Nguyễn Đức Nùng (1914-1983). Sketch for the painting of Soviet Nghệ Tĩnh. 1957.
Gouache on paper. 45.5 × 90.5 cm
Artists: Nguyễn Đức Nùng (1914-1983), Nguyễn Văn Tỵ (1917-1992), Phạm Văn Đôn (1918- 2000),
Nguyễn Sỹ Ngọc (1919-1990), Trần Đình Thọ (1919-2011), Huỳnh Văn Thuận (1921-2017)
Sketch for the painting of Soviet Nghệ Tĩnh (in the ratio of 1:1)
Date: 1957. Medium: Mix media. Dimensions: 145.5 × 320 cm
Artists: Nguyễn Đức Nùng (1914-1983), Nguyễn Văn Tỵ (1917-1992), Phạm Văn Đôn (1918- 2000),
Nguyễn Sỹ Ngọc (1919-1990), Trần Đình Thọ (1919-2011), Huỳnh Văn Thuận (1921-2017)
Artwork: Soviet Nghệ Tĩnh
Date: 1957. Medium: Lacquer (four panels). Dimensions (all panels): 160.6 × 320.5 cm
Currently kept and displayed at Việt Nam Fine Arts Museum
Artists: Nguyễn Đức Nùng (1914-1983), Nguyễn Văn Tỵ (1917-1992), Phạm Văn Đôn (1918- 2000),
Nguyễn Sỹ Ngọc (1919-1990), Trần Đình Thọ (1919-2011), Huỳnh Văn Thuận (1921-2017)
Artwork: Soviet Nghệ Tĩnh
Date: 1983 – 1984. Medium: Lacquer (six panels). Dimensions (all panels): 145 × 320 cm
Currently kept and displayed at Nghệ An – Soviet Nghệ Tĩnh Museum
The movement of Soviet Nghệ Tĩnh 1930 – 1931, a major subject of Việt Nam Fine Arts
At President Palace, on February 3, 1964, the 34th anniversary of the founding of Việt Nam Communist Party, in the presence of the leaders of Ministry of Culture, leaders of Nghệ An and Hà Tĩnh provinces… President Hồ Chí Minh signed the preface for Soviet Nghệ Tĩnh Museum (which had been established for four years at that time):
In 1930-1931, when our Party was just established, a powerful revolutionary movement arose throughout the country, the peak of which was Soviet Nghệ Tĩnh.
Soviet Nghệ Tĩnh was the first revolutionary government of workers and peasants that overthrew the reactionary imperialist and feudalist governments in several places in Nghệ Tĩnh…
Although the French imperialists and feudalists temporarily drowned the revolutionary movement in blood, the glorious tradition of Soviet Nghệ Tĩnh pushed the revolutionary movement throughout the country forward and led to the brilliant success of the August Revolution…”¹
President Hồ Chí Minh signed the preface for Soviet Nghệ Tĩnh Museum
15 years after Soviet Nghệ Tĩnh, on September 2, 1945, at Ba Đình Square – President Hồ Chí Minh read the declaration of independence, giving birth to the Democratic Republic of Việt Nam, opening a new era of independence for the nation.
President Hồ Chí Minh read the Declaration of Independence on September 2, 1945
In 1957, Việt Nam Fine Arts Association was commissioned to create a large painting about Soviet Nghệ Tĩnh movement – on the occasion of the 40th anniversary of the Russian October Revolution. This shows the importance of Soviet Nghệ Tĩnh movement in the history of Vietnamese revolutionary struggle.
After nearly 70 years since its establishment, the group of objects about Soviet Nghệ Tĩnh is still one of the outstanding achievements that the Fine Arts Association has contributed to the flow of revolutionary history and Vietnamese Fine Arts.
The special values of the artwork Soviet Nghệ Tĩnh
A major work of art always includes three great values: History, culture and art. With the “Xô viết Nghệ Tĩnh” (a group of objects), the most important value is the historical value.
The historical value
The work Soviet Nghệ Tĩnh was directly assigned by President Hồ Chí Minh to Việt Nam Fine Arts Association and he personally approved the sketch.
On December 19, 1951, in Chiêm Hóa, near ATK, or Safe Zone (Việt Bắc) in the old forest, where the headquarters of the resistance war against France was located, an important event in the Resistance Arts took place. The event went down in history with the name: 1951 Painting Exhibition, organized by the Việt Nam Literature and Arts Association.
This exhibition has an important meaning beyond the framework of a mere cultural activity. It could be said that the exhibition is like a declaration of the will to strive of artists in general and the fine arts community in particular. In particular, the exhibition was honored to receive the attention of President Hồ Chí Minh when the artists in the exhibition were on behalf of the entire art world to receive his letter to the 1951 Painting Exhibition² with timeless words for all generations of artists and writers nationwide.
“Culture and art are also a front, you are soldiers on that front.”
Six years after President Hồ Chí Minh’s letter, on March 26, 1957, Việt Nam Fine Arts Association was established with 108 delegates. This was also the first Congress of art – held at No. 1 Bà Triệu Street with the historical mission as instructed in his letter:
… Like other soldiers, artistic soldiers have a certain duty, which is to serve the resistance, serve the Fatherland, serve the people, first of all the workers, farmers, and soldiers.
… Regarding creation, it is necessary to understand thoroughly and connect deeply with the lives of the people. Only then can we express the heroic and resolute spirit of our army and people, and at the same time help… develop and enhance that spirit…
With the spiritual mission in the letter, right after the Fine Arts Association was established, President Hồ Chí Minh suggested the subject of a major painting for the collective of artists of the Association to create. The work has the theme of the struggle movement of workers and farmers in Nghệ An – Hà Tĩnh in 1930-1931 against French colonialism – commonly known as Soviet Nghệ Tĩnh (This name comes from the formation of “peasant communes” that the communists called “Soviets”). After completion, the painting will be brought by President Hồ Chí Minh to participate in an exhibition in the Soviet Union on the occasion of the 40th anniversary of the October Revolution (1917-1957). After that, the work will be presented to the Government and people of the Soviet Union.
The first sketch of “Soviet Nghệ Tĩnh” was directly approved by President Hồ Chí Minh. In the picture are the artists (from the left: Huỳnh Văn Thuận – standing, Nguyễn Sỹ Ngọc, Nguyễn Văn Tỵ – standing behind, Trần Đình Thọ, Phạm Văn Đôn and Nguyễn Đức Nùng)
After the sketch was completed, President Hồ Chí Minh personally approved and agreed with the group of artists to use the traditional lacquer medium of Vietnamese painting. According to the diary of artist Nguyễn Văn Tỵ, the painting was presented and completed at the headquarters at 46 Hai Bà Trưng, Hà Nội.
The group of artists completing the lacquer artwork “Soviet Nghệ Tĩnh”, 1957
Also in 1957, following the general policy of the State, Việt Nam Fine Arts Association continued to assign the group of artists to create another painting with the aim of exhibiting itinerantly in 12 countries in the Socialist countries. In 1964, the Fine Arts Association handed over the painting (along with other works) to Việt Nam Fine Arts Museum – which was in the process of preparing facilities for its official establishment in 1966.
Therefore, the second sketch was completed from the first sketch with additional details and edits to complete the sketch at the best level of composition and shape. The two large lacquer paintings (with the same title) currently on display at Việt Nam Fine Arts Museum (Hà Nội) and Soviet Nghệ Tĩnh Museum (Nghệ An) were both completed from this second sketch.
In the history of art, there have been original sketches that were more highly valued than the finished work. According to experts, these sketches are not only the first technical step, but also lead to deeper research on the history, thinking and creative personality of the artist.
One of the outstanding values of Soviet Nghệ Tĩnh sketches is that they convey the original emotions of the artists; immediate, direct vibrations, expressed in the process of recording, researching or creating on the spot. It is at that moment that authenticity reaches its highest level, not interfered with by ideal images or editing in the process of completing the work.
The artwork which were created by the most participation from artists graduating from Indochina Fine Arts College
To prepare for the creation of this large-scale and meaningful painting, Việt Nam Fine Arts Association assigned the task to a group of six artists including: Nguyễn Đức Nùng (1914 – 1983), Nguyễn Văn Tỵ (1917 – 1992), Phạm Văn Đôn (1918 – 2000), Nguyễn Sỹ Ngọc (1919 -1990), Trần Đình Thọ (1919 – 2011), Huỳnh Văn Thuận (1921 – 2017) to be responsible for the creation. They were all painters who graduated from Indochina Fine Arts College, had achievements in lacquer painting and were representative artists of Vietnamese Fine Arts. In that group, there was artists Nguyễn Văn Tỵ, who was then the first General Secretary of Việt Nam Fine Arts Association – a position that not only carried professional responsibility but also responsibility to the country. This is a great honor for Việt Nam Fine Arts Association in general and the group of artists in particular.
Excerpt form the diary of artist Nguyễn Văn Tỵ
From the art work of Soviet Nghệ Tĩnh, a type of historical revolutionary painting was formed
In some countries around the world, revolutionary historical paintings have different missions and purposes. For example, in the former Soviet Union, it is political propaganda in general, in North Korea, it is propaganda about leadership, in France, it is freedom and democracy against oppression. In Việt Nam, revolutionary historical paintings are to promote resistance, taking the masses as the subject to inspire the people instead of taking a main character as the subject.
Not only that, revolutionary historical paintings about the people – the masses always have strong content, the spirit always rises up, move towards victory… requiring specific images, suitable characters, typical and representative landscapes that are true to the nature of the historical event mentioned.
For example, the works of Farmers Against Taxes in 1930, 1960, lacquer by Nguyễn Tư Nghiêm; Uprising in the South in 1940, 1960, lacquer by Huỳnh Văn Gấm; Capture the Northern Palace by Nguyễn Đức Nùng; Night protest in Cẩm Xuyên, 1970, lacquer by Lê Quốc Lộc…
Nguyễn Tư Nghiêm (1922-2016). Farmers against taxes. 1960. Lacquer. Collection of Việt Nam Fine Arts Museum
Huỳnh Văn Gấm (1922-1987). Uprising in the South 1940. 1960. Lacquer. Collection of Việt Nam Fine Arts Museum
Nguyễn Đức Nùng (1914-1983). Capture the Northern Palace. 1960. Lacquer. Collection of Việt Nam Fine Arts Museum
Lê Quốc Lộc (1918-1987). Night protest in Cẩm Xuyên. 1970. Lacquer. Collection of Soviet Nghệ Tĩnh Museum
Through the above documents, it could be seen that from the work Soviet Nghệ Tĩnh in 1957, Vietnamese artists have developed a type of revolutionary historical painting of our own in Việt Nam. In which, the image of the main character is not individualized but the entire masses – when they unite and act as a unified entity, carrying the power to symbolize the will, belief and aspiration for national independence.
In addition to the above special historical values, the work Soviet Nghệ Tĩnh also contains artistic values from the group of artists when they deeply feel the role and responsibility of professionals when receiving the task assigned by President Hồ Chí Minh. In addition to illuminating history, they also have the important task of using visual arts as a means of conveying messages about one of the important events that created the success of the revolution.
Artistic value
In terms of art, Soviet Nghệ Tĩnh is one of the most outstanding works on the theme of history and the revolutionary war of Việt Nam. The painting recreates the pinnacle of Soviet Nghệ Tĩnh with the surging atmosphere of the masses in the context of being oppressed by the French colonialism. This is not a regular protest, this is a historical transformation, where the masses create their own history.
Behind each large-scale historical painting with hundreds of characters and layers of space, there must be a serious and persistent artistic labor process of the artist. To build a complete composition, the artist must start from dozens, even hundreds of sketches: Each figure, each hand movement, each costume, each gaze – all need to be researched from historical documents, real life, and even the memories of real-life characters.
With the theme of revolutionary war, the character layout is not only large but also highly symbolic, so the study of the shape, costume, even the character’s psychology along with the architectural space of that historical stage is more important.
All of those sketches are finally collected and adjusted in the correlation between space and time, so that the artist can build the overall layout. Each character line is not only depicted in the painting by shape, line, color but also must be closely related to the architectural context, geography, and characteristics of the real historical context, especially works with a history like Soviet Nghệ Tĩnh.
Understanding the above important factors, the group of artists immediately went to Nghệ An to record documents to create a large sketch with complex details – originating from the first simple sketch of artist Nguyễn Đức Nùng.
In the article “Remember the early days of the establishment of Việt Nam Fine Arts Association”³ by artist Nguyễn Văn Tỵ, there is a passage: “Some artists went to Mr. Hoàng Hanh’s house in Nam Đàn to study the drawings of the red guards, and to study the old Nam Đàn district headquarters, which I remember still had the words “Nam Đàn the red district” written on it. After that trip, along with the actual records in Nam Đàn, hundreds of on-site character research images (not to mention some previously researched images that were relevant) were used by the sketch artists to build the character layout.
The work recreates the entire event with hundreds of characters along with a system of landscapes, architecture and historical details meticulously depicted. From costumes, gestures, eyes to spatial layout, all are built on the basis of reliable historical documents. Each character, in addition to its visual value, also carries within it a story, an identity, most of which are depicted from people in real life or history.
Soviet Nghệ Tĩnh is a monumental painting in terms of composition, the result of a meticulous research process and serious artistic work by the group of artists. It is the combination of art – history – people that creates a special depth of expression and vitality for the work, making it not only a painting recording an event, but a visual epic about the heroic history of a nation.
In the speech read at the 1960 Fine Arts Exhibition Criticism Conference by artist Nguyễn Văn Tỵ⁴, there was a passage:
… First of all, how to coordinate the models with the vivid historical characters. Many times, after drawing a figure, we found that it was not a character from Soviet Nghệ Tĩnh but only a Northern farmer or an old civil servant model, with stiff movements. At this time, we discussed putting into the sketch, using a lot of imagination to build the character. Although we researched the Nghệ Tĩnh character on the spot, drew the scene on the spot, the main problem was still to recreate the scene and the real person in the imagination to solve the difficulty of drawing people of the old time to become people of the present, drawing the old scene to become the new scene. In addition, there was also another difficulty of coordinating the movements to fit into a certain direction of movement of the event. How could all the raised arms, the eyes looking? Each small group of people moving one by one turn to face the yellow-clad soldiers and the French legionnaires whose movements are reasonable, lively movements, were different from each other and were not stiff like the models. At first, it was easy to see this person arguing with that person or the group in front blocking the way of the group behind. In general, we all tried to use our imagination to create historical images of the present to build real characters, real contexts of the history of Soviet Nghệ Tĩnh uprising.
In addition, there was also another difficulty of coordinating the movements to fit into a certain direction of movement of the event. How could all the raised arms, the eyes looking? Each small group of people moving one by one turn (Nguyễn Văn Tỵ)
Although there are many layers of characters with hundreds of poses, either looking forward or looking back, all the gazes and movements are in one direction, moving forward in a seething atmosphere of struggle. This is a very difficult in the composition of great works (Nguyễn Văn Tỵ)
With these words we could see all the artists’ concerns and thoughts in the process of building the work. Building the character lines is difficult, but to integrate historical data into the entire structure of the composition so that the harmony between history and art guaranteed to be accurate requires the artist, in addition to creative thinking, to supplement a lot of historical knowledge.
The words “Nam Đàn” on the gate architecture clearly indicate the location where the protest took place. According to documents, this uprising took place on August 30, 1930 by the people of Nam Đàn. Leader Nguyễn Ái Quốc also described in detail: “During the demonstration, 3000 Nam Đàn farmers surrounded the district’s office, broke into the prison and freed the prisoners…”⁵
Nam Đàn District Gate in 1929, this gate no longer exists
Detail: The district officer is signing the prisoner release minutes. It is possible that the group of artists read this detail in the document and used it in the work. This is an important detail in the work showing the people’s dominance over the colonial government represented by the district officer.
This important detail was researched by the group of artists and included in the work. Following that, the protest banners such as “Reduce taxes”, “Fight against white terror”, “Abolish all taxes and compensate families massacred in the Yên Bái uprising” are all real events in history. Therefore, when viewing this painting, art lovers need to equip themselves with historical knowledge about Soviet Nghệ Tĩnh movement to be able to fully appreciate the importance of the event, the hard work in the process of studying history, building typical details, and the story context of the group of artists. It makes viewers appreciate more the artistic creations that are both authentic and evoke pride in the tradition of loving the homeland of every Vietnamese person.
Soviet Nghệ Tĩnh was also the first place in the nation’s history where the red flag with the hammer and sickle symbol flew, calling on workers and peasants to rise up and fight, establishing red villages in communes in Nghệ An and Hà Tĩnh.
In addition to creating hundreds of characters with different poses, there was an important symbolic prop placed right in the foreground of the work with ancient decorative motifs of dragons and clouds showing the sophistication in the artists’ historical understanding.
According to documents, “the sound of drum in Soviet Nghệ Tĩnh revolutionary movement” was the soul of the struggles. The sound of drum was used by the masses as a weapon, contributing to the revolutionary storm of the stage 1930-1931. The sound of drum was a command to gather the masses to take to the streets to fight, like the call for villages, hamlets, communes and districts to unite into a unified entity. In addition, the sound of drum was also a signal to protect the Party organization.
In the book “Indochina Emergency” by André Violette, a French journalist, it is written: “In the struggles in Nghệ An and Hà Tĩnh, the masses used drums as weapons to overwhelm the enemy.”
The detail of drum in the work
The drum in Soviet Nghệ Tĩnh movement is kept and displayed at Soviet Nghệ Tĩnh Museum
Currently, symbolic drums that made up the “Drum of the Year 30” of of Soviet Nghệ Tĩnh movement are being preserved as important witnesses of Việt Nam’s historical memory.
From heroic memories to promoting traditions and continuing the revolutionary spirit
Heroic memories
There are important moments in the history of war filled with blood and tears, if remembered, they will live forever in the memories of generations.
From September 2, 1945, when President Hồ Chí Minh read the Declaration of Independence, giving birth to the Democratic Republic of Việt Nam; Until April 30, 1975, the liberation of the South and the reunification of the country were 30 years of arduous war for the entire army and people. During those 30 years, although the artists were not on the front lines like the soldiers directly fighting on the battlefield, artists also participated in major campaigns such as Điện Biên Phủ campaign in 1954, Mậu Thân campaign in 1968, and the areas of fire such as Vĩnh Linh – Quảng Bình. There were artists – soldiers who sacrificed their lives on the battlefield such as Tô Ngọc Vân (1906-1954). They have contributed to patriotism by creating works of art that truly reflect the war with all their faith and hope.
Up to now (2025), after nearly 70 years, since six famous artists together carried out a special mission assigned by President Hồ Chí Minh: Building a sketch and completing the artwwork on lacquer medium, the work Soviet Nghệ Tĩnh is not only a record of historical documents in pictures, but has created a group of objects symbolizing Soviet Nghệ Tĩnh movement – a voice from the past echoing today, reminding us of the strength of the people’s revolution.
This shows that when the artist deeply understands the love for the homeland, national pride, revolutionary tradition and can convey it into his work, the artist is also a soldier.
Promoting the traditions of previous generations – Art serving the country
With the heroic history of the nation’s struggle to build and defend the country over thousands of years, with the revolutionary ideals built by previous generations of artists, young artists today continue that glorious tradition with honor, pride and responsibility.
Currently, in the new era of rising of the nation, gratitude and remembrance of the contributions of ancestors are expressed in practical activities of agencies and units. Monuments, memorial works, fine art creation campaigns, art competitions about the revolution, about the armed forces… are held regularly not only to celebrate the great historical days of the nation but also to add to the treasure of Vietnamese culture and art.
Therefore, although there are rich topics for young artists to choose from, when associations organize historical art competitions, they still dedicate may of their works to the historical themes of revolutionary wars and building the homeland. They consider these as precious opportunities to use fine arts as a means to express their love and faith in the country that they have been taught.
That love and faith is not only expressed in their works, but is always a smoldering flame in their hearts, ready to flare up when the Fatherland needs it. Their eyes are always directed towards the future, always glowing with pride when looking back at the past; using that as motivation to walk steadily on new paths, in grateful remembrance of their ancestors’ footsteps on the old revolutionary path.
Continuing the revolutionary spirit
In exchange for today’s peace; so that smiles always shine on the innocent faces of children; so that warm, peaceful eyes are always on the faces of the elderly; so that the steadfast, burning eyes, sparkling with the light of faith, always shine on the faces of the young generation, our previous generations have left behind a history of thousands of years of fighting for national independence, of which Soviet Nghệ Tĩnh movement of 1930-1931 is one of the typical examples.
After 95 years, “The Drum of the Year 30”, the soul of Soviet Nghệ Tĩnh movement has become a symbol of the people’s revolution, still resounding.
Today, in the heroic land of Nghệ An – Hà Tĩnh, other bustling drums are about to resound throughout the schools – the drums of the opening school year. We remember the words of President Hồ Chí Minh in “Letter to students on the first opening day of the Democratic Republic of Việt Nam”⁶, September 15, 1945:
“… Whether our beloved Việt Nam become beautiful or not, whether Vietnamese people can step up to the stage of glory to stand with the great powers of the five continents or not, depends largely on your studies.”
Notes
1, The website of Soviet Nghệ Tĩnh Museum, Nguyễn Ái Quốc đối với phong trào Xô viết Nghệ Tĩnh [Nguyễn Ái Quốc and the movement of Soviet Nghệ Tĩnh], written by Master Trần Thị Hồng Nhung, Vice President of the museum.
2, The newspaper of Cứu Quốc [Saving the Country], No. 1986, January 5, 1952.
3, “Nhớ về những ngày thành lập Hội Mỹ thuật Việt Nam” by artist Nguyễn Văn Tỵ, printed in Độc lập Newspaper, April 15, 1987.
4, According to the document of artist Nguyễn Văn Tỵ’s family
5, Hồ Chí Minh – Complete works, volume 3, The publishing house of Chính trị Quốc gia – Sự thật, 2011
6, Hồ Chí Minh – Complete works, The publishing house of Chính trị Quốc gia – Sự thật, 2011
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