Nguyen Gia Tri

Private Collection, USA

The work is in good condition overall with minor handling and associated scratch marks on the surface, but they are faint and only a few are visible on the sky and background areas . Upon close observation, fine hairline craquelures are visible on the white paint but the condition is stable. Examination under ultraviolet light shows no sign of restoration. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Considered one of the greatest modern artists of Vietnam, Nguyen Gia Trí was born in 1908 in Ha Dong, in northern Vietnam. Under the guidance of Joseph Inguimberty and Victor Tardieu, Nguyen Gia Tri graduated in 1936 from the prestigious Ecole des Beaux-Arts de l'Indochine, where he learned Western art techniques and assimilated this with Vietnamese lacquer painting, transforming it from a decorative art to a “fine art” medium. Success came early for Nguyen Gia Tri with many highly acclaimed exhibitions and private commissions, such as one that adorned the salon of the French Governor of Indochina Palace in Hanoi.

 

Some of his masterpieces were created in the golden period of his career between 1937 and 1945. The first half of the 20^th century was a tumultuous time in Vietnam. The wind of nationalism swept across the country, and like many other intellects at the time, Nguyen Gia Tri joined the movement. He was an important contributor to two newspapers “Phong Hoa” and “Ngay Nay”, which were anti French-controlled government. Many of his works during the golden period of his career centered on beautiful Vietnamese landscapes, which served as expressions of his patriotic sentiments.

 

 “Provincial Village” is a rare lacquer masterpiece that was completed during Nguyen Gia Tri’s golden years. It is a 6 panel lacquer screen that contains all of Nguyen Gia Tri’s unique and well known lacquer elements; colored by the use of different shades of eggshells, red and black resin lacquer and gold pigments that shimmers throughout, resulting in an overall rich, harmonious and pleasing work of art. The painting depicts a distant view of a peaceful village in Vietnam, surrounded by mountains amid clouds, softly lit sky, golden bamboos trees accented by reddish leaves, houses by a gentle river covered with beautiful green banana leaves and lush vegetation. The couple on the left of the painting is resting with their water buffalo after a long work day. A family consisting of a mother and her children are finishing up their tasks before heading home. The central figure is pulling up on his horse nearby the slightly rippling river, enjoying a quiet moment while his horse and dogs drink of water.

 

These images all combine to decorate a picturesque provincial landscape that is eternal yet realistic. It is the unheralded beauty of Vietnam that is in the heart and soul of Nguyen Gia Tri and of the people, a tranquil oasis amid the raging war in Vietnam at the time. In this lacquer masterpiece, the patriotic Nguyen Gia Tri has immortalized the memories of Vietnam for the ages.

 

When looking at the "Provincial Village" by Nguyen Gia Tri, one is reminded of the poet Ba Huyen Thang Quang’s famous poem "Qua Deo Ngang”, an enduring patriotic and lyrical poem consisting of a stanza of 8 lines, 7 words with allegorical elements, which reads:

 

“Qua đèo Ngang”

Bước tới đèo Ngang bóng xế tà, 
Cỏ cây chen đá, lá chen hoa. 
Lom khom dưới núi tiều vài chú, 
Lác đác bên sông chợ mấy nhà. 
Nhớ nước, đau lòng con cuốc cuốc, 
Thương nhà, mỏi miệng cái da da. 
Dừng chân đứng lại: trời, non, nước, 
Một mảnh tình riêng, ta với ta.

 

Translation:

“Over Ngang's Pass"

Approaching Ngang's Pass at softly lit sundown

Foliage among rocks, tender flowers amidst leaves

At the mountain base, the woodcutters stoop

Along the riverbank, few small houses line

The "Nation-bird" cries for its country's fate

The "Family-bird" weeps yearning of his home

Stopping to gaze: heaven, mountains and river

Feel the deepest emotion only I know