Vietnam

Royal rickshaw comes home, to be displayed in central Vietnam

“Royal rickshaw comes home, to be displayed in central Vietnam”

via “Tuoi Tre News”

A rickshaw which belonged to a king of the Nguyen Dynasty (1802-1945), Vietnam’s last monarchy, has finally arrived home after some 100 years being away and will be put on display in the central region next week as a happy ending for insiders’ unprecedentedly concerted efforts.

The rickshaw, which was gifted by King Thanh Thai (1879-1954), the 10th king of the Nguyen Dynasty, to his mother during his lifetime, is considered a royal treasure which is highly cherished for its technical, aesthetic, cultural, and historical value.

The prized item was custom-made from “trac” wood encrusted with conch and boasts sophisticated carvings.

The rickshaw will be displayed at an exhibition, which is poised to run on Wednesday at Dien Tho Palace, part of the UNESCO-recognized Complex of Monuments in Hue City.

The palace is a prominent highlight in Hue, the capital city of the central province of Thua Thien-Hue.

The homecoming is the fruit of Vietnamese culture authorities’ campaign, with the leader of a Paris-based museum giving up its legal right to purchase the object and fund-raising efforts.

At an auction in Tours, France on June 13, 2014 of various treasured items, including King Thanh Thai’s rickshaw, Vietnam’s people won the bid for the vehicle for €45,000. The item fetched €55,800 including organization fees.

In an unexpected twist, Katia Mollet, a curator of the Guimet Museum, declared that France had the right to buy the rickshaw for the same price.

State-run organizations in France were entitled by law to purchase the items at the same price as that offered by the auction winners.

The Vietnam Embassy in France and Vietnamese culture authorities persevered in talking the French museum’s leader out of the intention, and sought for support from French cultural agencies and experts on Vietnamese culture for Vietnam’s bid to purchase the rickshaw.

Some days following the auction, the Guimet Museum, which is well known for its painstaking conservation of a number of Vietnamese artifacts and has helped promote them through its exhibits, gave up its right to buy the rickshaw.

Buu Y, a respected culture researcher in Hue, was taken aback by the full-length details of King Thanh Thai’s rickshaw in a record kept by the French auction company.

According to the auctioning record, the king sold his rickshaw and bed – another royal treasure – to Prosper Jourdan, head of the king’s escort team, who took it to France in 1907.

The rickshaw has seen repairs to and restoration of some of its parts since, the record added.

Jourdan’s heirs later decided to put these two invaluable items up for auction and expressed their wish that after the auction, they will be displayed in Hue, which was Vietnam’s imperial capital during the Nguyen Dynasty. . . .

Exhibition honors Vietnamese female soldiers in Vietnam War

“Exhibition honors Vietnamese female soldiers in Vietnam War”

by Minh Hung via “Thanh Nien News”

The Southern Vietnam Women Museum has launched an exhibition of profiles and keepsakes of Vietnamese women who migrated from the north to the south in 1959 to fight for the liberation of southern Vietnam. Photos: Minh Hung

The exhibition, which opens until June 30 and for free at 202 Vo Thi Sau Street, District 3 has attracted foreign visitors on the first day (April 7). Another exhibition is being held at the same place to honor Vietnamese women’s contribution to the country’s workforce.

Water bottle and medical instrument kit that Labor Hero Do Kim Hong used when searching for the remains of her comrades who died in the Vietnam War.

A scarf that Hong used in her searches for the remains of her comrades. Besides the items, the museum also display hundreds of photos, keepsakes of Vietnamese female soldier who migrated from the north in 1959 to fight for the south’s liberation in a hope to find them or their relatives.

A foreign woman watching an item at the exhibition, placed near a statue of a mother armed with a gun while caring her two children and the slogan that reads: The enemies arriving at our home, even women will fight.

Mats displayed at the exhibition to honor Vietnamese women’s activeness at work.

A Legacy of War: Fake Art in Vietnam

Old Article but Still Interesting **DB

A Legacy of War: Fake Art in Vietnam

by Seth Mydans via “NY Times“

“HANOI, Vietnam — Even the director of the Vietnam Fine Arts Museum here doesn’t know how many of the artworks and artifacts under his care are genuine and how many are extremely skillful copies. But he says he is going to try to find out.

Many works at the Vietnam Fine Arts Museum could be copies that were made to replace the endangered originals during the Vietnam War. Now it is unclear which are real and which are fake.

Bui Thanh Phuong in his home, with works by his father, Bui Xuan Phai. He called the unmonitored art switch “a disaster.”There are nearly 20,000 of these mystery objects, on the walls and in storage, including paintings, sculpture, lacquerware, pottery, ancient statues and traditional crafts.

“We are making efforts to have a comprehensive review of items on display and in our warehouse,” said the director, Truong Quoc Binh. “After we evaluate the whole exhibit, we will try to label them all to show if they are original or not.”

Mr. Binh has been addressing questions about authenticity a lot lately. Curators and artists have been aware of the issue for years, but it became a matter of public discussion only in April, when it was raised at a conference on copyright in Danang.

In large part, the confusion is a legacy of the war with the United States, which ended in 1975, and to a lesser extent of a brief border war fought with China in 1979.

In the late 1960s, fearing that the United States would bomb Hanoi, then the capital of North Vietnam, museum officials removed hundreds of important artworks for safekeeping in the countryside.

To replace them on the museum walls, it commissioned copies: some by the original artists, some by the artists’ apprentices, some by skilled copyists in the museum’s restoration department. They were brilliant reproductions — or variants, as the Vietnamese called those paintings copied by the original artists.”