The Aesthetics of Hanoi's Architecture: Sense of Place through the Eyes of Local Painters
Notice bibliographique
Résumé
An authentic sense of place, according to the Canadian place theorist Edward Relph, is often found in the experiences of painters who attempt to convey their personal attitude to place through their artworks.1 Taking this idea as a point of departure, this article sheds some light on one aspect of the aesthetics of architecture through an examination of the interrelationship between a visual art, architecture, and place. To illustrate some of the ways that place identity and local architecture are presented in paintings, we look at the work of two of Hanoi's painters: Bui Xuan Phai (1921–1988), a French‐trained painter who is famous for his paintings of Hanoi's ancient streets in the 1960s, 1970s, and 1980s, and surrealist artist Nguyen Manh Hung (b. 1976), whose paintings reflect more recent changes to Hanoi's built environment. This article discusses these artists’ work with reference to their personal experiences with the city. It suggests how the study of paintings of Hanoi's architecture may contribute to the understanding of Hanoi's sense of place by bringing to consciousness details that might otherwise be repressed or simply go unnoticed. We first describe certain characteristics of Hanoi's streets and buildings in the past and the present that put the discussion of the paintings and the sense of place they communicate in context. Given that painting is a powerful form of aesthetic expression, this article suggests that paintings of Hanoi's cityscape and its architecture can contribute significantly to the understanding of Hanoi's sense of place. The artists’ different approaches to painting suggest both that Hanoi's sense of place has shifted in response to socioeconomic and political changes caused by foreign interventions and that the local culture, with its routine patterns of village life, still greatly influences the city's architectural character. It is, then, important for us to offer some background concerning these influences, not the least of which is war, as war can bring about both urban destruction and reconstruction, and, therefore, war and its subsequent politics can change the identity of place for the victors as well as the victims, which in this case were one and the same people.
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| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,003 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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