The collection of eleven royal copper cauldrons, varying in size and weight, were forged during the reign of Emperor Nguyễn Phúc Tần, also known as Hiền Vương, between 1648 and 1687. These cauldrons symbolize the strength and endurance of the Đàng Trong government, and all of them were officially recognized as National Treasures in 2015.

Crafted during different periods of the 17th century, the earliest dated cauldron is from 1659, and the latest is from 1684. Inscriptions in classical Chinese characters on some of the cauldrons, such as "nhất song" (one pair), "nhị song" (two pairs), "tam song" (three pairs), etc., suggest that more cauldrons were cast than what remains today. However, due to the upheavals of wars and changes in dynasties, several of these cauldrons no longer exist.

Each cauldron is marked with the era, weight, and number if it's a pair (2 pieces) or a set (3 pieces), inscribed on the rim.

According to historical records, during the Trịnh-Nguyễn conflict that spanned over 200 years, which divided Đàng Trong and Đàng Ngoại, every time the Nguyen lords emerged victorious over the Trịnh lords, they would commission the casting of copper cauldrons as commemorative symbols. The purpose behind this act by the Nguyen lords was to showcase their authority, symbolize the sustainability of their dynasty, and mark their victories against the Trịnh forces in the endeavor to expand their territorial influence to the South.

From the years 1631 to 1684, the Nguyen lords had a total of 11 copper cauldrons cast. These cauldrons were placed in the residences of the lords, specifically Phước Yên (1626 - 1636) and Kim Long (1636 - 1687), rather than being brought to Phú Xuân, the then capital. Presently, these 11 copper cauldrons from the Nguyen Dynasty are situated in various locations: 7 within the Imperial City, 3 in the Hue Royal Antiquities Museum, and 1 at the tomb of Emperor Đồng Khánh.

All of these copper cauldrons are of substantial size and weigh from several hundred to a few thousand catties. At present, within the gardens of the Đại Nội area in Huế, there are seven large copper cauldrons cast during the 17th century under the Nguyen lords' rule over Đàng Trong. In terms of design, size, age, and artistic decorative style, these seven cauldrons can be divided into two groups.

1. Group of cauldrons cast during the Trịnh-Nguyễn conflict period:

This group consists of three cauldrons: one in front of the Kiến Trung Palace, cast in the seventh year of Thịnh Đức (1659); one in front of the Tả Vu House, cast in the eighth year of Thịnh Đức (1660); and one in front of the Hữu Vu House, cast in the tenth year of Thịnh Đức (1662). These cauldrons all have an upright body, wide flared mouth, and raised handles, with four handles attached to the rim. The decorative arrangement features horizontal bands encircling the cauldron. From the top downward, there are nine bands separated by raised ridges. Bands 3, 4, 6, and 7 are narrower, while bands 1, 9, 2, 5, and 8 are wider, adorned with continuous undulating vine motifs forming a closed loop. The wider bands 2, 5, and 8 are the main decorative elements, divided into equal-sized rectangular compartments by vertical straight lines, each compartment showcasing unique floral patterns. The floral decoration forms a complete circle on the band 5 of the cauldron in front of the Kiến Trung Palace. These three cauldrons are nearly equal in weight and size. The cauldron in front of the Tả Vu House is slightly larger, weighing 2582 catties (Vietnamese measurement); it has a mouth diameter of 2.2m, an interior diameter of 1.83m, and a height of 1.05m (including the 1.30m-high handles). The decorative style of enclosed horizontal bands was popularized in Đông Sơn culture, featuring wave-like vine motifs that create a dynamic rhythm.

The decorative motifs include flowers, leaves, birds, and animals. The cauldron cast in 1695 features only flowers and leaves, while the two cauldrons cast in 1660 and 1662 also include birds and animals. The birds and animals on the cauldron from 1660 move counterclockwise, but on the cauldron from 1662, there's a depiction of a creature moving in the opposite direction.

2. Group of cauldrons cast towards the end and after the Trịnh-Nguyễn conflict:

This group consists of four cauldrons, including three dating back to the Cảnh Trị era and one to the Chính Hòa era. The cauldron cast in 1670 is only 8 years after the late cauldron from the previous group, but its design, arrangement, size, and decorative motifs are entirely different, indicating a new direction in development. The two cauldrons cast in 1762, one located on the left side of the Thái Hòa Palace and the other on the right side of the Càn Thành Palace, as well as the cauldron cast in 1684, also on the Càn Thành Palace but on the left side, are the remaining pieces from this group.

Patterns and motifs on the cauldron at the same time Lord Nguyen placed in the Citadel - Hue

This group of four cauldrons varies slightly in size, but their design is entirely uniform. The largest cauldron in this group, located at the Càn Thành Palace, weighs 1390 catties

Among the surviving artifacts and relics from the Nguyen Dynasty, when considering scale and quantity, the collection of contemporary Nguyen Dynasty cauldrons constitutes the most significant assemblage of homogeneous artifacts. Beyond sharing the same type, design (cylindrical shape, deep interior, concave base), and a diverse range of sizes and weights, the collection of Nguyen Dynasty cauldrons also represents remarkable artistic works that showcase the inheritance of the foundational culture of Thăng Long, while simultaneously reflecting the innovative spirit of the inhabitants of the new land, Đàng Trong, during the 17th century. This spirit of innovation is a result of the integration of local culture combined with external influences—a product of interactions with Western culture and the adoption of Dutch copper casting techniques during this period. These pieces serve as notable but rare evidence of the artistic and technical accomplishments of the Nguyen Dynasty's copper casting.

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References:

"Những chiếc vạc trong Đại Nội" (The cauldrons in the Imperial City), Thua Thien Hue Province Official Website.
"Sưu tập Vạc đồng thời chúa Nguyễn" (Collection of contemporary Nguyen Dynasty cauldrons), Hue Museum of Royal Antiquities.