Museum of Cham Sculpture, Da Nang, Vietnam: A Virtual Tour
- devanandpaul
- May 10
- 9 min read
Updated: 4 days ago
Let’s go back in time when temple bells rang through forests, ships moved along the coast, and the air was filled with the aroma of spices. This was the world of the Champa Kingdom, a powerful culture that once thrived in what is now central and southern Vietnam.
The story begins in AD 192, when the Champa kingdom was formed. Cham people were likely sailors from Borneo who settled along Vietnam’s coastline. Over time, Champa became an important trade centre, reaching its pinnacle between the 7th and 10th centuries.
Champa traded with India, China, and Indonesia, which brought wealth, and with it came art and culture. Temples were built. Music, dance, and sculpture thrived. Hinduism flourished in early Cham life.
Today, we can still see this rich history at the Museum of Cham Sculpture in Da Nang. Opened in 1919, it houses over 300 sculptures from 5th to the 15th century.
Cham temples were made of bricks. Hence, artists created sculptures separately and placed them in their temples. The sculptures were of four main types: statues of gods, temple pedestals, pediments, and decorative pieces. The art, although influenced by India, has its own Cham style.
In this blog post, let’s go on a virtual tour of the museum. I have picked 28 beautiful and interesting pieces, each accompanying a photo and a short description. Join me as I explore a world of stone and spirit—a place where the past still lives and the story of Champa continues to shine.
1. A Glimpse into Early Cham Divinity
This is the head of an early Cham god with a halo. His eyes are wide, his lips full, and his curly hair is coiffed neatly, giving him a natural look. And he sports large earrings.
The style was inspired by Indian and Thai art—from post-Gupta period and the Dvaravati culture, respectively—both known for their beauty.
2. A Cham Goddess
Here we see a Cham goddess with a halo, carved in the same elegant style as the male deity. Her hair is tied in a high bun, topped with a crown of three small flowers. She has high cheekbones, wide eyes, and full breasts, and sports a fine necklace and flower-shaped earrings. She stands calm and strong, a symbol of beauty and spirit.
3. Yaksa of Tra Kieu, the Forest Guardian
This statue shows a Yaksa, a spirit believed to guard forests and rivers. Sitting cross-legged, hands resting on his thighs, he looks peaceful.
His thick hair, carved like a wig, and strong features remind us of Indian art from the Gupta period (4th–6th century). Cham artists were clearly inspired by these early forms, but added their own local flavour.
4. Tra Kieu Pedestal with a Linga
This pedestal once stood at the heart of a Shiva temple. It has three parts:
A square base with figurines carved on all sides
Two round layers in the middle (the lower one has carved lotus petals; the upper one might have held holy water).
A linga at the top (a symbol of lord Shiva, the god of destruction and regeneration in the Hindu trinity)
Each piece, found separately, was carefully put together for the museum opening in 1919.
5. Birth of Brahma
This sculpture tells the Hindu story of how lord Brahma, the creator of the universe and the first member of the Hindu trinity, was born. Lord Vishnu, the preserver of the universe and second in the trinity, lies on a giant serpent named Shesha, floating on the cosmic sea. From Vishnu’s navel grows a lotus flower, on which Brahma is sitting, ready to create the world. Brahma is shown with multiple heads, symbolic of his power and wisdom.
6. Tara, the Bronze Bodhisattva
One of the largest bronze statues found from Champa, it shows Tara, a bodhisattva (a being who has attained Enlightenment; worshipped as a deity in Buddhism), who represents compassion.
She is half-nude, with full breasts, and is wearing two layered skirts. She sports a serious look, and has joint eyebrows, flat nostrils, and thick lips—features typical of the Dong Duong art style. Her long braided hair includes a small image of a Buddha Amitabha (most revered Buddhas in Mahayana Buddhism) the front—a symbol of wisdom.
Originally, she held a lotus in her left hand and a conch in her right, both missing now.
7. Shiva, the Cosmic Dancer
This sculpture shows Shiva dancing the universe into being. You can almost hear the beat of his dance.
His arms move in all directions. One hand holds a drum (creation), another holds fire (destruction), still another calms fear, and yet another points to his raised foot—a sign of salvation. His hair fans out as if caught mid-spin.
A ring of fire around him symbolizes the endless cycle of life.
8. Vishnu on Ananta, the Serpent Throne
Here, Vishnu sits cross-legged on the back of Ananta, the endless serpent, whose multiple heads rise behind him like a protective hood.
Three of his four hands hold a mace, a spinning discus, and a conch—his symbols. Lotus, another of his symbol, on his fourth hand, is missing. These symbols represent his power and role in balancing between good and evil.
10. Polo in Ancient Champa
This scene shows a polo match—two riders, each holding a polo stick, race their horses across the field. The horses are strong and swift, their hooves caught mid-gallop.
Polo originated from Persia and spread through China to Southeast Asia. This carving shows the Cham’s interest in sports and how ideas and games travelled far, connecting different cultures.
11. Nandin, the Sacred Guardian of Shiva
Meet Nandin, the divine bull and trusted companion of Shiva. In temples, Nandin is always seen seated facing Shiva’s shrine, like a loyal guardian.
This statue shows him resting, legs folded, tail curled by his side. Around his neck is a string of bells, a sign of his sacredness. His head, decorated with a flower garland and jewelled strings, has a royal look.
12. The Heavenly Dancer
The heavenly dancer portrays an Apsara, a celestial dancer from Hindu and Buddhist mythologies, in a graceful dance posture. The figure is adorned with intricate jewellery and attire, reflecting the Cham artisans’ exceptional craftsmanship and the cultural exchanges influencing their art.
13. Sarasvati, the Goddess of Wisdom
This elegant statue honours Sarasvati, the Hindu goddess of knowledge, music, and arts. Standing gracefully in tribhanga pose, with gentle curves at her neck, waist, and knees, like a soft wave, she reflects classical Cham beauty. She is flanked by two swans (hamsas; symbols of purity and wisdom), who also appear with Brahma.
14. Brahma Watching Over the Universe
This sculpture depicts Brahma with four heads (three visible) so he can watch over the entire cosmos. He rides his sacred swan (hamsa), carrying a sword in one hand to cut through ignorance. The other hand has been weathered.
He wears a sampot (a traditional wraparound cloth similar to a dhoti), with a rounded front flap and detailed side panels embroidered with floral patterns and U-shaped beaded garlands. A two-layered necklace decorated with four-petaled flowers adorns his neck.
15. Dance in the Royal Court
This lively carving portrays dancers performing in the royal court of Champa. The lithe dancers showcase poise with their arms and legs bent. Their tall headdresses, layered skirts, and rich jewellery speak of the royal grandeur.
16. Durga, the Slayer of Demon
This powerful sculpture captures the Hindu goddess Durga in action. Her face looks fierce. She stands firm, having defeated the buffalo demon Mahishasura. Each weapon she holds, each step she takes, tells the story of good conquering evil.
The Cham artists, inspired by Indian styles, brought this moment of cosmic battle vividly to life.
17. Makara, the Sea Beast of Blessings
This is the head of a makara—a mythical creature from Hindu lore, part sea beast, part dragon—its mouth wide open, horns curved back, sharp fangs jutting out. From its jaws tiny dancing figures leap forth, which are symbols of divine energy.
Makara was believed to bring fertility and protect temples.
18. Gajasimha, the Elephant-Lion Sentinel
Gajasimha, a mythical animal in Hindu iconography, has the head of an elephant and the body of a lion. Here, it sports a necklace of bells and is shown raising its trunk proudly.
In ancient Champa, statues of this creature of strength stood guard at temple entrances.
19. Makara in Battle Pose
This makara is not resting—it is ready. Paws raised, jaws wide open, and nostrils flared, it stands like a guardian, in mid-roar.
The makara is often linked to water and rain, and it serves as a mount for gods like Indra. In both Hindu and Cham beliefs, it is a protector—wild, wise, and fierce.
20. The Lion’s Grace
The lion depicted here does not just roar; it holds up a structure above it. Its strong body is raised, front paws planted firmly as the back legs lift with power.
Carved in the Thap Mam style, it has decorative patterns.
21. Dvarapala, the Fierce Gatekeeper
This statue shows a Dvarapala, a guardian of temples. Although weathered with time, it still radiates strength. His left hand grips a thunderbolt, a symbol of divine protection.
His face—with bulging eyes, arched brows, flared nostrils, thick lips, a curled moustache, and a flowing beard—is bold and unforgettable. He wears a serpentine cord across his chest, like an armour.
22. Apsara, the Celestial Dancer
Meet an Apsara frozen mid-movement. Her body curves like a gentle wave. Even in stillness, she seems to sway to a rhythm, celebrating beauty, movement, and spirit.
Her jewellery is detailed down to the last bangle, and her head is crowned with the majestic kirita-mukuta (crown). She wears a richly folded sampot (lower garment).
23. The Dragon-Makara Fusion
This creature is both dragon and makara—a blend of East and South Asian legends. Its pose is tense: front paws folded under, hind legs stretched skyward, jaws open, revealing a sacred pearl.
Dragons symbolized power in Vietnamese culture; makaras, fertility and water in Indian mythology. In this statue they come together—a symbol of how Champa’s art thrived on cultural crossroads, creating creatures that lived in both worlds.
24. Garuda Devouring Naga: A Myth Etched in Stone
In this dramatic scene, Garuda, a divine eagle-like sun bird and the mighty bird-human vehicle of Vishnu, devours naga, a water serpent.
Garuda has the wings, claws, and beak of a bird but the strength of a god. Naga, his eternal rival, symbolizes the earth’s waters. Together they convey an ancient truth: that nature’s forces are always in balance, sometimes in harmony, sometimes in discord.
25. Elephants in Cham Culture
In Champa, elephants were not just beasts of burden; they were sacred and beloved. Used in work, war, and worship, they held a special place in the Cham’s daily life and religious belief.
The Cham sculptors captured elephants with remarkable realism and grace. You will see them on temple towers, base panels, and rooftops. They are a symbol of strength, wisdom, and the close bond between people and nature.
26. Sarasvati, Seated in Serenity
This sculpture depicts Sarasvati, the Hindu goddess of knowledge, music, and arts, and the consort of Brahma. She sits cross-legged, leaning gently against a stone backrest, her face calm and softly smiling. A carved swan (hamsa)—her sacred vehicle symbolizing wisdom—appears at the base.
Her bare upper body, with full breasts and three curved lines below, reflects traditional Cham art’s symbols of fertility and life.
Balarama, the Guardian of Fields
Balarama, the god of farming and strength, takes a relaxed yet powerful pose here with one leg tucked, the other ready—the Javanese squat.
In one hand he holds a rosary, linking the spirit to soil. Resting on his shoulder is a plough, the symbol of agriculture.
Behind him there is a decorative flame-shaped panel, which reminds us of the sacred spark that keeps the cycle of life turning.
Shiva, the Cosmic Balance
This sculpture of Shiva shows him seated on a yoni—the base, which symbolizes the goddess Shakti, the consort of Shiva. Together with the linga, its masculine counterpart (now missing), they symbolize the harmony between male and female, the essence of life itself.
One of his hands holds an elephant-goad—to guide the mind; the other, a trident—to master time and space. His third eye, carved into his forehead, sees beyond illusion and burns away evil.
Behind him is a curved back panel shaped like a kut, a type of funerary stone used by the Chams from the 15th century onwards to honour the dead. This may be a reminder of Shiva’s role in the cycle of life and death.
With this, our journey through the soul of Champa draws to a close.
Closing reflections
I thoroughly enjoyed my visit to this museum, and I hope it stirred something in you as well—a flicker of wonder, a quiet awe. May you carry a piece of Champa with you, like a polished stone tucked in your pocket, reminding you that even ruins can sing.
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Dear Dev Anand,
Your insightful exploration of the Museum of Cham Sculpture in Da Nang truly captivated me. Through your vivid descriptions and keen eye for detail, we feel transported into the world of the Champa Kingdom.
You have beautifully brought the ancient artefacts to life, making the virtual tour feel personal and immersive. I would especially like to appreciate how you have woven historical context with artistic interpretation, deepening (introducing) my understanding of Cham artistry and its Indian roots. Your writing not only informs us but stir a genuine appreciation for this cultural legacy. Thank you for sharing your passion so thoughtfully and inspiringly—it truly made an impact.