A calligrapher writes Vietnamese script at a traditional calligraphy market at the Temple of Literature. (Photo thethaovanhoa.vn) Hanoi (VNS/VNA) - Easyto read and understand, Vietnamese calligraphy is a lot simpler tounderstand than the Han Chinese version, which helped boost its popularityduring Tet (Lunar New Year) holiday.
The tradition of collectingletters has become part of Vietnamese culture whenever Lunar New Yeararrives. The calligraphic works, which can be romanised Vietnamese, Han Chineseor Nom (Vietnamese ideographic) scripts written by elderly scholars,expresses the Vietnamese people’s respect for knowledge.
The scripts are written on traditional do (poohnah) paper and become symbolsof good fortune.
Many calligraphers whoare able to write both Vietnamese and Han-Nom calligraphy receivedincreasing orders for Vietnamese calligraphy this year.
“Eighty percent of my customersask me to write them romanised Vietnamese scripts,” said Hoang Dinh Truong inan interview with Thanh Nien newspaper.
According to Truong, who works atthe Temple of Literature and Hai Ba Trung Temple in Hanoi, he was oftenasked to write the word An inVietnamese, which means peace.
However, his customers haverecently requested other meaningful words, depending on their wishes.
“Most of them prefer Vietnamesecalligraphy as it is easier to read and understand. They want it tobe readable. Ancient Han-Nom scripts have been largely forgotten so mostpeople can't read them," he said.
“I think both are fine, so it'sonly important to preserve the tradition, and educating the youngergenerations about a respect for learning and knowledge,” he added.
Tran Hau Yen The from VietnamUniversity of Fine Arts also agreed that romanised Vietnamese calligraphyhad become increasingly popular.
Vietnamese calligrapher Kieu QuocKhanh added that other calligraphers specialising in themodern national script had adapted the sophisticated writingtechniques for Han-Nôm scripts to enrich their writing styles.
Parallel developing
However, according to Pham Van Tuanfrom the Institute of Han-Nom Studies, more people ask for ancient Han-Nomscripts at the Temple of Literature, which gathers renowned calligraphers in Hanoi.
“The Temple of Literature is aspace dedicated to Confucianism and traditional culture. People they should askfor words related to examinations and traditions,” Tuan said.
“Romanised Vietnamesecalligraphy is also asked for but not as much. Some people see othersasking for Vietnamese scripts and do the same.”
“I hope that more Han-Nom classeswill be organised for youngsters,” he said.
“The past ten years has seen theincreasing development of writing Vietnamese with ink brushes.However, Vietnamese calligraphy has not yet achieved a standardised systemlike Han-Nom calligraphy."
However, he said there had beentechnical advances in romanised Vietnamese calligraphy.
“From the north,calligrapher Kieu Quoc Khanh has been accredited with bringing and introducingthe system of Vietnamese calligraphy in the south. Therefore, Vietnamesecalligraphy has never been as diverse as it is today. Frequently interactingwith other artists, Khanh has come up with many innovations and influences onVietnamese calligraphy,” he said.
Meanwhile, Tran Hau Yen The hasalso had many calligraphic creativiteness showcase artistic elements.
One of his works combined withcontemporary art is being displayed at the National Assembly Building.Written in vertical lines, the words have shapes similar to Han and Nom scripts.
“At the beginning, I intended towrite Han and Nom characters on the stele. However, after that, I changed mymind to make it easier for viewers to read and understand,” The said.
Pham Van Tuan agreed that theincreasing favour of Vietnamese calligraphy was understandable.
However, the co-existence of twocalligraphic styles were not mutually exclusive.
"I think they will grow inparallel," he said./.
VNA
