| The figure subject in the Vietnamese silk paintings is formed and developed based on absorbing and localizing foreign influences.Under feudalism,the Vietnamese silk painting was solely influenced by Chinese fine arts.Until 1925,silk paintings officially became a professional training sector in Vietnam.Since then the pluralistic factors officially started to influence the Vietnamese silk painting.It is evident that,Vietnam silk painting has a very young history compared to that of other Asian countries such as China or Japan.Particularly,on the figure subject,with a limited number of remaining relics existing until today,it is impossible to conclude that the figure subject used to be popular in Vietnam during the feudalism.Only 20 years after Indochina College of Arts was established(1925-1945),Vietnamese silk painting had established its position on the international stage of paintings.There are two main reasons leading to this phenomenal growth.Vietnamese artists extensively absorbed the artistic achievements from many countries and combined them with the aesthetic views of indigenous art,creating a numerous number of innovative silk paintings.Vietnamese silk paintings are elegant and soft,containing the affection and the soul of the people and country of Vietnam,which makes audience more palatable,yet gently profound.With achievements comparable to countries with the developed silk paintings such as China and Japan,Vietnamese silk painting has become an honor of the Vietnamese fine arts.By analyzing foreign factors that influenced the compositions of Vietnamese artists from feudalism to modern time,this thesis indicates the causes constituting to the distinctive style and look of the figure subject in Vietnamese silk paintings.The thesis is organized as follows:Chapter one analyzes the important influences of the Chinese portrait theme to the Vietnamese portrait theme in silk paintings.Chapter two presents the pluralistic factors of the world’s fine arts,particularly those of France,Japan and China to the compositions of Vietnamese artists at the Indochina College of Arts during the period 1925-1945.Chapter three indicates the distinctive qualities of Vietnamese silk painting,in particular on two aspects of shape and style,comparing them to the influencing foreign fine arts.Finally,chapter four summarizes the analysis and finding in the thesis. |
