PUBLISHED: MART 4, 2011

Palette of happiness - Painting Vietnam of the 1950s

(Hanoi Museum of Fine Arts).

By making a small review of the works of Vietnamese masters in the 1950s, it constantly has to be amazed how modern images created in those harsh times. Fresh and paint paints themselves, as if reflecting the variety of shades of the nature of Vietnam, with a thick greens of tropical plants and azure waves of the wave of Halong Bay, with the golden radiance of sand on the ocean coast and sunflowed rice fields, with a variety of flower bazaar fuss.

From a long time, the artistic culture of Vietnam absorbed all the best achievements and influence from the outside. The formation of the Vietnamese visual tradition was provided by the Confucian Philosophy and Buddhist Culture of China, complex forms and images of Hindu art, and later - styles and directions of art of France. Of course, in the 1950 years, no matter how difficult it is to greatly influence the art of socialism. But at the same time, the history of Vietnamese painting seems to be a ball of bright and durable thread, which has never been interrupted, creating fabrics with patterns expressing the soul of Vietnam. And therefore, probably, we will not see in the art of the Vietnam of the 1950s, neither the instructive intonations of the Confucian tradition, nor the Buddhist abnormality or several proud of the sophistication of the French school, nor a hint of open "polit. Agitation "nor socially owned accent on ideology. Vietnamese painting, if you try to characterize it literally in the "two words", expresses a casual admiration of the simplest daily life, she frozen in the colors a feeling of happiness and dream of happiness at the same time. In general, looking at a quick look at the picturesque works of 1950 from the meeting of the Hanoi Museum, the visitor remains a strange sense of confidence that the answer to the "damned" question "What is happiness and how to find it?" Finally found in the depths of his own heart, melted from ice everyday, warm palette of Vietnamese masters.

Picture of Chan Don Lyon, "Happiness", 1956, painting on the follet

Picture of Chan Don Lyon, created in 1956, and called "Happiness". Images of this picture written on thin silk, as if they appear from the smoke of the morning fog in the mountains of the North Vietnam, where the artist comes from. Silk canvas softens shades, emphasizes the softness of the halftone and the black and white game, saturate all the paints of the work with a golden glow. It is so simple and clearly, elegant and mentally expressed by the artist of the age-old idea of \u200b\u200ba happy family, harmonious relationships developing in harmony with the outside world, with nature. The harmonious connection of the world of people and the world of nature is expressed not only by the plot, but also a colorful solution: the faded bluish-gray peasant suit is echoing with silver-bluish, partly ashes, halftons of the mountains in the distance, employees, in fact, a perspective background of the genre scene. Poor peasant life does not look poor, not associated with a "grave burden" of the people, as it could be read in old textbooks. The underlined modesty of clothing, restraint and serenity of gestures, the idleness of the Seine huts focus our attention on the inner harmony reigning in the hearts of the pictures of people. Maybe someone is inclined to think that all this is only an indicator of "primitiveness" and "backward economy", or the communist "propaganda" of the working and peasant lifestyle ... Do not rush with conclusions. Let's turn to the centuries-old legend about the happiness of the hero named Chu Dong Tuai. This poor fisherman once met an excellent royal daughter of Rien, accustomed to embroidered golden clothes. Young people loved each other, and Rien escaped from the palace to live in a simple hut with a beloved, considering their main wealth - the nature of the native country, live sincere feelings, smiles of children. Since then, the love of Chu Dong and Tien, it is believed to patronize young couples to survive all the everyday adversity and maintain their feelings and relationships. And in this picture, as if the echo of an old legend, reminding us, absorbed in the inclination of large cities, on how to open the doors of happiness. But even not even Vietnamese and not at all the "communist" philosopher Seresen Kierkegor said that "the doors of happiness are not opening inside, but from the inside." So, Vietnamese painting is both confession, and philosophy in colors.

Picture then NGOV Vana "Buffalo, presented after the agrarian reform", 1955, watercolor.

But here's about the picture, T. Ngok Vana with the expressive name "Buffalo, presented after the agrarian reform" it would be possible to say "Propaganda", "political order" ... and put a point. Well, I do not!!! And here is not so simple! In the form of thinking, Vietnamese amazes, first of all, their independence and ability to adapt any ideas to their own spiritual walla. The graphic image of its artistic solution is more similar to the etude, sketch, and such a sketchy character serves as an expression of poetry and internal image dynamics. The feeling of the impetuous movement is achieved by the development of the dynamics on the diagonal of the composition. The buffalo as if he was looking at his new hostess in surprise. On the face of a woman, a restrained smile expresses calm, confidence and joy. In the ancient Vietnamese mythology, the buffalo symbolizes the keeper of the Sun. As stated in the legends and fairy tales, during the creation of a world of mythical heroes, the heavenly buffalo delivered a sunbar on his horns, and began to play with him, throwing up - when the sun jumps height, then the day comes when he falls on the horns of heaven buffalo, then The world comes night. And this presented young peasant buffalo - metaphor of hopes for the light of the sun of a new life, free and happy, the image captured by the rapid brush of the artist who has stopped not only a moment from the history of Vietnam of the twentieth century, but also the motives of old legends and myths.

picture "Two girls with brother" then Ngok Van, 1954, oil painting

In his picture "Two girls with a brother", then NGO Wang transfers the joy of mental proximity to people, a feeling of happiness from life itself and communication. White clothes of a young girl sitting on the floor are echoing with snow-white colors on the far lay, her figure symbolizes the purity of flowering of youth. The figure of the older sister looks elegantly, her face is illuminated by the inner rest and clarity of thoughts. Light flickering of light reflexes on the faces and clothes of girls enhances the expressiveness of the coloristic solution of the painting. The composite solution emphasizes the calm contemplative character of the scene. The figures of two girls and the child were inscribed in Oval, which makes the dynamics of the composition as if closed inside the picturesque space, creates a special, breathing peace and a kindness world inside the picture. Masterfully completed classical composite scheme, however, does not seem canonical and frozen. The soulfulness of the faces and saturation of the picture light, the figure of a child dressed in a bright red-haired sweater, childishly naively bright in relation to the color of the picture as a whole, all this gives the vitality and a special taste of the picture of the scene from everyday life.

Nguyen Duc Nun Painting<Прядильная нить>, 1956, lacquer painting

Nguyen Duc NUN in the painting "Spinning thread" does not simply depict the scene of the routine labor of the spinners of the time of the formation of an independent state Vietnam, when women had to work every day for 10 or 12 hours to execute a plan. In the traditional worldview of Vietnamese, labor is not just a way to survive, make money on life, this is not a tedious duty, but something like religious, religious ministry, as well as a way to maintain the sacred traditions, links and continuity of generations. And in the picture - the visible embodiment of this philosophical and religious and deeply traditional ideas for Vietnam. Interestingly, unlike revolutionaries in Russia, Vietnamese revolutionaries did not want to impose an atheistic ideology at theteistic ideology, they only sought to national freedom, to political independence. This allowed the Vietnamese to preserve the original folk spiritual values \u200b\u200band ancient historical monuments of art, and, of course, the most important thing is the traditional way of thinking, not exhausted by any dry ideological schemes. The composition of the picture is built on a comparison of three plans, prospectively cutting and flowing deep into the picturesque space. In the foreground, a young girl focuses on performing his work. A bright yellow color of her sweatshirt is symbolic - in Buddhism is the color of the spiritual path, because the clothes of the Buddha Shakyamuni, when he rose on the way of the wanders in search of truth, leaving the rich caught house, were one of the yellow color. This and the color of youth, the rays of the Sun, giving life to the whole living. Suitability in the work is also a mobility, a personal spiritual path that this young girl begins. On the second plan - an elderly woman, in the clothes of the earth. Her element is the Earth, its image is associated with the fertility of the soil, her work - in the name of the prosperity of the native land. And the third plan is the actual image of nature, the eternal, which keeps the life, giving power and faith. Reading a picture as an open book, from one plan to another, from one line - to the other, we realize that the artist tells us in the colors about the spiritual connection between generations, about the continuity of the life of human culture, eternal and continuous, as the life of nature itself .

Chan Dean, "Wooden Bridge", 1956, Watercolor

Shi Ngok, "Wooden Bridge", 1956, painting with water paints on glue

Often as the symbol of communication and continuity of generations as the basis of happiness is the image of the bridge. Symbolically, not just visibly, connecting the coast, the bridge metaphorical, it hints at the need for bonds between people - friendship, family, cooperation, spiritual communications, mutual understanding of different generations. Shi Ngok, depicting a shaky wooden bridge, shows how durable it is durable - durable like trees connected with their roots with native land and capable of being flexible, but do not break under the gusts of the winds. In the picture of another artist, Chan Din, written in the same 1956, as the picture of Shi Ngoka, the central began the topic of the bridge too.

Compositionally painting is divided into three parts vertically. Below is a river, a symbol of impermanence and change, mobility of being, upstairs - the sky, the eternal, associated with the consciousness with all the elevated and spiritual. Whatever religion either confessed the modern Vietnamese peasant (and in Vietnam, the degree of freedom of religion was always high, some are not only Buddhists or followers of the teachings of Confucius and Lao Tzu, and Christians or Muslims), he invariably believes in the old wisdom that fertility The Earth is the sacred gift of heaven, which people should keep, protect, guard and read, work on earth, invariably admiring this gift. And it's not by chance that, therefore, the bridge here also performs the metaphor of the communications of the sky and earth, spiritual and worldly began in human life. The idea of \u200b\u200bthe unity of spiritual and worldly life as if the color of the paintings - the color of heaven echoes the color of the muddy water of the river carrying fertile Il on the field.

picture Fan Ke Ana<Уборка урожая во Вьетбаке>1953, lacquer painting

The desire to pick up the fertility of the fields, the beauty of the native land and the mounted mystical expanse of high heavens was reflected in the picture of Fan Ke Ana "harvesting in Vietbak". The artist worked in traditional Southeast Asia technique of lacquer painting, but the artistic and visual system is based in this work on the principles of European realistic painting. Fan KE AD preferred how many other masters in Vietnam, hesitate paints for their works. In the same secret of the elusive beauty and originality of shades, the uniqueness of halftone, the melodicity of color combinations. By mixing in various proportions of crowded shoots and branches of Sorphaurant for creating yellow paint, the artist achieves the variety of shades of yellow color, realistic transmitting the wealth of fresh harvest and filling the visual space by the feeling of the joy of life. Greenish color is achieved using oxide of copper and pine resin, the effect of internal radiance - by adding a finely crowded pearl with a varnish layer. The multifigure composition in the promising reduction is originally solved. The figures of the workers of the peasants in the gusty movement are gradually removed from the viewer deep into space, becoming barely noticeable points closer to the foot of the high mountains, where the limit of the fertile field, and as if merging in a single stream with the rhythm of the life of nature, making it unity and embodying the genuine harmony of being . The faces of the peasants are not visible to the viewer, the Vietnamese is generally alien to individualism, but the viewer passes the powerful energy of these people, the expressive figures of which are permeated with the feeling of happiness from the creative work and the feeling of unity and proximity to their native nature.

Wan Bin, painting<Единство народов севера и юга>, 1956, painting by water paints on glue

The image of unity and friendship between the peoples of Vietnam is embodied on the picture of Wang Bein "Friendship of the Peoples of the North and South." The picture is made in a difficult technique that combines the tradition of Vietnamese varnish painting and the Western European watercolor. Water paints are applied by an artist on a specially prepared lacquer basement for them. After the watercolor paints were angry, the artist puts on top of the new layers of transparent glue, which gives the color of the paintings barely lit shine and the special grace of shades. Images of two girls, symbolizing the unity of the North and the South, are also associated not only with the historical peripetia of the 1950s, but also with the legends of deep antiquity. For those who are familiar with the ancient history and the legends of Vietnam, the images of these girls - as if the tears of legends about the legendary sisters of Chung, who in the first century of our era gathered a powerful army and defeated the Chinese rulers, having achieved, albeit for long, independence for their people . Wang Bin transmits a very visual metaphor to this picture to the North and South, as two legendary sisters, united and achieved the absolute liberation of Vietnam. To better understand what is still talking about here, we will remind the brief history of the division of Vietnam. The idea of \u200b\u200bthe fraternity and unity of the peoples of Vietnam became particularly relevant in the 1950s, because in 1954 the territory of Vietnam was divided into seventeenth parallels into two parts - Northern Vietnam, achieved independence, and the Southern, where the pro-American "puppet" government strengthened. In Washington, it was decided to rely on the NGO Din Zymeya associated with the CIA, which, of course, not without the support of American special services, put forward to the post of Prime Minister of the Puppet Government in the south of Vietnam, because the United States wanted to turn the Southern Vietnam to the colony of a new type. In October 1955, ZyE removed from the power of Emperor Bao gives way of falsified elections, after which the creation of the Sovereign Republic of Vietnam proclaimed, which was objectively a violation of the Geneva agreements. Thus, the prospect of the Vietnam reunification was deliberately moved to an indefinite period. A serious strategic mistake of Zyme was the abolition of rustic self-government in the south, which violated the centuries-old Vietnamese traditions, especially the traditions of the South National rural lifestyle. As a result, the peasantry, which was the main part of the population of the South Vietnam, turned out to be opposed to the Government of Ziama, which began, among other things, repression against the communist underground, remaining in the country after 1954, although it was weak and did not imagine a real threat. Nor tried pro-American circles to divide the people of Vietnam, this could not be done, and in December 1960, the patriotic forces of South Vietnam created the National Front of Liberation for the struggle for the independence and association of the country (we recall that North and South Vietnam united in 1976). So, the picture Wang Bein was, as it is now customary to speak, "on the evil of the day," remaining in close relationship with traditional images, echoing with the legends and the centuries-old history of Vietnam.

Lyric, rich radiance of light and variety of color gamut, are paintings by Lyonga Suan. Contemplative peace fills the landscape depicting a simple village on the river bank. At first glance, the picture seems deserted, the figures of people are only conventionally designated in the far plan. However, nature itself seems to be endowed with humanity, spirituality, the feeling of happiness. Lyong Suan writes neither by oil, adhering to the traditions of the French school, because his paint sometimes resembles the palette of Cesanna or Renoara.

The fineness of the feeling of color is as important for the artist, as an accuracy of a hearing for a musician. And, as if a sophisticated beautiful melody, from notes to a note, from the chord to the chord, transmitting the movements of the soul, the coloristic range of landscape sounds. It flare up yellow glare on the water and foliage, then the gentle-green greens of emerald radiance combines all the colors and relaxes our view, then thick greens and brownish trees trunks emphasize the color of the tropical flora.

Another painting of Lyonga Suan is neither - still life. Flowers in a vase - as if the incarnation of the dreams about the flourishing of the native country, or simply - dreams of happiness.

The tablecloth patterns resemble naive and dynamic patterns in the pictures of Henri Matisse, but it's not about imitativeness, but rather about the continuity of traditions. Vietnamese artists have never copied the French masters, but only borrowed and adopted the features like them, comprehending them on the basis of their own worldview. Flowers in a vase are so simple and delightful, and as poetic and sophisticated. Remember the lines of the Vietnamese poet of the XI century Man Ziak "Spring pass, hundreds of colors fall out, hundreds of colors bloom with new spring." Flowers are the symbols of the changeability and the flow of life, and, at the same time, the hopes for the revival of the Circle of Genesis.

May Long, in the 1950s, just started his artist's career, depicted a scene in his work from life in the National Autonomous District of Thai Meo in the north-west of Vietnam. This region is practically cut off from large trading and cultural centers of Vietnam with high mountains and forests, due to which the people of Tai Meo retained their own original culture. The young man in love is devoted to his girlfriend a melody of Bamboo Flute Chen. The bright clothes of the girl in their inner glow echoes the color of the full moon, which causes images from folk Vietnamese poetry in memory, when the beauty of women is often compared with the lunch of the moon, illuminating the night of the night. Just like the moon gives the light of the night scenery, and the beauty of the girl illuminates the life of a young man with his fertile light. The feeling of the night coolness is transmitted in shimmering bluetic chuck, and it seems the whole world, and the tops of the distant mountains, and the thin trunks of the trees focus on the melody piercing the night silence, warming the air of the night and the heart of the girl.

"When there was no evil winter, I would forget the world about the spring ...". It is these words that you can complete our short story about the Vietnamese painting of the 1950s, which became against the background of the war of war, as if the colorful embodiment of the very idea of \u200b\u200bhappiness. These are lines from the famous "prison diary" of Ho Chi Minh, written during the harsh struggle for the independence of the Vietnamese people. It was then, in the 1940s, Nguyeni Ai Cook (in Translated - Nguyen Patriot, the present name was Nguyen Than Than), enclosed in custody for his struggle, the future leader of the free Vietnam, accepted the pseudonym, under which he found worldwide glory. Translated the name Ho Chi Min means - endowed with wisdom. Wisdom, as a combination of life experience and observation, manifestation of natural talent and genuine humanity, the embodiment of spirituality, kindness and compassion, is one of the wisdom, which leads to happiness and freedom, in a philosophical, and not just a political, understanding. Taking such a sonorous pseudonym, modest and intelligent, but, at the same time, the volitional and irreconcilable in the struggle, the leader of the national liberation movement in Vietnam seems to claim the idea that it is wisdom to be guided not only in the state of government business, but also overcoming steep Turns of fate. The wisdom of the Vietnamese people in his desire for happiness at all times was reflected in the visual arts. The picturesque art of the 1950s with its colors would seek the coming "Spring" - the revival of independent Vietnam after the harsh "winter" of wars and deprivation.

Summing up a brief review of the works of the Vietnamese painting of the 1950s from the Assembly of the Hanoi Museum, one could say about what role they played in the history of Vietnamese art in particular and in world artistic culture as a whole, or how closely related images are , created by artists, with historical events of those years and with a historical and cultural national tradition. But, probably, it will only be enough to look into your own soul - and here's the result from acquaintance with the art of Vietnam, more than relatively distant from us, years. We would seek something richer and wiser, immersed with the eyes and feelings in the palette of happiness.

Lukashevskaya Yana Naumovna, art historian, independent art critic, curator of exhibitions.

© Site, 2011

From: Biryukova Irina, & NBSP

In its works, the Vietnamese artist Phan Thu Trang uses a minimum of colors and avoids unnecessary details, because of this, they can be considered too simple. However, beautiful, though slightly naive, images of landscapes in combination with an unusual paint technique, caused the popularity of FEN's work and attracted the attention of collectors from around the world.

At the very first moment, when you see these bright, cheerful landscapes, it seems that the trees are made of a plurality of pasted friend on a friend of adhesive leaflets. However, this is oil. Phan Thu Trang draws its caramel stylization of the village Vietnamese life with oil in the technique of Mastikhin. Its drawing style from a close distance creates the impression of mosaic, appliques from flaps or bright stickers pasted on canvas.

Feng Tchu Trang (Phan Thu Trang) was born in Hanoi, in 1981. She received his first reward for a talented work at a five-year-old, taking third place at a large competition of children's drawing. By eighteen years, Phan Thu Trang took part in the student exhibition in Hanoi, where he occupied prizes. However, the decision to go through the artist came to Phan Thu Trang not immediately. At first she graduated from the University of Theater and Cinema. But in spite of the diploma, she did not become the director, but returned to painting. Currently, Phan Thu Trang consists of the Vietnamese Association of Young Artists. She is a very popular artist and participates in exhibitions worldwide, her works are in the best galleries and private collections.

The images of the villagers of the village of North Village crashed into her memory and their hard life, these bright memories became the basis of most of the works of Feng. The use of unusually warm and soft pastel colors, creates a nostalgic mood at the viewer and allows them to feel "breathing freshness", emanating from its landscapes.

Mastichary painting - This is an original way of applying paints or oil on canvas without a brush, but with a special spatula. The oil lies with such layers that the feeling of compound is created. (Ital. - Mestichino) - elastic thin steel or horny plate, made in the form of a knife, blades. Mastikhin is used most often to remove not dried paint from the canvas (oil painting), cleaning the palette, less often - for applying primer, additional paint crisp. Mastichery painting is distinguished by bright natural colors. When creating work of this type of creativity, the color is almost never mixed, but they are applied straight from the tube on the canvas. Such a manner of drawing creates the impression of puzzle, appliqués, not the paintings, because the work is reminded from afar, stickers pasted on canvas.

Published: June 15, 2006

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

On the mountain ve-lin autumn fog
envelopes trees.
Munty herbs, myriads of flowers
decorate the mortal world.

Nguyen Shl "Conversation in Kim-Hoa about poetry" XVI century.

Modern Painting Vietnam amazes a variety of artistic directions. At the same time, a clear division on styles and genres does not exist - the manner of each artist is unique on his individuality, but at the same time, all the masters seek to find and express the National Vietnamese ideal. The Vietnamese people since ancient times feels an integral part of nature, submitting to her rhythms and admiring her by force and beauty. The achievement of harmony with nature for Vietnamese is not only the concept of contemplative philosophical, but also an urgent need. Vietnam geographers are sometimes called a balcony on the Pacific Ocean. " The wet climate and constant floods forced the inhabitants of these lands to seek the opportunity to adapt to such difficult conditions. The diligence and responsibility of the Vietnamese helped them to master these lands, originally not suitable for agriculture. Vietnamese are rightly proud of this fact. They have a saying: "In Cambodia, rice eaten, in Laos they trade them, and in Vietnam it is grown." Now rice grown in Vietnam has the most valuable food qualities, and therefore for the economy of this country is the same most important factor that for many other countries - oil and gas.

Nguyen Thhi there, "Rustic Scene", Hanoi Museum, Shelk, Watercolor, 60x45,1990s.

Any Vietnamese is really a patriot of your land, which knows the name of almost every mountain or river, every beautiful flower. Vietnamese artists when they write nature, they are trying not to copy any landscape from nature, but to convey their personal experiences from the contemplation of the beauty of the native country, to express their sincere love for the infinite grandeur and the diversity of nature. The most exquisite fine qualities is distinguished by landscape painting on the follet. The material itself allows to show the finest nuances of the color, transfer the changes occurring in the landscape due to weather phenomena. Nguyen Thhi there in his "rustic scene" depicts the morning landscape after the rain. 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 - wooden swollen walkings leading to modest rustic homes. Before us is a poetic image of an internal nature, with which Vietnamese is accustomed to living in harmony. The houses are practically flooded with water, and the children are having careforated, swinging on the walkways.

Chu Tha Thanh, "People's Festival in North-West Vietnam", Khanyan Museum, Shelk, Watercolor, 70x65 cm.

The characteristic work of landscape painting on the 1990s film is the Pattern "People's Festival in North-West Vietnam". The artist Chu Tha Thanh here reaches a genuine organic synthesis of landscape and genre painting. The people's holiday relates to a wizard with the element of nature. It seems like nature itself takes part in the festival: the branches of trees flexible by the wind are invas with smooth movements of village dancers, and the mountains serve natural scenes for this joyful scene. In flavoring pictures there are no local colors. Light shades of green, grayish-blue and lemon yellow create unique major color unity.

Le Kim Mi, Northern Vietnam, the Khanyan Museum, Shelk, Watercolor, 60x45 cm.

The artist Le Kim Mi also inspires Severgatenames, but it attracted not a festive fun, but labor weekdays. In the landscape "Northern Vietnam", he depicts girls walking along the edge of the rice field and bearing wicker baskets. Graphically written by the Master of the trunks of trees, which causes associations with traditional painting of China and Korea. In a colorful solution, the shades of green are dominated, transmitting freshness of foliage, naked moisture. Landscape oil painting has become popular at the beginning of the new XXI century, but it is more in decorativeness than a genuine painting. Shelk for Vietnamese painters - the usual material, ease, smoothness and transparency of which helps them fully show the wealth of their palette. Writing with oil on canvas Vietnamese artists began only in the middle of the 20th century. Work in this technique for a long time did not follow the student attempts to master the new picturesque method. Only now artists who appeal to painting by oil began to actively search for visual means for the incarnation of Vietnamese artistic ideals actually. Any Vietnamese artist is important to emphasize special colorfulness, distinguishing the nature of the native country. If in painting on the masters, the masters create a color manifold due to exquisite fine combinations of several muffled paints, then in oil painting, artists detect visual and decorative properties as a rule of local bright colors.

Le Thanh, "Trees in the fall", Private Gallery in Hanoi, Canvas, Oil, 60x75 cm.

The impeccable beauty of yellow and blue we can admire in the painting "Trees in the fall", written by oil by the artist named Le Thhahanh. Some modern artists of Vietnam are so passionate about the beauty of local colors, which create entire seasonal landscape cycles. Such, for example, Lam Duck Manh, created a cycle from more than twenty paintings depicting the central street in Hanoi at different times of the day and year. Color allows you to characterize the paints of a certain season, transfer the viewer with a feeling of hot summer or cool winter. Such works are in great demand from European and American collectors and entrepreneurs, and therefore, in almost every Gallery, Hanoi has a wizard who can make a view in a certain color scheme. Unfortunately, not always the picture, made in this way, has the features of really high art. It is worth it, however, to admit that both the customer and the artist are usually endowed with a good taste, so the Art Industry of Vietnam is rarely lowered to the level of handicraft crafts. Buyers of Vietnamese art are mainly European intelligentsia and large French entrepreneurs, descendants of the aristocratic families of those influential figures, which were doing business in the Asian colony. It may seem very strange that the former aggressors and invaders are investing considerable funds to the Vietnamese economy, show more friendly attention to Vietnam than former like-minded people and partners. In France, for example, exhibitions and fairs of Vietnamese artists take place almost every year.

Lam Duck Manh, "Street in Hanoi", Hanoi, artist gallery, 60x65 cm.

Modern Vietnamese painting, which preserved the unique charm of Eastern traditions and enabling the special sense of modernity, is an important part of world culture. Amazing inner harmony, characteristic of this strong and noble people, with the advantage of the horror of the devastating wars, gave rise to bright and original art performed by a high poetic image.

From: Volkov Oleg, & nbsp

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Pictures in Vietnam are, above all, silk and varnishing works of modern artists. However, you can find more exclusive paintings - from the wings of butterflies, chicken feathers, egg shells, pearl, sand, rice, and so on. About what is painting in Vietnam, where you can buy paintings, and how much they stand, I will tell you in this article.

Fine art in Vietnam began to actively develop only at the end of the XIX and early XX centuries. Prior to that, the local painting largely copied Chinese stories and equipment. Until our time, quite some samples of such works came. These are various landscapes and portraits, made of inaspets or water colors on silk scrolls. Now they can be seen in historical museums, temples and pagodas.

Everything has changed in the year before last, when France colonized Vietnam. European trends have penetrated all areas of the country's culture - including in painting. Since then, art schools have begun to open, many directions appeared.

Today, the visual art of Vietnam is represented by both the traditional Eastern motifs for this country and quite modern, European work. They can be found in art galleries, and private exhibitions, and shops.

What pictures can be bought in Vietnam

High-quality Vietnamese painting is not sold at every corner. If you intend to find really unique work, you need to understand what should be considered at all for the acquisition.

I advise you to pay attention to the following pictures:

• Silk
• Varnish

They will probably become a good gift or emphasize your taste, decorating the interior.

In addition, there are more original work performed from:

• Pearl
• Sand
• Shell

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

Pictures of silk

Completed in a unique style, with many details, these masterpieces will even be assessed by those who are far from art. Silk in embroidery allows you to present any, even a standard plot of paintings in a new, memorable form. Work on the creation of such patterns sometimes takes not one year, the process itself is very laborious. Therefore, the pictures of experienced masters are valued truly high.

As for the prices, there is very big burned here. So, a small silk picture can be bought for 900,000-2 700,000 dongs. But it is necessary to understand that this is not very art - the plots in such paintings are typical. It is just an inexpensive souvenir that can be presented to friends or colleagues. In addition, there is a chance that the picture will fall out after a while. This suggests that before you fake. Real silk does not change its color.

Another thing is large-scale exclusive work performed in a single instance. Hanging such a picture at home, you will never hear a phrase of the type: "Oh, we have the same!". As for prices, they range from 1,000,000 dongs up to 3,000,000,000 dongs.

Varnish patterns are images performed by special paints and changing color under the influence of varnish. And then the situation is exactly the same as in the case of a silk screen of: you can find both simple work and real masterpieces.

The first option is suitable for those who are looking for an inexpensive gift. As a separate variety of such patterns, the chests can be distinguished. This is a kind of cartoons and caricatures that beat the original Vietnamese comic and household plots. Seasoned by local flavor, they are of great interest among tourists. The technology of their manufacturing is very interesting. First, the plot is cut on the wooden surface, then the artist draws an image over the wood with colored paints. It is important to note that these paints are exceptionally natural origin.

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

But if you are looking for something more original, look at art galleries and lacquer factories. There you can buy pictures from varnish at a price of 9,000,000 dongs up to 23,000,000 dongs.

Original paintings from natural materials

To create paintings, Vietnamese use not only paints and varnish - almost all the infringement materials go to the move.

Here are just some of them:

Nacre

Brilliant shells that have started to use for inlaid back in the XI century. Today it is one of the traditional genres in Vietnamese painting. Pearl for this is even purchased in China, Singapore and some other countries of Southeast Asia.

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

1. First, the artist makes a sketch on paper, and then copies it on a wooden basis.
2. Next, the trees are cut into the tree, in which the mother will be placed. At the same stage, it is necessary to choose correctly and compound the shells. Different pearl types have their shades, and they must be combined with each other. Cut the sinks on special machines, after which they are glued onto a wooden surface.
3. But this is not all - the future picture is grinning, and then the master manually cuts the bizarre patterns on the shells.

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

Typically, a lacquered board is used as the basis. Since the mother-in-law looks best on a dark background, then the varnish often pick up almost black. From this picture acquire a mystical character. The most popular stories - sketches from the life of peasants, animals and plants.

The cost of such pictures is large enough and can reach 10,000,000-15,000,000 dongs. The specific price largely depends on the type of seashells used and the degree of detail. The most expensive paintings can be encrusted with hundreds of thousands of small pieces of pearl. However, often in souvenir shops selling much simpler things, without a special study. Their cost varies within 300,000-800,000 dong.

If you want to find real masterpieces, you need to go to the Chuhen Mỹ community, which is 40 kilometers south of Hanoi. Here, locals from ancient times are engaged in inlay. Their work is sold not only in Vietnam, but also in European countries, in Russia and the United States.

Sand

This is a completely new kind of art for Vietnam, its local self-taught artist Chan Tha Hoang Lan invented (Trần Thị Hoàng LAN), better known under the pseudonym and lan (ý LAN). Since the beginning of the 2000s, the pattern from the sand was treated far outside the country, and Lan opened his own company - ý Lan Sand Painting CO., Ltd.

The essence of the technology is that between the two vertically spaced windows, the sand of different shades is covered in a certain order (more than 80 of them). It would seem, nothing special about it, but in fact such work is incredibly difficult and painstaking. After all, even portraits of people are depicted in paintings from the sand. If you fall asleep the sands incorrectly, you will have to start all over again.

It is noteworthy that the first paintings and Lan were quite simple tricolor images. Today, the artist's collections have pictures of animals, portraits of well-known politicians, even logos of large brands. Everything is made with such naturalistic that the sandy picture is difficult to distinguish from the photo.

Workshop and Lan is located in Ho Chi Minh City, all work is carried out under the order, and prices are consistent separately with each client. Of course, there are many imitators who are trying to copy this technique. Their work is sold in souvenir shops at a price of 150,000 to 250,000 dong. But the level of detail there is completely different.

Often masterpieces of the famous artist are confused with more primitive "sand pictures". We are talking about ordinary images (on canvas or wood), which are simply inlaid with small grains. Such things can be found on any market, they cost enough cheaply (100,000-500,000 dongs).

Fig

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

Starting work, the artist puts on a piece of plywood sketch of the future painting. Then, with a special colorless glue and tweezers, rice grains are glued on this sketch. This occupation requires great amplification and attention. Rice grains should be even and integer. Usually laying grains takes from several days to several weeks. At the end, the picture is exhibiting under the sun, where it dries.

The plots of such works can be the most different. But most often artists depict traditional Vietnamese landscapes, animals or birds. There are also portraits - moreover, very worked.

As for prices, they directly depend on the size of the picture and image. So, miniature landscapes (20x20 cm), on which there are not a lot of objects, can be bought for 600,000-700,000 dong. If the picture is large, detailed, and even fulfilled by individual order, it can do several million dongs. Sold pictures from rice and in the markets, and in souvenir shops. But there you can only choose something from ready-made work. And if you need a picture to order, you should contact the master directly.

Shell

Ordinary egg shell white and ohloque. Is it possible to create a real picture from it? It turns out - yes. Just need patience, accuracy and a lot of time.

The basis for future works is a tree or plywood. It is covered with black paint - it is on the background that the egg shell looks most effectively. Then begin to lay out the drawing. And here, unlike rice paintings, the masters have much more opportunities. It can crush the shell on particles of different sizes in order to most accurately transmit object details. Lighter areas are laid out with a white shell, the ocher is used for others. The dark elements of the drawing are not laid out at all - there is a black background for this. At the final stage, the picture is covered with several layers of varnish (there may be more than 10) and polished.

In other words, the paintings from the shell are all the famous mosaic. They are sold everywhere and stand in the same way as rice.

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

Walking through the streets of Vietnamese cities, you will celebrate art galleries, exhibitions, and just souvenir shops where artists are sold. But it is necessary to understand that here, as in any other country, there are true works of art, and copies, and even fakes.

In order not to bring with you from Vietnam the picture printed on the printer, it is worth paying attention to the following points:

• Do not buy pictures in the markets and in stores that do not specialize in painting. Most likely, you will get no object of art, but a conventional bauble, and even pay Stridogoga.
• Be prepared to give a decent amount even for a small job. Pictures belong to the category of exclusive goods, so prices are high enough.
• When buying silk and lacquer paintings I advise you to ask the seller a certificate. It should indicate that the thing you purchased is not an antiques or the subject of art. The fact is that their export outside the country is prohibited.

As you can see, the paintings in Vietnam are quite diverse. The price range is also very wide. I hope that this article will help you understand local painting and choose something to taste.

Dang Can is a wonderful artist from Vietnam.

Beauty

Beauty ... she is like snow,

Touch - it seems hot.

Beautiful fire like - cold

Pierces, only touch it.

You do not want to drink? Look -

And thirst you will experience the desert

wanderer.

And hunger fed to bewitched if

Beautifully seen by him by chance ...

And the one who wants to die before the term

Again to life awakened, seeing her.



ABOUT! This is only a dream of beauty,

Soaring forever in heavenbefore us.

Translation A. Nikulina

Dang Can is a wonderful artist from Vietnam. The full name of the author of colorful and positive paintings - Dang Van Can. Born in 1957. He began to get involved in painting in early childhood. The talent at the artist woke up pretty early and already in the youthful years he hit everyone around him with his abilities. In 19, Dang Can became the main illustrator in local magazines and newspapers. His works were so shrill, clear, understandable, colorful and joyful, that the name of the young artist soon became very famous in Vietnam, and then outside the country. Currently, his paintings are in the collections of professional art connoisseurs in many countries of the world.

The work of the Vietnamese artist Dang Can is a true love of his homeland. The author of those paintings that you can see further can be called one of the national artists. Like Levitan or Shishkin, who glorified Russia's landscapes to the whole world with their ingenious art, Dang Can tries to express all the unbridled beauty of exotic Vietnam with its original creativity. Its landscapes and genre scenes are always kind and most positive as possible. It depicts the types of small villages that were lost in the forests of Vietnam, fishermen and ordinary residents of deaf settlements. Such Vietnam does not see the usual tourist. This is Vietnam through the eyes of a native resident. The artist with his painting depicts not just beautiful landscapes and scenes from a peaceful life, but a real soul of the country, its essence, traditions and foundations.

The art of this artist is wonderful not only by their intent, kindness and mentality. It is also interesting to create paintings. Dang Can follows traditional techniques of Vietnamese painting, and also uses its own technique, which allows it to create truly interesting and fascinating plots of paintings. You can even say that the paintings of this author are a kind of Vietnamese impressionism. The main attention is paid here not to the details and accurate drawing, but the expression of the mood that literally hovers in the air.