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| A foreign visitor visited the Cham Antiquities Section |
The Cham Antiquities Section has a history of nearly a century, and was once an important part of Khai Dinh Museum, yet it remains relatively quiet amid the stream of visitors to the Hue Museum of Royal Antiquities. Many people come to the Museum to learn about artifacts from the Nguyen Dynasty without knowing that behind Long An Palace lies a separate space devoted to Champa art.
A ‘museum within a museum’
The Cham Antiquities Section (Section des Antiquités Cham) was established on December 26, 1927, at the Khai Dinh Museum, the predecessor of today’s Hue Museum of Royal Antiquities. In 1929, the exhibition officially opened, displaying Champa sculptures collected by the Association of Friends of Ancient Hue, along with artifacts brought from various locations in the Central region.
In the following years, the collection was expanded with artifacts unearthed during excavations in Tra Kieu (Quang Nam), and Mam Tower (Binh Dinh). The works date from around the 7th to the 13th or 14th century, with most carved from sandstone, a material commonly used in Champa sculpture.
After 1945, the space remained closed for a long time. It was not until 2016, after more than 70 years, that the Cham Antiquities Section reopened. At the time, nearly 30 representative artifacts were selected from the Museum’s Champa artifact collection for display.
Mr. Ngo Van Minh, Director of Hue Museum of Royal Antiquities, said that the Museum currently houses 86 Champa artifacts. Of these, 24 representative artifacts have been selected for display in the Cham Antiquities Section, divided into three main groups, including: Tra Kieu, Mam Tower, and Binh - Tri - Thien.
“Some small artifacts, which were previously on display, have now been moved to storage so as to ensure better preservation and prevent loss or damage,” said Mr. Minh.
The Cham Antiquities Section covers only about 100 square meters and is separated from the main exhibition space at Long An Palace. It is because of this location that many visitors leave the Museum after viewing the royal artifacts, without realizing that another collection is housed behind the Palace. One of the current limitations of the Hue Museum of Royal Antiquities is that the Cham Antiquities Section and the Emperor Ham Nghi Space are located separately, making the overall exhibition experience less cohesive.
Foreign visitors are also surprised
Inside this small space, the difference between the Cham artifacts and those of the Nguyen Dynasty at Long An Palace is quite clear. On display are statues, mythical creatures, reliefs, and architectural elements carved in stone.
One of the highlights is a standing male deity statue, collected by the Association of Friends of Ancient Hue in the Nham Bieu area. Nearly life-sized, the statue features finely detailed clothing. Notably, the garment, with its broad and elongated front panel, is considered very rare in Champa sculpture and typically appeared in the early 10th century.
Other exhibits include statues of the Shiva, and the Indra, deity heads, the mythical Garuda bird, mythical creatures, altars, and relief panels, etc. Each artifact offers a glimpse into the beliefs, aesthetics, and craftsmanship of the Cham people.
The Tra Kieu group stands out for its soft and graceful lines, while the Mam Tower’s style is notable for its robust forms, with many decorative details. Artifacts found in the Binh - Tri - Thien area provide further important traces of the Champa presence and cultural exchange in this land.
Mr. Phan Thuan An, a researcher, once noted that the Champa artworks preserved in Hue remain relatively little known, and should be introduced more widely. This would help the public gain a clearer understanding of Champa as one of the important ancient cultural layers that contributed to the cultural landscape of Hue.
Mr. James D., a foreign visitor, described the Cham sculpture exhibition as ‘small but worth seeing’, adding that the information provided about the artifacts was quite good. Ms. Emily, another visitor, said the Museum had interesting artifacts, worth seeing, and that information was provided in both English and Vietnamese.
Notably, the quiet atmosphere of the exhibition has itself become a plus for some foreign visitors. In recent reviews, some visitors said they could take their time viewing the artifacts, taking photos, and learning more about them.
These responses suggest that the Cham Antiquities Section has its own audience: people interested in history, archaeology, and art, who want to gain a deeper understanding of the Central region. The challenge is that the space has not yet been promoted in proportion to its value.
According to Mr. Ngo Van Minh, the Museum will step up efforts to introduce the Cham Antiquities Section to visitors from the reception and guided-tour stages. Artifact captions will be reviewed and updated, while information related to place names and administrative boundaries will also be adjusted accordingly.
“We plan to create a photo book in 2027 featuring the 86 Champa artifacts currently in our collection. This is seen as a way to bring the collection beyond the exhibition space, and reach more researchers, heritage enthusiasts, and visitors,” said Mr. Minh.
QR codes have already been added to some artifacts, allowing visitors to access additional information. The Museum also plans to select artifacts of outstanding value and uniqueness for further research, and to compile dossiers proposing the recognition as national treasures.
Through different historical periods, the Champa artifact collection in the Cham Antiquities Section has always been protected, cared for, and preserved as an integral part of the Museum. It reflects the special position of Champa culture in the formation and development of the distinctive cultural values of Hue.