Understanding the Evolution of the Image of Women in Vietnamese Silk Paintings

Abstract

This study investigates the evolution of women’s representation in Vietnamese silk paintings across three historical phases: traditional (1925–1954), modern (1955–1986), and contemporary (1986–present). The aim is to elucidate how artistic transformations reflect broader social and cultural change. Employing a qualitative approach that integrates visual analysis and in—depth interviews with artists and scholars, the research examines fifteen representative artworks to reveal shifts in composition, color palette, technique, and iconography. In the traditional period, female figures symbolized rural virtue, maternal devotion, and harmony with nature, reflecting the agrarian foundation of Vietnamese society. The modern period introduced greater diversity and individual expression as women were depicted in urban and industrial settings, embodying social progress and national reconstruction. The contemporary period, emerging after the Đổi Mới reforms, marked a profound redefinition of femininity through abstraction, surrealism, and mixed media, portraying women as autonomous, multifaceted, and globally engaged figures. The analysis highlights how silk painting evolved from a medium of cultural preservation into a dynamic form of artistic dialogue between tradition and modernity. The findings underscore that meaning in these artworks resides not only in gendered representation but also in the cultural landscapes and societal contexts that frame them. By situating artistic evolution within Vietnam’s socio historical trajectory, the study contributes to understanding the interrelation between art, gender, and cultural identity, while identifying the transitional period of 1975–1986 as a crucial yet underexplored phase in the development of Vietnamese silk painting.

1. Introduction

Vietnamese silk painting is a vivid symbol of the nation’s traditional artistic heritage, combining the refinement of craftsmanship with the innovation of aesthetic trends across eras. This art form not only portrays external beauty but also provides a profound representation of cultural identity and the transformations of Vietnamese society (Đức 2022). At the heart of this tradition lies the image of women an emblem that is both intimate and sacred, embodying profound humanism and national identity (Ngân 2022).

In classical silk artworks, women are frequently portrayed in iconic garments such as the Ao dai, Ao yem and Ao tu than, which embody key elements of Vietnamese cultural identity and aesthetic values (Ngân 2022). Accessories like conical hats, fans, or wooden clogs blend seamlessly with rural landscapes, rice fields, or rivers, creating a unique visual language that highlights the elegance and gentleness of women (Hiên 2023). Yet these depictions should not be read as fixed or essential traits of Vietnamese femininity. The female figure often serves as an allegorical device through which broader cultural ideals such as harmony between humans and nature are expressed, making the surrounding setting as symbolically significant as the figure itself. These images evoke a sense of tranquility, emphasizing the harmony between humans and nature, as well as between individuals and their communities. In this sense the landscape and built environment can be the true bearer of meaning, while gender becomes a secondary marker within the visual narrative. They underscore the woman’s role as a cornerstone of family and societal life (Ngân 2022; Hạnh 2019).

Before 1986, women in silk paintings were predominantly depicted in natural and rural environments, as well as in old urban settings. They appeared alongside rivers, rice fields, or traditional houses, reflecting the essence of rural life. This period focused on celebrating the simplicity, vitality, and profound connection of Vietnamese women to nature and rural cultural traditions (Anh 2006; Đức 2022). These representations should be understood within the broader Vietnamese social and historical context, where the image of woman often carried national or moral symbolism beyond individual gender identity.

However, the Đổi Mới (Renovation) period in 1986 marked a significant shift as Vietnam underwent dramatic socio-economic transformations. Urbanization and globalization introduced cultural exchanges and new artistic trends (Safford 2015; Lenzi 2022). During this time, the depiction of women in silk paintings became more diverse and complex, incorporating surrealism, abstraction, and symbolism (Thuấn 2019). The works transcended mere representation of beauty, becoming a space for artists to convey deep philosophical ideas, reflecting societal changes, human consciousness, and the evolving roles of women in modern life (Lenzi 2022). This evolution underscores how artistic settings whether urban or fantastical often carry the central symbolic weight and sometimes render the gender of the figure less pivotal than the cultural landscape portrayed.

In the modern and contemporary periods, many artists experimented with innovative techniques, materials, and forms of expression, including bold, vibrant color palettes and breaking away from traditional composition (Thuấn 2019). Women were no longer confined to classical aesthetic frameworks but emerged as strong, independent, and multifaceted figures—sometimes symbols of feminist movements and personal freedom (Safford 2015).

Despite this progress, it remains a research gap concerning the transitional period between modernity and contemporary art, particularly during the years 1975 to 1986. This era witnessed societal reconstruction and ideological shifts, producing artworks that blended folk art influences with innovative elements. These works showcased a powerful creative spirit but have received limited scholarly attention. Examining this period in depth is essential to understanding the evolution of Vietnamese silk painting and the role of women in visual art (Schwenkel 2004; Corey 2015).

Systematically exploring and organizing this developmental journey will provide a vital academic foundation, benefiting not only researchers but also artists and art educators. Such work will deepen the understanding of the intricate relationship between art and society. Moreover, it offers a lens to reevaluate Vietnam’s cultural and artistic heritage in the context of globalization, fostering creativity while preserving heritage arts in contemporary times. The primary research question is: How has the representation of women in Vietnamese silk paintings evolved across the traditional, modern, and contemporary periods, and what cultural and social factors have influenced these transformations? By situating these representations within their historical and cultural settings, the study highlights that the meaning of the artworks often lies as much in the depicted environment as in the gender of the figures themselves.

This article is not merely an exploration of art but also a reflection on the evolving roles of women throughout history. It illustrates the continual transformation of Vietnamese silk painting and serves as a mirror of shifting perceptions, roles, and identities of Vietnamese women amidst the flow of time and societal changes. Through this, the study acts as a beacon for understanding the interconnections between art, culture, and the ever-changing societal landscape.

2. Literature Review

Numerous studies have highlighted the significant role of silk painting in preserving and conveying Vietnam’s enduring cultural values. Quân (2005) observed that “Silk painting became unique in Vietnam through the Indochina Fine Arts School, where artists used powder pigments and watercolor combined with ink on untreated silk” (Quân 2005). Học (2023) analyzed the works of Nguyễn Phan Chánh from the 1930s, such as Rửa Rau Cầu Ao (Washing Vegetables at the Village Well), Chơi Ô Ăn Quan (Playing a Vietnamese Mancala Game; Figure 1), and Lên Đồng (Spirit Mediumship), which depicted Vietnamese women in the simplicity of rural life, highlighting their pastoral charm and tranquil disposition (Yến 1992). Research by Duc (2014), Duc (2023), and Hà (2019) explored the characteristics of silk paintings by Lê Văn Đệ and Lê Phổ, demonstrating a fusion of Western painting techniques with traditional East Asian aesthetics (Duc 2014; Hà 2019; Duc 2023). Despite this blending of artistic approaches, the portrayal of women remains a central theme, conveyed with refinement and emotional nuance in the works of artists both within Vietnam and among the Vietnamese diaspora in France (Duc 2014; Hà 2019).

During the mid-twentieth century, Hương and Trung (2013) examined the influence of political and social contexts on the works of Mai Trung Thứ and Nguyễn Thụ. Their research highlighted changes in artistic forms while maintaining the patriotic spirit of national identity (Hương and Trung 2013). Female figures in these paintings were expressed through more diverse themes such as urban life, resistance movements, and productive labor. An (2018) and Khánh (2014) noted that the portrayal of feminine elegance was no longer confined to rural settings but expanded to social life and public spaces. In modern silk paintings, the image of gentleness evolved beyond established beauty, with artists innovating and diversifying emotional expressions and narratives. These figures were presented not only as gentle presences but also as strong, confident individuals, thus celebrating their refined allure and dignified qualities (Khánh 2014; An 2018).

Entering the era of urbanization and globalization after the Đổi Mới reforms, Nếp (2013) explored the transformation of silk painting during this period. Through the works of artists such as Bùi Tiến Tuấn, Vũ Đình Tuấn, and Lâm Tú Trân, the study revealed that contemporary creations broke conventional artistic boundaries, experimenting with surrealism, abstraction, and symbolism. Modern silk paintings often utilized contrasting colors, bold tones, and dynamic spatial techniques to create works rich in personal identity and artistic perspective, reflecting the changing image of women in modern society, from form to material technique (Nếp 2013). These works not only explored aspects of personal identity, liberation, and social issues such as gender equality, creative freedom, and rebellion within cultural frameworks rooted in heritage, but also conveyed broader reflections on modern life. Therefore, the expanded artistic expression of contemporary silk painting mirrors a swiftly transforming Vietnam shaped by emerging ideologies (Quân 2005).

While most studies on Vietnamese silk paintings focus on describing the characteristics of individual periods, the transformation in female portrayal across different eras remains underexplored. Crucially, despite considerable research on traditional and contemporary silk paintings, the transitional period from the late 1970s to the early 1980s has received limited scholarly attention. This period witnessed the intersection of art rooted in vernacular practice with new experimental approaches, reflecting societal upheaval in the post-war and reconstruction contexts. The artworks from this transitional phase were experimental, blending folk art elements with influences from global modernist movements. In-depth research into this period is essential to fill gaps in the history of Vietnamese silk painting and to better understand the evolution of women’s representation.

Several scholars, including Hương and Trung (2013) have investigated factors influencing the changing depiction of women in silk paintings. Specifically, Hương and Trung (2013) demonstrated that shifts in such representation reflect not only artistic transformation but also the broader consequences of social, economic, and political change (Hương and Trung 2013). Cultural factors, such as the revival of indigenous aesthetics, feminist movements, and international cultural exchanges, played a significant role in reshaping the image of women in Vietnamese silk paintings. Tran (2022) emphasized that exposure to international contemporary art encouraged Vietnamese artists to experiment with new ideas, breaking old conventions and redefining women’s roles in art. Tran also identified contemporary art as encompassing the following: “Artists intentionally create works as contemporary art; the aesthetics of the work align with contemporary needs and tastes; the work addresses current themes relevant to the contemporary art context; and it is recognized by art institutions and the art market” (Smith 2019).

Systematizing and analyzing the evolution of female representation in Vietnamese silk paintings across periods is crucial for clarifying the relationship between art and society. This article offers not only a fresh perspective on silk painting but also an opportunity to preserve and develop the art amid globalization and deep international integration. By combining visual analysis with theoretical research, this study illuminates the role of silk painting in reflecting and shaping Vietnam’s cultural identity in modern and contemporary periods.

3. Results

3.1. Thematic and Stylistic Development Across Periods

The study identifies a clear progression in the depiction of women, reflecting changes in artistic techniques, materials, and socio-cultural influences across three main periods:

3.1.1. Traditional Period (1925–1954)

During this period, prominent themes in Vietnamese silk paintings included rural life, maternal love, and folklore, emphasizing the gentleness and inner grace of portrayals of the feminine in Vietnam. Such portrayals were depicted in tranquil village settings, as a representative of simplicity, virtue, and their vital roles within the family and society.

The artistic techniques of this era employed a warm and subdued color palette, soft brushstrokes, and graceful, harmonious lines, perfectly complementing the silk medium. A notable example is Nguyễn Phan Chánh’s Chơi Ô Ăn Quan (Playing a Vietnamese Mancala Game) (Figure 1), which vividly portrays the daily lives of rural female subjects. This work encapsulates the cultural essence and national identity of Vietnam, brilliantly blending cultural themes with the delicate silk medium.

The aesthetic ideals associated with Vietnamese womanhood left a profound imprint on Indochinese art in the early 20th century. Many works from this period celebrated the elegance of wearers of the ao dai, exuding sophistication through smooth, radiant skin, dreamy eyes, and graceful gestures. However, Nguyễn Phan Chánh took a different approach, portraying the rural, unadorned appeal of women at work.

His works, such as Người Hát Rong (The Street Singer, 1929), focused on simple yet emotionally rich themes, depicting women engaged in small-scale trade and reflecting aspects of life at the time (Figure 2). Nguyễn Phan Chánh is widely regarded as a pioneer of Vietnamese silk painting, laying the foundation for the development of this unique art form.

Lê Văn Đệ, a master of Vietnamese silk painting, skillfully harmonized Eastern and Western artistic influences. As the first principal of the Saigon National College of Fine Arts (now the Ho Chi Minh City University of Fine Arts) in 1954, he focused on themes of simple, rural everyday life. His works are distinguished by their glossy, soft textures, coherent compositions, and a sense of clarity and serenity. Notably, he used natural pigments instead of chemical dyes to enhance authenticity. A quintessential example of his work is Nắng Hè (Summer Sun, 1954) (Figure 3), which exemplifies his commitment to blending classical aesthetics with innovation in silk painting. Mai Trung Thứ’s works, such as Tiệc trà (The Tea Ceremony) (Figure 4), demonstrate a sophisticated fusion of the Vietnamese spirit and European painting styles, capturing the nuanced changes in Vietnamese society and the artistic representation of women during this transformative era.

Lê Phổ’s artistic vision remained deeply rooted in the image of the gentle Indochinese woman adorned in the customary ao dai, an unparalleled allure exclusive to Oriental culture. This distinctively Eastern quality became the cornerstone of his success in Europe, where his works resonated by celebrating themes deeply tied to Eastern heritage and character. Focusing on domestic affairs, Lê Phổ’s paintings, such as Đời Sống Gia Đình (Family Life, 1937–1939), offered a vivid reflection of Vietnamese cultural heritage (Figure 5). By capturing the intimate and serene aspects of Vietnamese life, Lê Phổ not only preserved the essence of his homeland but also garnered significant acclaim in the West for his unique depiction of Oriental traditions.

3.1.2. Modern Period (1955–1986)

The modern period in Vietnamese silk painting marked a shift toward diversity in artistic expression, emphasizing personal emotions and the evolving social roles of women. Women were depicted in urban and peri-urban settings, reflecting Vietnam’s transformation during industrialization and modernization.

Nguyễn Thụ’s silk paintings exhibit a distinctive style characterized by rhythmic compositions that are simple yet emotionally rich. His use of soft, harmonious colors, combined with free, expressive brushwork, creates dreamy, ethereal spaces. A notable example of his creativity is Làng ven núi (Village by the Mountain; Figure 6), which demonstrates his mastery in leveraging the unique properties of silk, turning its constraints into strengths, and showcasing the medium’s poetic potential and profound emotional and visual impact.

In contrast, Mộng Bích’s works did not follow artistic trends or market demands but instead focused on artistic value and historical depth in each piece. Her art demonstrated a particular concern for the essence of humanity and the suffering of women, especially mothers. Her meticulously crafted Chân Dung Nghệ Sĩ Nhân Dân Quách Thị Hồ (Portrait of People’s Artist Quách Thị Hồ) (Figure 7), exemplifies her commitment to faithfully capturing the character’s facial features and emotions. Mộng Bích’s paintings combine high artistic sophistication with a profound reflection of universal human values, making her work both deeply personal and universally resonant.

Lê Thị Kim Bạch revolutionized the artistic landscape by offering innovative perspectives while defying entrenched gender stereotypes in art. Her creations serve as profound explorations of the self, seamlessly interwoven with the unique essence of Southern Vietnamese identity an amalgamation of simplicity, compassion, resilience, and an unyielding spirit. One of her standouts works, Bà Má Nam Bộ (Southern Mother, Figure 8a), encapsulates these traits through a powerful depiction of strength and tenderness in harmony. In contrast, Tuổi Mười Bốn (Age Fourteen, Figure 8b) radiates an air of youthful romance and whimsical freedom, underscoring Bạch’s remarkable versatility and her ability to evoke a rich tapestry of human emotion and experience.

The silk paintings of artist Hoàng Minh Hằng continue the legacy of the silk art tradition from the Indochina School of Fine Arts. Techniques involving repeated dyeing and washing give her works an exceptional translucency and softness. The application of this intricate process to large-scale compositions requires a distinct talent and an extraordinary sensitivity to color. Therefore, Hoàng Minh Hằng’s strength lies in her ability to create delicate transitions of colour across expansive areas, combined with her choice of simple and romantic subjects. Her mastery is evident in the fluid interplay of lines and forms, as seen in her compositions, which exude both elegance and depth (Figure 9).

3.1.3. Contemporary Period (1986–Present)

The contemporary period marks a fusion of surrealist and symbolic elements with bold innovations in color, material, and technique, reflecting a dialogue between tradition and globalization. In this era, the depiction of women in silk paintings is often symbolic and abstract, embodying the strength and multifaceted roles of women in modern society.

This period is characterized by diverse and experimental approaches to material. Silk is combined with digital printing, gold leaf, or acrylic paint, resulting in multilayered and dynamic works. For instance, Nàng Xuân by Bùi Tiến Tuấn reimagines the traditional ao dai through modern techniques and a vivid color palette. Instead of following the traditional process of painting and washing, he applies colors directly onto the silk (Figure 10). Similarly, Lâm Tú Trân incorporates a mixed-media approach, blending watercolor, printing ink, and gold leaf, highlighting the illuminated areas of her compositions, creating striking contrasts (Figure 11).

Bùi Tiến Tuấn’s silk paintings, featuring nude female figures, achieve a delicate balance between vulnerability and grace, presenting nudity that feels sweet, youthful, and worthy of reverence rather than provocative. This nuanced portrayal is a testament to the artist’s mastery. Viewers may find themselves intrigued by the poses of the figures in his works. The women appear almost boneless, emanating a sense of absolute freedom in how they inhabit their bodies. This fluidity lends a softness to the compositions, further enhanced by the silk medium, creating a unique visual harmony (Figure 12).

The silk paintings of artist Vũ Đình Tuấn are a marvel of enchantment and refinement, exuding opulence and allure. His works are characterized by flowing lines, ethereal color palettes, and luminous spaces that seem simultaneously silent and trembling with unspoken words. These elements are imbued with extraordinary creativity. Delicate clusters of flowers bloom atop the heads of his female figures, whose enigmatic eyes and tightly closed lips convey both pride and sensuality. The intricate inclusion of leaves enhances the mystique, inviting viewers into a labyrinth of charm (Figure 13). Viewers may feel as though they have stepped into a maze, surrounded by walls adorned with captivating paintings.

Female artist Nguyễn Thị Hoàng Minh infuses her art with an air of freedom by integrating shapes with printed text from newspapers, creating a subtle dialogue of lines. Her use of pure, soft colors enhances the material’s natural delicacy, while luminous spaces seem to resonate with a surreal voice, adding an element of fantasy to her unique ideas. In her work, the three figures appear as though they are immersed in a dreamlike state, evoking a sense of otherworldly tranquility and introspection (Figure 14).

3.2. Cultural and Societal Influences on Artistic Expression

The colonial period (1920s–1945) marked the emergence of modern Vietnamese art. During the French colonial period, the establishment of the École des Beaux-Arts de l’Indochine (1925) introduced Western techniques and aesthetics to Vietnamese traditional arts. Silk painting was elevated from craft to fine art, merging Vietnamese cultural motifs with Western influences like realism and perspective. Women, often depicted in traditional ao dai, became prominent symbols of national identity and cultural pride. Paintings such as Lê Phổ’s Thiếu Nữ Bên Hoa (Young Woman with Flowers) exemplify the romanticized and idealized image of women during this period, embodying grace and tradition. These artworks reflected a nostalgia for Vietnam’s cultural roots amidst colonial modernization.

War and Resistance Era (1945–1975)—Patriotism and Propaganda: The First Indochina War (1945–1954) and the Vietnam War (1955–1975) saw the rise of art serving revolutionary purposes. Silk paintings during this era often prioritized political messaging over individual artistic exploration. Women were depicted as active participants in resistance movements, symbolizing strength, sacrifice, and resilience. Images of women working in rice fields, carrying weapons, or nurturing children during wartime conveyed both their enduring role as caretakers and their essential contributions to the nation’s struggles for independence. These paintings became visual narratives of collective identity, blending propaganda with the softness of silk, which lent an emotional and humanizing quality to these works.

The Influence of Đổi Mới (1986): During this period, artists were significantly influenced by the propaganda imagery prevalent during Vietnam’s two resistance wars, which placed political imperatives above artistic aspirations. As practical demands shifted, the advent of economic reform, globalization, and the market economy opened up new avenues for creative exploration. Artists began to address themes such as urbanization, international exchange, and the evolving role of women. This transformation is reflected in silk paintings portraying women within urban landscapes or as carriers of globally resonant cultural symbols. Across all periods, the female figure remained a powerful emblem of national identity, seamlessly integrated into cultural and historical narratives. Women were depicted as bridges between tradition and modernity, often adorned in traditional attire while situated in urban or surrealist settings. This imagery symbolized a convergence of cultural and artistic elements in a new era. Iconic motifs such as the lotus flower, ao dai, and conical hat consistently emerged as quintessential cultural markers of Vietnamese women, anchoring their representation in both heritage and contemporary innovation.

Contemporary Period—Fusion of Tradition and Innovation: In the contemporary period, silk painting has become a platform for exploring gender roles, cultural identity, and globalization. Artists now experiment with new media, blending silk with acrylics, gold leaf, and digital techniques. The depiction of women has grown more abstract and symbolic, moving beyond the literal representation of feminine beauty to address broader issues of empowerment, identity, and the intersection of personal and cultural narratives. For example, in works by Lâm Tú Trân and Bùi Tiến Tuấn, women are portrayed in dreamlike states or surreal environments, embodying both individuality and collective cultural memory. Through exhibitions and international collaborations, contemporary Vietnamese silk painting reflects a dialogue between East and West, tradition and innovation, and personal and societal transformation.

3.3. Innovations in Techniques and Materials

Artists traditionally utilized natural pigments, Chinese ink, and watercolor on raw silk. They employed techniques of washing and layering to achieve transparency, fluidity, and the inherent softness of silk, accentuating the elegance and grace that are hallmarks of silk painting. These works often depicted the lives and essence of women, as exemplified by Lê Phổ’s painting Bức Màn Tím (The Purple Veil), which stands as a symbol of genuine national pride rendered with deep respect on the medium of silk. Traditional silk painting embraced a symbolic style, often refraining from depicting objects as they appear to the naked eye. Instead, it relied on abstract representation and made extensive use of earthy tones, particularly shades of brown and green, to convey its narratives and emotions (Figure 15).

Modern silk painting techniques introduced the use of tempera, powdered colors, and oil paints, alongside the incorporation of Western artistic principles of perspective. These innovations allowed artists to address larger spatial compositions, as seen in Nguyễn Đăng Khoát’s Tình Yêu Cao Nguyên (Highland Love) (Figure 16). Modern techniques emphasize realism, striving to depict three-dimensional space, mist, water vapor, and subtle gradations in landscapes, imbuing modern silk paintings with a certain poetic quality. While traditional silk paintings typically portrayed simple themes such as landscapes, still life, women in ao dai, mountain women, or fishing village life, modern silk paintings have embraced a broader and more diverse range of subjects. These include more dynamic and layered compositions, enhanced by modern techniques to depict three-dimensional spaces with richer, more nuanced color palettes. Additionally, modern paints offer faster absorption, further expanding creative possibilities for contemporary artists.

Contemporary silk painting represents a groundbreaking evolution, blending silk with materials such as acrylic paint, gold leaf, and modern printing techniques. This fusion has redefined the visual language of silk painting, enabling artists to explore a wider variety of expressions. An example of this innovative approach is Mai Xuân Oanh’s Âm Hưởng Đồng Quê (Echoes of the Countryside, Figure 17). Nowadays, a variety of different techniques and surface treatments are applied to silk. During the creative process, each artist develops a personal approach to handling the surface and applying gold or silver leaf. Some apply gold to the front, while others attach gold or silver leaf to the back. One advantage of applying metal leaf to the reverse is that the artist can still paint normally on the front without leaving areas of exposed silk. This allows the gold layer to blend harmoniously into the overall composition rather than standing out abruptly. Moreover, when applied to the reverse side, the metallic luster of the gold leaf is softened by the silk fibers, creating a gentler, more pleasing effect for the viewer. The texture of the silk also remains visible and tactile, preserving its inherent character. Depending on the specific context and artistic intent, each technique offers its own strengths and constraints. Selecting the appropriate method in relation to the material and surface of the silk enables the artist to achieve the most effective and expressive outcome. For example, Vũ Đình Tuấn’s Vườn phương Nam 5 (Oriental Garden 5, Figure 18) combines modern printing techniques on silk, while Nguyễn Hiền’s Every Morning Routine (Figure 19) employs a modern printing method using foam on silk. In the contemporary context, silk paintings are no longer merely art objects but visual narratives that reflect the spiritual and cultural dimensions of Vietnamese women’s lives across historical periods. Modern silk painting practices often integrate aspects of vernacular artistry with new forms of visual composition, allowing artists to work on larger spatial canvases while sustaining cultural depth. Through numerous exhibitions, contemporary artists have introduced audiences to a fresh perspective on artistic expression, creative concepts, and their engagement with tradition. They bridge Eastern and Western art languages, creating modern silk paintings that honor heritage while embracing innovation, offering profound insights into both the past and the present.

4. Discussion

4.1. The Evolution of Women’s Imagery in Silk Painting Across Periods

Vietnamese silk painting serves as a vivid testament to the transformation in the depiction of women across the traditional, modern, and contemporary periods. Each phase reflects significant social, cultural, and artistic shifts, encapsulating the evolving roles and perceptions of women in Vietnamese society.

In the traditional period (1925–1954), women were portrayed with simplicity, diligence, and a profound connection to rural life. They often symbolized sacrifice and the guardianship of cultural traditions. As Tran (2022) observed, art during this time predominantly mirrored the stability of Vietnam’s agrarian society (Tran 2022). A prominent artist of this period, Nguyễn Phan Chánh, employed soft, subdued color palettes to evoke a sense of peace, familiarity, and deep national cultural identity.

The modern period (1955–1986) marked a pivotal transformation in silk painting, shaped by the forces of industrialization and urbanization. Women began to appear not only in rural settings but also in urban landscapes, representing societal progress and modernization. Western artistic elements, such as innovative color schemes and novel compositions, heavily influenced the techniques of this period. According to Pham (2023), this era expanded the visual language of Vietnamese silk painting, merging traditional and modern elements into a harmonious whole (Pham 2023).

The contemporary period (1986–present) introduced a more multidimensional portrayal of the feminine, reflecting their diverse roles in rural, urban, and even dreamlike. Following the socio-economic reforms of the Đổi Mới era, women in silk paintings became symbols of strength, freedom, and independence, transcending their traditional representations. Artists such as Bùi Tiến Tuấn explored oneiric and symbolic idioms, offering fresh perspectives on gendered roles in modern society. As MacLean (2008) noted, these creative innovations reflect the profound and comprehensive transformation of Vietnamese society during the reform era (MacLean 2008).

Through these periods, Vietnamese silk painting has captured the dynamic interplay between art and society, offering a nuanced narrative of women’s evolving roles and the cultural shifts that shaped them.

4.2. The Impact of Cultural and Social Factors on Silk Painting

The development of Vietnamese silk painting has always been intricately tied to cultural and social factors, reflecting the multidimensional interaction between tradition and modernity, the evolving status of women, and the influences of globalization.

Vietnamese silk painting uniquely bridges traditional and modern artistic languages, preserving national identity while breathing new life into the art form in the context of globalization. Huynh (2018) asserts that this fusion of tradition and modernity is a key factor in sustaining the distinctive value of Vietnamese silk painting within the global art scene (Huynh 2018). By maintaining this balance, the art form has retained its cultural essence while embracing innovation.

The changing societal roles of women are vividly reflected in silk paintings. From Nguyễn Phan Chánh’s tender portrayals of self-sacrificing mothers to Bùi Tiến Tuấn’s depictions of strong, independent women, silk painting serves as a mirror of the shifting status and roles of women in Vietnamese society. Nualart (2018), and Tran (2022) emphasize that art functions not only as an aesthetic medium but also as a tool to reflect changing perceptions of gender and social power (Nualart 2018; Tran 2022). These works chronicle the journey of women from traditional caregivers to modern symbols of autonomy and empowerment.

Globalization has played a crucial role in the evolution of Vietnamese silk painting, introducing new techniques and materials that have expanded artists’ creative horizons. Corey (2015) highlights that the integration of local and international elements has enriched the artistic language of Vietnamese silk painting, enabling it to become an indispensable part of the contemporary global art landscape (Corey 2015). By blending local heritage with global influences, silk painting has not only adapted but thrived in an interconnected world.

Through these cultural and social influences, Vietnamese silk painting continues to evolve, preserving its unique identity while reflecting the broader transformations of society and the global art community. This dynamic interplay ensures its relevance and vitality in a rapidly changing world.

4.3. Innovations in Techniques and Materials in Silk Painting

Innovations in techniques and materials have breathed new life into silk painting, expanding the creative possibilities for artists. Over different periods, the art form has evolved, balancing the preservation of traditional values with the adoption of modern techniques, resulting in a rich and diverse range of works.

Traditional silk painting focused on the use of thin layers of color to create a soft, translucent effect. This technique required meticulous precision and patience, as each layer needed careful handling to achieve harmony and depth. Were (2022) emphasized that this attention to detail is a key factor in determining the refinement and aesthetic value of the artwork (Were 2022). These delicate techniques were integral to the classic beauty and subtlety of early Vietnamese silk paintings.

During the modern era, the introduction of diverse materials and techniques brought groundbreaking advancements to silk painting. Contemporary artists began to incorporate not only traditional watercolors but also new materials like acrylic inks, oil paints, and even digital printing technologies. Advanced techniques, such as the application of gold and silver leaf, added striking visual effects, highlighting the creativity and richness of the art. MacLean (2008) noted that these innovations reflect not only the evolution of silk painting but also the broader transformation of Southeast Asian art in the context of globalization (MacLean 2008).

The fusion of traditional and modern techniques has resulted in unique works that preserve classical values while capturing the spirit of the times. These artworks showcase the adaptability and creativity of Vietnamese art, reinforcing the relevance of silk painting in the contemporary art scene. As Tran (2022) observed, this blend of old and new serves as a testament to the resilience and dynamism of Vietnamese art, successfully balancing tradition with modernity (Tran 2022). Through these technical and material advancements, Vietnamese silk painting continues to evolve, affirming its place in the global art landscape while maintaining its distinct identity. This dynamic integration of innovation and tradition reflects the enduring vitality and cultural significance of this unique art form.

5. Methodology

This study employs a qualitative approach, emphasizing visual analysis and in depth interviews. By integrating historical records, art criticism, and representative artworks, the research aims to elucidate the transformation in the depiction of female figures in Vietnamese silk paintings across three key periods: early, modern, and contemporary.

Fifteen representative silk paintings from three developmental periods, the early phase (1925–1954), the modern phase (1955–1985), and the contemporary phase (1986–present)—were selected for detailed analysis. These temporal divisions are not arbitrary but draw on established periodizations in Vietnamese art history, which are widely recognized by scholars. The early phase (1925–1954) aligns with the era from the founding of the École des Beaux-Arts de l’Indochine (1925) and the development of silk painting under colonial and nationalist influences, up to the end of the First Indochina War and the partition in 1954. The modern period (1955–1985) captures the years of socialist reconstruction in North Vietnam, the Vietnam War era, and state-driven cultural policies controlling artistic practices. The contemporary period (1986–present) begins with Đổi Mới (1986), the reform period that opened Vietnam to market forces and global cultural exchange, changing both the subject matter and aesthetic tendencies of art. Experts such as I. Lenzi trace how Đổi Mới reforms enabled a shift toward more pluralistic, globally connected art practices (Lenzi 2022). Taylor & Corey explore how artistic expression diversified in this era under the impact of globalization and policy liberalization (Taylor and Corey 2019).

This comparative framework allows the analysis of trends in composition, material techniques, color palettes, imagery, iconography, and materials used in each period. In doing so, it highlights the evolution in the depiction of women and identifies shifts in artistic expression in relation to changing cultural, political, and social contexts.

The study focuses on analyzing the works of prominent silk painters representing three successive generations, with careful consideration of their historical significance and artistic contributions. The selection follows a purposive sampling strategy aimed at capturing both continuity and transformation in Vietnamese silk painting, rather than limiting the sample to members of a single institution such as the Vietnam Fine Arts Association. Each artist was chosen because their practice has been widely recognized, through national exhibitions, critical publications, or influence on subsequent generations as emblematic of the key artistic currents in their respective era. (1) Traditional Period (1925–1954): Nguyễn Phan Chánh, Lê Văn Đệ, and Lê Phổ were among the earliest graduates of the École des Beaux-Arts de l’Indochine and are internationally acknowledged as pioneers who established the foundation of modern Vietnamese silk painting. Their works epitomize the synthesis of indigenous aesthetics with French academic training and set the stylistic and technical benchmarks for later artists; (2) Modern Period (1955–1985): Mai Trung Thứ, Nguyễn Thụ, Mộng Bích, Hoàng Minh Hằng and Lê Thị Kim Bạch represent the generation that worked through the decades of socialist reconstruction and the Vietnam War. Their paintings reflect the transition from colonial legacies to socialist realist ideals, while at the same time developing a more diverse and individualized visual language. They were selected for their pivotal role in sustaining and reinterpreting the medium during a politically charged era; (3) Contemporary Period (1986–present): Bùi Tiến Tuấn, Vũ Đình Tuấn, Nguyễn Thị Hoàng Minh, and Lâm Tú Trân exemplify the experimentation and global engagement that followed the Đổi Mới reforms. Their works introduce innovative techniques-such as the fusion of silk with mixed media and digital processes-and portray women as multifaceted, globally resonant figures. These artists were included because their practice demonstrates how Vietnamese silk painting has entered dialogue with international contemporary art while retaining a distinctly local cultural identity.

By examining the works of these renowned artists, the study will identify the stylistic and thematic evolution of silk painting, particularly in the portrayal of women, and the broader cultural and societal influences that shaped these changes. The visual analysis will delve into compositional techniques, color palettes, and iconographic elements, while in-depth interviews with art historians, critics, and contemporary artists will provide critical insights into the socio-political and cultural contexts influencing artistic production during each period.

This multidisciplinary approach ensures a comprehensive understanding of the dynamic relationship between Vietnamese silk painting and the evolving representation of women within the nation’s cultural and historical narrative.

5.1. Data Collection

The study is conducted in two primary phases to ensure comprehensive analysis and the collection of multidimensional data:

(1)

Artistic Work Selection and Analysis Framework

Fifteen representative silk paintings from three developmental periods (traditional 1925–1955, modern 1955–1986, and contemporary 1986–present) were selected for close examination. The selection aimed to capture diversity in composition, color palettes, materials and iconography. This provides the empirical basis for later content and qualitative analysis.

(2)

Expert Interviews

Semi-structured interviews were conducted with ten contemporary silk painting artists, art critics, and curators of fine arts exhibitions (See

Table 1. Interviewee profile.

Interviewee	Field/Role	Silk Painting Experience	Key Professional Activities
Tran Ngoc Minh	Art Educator	Practicing & researching since 1992	National exhibitions; guest lectures on silk painting techniques
Ho Dang Quan	Art Critic	Researching since 2005	Publishes critiques and essays in Vietnamese art journals
Truong Phuc Anh	Museum Curator	Researching archives since 2000	Curated exhibitions on Nguyễn Phan Chánh and contemporary silk painters
Bui Van Quoc Trung	Contemporary Artist	Working with silk since 2005	Exhibited internationally; combines silk with digital techniques
Do Vi Quang	Contemporary Artist	Practicing & researching since 2000	Exhibitions and teaching in Vietnam and abroad
Phan Bich Thao	Art Historian	Studying silk painting since the 1990s	Publishes on colonial-era silk art and its cultural synthesis
Pham Dinh An	Exhibition Organizer	Working with silk exhibitions since 2010	Organizes biennales and thematic exhibitions
Doan Nguyen Thach	Art Historian	Researching Vietnamese silk painting since early 2000s	Writes for international journals on national identity and global exchanges
Hoang Phuong Huy	Contemporary Silk Painter	Creating since 2018	Participates in young artists’ exhibitions and gallery shows
Ngoc Minh Hoan	Art Educator	Practicing & researching since 2000	Exhibitions and teaching of Vietnamese silk painting

). These interviews revealed that each phase of silk painting development is characterized by distinct features in content, artistic trends, and material techniques, as well as unique approaches to imagery. This phase aims to gather diverse perspectives on the transformation of techniques, content, and the representation of women in silk paintings. The interviews provide in-depth insights into the intersection of individual artistic vision and socio-cultural changes, enriching the understanding of the creative process and the factors influencing Vietnamese silk painting. Additionally, they shed light on how the interplay of artistic practices and cultural exchange during globalization and international integration has shaped the evolution of this art form.

5.2. Data Analysis

(1)

Content Analysis

The imagery and metaphorical meanings in silk paintings are systematically analyzed to clarify the artistic representation of women. Particular emphasis is placed on the cultural and social contexts as well as the evolving roles of women as depicted in the paintings across different historical periods. This approach allows for a deeper understanding of how the portrayal of women reflects broader societal changes and cultural narratives.

(2)

Qualitative Analysis

Key themes are identified and categorized to establish patterns of artistic development over time. This method facilitates the exploration of recurring artistic symbols and their connections to socio-political contexts, providing profound insights into the continuity and transitions in Vietnamese silk painting. Through this, the study reveals the interplay between tradition and innovation, highlighting how the art form has evolved while responding to societal shifts during its formation and development.

6. Conclusions

This study sheds light on the transformation in the depiction of women in Vietnamese silk paintings across three major phases. During the early phase, figures of the feminine were portrayed in simple rural settings, reflecting pastoral grace closely connected to nature and family life. They were depicted as symbols of elegance, guardians of tradition, and representatives of national cultural values. In the modern phase, a synthesis of heritage and modernity became evident in silk paintings, where these portrayals were reimagined with more diverse roles against the backdrop of industrialization and urbanization. Western painting techniques and compositions influenced this phase, introducing innovation in visual language and emotional expression. In the contemporary phase, economic reforms and globalization spurred creative breakthroughs in art. Women in contemporary silk paintings became multidimensional figures, embodying not only inherited aesthetics but also independence, strength, and the shifting social roles associated with the feminine in society.

Through the analysis of representative artworks, expert interviews, and scholarly literature, the study reveals that these changes reflect not only advancements in painting materials and techniques but also the socio-economic and cultural transformations of the nation. This research provides new insight into how the symbolic representation of women in silk painting has evolved in response to historical and cultural change. It highlights that the meaning of these artworks often lies as much in the surrounding settings and cultural landscapes as in the gender of the figures themselves. By analyzing the depiction of women across different phases, the study situates Vietnamese silk paintings within the broader context of Southeast Asian and global visual arts. Future exploration of artists and works from this period will contribute to a comprehensive picture of silk painting development. Rather than making broad claims about national identity, the study emphasizes how the portrayal of women serves as a lens for understanding the dynamic interplay between art, culture and social transformation.

The concluding perspective underscores that the depiction of women in silk paintings bridges tradition and modernity and offers a nuanced reflection of women’s roles in Vietnamese society from past to present. Although Vietnamese silk painting has undergone significant development, the transitional period (1975–1986), marked by experimentation and innovation, remains understudied in both academic and art criticism circles. Delving deeper into this period will provide a fuller narrative of the evolution of Vietnamese silk painting. Future research could focus on comparing Vietnamese silk paintings with those from countries with longstanding silk painting traditions, such as China and Japan, to propose strategies for preserving and developing the art form in the context of globalization.