Image:
Artist Thanh Binh as Phan Dinh Cong (Script "San Hau")
Artist Minh Khuong as Ta On Dinh (Script "San Hau")
Artist Dong Ho as Ngu Tan (Screenplay "Chung Vo Diem Dai Hoi Ky Ban")

The arrangement of motifs on Hat Boi armor is greatly influenced by the yin-yang, dualistic thinking of East Asia. If there is a main motif, there will be a secondary motif, if there is a big one, there will be a small one, if there is a square motif, there will be a round motif, if there is a hot color, there will be a cold color. All are balanced harmoniously and symmetrically above - below, left - right, front - back,...
All pattern illustrations were photographed and drawn by Ta Ngoc Uyen Phuong and Josh Trombley.

First of all, the colors of the male Hat Boi armor - black, red, blue, green, yellow and white - are colors commonly seen in Buddhist ceremonies, in folk beliefs, or in court singing and dancing such as the Ma Tien shirt. In addition, the male armor is also influenced by the forms of court ritual performances, such as the dance "Trinh Tuong Tap Khanh", to wish the king a long life and the country peace and prosperity.

The motif (a) is one of the main motifs, found on the front of the male armor. At first glance, one might think it is a dragon pattern, but considering that this is a costume for generals and military officers; and considering the similarity of this motif on other bas-reliefs and carvings in Asia, it is a tiger-shaped pattern - in this case, Rahu. The “sun-eating” Rahu is a figure in the mythology and folklore of many peoples in Southeast Asia, originating from Khmer and Hinduism through East Asia. It is often depicted as part of a mythical creature with the characteristics of a tiger head and the body of a human or other aquatic being. The head attached to the two front limbs is called Rahu, the remaining part is Ketu. The tiger-shaped pattern is often created “looking from the front, the lion’s nose is bulging, the eyes are bulging, the eyebrows are thick and high, the fangs are sharp and the incisors are often missing” (Nguyen Du Chi, 209). The Rahu on the male armor has a mane, resembling the image of a dragon, and is embroidered with the word “Nham” on the forehead, holding an object in its mouth with a part of the word “Tho” pattern commonly seen in Vietnamese art. This pattern represents strength, power, and protection for the wearer.

Symmetrical to pattern (a) is pattern (b) on the back of the male armor. In terms of shape, pattern (b) may resemble a stylized moth. But in the decorative context, this pattern may be a top-down view of a phoenix (or phoenix) spreading its wings in flight, with a long tail curving to both sides. The phoenix is a very popular symbol in the traditional art of many Asian cultures, especially in Vietnamese and Chinese art. This pattern on the armor is made symmetrically, with additional small patterns on the body and on both sides of the wings, created by the method of blocking embroidery, combined with the technique of applying fabric without folding the edges and adding reflective material. Inside the main patterns are also quilted to create depth for the overall look.

The mascot motifs on the Hat Boi costumes, such as the three illustrations above, are collectively called “the face of a fool”. The face of a fool is a derivative of the dragon, with a mane and a high protective character. In Vietnamese and East Asian art and architecture, the dragon is a combination of many species, with many motifs with many different meanings and applications. On the male Hat Boi armor, we can find dragons and tigers, dragons with flowers and leaves, clouds transforming into dragons, etc. These motifs are displayed symmetrically to each other and symmetrically above and below with the main motifs (a), (b), opposite each other on both sides of the shoulder, and facing the artist.

These are additional motifs to the main motifs. These motifs are stylized from objects in daily life, in nature such as clouds, sky, grass, trees, flowers and leaves. They are interspersed with dragon and phoenix images to suit the layout and overall. Not only that, the cloud and flower motifs are stylized and interwoven with the mascots, also creating a mysterious and space in the sky, the sacred realm.

Image:
Artist Ngoc Giau as Dao Tam Xuan (Script "Tram Trinh An")
Artist Kieu My as Chung Vo Diem (Script "Chung Vo Diem's Great Conference")
Artist Anh Thi as Phan Le Hue (Script "Phan Le Hue breaks the flood battle")

Compared to the majestic and imposing appearance of the bully face motifs on the male armor, the bully faces on the female armor are somewhat more lovely and approachable. Perhaps because they were created after the male armor, the materials and colors of the female armor are also somewhat more modern. The materials used in the female armor are shiny and soft, such as velvet, satin fabrics, sometimes poly fabrics, and glitter ribbons. Not only using quilting techniques, the female armor is also decorated with sequins, mane feathers, tassels and cardboard. The combination of many contrasting materials not only shows the flexibility of the costume artisan, but also makes every move of the artist under the stage lights many times more vivid.

All pattern illustrations were photographed and drawn by Ta Ngoc Uyen Phuong and Josh Trombley.

The three illustrations above illustrate the recurring appearances of the buffoons on female armor. The distinguishing features of this sacred animal motif are a bulging face, bulging eyes, thick, high eyebrows, a big nose, a tongue sticking out, fangs and a mane. On their foreheads, there is also the character “Nhâm” (the middle stroke is longer than the two strokes above and below). Basically, the buffoons in the three illustrations above are similar, the only difference is the proportions between the five senses depending on the size and position of the motif, to suit the layout.

Butterfly motifs are rarely seen in ancient Vietnamese decoration and architecture compared to sacred animals. On female armor, this butterfly/monkey motif is made symmetrically with the main face on the front body. According to the philosophy of yin and yang, the pairs of motifs are balanced, large and small, with sacred animals and small animals in various stylized forms.

In addition, on the Hat Boi armor, there are also stylized motifs of fish and turtle shells, usually on the two side panels of the costume pants, called "xiem ve". The fish motif often carries the meaning of luck, prosperity and abundance. The turtle is considered a sacred object, symbolizing sustainability and longevity. Turtles appear frequently in literature and history as a sign of good omen. The image of fish and turtles is often used to decorate the royal seals to bestow upon meritorious generals. Sometimes, on the costumes, there are only simple patterns such as fish scales, stripes on the turtle shell, attached with sequins and tassels to create an effect.