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Đám cưới chuột (Rat's wedding), a popular example of Đông Hồ painting. Ðông Hồ painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Đông Hồ folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a line of Vietnamese folk painting originating in Đông Hồ village (Song Hồ commune, Thuận Thành District, Bắc Ninh Province).
Don Hồ, whose real name is Hồ Mạnh Dũng, was born on February 22, 1962, in Saigon, Vietnam. His family originally came from northern Vietnam, but they left in 1954 through Operation Passage to Freedom, fleeing the encroachment of communist rule over North Vietnam.
Vietnamese literature, both oral and written, was created largely by Vietnamese-speaking people, although Francophone Vietnamese and English-speaking Vietnamese authors in Australia and the United States are considered by many critics as part of the national tradition.
The White Tiger (Bạch hổ) picture of Hang Trong painting.The author is unknown because it is a traditional painting dated back to the 17th century. Buddhist temples were key sites of print culture from the 17th–19th century, translating, printing, and disseminating key sutras to lay populations in both urban and rural villages. [1]
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Kim Hoàng painting (Vietnamese: Tranh Kim Hoàng) is a genre of Vietnamese woodcut paintings originated from Kim Hoàng village of Hoài Đức, Hanoi, Vietnam. In the past, Kim Hoàng painting was a popular element of the Tết holiday, together with Đông Hồ and Hàng Trống painting, but this tradition was lost in the middle of the 20th ...
Đông Hồ is a village in the Song Hồ commune (làng Đông Hồ, xã Song Hồ), in Thuận Thành District, Bắc Ninh Province, Vietnam.It is one of several well known "craft villages", with the other most notable ones being Non Nước marble village (làng đá Non Nước) and Cam Ne mat village (Làng chiếu Cẩm Nê) in Da Nang, the Bát Tràng pottery village and Vạn Phúc ...
The emphasis given to silk painting being an art form which effectively expresses Vietnam’s national identity reflects the political context of the times, and the directives from Truong Chinh (Marxism and Vietnamese Culture) and Ho Chi Minh, that art should follow the socialist agenda and be a form of propaganda, glorifying the peasants and ...