A pair of 17th-century stone dragon beds in Ninh Binh features rare carvings where dragon limbs resemble human hands.
Instead of the traditional depiction of dragon limbs with eagle-like claws, the dragons carved on stone beds in Ninh Binh feature limbs shaped like human arms. This unique pair of stone beds is one of a kind and was recognized as a national treasure in 2017.
The temple dedicated to King Dinh Tien Hoang at the Hoa Lu Ancient Capital Historical and Cultural Complex in Ninh Binh.
Within the grounds of the temple dedicated to King Dinh Tien Hoang at the Hoa Lu Ancient Capital Historical and Cultural Complex in Ninh Binh, a pair of intricately carved stone dragon beds is preserved, regarded as unparalleled in Vietnam.
These two beds carved from solid blocks of green stone in the 17th century, are considered unique artistic works.
The stone bed in front of the outer ceremonial gate was carved from a single block of green stone in the 17th century.
In front of the outer ceremonial gate stands one of the stone beds, measuring 46cm in height, 1.27m in width and 1.87m in length, weighing around 1.5 tons. Its rectangular surface is decorated with dragon carvings, while the body panels feature various mythical creatures. The base is designed in the form of kneeling fish-belly legs, with a central stylized tiger face motif. The dragon’s head is large, its mouth open as it holds a pearl, with sharp teeth and horns.
The surface of the stone bed is carved with dragon motifs.
What sets this artifact apart is the depiction of the dragon’s four limbs. Rather than the conventional eagle-claw design, they are sculpted as human arms - slender, elongated, with five soft, bud-like fingers that evoke a distinctly feminine grace.
Two of these hands, positioned at the front, grasp the dragon’s horns and mane. At the rear, one limb appears as a soft, human-like arm pulling at the dragon’s whiskers, while the other retains a more traditional dragon claw, its fingers spread as if suspended in midair.
Vu Thanh Lich, Deputy Director of the Ninh Binh Department of Culture and Sports, noted that this transformation of dragon limbs into dancer-like human arms is unprecedented in the history of Vietnamese traditional art, and even rare within Eastern artistic traditions. The dragon itself is depicted twisting its body and exposing its belly upward - an extremely uncommon posture in historical dragon imagery.
In addition to the stone bed at the outer gate, another long sang is located in the dragon courtyard in front of the main hall of King Dinh’s temple. This piece, donated by the people of Truong Yen, is also carved from a single block of green stone, weighing approximately 2 tons, with dimensions of 56cm in height, nearly 20cm in thickness, almost 2m in length and about 1.5m in width.
The dragon’s limbs are not rendered in the traditional style, but instead take on the form of human arms.Another stone bed stands in the dragon courtyard (in front of the ceremonial hall) at the temple dedicated to King Dinh.At the center of the stone bed, a large dragon is intricately carved, coiled across the surface, its head facing east.A mysterious human hand (circled in red) appears on the dragon’s body, with a thick, masculine arm.Instead of the traditional eagle-like talons, the limb is depicted as a human arm and hand (circled in red).The two stone beds, recognized as national treasures, attract large numbers of visitors.
At its center lies a large dragon carved in a coiled position, its head facing east toward Ma Yen Mountain. The dragon symbolizes royal authority while also embodying hopes for favorable weather, abundant harvests and prosperity for local communities.
Crafted by skilled artisans of the past, the dragon features a large body, straight tail and simple scale patterns, with flame-like decorative motifs that convey a sense of freedom and vitality. Its limbs alternate between traditional eagle claws and humanized hands, while the surrounding borders are adorned with motifs such as clouds, fish, shrimp, weasels and rats, reflecting strong folk influences.
In this carving, the dragon’s front limbs again appear as human arms - thicker and more masculine in form - with one hand gripping the horn and the other clutching the mane. Among the rear limbs, one remains a claw, while the other is depicted as a six-fingered human hand grasping the dragon’s body.
According to researchers, both stone dragon beds feature clear composition and embody distinctive elements of traditional Vietnamese aesthetics. They are considered among the most beautiful and representative examples of altar bed carving in Vietnam, notable not only for their artistic value and historical age but also as rare original artifacts.
Today, these national treasures continue to attract a large number of visitors eager to witness their remarkable craftsmanship and the enduring mystery embedded in their design.
Vietnamnet.vn
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