CONCLUDE
1. Vietnamese painting in the period 1925 - 1945 was a product of colonial society with all-round influences of capitalism and Europeanization. From the knowledge of Western culture, nature and society, it influenced the Vietnamese intellectual class, including painters. From the absorption and transformation of modern art knowledge such as: Plastic anatomy, Law of perspective, Science of color, the unique characteristics of Vietnamese painting in the period 1925 - 1945 were formed. That was the cause and the driving force of the development of painting, creating great achievements for a preconditional development period of modern Vietnamese painting.
2. The establishment of the Indochina College of Fine Arts marked a new era for modern Vietnamese art. Vietnamese painting made a leap forward in style, subject matter, form, and artistic characteristics. The establishment of the Indochina College of Fine Arts in Hanoi in 1925 had a great influence on Vietnamese cultural life for a number of reasons:
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First of all, the Indochina College of Fine Arts was one of the first art schools, it became a place where talent could be discovered, trained and nurtured.
Next, this school brought a new way of working to express in fine arts, especially in a country where painting was not previously a developed profession.
The Indochina College of Fine Arts established a new tradition in fine arts, a new aesthetic concept, and then, along with the development of the national language, it was a manifestation of society's desire for innovation.
3. Vietnamese fine art in the period 1925 - 1945 had a big change compared to traditional Vietnamese fine art. Instead of the purpose of belief and religion, there were richer themes with many genres in painting in this period. The influence of French aesthetics is undeniable with new trends, new materials with
The visual language is built on new principles and this helps Vietnamese painting take a new step forward.
Western aesthetic lessons strongly promoted the development of painting, but those lessons did not contradict or hinder traditional techniques, but rather helped promote them in combination with modern plastic concepts. The beauty of painting in this period was the result of tradition in cultural exchanges, and Vietnamese painting in the period 1925 - 1945 was highly appreciated partly due to the interesting combination of the new and the traditional.
4. The great personalities of many famous artists, with their paintings of this period, have left a deep mark in the early history of modern Vietnamese art. Vietnamese paintings from 1925 - 1945 are the true results of the Vietnamese people, they are genuine artistic creations, with a very artistic and also very ordinary soul. They carry a deep love for the homeland, profound humanity, and high artistic quality.
The artists of the Indochina Fine Arts generation were not only examples of noble artistic work, but they were also artists who constantly promoted and protected the values and national spiritual identity during the period of paving the way for modern Vietnamese fine arts. Many of them also made positive contributions to the field of culture and art during the resistance war against French colonialism. The names and works of those generations of artists, whether living and working in the country or abroad, have always been a source of pride for our nation's painting.
Today, Vietnamese art in the context of globalization has many new challenges for art management agencies, policy makers, art schools, artists, and general schools of aesthetic education.
5. National cultural identity is extremely necessary in all arts, including painting. The works of Vietnamese painting from 1925 to 1945 are the most accurate and proud evidence of a short but glorious period of painting in a special historical and social period of the country.
Painting is an art that requires cultural exchanges if it wants to change and develop. The changes in social history in the world in the late 19th and early 20th centuries were like a boat carrying new artistic views and concepts to everywhere from Europe to Asia, from Australia to Africa and vice versa, that is the inevitable rule of all arts. Vietnamese painting is not outside that rule, the result of the exchange with France in this historical period created great achievements with the names of painters and many masterpieces of modern Vietnamese painting. It is like a coincidence in the inevitable exchange.
The Indochina College of Fine Arts has changed the entire perspective, the means of expression, the thoughts and ideas revealed in the hearts of artists. In this contact with Western aesthetics, thanks to the courage and tradition of assimilating foreign cultural values from a long time ago, although absorbing all the techniques of calligraphy, scientific knowledge of shaping, the soul and national aesthetic tastes are still the mainstream conveyed in it. All have been expressed subtly and creatively to suit the national culture. This school produced a generation of famous painters, who made Vietnamese fine arts famous at that time as well as forever after in the flow of modern fine arts such as: To Ngoc Van, Le Van De, Tran Van Can, Luong Xuan Nhi, Nguyen Do Cung, Le Pho, Mai Trung Thu, Nguyen Phan Chanh, Nguyen Gia Tri, Le Thi Luu, Nguyen Sang, Bui Xuan Phai, Duong Bich Lien, Nguyen Tu Nghiem... Those generations of senior painters have now entered the legend of Vietnamese painting since the 1960s.
People often talk about two “quartet” in Vietnamese painting: “Nhat Tri (Nguyen Gia Tri), nhi Van (To Ngoc Van), tam Lan (Nguyen Tuong Lan), tu Can (Tran Van Can) or “Nghiem (Nguyen Tu Nghiem), Lien (Duong Bich Lien), Sang (Nguyen Sang), Phai (Bui Xuan Phai)”. Although it is not known exactly where the origin started, the “quartet” that the public ranked for painters was actually just because people liked them and then “conferred titles” or “conferred titles” on them, but in reality there was no decision on such ranking or recording.
Over time with historical changes and social upheavals, the reputation of the two “quartet” and the public’s love for them have not diminished. This has shown that true values will last forever. The contributions of these famous artists and their creations have not only helped shape but also oriented the development of Vietnamese painting from 1925 to the present.
From here, Vietnamese painting has to face a new reality that requires innovation to develop. The dynamism of artists, as well as the explosion of the art market, has created great conditions for Vietnamese painting to integrate with international art, while helping the world understand more about Vietnamese painting. The generation of artists from 1925 to 1945 has fulfilled its historical role, creating a breakthrough force for the development of Vietnamese painting. The next generation of artists is seizing the opportunity in a more favorable environment, which will certainly create a breakthrough for the development of Vietnamese painting.
No matter how, the artist must always be alert to face the constant changes of life’s reality, and the deep identity within him must still be a strong undercurrent that supports the modern and contemporary in painting. When self-respect, talent and knowledge are present in Vietnamese artists, cultural identity will shine brightly in their works.
The 21st century has arrived, we have high hopes for the future of a modern fine art imbued with Vietnamese national identity.
LIST OF PUBLISHED RESEARCH WORKS RELATED TO THE THESIS TOPIC
1. Nguyen Van Cuong (2011), “National character in Vietnamese painting from 1925 to 1945”, Journal of Culture and Arts (326), p.37.
2. Nguyen Van Cuong (2016), “Realism – a dominant trend of Vietnamese painting in the period 1925 – 1945”, Journal of Cultural Studies (15), p.49.
3. Nguyen Van Cuong (2016), “Romanticism and realism – Two leading trends of Vietnamese painting in the period 1925 - 1945”, Journal of Art Education (17), p.51.
4. Nguyen Van Cuong (2016), “Cultural adaptation through Vietnamese painting in the period 1925 – 1945”, Journal of Culture and Arts (383), p.49.
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