Vietnamese Aesthetics through Ca Dao (Folk Poetry)

Ca dao, the folk poetry of Vietnam, is a treasure trove of the nation’s cultural heritage. Within its plain yet heartfelt verses lie the sentiments of ordinary people toward their homeland, villages, romantic love, as well as the knowledge of agricultural practices and life experiences passed down through generations. Ca dao embodies spiritual values, moral principles, and aesthetic sensibilities that contribute to shaping the cultural identity of the Vietnamese nation. 

The aesthetic values in ca dao are expressed through the ways rural people perceive the beauty of nature and landscapes, as well as their ways of praising or critiquing the virtues and flaws of human character. These values are also reflected in the tastes and preferences evident in everyday life. As a form of traditional lyrical folk expression, ca dao does not aim to articulate abstract aesthetic theories; instead, it conveys, oft en unselfconsciously, the aesthetic experiences of ordinary people through call-and- response songs (hát đối đáp) between men and women or simple rhyming verses about the lives of rural laborers. Exploring these aesthetic experiences allows us to discern a distinctive aspect of Vietnamese aesthetics, which constitute an integral part of the Vietnamese character and way of life. 

Vietnamese aesthetics are not only expressed in ca dao but also evident throughout the broader cultural activities of the people, particularly in artistic creation. Yet traditional folk creations in general, and ca dao in particular, may be regarded as a cradle, one of the primordial sources from which the shared aesthetic values of the Vietnamese community have arisen. Therefore, exploring Vietnamese aesthetics through ca dao is an essential endeavor in the process of studying the characteristics and historical development of the nation’s aesthetic thought. Th e essays in this modest book represent only preliminary outlines of the above topic. I hope that further studies will follow this direction, paving the way for a comprehensive work on Vietnamese aesthetics to be accomplished in the near future. I sincerely look forward to the insights and contributions of those who share this interest and of my esteemed readers.
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