Compared to other Asian countries, and according to several art commentators, Vietnam was the earliest to merge into the main stream of modern art, as defined by the West, in both form and content. Such a fact can be easily seen with the coming into existence of Ecole Des Beaux Arts (Indochina’s School of Fine Art) in the early 1930s, with the presence of professors from France.
Western style in technique and the use of color was what the first student generation trained in this school obtained. The techniques however were employed by the graduate artists to depict the aesthetic essence of Vietnamese Art, especially the freedom and generosity of an Asian soul. Such a fundamental beginning had laid the foundation for the younger generations to follow and again led to their success.Vietnam was the earliest to merge into the main stream of modern art, as defined by the West, in both form and content.
In the 1930s, 1940s, and 1950s, the first generation of Vietnam Is modern artists joined in the international market of art and was highly evaluated, in Vietnam as well as overseas. From then on, they gained good reputation and were honored the masters of Vietnam’s modem art. Among them were To Ngoc Van, Nguyen Phan Chanh, Nguyen Gia Tri, Bui Xuan Phai, Le Pho, Tran Van Can, Nguyen Do Cung, Nguyen Lien Chung, Nguyen Tu Nghiem, Duong Bich Lien, and so on.
At present, members of’ the first generation have all gone, except two artists, Nguyen Tu Nghiem (Ha noi), and Le Pho (Paris); nevertliciess, their names leave become almost immortal in Vietnam’s art history.
The wars against colonialists and the U.S. imperialists unintentionally parted Vietnam’s modern art into various styles, each of which has its own way to proceed toward perfection. This was most clearly seen in the differences found in the works of art of the North and South during the separation of Vietnam, the fierce struggles an people’s fighting spirits were reflected on the one hand whereas realism-criticism, romanticism, and escapism into the dream of peace pervaded the art landscape of the occupied South.
Without mentioning the historical situation of the country (temporary separation period during 1954-1975 and a pre-renovation period during 1975-1990), Vietnam’s contemporary art bas always experienced two parallel processes of integration:
- The integration and catching up between the Northern and Southern styles.
- The integration into the international market of modem art writes preserving the traditional genres and the mythical nature of the Oriental. Vietnam’s contemporary art was heart of a nation that underwent relentless upheavals. Peace regained from the wars of national defense has become a unique source of living materials never seen in art else where. And such materials leave provided artists now and in the future powerful inspiration.
Past and Present…Dong Ho Painting
In Northern Vietnam nowadays, the tradition of Dong Ho Paintings, or the “self-portraits” of Vietnam’s earliest folk painting traditions, are well preserved. In 1024, there existed 2,000 paintings of Buddha which served as the foundation of the presently – popular Dong Ho Paintings. And from Dong Ho Village, where stands the great 18-century tombstone produced in Canh Hung Dynasty, on which details of the painting trade were recorded, 17 different clans specialized in wood-block have supplied the market with paintings and sculptures depicting history, daily activities, landscapes, social courtesies, proverbs, ritual ceremonies, caricatures, etc. to convey popular philosophy.
Over time and at present, the Dong Ho traditions are reflected, in various decrees and in both content and composition, in the works of contemporary artists. It could be said, perhaps, that the very touch of popular traces has distinguished Vietnam’s contemporary art from that of the world.
Before 1975, the Northern contemporary art developed in the direction of socialist realism, with the establishment of the Resistance School of Fine Art in the early days of the revolution in the 1940s, and the fighting and working spirits are still depicted in paintings of resistance artists, most of whom are now retired soldiers. These works in the eyes of art collectors reflect the nostalgia for Vietnam’s latest era of heroism. Without seeing the collections of.Art by Vietnamese veteran artists, it would be difficult for us to imagine the longings of an artist behind bars gazing the beaches on Con Dao and Phu Quoc islands, or the spiritual power of Vietnam shrouding over the Ca Mau Mangrove Forest, Sat Forest, and rubber plantations in the Southeast, or on the Hochiminh Trail along Truong Son Ranges when the troops stopped over. During our nation’s struggle for independence and freedom, 45 painters and sculptors from the School of Fine Art and Decoration and the Saigon College of Art took part in the revolution. As participants in the revolution war, the two generations of teachers and students fostered the same patriotic zeal and artistic creativity during the war-time reality.
After 1975, nine out of 45 had fallen down and most of the rest 36 are still invoked in art. Many of them are professors at the Ho Chi Minh City College of Fine Art, and at the same time working artists, Co Tan Long Chau, Le Van Kinh, Nguyen Sang, Huynh Cong Nhan, Quach Phong, Nguyen Van Son, Le Vinh, Hoang Tram… are a few examples.