Department of American-British

Culture and Literature

THE FUSION OF EUROPEAN AND

Fine Arts Museum of HCMC

ASIAN CULTURES IN THE

ARCHITECTURE OF THE FINE
ARTS MUSEUM OF HCMC

FEB 2023
DESIGNED BY GROUP 03
VIETNAM NATIONAL UNIVERSITY - HO CHI MINH CITY
UNIVERSITY OF SOCIAL SCIENCES AND HUMANITIES
FACULTY OF ENGLISH LINGUISTICS & LITERATURE

BOOK REPORT
COURSE: INTERNSHIP 2
INSTRUCTOR: MS. TA KIM HOANG, M.A.
GROUP 03
Ho Chi Minh City, February 2023
 Group 3
Group's Members

Nguyen Thi Nhu Huynh 1957010259

Trinh Trung Khoi 1957010268
Nguyen Thi Mai Loc 1957010277
Phan Thi Ngoc Mai 1957010280
Tran Tuong Minh 1957010281
Nguyen Ngoc Minh 1957010282
Nguyen Thi Yen Nhi 1957010302
Nguyen Thi Quynh 1957010318
Nguyen Ha Duy Thanh 1957010331 Instructor: Ms. Ta Kim Hoang
Part 1
W O R K S O F A R T D U R I N G
T H E T R I P T O T H E F I N E
A R T S M U S E U M O F H O
C H I M I N H C I T Y

1
 The l965 oil painting "War and Children" by artist Tran Kim Hung is one of
my favorites. The painting depicts a mother or soldier who is about to pass
away. He or she is trying to hold the child while the child is grieving over
his or her death. I was heartbroken when I first saw the image because of
what had happened to the children, who had lost so much throughout the war,
such as their parents' affection, care, and support. I also resented the
consequences of the war, which left a great deal of grief and suffering for
the people who stayed, especially children.
Tuong Minh
War And Children (1965)

The stone statue “Opposing the Enemy” by Nguyen Quoc Thang, located in front
of the Fine Art Museum’s main building, is the sculpture that gave me a strong
impression when I arrived there. This work depicts two women holding two
children, but one of whom was deceased because of the attack from the enemy.
The sculpture expresses the dreadful effects of the war which are the deaths
of Vietnamese people and the grief of the survival. Through the work and its
Vietnamese name “Cam thu”, the sculptor manifests the vindictive hatred of his
as well as of Vietnamese people for the enemy.
Nhu Huynh
Opposing The Enemy (1981)
Tô Minh's painting "Dried Fishes" (1979) is a simple yet powerful expression of
the artist's innermost thoughts. The painting depicts a collection of dried fish
arranged in a circular pattern with a single eye peering out from the center.
There is a sense of longing and nostalgia as the viewer takes in the harsh, yet
beautiful imagery of the fish, seemingly searching for something that has been
lost. This emotion is further highlighted by the muted tones of the painting,
which create an atmosphere of stillness and contemplation. The painting evokes a
deep feeling of sadness and regret, but also a sense of hope for the future; one
can almost feel the artist's will to continue on despite the painful memories. The
painting serves as a reminder that although the past may be gone, we can always
Dried Fishes (1979)
look towards a brighter future.
Ngoc Mai
2
 The painting "The Road Forward" by Co Tan Long Chau depicts a group of
soldiers marching down a narrow and dark road with the hope of fighting
for peace. The road itself is symbolic of the journey that these soldiers
are undertaking, both physically and emotionally, full of uncertainties
and unpredictable challenges. Despite many challenges they face, the
soldiers remain resolute and march forward with determination and
bravery, driven by their unwavering commitment to bringing peace to the
country. Therefore, "The Road Forward" inspires us to never forget the
sacrifices made by these heroes and to keep pushing forward in our own
journey, no matter how challenging it may be.
The Road Forward (1938)
Duy Thanh

War is one of humanity's oldest vices, right up there with

prostitution. Other common psychological effects of war besides death
and the loss of body parts include feelings of detachment,
irritability, insomnia, forgetfulness, and nightmares. These effects
are brought on by constant exposure to the terrifying and traumatic
events that are frequently experienced on battlefields. These
psychological wounds, like the physical ones, can sometimes heal,
although they may ache or even contract in response to painful or
upsetting touches. A soldier engaged in outside-the-borders offensives
can go for several years without speaking to their loved ones. A man
can only do his best to survive in hell, which is war, by using the Y-shaped Bridge Battlefield
resources that are at his disposal.
Ngoc Minh (2001)

3
Vietnam's first set of stamps
Artist Nguyen Sang (1923 - 1988) had the privilege of creating the
first stamp-set of the Democratic Republic of Vietnam, which was
published in 1946 and featured an image of the country's first
president, Ho Chi Minh.

The stamp's pictures were taken from a portrait of President Ho Chi

Minh taken at the start of the August Revolution and portrayed his
distinctive qualities of brilliance, tenderness, and majesty.
White, smooth, thin paper was used to print the stamps. For the
first time, the phrase Vietnam appears on our nation's stamps
beside a picture of the first President of the Democratic Republic
of Vietnam. Therefore, such stamps have greater significance in
terms of politics, culture, the arts, economy, and society; they
also represent a significant turning point for both the nation's
postal service and for society as a whole.

Then, in 1949, Nguyen Sang was tasked with creating the second
stamp set to commemorate "President Ho Chi Minh's 59th birthday
Anniversary," which featured an image of the president with a
contemplative and unyielding expression. This one-of-a-kind Vietnam
stamp set was created using Do paper, which was used in the North
of Vietnam to print folk paintings.

Mai Loc

4
 The picture of "Harvest Time"-an oil on canvas painting by Nguyen Sien is the one that
left the most long-lasting impression when I visited the Fine Art Museum. The painting
conveys some meaningful messages through its beautiful scenes. The ripe stalk of rice
brings joy not only to the farmers but also to the soldiers, which serve as their
physical support. Because rice is a source of food that will be supplied for soldiers
fighting for peace. Moreover, it is also the source of life for people in the whole
country. Prominent in the painting is the image of a woman who can be a mother, or a
wife-the solid mental support for the soldiers. Looking closely, the woman is looking
at a pair of pigeons in the sky, which represents people's desire for a peaceful,
prosperous, and happy life. A painting about daily life always embodied the most
wonderful power, which encourages the soldiers’ souls, giving them a ray of hope and
an optimistic belief in the future.
Harvest Time (1980)
Quynh

Gypsy, the painting with lacquer on wood by Morris Bear Squire, is an

impressive and emotionally-driven artwork in Ho Chi Minh City Museum of
Fine Arts. The painting exhibits a great sense of depth and texture, as the
lacquer has been applied in a very delicate manner. Moreover, the skillful
application of the lacquer technique provides an extra layer of depth to
the painting, enhancing the realism and vividness of the scene. The gypsy
girls smiling appear with wild beauty, liberty, and freedom, which are
inherent characteristics of the nomadic Digan tribe. Their face is framed
by a headdress and her body is draped in a brightly colored fabric, both of
which further emphasize thea traditional Romani culture that the artist is
trying to capture. Thanks to the lacquer, the artist expressed the spirit Gypsy (2000)
about the beauty and grace of the woman in the portrait, as well as her
mysterious and somber expression.

Yen Nhi
5
 The Young Girl, an oil painting painted by Nguyen
Trung in 1988, immediately caught my eye, spiraling my
mind with questions about her existence. The painting
focuses on a young naked woman in a dull room, showing
only her back and a strange pose that obscures the
limbs. She is supposed to be the image of youthfulness
and liveliness, and her naked form should represent
innocence, sincerity, but her world is inescapable due
to her surroundings and her limbless body. This
depicts a young woman facing a life of confusion and
possibly an unfair world for women. However, light
shining on her, I believe that enthralls its audience
to see and appreciate her real self, not taking her
for granted, as she makes the world more beautiful.
Moreover, the light represents hope, a reminder that
The young girl (1988) life does not stop there and that there must be a way
to escape it. The painting is a medley of minimalistic
approach, impressionism, and feminism in the new era.

Trung Khoi

6
 OUR JOURNEY

7
 Part 2
8
 Preface
T H E R E A S O N W H Y
W E C H O S E T H E T O P I C

Fine Arts Museum of Ho Chi Minh City

With more than 300 years of development, Saigon - Ho Chi Minh City has amassed a huge and precious
architectural heritage fund. Among them, there lies the embodiment of an art masterpiece - Fine Arts Museum
of Ho Chi Minh City. Located in the heart of the city, it houses various pieces of artwork that reflect the
distinct cultures of the region. After our intensive field trip to this museum, what really makes it
amazing and incredible is the intricate fusion of European and Asian cultures that is present in the
architecture of the Fine Arts Museum. The building itself is a testament to the power of combining two
different styles and creating something beautiful. It examines the ways in which this unique blend
manifests itself in the museum’s physical structure, its aesthetic elements, and the stories that it tells.
We chose this topic for its importance in understanding the way our culture has evolved over time and how
that evolution is reflected in the architecture of today. In other words, it is believable that looking at
the museum, and the way it was created, can give us a better understanding of how cultures interact and
influence each other, which is an important concept to understand in today's increasingly globalized world.

9
 This museum was formerly an edifice belonging to the Chinese-origin businessman named Hua Bon Hoa
– one of the wealthiest people in Saigon as well as Indochina in the early twentieth century.
Hua Bon Hoa was born in 1845 in Fujian province, China. He immigrated to Saigon at the age of 18
when Vietnam was freshly colonized by the French and relatively safe for Chinese immigrants.

Fine Arts Museum of HCMC Stylized characters H.B.H

Mr. Hua Bon Hoa
History

The mansion's map

The family's mansion is a harmonious combination of Asian and European architecture which was designed by
the French architect Rivera between 1929 and 1934. After the family left Sai Gon around 1975s, the
building was taken over by the newly elected government. They turned it into the Fine Arts Museum in 1987
and allowed tourists inside in 1992. It is more than just a physical place; it is also home to a number
of artworks, paintings, and antiques that contribute to the development of fine arts in Ho Chi Minh City.

10
 ity
f Ho Chi Minh C
o
s Museum
Fine Art

Fine Arts Museum of Ho Chi Minh City

The influence of
European architecture
Acient Contemporary
Arts Area

11
The Gallic Rooster

on th e museum’s
whi ch is used ssociated with
Ga ll i c Rooster, ol primarily a ooster with a
The mb r
t op , i s a sy is a stylized t ai l that is
roof p
h c u lt ure. It , and curled-u tionalism and
Frenc re d f igure o f Fr en ch na osperity,
t ic , le m s pr
majes d as an emb e the country' ter is also
us e
often to sy mboliz Ga ll ic Roos
e e
has com d courage. Th ilance.
an g
power, of peace and vi
symbolic

12
 Stained glasses

Patterns on stanie
d glasses
Stained g
Stanied glasses la
style of sses with a varie
E t
doors and uropean art, are y of colors - the
u t
“stained windows in the mu sed within the d ypical
g s e s
windows o lass” was appli eum. Originally, ign of
f ed almos t
perfected churches and rel t exclus he term
ig i vely to
trend and by the Romans. It ious buildings,
th
understan skilled worker i was the first art at was
da n -f
element o ble that they ha dustry. Therefore orming
f ve become , it is
Art Museu design for these an indispen
m. buildings
within th sable
e Fine

sses
ith stanied gla
w
Windows
13
Circular-shaped ceilings
Fine Arts Museum of HCMC -
Western circular-shaped ceilings Circular-shaped ceilings

Part of the museum’s ceilings is circular shape - the

repeating characteristics distinctive of the Western style.
Those circular-shaped ceilings reflect the aesthetic,
classic, and luxurious essence that we cannot miss when
coming to the museum.

14
Spiral wooden
staircases

The impressive design of spiral wooden staircases inside the museum looks like
the famous Bramante-Vatican staircase in Italy, featuring the distinctive
architectural style of this time. The spiral staircase is a timeless structure
that can be used to save space and is built as protection in certain kingdoms
when facing an attack. That the staircase embraces the spiral design works as a
vintage vibe while maintaining its modernity of Europe outlook.
15
 The jade stones have their origin in
ancient Greece and Italy. Those create the
classic sense because they were once widely
used for temples, mosques, and sculptures.
This high-end material not only adds a
touch of sophistication to the building but
also showcases the French taste for luxury
and grandeur.

The symmetrical floor tiles give the

interior flooring a classic and playful
The jade stones vibe.

The symmetrical floor tiles

16
 l of Aries
The symbo

Since ancient Greece, philosophers and

astronomers have explained the symbol of
Aries as the start of a new life cycle
because it is the sign of spring. From this
knowledge, we can see that Aries statues on
the surface of the flower pots make the
architecture more lively and flourishing.

17
 Fine Arts Museum of HCMC - Fountain
Fountain

in front of the main building

Fountains are known to have existed
since the early Bronze Age in
southeastern Greece and the Indus
Valley. Not simply for the decorative
function, fountains are added to the
buildings as a sign of well-being and
prosperity. It coincides with the
scientific theory that water accounts
for approximately 70% of a living body.
And also true from the old civilization
to modernity, our life is surrounded
and supported by water. We drink and we
travel, especially to nomadic cultures
like the Western.
Western fountain

18 Western fountain
 THE
INFLUENCE
OF

ASIAN
CULTURE

1000 YEARS
OF THE
NORTHERN
COLONIAL
PERIOD
FEB 2023

19
 The coin-like designs
The coin-like designs in many places in
the building are a nod to the traditional
beliefs of Asian culture. In Asia, coins

Coin-like designs on the floor tiles

Coin-like designs above the doors

are often seen as symbols of prosperity
and good fortune. Their uses are intended
to bring these qualities to the mansion
and also to its owner - Mr. Hua Bon Hoa.
The intricate, repeating pattern of the
coins creates a visually stunning and
harmonious design, and their uses help to
connect the building to its Asian roots
and cultural heritage.

By incorporating these coin-like designs into

the mansion's architecture, the architects
created a building that not only showcases the
fusion of European and Asian cultures but also
incorporates traditional elements that are
meaningful to Asians.

20
Fine Arts Museum of HCMC
The U-shaped structure
- U-shaped structure

The who
l
shaped e constructio
b n
are hig uilding. Chin is a U-
h e
can be ly collectivi se people
inferre stic so
shaped d th at the it
structu
the un r
ity be e would repres U-
person, tween ent
pe rson per son
the di a
vine f and nature, nd
being. orce a an
nd hum d
an

lows
This structure al
sily
family members to ea
tive
gather for collec
activities.

21
Fine Arts Museum of HCMC - U-shaped structure
 the rooft
op of
Yin - Y
ang styl
ne s e fe a t u re of the e
Another Chi e red-tiled rooftop
th
museum is t h e Y i n and Yang
n
which is i Yin-Yang principle
style. The t h e dualities,
expresses unity in
a nd
paradoxes, a n g e, and harmony
.
c h
diversity, i , t he red co s
lor
S hu
In Feng F i re element, th
u
t h e
adheres to t h e design wit
h
associating triking effects.
s
powerful and
n ot only
design i s
This p l e a si n g but also
y
aestheticall r e mi n de r of the
a
serves as b a la n ce in life
as
of
importance t o t he harmoniou
s
dd s
well as a i t i o n a nd modernit
y
r ad Red-tiled rooftop in Yin-Yang style
blend of t g.
in
of the build

22
 Chinese characters
Fine Arts Museum of HCMC

The
couplets
Our language is strongly impacted by
Chinese culture, so recessed in the
design are the Chinese characters high
above the wall and the couplets on both
sides of the main entrance.

The couplets on both sides of the main entrance

23
 99 DOORS
Various architectural styles
of the 99 doors all add to
the appeal of the mansion.
The reason behind the 99
doors at the Fine Arts Museum
of Ho Chi Minh City is not
specifically stated. It could
be a symbolic number chosen
for its cultural or spiritual
significance in Vietnamese or
Asian culture.
24
In many cultures, the number 99
is often associated with
completeness, fullness, or a
state of being all-encompassing,
and this could be why it was
chosen for the number of doors
in the museum. Alternatively, it
could simply be a design choice,
intended to add visual interest
or aesthetic appeal to the
building.
The very first elevator in Sai Gon was inspired by the
image of the Chinese palanquin

d
is m a de of woo
l e v a t or ' s cabin e x quisite
Th e e a n
like
and de co r a t ed
is c o n st ruction
e p a la n q uin. Th h en the
Ch i n e s pa st w
u s to the i mperial
brings ,
, d ivinities t he rich
rulers member s of
m il i e s , o r
a w e r e often
f a and Chi n
n d ia ese
elite i n I
l i t t er (Chin
or t e d in a during
tr a n s p pub l i c
in
palanqu i n )
g i ou s f e stivals.
em o n i al or reli
ce r
The elevator in the Fine Arts Museum of HCMC

25
Remarkable works

Nguyen Gia Tri (1908 - 1993)

Painter

Vietnam's National Treasure Painting:

"Central South and North Spring Garden"

26
The painting's general information

The painting was bought and donated to the

Fine Arts Museum of Ho Chi Minh City by the Ho
Chi Minh City People’s Committee in 1990. In
2013, "Central South and North Spring Garden"
was recognized as a national treasure
according to the Prince Minister’s Decision.

Vietnam's National Treasure Painting:

"Central South and North Spring Garden"

27
Painting: "Central South and North Spring Garden"

Among Nguyen Gia Tri's paintings, this is

the largest (540 cm x 200 cm) and took
the longest time to finish (20 years:
from 1969 to 1989).

Nguyen Gia Tri shared that more than 20 young women of

the "Central South and North Spring Garden" are more
than 20 symbols of Spring. The painting depicts the
atmosphere of the spring day when young women from the
Central, South and North regions are in traditional
costumes, celebrating the spring festival, singing and
dancing joyfully. This painting was created when the
country had been at war, so it seemed to express his
wish for peace, unity, and happiness for the country.
Painting: "Central South and North Spring Garden"
28
Painting: "Central South and North Spring Garden" The damage to the painting

OF OUR JOURNEY

In February 2019, after being cleaned, the

paintings showed signs of peeling and damage.
Through examining the painting, the appraisal
committee concluded: That not only the painting's
surface but also the spirit of the work had been
seriously damaged. The reason was that the
cleaning team had used an unsuitable powder to
polish the surface of the painting, which led to
the wear of the painting surface. Now it is
impossible to restore the original work.
29
Remarkable works

Evening landscape (1965)

Nguyen Huy Dzung

Portrait of a young girl (1993)

After a storm (1972)
Le Vuong
Nguyen Quynh

30
Daily life: Evening landscape
These paintings were drawn between 1945-
1975, which was a fierce war period,
which implies people’s wish to be back
to the peaceful days, those days when
there was no war. In the picture of the
afternoon scene by Nguyen Huy Dzung, it
is not the image of running away from
the war under the rain of bombs and
bullets, but the mothers and sisters
with bamboo frames on their shoulders to
return home. A picture of daily life in
the war period represents people’s
desire to live in peace and develop the
economy without worrying about war.

Evening landscape (1965)

Nguyen Huy Dzung
31
Human: Portrait of a young girl
The picture of Vietnamese children “My
daughter” by painter Le Vuong in 1988.
Why did he draw about children? Because
it is believed that young generations
would change the future of the countries.
The development of our country nowadays
is the best evidence of the belief of the
people in the past, many young Vietnamese
have become global citizens, integrating
with the world, leading the country to a
higher position.

Portrait of a young girl (1993)

Le Vuong

32
Nature: After a storm

The scene after the storm by artist Nguyen

Quynh reminds us of the Vietnamese proverb:
“After the storm comes a calm”. The light
always brings positive energy and an optimistic
view into every aspect of life. This picture
represents a wish for a better life and a
brighter future. This reminds us not to be too
After a storm (1972)
Nguyen Quynh pessimistic but to try to look at the bright
side of the problem.

33
 Architectural design

Selective cultural
The three-storeyed construction of the Fine Arts
Museum was built in the style of Art-deco
architecture, an architectural style that

acquisition
harmonizes the most quintessential values ​from the
Asian and European fine arts schools. The layout of
the building obeys the rule of symmetry, an
indication of Asian influence: the main building
lies on the north-south axis with two secondary
buildings on the sides. The auspicious color
palette is deliberately chosen in accordance with
Chinese traditional beliefs. For instance, on top
of the roof, the red curved ceramic tiles represent
luck and fortune, and the whole building is painted
yellow, the color of the emperor, representing
affluence and power. Yet, the ornate heavily
carries the French style. Notably, the colorful,
multi-paned window incorporates French artistic
style and European technique for its optimal
outlook. As you enter the building, you can get
enchanted by the various yet symmetrical patterns
on the floor while the baroque style on the
ceilings is evident. This body of work is marked as
a historical event in Ho Chi Minh City and a
masterwork despite the clash of two polar cultures.

34
Exhibition
The paintings and relics reflect the different periods of
history and development of Vietnam arts, attracting a lot
of domestic and international tourists visiting every day.
In addition, the exhibition rooms have many works by
foreign artists, which is proof of the cultural and
artistic exchange between countries. The sixteen showrooms
are distributed throughout three floors. The first floor is
for rotating galleries, exhibitions, and activities. The
second floor features a permanent collection of fine arts,
including paintings from the Southern Fine Arts period
(18th to 20th century) as well as work from the two
Contemporary Arts periods: the beginning of the 20th
century to 1975, and then 1975 to the present day. Arts
prior to 1975 contain themes regarding war, hope, and women
in war with austere art style while arts after 1975 take
more inspiration and elements from European culture as more
still-life and abstract arts were made in this period. The
third floor features historical art and handcrafts,
including the ancient bronze sculptures of Hindu and
Buddhist Gods from Southern Vietnam as well as the
sandstone and terracotta arts of the Champa kingdom. Each
of them reflects the vitality of art through the ages.

35
Conclusion The Fine Arts
Museum is an ex
cellent
example of the
fusion of Europe
an and
Asian cultures
in architecture.
museum, designed by The
renowned architect
Rivera, combines Mr.
both traditional
modern elements and
to create a un
building that re ique
flects the divers
ity of
its surroundings.
The exterior of
museum the
features a Chinese-inspired
roofline, while
the interior of
eclectic styles fers
from across Euro
pe and
Asia. Additional
ly, the museum
several collection houses
s of art from diff
countries and cu erent
ltures, emphasizin
importance of cult g the
ural exchange.

36
THE END
OF OUR JOURNEY
 References

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nu-viet/.
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 Index

Part 1 1
Part 2 8
Preface 9
History of the museum 10
The influence of European architecture 11
The influence of Asian architecture 19
Remarkable works 26
Selective cultural acquisition 34
Conclusion 36