“Nam Sá»­ Họa Kiếng” Exhibition

Have you ever looked up at a family altar or stepped into an assembly hall and noticed vibrant, shimmering paintings created directly on glass? Glass painting (Tranh kiếng) was once a common sight, deeply integrated into the spiritual and daily lives of people in the South. However, this unique art form has been quietly receding from the view of modern life.

To mark the 10th anniversary of the Sài Gòn Vi Vu art project, the thematic exhibition “Nam Sử Họa Kiếng” has officially launched as a moment of reflection and tribute to this heritage.

The exhibition brings together over 30 original and reconstructed works produced between 1900 and 1960. It offers a seamless narrative across time: from devotional folk icons of the past to modern-day preservation efforts and the potential for future continuation. Here, you do not just view paintings; you touch layers of cultural memory, aesthetics, and the spiritual life unique to the Southern land.

EVENT INFORMATION

• Address: Annam Gallery, 371/4 Hai Ba Trung Street, Xuan Hoa Ward, Ho Chi Minh City.
• Duration: May 2 – May 31, 2026 (09:00 AM – 08:00 PM daily).
• Entrance Fee: 50,000 VND per person.

EXHIBITION HIGHLIGHTS

Beyond the unique “inside-out” painting technique (where foreground details are painted first, followed by the background colors), the exhibition’s greatest appeal lies in its collection of historical artifacts. 

The 30+ artworks displayed here are not merely decorative pieces; they serve as an authentic lens reflecting the spiritual beliefs, lifestyle, and aesthetic tastes of Southern people throughout the first half of the 20th century. From the rustic charm of Southern folk altar paintings to the ornate and highly regulated beauty of Hue royal mirror paintings, each piece represents a relentless effort to connect the past with the contemporary flow. 

“Quần Kê Đồ” (1990s): Showcasing the rare creative style of the late talented artisan Lương An, this work masterfully integrates the spirit of “ink-wash” (thủy mặc) painting and the technique of reverse Chinese calligraphy onto glass. 

The “24 Vị Chư Thiên” (Chợ Lớn style, 1960s), a massive and exquisitely detailed work measuring nearly 2.5 meters in length. It vividly depicts the system of Buddhist guardian deities with brilliant colors and a solemn composition.

Visitors at the “Nam sử họa kiếng” exhibition.
(Photo: Annam Gallery)

“Nam Sử Họa Kiếng” is more than just a display of folk art, it is a journey to reposition glass painting within the flow of Vietnamese fine arts. The exhibition creates a profound viewing space, reminding modern audiences of a radiant aesthetic system where the beliefs and memories of many generations are mirrored through delicate yet enduring panes of glass. This chronicle in glass awaits your discovery, invitation, and continued interpretation.