STEPHEN G. HAW
Journal of the Royal Asiatic Society
Series 3, page 1 of 31
Since their first publication in 1922, two Islamic inscriptions formed an essential basis of the early history of Islam in Champa. Recently, however, they have been shown to have originated, not from Southeast Asia, but from Tunisia. It is clear that either there was an error regarding their provenance, or it was deliberately falsified. The implications of this are discussed, and the remaining evidence of early Islamic presence in Champa is reassessed. It is suggested that there is now no good evidence of any Islamic presence there until after the sixteenth century. In relation to this issue, the maritime links between China and the Islamic world are examined, as also are other examples of possible falsification of history.
Members of the Cham Studies team were honored to participate in the first ever conference on “Binh Dinh Ancient Ceramics – Vijaya Kingdom and Its Relationship with Thang Long Citadel – Dai Viet (11th – 15th Centuries)”. This event in Quy Nhon city hosted international researchers coming from as far as Switzerland, France, Australia, The United States, Brunei, the Philippines, China, South Korea, Japan, Cambodia, among others. Attendees included some of the top experts in the world on topics such as Cham architecture, art history, ceramics, and archaeology. Not only was this an opportunity to share the latest research investigating these subjects, but it was also a chance to visit some of the most famous Cham sites in Vietnam. Included were Duong Long Temple, Banh It Temple, Doi Temple, as well as some archaeological sites such as Go Sanh and Go Cay Me–all of which help to broaden our understanding of Champa, Vietnam’s past, and important intercultural connections within Southeast Asia and elsewhere around the world. Most especially, this event helps us understand the central region of Vietnam more clearly, traditionally known as Vijaya, which was one of the most important historical and cultural centers of the kingdom of Champa from the 11th to the 15th century. Continue reading
Quảng Đại Tuyên (Isvan) – Nghiên cứu sinh, Trường Đại học Queenland, Australia.
Đổng Thành Danh – Trung tâm Nghiên cứu Văn hóa Chăm tỉnh Ninh Thuận.
Kiều Văn Vủ – Nghiên cứu tự do
[Bài đăng trên tạp chí Nghiên cứu và phát triển: Số 6 – 2016]
Sa Huỳnh và Champa là những mảng nghiên cứu thực sự thu hút nhiều sự quan tâm của chuyên gia trong và ngoài nước. Hàng năm, những công trình nghiên cứu về Sa Huỳnh và Champa luôn được công bố để chia sẻ và thông báo những kết quả nghiên cứu đến với giới học thuật và đọc giả. Những trao đổi về các công trình nghiên cứu được công bố cũng thực sự rất sôi động. Trong bài viết này, chúng tôi muốn trao đổi và phản biện về Sách Văn hóa Sa Huỳnh với Đông Nam Á của nhóm tác giả Nguyễn Văn Chừng, Dương Minh Chính, Lê Văn Công, Lê Sơn , Nguyễn Văn Thanh, Lê Quốc Ân, Nguyễn Quốc Chiến được ấn hành bởi nhà xuất bản Hồng Đức (Hà Nội) vào năm 2015. Nhóm chúng tôi đã chỉ ra ba nhận thức sai lầm từ công bố của nhóm tác giả này:  về khoa học: đầy sai lầm;  về quan hệ dân tộc: dễ gây ngộ nhận, mất đoàn kết; từ đó  độc giả phổ thông tiếp nhận tri thức sai lạc và nguy hiểm. Continue reading
Thu Thi Trinha and Chris Ryanb*
Danang College of Econ
omics and Planning, Da Nang City, Vietnam;
University of Waikato Management School, Hamilton, New Zealand
(Received 22 October 2014; accepted 19 May 2015)
[Current Issues in Tourism]
Research on motivations and perceptions of tourists at a cultural heritage site is not rare but the personal and aesthetic context of visitors’ experiences have been neglected in much of the literature on cultural tourist attraction management. Using qualitative methods, this study explores the nature of demand for heritage tourism with particular attention to the appreciation gained by visitors of indigenous Cham culture, its arts of exotic sculptures, and its monuments and architecture. These dimensions describe an evolutionary experience of place that moves some tourists from a position of relatively shallow interest to an almost spiritual position due in some part to the role of the aesthetic that rises from landscape and dance. Continue reading
Thạc sĩ Quảng Văn Sơn
[Bài đăng trên tạp chí nghiên cứu Tôn giáo]
Tôn giáo là một vấn đề không thể không có trong một quốc gia. Phật giáo Đại thừa từng chiếm một vị trí rất quan trọng trong đời sống văn hóa xã hội vương quốc Champa. Bằng nhiều nguồn tư liệu khác nhau, bài viết làm rõ thêm về Phật giáo Champa từ thế kỷ III đến thế kỷ X. Thông qua sử liệu, bia ký, di tích, di vật mang dấu ấn Phật giáo Champa, bài viết phân tích nguyên nhân Phật giáo Champa không còn tồn tại trong đời sống văn hóa xã hội của vương quốc này. Continue reading
The Cham people once inhabited and ruled over a large stretch of what is now the central Vietnamese coast. The Indianized civilization of this Austronesian-speaking group flourished between roughly the third and fifteenth centuries, and they competed with the Vietnamese and Khmers for influence in mainland Southeast Asia, but the Cham territories eventually became part of modern Vietnam. Written by specialists in history, archaeology, anthropology, art history, and linguistics, the essays in The Cham of Vietnam contribute to a revisionist overview of Cham history by re-assessing the ways the Cham have been studied by different generations of scholars of what “Champa” has represented over the centuries of its history. Several chapters focus on archaeological work in central Vietnam and position recent discoveries within the broader framework of Cham history, but there are also discussions of Cham economy, society and culture. Continue reading
NGUYEN THI THU HUONG
the National Museum of Vietnamese History
National museums important role in representing national identities in complex and culturally diverse societies. The National Museum of Vietnamese History was established by the government in 1958 to preserve the country’s national heritage and present a discourse of nation-building from prehistory up to 1945 when the country gained independence from French colonialism. Among the museum’s permanent exhibits, a collection of Champa sculptures is presented in the rotunda, separately from the main historical displays. The Champa Kingdom, approximately from the second to the nineteenth centuries in the present day central Vietnam, is known for its outstanding artistic and architectural achievements. In 1832, Champa was absorbed by Ðai Viêt and Cham people became an ethnic minority group in present-day Vietnam. This paper analyses the representation of the museum’s Cham collection and explores how the politics of display of contested materials has changed through time and in forming national identity construction in the museum. Continue reading
This thesis takes a new look at the art of ancient Champa. Breaking away from traditional studies, it looks at the art not in its ancient Cham context, but rather through its present and recent past contexts.
The study asks “What exactly is Cham art?” To answer this, I examine not only the artworks, but also the museums and exhibitions, the display and classification. After an introduction explaining the background to the research, Chapter 2 contrasts two statues of Ganesh in French museums, tracing their biographies and questioning what constitutes Cham art. In Chapter 3, I examine the architectural line-drawings of Henri Parmentier, which have represented Ancient Champa visually for over a century, revealing the complex temporality within which they mediate between the present and multiple pasts. Chapter 4 looks at the history of the Danang Cham Sculpture Museum through the choices and decisions of the men who have shaped Cham art into what it is today.