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Traditional painting in Vietnam

Vietnamese traditional painting can be divided into several types: portraits, landscapes, genre and religious paintings. The paintings were painted on silk or rice paper with water-based paints and ink.

Portraits

Painting portraits, like sculptural ones, were created from memory or from descriptions and memories. A small number of portraits of emperors, dignitaries, and representatives of the nobility have been preserved in pagodas, mortuary temples of royal families and family tombs of large feudal lords. The oldest among works of this kind are the portrait of Nguyen Chai, dating back to the 15th century, the portrait of the scientist Phung Khac Khoan (17th century), and the portraits of two princes Nguyen Quy Duc and Nguyen Quy Canh (mid-18th century). The artist carefully drew facial features and details of clothing, relying on descriptions of relatives or his own memories, so the external resemblance was very approximate. New trends in the portrait genre, which only later (in the work of Vietnamese artists of the 30s of the XX century) would manifest themselves to a greater extent, were first reflected in the works of the artist Le Van Mien.

Landscapes

One of the favorite types of painting among Vietnamese artists has traditionally been landscapes, glorifying the beauty of their native nature. The silk scrolls that have come down to us (XVIII - XIX centuries) represent a series of landscapes executed in the traditional Chinese manner, observing the principles of backstage construction of space and subtle color nuances. The most common characteristic feature of Vietnamese landscape painting is that the image of nature is perceived as idealized, abstract and more expressive of the artist’s mood than the surrounding reality. Subsequently, especially from the beginning of the 20th century, as we became more familiar with European painting, landscape painting underwent significant changes.

Genre paintings

The subjects of works of this kind were very limited and the paintings were mainly for decorative purposes. The main characters, in addition to natural elements, in the works of art of that time are people: “a scientist, a peasant, a craftsman, a venerable old man, a fisherman, a woodcutter, a plowman, a shepherd.” A classic example of such genre painting is the painting “Fisherman Busy Catching Fish.” Vietnamese painting of this period is characterized by static, two-dimensional images.

Pictures of cult content

Religious paintings were also painted with watercolors on silk, rice paper or wood. They are distinguished by a subtle and painstaking writing technique, exceptional care for the smallest details of clothing and furnishings. This, in particular, can be explained by the fact that it was certain clothes and various attributes that helped navigate the complex hierarchy of cult characters. In addition, each master sought to emphasize the highly valued thoroughness of execution, the subtlety of the design and the grace of the brushstroke.

Lubok – folk painting

Luboks occupy a special place in the fine arts of Vietnam. Vietnamese folk painting is a variant of the Russian popular print. The painting is stamped on a wooden board (cliché), then painted, and finally printed on special fiber paper “kei zo”. Paints were made from ash from burning bamboo leaves, straw (black), dyp tree bark (white), yellow stone (red), Sophora flowers (yellow), indigowort (blue), and copper rust (green). A distinctive feature of Dongho splints was the colored background, obtained by adding a decoction of glutinous rice mixed with crushed sea shell powder to the dye. This peculiar coating made the paper more durable, and the mother-of-pearl powder gave the painting a slight shimmer. The so-called Hanoi popular prints are long, picturesque scrolls. Traditionally, hieroglyphs and drawings were applied to the scrolls. Typically, the Vietnamese created cycles of paintings: “The Four Seasons”, “Flowers and Birds”, “Journey to the West”. Sometimes several interconnected drawings were depicted in one picture (“Twenty-four examples of sons of piety”).

Lubki were usually made for various holidays, but mainly for the New Year (according to the lunar calendar) Tet holiday, which is both spring and the main holiday of the year. There are significant differences between popular prints created before the French conquest and after, when paper of a different quality and format and new paints became widespread. The name of the master was never put on the early popular prints, and only starting from the 20th century. we know the names of the most famous masters: Nguyen The Thyc, Vuong Ngoc Long, Tiong Manh Tung, etc. As a rule, entire families were engaged in this trade and passed on their skills from generation to generation. Among the subjects of the popular prints are various wishes on the occasion of Tet, expressed traditionally with the help of images of various flowers, fruits, animals, objects symbolizing prosperity, numerous virtues: peach - longevity, pomegranate - numerous offspring, peacock - peace and prosperity, pig - abundance and etc. In addition, popular prints were edifying, historical, religious (depicting Buddha and body satvas, various spirits), and prints depicting landscapes and the four seasons.

The laconic and expressive style of folk popular prints, their special figurative structure, their inherent optimism and peculiar humor undoubtedly became an expression of certain features of the national character. And already in the first decades of the 20th century, when interest in studying one’s own artistic traditions arose, folk popular prints rightfully began to be given a worthy place in the national heritage.

Lacquer painting

Europe learned about the extraordinary Vietnamese lacquer painting in 1931, when visitors to the World Exhibition in Paris saw the work of students and graduates of the Higher School of Fine Arts of Indochina. For many centuries, the sap of the lacquer tree, which grows everywhere in Vietnam, has been used as a material for creating works of this type of painting. Lacquered screens, vases, trays, boxes and other items were covered with a shiny layer of varnish. The color range of varnish was limited to black, red and brown, so gold and silver powders, inlay with mother-of-pearl and eggshell, and engraving were used as decorative additions. Artists-painters who studied at the Higher School of Fine Arts in the twenties initiated attempts to transfer the charm of lacquer painting to easel painting. And limiting the color options of the varnish was one of the most difficult obstacles. However, little by little this problem was solved. Blue, yellow, and green shades appeared in the palette, and combinations of dyes enriched lacquer painting with purple, lilac, pink, and scarlet colors. However, to this day the technology of varnish painting remains very labor-intensive.

Vietnamese art historians believe that the desire of artists to express themselves in the creation of easel lacquer painting was given the opportunity to be realized only after the August Revolution of 1945. Patriotic people's artists reflected the new socialist reality in their work. Among the first experimenters to work with lacquer paints was Chan Van Kang, now a renowned artist in both oil and lacquer painting. His early lacquer paintings were a success at the Hanoi Exhibition in 1935. Being a great master of the European oil painting technique, Chan Van Kang in his varnish works showed himself to be a deeply national artist. At the 1958 exhibition in Hanoi, lacquer painting first announced itself as a new form of art.

Consistent realist and subtle lyricist Phan Ke An builds his painting “Memories of an Evening in Northwestern Vietnam” (1955) on a contrasting combination of translucent blue-green tones with a light yellow opaque gilding. This painting is significant in concept and romantic in execution. Against the backdrop of the mountains bathed in the evening sun, a chain of soldiers in blue uniforms clearly stands out, descending from the pass into the lowland of the mountain gorge. They walk facing the sun, catching its last rays before leaving into the darkness of the night. The three primary colors yellow, blue, green (not counting a small amount of black varnish) convey the richness of the artist’s emotional intent thanks to a special play of textures and different depths of reflected color.

The golden glow of a dark lacquer surface manifested itself most organically in the composition of one of the strongest masters of lacquer painting, Le Quoc Loc, “Through a Familiar Village” (the painting was shown in Moscow at the international exhibition of fine arts of socialist countries in 1958). The painting “Night Walk” by artist Nguyen Hiem demonstrates the capabilities of lacquer painting in creating a sense of mystery and romance. The use of inlay to enhance the decorative effect can be appreciated in Nguyen Kim Dong's painting "Ceramic Craft" (1958), depicting two potters at work. The alternation of wide planes of eggshell inlay (the white wall of the kiln and the white clothes of the potters) with the simplest colored silhouettes makes the composition so generalized that the picture looks almost like a mosaic or relief.

A description of Vietnamese lacquer painting would be incomplete without mentioning the technique of carved (engraved) varnish, which was especially popular among masters of the 20-30s of the last century. It was usually used to create decorative panels, screens and other interior details. This technique is still used today. On a black or red background of the varnish coating, a pattern is cut out (down to the ground), which is filled with various dyes. An example is Guyn Van Thuan’s painting “Vinh-mok Village”. The crisp engraving, highlighted with subtle light tones, creates a sharp contrast with the shiny and smooth black background. The composition of the painting with a highly raised horizon allows you to unfold a whole panorama of life in the fishing village.

The increased decorativeness of the texture of varnish paints, which allows inlay with other materials, gives this painting a special expressiveness. Vietnamese lacquer painting has evolved from decorative paintings to easel thematic compositions. All genres and all subjects of oil painting became available to her. A seascape, an image of a military campaign in the jungle, a painting of a coal mine, a village scene, an image of a steel mill or a pig farm, even a still life and a portrait. Painting, which was formed during the harsh years of war, reflecting the national dream of happiness and peace, lives and develops in today's socialist Vietnam as an aesthetic expression of the high human spirit.

Vietnamese fine art has always included material as an integral element of the beauty of the work. It is no coincidence that in traditional Vietnamese fine arts the profession of a craftsman received special development and each master was a specialist in his field: there were masters in the manufacture of lacquerware, mother-of-pearl items, craftsmen in the processing of precious metals, pearls, copper, wood, and silk.

Painting with water paints on silk

Vietnamese artists created many works of art based on silk. Among the successful masters working with silk and vividly reflecting real life, it is worth noting: Chan Wang Kang “A Child Reads to His Mother” (1954); Nguyen Phan Chan “The Girl Washes”, “After the Contraction”, “Caring for the Child” (1962, 1970), “Drink Tea” (1967); Nguyen Trong Kiem "The Visit" (1958); Nguyen Van De "Summer Afternoon"; Fan Hong "Walking in the Rain" (1958); Nguyen Van Trung "Moonlight on the Sand" (1976); Tran Dong Luon "Work Group Girls" (1958); Ta Thuc Binh "Harvesting Rice" (1960); Nguyen Thi Hang "Vietnamese Daughters" (1963); Vu Giang Huon "Fish" (1960); Nguyen Thu "Visit to a Village" (1970), "Rain" (1972), "Weaving" (1977); Kim Bak “Fruits of the Motherland”, etc.

The innovation lay in the fact that, using generalized methods embodied on silk, they conveyed real life. Artists deeply and successfully explored the theme of productive labor. The most striking works of this period belong to Nguyen Phan Chan: he creates a new spiritual life in his works, depicts happy women, children, families in days of peace, etc. In the work “Portrait of Chy Dong Tu” (1962) Nguyen Phan Chan shows beauty the female body on soft silk, demonstrating her deep research in art.Another master of this direction in painting is Nguyen Hu (b. 1930). In his work he conveys the transparency of the mountain air, the space and space of his native country. Nature and man are the main characters in his paintings. Nguyen Hu made a significant contribution to the development of modern silk graphics technology.

Published: June 15, 2006

On trends in the development of landscape painting in modern Vietnam. Features of the country's artistic life in modern economic and political conditions.

Autumn fog on Mount We-lin
envelops the trees.
Various colors of herbs, myriads of flowers
decorate the mortal world.

Nguyen Zy “Conversation in Kim Hoa about poetry” XVI century.

Contemporary painting in Vietnam amazes with its diversity of artistic styles. At the same time, there is no clear division into styles and genres - the style of each artist is unique in its individuality, but at the same time, all masters strive to find and express precisely the national Vietnamese ideal. Since ancient times, the Vietnamese people have felt themselves to be an integral part of nature, obeying its rhythms and admiring its strength and beauty. Achieving harmony with nature for the Vietnamese is not only a contemplative and philosophical concept, but also an urgent necessity. Geographers sometimes call Vietnam “the balcony on the Pacific Ocean.” The humid climate and constant flooding forced the inhabitants of these lands to look for an opportunity to adapt to such difficult conditions. The hard work and responsibility of the Vietnamese helped them develop these lands, which were initially not suitable for agriculture. The Vietnamese are rightfully proud of this fact. They have a saying: “In Cambodia they eat rice, in Laos they trade it, and in Vietnam they grow it.” Now rice grown in Vietnam has the most valuable nutritional qualities, and therefore is the same important factor for the economy of this country as oil and gas are for many other countries.

Nguyen Thi Tam, “Village Scene”, Hanoi Museum, silk, watercolor, 60x45, 1990s.

Any Vietnamese is truly a patriot of his land, knowing the names of almost every mountain or river, every beautiful flower. When Vietnamese artists paint nature, they try not to copy any landscape from nature, but to convey their personal experiences from contemplating the beauty of their native country, to express their sincere love for the endless grandeur and diversity of nature. Landscape painting on silk has the most exquisite artistic qualities. The material itself allows you to show the finest nuances of color and convey the changes occurring in the landscape due to weather phenomena. Nguyen Thi Tam in his “Village Scene” depicts a morning landscape after rain. The trees are reflected in the muddy clay water of the bay, and the horizon line is hidden by a foggy haze. In the foreground of the picture are wooden rickety footbridges leading to modest village houses. Before us is a poetic image of the capricious nature with which the Vietnamese are accustomed to living in harmony. Houses are practically flooded with water, and children are having fun carefreely, swinging on the bridges.

Chu Thi Thanh, "Folk Festival in Northwestern Vietnam", Hanoi Museum, silk, watercolor, 70x65 cm.

A typical piece of landscape painting on silk from the 1990s is “Folk Festival in Northwestern Vietnam.” The artist Chu Thi Thanh here achieves a true organic synthesis of landscape and genre painting. The folk holiday is correlated by the master with the elements of nature. It seems as if nature itself is taking part in the celebration: the branches of the trees, bent by the wind, echo the smooth movements of the village dancers, and the mountains serve as a natural backdrop for this joyful scene. There are no local colors in the coloring of the painting. Light shades of green, grayish blue and lemon yellow create a unique major color unity.

Le Kim My, “Northern Vietnam”, Hanoi Museum, silk, watercolor, 60x45 cm.

The artist Le Kim My paints the North Vietnamese view with the same inspiration, but he is attracted not by festive fun, but by everyday work. In the landscape “North Vietnam” he depicts girls walking along the edge of a rice field and carrying wicker baskets behind their backs. The tree trunks are painted graphically by the master, which evokes associations with the traditional painting of China and Korea. The color scheme is dominated by shades of green, conveying the freshness of foliage saturated with moisture. Landscape oil painting became popular at the beginning of the new 21st century, but it tends more toward decorativeness than true picturesqueness. Silk is a familiar material for Vietnamese painters, the lightness, smoothness and transparency of which help them fully demonstrate the richness of their palette. Vietnamese artists began painting in oil on canvas only in the middle of the 20th century. For a long time, work in this technique did not go beyond student attempts to master a new painting method. Only now have artists turning to oil painting begun to actively seek visual means to embody Vietnamese artistic ideals. It is important for any Vietnamese artist to emphasize the special colorfulness that distinguishes the nature of his native country. If in painting on silk masters create a variety of colors due to exquisite subtle combinations of somewhat muted colors, then in oil painting artists reveal the visual and decorative properties of usually local bright colors.

Le Thanh, "Trees in Autumn", private gallery in Hanoi, oil on canvas, 60x75 cm.

We can admire the impeccable beauty of yellow and blue colors in the painting “Trees in Autumn”, painted in oil by an artist named Le Thanh. Some contemporary Vietnamese artists are so passionate about the beauty of local flowers that they create entire seasonal cycles of landscapes. This is, for example, Lam Dak Manh, who created a cycle of more than twenty paintings depicting the central street in Hanoi at different times of the day and year. Color allows you to characterize the colors of a certain season, convey to the viewer the feeling of hot summer or cool winter. Such works are in great demand among European and American collectors and entrepreneurs, and therefore almost every gallery in Hanoi employs a master who can custom-make any type that interests the customer in a certain color scheme. Unfortunately, a painting made in this way does not always have the features of truly high art. It is worth recognizing, however, that both the customer and the artist are usually endowed with good taste, so the Vietnamese art industry rarely stoops to the level of handicrafts. Buyers of Vietnamese art are mainly European intellectuals and large French entrepreneurs, descendants of the aristocratic families of those influential figures who did business in the Asian colony. It may seem very strange that the former aggressors and occupiers invest significant funds in the Vietnamese economy and show more friendly attention to Vietnam than former like-minded people and partners. In France, for example, exhibitions and fairs of Vietnamese artists are held almost every year.

Lam Dak Manh, "Street in Hanoi", Hanoi, artist's gallery, 60x65 cm.

Contemporary Vietnamese painting, which has preserved the unique charm of oriental traditions and absorbed a special sense of modernity, is an important part of world culture. The amazing internal harmony characteristic of this strong and noble people, who withstood the horrors of destructive wars with dignity, gave birth to bright and original art, filled with highly poetic images.

From: Oleg Volkov,  

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The ancient and original art of Vietnam has evolved over many centuries. The talented people of this country have created many wonderful monuments of artistic creativity.

The formation of modern painting took place in difficult conditions and is characterized by a number of features. Its source was the classical art of the Middle Ages, but by the beginning of the 20th century it no longer met new requirements and ideals. The colonization of the country by France clearly affected its development, as a result of which various elements of European culture penetrated into Vietnam. During this period, a rethinking of the medieval heritage took place, due to acquaintance with the best picturesque examples of Europe.
An important role was played by the opening of the Higher School of Fine Arts of Indochina in Hanoi in 1924. Its main emphasis was on teaching the basics of European painting, but old art was also studied. It was in turning to national origins that the progressive significance of this educational institution lay. Many artists studied there, setting the goal of reviving ancient original art. Thanks to their efforts, ancient silk painting is gaining importance again, and a new lacquer technique is being developed. It is these species that are currently of greatest interest.

Su Man, Hoan Van Thuan. Varnish. 1982. Rice cleaning. Engraving on varnish. 1981. 67 X 48.

Silk painting was known back in the early Middle Ages. The old masters wrote on long horizontal and vertical strips of silk or soft rice paper, to which wooden rollers were attached along the edges. Water-based mineral and vegetable paints were used. The finished piece was framed in patterned silk. The rebirth of this ancient art form is associated with the name of the outstanding Vietnamese artist Nguyen Phan Tien, whose paintings were a great success at the 1931 International Exhibition in Paris. For his items, Nguyen Fan Tien chose thin, translucent silk and worked in ink and watercolor. The charm of his works was so great that many of his fellow artists followed the example of the master.
The successes of easel varnish technology were not very significant at first. Artists in the 1920-1930s took only the first steps in mastering it. But decorative varnish paintings have been known in Vietnam since the 2nd millennium AD. The varnish was obtained from the sap of shea and cham trees and left for several months in a dark room. Its topmost layer was used to prepare the best quality black varnish, the second layer was used for mixing with dyes, and varnish resin was used for the primary processing of products. The palette of the old masters consisted of only a few colors - gold, black, brown, red, since other dyes darken when mixed with varnish. Colored compounds were used to cover wooden parts of architectural structures, temple sculptures, furniture, screens, decorative boxes, and vases. The use of varnish in easel painting required a change in technology and color palette.

Nguyen Luon Tsu Bac. Road to the village of Zhao Shan. Silk, watercolor. 1982. 58 X 76.

After the victory of the August Revolution of 1945, national art received a new impetus. The process of its formation was successful, despite the wars with the French colonialists and American aggressors. During this difficult period for the country, progressive Vietnamese artists put their talent to the service of the people. Together with the soldiers of the People's Army, they made long marches and took part in battles. Their sketches and drawings glorified the exploits of soldiers and partisans, and the labor achievements of peasants. Cultural life did not stop. In 1948, two lacquer painting studios began operating in the northern mountainous region of Viet Bac, where painting techniques were improved along with teaching students. In 1950, an art school was opened here, the director of which was the famous painter To Ngoc Van.
During the years of truce (1954-1965), North Vietnamese artists were given ample creative opportunities. Art institutes are reopening in Hanoi and a number of exhibitions are being organized both domestically and abroad. They are evidence of the successful development of new national art, especially easel painting.
How did the work on the piece go? First, the base is prepared. For it they take dry, light wood, sometimes pressed plywood. Several layers of soil from a specially prepared composition, which includes kaolin, fine sawdust and raw varnish, are applied to the board, covered on all sides with cotton cloth to protect it from cracks. Each layer is dried and carefully polished with pumice.
After applying the primer, the board is covered with several layers of black or brown varnish, each of which is also sanded. Then a preliminary drawing is applied, then the master begins to work with varnish paints - corrections are almost impossible here. The surface of the painting is polished first with rice straw and finally with hand. By the 60s, the color palette of easel paintings expanded. White, blue, pink, purple, and various shades of green were added to the traditional colors.

Nguyen Van Thi. Fishermen at the mouth of the Han and Khoy rivers. Varnish. 1982. 125 X 190.

Vietnamese painting reached its real flourishing after the unification of the country. Artists from the North and South were given the opportunity to work together. Over the past years, a galaxy of young talents have been trained in art institutes and schools across the country. The oldest masters continue to work successfully.
One of them is Tran Van Can, honorary academician of the Academy of Arts of the Socialist Republic of Vietnam. He studied in the 30s at the Higher School of Fine Arts. He worked in various techniques, but his talent was most clearly manifested in oil and varnish painting. Chan Wang Kang is always faithful to his characteristic painting style, in which the “free brush” is combined with the use of gold and silver powder. He was one of the first to use this material. Gold powder coated with a transparent brown varnish gave the most beautiful color effects. One of the artist’s latest works, “Thu Kieu and Kim Chong,” was created based on the famous poem by the medieval poet Nguyen Du, “The Lamentations of a Tormented Soul,” which tells the story of the severe trials that befell the lovers. On a black background, a choppy line outlines the figures of a young man and a girl playing the nguet, a national musical instrument. Chan Wang Kang superbly uses the mysterious shimmer of gold on a black lacquer background to convey a feeling of inner tension and anxiety:
...I tuned the lute to be faithful
There were four melodious, restless strings...
Smooth sounds - the breath of the earth,
the whistle of the wind and the hubbub of the cicadas.
Quick sounds like rain
like a swirling waterfall.
The flame flickers in the lamp. Garden
embraced by a strange languor; and to that
Who listened so passionately,
looking into the surrounding darkness,
I want to cry and sing myself.
Other masters use gold powder differently - Nguyen Van Thi and Nguyen Van Binh. In the painting “Fishermen at the Mouth of the Han and Hoi Rivers” Nguyen Van Thi depicted the return of fishermen from a successful fishing trip. In the foreground they are busy mending nets, behind them a group of men carries wet gear to dry. In the background, on the blue-green surface of the sea, there are many boats with unfurled sails. They are clearly drawn against the red background of the sky. To effectively highlight the silhouette of the sails, the master uses an unusual technique - he glues pieces of fabric onto the surface of the painting, and then covers them with thin sheets of yellow foil. The bright beauty of the landscape and the shine of sparkles help the artist convey the mood of festivity.

Quang Tho. Old militiaman. Varnish. 1984. 90 X 120.

In the painting “Landscape in Hao Binh Province” Nguyen Van Binh depicted a small village among flowering trees. The work is distinguished by its colorful sonority - red earth, brownish-yellow bamboo trunks, silhouette of blue-green mountains. The artist uses gold powder to convey the glow of the sky; denser leaves of foil emphasize the clear graphics of the trees. Another means of expressiveness was the inlay with eggshells. The clothes of peasant women and the figure of a horse are filled with it. Shallow recesses are cut out in the varnish, pieces of shell are placed in them, and secured with a hammer. At the same time, a network of picturesque cracks is formed on the eggshell. This technique was first used in the 30s and 40s.
The artist Quang Tho also works with this material. The background for his painting “Old Militiaman” is made using the inner and outer surfaces of the shell, which have different shades of white. Against this conventional, mosaic-like background, the figures of an old man with a machine gun and girls are highlighted. The laconicism of the compositional structure and the dark, disturbing coloring of the picture reveal its main idea - the determination of the Vietnamese people to defend their independence.
Along with painting with varnish paints of large
Traditional varnish engraving has achieved success. Old masters used it to create decorative items. Modern artists perform easel paintings this way. The background is usually varnish, where a design is cut out and filled with tempera or varnish paints. Su Man, Hoan Van Thuan, Nguyen Nghia Zuyen work a lot and fruitfully in the technique of varnish engraving. Their works are characterized by increased decorativeness. The main means of expression is the contrast between shiny varnish and matte, colored surfaces. In Nguyen Nghia Zuyen's Ho Chi Minh and the Pioneers, the cool lacquer sheen is enhanced by the use of warm pinks, reds and purples.

Dang Quy Hoa. The Huk Bridge. Silk, Watercolor. 1982. 45 X 60.

Silk painting remains the most sophisticated form of national art. True, some masters adhere to classical techniques and use natural silk soaked in a special rice water, which prevents the paints from spreading freely. Others write on artificial silk, which is not subject to special treatment. European watercolors are used, much less often - mineral and vegetable ones. To obtain the effect of blurred colors, they also write on wet silk.
Many older artists prefer traditional writing. These include Nang Hien. This master, who did not receive an artistic education, is distinguished by an exquisite painting style. He carefully works with texture, applying paints so thinly that the silvery base of the silk shines through them. He writes in local color planes, outlining them with an expressive line. Adhering to the traditions of classical painting, Nang Hien often decorates his paintings with patterned silk. Portraits of girls from various nationalities of Vietnam occupy a large place in his work.
In painting on silk, the influence of the founder of this art form, Nguyen Phan Tien, is still noticeable to this day. Here, for example, is Huynh Phuong Dong’s painting “Guerrilla Girl from the Cu Chi Region.” She seems to continue the portrait gallery of female images started by her older brother.

Nang Hien. A girl of the Ziao ethnic group. Silk, watercolor. 1980. 40 X 60.

High civic spirit is characteristic of many works by Vietnamese masters, who create works dedicated to the heroic past of their country and the theme of peaceful life. Pham Thanh Liem, in his work “Militiamen of the Metallurgical Plant,” writes about a group of young people heading to a work shift with weapons on their shoulders. Dang Quy Hoa in the painting “The Huc Bridge” depicts the favorite hangout of Hanoians - the bridge on the Lake of the Returned Sword in the center of the capital. This work is associated with the heroic past of the Vietnamese people. Outlining the silhouette of an ancient pagoda in the background, the master seems to be throwing a bridge into the past, reminiscent of the medieval legend associated with the Lake of the Returned Sword. Tradition tells that in ancient times the country was attacked by hordes of enemies. The liberation struggle was led by fisherman Le Loi. One day, when he was sitting in thought on the shore of a lake, a turtle swam out of its depths and gave him a magic sword. Le Loi led his brave army into battle and won a decisive victory, driving the invaders out of the country. And the amazing blade was returned to the turtle, which is what the modern name of the lake reminds of.
Contemporary artists with amazing skill convey in painting on silk the lush blossoming of trees, delicate flower petals, rice fields covered with emerald greenery. Painters are concerned with life in all its manifestations. Here the peasants are rushing to the market in the morning, busy planting rice for the peasant woman. The tonal transitions of transparent watercolor seem to dissolve people and objects in a light-air environment.
The painting of Vietnam today, marked by high artistic merit, demonstrates a living and close connection with the life of the people, and successfully develops the best traditions of ancient national art.

When you look at the stunningly vibrant paintings of a young Vietnamese artist named Phan Thu Trang, they seem to be three-dimensional, and are made of sticker sheets glued to canvas. But upon closer examination it becomes clear that this is “oil on canvas” - and a palette knife. We are already familiar with palette knife painting, when the artist applies paint to the canvas not with a brush, but with the help of a small spatula knife, thanks to creativity and its colorful autumn landscapes. Phan Thu Trang’s paintings are just as colorful, albeit with a predominance of Vietnamese flavor.

Alas, we don’t know much about the work of the young Vietnamese author. The artist was born in Hanoi, graduated from the University of Theater and Film, but did not connect her future with the stage and film cameras, but with painting. So, at the age of 5, Phan Thu Trang took third place in a children's drawing competition, and already at the age of 18 she became a participant in a student exhibition in Hanoi for the first time.

Frankly, we do not know what paintings the young artist participated in the exhibitions with. But if we look at the works that are sold in art galleries today, we can say with confidence that most of all the author likes to paint trees. And those that you can’t tell the time of year. It seems that the paintings depict early autumn with its riot of colors, but it could also be late summer, or a snowy winter...

Multi-colored trees with small figures of their compatriots are a favorite theme of Phan Thu Trang, this is a fact. But nevertheless, neither viewers nor fans of her work complain when they buy up colorful canvases for their apartments, galleries, country houses or offices.
For some time now, Phan Thu Trang has been a member of the Vietnam Association of Young Artists.

Paintings in Vietnam are, first of all, silk and lacquer works of contemporary artists. However, you can also find more exclusive paintings - from butterfly wings, chicken feathers, eggshells, mother of pearl, sand, rice and so on. I will tell you in this article what painting is like in Vietnam, where you can buy paintings, and how much they cost.

Fine art in Vietnam began to actively develop only at the end of the 19th and beginning of the 20th centuries. Before this, local painting largely copied Chinese subjects and techniques. Very few examples of such works have survived to this day. These are various landscapes and portraits made in ink or water paints on silk scrolls. Now they can be seen in historical museums, temples and pagodas.

Everything changed in the century before last, when France colonized Vietnam. European trends have penetrated into all spheres of the country’s culture, including painting. Since then, art schools have begun to open, and many directions have emerged.

Today, the visual arts of Vietnam are represented by both traditional oriental motifs for this country and completely modern, European works. They can be found in art galleries, at private exhibitions, and in stores.

What paintings can you buy in Vietnam?

High-quality Vietnamese paintings are not sold on every corner. If you intend to find a truly unique piece of work, you need to understand what you should generally consider purchasing.

I advise you to pay attention to the following pictures:

• Silk
• Varnish

They will certainly make a good gift or highlight your taste by decorating your interior.

In addition, there are more original works made from:

• Mother of pearl
• Sand
• shells

I will tell you more about all this in the continuation of the article.

Silk paintings

Made in a unique style, with many details, these masterpieces will be appreciated even by those who are far from art. Silk in embroidery allows you to present any, even standard, subject of a painting in a new, memorable way. The work on creating such paintings sometimes takes more than one year; the process itself is very labor-intensive. Therefore, paintings by experienced masters are truly highly valued.

As for prices, the range here is very large. So, a small silk painting can be bought for 900,000-2,700,000 dong. But you need to understand that this is not exactly art - the subjects of such paintings are typical. This is just an inexpensive souvenir that can be presented to friends or colleagues. In addition, there is a possibility that the painting will fade after some time. This indicates that this is a fake. Real silk does not change its color.

Another thing is large-scale exclusive works made in a single copy. Having hung such a picture in your home, you will never hear from your guests a phrase like: “Oh, we have the same one!” As for prices, they range from 1,000,000 dong to 3,000,000,000 dong.

Lacquer paintings are images made with special paints that change color under the influence of varnish. And here the situation is exactly the same as in the case of silk-screen printing: you can find both very simple works and real masterpieces.

The first option is suitable for those looking for an inexpensive gift. Popular prints can be identified as a separate type of such paintings. These are a kind of cartoons and caricatures that play on native Vietnamese comic and everyday stories. Seasoned with local flavor, they arouse great interest among tourists. The technology of their manufacture is very interesting. First, a plot is cut out on a wooden surface, then the artist draws the image on top of the wood with colored paints. It is important to note that these paints are exclusively of natural origin.

You can even buy such paintings in souvenir shops and shops. As for the price, you can find interesting images for up to 200,000 VND.

But if you're looking for something more original, check out art galleries and lacquer factories. There you can buy lacquer paintings at prices ranging from VND 9,000,000 to VND 23,000,000.

Original paintings made from natural materials

To create paintings, the Vietnamese use not only paints and varnish - almost all available materials are used.

Here are just a few of them:

Nacre

Shiny shells that shimmer in the light began to be used for inlay back in the 11th century. Today it is one of the traditional genres in Vietnamese painting. For this purpose, mother-of-pearl is even purchased from China, Singapore and some other countries in Southeast Asia.

The inlay process itself is very complex and consists of several stages:

1. The artist first makes a sketch on paper and then copies it on a wooden base.
2. Next, recesses are cut into the wood into which the mother of pearl will be placed. At the same stage, it is necessary to correctly select and arrange the shells. Different types of mother-of-pearl have their own shades, and they should be combined with each other. The shells are cut on special machines and then glued onto a wooden surface.
3. But that’s not all - the future painting is polished, and then the master manually carves fancy patterns on the shells.

Natural mother of pearl is very fragile, and one careless movement can ruin the work. Therefore, before cutting the shells, they are prepared in a special way: first, they are soaked in an alcohol solution and then heated.

Usually a varnished board is used as a base. Since mother-of-pearl looks best against a dark background, the varnish is often chosen to be almost black. This gives the paintings a mystical character. The most popular subjects are sketches from the life of peasants, animals and plants.

The cost of such paintings is quite high and can reach 10,000,000-15,000,000 dong. The specific price depends largely on the type of shells used and the level of detail. The most expensive paintings can be inlaid with hundreds of thousands of small pieces of mother-of-pearl. However, often souvenir shops sell much simpler things, without much elaboration. Their cost varies between 300,000-800,000 dong.

If you want to find real masterpieces, you need to go to the Chuyên Mỹ community, which is 40 kilometers south of Hanoi. Here, local residents have been making inlay work since ancient times. Their works are sold not only in Vietnam, but also in European countries, Russia and the USA.

Sand

This is a completely new art form for Vietnam, invented by local self-taught artist Tran Thi Hoàng Lan, better known under the pseudonym Y Lan. Since the early 2000s, sand paintings have gained immense popularity far beyond the country's borders, and Yi Lan opened her own company - Ý Lan Sand Painting CO., LTD.

The essence of the technique is that between two vertically located glasses, sand of different shades is poured in a certain order (there are more than 80 of them in total). It would seem that there is nothing special about this, but in fact such work is incredibly complex and painstaking. Indeed, even portraits of people are depicted in sand paintings. If you fill the grains of sand incorrectly, you will have to start all over again.

It is noteworthy that the first paintings by Yi Lan were fairly simple three-color images. Today, the artist’s collection of works includes images of animals, portraits of famous politicians, even logos of major brands. Everything is done with such naturalism that the sand painting is difficult to distinguish from a photograph.

The Yi Lan workshop is located in Ho Chi Minh City, all work is carried out to order, and prices are agreed separately with each client. Of course, there are many imitators who try to copy this technique. Their works are sold in souvenir shops at prices ranging from 150,000 to 250,000 VND. But the level of detail there is completely different.

Often the masterpieces of the famous artist are confused with more primitive “sand paintings”. We are talking about ordinary images (on canvas or wood), which are simply inlaid with small grains of sand. Such things can be found in any market, they are quite cheap (100,000-500,000 dong).

Rice

Rice paintings are also a fairly new technique. The grains of this plant have different shades, depending on the variety. So, rice can be gray, white, cream, yellow, brown, red and even black. In addition, additional tones can be achieved by roasting the beans. And finally, there are round, medium and long grain rice. All this allows you to lay out a variety of drawings from it.

Starting work, the artist draws a sketch of the future painting on a piece of plywood. Then, using special colorless glue and tweezers, grains of rice are glued onto this sketch. This activity requires a lot of perseverance and attention. Rice grains should be smooth and whole. Typically, laying out the grains takes from several days to several weeks. Finally, the painting is exposed to the sun, where it dries.

The subjects of such works can be very different. But most often, artists depict traditional Vietnamese landscapes, animals or birds. There are also portraits – very elaborate ones at that.

As for prices, they directly depend on the size of the painting and image. Thus, miniature landscapes (20x20 cm), in which there are not many objects, can be bought for 600,000-700,000 dong. If the painting is large, detailed, and even custom-made, then it can cost several million dong. Rice paintings are sold in markets and souvenir shops. But there you can only choose something from ready-made works. And if you need a painting to order, you should contact the artist directly.

Shell

Common eggshells are white and ocher in color. Is it possible to create a real picture from it? It turns out yes. You just need patience, accuracy and a lot of time.

The basis for future work is wood or plywood. It is covered with black paint - it is against this background that the eggshell looks most impressive. Then they begin to lay out the drawing. And here, unlike rice paintings, the master has much more opportunities. It can crush the shell into particles of different sizes to more accurately convey the details of objects. Lighter areas are lined with white shells; for others, ocher shells are used. The darkest elements of the picture are not laid out at all - there is a black background for this. At the final stage, the painting is covered with several layers of varnish (there can be more than 10) and sanded.

In other words, shell paintings are a well-known mosaic. They are sold everywhere and cost about the same as rice ones.

In addition, there are more original works made from chicken feathers, butterfly wings, various herbs and plants... Most of them can only be found in certain cities or villages, and besides, this is an amateur art.

Walking along the streets of Vietnamese cities, you will everywhere come across art galleries, exhibitions, and just souvenir shops selling artists’ creations. But we must understand that here, as in any other country, there are real works of art, copies, and even fakes.

In order not to bring a picture printed on a printer with you from Vietnam, you should pay attention to the following points:

• Do not buy paintings in markets and stores that do not specialize in painting. Most likely, you will not buy an object of art, but an ordinary trinket, and even pay exorbitant prices.
• Be prepared to pay a decent amount of money even for a small job. The paintings belong to the category of exclusive goods, so their prices are quite high.
• When purchasing silk and varnish paintings, I advise you to ask the seller for a certificate. It must indicate that the item you purchased is not an antique or piece of art. The fact is that their export outside the country is prohibited.

As you can see, the paintings in Vietnam are quite varied. The price range is also very wide. I hope this article will help you understand local painting and find something to your liking.