Hòn non bộ
Hòn Non Bô (Hahn Nahn Bo ) is the Vietnamese art of making miniature landscapes, imitating the scenery of the islands, mountains and surrounding environment as found in nature. It is a particular local development of the Chinese art of penjing, as was bonsai in Japan.
The phrase Hòn Non Bô comes from the Vietnamese language : Hòn means Island, Non means Mountain, and Bô means a combination of water, mountain range and forest, or it can also mean "imitating the way the scenery looks in miniature".
Hòn Non Bô may be quite large or simple. It was used to grace the courtyard entrance of the traditional Vietnamese home. Throughout Vietnam history, Hòn Non Bô have been built for emperors, generals, and other important people as monuments, decorations, personal vistas, and as cultural icons.
An example of Hòn Non Bô scenery is on display at the Balboa Park, San Diego, California USA.[1]
History
The Au Lac kingdom had been a vassal of the Chinese Western Han Dynasty since 196 B.C.E. and was then annexed in 111 B.C.E. In 679 C.E., there was the creation by Tang Dynasty China of the protectorate general of An Nam (Vietnam).[2] In 939, Vietnamese forces under Ngo Quyen took advantage of chaotic conditions in Five Dynasties-era China to defeat the occupying troops and then to set up an independent state.
Miniature landscape art - undoubtedly a local development of the Chinese penjing style - was first recorded after Vietnamese independence in the year 939. A version of this was the Hòn Non Bô (lit., "island-mountain-panorama"), which is designed to be seen from all sides. People, even the poorest, placed rocks and plants surrounded by water in containers or basins originally carved from stone. (Later these were formed from stucco, and then from concrete.) Individual Hòn Non Bô could be a foot or two in height. Sometimes these were also known as Tiêu Canh, the art of mini-scenes where the tree is the main subject and it is larger than the mountains portrayed. Members of royalty built larger versions up to 20 or 25 feet high (with mountains always larger than the backdrop trees). Almost always one or more of these landscapes were included in the grounds of their palaces and temples to form a part of the sacred enclosure. At some point these were often accompanied by parallel verses in Chinese, stereotyped quotations that everyone knew thanks to popular collections of expressions for use on various occasions. Incense sticks and some miniature figurines might also be a part of their construction. This was done even after Ngo Quyen's death ushered in period of civil strife.[3][4][5][6]
Temples were built with Hòn Non Bô in order to commemorate the deeds of the kings who ruled between the years equivalent to 968 and 1005.[5][7]
From 1225 to 1400, the Trần Dynasty ruled Vietnam and repelled the invading Mongol forces of the Yuan Dynasty in 1258, 1285, and 1288. Most of the magnificent palaces were destroyed in the process. These were subsequently rebuilt, complete with Hòn Non Bô, using the labor of enemy collaborators.[8]
In 1406, the Chinese Ming dynasty king ordered his army to invade Vietnam and confiscate all things related to that culture, such as books and art objects, and bring them back to China. The following year, the interim Vietnamese ruler was caught by invaders, carnage followed, and all works of art and architecture were destroyed—including Hòn Non Bô. Later, the Lê Dynasty (1428-1788) rebuilt many of the devastated palaces and Hòn Non Bô were very popular features in the renovations. Mini-scenes and miniature landscapes made during this period used Cycas revoluta (sago palms) on the birthdays of kings, lords, and elderly high-class people.[9] The scholar Nguyễn Bỉnh Khiêm (aka Trang Trình, 1491–1585) was said to have used a Hòn Non Bô to provide guidance while predicting the fate or destiny of others.[10]
Hòn Non Bô, as well as miniature plants and rocks, are mentioned in Doan Truòng Tân Thanh, a thousand-page book by Nguyên Du (1766–1820).[11] During the Nguyễn Dynasty (1802–1945), the art of miniature plants without much additional landscaping, cây kiêng, flourished. (It was called cây canh in the north.) Kings enjoyed planting pines and junipers; mandarins loved growing Thuja orientalis and Casuarina; intellectuals or other notable figures liked Ficus; and lay people devoted themselves to planting mallow (Malva), Tamarindus indica, and Melaleuca leucadendra. Except for those planted by kings, all trees planted for pleasure by mandarins or lay people had to have their tops bent downward because it was considered impertinent to superiors to have treetops growing upward.[12]
See also
- Bonsai — Japanese art of miniature tree cultivation
- Penjing — Chinese art of miniature tree cultivation
- Saikei — tray gardens using bonsai
- Bonkei - Japanese dry tray landscapes
Notes
- ^ Maren Dougherty "Ocean, mountain, forest — Vietnamese art of hon non bo combines these elements into miniature landscapes" North County Times Friday, August 24, 2007 [1]
- ^ "Vietnam". Worldstatesman.org. Retrieved 2010-12-16.
- ^ Coussins, Craig (2002). The Bonsai School. D&S Books. p. 41.
- ^ Phan Van Lit with Lew Buller (2001). Mountains in the Sea. Timber Press. pp. 41, 43, 82, 84, 105, 119.
- ^ a b "Brief History of Vietnam". Viet Ventures. Retrieved 2010-12-16.
- ^ Stein, Rolf A. (1990). The World in Miniature: Container Gardens and Dwellings in Far Eastern Religious Thought. Stanford University Press. p. 13, note 16 on pg. 277.
- ^ Phan, pp. 45-46.
{{cite book}}: Missing or empty|title=(help)CS1 maint: numeric names: authors list (link) - ^ Phan, pp. 49-50.
{{cite book}}: Missing or empty|title=(help)CS1 maint: numeric names: authors list (link) - ^ Phan, pp. 51-52.
{{cite book}}: Missing or empty|title=(help)CS1 maint: numeric names: authors list (link) - ^ Phan, pg. 53.
{{cite book}}: Missing or empty|title=(help)CS1 maint: numeric names: authors list (link) - ^ Phan, pp. 54-55.
{{cite book}}: Missing or empty|title=(help)CS1 maint: numeric names: authors list (link) - ^ Phan, pg. 58.
{{cite book}}: Missing or empty|title=(help)CS1 maint: numeric names: authors list (link)