You can’t walk far in Hoi An without confronting a mythical beast with a fish’s body and dragon’s head; though they’re found all over northern Vietnam they seem to have struck a particular chord with Hoi An’s architects. One of the most prominent examples tops a weather vane in the Phuoc Kien Assembly Hall, but there are plenty of more traditional representations about, carved into lantern brackets and beam ends, or forming the beams themselves. The carp symbolizes prosperity, success and, here, metamorphosing into a dragon, serves a reminder that nothing in life comes easily. To become a dragon, and thereby attain immortality, a fish must pass through three gates – just as a scholar has to pass three exams to become a mandarin, requiring much patience and hard work.

Another typical feature of Hoi An’s architecture are “eyes” watching over the entrance to a house or religious building. Two thick wooden nails about 20cm in diameter are driven into the lintel as protection against evil forces, following a practice that originated in the pagodas of northern Vietnam. Assembly halls offer the most highly ornamented examples: that of Phuoc Kien consists of a yin and yang with two dragons in obeisance to the sun, while the Cantonese version is a fearsome tiger. The yin and yang symbol became fashionable in the nineteenth century and is the most commonly used image on houses, sometimes set in a chrysanthemum flower, such as at the Tan Ky House, or as the octagonal talisman representing eight charms.

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