The Battle of Bạch Đằng in 1288 was a pivotal maritime encounter between Đại Việt (modern-day Vietnam) and the Yuan dynasty (Mongol Empire). Prince Trần Quốc Tuấn (1228-1300), also known as Trần Hưng Đạo, led the Vietnamese forces in a strategic and innovative campaign. The underwater stakes placed in the Bạch Đằng River proved an effective trap for the Yuan fleet, resulting in its annihilation. This decisive victory for Đại Việt led to the capture of numerous ships and the neutralisation or detention of thousands of Yuan soldiers, effectively ending Kublai Khan’s ambitions to conquer the region. The battle is celebrated as a testament to Trần Hưng Đạo’s military brilliance and remains a significant source of national pride in Vietnam, inspiring various artistic creations.
History provides factual accounts of past occurrences which, when translated into the visual medium, present challenges for artists. It is essential to possess the requisite technical skills, historical and cultural knowledge, and attention to detail regarding plot, setting, characters, props, and costumes.
This lacquer painting, entitled Battle of the River Bạch Đằng in the 13th century, features a sophisticated and intricate composition, characterised by the continuous interweaving of shapes and lines, and provides a detailed and accurate representation of the climactic naval confrontation, showcasing a multi-layered composition and intricate details.
In the scene, the Yuan troops, identifiable by their green attire, fall into a trap set by Hưng Đạo during high tide. As the tide recedes, the Yuan fleet encounters wooden stakes embedded in the riverbed, visible in the foreground, which immobilise their ships. A fleet of Vietnamese junks, manned by red-clad warriors with flags bearing the dragon emblem of the Trần dynasty, then destroys the trapped Yuan warships, resulting in a significant number of Yuan soldiers being killed or drowned after jumping into the river.
In the right foreground, two muscular figures in loincloths represent Yết Kiêu (1242-1303) and his comrade. Yết Kiêu, one of Hưng Đạo’s most talented generals, was renowned for his exceptional swimming skills. He played a crucial role in the battle, earning the title of Trần Dynasty’s First Commander of the Water Army for his ability to sabotage enemy vessels by drilling into them under the cover of night.
The figures and motifs in this painting, consistent with historical records, confirm its representation of the famous naval battle on the Bạch Đằng River in the 13th century. It demonstrates the artist’s mastery in creating large-scale scenes and a profound understanding of national history.
The reverse of the panel bears a label inscribed with ‘XXVIII. Biennale Internationale d’Arte di Venezia – 1956 – 181’, authenticated by La Biennale di Venezia, the organisation responsible for the Venice Biennale. While this painting was not published or mentioned in the catalogue, the presence of this label confirms that the panel was sent to Venice and received by the organisation. At that time, all artworks arriving in Venice were labelled, but not all were selected for exhibition. Unselected works were returned to their countries of origin or their embassies. This likely explains why the painting was subsequently found in the Embassy of the Republic of Vietnam in Rome.
The fine cloth used in preparing the base and traces of brown lacquer are only visible on three edges on the reverse, suggesting that one side of the panel may have been trimmed. This raises questions regarding the panel’s initial condition and the circumstances of its arrival in Venice. Could the panel have arrived in Venice damaged, thus affecting its presentation at the Biennale? In addition, could the original signature on the left been trimmed off?
After the fall of Saigon in 1975, the panel was sold to a European private collector and later acquired by the present owner in the 2000s. It is accompanied by a printed card (fig. 1) from ‘Quê Me & the Committee for Human Rights in Vietnam’, France, where the painting is reproduced. The caption notes the title Battle of the River Bạch Đằng in the XIIIth century, lacquer by Nguyễn Gia Trí, Vietnamese Artist. It is likely that this panel was recognised at that time as a work by Nguyễn Gia Trí.
Nguyễn Gia Trí was born in 1908 in Chương Mỹ, near Hanoi. He graduated from the Indochina College of Fine Arts in 1936 and is regarded as one of the most significant lacquer artists in the art history of Vietnam. His artworks are renowned for their delicate and high-quality materials, including paints, screens, and wooden boards. The majority of his works depict the natural beauty and landscapes of Vietnam.
The book by art critic Nguyễn Hải Yến, Hội họa Hà Nội – Những kí ức còn lại, 2010, p.123, includes recounts by artist Bùi Quang Ngọc. During a visit to Nguyễn Gia Trí’s wife in February 199, she revealed that in 1956-1957, Ngô Đình Diệm invited Nguyễn Gia Trí to create a series of historical lacquer paintings, spanning from ancient to modern times, for 7 million Vietnamese Dong. Although Nguyễn Gia Trí initially sketched paintings from the Hồng Bàng to Mai Hắc Đế periods, he eventually declined the project due to a lack of interest and the substantial sum of money involved. Subsequently, Diệm commissioned five paintings for one and a half million dongs, including Địa linh hoán tượng, Trận Bạch Đằng, Hai Bà Trưng, Sen tàn, and Nửa trừu tượng.
According to Bùi Quang Ngọc’s recollection, there were indisputably sketches and at least one painting commissioned by Ngô Đình Diệm bearing the title Battle of Bach Dang, created by Nguyễn Gia Trí during the period spanning 1956 to 1957.
In 1998, a monumental lacquer painting Battle of Bach Dang, circa late 1950s/early 1960s, lacquer on wood, 220 x 750 cm x 3 (fig. 2), by Nguyễn Gia Trí depicting the Bạch Đằng battle on land and sea, was discovered in Ho Chi Minh City and is now part of the Nguyen Minh collection, Hanoi. The original composition comprised four panels, with the second from the left currently missing. Despite the disruption, the continuity of the theme remains discernible, and the imagery is compelling. The artist employs a highly charged compositional approach to evoke the frenzy of mortal combat, portraying ferocious armour-clad warriors and their animals clashing on the battlefield and in boats. In the left panel of the painting, the ‘Sát Thát’ flag, which means ‘Determined to Kill the Tartars’, can be seen alongside war horses, elephants, and archers with a forest of swords, spears and lances.
The collection of drawings by Nguyễn Gia Trí at the Ho Chi Minh City Museum of Fine Arts includes several sketches on this theme, including an untitled sketch in wax crayon on tracing paper, 172 × 230 cm (see Nguyen Gia Tri – A Collection from the Ho Chi Minh City Fine Arts Museum, Ho Chi Minh City, 2015, p.22 no.5), depicting the 13th-century epic battle of the Bạch Đằng River. The chaotic scene, set against an explosive and smoky backdrop, portrays numerous sail vessels colliding and soldiers engaged in fierce combat, some on horseback, with elephants visible in the upper left of the composition. Further examples on the same subject can be found in the same book, see nos. 8, 62, 80, and 85.
This can be closely compared to a sketch Bach Dang battle, colour on paper, 70 x 100 cm (fig. 3), in the collection of Mr. Trương Văn Thuận of Binh Minh Art Gallery, HCMC. The red-clad warriors are engaged in combat with the green-clad enemies. The colour and atmosphere of this drawing remarkably correspond to those illustrated in the panel in this sale.
The three works mentioned above feature elephants in their compositions, despite playing a minor role in the overall scene. In contrast, the single panel presented in this sale omits this detail and instead focuses on depicting the turbulent river with large waves and plumes of smoke rising from the fires on the warships, along with a multitude of warriors. The presence of four or five boats in the scene reinforces the notion of an aquatic battle rather than a juxtaposition of sea and land. The warships are meticulously described with long hulls, sharp bows, and sails, consistent with the other works of the same subject. The characters are deliberately portrayed, their postures conveying strength and resolve, capturing the intensity of the battle’s most critical moments. The artist employs a refined technique, using fine black lines to illustrate the scene, which are intertwined with the engraving on the surface of the painting. The aforementioned elements combined give rise to the creation of an ambiance that is both highly captivating yet refined, with a striking visual impact. The perfection of this composition, combined with an exemplary lacquer technique, arouses an intense emotional response in the viewer.
While this painting is figurative, there are notable similarities in its strokes, movement, and colour palette with Nguyễn Gia Trí’s abstract works from the early 1960s. These evolved towards increasingly amorphous and expressive forms, characterised by bold lines and extensive areas of colour, evoking a sense of motion and emotional depth. Nguyễn Gia Trí’s abstract lacquer paintings are celebrated for their vibrant palette, incorporating shades of gold, cinnabar red, and eggshell white. He skilfully balanced matte and glossy finishes, establishing a dynamic interplay of light and shadow, thereby amplifying the sensory resonance of his works. See an example Abstract, lacquer on wood, 81.5 x 122 cm, (fig. 4) in Duc Minh collection, HCMC.
The painting Battle of the River Bạch Đằng in the 13th Century is a powerful symbol of national heroism and the indomitable spirit of the Vietnamese people, who have a long history of resilience in the face of foreign invasion. This work, likely executed by Nguyễn Gia Trí, demonstrates a profound understanding of national history and conveys a powerful message of patriotism and self-reliance. The precise and flawless execution of form, style, and details showcases the artist’s skill. The dynamic composition and expressive style, combined with meticulous attention to detail, serve to illuminate the artist’s vision and mastery.
Bonhams Cornette de St Cyr would like to thank Ms Bùi Hoàng Anh – Art Director from Viet Art View for her research and contribution to this article
