The Director of the Vietnam National Fine Arts Museum, Nguyen Anh Minh, says Tu Binh paintings embody a profound philosophy of life through four spaces, four seasons and four stages of human existence.
Decoding the hidden language of the four seasons
The Vietnam National Fine Arts Museum currently preserves nearly 2,500 Tu Binh folk paintings spanning several well-known traditions, including Hang Trong, Dong Ho, Lang Sinh and Kim Hoang.
According to Nguyen Anh Minh, Tu Binh paintings convey deep reflections on life through representations of four seasons, four spaces and four stages of a person's journey. Viewers can experience the philosophies, messages and aspirations that earlier generations sought to pass on to those who came after them.
For that reason, the publication Tu Binh Paintings - A Selected Collection of Folk Paintings was created as an effort to honor and promote the value of Vietnam's cultural heritage through these unique works of art.
Minh noted that the genre extends far beyond decorative purposes. The publication guides readers through layers of symbolism that reflect the movement of the universe through the four seasons, while also contemplating the cycle of human life from childhood to old age.
From ancient times, Vietnamese people have enjoyed displaying paintings, particularly during the Lunar New Year season. Considered a refined cultural pastime, the tradition is reflected in the popular saying: "First comes calligraphy, second comes paintings." Vietnamese folk paintings, including Tu Binh works, remain among the most valuable cultural legacies handed down by previous generations.
Tu Binh paintings are highly narrative in nature. They express aspirations for prosperity and happiness while celebrating beauty and criticizing the social shortcomings of earlier times. Through stories and historical motifs, they also encourage patriotism and admiration for the virtues of working people.
In Vietnamese cultural life, these paintings were traditionally used to decorate homes during the spring season. Their vibrant colors brightened walls and pillars, creating a fresh and welcoming atmosphere. Because they were intended for display on walls and columns, Tu Binh paintings were generally designed in vertical formats.
One of the genre's defining features is the flexibility of its composition. Human figures are often depicted standing or seated on elevated platforms. Birds, flowers and plants are arranged in layered vertical structures. Stories, work activities and scenes of communal life are divided into symbolic sections that unfold from top to bottom or vice versa.
Each segment functions as an individual episode while contributing to the larger narrative.
Another notable characteristic of Tu Binh paintings is their decorative quality. The ornamentation is simple yet rich in symbolism, using stylized forms derived from reality without excessive detail. Examples include patterns on the garments of To Nu maidens and the flat color fields used to depict flowers, leaves and birds. Decorative elements often extend to the borders of paintings and accompanying Chinese calligraphy inscriptions. As a result, each Tu Binh work is regarded as a complete artistic composition - harmonious, vibrant and deeply lyrical.
Vietnam's folk painting tradition encompasses a wide variety of genres, including celebratory paintings, scenes of daily life, historical subjects, landscapes, religious works and illustrated narratives. Within this diverse artistic heritage, Tu Binh paintings occupy a distinctive place.
Differences in subject matter also shape the messages conveyed by various Tu Binh series. Tu Quy paintings use flowers and plants to symbolize the four seasons and the virtues of the noble scholar-gentleman. Tu Dan paintings portray four traditional occupations familiar to rural Vietnamese life: Ngu (fishing), Tieu (woodcutting), Canh (farming) and Doc (scholarship).
Through these works, viewers gain insight into historical perceptions of time and daily life. Time is not presented as a linear progression but as a cyclical process in which all things emerge, disappear and are reborn. Understanding this perspective helps reveal the deeper value of Vietnamese folk painting traditions and highlights the remarkable skill of earlier artisans.
"Flow of Heritage" in Hue
The first edition of the O Ly Artshow, themed Dong Chay Di San (Flow of Heritage), is taking place at the Hue Book and Culture Space in Thuan Hoa Ward, Hue City, and will run through June 16.
O Ly Artshow #1 emerged from a spontaneous idea shared by artists from Hue who wanted to create an open platform for local creative communities and encourage new artistic exchanges.
The event serves as a meeting point between traditional artistic practices such as lacquer art, ceramic mosaic work and woodblock printing, and contemporary media including oil painting, acrylic, silk art, truchigraphy and video art.
Here, boundaries between old and new are intentionally blurred. The works offer diverse artistic perspectives on nature, culture, sustainability and historical scripts inherited from previous generations.
Participating artists include Ngo Thanh Hung, Le Viet Trung - winner of the Bronze Prize at UOB 2025 - Vo Viet Dung, lecturers from Hue University of Arts and many other artists.
In addition to viewing artworks, visitors can explore a wide range of collections and discover exhibitions featuring locally inspired fashion and handicraft products.
The event also includes a series of Showcase and ArtTalks sessions serving as its academic and cultural centerpiece. Five topics will be explored: ceramic mosaic art, Chuon Village parallel-scroll traditions, contemporary art by young artists, books and book arts, and related cultural practices.
Tinh Le - Gia Bao
Vietnamnet.vn
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