5 things not to miss in the Center Vietnam

Hue Royal Tombs
During the era of 1802-1945, Vietnam was ruled by the Nguyen Dynasty. This was Vietnam's last ruling Royal family. There were in all 13 kings in different times. As a mark of tradition the rulers built tombs of their own name around the palace. These tombs are famously known as the Royal Tombs of Hue. Though there were 13 rulers but only seven tombs are found in the site. Due to various only seven of the rulers had tombs built after their name. These tombs form the architectural wonder of Hue and definitely a reason to visit the place.

The seven imperial tombs of Hue are built on a hilly region on the southwestern front of the Citadel, another famous monument of Hue. The kings having their presence in the form of the tombs are Gia Long, Minh Mang, Thieu Tri, Tu Duc, Duc Duc, Dong Khanh and Khai Dinh. These tombs were constructed during their respective reigns and were named after them too. These were very aesthetically built monuments showcasing the taste of the respective rulers.

The tombs showcase the statute of the kings and are built in a way which perfectly synchronizes with the harmony that strings all the monuments in the same tune. The array of tombs presents a picture perfect of poetic setting in the lap of nature. The components which were incorporated in every of the constructions were: : walls, triple gate (Tam Quan Gate), Salutation Court, Stele House, temples, lakes and ponds, pavilions, gardens, and finally the tomb.

In the year 1957, the Royal Tombs of Hue were enlisted as World's Wonders. Unfortunately most of the artifacts are now stolen by the French and the crooks. It is really unfortunate for Hue for losing one of its wonders. Still today Hue has retained its glory and has been regarded as "a masterpiece of urban poetry" by Mr. Amadou-Mahtar-M'Bow, the Director General of UNESCO in 1991.

Some of the tombs of the rulers are:
Minh Mangr
The most majestic is that of Emperor Minh Mang, a staunch follower of Confucianism with many wives, concubines and a small army of children. Planned by the Emperor and built shortly after his death, it is opulent and exotic, and laid out in formal Chinese style.

With the possible exception of Khai Dinh’s monument, no other tomb approaches the level of unity of the elements of Minh Mang's tomb. Its layout and symmetry draws the eye naturally towards the main features, and the architectural balance blends the elements into a pleasing whole.

Tu Ducr
The tomb of Tu Duc, the ‘poet Emperor’, is set in an elegant garden with a magnificent lake and pavilion complex. The centrepiece of the tomb is simplicity itself despite the lavish opulence of his reign (it’s really just a monument – he was buried elsewhere to thwart grave robbers).

Despite his cultural pursuits and desire to achieve a humble lifestyle, it was under Tu Duc that the Nguyen court reached its zenith of lavish opulence. Tu Duc withdrew into court life, seemingly indifferent to the people he ruled, and the brutal treatment of the three thousand artisans and workers pressed into service to build his tomb.

Khai Dinhr
In complete contrast to Emperor Tu Duc's stylish creation, the tomb of Emperor Khai Dinh is appears at first to be an unprepossessing concrete construction. Its interest lies within in an uneasy combination of Vietnamese and European features and the use of fragments of ceramics and glass for decoration.

Nevertheless, Khai Dinh’s tomb is of great interest as an architectural watershed, the cusp between the influences of a Chinese past and a Western oriented future. The lavish embellishments inside the tomb come as a shock after the grimy and rather sombre façade and courtyard. A golden effigy of the Emperor seated on his throne under a magnificent cement canopy extravagantly decorated with ceramic fragments could be regarded as a masterpiece.

Nha Nhacr
The UNESCO Council appraised Vietnamese royal music in the following terms: “Vietnamese royal music represents an elegant and refined music. It deals with the music performed in the imperial courts and on different anniversaries, religious festivals, and on such particular occasions. Of the different categories developed in Vietnam, only the royal music was national.”

Nha nhac (Vietnamese royal music) and its principles came to Vietnam under the Ho Dynasty (1400-1407). The Ho Dynasty, however, only existed for a short time, so nha nhac rapidly fell into oblivion. In 1427, Le Loi defeated the Chinese Ming invaders and liberated the country. However, nha nhac only began to develop in the reign of King Le Thanh Tong (1460-1497) and reached its peak under the Nguyen Dynasty (1802-1945).

Nha nhac is genre of scholarly music. It attracted the participation of many talented songwriters and musicians, with numerous traditional musical instruments.

From now on, nha nhac will have opportunities to preserve, develop and popularize to the public, inside and outside the country.

............