bracelets were made from various materials such as stone, glass, pottery/terracotta, mollusk shells and bones, etc. Bracelets were usually based on the cross-section of the band, often rectangular, square, trapezoidal, semicircular, triangular, flattened oval, D-shaped, tubular, ribbed, copper tubular bracelets, etc.

2.2.4. RingsBronze or iron rings have been found in several Sa Huynh culture sites, often in the form of a solid, round object without gaps, or a bent copper wire.

2.2.5. Other types of jewelry: bells, brass rings (hooks), brass buttons, ring cores and ring core repair tools, etc. Found in Sa Huynh cultural sites in small quantities.

2.3. Manufacturing Techniques

The richness and diversity of both materials and types of jewelry in the Sa Huynh culture demonstrate the complexity of jewelry-making techniques and the existence of many different crafts within this culture. There are many methods or techniques for jewelry making in the Sa Huynh culture; each type of artifact or each type of material requires specific techniques, but the jewelry making process generally follows a common procedure.

2.3.1. Techniques for crafting jewelry from stones

  Stone ring crafting techniquesThere are various technical forms such as:core drilling techniqueandtechnique of hollowing out the core of a ring-shaped object.

Techniques for crafting earrings from stones:Regarding the crafting of hoop earrings, researchers believe the technique is similar to that used for making bracelets. Studies and experiments have shown that there are two main techniques for making earrings:(a) Rough chipping → indirect chipping → disc-shaped rough chipping → grinding 2 or 1 flat surface → core drilling → grinding, repairing the cross-section → grooving → polishing;and(b) Sawing to create a rough outline → round chiseling to create a disc-shaped outline → core drilling → grinding and repairing the cross-section → grooving → polishing.

The Sa Huynh people may have only used sawing and cutting methods, and may have had a manufacturing method such as:With four pre-existing corners on a square template roughly the size of a three-pronged earring, the craftsman begins the process of cutting notches at the four corners according to the original design as follows: one corner is prioritized for drilling and separating the earring hook, and the other three corners are for the three prongs. Using careful and meticulous cutting and shaping techniques, three inverted V-shaped prongs with parallel concave edges are created. The corners forming the earring hook are then positioned for drilling and separating the core from both sides. After successful drilling, the gap for the earring hook can be easily cut further using a sawing technique.Thus, the entire technique for crafting three-pronged earrings primarily involves sawing, cutting, filing, and shaping; drilling is only used for creating the hook and is the final step in the crafting process.

Sawing, cutting, filing, and shaping techniques were also used to craft the double-headed animal earrings in the Sa Huynh culture. The crafting of these double-headed animal earrings involved various steps, including:The process involves creating a flat, square block of stone, then chipping and shaping it into earring forms using sawing and chipping techniques to create a smooth surface; sculpting the back and belly of the animal using direct adjustment combined with frequent point-by-point filing; cutting or grooving the mouth surfaces; carving the two sides of the animal, creating the ears and eyes, and completing the mouth; and finally, polishing the finished product.

For the four-prong earring style, designer Doan Duc Thanh has experimented and developed a five-step manufacturing process:Separate the material into strips, then smooth both sides and edges of each strip. Drill a hole in the center of the square-shaped workpiece. Use a saw to cut the four diagonal corners of the square, creating four sharp corners with two passes each time, and then perform the final machining.[323, p.274].

Techniques for crafting stone beads

 Techniques for crafting beads from nephrite jade

Experiments and studies have outlined a process for producing jade bead necklaces, including:(1) The initial sketch is created by chipping and shaping the beads into long, thin forms. It is then cut into desired blocks. Small-diameter ring cores or thin pieces of stone are utilized. Once a satisfactory sketch is obtained, the craftsman begins drilling holes; (2) Drilling holes is done using a disc drill. 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 pegs. The sketches at the Bai Tu and Trang Kenh workshops show a predominantly double-sided drilling trend; (3) Grinding and finishing the product: after drilling the holes, the next stage is to color or saw and reshape the beads according to the desired form.n. Drill marks on the beads are shown differently. Experimental drilling for bead fabrication using the disc drilling method shows thatFrom the very beginning of the Bronze Age, disc drills for drilling holes in stone beads were widely used in our country.These tracks are common in Bai Tu and Trang Kenh.

Techniques for crafting agate and agate bead necklaces.There are no studies or experiments on the crafting of agate beads in Vietnam, but comparative research suggests that it may have been done using techniques similar to those in India. In the Arikamedu and Khambhat workshops, the process of crafting agate beads involves different stages, from material selection to product completion, with different techniques used in each stage. The technology for crafting agate beads in some workshops, such as Khambhat in West India, includes the following stages:Selection of raw materials and sources -> drying -> first heating/firingfired in ceramic jars or in simple kilns)Create chipping(performed using a unique technique in South Asia called the technique)Indirect chipping/shaping technique, a method of indirectly breaking something in the opposite direction.(inverse indirect per sensibleand the tool used was an anvil made of deer antler, made of red copper.second heating(Raw stone and rough beads are heated repeatedly and in various stages during the crafting process. During drilling and the final polishing, they continue to be heated, and may also undergo multiple heating cycles. Techniques used include sawing, grinding, drilling (diamond drill bits, jasper), and polishing (mass polishing is possible) -> gfinal firing stage(After drilling and polishing, the beads are heated repeatedly to create a deep orange-red color. After the final heating, the beads are rubbed with sawdust powder mixed with oil to smooth out any abrasions or small cracks, then stored and distributed.)

2.3.2. Techniques for crafting glass jewelry

The process of crafting glassware or glass jewelry involves basic steps and techniques such as:cooking, molding, cutting, sawing, grinding, polishingTypes of bracelets, earrings, and beads used.molding techniqueTo create the shape, after removing the mold, the jewelry undergoes processing through grinding and polishing stages that require the skillful hands of the craftsman. From the traces on the glassware, many researchers believe that in the early period – the period of the centuries BC,Glassware was not manufactured using the blowing technique, but rather employed melting, molding, and post-molding processing techniques that bore many similarities to the bronze manufacturing process.In later periods – from the 2nd and 3rd centuries onwards – glassmaking expanded to include everyday household items such as vases, bowls, and pots. Glassblowing techniques were then employed, primarily through molding and blowing outside molds, as these objects had hollow, geometric shapes with gradually decreasing thickness. While this technique improved compared to earlier periods, craftsmen continued to use the molding technique without a blower when making thicker glassware.

Lada method/techniquein the crafting of monochrome glass beads.Lada TechnologyIt involves placing a thin, pointed Lada tube onto a long tube and winding the glass in a furnace. This furnace has a window through which a metal rod is inserted and pulled from both sides to create a glass cylinder.

Several techniques are used to craft various types of glass jewelry such as bracelets, earrings, and beads. Glass beads are made using certain methods.drawing and molding techniquesFor glass braceletsrotation techniqueFor glass earrings, the double-ended animal-shaped earrings are crafted using a molding technique, compressing the surfaces. Mold marks remain on the surface, on the flat, tapered parts with hooks, on the backs and sides of the animal's belly, and in the pitted areas caused by compressed air bubbles. Hoop earrings with a gap are made using a stretching, bending, and molding technique; the remaining traces are air bubbles in a circular pattern along the earring's shape, and the marks of the compression to create the triangular cross-section are also clearly visible on the top and bottom surfaces of the earring.

2.3.3. Techniques for crafting gold and silver jewelry

Along with analyzing the material composition, the researchers also discussed the techniques used in crafting these gold earrings and beads.sealing techniquesseveral small discs are joined together or with a V-shaped tool, but to be certain, microscopic examination and analysis of the metal samples between the small discs are required. The remaining specimen is made of “filing method" with a kind of "in the middleespecially “bead filing/bead wire filing"

Chapter 2 Summary

This chapter focuses on analyzing and interpreting published documents combined with physical sources such as jewelry collections, the results of several field surveys and studies, and the analysis of the material composition and raw materials used in jewelry making in the Sa Huynh culture. From this, it clarifies the characteristics regarding the distribution, materials, types, and techniques of jewelry making in the Sa Huynh culture. The research results show that the Sa Huynh jewelry collection is rich and diverse in both materials and types, with double-headed or three-pronged animal earrings and agate bead necklaces being characteristic types of jewelry in the Sa Huynh culture. The research results on types, combined with the study of crafting techniques and materials, reveal the transformation and development of some types of Sa Huynh jewelry, especially the relationship and transformation of earring types, proving the indigenous origin of double-headed animal earrings and pronged earrings in the Sa Huynh culture.

 

CHAPTER 3. THE ROLE OF JEWELRY IN VARIOUS WORLDS

RELATIONSHIPS AND LIVES OF THE SA HUYNH CULTURAL RESIDENTS

3.1. Relationships of Sa Huynh culture through jewelry evidence

3.1.1.Vwith Pre-Sa Huynh cultures – the relationship of origins

With the late Neolithic and early Metal Age cultures of the North Central region.: through some types of jewelry such as terracotta leech-shaped earrings. Based on the transformation and relationship of some types of earrings, we can imagine the following transformation:terracotta leech-shaped earrings -> terracotta three-pronged earrings+ Leech-shaped earrings made of stone-> Three-pronged earrings made of jadeand most recently, three-pronged glass earrings.And from this inference, it can be seen that the unique three-pronged earring type in Sa Huynh culture originated from earlier types of earthenware/ceramic earrings, and with the development of techniques and new materials, they were made from various materials characteristic of that period.

Vwith Pre-Sa Huynh cultures

Comparative studies of Pre-Sa Huynh and Sa Huynh jewelry collections reveal similarities and differences in the types and materials used in jewelry making during these periods. Pre-Sa Huynh jewelry was made from bone, mollusk shells, pottery/terracotta, and stone, primarily basalt and spilite, with only a small amount made of nephrite jade. In the Sa Huynh culture, bone and mollusk shell jewelry, and pottery/terracotta jewelry continued to be used, but there was a significant decline in jewelry made from basalt, spilite, and other common stones. Instead, there was an increase in jewelry made of nephrite jade, along with other precious stones, copper, gold, silver, iron, and glass. Overall, the jewelry collection of the Pre-Sa Huynh culture is not as diverse and rich in materials and types as that of the early Iron Age Sa Huynh culture.

With Champa culture

The relationship between the Sa Huynh and Champa cultures is studied based on historical sources, stratigraphic relationships, and artifacts (especially pottery) found in sites dating from the late Sa Huynh and early Champa cultures. Jewelry recorded from excavations and studies at sites belonging to the early Champa culture period is not abundant, mainly consisting of glass and gold jewelry. The similarities are clearly evident in the types and materials, namely beads made of agate, glass, and gold. Analysis of the material composition of glass jewelry samples from several Sa Huynh and early Champa cultural sites also indicates similarities in the material composition used in jewelry making. The major difference in jewelry between these periods is evident in the Sa Huynh culture's jewelry collection, which is incredibly rich and diverse in both form and material. In contrast, the early Champa culture's jewelry collection has significantly decreased in quantity and variety, mainly consisting of glass, agate, gold, and monochromatic glass beads, and some raven-shaped earring-shaped ornaments. Many types of jewelry common in the Sa Huynh culture are completely absent in the early Champa culture; instead, some types of multicolored glass beads, glass beads with interlocking beads, and decorative gold fragments have become more common. Agate jewelry found in Champa archaeological sites is not abundant, even very rare, but in terms of type, it is no different from the Sa Huynh culture, with flat, round, and spherical rhombus-shaped beads used by both the Sa Huynh and early Champa cultures.

3.1.2. Relationship with contemporary Vietnamese cultures

VDong Son cultureThe influence of the Dong Son culture on the Sa Huynh culture was stronger than the influence of the Sa Huynh culture on the Dong Son culture. Conversely, the influence of the Sa Huynh culture on the Dong Son culture was rather weak; current findings mainly show it through certain types of jewelry, such as three-pronged earrings and double-headed animal earrings found in Dong Son culture sites like Xuan An, Dong Mom, and Lang Vac (Nghe An). These sites are distributed in the North Central region – the border area between the Dong Son and Sa Huynh cultures – and are rarely found in the northern part of the Dong Son culture. The interaction between these two cultures is clearly evident in the relics and artifacts; here, elements of the Sa Huynh and Dong Son cultures coexist, as shown in the Bai Coi site.

Dong Nai cultureThe influence of Sa Huynh culture on Dong Nai culture is manifested through the types of burial jars, pottery funerary objects, and especially jewelry found at many sites in this area. Sa Huynh culture spread and strongly influenced the southern region, as evidenced by the double-headed animal earrings and three-pronged earrings discovered at sites belonging to the Dong Nai and Southeast Vietnam cultures during the early Iron Age. Similar to the Sa Huynh culture, the Dong Nai culture also favored the use of various types of jewelry made from different materials such as glass, stone and jade/semi-precious/precious stones, gold, earthenware/ceramics, etc. The jewelry collections of the early Iron Age cultures in the southern region and the Sa Huynh culture show similarities and differences, a strong relationship between these contemporary cultures, and evidence of the crafting of double-headed animal earrings, evidence of the Can Gio glassmaking craft are important documents for studying jewelry making techniques and the craft of making jewelry from stone and glass in this region as well as the Sa Huynh culture.

Central Highlands regionThe origins of the Sa Huynh culture's jar burial method can be traced back to late Neolithic sites in the Central Highlands such as Tra Dom and An My (Gia Lai and Kon Tum provinces). Studies in this region reveal factors contributing to the early stages of the Sa Huynh culture and identify connections between the cultures of the Central Highlands and the early Iron Age Sa Huynh culture. Jewelry in the Central Highlands also shows similarities and differences compared to the Sa Huynh culture; studies of jewelry at sites like Lung Leng have partially revealed the characteristics of jewelry from this region.

3.1.3With regard to the Southeast Asian region.

The relationship between the Sa Huynh culture and Southeast Asia is strong, particularly with inland Southeast Asia. This relationship is evident in similarities to jar burial customs and the tradition of jar burials, pottery, and the distribution of jewelry. Many researchers have discussed the jar burial customs of the Sa Huynh culture and Southeast Asia, as well as the relationship between the Sa Huynh culture and inland Southeast Asia through pottery. Sa Huynh culture jewelry, such as double-headed animal earrings and three-pronged earrings, has been found in Thailand (Uthong, Ban Don Ta Phet, Khao Sam Kaeo, and Soan Keo), Cambodia (Samrongsen and newly discovered early Iron Age sites), and the Philippines (double-headed animal earrings and three-pronged earrings found on Philippine islands such as Duzon, Batanes, etc.).

3.1.4. For other areas

With India:The relationship between Sa Huynh culture and India, as seen in jewelry, is very clear. A type of jewelry imported from India into Sa Huynh culture and Southeast Asia includes acid-etched beads, drum-shaped beads with knotted ends, beads with black and white bands, gold or glass jewelry with gold plating, and monochromatic glass beads (Indo Pacific Bead). Besides these trade items, the influence of jewelry making and the adoption of these techniques is evident in various types of jewelry made from different materials such as agate, glass, etc.

With Han (Chinese) cultureContact with Han culture is mainly shown through bronze artifacts such as Western and Eastern Han bronze mirrors, and Wushu coins found in burial jars in Binh Yen, Go Dua, Lai Nghi, Hau Xa II, etc. There are few signs of jewelry indicating a relationship between Sa Huynh and Han cultures during the early Iron Age.

With TaiwanThis relationship stems from the use of jade as a raw material for crafting double-headed animal earrings and three-pronged earrings. Jewelry made from Taiwanese nephrite in the Sa Huynh culture is rare, with only one example of a three-pronged earring recorded at Go Ma Voi. Double-headed animal earrings and three-pronged earrings, which are common and proven to originate from the Sa Huynh culture, are now distributed across a wide area stretching from the Philippines, eastern Malaysia, central and southern Vietnam, as well as southwestern and eastern Cambodia and the Thai peninsula. The tradition of jade production in Taiwan dates back to approximately 3500-2500 BC and a later period around 1000 years ago. The presence of Taiwanese jade in Southeast Asia is believed to have occurred in two main phases:The first phase, around 2500-500 BC, involved the export of finished products such as bracelets, beads, and axes to the Philippines; the second phase, around 500 BC-100 AD, involved exporting jade from Taiwan to workshops in Southeast Asia..

3.2. The role of jewelry in lifeof residentsSa Huynh culture

3.2.1. In exchange, trade, and commercial activities:It played a crucial role in these activities of exchange, trade, and commerce. The development of economic activities involving exchange, trade, and commerce had a tremendous impact on the transformation of handicraft economic activities, as well as the overall economic life and social life of the Sa Huynh culture inhabitants.

3.2.2.The developmentthe face of the craftjewelry makingand specialized in handicrafts:The richness and diversity of jewelry suggest that in the Sa Huynh culture, the crafts of making jewelry from stone, glass, or goldsmithing were highly developed, and there was probably a certain degree of specialization in some of the jewelry-making crafts within the Sa Huynh culture.

3.2.3The role of jewelry in life. society

Jewelry played a significant role in trade, commerce, and the development of crafts, as well as the specialization of handicraft production. This led to many changes in the economic life of the Sa Huynh culture inhabitants, impacting the agricultural, forestry, and fisheries sectors, and promoting the overall development of the economy. The strong economic development also brought about social transformations, changes in social structure, social stratification, etc. Recent studies based on the body of material concerning burial goods such as jewelry and daily necessities found in tombs have investigated social stratification at several sites such as Con Rang, Lai Nghi, Go Ma Voi, etc. The correlation between tomb types, the quantity of jewelry, and the burial goods is discussed in studies on social stratification and social organization issues of the Sa Huynh culture inhabitants.

3.2.4. Roleof jewelryin ritual, religious activities and spiritual lifeJewelry is not only for beautifying oneself but also holds significance as objects symbolizing good fortune and sacredness, or related to rituals and religious activities, representing a person's power and strength, or signifying their social role through their status and position in society.

Summary of Chapter 3

This chapter primarily analyzes the relationships of the Sa Huynh culture inhabitants with preceding and subsequent cultures, their relationship with contemporary cultures in Vietnam, Southeast Asia, and other regions. It also focuses on the values ​​and roles of jewelry in the lives of the Sa Huynh culture inhabitants. Based on an analysis of the similarities and differences between jewelry collections in different periods, along with comparative studies with other cultures, the author of this thesis explores the origins of jewelry types, the vertical and horizontal relationships of the Sa Huynh culture, and the economic, cultural, social, material, and spiritual life of the Sa Huynh culture inhabitants through the jewelry collections found in all Sa Huynh cultural sites.

 

KCONCLUSION

1. This thesis has systematized numerous research sources on Sa Huynh culture jewelry spanning over a century of study. This systematization reveals that research on Sa Huynh culture jewelry has achieved certain results in studying various aspects of jewelry such as materials, types, manufacturing techniques, jewelry craftsmanship, and the role of jewelry in Sa Huynh culture. The thesis has also updated and supplemented missing sources and sources related to content that has not yet been clarified or researched in Sa Huynh culture. It can be seen that most previous studies have focused on the two-headed animal earring and the three-pronged earring, and related aspects such as materials, manufacturing techniques, their role in life, and their relationship with trade and exchange with other regions. However, the Sa Huynh culture's jewelry collection is very diverse in type, with beads being particularly popular, yet there have been no studies on beads, nor any published documents related to beads in the Sa Huynh culture. To fill this gap, the author has compiled relevant materials to supplement the sources and understanding of beads and other types of jewelry in the Sa Huynh culture.

2. The results of comprehensive research and specific analysis of the materials and types of jewelry discovered in Sa Huynh cultural sites have revealed the basic characteristics of the materials and types of jewelry of the Sa Huynh culture.

Jewelry was found in most sites, showing material consistency across various Sa Huynh cultural relics such as settlement sites, burial sites, settlement-burial sites, etc. However, there were differences in the quantity/proportion of jewelry in different types of sites. Jar burials had the largest quantity, earth burials had fewer, and other burial types or settlement sites had very little. The results of the jewelry distribution study showed a high concentration in burial sites, especially jar burials, and a correlation in the quantity, type, and material of jewelry with other burial goods/artifacts (pottery, bronze, iron). The density of jewelry distribution also showed differences between different sites and areas of the Sa Huynh culture. The study of jewelry distribution density indicated the level of concentration and prevalence of jewelry in different sites and areas of the Sa Huynh culture. Overall, the distribution of jewelry within archaeological sites, as well as the density of distribution and the degree of correlation between jewelry and other artifacts/burial objects in each type of site, is of great significance for studying the life of the Sa Huynh culture inhabitants.

Regarding materialsSa Huynh culture jewelry is made from a variety of materials such as bone and mollusk shells, pottery/earthenware, various stones (common stones such as basalt, slate, nephrite, jadeite, agate, garnet, crystal, amethyst, smoke quartz, beryl), metals (copper, iron, gold, silver), glass, etc. The richness of materials indicates a difference from jewelry collections in preceding and subsequent cultures, and from other contemporary cultures in Vietnam. Analysis of the material composition of glass, stone, gold, and other materials from Sa Huynh culture sites also reveals material characteristics, suggesting the sources and origins of many types of jewelry in the Sa Huynh culture.

Regarding typeThe Sa Huynh culture jewelry collection is diverse in types, including earrings, beads, bracelets, and other jewelry, each with its own variations. The classification results not only reveal the characteristics of each type but also show the relationships between different types of jewelry, as well as the transformation and development in various jewelry styles, in crafting techniques, and in the use of materials. From this, the origins of many types of jewelry in the Sa Huynh culture can be determined. Particularly noteworthy is the relationship and transformation of earrings in the Sa Huynh culture. Analyses of the morphology of earrings such as leech-shaped earrings made of terracotta, three-pronged earrings made of terracotta, stone, and glass, or square earrings, four-pronged earrings made of stone, and several other types of earrings show their interconnectedness and variations in form, material, crafting techniques, etc., and indicate the origins of these types.

The detailed classification of bead types in this thesis has proven and confirmed that beads are a typical type of jewelry of the Sa Huynh culture. Agate beads, along with double-headed animal earrings and three-pronged earrings, are characteristic jewelry types of the Sa Huynh culture. At the same time, the existence of bracelets and other types of jewelry not only shows diversity but also demonstrates 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 along with bells or accessory jewelry such as bronze buttons/hooks and hooks, show that the inhabitants of the Sa Huynh culture exchanged and favored all types of jewelry made from different materials, from bone and mollusk shells, earthenware/ceramics, common stones to jade/semi-precious/precious stones, copper, iron, gold, silver, and glass. The existence of all types of jewelry, made from various materials, is a prominent characteristic of Sa Huynh culture jewelry from the early Iron Age.

The diversity and richness in materials and types of jewelry in the Sa Huynh culture led to complexity in...crafting techniquesEach type of jewelry, made from different materials, requires specific methods or techniques for crafting. However, the crafting of jewelry from stones still adheres to general stone crafting techniques such as...chipping, carving, grinding, sawing, drilling, polishingHowever, each type of stone has a different structure and composition, and each type of jewelry also has its own shaping steps as well as different techniques and processing methods, such as in the crafting of beads and jewelry from nephrite jade and jewelry from agate, etc.

The study also revealed glassmaking methods and techniques similar to those used in modern folk glassmaking, and the analysis of prehistoric glassmaking techniques indicated that the Sa Huynh culture had developed an innate glassmaking craft with various techniques such as:Blowing technology, which utilizes melting, molding, and post-demolition processing techniques, shares many similarities with the bronze manufacturing process.,rotating technology, etc.Lada TechnologyThis practice was adopted by the inhabitants of the Sa Huynh culture to create their glass jewelry products.

Analyzing the material composition of gold jewelry samples found at Sa Huynh cultural sites has revealed several methods and techniques for crafting this type of jewelry, such as:sealing techniquesand some artifacts made of “filing method" with the type "bead filing/bead wire filing"It's similar to how Western civilizations arrived in Southeast Asia about 2000 years ago. Evidence for jewelry making in the Sa Huynh culture is very weak, only appearing in some of the jewelry found here."

3. The Sa Huynh culture jewelry collection played an important role in the material and spiritual life, and in the interactions and exchanges between the Sa Huynh culture inhabitants and the communities before and after it, as well as with contemporary communities in Vietnam, Southeast Asia, and the world.

Comparative studies of jewelry in cultures preceding and following the Sa Huynh culture have revealed a connection between their origins and the tradition of jewelry use throughout prehistoric and early historical periods in Central Vietnam. Jewelry discoveries from archaeological sites in each period—late Neolithic - early Metal Age, Pre-Sa Huynh, Sa Huynh culture, Sa Huynh-Champa transitional period, and early Champa—show that jewelry exhibits characteristics specific to each stage. The relationship with late Neolithic - early Metal Age cultures is clearly demonstrated through terracotta leech-shaped earrings. This type of earring was mainly found in the coastal areas of Central Vietnam throughout the Pre-Sa Huynh to Sa Huynh periods. The study also points out the inheritance and transformation in the morphology of this type of earring to create a distinctive earring form of the Sa Huynh culture, namely the three-pronged earring, showing the ancestral relationship and proving the indigenous origin of the three-pronged earring of the Sa Huynh culture.

Studies and classifications of different earring types in the Sa Huynh culture also indicate a relationship with Pre-Sa Huynh cultures, such as the four-pronged earrings found in Long Thanh and the four-pronged earrings found in the Sa Huynh culture at Go Que and other sites. Morphologically, the Pre-Sa Huynh and Sa Huynh four-pronged earrings are quite similar in shape, differing only in size and some points on the prongs. Furthermore, these four-pronged earrings share many similarities with the three-pronged earrings in the Sa Huynh culture, thus supporting the idea that four-pronged stone earrings are a precursor to three-pronged earrings in the Sa Huynh culture. Based on the similarities in material and earring morphology, the author of this thesis agrees with the opinions that three-pronged earrings originated from four-pronged earrings. Simultaneously, it is suggested that there is a connection between the various earring types in the Sa Huynh culture, including terracotta leech-shaped earrings, three-pronged, four-pronged, square, and hoop-shaped earrings. The similarities in earring styles, as well as the variations and development of earring styles across cultural periods from early to late, demonstrate the indigenous origin of three-pronged or two-headed animal earrings in the Sa Huynh culture. Research into Champa culture jewelry collections indicates that early Champa inhabitants continued to use some types of jewelry made of agate, glass, and gold, similar to those in the Sa Huynh culture. The disappearance of some types of jewelry made from other materials in Champa culture still raises questions, but it may be due to differences in jewelry needs between Champa and Sa Huynh cultures.

Jewelry evidence reveals that the Sa Huynh culture had connections with other contemporary cultures in Vietnam, Southeast Asia, and other regions. The collection of jewelry shows the influence and spread of various types of jewelry, such as the three-pronged and two-headed animal earrings, a typical example of the Sa Huynh culture, to many different areas in Southeast Asia. Furthermore, the Sa Huynh people also received and exchanged many products and techniques for jewelry making from Southeast Asia, India, China, Taiwan, etc. This multi-directional exchange contributed significantly to expanding the maritime trade network and promoting the development of handicrafts, contributing to the overall economic development and impacting social changes and cultural and spiritual life.

Jewelry played a significant role in the lives of the Sa Huynh culture inhabitants. The Sa Huynh people had an incredibly rich spiritual life; jewelry was not only used for adornment but also widely employed in daily life as well as in rituals and religious activities. The craft of jewelry making flourished among the Sa Huynh people. Besides the craft of stone jewelry making, which reached its peak and certainly showed specialization in production, jewelry products not only served the Sa Huynh people but were also traded with contemporaries in Vietnam and Southeast Asia. The Sa Huynh people's domestic and interregional trade and commerce were extremely strong, with jewelry being one of the valuable products within this trade network. The Sa Huynh people not only exchanged but also adopted techniques from outside, while also creating products with a distinct local character. The development of handicrafts and trade activities boosted the economy, brought about changes in social life, and laid the groundwork for the emergence of the early state in the prehistoric period of Vietnam.