Constructing Nationalism through Vietnamese Art

 

Constructing Nationalism through Vietnamese Art

This image depicts me posing next to a Vietnamese lacquer painting displayed in the Ho Chi Minh City Museum of Fine Arts in Vietnam around three years ago. The painting, “Vườn Xuân Trung Nam Bắc” (“Spring Garden of the Central, South, and North”), was made by artist Nguyễn Gia Trí, capturing Vietnamese nationalism during and post wartime in the 20th century (RedVN 2024). In the middle of the painting stands a group of young Vietnamese women gracefully attired in traditional dresses representing three regions of Vietnam - North, Central, and South. Each dress, illustrated in vibrant colors such as deep red, delicate gold, and rich emerald, draws our immediate attention and creates a rhythmic visual harmony across the painting. The central group of women dance gracefully, sing, and play traditional musical instruments together, evoking a collective, joyful moment. Surrounding them are blossoming flowers that amplify the freshness of spring as a way to suggest the atmosphere of rejuvenation and national harmony. At the heart of the painting stands an ancient white pagoda, symbolically anchoring the national identity in the context of religion. Delicate, embroidery-like floral patterns and Ancient Chinese poems frame the painting (RedVN 2024), reinforcing the usage of symbolic narratives in constructing nationalism. The lacquer technique, characterized by vibrant lacquer colors layered upon each other, infuses the painting with depth, underscoring the artist’s vision of what Vietnamese national identity should look like post-war (RedVN 2024).

Theoretical frameworks by sociologists Robert Bellah and Jeffrey Alexander illustrate how invoking moral divinity and civilized purity creates a sacred, unified nationalism while risking internal and external fractures. Bellah (1967) argues that the intertwining of divine authority and national symbolism forms a unique “civil religion,” serving to unify American citizens through a collective moral obligation embedded in sacred honor, as exemplified in John F. Kennedy’s inaugural address (Bellah 1967:1-5) and Abraham Lincoln’s Gettysburg Address (Bellah 1967:9-11). Furthermore, Bellah underscores that this ritualistic mention of God in national ceremonies, like Memorial Day and Thanksgiving, transforms ordinary civic participation into a profound and sacred honor, effectively framing national duties as divine obligations for its citizens (Bellah 1967:11). 

At the same time, Alexander (2006) provides a nuanced critique of nationalism by highlighting its dual capacity to externalize threats and internalize division. Alexander (2006:54-55) explains that when civil society emphasizes territorial and cultural boundaries, it essentializes them as inherent indicators of purity and civilization. This process transforms the nation into a “sacred” space, a central, almost mythic place where only those who share the specific historical, linguistic, or cultural traits are deemed truly civil (Alexander 2006:194). As a result, individuals and groups who fall outside these narrowly defined parameters are automatically cast as outsiders, depicted as inherently uncivilized and even dangerous (Alexander 2006:196-199).

When applied to the painting, these theoretical frameworks reveal the unifying aspirations and subtle fractures in Vietnamese nationalism. The white pagoda, symbolizing enduring religious tradition, expands Bellah’s concept of civil religion to a more globalized context by serving as a central, sacred element in Vietnam’s unified identity. The prominent depiction of women in traditional dresses further emphasizes a collective moral unity, mirroring Bellah’s observation that national identity extends beyond political work to reflect a divinely obligated communal duty. Thus, the painting illustrates Bellah’s analysis that ritualistic and symbolic religious elements elevate national identity into a profound moral duty and sacred honor.

By emphasizing cultural and territorial boundaries, nationalism constructs implicit hierarchies that marginalize minority groups, depicting them as outside the symbolic purity required for full civic inclusion (Alexander 2006:194). This painting reflects such internal division through its exclusionary depictions. By missing out the depiction of women from indigenous ethnic groups, the artist could suggest that only those from the dominant ethnic group (Kinh) residing in the three mentioned regions of Vietnam seem to align with his vision of cultural unity. Moreover, the artist’s use of Ancient Chinese poetry rather than contemporary Vietnamese language may reinforce a selective, idealized national identity, further hinting at a linguistic hierarchy. Although including classical Chinese texts could suggest recognition of Vietnam’s historical connection with the broader Sinosphere, this portrayal could reinforce division by privileging certain historical narratives and cultural elements over others. Thus, although the painting attempts to celebrate national solidarity and divine harmony, it simultaneously reveals underlying tensions among groups within Vietnam.

Cited Works 

Alexander, Jeffrey C. 2006. “Nationalism, Exclusion, and Civil Religion.” American Journal of Sociology 112(2):196–198.

Bellah, Robert N. 1967. “From Chapter 4 and 8.” Pp.53-67 and pp.193-209 in Civil Religion in America in Daedalus 96(1):1–21. Oxford University Press. 

RedVN. 2024. “‘Vườn xuân Trung Nam Bắc’ – kiệt tác để đời về vẻ đẹp của người phụ nữ Việt.” From Redsvn.net. Retrieved March 8, 2024. ('Vườn xuân Trung Nam Bắc' - kiệt tác để đời về vẻ đẹp của người phụ nữ Việt - Redsvn.net).   

A closer look at the painting

“Vườn xuân Trung Nam Bắc.” 1969-1989. From Ho Chi Minh City Museum of Fine Arts. Retrieved 2021. (Vườn xuân Trung Nam Bắc).