25 - Ⓗ HOANG TICH-CHU (1912–2003)

Ⓗ HOANG TICH-CHU (1912–2003) "Rest," 1998 Lacquered wood panel Signed and dated lower right 99 × 99 cm The work is accompanied by a certificate issued by the artist’s son, as well as a photograph taken with the artist’s son. HOÀNG TÍCH CHÙ (1912–2003) "Nghỉ ngơi," 1998 Lacquer on wood panel Signed and dated in the lower right corner 99 × 99 cm The work is accompanied by a certificate issued by the artist’s son and a photograph taken with the artist’s son In *Rest*, the painter Hoàng Tích Chù (1912–2003) invites the viewer to enter an artistic world imbued with serenity and good fortune. Against a background of vibrant red lacquer, two Vietnamese women in áo dài occupy the center of the composition, surrounded by peacocks, a phoenix, butterflies, orchids, peaches, persimmons, a cat, and an ancient tree. One, seated on a small mat, holds a fan in her hand; the other, standing near the tree trunk, raises her arms to comb her long hair. A peacock spreads its tail on a dead branch, while a phoenix flies above the figures, its head turned toward them. Three butterflies flit above a bed of orchids. In the traditional Vietnamese conception of life and culture, symbolic motifs often follow their own logic, independent of reality. What, then, led Hoàng Tích Chù to choose and combine these figures? Did he intend to evoke prosperity and favorable omens in an atmosphere of leisurely repose, or simply to incorporate elements he was fond of into his painting? And how did these familiar motifs become a work of art endowed with a singular beauty? In *Rest*, if we consider each motif separately, we can easily identify the meanings traditionally attributed to them in Eastern culture. The peacock symbolizes splendor and prosperity; the phoenix, a mythical bird, is associated with virtue, nobility, and peace; the orchid evokes moral elevation and refinement; the butterfly suggests spring and love; the peach is associated with longevity and good fortune. But if we stick to these interpretations, any work employing similar motifs would end up expressing nearly identical content. The painting’s uniqueness therefore lies not in the simple sum of symbolic meanings, but in the relationships the painter establishes between these different figures. The peacock does not stand on the ground: it spreads its tail on a dead branch. The brilliance and suppleness of its plumage contrast with the angular, bare lines of the branch, creating a visually charged tension. The butterflies fluttering above the orchids connect the flowers and their wings in a gentle movement. Higher up, the phoenix—with its wings spread, its long, undulating tail, and its head tilted downward—seems to take in the entire scene with a single glance. The simultaneous presence of the peacock and the phoenix also creates an interesting interplay of correspondences. One is a real bird, the other a mythical bird born of the human imagination; one perches on a branch, the other soars through the air. The beauty of reality and the beauty of the ideal coexist, echoing one another both through their positions in the composition and through their ability to suggest complementary meanings. Alongside these noble and symbolic figures, the cat, the fan, the small mat, and the peaches—or persimmons—add a familiar dimension, close to everyday life. The two women are not part of any specific narrative and exchange neither a glance nor a gesture. Each seems lost in an intimate moment, quietly taking the time to rest and enjoy a world surrounded by the beauty of nature and by auspicious signs. It is in this state of mind that Hoàng Tích Chù’s “refined and dilettantish”¹ character finds its truest expression. It is not necessary to depict wealth to evoke prosperity, nor to illustrate an ancient legend to express favorable omens. Motifs are chosen for their inherent beauty, for the richness of their forms and lines, as well as for their ability to evoke an aesthetic emotion. The painter thus creates a world that is both close to life and rich in an imagination of beauty—one designed for contemplation and idealized. Another distinctive feature of Hoàng Tích Chù’s work is his preference for nearly square or square formats. The balance between width and height allows him to arrange figures and details in various directions, without necessarily relying on a structured space.